The Sculpture of Black Origin in Brazil

Abstract

Writing in the late 1950s, Barata deplores the ongoing neglect of the study of black sculpture in Brazil, despite earlier publications, notably those by Raimundo Nina Rodrigues and Manuel Querino. He highlights the stylistic diversities and various influences perceived in Brazilian sculpture. He raises questions about the development of artistic production in relation to the changes that occurred in Afro-Brazilian religions. He further reflects on the historical connections between Brazil and Nigeria, the slave trade and the trade of goods in order to draw attention to the difficulty of distinguishing between African sculptures from those made in Brazil by Africans and their descendants.

Keywords:

• African art
• Afro-Brazilian art
• slave trade
• sculpture
• African style
• candomble
• historiography

Notes

1 For the most part.

2 Translator’s note: From this point forward all emphases are in the original, unless specified.

3 In Pesquisas etnológicas na Bahia [Ethnological Research in Bahia], S.E.S 1943, p. 10.

4 In Os africanos no Brasil [The Africans in Brazil], 3rd ed., 1945, p. 178.

5 Written between 1896 and 1905.

6 Translator’s note: babalawo [babalaô in Portuguese] – Father of Saint [pai de santo], priest, devotee, owner or chief of the terreiro [sanctuary, house of worship].

Additional information

Notes on contributors

Mário Barata

Translated by Elton Uliana

Originally published as “A escultura de origem negra no Brasil,” in Brasil arquitetura contemporânea 9 (1957): 51–56.