"Negro, faz da força o canto": discursos de negritude em sambas de enredo do G.R.E.S Flor do Samba (São Luís-MA)

Abstract

In Brazil, we have lived for centuries with racial relations of whiteness/blackness characterized by the normalization of social hierarchization that diminishes the legacy of black cultural in Brazilian history. This condition is made possible by the racial discrimination that refers to the African diaspora in the process of colonization of the Americas and it is still in force today in the blackest country outside the African continent. From this, as discourse analysts, we are provoked to observe the dispersions and regularities that make possible the emergence of discourses that circulate with real effects in society. Therefore, based on the theoretical contributions of Foucauldian discursive analysis, the purpose of this work is to analyze how the discourses of blackness enunciated in the sambas de enredo of Flor do Samba are constituted. For this, we use the archegenealogical method that starts from Foucault's conceptions of Archaeology, History and Genealogy and mobilize the concepts of discursive formation, discursive event, statement, archive, subject, historical a priori, power, device and truth. The delimitation of the corpus was carried out from a research of Flor do Samba’s themes from 1977 to 2020 (ERICEIRA, 2005) and three sambas with a theme of blackness were identified: “From Dahomey to Casa das Minas, the originof a population” (1980); “Axé Xango Axé” (1983); and “Nêga Fulô, the crazy black woman who bewitched Desterro” (1987). In addition to the bases of the archaeogenealogical method (FOUCAULT, 2021), a research was carried out through bibliographical and documental investigation with a qualitative approach. The research was also guided by studies from different areas (AZEVEDO, 2013; GUIMARÃES, 2009; MARTINS, 2013; MUNANGA, 2020; QUEIROZ, 1992; and others), who supported the understanding (1) of blackness, in this research, as a post-diaspora historical unit; (2) of sambas de enredo as a heterogeneous cultural production. In the results, the statements that constitute the corpus are identified as cultural production that enables the emergence of blackness discourses that enunciate (1) the historical and cultural contribution of Afro-Brazilians, more related to the knowledge of mythical blackness (MUNANGA, 2020a) that act on the black subject and (2) the hypersexualization of the body of black woman. Based on Foucauldian discursive analysis, the subject is not understood as the result of an identity process that begins from the awareness of diferences with other individuals, but the result of a plural process that involves relations of power and truth games in the face of discursive practices that circulate at a given historical moment.