This project is an attempt to bring together the many fragments of history concerning the Yoruba religious community and their rise to prominence in Salvador, Bahia, Brazil, from the mid-nineteenth to the late-twentieth centuries.

Examines how in the middle of the twentieth century, Bahian elites began to recognize African-Bahian cultural practices as essential components of Bahian regional identity. Previously, public performances of traditionally African-Bahian practices such as capoeira, samba, and Candomblé during carnival and other popular religious festivals had been repressed in favor of more European traditions.

Barbara Browning combines a lyrical, personal narrative with incisive theoretical accounts of Brazilian dance cultures. While she brings ethnographic, historiographic, and musicological scholarship to bear on her subject, Browning writes as a dancer, fully engaged in the dance cultures of Brazil and of Brazilian exile communities in the U.S.

Jorge Amado has been called one of the great writers of our time. The joyfulness of his storytelling and his celebration of life's sensual pleasures have found him a loyal following. With The War Of The Saints, he has created an exuberant tale set among the flashing rhythms, intoxicating smells, and bewitching colors of the carnival. The holy icon of Saint Barbara of the Thunder is bound for the city of Bahia for an exhibition of holy art. As the boat the bears the image is docking, a miracle occurs and Saint Barbara comes to life, disappearing into the milling crowd on the quay. Somewhere in the city a young woman has fallen in love, and her prudish guardian aunt has locked her away--an act of intolerance that Saint Barbara must redress. And when she casts her spell over the city, no one's life will remain unchanged.

One hundred years ago in Brazil the rituals of Candomblé were feared as sorcery and persecuted as crime. Its cult objects were fearsome fetishes. Nowadays, they are Afro-Brazilian cultural works of art, objects of museum display and public monuments. Focusing on the particular histories of objects, images, spaces and persons who embodied it, this book portrays the historical journey from weapons of sorcery looted by the police, to hidden living stones, to public works of art attacked by religious fanatics that see them as images of the Devil, former sorcerers who have become artists, writers, and philosophers. Addressing this history as a journey of objectification and appropriation, the author offers a fresh, unconventional, and illuminating look at questions of syncretism, hybridity and cultural resistance in Brazil and in the Black Atlantic in general.