THE SACRED AND THE PROFANE IN AFRICAN-BASED RELIGIONS AND THEIR MUSICAL DEVELOPMENTS: and their non-dualist philosophical contributions to Western thought

Abstract

This article aims to reveal, from the extreme situation of African slavery, Afro-Brazilian music as viable new music. And this black musicality, as coming, specifically, from African-based religions. In other words, there is a connectivity between the experience of the sacred, with its sonorous arpeggios, in Candomblé terreiros, and its strong inseparability from the profane, with its saint festivals, open to the uninitiated, and the constitution of popular music, especially , from samba. In this way, religions of African origin, Candomblé, Voduns, Calundus, and their developments in liturgical festivals, promote a hermeneutic operation capable of emptying the dualistic, deeply European form of thought. And this is a great contribution of Brazilian thought to Western thought. While a philosophy divided the world in two, forging an interpretative fiction, Candomblé, samba, choro, black Brazilians maintained the unity of the world, despite its multiplicity, allowing themselves to be connected with the real, not only through reason, but also through passions, the body, feelings, the profane sacred, and the sacred profane. In other words, the history of Brazilian music, as well as the history of Brazil, in its connection with terreiro religions, reveals a multiple reality in the one, because the one is multiple, because the sacred and the profane are confused, just like party and action. citizen politics, in addition to the suffering of immense pain and the joy of being funny in a reality devastated by the moral misery of the colonizer's yoke. The hypothesis is that the cultural and political experience of Brazilian reality offers the history of philosophy supports that overcome the dialectical, dualistic, resentful, reactive or spiteful prerogatives of a style of thought that operates under the poles of A and B in intention of a teleological synthesis. The Brazilian religious musician experience breaks these premises, as it suggests cohesions beyond good and evil.