#AnarkiaBoladona
LightNews LightNews
mdstamper.bsky.social
"Ana Cláudia Lemos Pacheco" by Panmela Castro (Brazilian) - Acrylic on canvas / 2022 - Museu de Arte Moderna da Bahia (Brazil) #WomenInArt #art #WomanArtist #WomensArt #WomenArtists #artText #PanmelaCastro #AnarkiaBoladona #BrazilianArt #BrazilianArtist #AcrylicArt #MAM-BA #MuseumofModernArtofBahia
Sociologist and professor Ana Cláudia Lemos Pacheco in her book “Mulher negra: afetividade e solidão” (Black woman: affection and loneliness) encourages us to recognize and understand the "solitude of Black women" and, in particular, Brazilian Black women who lead lives without long-term partners and with little affection. The author took the racist saying "Branca para casar, mulata para fuder, negra para trabalhar" (loosely: White to marry, mulatto to have sex with and black woman to work) and attempted to deconstruct it scientifically. She conducted in-depth interviews with Black women in Brazil's blackest city—Salvador. She found that many Black women failed to live their lives in healthy, affectionate relationships. This acrylic painting at the Museum of Modern Art of Bahia (MAM-BA) in Salvador by Brazilian artist and activist Panmela Castro (also known as Anarkia Boladona) depicts the dark-skinned, mature Pacheco reclining alone on a chaise lounge, wearing a white, ruffled dress and several pearl bracelets, creating a mood of relaxed sensuality and quiet confidence. Pacheco's hair is a rich, reddish-brown, styled in a large afro that frames her face and subtle smile. She lies on her side, one arm bent beneath her, and the other rests on her lap. Her white dress has a somewhat sheer quality, as the paint application suggests a delicate texture. The woman's skin is rendered with visible texture and shading, highlighting the forms of her body. She wears multiple pearl bracelets on both wrists, and a small pendant necklace. Her fingernails are painted a bright turquoise color. A small plant, rendered in dark green hues, is partially visible in the lower right corner. The left background is a textured palette of vertical brown and beige brushstrokes suggesting fabric drapes while the right is a darker, simpler green. This color split creates a backdrop that contrasts with the woman's lighter dress and establishes a sense of depth.
July 31, 2025 at 4:44 PM
mdstamper.bsky.social
Catarina Cassange by Panmela Castro (Brazilian) - Oil on canvas / 2020 - Pinacoteca de São Paulo (Brazil) #womeninart #art #womanartist #oiilpainting #femaleartist #fineart #BrazilianArtist #artwork #BrazilianArt #PanmelaCastro #PinacotecadeSãoPaulo #herstory #womenpaintingwomen #AnarkiaBoladona
Brazilian artist Panmelo Castro depicts the well-known enslaved saleswoman Catarina Cassange who, during the late 1830s, ran away while pregnant to ensure that her newborn would live in freedom. During this era, head garments began to signify the promise of liberty as the means to carry their few, but essential belongings and turbans were transformed into symbols of women's participation in rebellions and insurrections ... or in search of a new beginning in another place. In Brazil, many enslaved black women chose to escape when they were pregnant, in an attempt both to have a more peaceful birth and to prevent their offspring from remaining enslaved or even being separated for sale. Catarina Cassange was one of them. Between 1838 and 1839. Her owner, Manoel da Rosa, announced in the "Diário do Rio de Janeiro" that she was four months pregnant with descriptions of her body and behavior. The first announcement of her escape was followed by at least three more in the space of four months. Even without being able to capture her, information was obtained about her whereabouts. Known as "preta ao ganho", a saleswoman in the area near Valongo beach and Rua do Livramento, where many Africans concentrated. A month after the first ad, another was published saying that Catarina was being helped by "seducers" to leave and a third ad said she was spending the nights hiding in anchored boats. Catariana managed to remain a refugee for a year, only to be captured at the end of 1839. She revealed that she had been to many places in the city and in the Guanabara region. The person who helped her the most was the freedman Aleixo, a Mina African who worked as a barber. For a long time, he hid Catarina in his house in Rua dos Ferradores. With the support and temporary protection of several helpers, Catarina managed to have her son - named José - who was taken to live in the "quilombo of Laranjeiras" settlement of runaway slaves in Bahia.
April 21, 2025 at 10:47 PM