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Gender Fluidity and Yoruba Religion in the Construction of an Afro-Brazilian Identity: Karim Aïnouz's Madame Satã

Authors:

Sarita Naa Akuye Addy ,

Western University, CA
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David Mongor-Lizarrabengoa

Western University, CA
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Abstract

Amid intense racial tensions in 1930’s Brazil, João Francisco dos Santos, rises to prominence as one of Rio’s most famous malandros. Simultaneously feared and persecuted by Brazilian authorities for his violent reactionary outbursts on the one hand, and his sensual incarnation of the afro-Brazilian mulatta on the other hand, this article analyzes Karim Aïnouz’s biopic Madame Satã, and examines the role that João’s religious beliefs plays on the conceptualization of his identity. This article contends that the concept of gender fluidity rooted in Afro- diasporic Yoruba religion provides a normative framework through which João contests the rigid ideations of gender and performance imposed on the black community by a patriarchal white society.
How to Cite: Addy, S.N.A. and Mongor-Lizarrabengoa, D., 2019. Gender Fluidity and Yoruba Religion in the Construction of an Afro-Brazilian Identity: Karim Aïnouz's Madame Satã. Middle Atlantic Review of Latin American Studies, 3(1), pp.53–80. DOI: http://doi.org/10.23870/marlas.216
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Published on 29 Jun 2019.
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