O vestir do Axé Ilê Obá
Os Trajes De Um Terreiro De Candomblé Paulista
Bibliographic Data
| ID | 5772705 |
|---|---|
| Authors | Ayanori Okasaki (0000-0003-1758-1545, corresponding author), Aymê Okasaki |
| Year | 2024 |
| Publication date | 2024-05-13 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | THESIS |
| Publisher | Universidade de São Paulo. Agência de Bibliotecas e Coleções Digitais (PUBLISHER) |
| DOI | 10.11606/t.8.2024.tde-06082024-182923 |
| OpenAlex | W4401353614 |
| Language | PT |
| References cited | 4 |
The aim of this research is to reflect upon the clothes of the candomblé terreiro (place of worship) Axé Ilê Obá, the first to be recognized as a historical heritage site in São Paulo.The proposal is to analyze the garments present since the foundation of the house, spanning the successions of its three religious' leaders.Caio Egydio -Father Caio of Xangô -initiated the terreiro as the Beneficent Spiritist Congregation Father Jerônimo in 1950, assuming the role of babalorixá (the leader of a candomblé terreiro in the queto tradition) until his death in 1985.He was succeeded by his niece Sylvia Egydio -Mother Sylvia of Oxalá -who led from 1986 to 2014.After Sylvia's passing, her daughter Paula Regina Egydio -Mother Paula of Iansã -assumed the position of ialorixá (the leader of a candomblé terreiro) from 2015 to the present day.To analyze the attire of candomblé practitioners from Axé Ilê Obá in these three phases, I will draw upon sources originating from the devotees themselves: the book O perfil do Aché Ile Obá by Sylvia Egydio (1980), dissertations produced by members of the house, and the collection of images provided by official photographers for this research.The analysis will differentiate the clothing worn in the terreiro's everyday life, during public celebrations, and the clothes associated with the orixás.The significance of examining the changes across these three phases lies in understanding the aesthetic impact that the babalorixá and ialorixás have on the costume of the terreiro's followers, influenced by their personal preferences, the orixá of the priest, and their personal relationships with tailors and workshops producing clothing for the house.In this analysis, it was observed, for instance, a greater use of pastel tones during Sylvia of Oxalá's tenure as ialorixá.The initiation of the use of wax print was also noted, attributed to the workshops employing this fabric, aesthetically reinforcing a movement of (re)Africanization within candomblé.However, regarding forms and silhouettes, a continuity is noticeable, even with the change of religious leaders.Thus, the influence of the babalorixá and ialorixás on the candomblé clothes market is understood
Archaeology · Art · Art history · Clothing · Humanities · Sociology · Theology · Worship · Food, Nutrition, and Cultural Practices · History · Philosophy · Urban and sociocultural dynamics · Urban Development and Societal Issues
| Citation velocity | historical |
|---|---|
| Highly cited | No |