Historicizing Ginga

I would like to take a moment here to recap my last few steps. In the previous chapter, I offered an introductory analysis of the embodied concept of ginga, connecting this sinuous and offbeat way of moving to the African presence in Brazilian culture and society. While I argued that anyone may, theoretically, step into the "Brazilian" swagger, I also postulated that the continuous deployment of the ginga aesthetic through movement shapes how people may be perceived and thus identified. Moreover, it also rearranges how they use their body to have fun, to interact with people, or to solve a problem. Over time, I proposed, the acquisition and continuous deployment of an embodied system of organization and production, including the ginga aesthetic, becomes instrumental to the ways in which bodies are wired to carry themselves, interact with others, or survey their surroundings. In other words, the (multiple) way(s) we choose or are coerced to both conceptualize and utilize our moving bodies, our individual and collective corporealities, inform and are formed by how we make sense of the world around us, how we walk around, and what happens when we move that way.KeywordsPenal CodeSlave OwnerPhysical CultureBantu LanguageSugar Cane PlantationThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves

Aesthetics · Art · Embodied cognition · Sociology · Software deployment · Anthropological Studies and Insights · Artificial Intelligence · Communication · Computer Science · Geographies of human-animal interactions · Indigenous Studies in Latin America