PAULA CARDOSO

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UMA INÊS DE CASTRO

NEGRA

Se todos podemos ser o que quisermos, porque é que uma pessoa negra a ocupar um papel historicamente desempenhado por pessoas brancas gera tanta resistência? Porque é que uma pessoa negra a interpretar um papel historicamente ocupado por pessoas brancas equivale a “desvirtuar" o argumento?

𝑂 𝐶𝑎𝑟𝑛𝑎𝑣𝑎𝑙 𝑠𝑒𝑔𝑢𝑖𝑎 𝑎 𝑚𝑎𝑟𝑐ℎ𝑎 𝑑𝑒 𝑡𝑜𝑑𝑜𝑠 𝑜𝑠 𝑎𝑛𝑜𝑠 𝑞𝑢𝑎𝑛𝑑𝑜 𝑎 𝑝𝑟𝑜𝑓𝑒𝑠𝑠𝑜𝑟𝑎 𝑙𝑎𝑛𝑐̧𝑜𝑢 𝑜 𝑡𝑒𝑚𝑎 𝑑𝑜 𝑑𝑒𝑠𝑓𝑖𝑙𝑒: “𝑃𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑛𝑠 𝑑𝑎 𝐻𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑑𝑒 𝑃𝑜𝑟𝑡𝑢𝑔𝑎𝑙”.

𝐴𝑜 𝑐ℎ𝑒𝑔𝑎𝑟 𝑎 𝑐𝑎𝑠𝑎, 𝐷., 𝑛𝑎 𝑎𝑙𝑡𝑢𝑟𝑎 𝑛𝑜 𝟸.º 𝑐𝑖𝑐𝑙𝑜 𝑑𝑜 𝑒𝑛𝑠𝑖𝑛𝑜 𝑏𝑎́𝑠𝑖𝑐𝑜, 𝑝𝑎𝑟𝑡𝑖𝑙ℎ𝑜𝑢 𝑐𝑜𝑚 𝑜𝑠 𝑝𝑎𝑖𝑠 𝑎 𝑒𝑠𝑐𝑜𝑙ℎ𝑎, 𝑖𝑛𝑠𝑝𝑖𝑟𝑎𝑑𝑎 𝑛𝑎 𝑠𝑒𝑚𝑝𝑟𝑒 𝑎𝑟𝑟𝑒𝑏𝑎𝑡𝑎𝑑𝑜𝑟𝑎 ℎ𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑑𝑒 𝑎𝑚𝑜𝑟 𝑑𝑒 𝑃𝑒𝑑𝑟𝑜 𝑒 𝐼𝑛𝑒̂𝑠. “𝑄𝑢𝑒𝑟𝑜 𝑠𝑒𝑟 𝑎 𝐼𝑛𝑒̂𝑠 𝑑𝑒 𝐶𝑎𝑠𝑡𝑟𝑜”, 𝑑𝑒𝑐𝑖𝑑𝑖𝑢 𝑎 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎, 𝑎𝑛𝑖𝑚𝑎𝑑𝑎 𝑐𝑜𝑚 𝑜 𝑠𝑜𝑛ℎ𝑜 𝑑𝑎𝑞𝑢𝑒𝑙𝑎 𝑓𝑎𝑛𝑡𝑎𝑠𝑖𝑎.

𝑁𝑎 𝑠𝑢𝑎 𝑐𝑎𝑏𝑒𝑐̧𝑎, 𝑛𝑢𝑚𝑎 “𝑏𝑟𝑖𝑛𝑐𝑎𝑑𝑒𝑖𝑟𝑎” 𝑒𝑚 𝑞𝑢𝑒 𝑐𝑎𝑑𝑎 𝑢𝑚 𝑣𝑒𝑠𝑡𝑒 𝑢𝑚𝑎 𝑝𝑒𝑙𝑒 𝑞𝑢𝑒 𝑛𝑎̃𝑜 𝑎 𝑠𝑢𝑎, 𝑛𝑎̃𝑜 ℎ𝑎𝑣𝑒𝑟𝑖𝑎 𝑞𝑢𝑎𝑙𝑞𝑢𝑒𝑟 𝑝𝑟𝑜𝑏𝑙𝑒𝑚𝑎 𝑒𝑚 𝑠𝑒 𝑚𝑎𝑠𝑐𝑎𝑟𝑎𝑟 𝑑𝑒 𝑝𝑒𝑠𝑠𝑜𝑎 𝑏𝑟𝑎𝑛𝑐𝑎, 𝑠𝑒𝑛𝑑𝑜 𝑒𝑙𝑎 𝑢𝑚𝑎 𝑝𝑒𝑠𝑠𝑜𝑎 𝑛𝑒𝑔𝑟𝑎.

