Tap-dancing of Macumba Zé: Catimbó Dances, Crossroads Dances.
Sacred Jurema; Crossroads; Dance.
"Black Jurema, you are the queen, you own the city, but the key is mine." What might have been erased in the past echoes in the body of those with Caboclo blood, trembling their skin, dropping the arrow in every sacred ground. The ancestral healing technology eluded its end, becoming a religious practice. The Sacred Jurema is a religion that remains from indigenous practices that have been and are intersected by Afro-Diasporic ancestry and Christianity (LIMA, 2019), resulting in a faith of crossroads where through rituals, signs, and trances, we find the way out of this time, strengthening ourselves in ancestral time. This dissertation is the result of a "catimbó" for the body to dance, a creative dance process called "BLACK JUREMA," born on the ground of the Ogum Beira-Mar Terreiro (Cabedelo - PB) and in the depths of my backyard. Among some motivations of this journey, I mention the mapping of bibliographies on the Sacred Jurema, the analysis of corporealities, patterns of movements, and symbols present in religious practice, understanding at each cycle of this process its poetic potential, the investigation of bodies present in "Catimbó," starting from personal and collective experiences in spirituality within and outside the terreiro location. Here, autoethnography (SANTOS, 2017) and liminality (SILVA, 2020) are some of the methodological paths I embrace to explore my curiosity about bodies on the margins. The body on the edge of the tide, of fishing, of the coconut grove, of the "gira," of the touch, of the blessing... Those that possess and are marked by the sway of stories and memories, especially those who still carry dance as a fundamental part of their healing processes and contact with their ancestral roots. This body is also mine. And I know.