Abstract
This chapter pays homage to the legacy of the “guardian spirit” or mother of the founder of the organization while assessing the role played by the educational entity within the organization that educates hundreds of Afro-Brazilian children in Salvador, Bahia. Serene, sensitive, solemn, and spiritual, “Mãe Hilda” (Mother Hilda) embodies many real and imagined paradigms that have defined the Ilê Aiyê cultural organization, from its emergence to the present. This often-celebrated and honored woman may be said to be the heartbeat behind the activities of the organization even though she was not responsible for running its daily affairs. A mother who believes in her son would do anything to make his dreams come true. Vovô, the group’s leader and president, often tells the story of how he approached his mother in 1974 and told her that he and Apolônio dos Santos wanted to start an Afro-Carnival association in the neighborhood of Curuzu-Liberdade. Naturally, Mãe Hilda, an established community figure since the 1940s, supportively obliged. Because she was the priestess (iyalorixá) of the Candomblé house of Ilê Axé Jitolu, Ilê Aiyê was born within the labyrinth of Candomblé. In response to a question about the connection between his mother and the outing ritual of the organization at the start of the annual parade, Vovô suggests that the idea was not to transfer Candomblé to the Carnival space but to pay homage to spirituality and protection.
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Notes
Rosana Santana, “Interview with Ant ônio Carlos dos Santos, Vovô, President of Ilê Aiyê,” in Carnaval da Bahia: Um Registro Estético, ed. Nelson Cerqueira (Salvador: Omar G., 2002), 114.
John Mbiti, Introduction to African Religion (London: Heinemann, 1991 [1975]), 20.
Hilda Dias dos Santos, Mãe Hilda: A História da Minha Vida (Salvador: EGBA, 1997), 14.
See for example, Antônio Risério, Carnaval Ijexá: Notas Sobre Afoxése Blocos do Novo Carnaval Afro-Baiano. Salvador: Corrupio, 1981;
Larry Crook, “Reinventing Africa and Hybridity in Northeastern Music: Blocos Afro and Mangue Beat,” in: Brazilian Music (Santa Barbara, CA: ABC-CLIO, 2005);
Christopher Dunn, “Afro-Bahian Carnival: A Stage for Protest,” Afro-Hispanic Review 11, no. 1–3 (1992): 11–20;
Piers Armstrong, “The Cultural Economy of the Bahian Carnaval,” Studies in Latin American Popular Culture 18 (1999): 139–158;
among others. 11. See Roberto DaMatta, Carnavais, Malandros e Her ó is (Rio de Janeiro: Zahar, 1981).
See Júlio Braga, Ancestralidade Afro-Brasileira (Salvador: EDUFBA, 1992).
See Ilê Aiyê, Mãe Hilda Jitolu: Guardiã da Fé e da Tradição Africana (Salvador, Ilê Aiyê, 2004), 38.
Kim D. Butler, “Ginga Baiana —The Politics of Race, Class, Culture, and Power in Salvador, Bahia,” in Afro-Brazilian Culture and Politics: Bahia, 1790s to 1990s, ed. Hendrik Kraay (Armonk: M. E. Sharpe, 1998), 159–160.
Henry Drewal, “Art History, Agency, and Identity: Yoruba Transcultural Currents in the Making of Black Brazil,” in Black Brazil: Culture, Identity, and Social Mobilization, ed. Larry Crook and Randal Johnson (Los Angeles: UCLA Latin American Center Publications, 1999), 166.
See Ilê Aiyê, Mãe Hilda Jitolu: Guardiã da Fé e da Tradição Africana (Salvador: Ilê Aiyê, 2004), 40.
Rita de Cassia Maia da Silva, “O Negro-Espet á culo: O Bloco Afro Ilê Aiyê na Resignificação e Recepção da Imagem do Negro em Salvador” (PhD diss., Federal University of Bahia, 2002, 2 vols.), 290.
Ilê Aiyê, “Oxumar é Conduz a Deusa do É bano 2009,” O Mondo 25 (2009): 5.
See Bule Bule and Onildo Barbosa, Mãe Preta Foi e É Ama, Mestra, e Protetora [Cordel] (Salvador, Editora dos Autores, 1983), 3.
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© 2016 Niyi Afolabi
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Afolabi, N. (2016). Mãe Hilda: Matriarchy, Candomblé, and Ilê Aiyê. In: Ilê Aiyê in Brazil and the Reinvention of Africa. African Histories and Modernities. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-59870-7_3
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