Anthropology Discussion

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- According to Ngom, why was Ajami ignored by Arab and European interests in the region?

They were convinced that whatever African wisdom was preserved in the hybrid writing system could not possibly have any value.

- How was, and is, the use of Ajami related to African resistance across history (refer to poem translations)?

Both poems translated in the text reflected anti-war movements and prayers for continuous peace, yet these people were continually ignorantly referred to as the savages, while other cultures fought each other over anything. They also very early on, questioned the man-made creation of race. For example, in a poem writeen at the end of World War II by Fulani writer Cerno Adbdourahmane Bah ‘warns’:

“They have led us as animals, …..

without knowing the reason why!

…..

…

Among all nations, so numerous in the world, we were chosen:

We are the black people, to work hard, and to supply contributions

That cannot be known.”

- 12. What are the two forms of capoeira in Brazil, how and why are they associated with different social groups (relate this to the specific needs of individuals in Margaret’s capoeira group described on p. 21 and symbolism explained on p. 48).

One is commonly known as capoeira regional, incorporated moves and practices from eastern martial arts. Capoeira was quickly adopted by the Brazilian middle-class, “modernist” form of the art.

The other form was capoeira angola, considered to have preserved the original African-Brazilian practices of capoeira and was the “traditionalist” form.

Margaret’s group practices the traditional form of the art, her teacher’s assistant Gato (cat) said that being black and poor, he’s forced to eat the violence and aggression that society feeds him everyday and this practice gave him the possibility of internal control and self respect that refrained him from vomiting this violence back at someone.

On page 48, the symbolism explained regards Margaret’s nickname, Danger, which she doesn’t understand, yet it refers to the fact that she’ll go anywhere, she doesn’t quite understand fear. She also doesn’t understand the violence of the everyday life in Salvador.

- 13. How is the roda a cultural frame, what are the roda’s main features? How are the cultural rules of the roda different form everyday life in Bahia?

- 14. Descriptions on p. 21-22 describe Rita’s capoeira style. How does she symbolically display power?

It is said that, “when she played, a solid mass became her third, lethal leg that confused the eyes and the soul of the person who played with her” and “none of the men mock or cross her as they do the other females” (none of which appear to be good, noted by Margaret’s fair observation over-time). Rita had learned these where she had been born, as part of her waking life. She is the only one Margaret met that had been educated and chose to stay here, as she doesn’t see if all the educated peoples leave, how things can ever change for the better. She is power, she manifests power naturally, in being, it looks like to me.

15. How did the teacher use ‘gaze’ to influence Margaret in her first capoeira experience in Bahia? (p.16), how is gaze an aspect of carnival (p.46). Contrast these with the use of gaze in your culture

Gaze is used by her teacher to influence Margaret in her first capoeira experience in Bahia by staring into her eyes; she says, “It was a gaze so intimate I blushed. I moved with him looking only into his eyes, transfixed on their pull and in their power” (p.16).

Gaze is an aspect of carnival because it is the intimate eye contact you hold steady in an infinite sea of various strangers that ultimately attracts you to your dance partners, with whom you form the connection that the celebration is all about (p. 46.

Gaze isn’t much different to me, it can be overlooked by many people, especially in western culture, but eye contact is a very valued thing in my perspective.