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by Dr. Miguel A. Valerio In the 1760s, Carlos Julião was dispatched by the Portuguese empire to go around the world. The National Library of Brazil in Rio de Janeiro holds an eclectic manuscript with seventy-six watercolors he produced on this voyage. The manuscript contains his report on India, ten drawings of Hindu deities, thirty-three images of Inka ceramics and textiles, and forty-three images of the “customs of the people of Rio de Janeiro,” Julião’s last stop and where his notebook remained. Our focus will be on four images from the Rio section that depict the tradition of festive Black kings and queens. In colonial Brazil, Black festive kings and queens would parade through the streets of its cities and towns accompanied by an entourage of attendants and musicians. This would normally take place on the first Sunday of October, the feast day of Our Lady of the Rosary. During his time in Rio, Julião witnessed this tradition and left one of the few surviving visual records from this time. By placing the performers on floating islands, however, Julião removed the figures from their colonial context. Had Julião drawn the context where these performances took place, we would see them performed on the patios of churches and the surrounding city of Rio through which they processed. One of these churches, run by a Black brotherhood, served as the cathedral of Rio de Janeiro for most of the 18th century. These performances, therefore, were staged in the heart of colonial power, and their audience would have included many of the city’s residents, including its large Black population. From the 16th–18th centuries, the tradition of electing and crowning a ceremonial Black royal court was widespread throughout the Atlantic coast of the Americas, from New England to Buenos Aires. This tradition began in the Iberian Peninsula during the 15th century, as Afro-Iberians imitated or mocked European carnival performances, which included farcical royal courts. This mockery was mostly unproblematic for white Europeans because their own carnivalesque performances similarly mocked the ruling elite. Eventually this Black performative tradition would become associated with Black Catholic brotherhoods. Afro-Brazilians added a Congolese martial dance known as sangamento, which was a mock battle that recalled the real war that led to the Christianization of the Kingdom of Kongo in the 1510s. The performance in Brazil thus combined an element that originated in Europe (Black kings and queens) with one that originated in Africa (sangamento). Carlos Julião, “Black Queen Festival,” last quarter of the 18th century (Brazil), watercolor on paper, in Riscos illuminados de figurinhos de brancos e negros dos uzos do Rio de Janeiro e Serro do Frio (Fundação Biblioteca Nacional, Rio de Janeiro, C.I.2.8) Black festive kings and queens were elected from among the brotherhoods’ leaders. Their function in the performance was ceremonial, but they were important members of the brotherhood and the local Black community. Women’s leadership is expressed through Julião’s depictions of three queens. Queens were chosen from female brotherhood leaders or the leaders’ wives in the case of a male-led brotherhoods. Queens wielded real and symbolic power in these communities and institutions, and Black women enjoyed greater visibility within public spaces than Black men in colonial Latin America. [1] For the rest of the article go to: https://smarthistory.org/carlos-juliao-black-kings-queens/ #HistoryTime #blackhistorymonth #brazil #brazil🇧🇷 #blackhistory #afrobrazilianBy Dr. Miguel A. Valerio Sound Effects Free Download. Sound Effects Downloader To Help You Download The Highest Quality By Dr. Miguel A. Valerio Sound Effects Free Download For TikTok Videos. You Just Search Sound Effects And Download.