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NELSON MACA: Poet, Activist, and Academic

Born in the city of Parana Telemaco Borba, 249 kilometers from Curitiba, Nelson Maca, 47, has expressed the ideas of the black movement for 13 years. At 22, he moved to Salvador in search of a black Bahia and to study at Universidade Federal da Bahia (Ufba). Today, a literature professor at Universidade Católica do Salvador (UCSAL), his work is influenced by artists ranging from rappers such as Mano Brown and Thaíde, to writers like Lima Barreto and Richard Wright. His philosophy draws on the existentialism of Jean-Paul Sartre and the post-colonialism of Frantz Fanon. But it’s not in the academics where he is known, but in social activism.
 “I’m not a teacher who came to head the university. I am a teacher of the university as much as I am of the street.“
A member of the poesía preta (black poetry) movement and political art group Coletivo Blackitude, created 14 years ago, he shakes the black consciousness of Salvador every Wednesday at Sarau Bem Black, at Sankofa African Bar in Pelourinho. Over the past four years, the sarau has received literary names such as Cuti, alias Luiz Silva, and Conceição Evaristo, and music, such as Ellen Oléria and rappers GOG  and MC Marshal. Maca talks a lot about racism, literature, and social activism.
Source: http://atarde.uol.com.br/muito/noticias/1523077-nelson-maca-sou-um-poeta-da-literatura-negra
 
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Poetry from the Margins: Slam Poetry in Salvador

Coletivo Boca Quente
Much like the afoxés, neighborhood art collectives that make up a network of slam poetry groups and movements throughout Salvador, engage residents, primarily youth, to promote socio-cultural awareness, critical thinking and reflective discussion, civic activism, and pride in African heritage through art and poetry heavily influenced by hip-hop culture and pan-africanism. Collectives commonly host a sarau (slam poetry event) as a way to make literature dynamic and accessible to the public at no cost, and as a means of building consciousness and contributing to conversations on race, gender, socio-economic status, health care, quality education, and overall better living conditions. Organizations like Coletivo Boca Quente, Arte Marginal Salvador, Sarau do Gheto, and Sarau da Onça, for example, are part of a movement that provides cultural spaces previously unavailable to the community.
 https://www.youtube.com/channel/UC9dMIIpKD0QZwG57-jPv9tA
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Capoeira Angola

Capoeira Angola is an Afro-Brazilian martial art that combines acrobatics, fighting, music, African history and philosophy and refers to every capoeira style that keeps the traditions held before the creation of the Regional style. Enslaved Africans brought the movements of Capoeira Angola to Brazil, disguising the martial elements of Capoeira Angola as dance and adding music and singing. Since the abolition of slavery until present day, Capoeira Angola continued to develop as a community instrument of freedom and social resistance.

In 1941, Mestre Pastinha who was much respected by recognized capoeira masters, opened the Centro Esportivo de Capoeira Angola (CECA). His preference for the playful aspects of the game, rather than the martial side, became associated with Angola style that was also characterized as being strategic, with slow, smooth, sneaking movements played low to the ground.

The music typically played with capoeira is in bateria (percussion band) formation in a roda of Capoeira Angola. Instruments played are three berimbaus (stringed percussion instrument), two pandeiros (tambourine-like instrument), one atabaque (tall drum), one agogô (cowbell-like instrument) and one ganzuá (bamboo stick instrument). Today, Capoeira Angola groups flourish across Brazil and around the world.

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