Antônio Pitanga: resistance, ancestry, and the counterattack in the capoeira of the diaspora

Abstract

This article analyzes the trajectory of Antônio Pitanga, a central figure in Cinema Novo and Brazilian audiovisual arts, highlighting his significance in the anti-racist struggle and the construction of an Afro-modern aesthetic. By addressing his intellectual and artistic involvement since the 1960s, the text emphasizes Pitanga’s unique role as one of the few Black individuals to actively participate in the Cinema Novo movement, denouncing epistemicide and the low Black representation in productions of that time. The discussion extends to television, underscoring the impact of the Noronha family in “A Próxima Vítima” (1995) and contrasting it with the racist controversy in “Pátria Minha” (1994), exposing the limitations of Black representation without confronting structural racism. Grounded in the perspective of decolonizing the self and the concept of “sentipensar,” the article critiques Eurocentric impartiality and demonstrates how Pitanga redefines the notion of success, transcending white meritocracy and serving as a mirror to the Black community. The analysis highlights the importance of experience, corporeality, and African ancestry in the production of a decolonial aesthetic, establishing Pitanga as a reference for critical thought and for reinventing the foundations of Black Brazilian cinema, in dialogue with Afro-diasporic movements and the pursuit of justice, reparation, and restitution.