A identidade representada, da espiritualidade à materialidade (Pelotas-RS): a arte umbandista de Judith Bacci.

Abstract

This research is about Umbanda’s related sculptures produced by Judith Bacci (1918-1991) – a black artist from Pelotas, that initiated her artistical activities in the former School of Fine Arts (Escola de Belas Artes), in Pelotas – RS, today’s Arts’ Center (Centro de Artes). The artists’ life story highlights some factors that led her to the productions studied in this work, among those, are: sculptures of Orishas (Orixás), pretas-velhas, women from Bahia (baianas), Egyptian and Chinese masks. Using material culture in the construction of local history, social memory and cultural heritage, we seek to understand aspects of the Umbanda’s identity in the city from the analyses of works produced by the sculptor from 1960 through 1985. In the signification analyses of the pieces, the methodology concerning iconography and iconology proposed by Erwin Panofsky (1991) was used. From this interpretation of the images, a reflection about the hierarchy of heritage goods, the whitening of African figures, memoirs conflicts, syncretism and about cultural hybridity will take place. These are relevant topics, since the objects that serve as models of heritage are not chosen neutrally, for the criteria of selection and dismissal seek the maintenance of power, highlighting one culture over another. This way, the material culture should be analyzed with a critical overview so that it does not highlight only the dominant culture models. In order to concretize this study, as well as interviews with the community that was related to the artist, newspapers dated from the time mentioned were consulted and the available theoretical instruments were used. Since the sculptures studied here have an effective usage in the city, especially in religious ceremonies, this research is important because these pieces present a symbolic power that reaches the collective and contribute to the identity consolidation. Therefore, it is intended to clear up issues concerning the Umbanda’s identity, allowing a better comprehension of this genuinely Brazilian religion, that sometimes is marginalized in this so called multicultural country.