O terreiro de Umbanda como lugar de aprendizagem e arte: Macumba Pictórica

Abstract

This research work aims to study the educational process in religiosity of African origin, in particular the Umbanda Tenda Espírita Mirim branch 12 of Petrópolis, as an educational space, using macumba, the sung point, as a creative proverb and holder of knowledge and experiences. Terreiro education is carried out keeping in mind the pedagogical repertoire, which make up the values inherited from the African continent: art as a holder of ritual, music, song, dance, body, charm (OLIVEIRA, 2007). In an epistemology of macumba, a way of painting life and a university education, the use of Afro-descendant art, macumbeira, is promoted, a creative and inspiring source to write a story that visits the ancestors through an Afro-descendant research methodology (CUNHA JÚNIOR, 2015) and Africanities with art as a prism. I begin with the memorial of my life story and insertion into the theme of Umbanda, its symbols and practices as Afro-descendant religiosity. Using the concepts of Afro-inscriptions, Afro-descendance, ancestry and pictorial macumba, using as a parameter the Afro-referenced proposals of authors such as Renata Aquino, Rosana Paulino, Vanda Machado, Leda Maria Martins, Mogobe Ramose, Muniz Sodré and Henrique Cunha Junior. I propose a shift from macumba to the work of art together with an Afro-artistic trace from the African continent to Petrópolis via the Umbanda terreiro based in the city. The word associated with rhythm, associated with an Afro performance, Kumba, because I'm thinking of macumba and this ma, in the Quicongo and Kimbundu languages, is the marker of the plural, so macumba is several kumba, kumba is the transformer through word sung within gesturealistics, the text as image, thinking about the world starting from the spin in an Afro education that explores the knowledge of art.