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

Sarita Naa Akuye Addy | Zendy; David Mongor-Lizarrabengoa | Zendy

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

Author(s) -

Sarita Naa Akuye Addy,

David Mongor-Lizarrabengoa

Publication year - 2019

Publication title -

middle atlantic review of latin american studies

Language(s) - English

Resource type - Journals

ISSN - 2474-9621

DOI - 10.23870/marlas.216

Subject(s) - yoruba , identity (music) , white (mutation) , reactionary , normative , conceptualization , sociology , gender studies , religious studies , incarnation , humanities , art , anthropology , philosophy , theology , aesthetics , political science , epistemology , law , politics , linguistics , biochemistry , chemistry , gene

Amid intense racial tensions in 1930’s Brazil, Joao 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 Ainouz’s biopic Madame Sata, and examines the role that Joao’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 Joao contests the rigid ideations of gender and performance imposed on the black community by a patriarchal white society.

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