From silence to the beat: autoethnography, reggae, and blues in the Recôncavo of identity
DOI:
https://doi.org/10.22481/odeere.v11i1.18597Keywords:
Autoethnography, Recôncavo Baiano, Edson Gomes, Sine Calmon, Non-Place, Black MasculinityAbstract
This article, of an autoethnographic nature, investigates the identity construction processes of a black man in the Recôncavo Baiano region, analyzing the initial strangeness towards his own body and the subsequent awakening mediated by cultural encounters. Differing from narratives centered on shame, it explores a silent disconnection, where the markers of blackness were perceived as facts disconnected from a meaningful existential repertoire. The work proposes that this experience of "non-place" was destabilized by dialogue with local and global black artistic productions. It focuses on analyzing the works of reggae musician Edson Gomes, poet-singer Sine Calmon, and the innovative Baco Exu do Blues, understanding them as organic intellectuals of the Recôncavo. It expands this dialogue to include the impact of the film "Ó Paí, Ó," by Lázaro Ramos, in childhood, and the fundamental mediation of Racionais MC's in adolescence. Articulating these artistic voices with the frameworks of Frantz Fanon, João Costa Vargas, Regina Marques de Oliveira, Reinaldo José de Oliveira, and Osmundo Pinho, the text traces a path from strangeness in Muritiba/BA a city marked by the subtle erasure of black presence to political and existential confrontation in Cachoeira/BA the epicenter of black resistance and reinvention in Bahia.
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