Àtúnbí, I Want Us to Survive Because We Survived

In face of the social violence fueled by the pandemic, authors Bruna Kury and Walla Capelobo discuss the subversive work of a number of trans* artists to confront the colonial regimes that continue to marginalize dissident and racialized bodies.

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  1. (Translator’s note) The main social movement that occurred in the sertão of northeastern Brazil at the end of the nineteenth and beginning of the twentieth century. The movement was especially related to the struggle for land, the abuse of power by the colonels and the poverty in the region.

  2. This is a reference to the work of Denise Ferreira da Silva, a Brazilian artist and philosopher.

  3. (Translator’s note) The word originated in Spain and was used largely as a pejorative way to describe people from South America, often those with indigenous features. It has since been reclaimed by South American people.

  4. In the Spanish text, the authors use the word oscuronegremos, which is a neologism that combines the word for “obscure,” oscurar, and the word for “black,” negro, into a verb. They have been combined into a single word that seeks to express and represent the effort of what the authors call enegrecimeinto (“blackening”) as a possible way of seeing the world that is distinct from colonial models. It implies seeing the world from a “Black” point of view, and not through a “White” lens.

  5. Calunga is a name attributed to descendants of the slaves of Goiás, Brazil. It is also a term connected to religious beliefs and refers to the world of the ancestors.

  6. Orishas of the Umbanda and Candomble in Yoruba mythology.


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Sorry, this entry is only available in European Spanish.