Nohora A. Arrieta approaches the work of Brazilian artist Tiago Sant’Ana with a question: what does it mean to be free, to be, completely, and thus being to open infinite horizons for our practice as critics or artists or writers?
This and the other epigraphs are stanzas from the poem “Na noite Calunga, do bairro Cabula”, by the Afro-Brazilian poet Ricardo Alexio.
Gilberto Freyre, Casa grande e Senzala. Formação da familia brasileira sob o regime da economia patriarcal (Masters and Slaves: The Formation of the Brazilian Family under the Patriarchal Economy) (Recife: Gilberto Freyre Foundation, 2003); José Lins do Rego, Menino de engenho: romance (Plantation Boy: Novel) 27. ed. J. Olympio,  2012; Thomas Rogers, The Deepest Wounds: A Labor and Environmental History of Sugar in Northeast Brazil (University of North Carolina Press, 2010).
I frame my thinking about flight or escape in terms of the theories of maroonage proposed by Edouard Glissant, Kamau Bratwhaite, and other thinkers of the diaspora.
Clóvis Moura, Sociologia do Negro Brasileiro (Sociology of Black Brazilians) (São Paulo: Ática Publishing House, 1988); Lélia Gonzalez, “Racismo e sexismo na cultura brasileira” (“Racism and Sexism in Brazilian Culture”) Revista Ciências Sociais Hoje (Social Sciences Today Magazine), Anpocs (National Association of Graduate Studies and Research in Social Sciences) (1984); 223-244; Lélia Gonzalez, “A mulher negra na sociedade brasileira” (“The Black Woman in Brazilian Society”) in Madel T. Luz (Org.), O lugar da mulher: estudos sobre a condição feminina na sociedade atual (The Place of Women: Studies on the Status of Women in Today’s Society) (Rio de Janeiro: Edições Graal (Graal/Grail Editions), 1982).
Jota Mombaça proposes an illuminating discussion in this regard: “The Cognitive Plantation” Afterall, August 2020-January, 2021.
Robin D. G. Kelley, Freedom Dreams: The Black Radical Imagination (Beacon Press, 2003).