{"id":80,"date":"2019-08-15T21:57:22","date_gmt":"2019-08-15T19:57:22","guid":{"rendered":"https:\/\/africamericanos.vistprojects.com\/en\/?page_id=80"},"modified":"2019-12-19T01:58:07","modified_gmt":"2019-12-19T00:58:07","slug":"candomble","status":"publish","type":"page","link":"https:\/\/africamericanos.vistprojects.com\/en\/candomble\/","title":{"rendered":"Candombl\u00e9"},"content":{"rendered":"

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Impresi\u00f3n en inyecci\u00f3n de tinta con pigmentos minerales sobre papel algod\u00f3n\" \/><\/div>\n
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Ritual de iniciaci\u00f3n de las Hijas de Santo. Salvador, Bah\u00eda, 1951 Las novicias beben el Ix\u00e9<\/i>, que es la sangre de los animales sacrificados Colecci\u00f3n Jos\u00e9 de Medeiros\/ Acervo IMS
Impresi\u00f3n en inyecci\u00f3n de tinta con pigmentos minerales sobre papel algod\u00f3n\" \/><\/div>\n<\/p><\/div>\n
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Ritual de iniciaci\u00f3n de las Hijas de Santo. Salvador, Bah\u00eda, 1951 Sacrificio de aves sobre la cabeza de las novicias Colecci\u00f3n Jos\u00e9 de Medeiros\/ Acervo IMS
Impresi\u00f3n en inyecci\u00f3n de tinta con pigmentos minerales sobre papel algod\u00f3n\" \/><\/div>\n<\/p><\/div>\n
Ritual de iniciaci\u00f3n de las Hijas de Santo. Salvador, Bah\u00eda, 1951 Despu\u00e9s de los sacrificios iniciales, las novicias son nuevamente encerradas en la rec\u00e1mara donde permanecer\u00e1n hasta la madrugada siguiente Colecci\u00f3n Jos\u00e9 de Medeiros\/ Acervo IMS
Impresi\u00f3n en inyecci\u00f3n de tinta con pigmentos minerales sobre papel algod\u00f3n\" \/><\/div>\n<\/p><\/div>\n

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CANDOMBL\u00c9<\/div>\n
Jos\u00e9 Medeiros, Brazil<\/div>\n

Jos\u00e9 Medeiros\u2019s best-known photographic essay was made in 1951 at a Candombl\u00e9 place of worship in the city of Salvador, in the Brazilian state of Bahia. In incredibly dramatic images, the photographer documented the initiation rite of young filhas de santo<\/i>, or priestesses, in which animal sacrifice was performed.<\/p>\n

This material was first published under the title of \u201cThe Brides of Bloodthirsty Gods\u201d in O Cruzeiro<\/i> magazine, along with a text by Arlindo Silva. The report\u2019s sensationalism fueled an unprecedented social backlash, leading to a wave of public outrage and demonstrations that only exacerbated Brazilian society\u2019s poor understanding of religions and beliefs of African origin.<\/p>\n

Six years later, Medeiros expanded the material and republished it as Candombl\u00e9<\/i>. It was the first photography book about this Brazilian religious tradition. This time the photographer decided to use simple, matter-of-fact captions \u2015which he likely wrote himself\u2015 so as to let viewers deal with this powerful, unique imagery on their own terms and draw their own conclusions. This is, without question, an iconic series and one of the first visual documents of this belief system of African origin in Brazil, whose publication also incited an unusual wave of public protests.<\/p>\n

JOS\u00c9 MEDEIROS<\/div>\n
(Teresina [Piau\u00ed], Brazil, 1921 \u2013 L\u2019Aquila, Italy, 1990)<\/div>\n

A pioneer of Brazilian photojournalism, Jos\u00e9 Medeiros documented the everyday life of his country, recording scenes from the worlds of art, politics, and high society, as well as aspects of popular life. Medeiros was introduced to photography by his father, an amateur photographer. He contributed to the magazine Tabu e Rio<\/i> and to the weekly O Cruzeiro<\/i>, where he worked for fifteen years. He captured unusual aspects of Afro-Brazilian culture and was one of the first photographers to document the indigenous population of the Amazon region. He worked in motion pictures as an assistant cinematographer and in 1980 directed his own film: Parceiros da aventura<\/i>. He died in 1980 while preparing an exhibition in Italy. His collection of more than 20,000 negatives was acquired by the Instituto Moreira Salles in 2005.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":32,"comment_status":"closed","ping_status":"closed","template":"template-proyecto-en.php","meta":[],"_links":{"self":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/80"}],"collection":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/comments?post=80"}],"version-history":[{"count":5,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/80\/revisions"}],"predecessor-version":[{"id":1033,"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/pages\/80\/revisions\/1033"}],"wp:attachment":[{"href":"https:\/\/africamericanos.vistprojects.com\/en\/wp-json\/wp\/v2\/media?parent=80"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}