Added Value, Contextualizing the ‘Bumba’

Barton - Brazil - Bumba-Meu-Boi sculptural mobile

Bumba-Meu-Boi sculptural mobile by Sr. Nhozinho, early 20th c Maranhense crippled folkloric artist

The addendum to the Bumba fest images from the last post is that in reality the discourse of race-class-ethnicity & miscegenation via the portal of colonialism presented as popular theatre offers many inroads for analysis. One key factor to consider is that this month long event, now stretched to nearly two months falls under the Juninha holiday cycle, June festivals for São João or St. John the Baptist, and in reality São João is a subtext or trope for Xango. Thus, hidden in plain view is a multiple conversation of church-society-power-African and Indigenous traditions and contentious subtle debate against the previously dominant paradigm, the Portuguese, with a fundamental raison d’être of Orixa worship and power illustrated via the double consciousness/double speak of syncretic appropriation of African cosmology deftly concealed in several layers of guises. Xango has been said to have been one of the Orixá who was a real person and not simply a mythic being. The third king of the Oyo kingdom, he was deified posthumously. He is identified as the god of fire, thunder, lightning and a father of the sky. He is a consummate warrior, identified with maleness and sexuality, he is alleged to have had three wives, the Orixás: Oxum, Oya and Oba. All of whom figure deeply into the mythic pantheon of stories and legends in the ontology of Candomblé, Santeria and Lucumi. Xango cults pervade northeastern Brazil. I often look at him since one of his favorite foods is okra, turned into Caruru or Brazilian form of Gumbo, which is a major component in the meals associated with my primary research, A Festa da Boa Morte in Cachoeira.

Posted by Scott Alves Barton — PhD Candidate in Food Studies at NYU

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