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|Abstract:||This article analyzes a series of photographs taken by the Brazilian artist Carlos Vergara between 1972 and 1975 that picture the Rio de Janiero-based carnival bloco Cacique de Ramos, whose characteristic black-and-white costumes fantastically approximate indigenous Amerindian attire. Taken at the height of the military dictatorship, when the pressure to conform to a singular nationalist identity was extreme, the photographs probe the potentialities and desire for group identification within a structure of horizontal rather than hierarchical affiliation. The essay argues that the photographs offer of speculative paradigm of intersubjective identification: a mapping of difference from deep within what the Brazilian anthropologist Eduardo Viveiros de Castro called a “passion of the same.” This paradigm is contiguous, yet distinct from the contemporary concept of “the multitude,” and suggests how an opposition of self and other might be transformed into a transversal operation of different-equal-same.|
|Citation:||Small, Irene V. "“Passion of the Same”: Cacique de Ramos and the Multidão." ARTMargins 7, no. 3 (2018): 6-33. doi:10.1162/artm_a_00216.|
|Pages:||6 - 33|
|Type of Material:||Journal Article|
|Version:||Final published version. Article is made available in OAR by the publisher's permission or policy.|
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