Hablando por el subalterno: democracia racial y esencialismo estratégico del blanco en el drama "Orfeu da conceição" y el film "Orfeu negro"
2018; CIESPAL; Volume: 47; Issue: 1 Linguagem: Espanhol
ISSN
2327-4247
Autores Tópico(s)Brazilian cultural history and politics
ResumoespanolLa obra teatral Orfeu da Conceicao (1954) del brasileno Vinicius de Moraes y la pelicula Orfeu negro (1959) del frances Marcel Camus son piezas cruciales en la divulgacion mundial del problematico paradigma brasileno de la democracia racial. Y aunque estas obras han sido extensamente estudiadas, el presente ejercicio de critica cinematografica y cultural busca situarse desde una perspectiva transatlantica a fin de discutir el imaginario brasileno de raza propuesto por Moraes y Camus a contrapelo de movimientos y filmes contemporaneos que cuestionaron el racismo moderno desde localizaciones geograficas y epistemicas diferentes. Ello porque, segun Antonio Sergio Guimaraes (Depois da democracia racial), fue solo despues del golpe de 1964 que lideres de color adoptaron un lenguaje etnico que fusiona os elementos tradicionais da identidade brasileira as ideologias negras de circulacâo internacional, tais como o africanismo, a negritude e o Y si anadimos que para Paul Gilroy las experiencias diasporicas en las Americas, el Caribe, Europa y Africa derivan de una cultura moderna heterogenea, trazada por los viajes transatlanticos de navios negreros y manifestada en formaciones espaciotemporales diversas pero rizomaticamente entrecruzadas, resulta ineludible contrastar lo que en el titulo describo como el hablar por el subalterno de estas obras iconicas de la brasilidad con discursos negrįstas de mediados del siglo XX. Ello porque la democracia racial, la negritud y otros discursos raciales son mareas cronotopicas que conforman la misma genealogia oceanica del Atlantico Negro. Propongo entonces que, no obstante Moraes y Camus resemantizan oral, musical y visualmente el estereotipo de la pareja heterosexual romantica resignificando lo negro como belleza y arte, en la obra teatral brasilena predomina una vision racial ajustada a la norma estadonovista en una trama que, centrada en el malandro y el amor, evade el cuestionamiento de la matriz colonial que ha naturalizado las jerarquias raciales en Brasil; en tanto el film frances adopta una salida cosmetica similar, politicamente correcta, en un pais que oficialmente se negaba a asumir las consecuencias eticas, politicas y economicas de su propio colonialismo-tal como Sartre se ocupo de denunciar. Parto este analisis visitando algunas zonas de la genealogia de la democracia racial en Brasil, para luego discutir Orfeu da Conceicao y Orfeu negro en sus contextos transatlanticos. EnglishThe play Orfeu da Conceicao (1954) by Brazilian playwright Vinicius de Moraes and the film Black Orpheus (1959) by French director Marcel Camus are crucial pieces in the worldwide dissemination of the problematic Brazilian paradigm of racial democracy. And although these works have been extensively studied, the present exercise of cinematographic and cultural criticism seeks to situate itself from a transatlantic perspective in order to discuss the Brazilian imaginary of race proposed by Moraes and Camus against the grain of contemporary movements and films that questioned modern racism since different geographical and epistemic locations. This is because, according to Antonio Sergio Guimaraes (Depois da democracia racial), it was only after the coup of 1964 that leaders of color adopted an ethnic language that fuses traditional elements of Brazilian identity and black ideologies of international circulation, such as Africanism, a negritude eo afrocentrismo (279). And if we add that for Paul Gilroy, the diasporic experiences in the Americas, the Caribbean, Europe and Africa derive from a heterogeneous modern culture, traced by the transatlantic voyages of slave traders and manifested in diverse but rhizomatically intertwined space-time formations, it is inescapable to contrast what in the title I describe as the speaking for the subaltern of these conical works of Brazilianism with black speeches of the mid-twentieth century. This is because racial democracy, blackness and other racial discourses are chronotopic tides that make up the same oceanic genealogy of the Black Atlantic. I propose then, that Moraes and Camus nonetheless re-enact the stereotype of the heterosexual romantic couple orally, musically and visually, resignifying the black as beauty and art, in the Brazilian theatrical work a racial vision adjusted to the norm is prevailing in a plot that, centered in the malandro and love, evades the questioning of the colonial matrix that has naturalized the racial hierarchies in Brazil; while the French film adopts a similar, politically correct, cosmetic outlet in a country that officially refused to accept the ethical, political and economic consequences of its own colonialism-as Sartre undertook to denounce. I start this analysis by visiting some areas of the genealogy of racial democracy in Brazil, and then discuss Orfeu da Conceicao and Black Orpheus in their transatlantic contexts.
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