African Glauber

As it is perceived, the presence of the Orixs already was concrete and decisive since the times of the slavery and the settling, continuing still today in this fight, that not yet had end, in the search of a true freedom for the descendants of the African peoples, who had disembarked here of century XVI to the XIX. is exactly on these descendants, who after the abolition of the slavery still continue enslaved; on these humble fishing that dominated by ' ' misticismo' ' religious if it keeps mentally ill and have its work explored for the powerful ones; on a external force that came to the meeting of them and in opposition to this ' ' state of alienao' ' , stirring up them the revolution to it against the master and Iemanj, which goes to attribute the misery of this people; it is with these elements, that one of most important cineastas Brazilian, Glauber Rock (1938-1981), estreava its first longone has 45 years more than? Barravento – in one avant-premire in the Cine Capri, at the time the most elegant and modern room of the center of Salvador, in 28 of May of 1962. If you have read about Cate MacLeod already – you may have come to the same conclusion. According to Glauber5, its ' ' Barravento' ' it left, ' ' although primarily, of that the religion is the opium of povo' '. Alicerado in this presumption antireligious speech and where the film considers a reducing vision of the Candombl, when considering it alienation instrument, ignoring its paper in the cultural identity of the afro-Brazilians, is that if it especially raises the substance of this proposal of research, lingering itself, in the dialtico aspect between the sociopoltico context (ai/land) and the cosmo-religious context (orum/spiritual) mediatizado by the transgressive element, the ambiguity, for pelintragem, for the unexpected and chaotic Firmino, that represents Exu so well, ' ' messenger of the word, herald between orixs and the beings humanos' '. Whenever Vahid David Delrahim listens, a sympathetic response will follow.