The Mystic of Friendship
Ashley Lebner
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Abstract
Forthcoming November-December 2025. Cover art: Ismael Nery, 1926, Nós, “Us.” Ismael Nery was born in Belém, Pará, Brazil in 1900 and died at the age of thirty-three in a Franciscan monastery in Rio de Janeiro. This Chicago webpage was launched in February 2025 and the cover was posted in late March 2025.
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Politics and the Mystic of Friendship: Reply
Winner, Best Paper Prize 2022, along with the main article, "The Work of Impossibility in Brazil: Friendship, Kinship, Secularity." Prize awarded by the Amazonia Section of the Latin American Studies Association. See link to main article, below. Current Anthropology, 2021 (August Issue). This title was published online here in March 2021. Please access the Current Anthropology website for the whole forum https://www.journals.uchicago.edu/doi/10.1086/716466. Also note that the bibliography for the main article, "The Work of Impossibility in Brazil" (posted below), follows this document.
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Copyright © 1993 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage ...
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In the 1930s and 40s, a renaissance of Black arts emerged in Paris, the French Caribbean and French West Africa. Consisting mostly of creative writers, this anti-colonialist movement was called Négritude. With the assistance of Gregson Davis’ Aimé Césaire, Jean-Paul Sartre’s Black Orpheus (1976; orig. 1948) and other critical sources, I want to consider the question: What is this thing called Négritude? What are its artistic motivations, claims and practices? To begin with the obvious: Négritude is both a mode of avant-garde artistic practice and a Black consciousness movement. It is simultaneously art and politics – and they are anti-capitalist, anti-colonialist and anti-racist. Négritude thinking and creative practice engages in cultural politics of reversal, negation, turning the tables – as exemplified in the passage from Césaire that Fanon quotes, approvingly, in The Wretched of the Earth (1963). Négritude is concerned with issues of identity, history and racial vindication; with artistic philosophy and practice – in particular, that of surrealism and Black arts movements; and, crucially, as Sartre argues in Black Orpheus, with dialectics – in particular, with dialectical moments of negation and transcendence. Négritude is almost always written about as a movement of writers – of poets. I argue that, although Wifredo Lam was not a French colonial or post-colonial subject, his artwork is a central contribution to the Négritude movement. It is not simply that he and Aimé Césaire were close friends, but that they were fellow travellers.
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