{"id":73569,"date":"2023-02-05T09:37:41","date_gmt":"2023-02-05T12:37:41","guid":{"rendered":"https:\/\/rioonwatch.org\/?p=73569"},"modified":"2023-02-12T10:39:55","modified_gmt":"2023-02-12T13:39:55","slug":"mariwo-black-culture-from-morro-da-providencia-that-filters-negative-energy","status":"publish","type":"post","link":"https:\/\/rioonwatch.org\/?p=73569","title":{"rendered":"Mariw\u00f4: Black Culture from Morro da Provid\u00eancia that Filters Negative Energy"},"content":{"rendered":"
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Mariw\u00f4 Collective, a Rio movement of cultural occupations that brings together music, art, and dance, creating spaces of reframing and experimentation through Afro-diasporic culture. Image reproduced from social media<\/figcaption><\/figure>\n

Clique aqui para Portugu\u00eas<\/i><\/span><\/em><\/span><\/i><\/span><\/a><\/p>\n

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This is our latest article in<\/em>\u00a0a\u00a0series<\/a>\u00a0created in partnership with the\u00a0Behner Stiefel Center for Brazilian Studies<\/a>\u00a0at San Diego State University, to produce articles for the\u00a0Digital Brazil Project<\/a>\u00a0on water issues and the LGBTQIAP+ population in Rio\u2019s favelas and in the Baixada Fluminense\u00a0<\/em>for RioOnWatch.<\/em><\/p>\n

Discover the work developed by the Mariw\u00f4 collective, a group of Black artists from Brazil’s original ‘favela,’ Morro da Provid\u00eancia who are shaking up the cultural scene in Rio de Janeiro, exalting Afro-Brazilian heritage.<\/h4>\n

\u201cNo Leaf, No Orix\u00e1\u201d<\/h3>\n

This is a maxim in the Candombl\u00e9<\/a> terreiros<\/em> [places of worship]. Leaves fuel life, translate history, and give movement to the body in dance and rituals. They highlight the grandeur of Afro-Brazilian religious spaces.<\/p>\n

The Mariw\u00f4<\/a>, an oil palm<\/a> leaf, has a masculine reference for being a plant of the orix\u00e1<\/a> <\/em>Ogum. On doors and windows, the frayed Mariw\u00f4 is used in Candombl\u00e9 houses for a specific mission: so no harm will come. The Mariw\u00f4 expels negative energies and protects the sons and daughters of the orix\u00e1<\/em>.<\/p>\n

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“No leaf, no orix\u00e1” is a motto in the Candombl\u00e9 terreiros<\/em> and for the Mariw\u00f4 Collective. Photo: Je\u0301ssica Senra<\/figcaption><\/figure>\n

And this is how the Mariw\u00f4 Collective<\/a> works: a Rio movement of cultural occupations that brings together music, art, and dance, creating spaces of reframing and experimentation through Afro-diasporic culture<\/a>. A multicultural experimentation is built, where bridges are created between past, present, and Afrofuture<\/a>.<\/p>\n

Mariw\u00f4 was launched in July 2017 at the Estudantina Musical Cultural Center<\/a> in Centro<\/a> (downtown Rio) with the cultural occupation Brecha no Espa\u00e7o (Breach in the Space), which brought together 400 people and featured a show by the Afro Jazz<\/a> group, the participation of Jeza da Pedra<\/a>, a presentation by Aisha Mbikila<\/a> and LeidExu, and music by DJs BBWJU, BByGirlCami, and DJ Garota. There was also an artistic intervention by Raphael Cruz<\/a> and Ra\u00edne Funmilayo<\/a>.<\/p>\n

With diverse artistic contributions, the collective brings together names from Brazil and Latin America\u2019s cultural scenes, like Ventura Profana<\/a>, TAYHANA<\/a>, Sodomita<\/a>, Marta Supernova<\/a>, Cand\u00e9<\/a>, Mc Caten<\/a>, Bloco Afro Os Neg\u00f5es<\/a>, and Luedji Luna<\/a>. Among these are visual artists, singers, and DJs.<\/p>\n

Who Makes the Wheels Turn?<\/h3>\n

Five people make the party happen in this terreiro<\/em>: Alex Gabriel and Caique Cerqueira are the founders of the collective and responsible for the artistic direction and production; Daniel Santos is the resident DJ who undertakes curation and musical and artistic production of the occupations; Williane Jacob takes care of the visual elements and establishing accessibility and the central role of trans<\/a> people in projects; and Luma Nascimento handles the collective\u2019s connections with sponsors.<\/p>\n

“The impact this has for me is at the moment of the encounter. When you see yourself with other artists, like-minded people who see each other as references, with one being familiar with the art of another. This is why our platform asserts itself as creating this diffusion among Black potencies, always with the curation focused on dissident, peripheral, Black and LGBTQIAP+<\/a> bodies.” \u2014 Caique Cerqueira<\/p><\/blockquote>\n

The collective\u2014like Ogum\u2019s plant\u2014filters the negative energies of Brazil’s\u00a0structurally racist<\/a> society and transcends that into new possibilities, into art, through the power of Black artists. Like in the terreiros<\/em><\/a>, Mariw\u00f4 also puts on a great party to welcome and empower their own. Even with little or no funding from public agencies, the collective carries out the challenging work of creating a festive space with an aesthetic that brings elements of nature and ancestral essence to an urban context. \u201cMariw\u00f4 safeguards the energy of the party,\u201d so that everything goes right and so everyone can celebrate the manifestation of their work, in community, as a network.<\/p>\n

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“Breach in the Space.” Photo: Angela Pontes<\/figcaption><\/figure>\n

The narrative thread that drives the Mariw\u00f4 party is the celebration of the unity and plurality of Black and queer<\/a> people’s possible existences. It makes visible the influence of bodies that live decolonial trajectories in the production of music, making communication happen. In its musical aesthetic, what it presents as the party\u2019s brand is to mix Gqom<\/a>, a musical rhythm produced in Durban, South Africa<\/a>, with Brazilian Funk<\/a>, connecting Afrobeat<\/a> with Afox\u00e9<\/a> and reverberating House<\/a>.<\/p>\n

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Uma publica\u00e7\u00e3o compartilhada por cria\u00e7\u00e3o m\u00e1xima (@criacaomaxima)<\/a><\/p>\n<\/div>\n<\/blockquote>\n