𝑀𝑎𝑠 𝑛𝑎 𝑐𝑎𝑏𝑒𝑐̧𝑎 𝑑𝑜𝑠 𝑝𝑎𝑖𝑠, 𝑝𝑒𝑠𝑎𝑑𝑎 𝑑𝑒 𝑚𝑖𝑐𝑟𝑜𝑎𝑔𝑟𝑒𝑠𝑠𝑜̃𝑒𝑠, 𝑢𝑚𝑎 𝑓𝑎𝑛𝑡𝑎𝑠𝑖𝑎 𝑑𝑒𝑠𝑠𝑎𝑠 𝑣𝑒𝑠𝑡𝑒-𝑠𝑒 𝑑𝑒 𝑑𝑜𝑟.

“𝑆𝑎𝑏𝑒𝑠 𝑏𝑒𝑚 𝑜 𝑞𝑢𝑒 𝑖𝑟𝑖𝑎 𝑎𝑐𝑜𝑛𝑡𝑒𝑐𝑒𝑟 𝑠𝑒 𝑐𝑜𝑛𝑐𝑜𝑟𝑑𝑎𝑠𝑠𝑒. 𝑁𝑜 𝑚𝑜𝑚𝑒𝑛𝑡𝑜 𝑒𝑚 𝑞𝑢𝑒 𝑜𝑠 𝑐𝑜𝑙𝑒𝑔𝑎𝑠 𝑝𝑒𝑟𝑐𝑒𝑏𝑒𝑠𝑠𝑒𝑚 𝑞𝑢𝑒𝑚 𝑒𝑙𝑎 𝑒𝑠𝑡𝑎𝑣𝑎 𝑎 𝑟𝑒𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑎𝑟, 𝑖𝑎 𝑠𝑒𝑟 𝑔𝑜𝑧𝑎𝑑𝑎. 𝐼𝑚𝑎𝑔𝑖𝑛𝑎 𝑒𝑛𝑡𝑎̃𝑜 𝑠𝑒 ℎ𝑜𝑢𝑣𝑒𝑠𝑠𝑒 𝑜𝑢𝑡𝑟𝑎 𝑚𝑒𝑛𝑖𝑛𝑎 𝑏𝑟𝑎𝑛𝑐𝑎 𝑎 𝑒𝑠𝑐𝑜𝑙ℎ𝑒𝑟 𝑎 𝑚𝑒𝑠𝑚𝑎 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑚”.

𝑁𝑎̃𝑜 𝑝𝑟𝑒𝑐𝑖𝑠𝑒𝑖 𝑑𝑒 𝑖𝑚𝑎𝑔𝑖𝑛𝑎𝑟, 𝑝𝑜𝑟𝑞𝑢𝑒 𝑎𝑖𝑛𝑑𝑎 𝑡𝑒𝑛ℎ𝑜 𝑏𝑒𝑚 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒 𝑎 ℎ𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑑𝑒 𝑆: 𝑑𝑒𝑝𝑜𝑖𝑠 𝑑𝑒 𝑚𝑒𝑚𝑜𝑟𝑖𝑧𝑎𝑟 𝑡𝑜𝑑𝑎𝑠 𝑎𝑠 𝑓𝑎𝑙𝑎𝑠 ℎ𝑢𝑚𝑎𝑛𝑎𝑠 𝑞𝑢𝑒 ℎ𝑎𝑣𝑖𝑎 𝑛𝑎 𝑝𝑒𝑐̧𝑎 𝑞𝑢𝑒 𝑎 𝑠𝑢𝑎 𝑒𝑠𝑐𝑜𝑙𝑎 𝑒𝑠𝑡𝑎𝑣𝑎 𝑎 𝑒𝑛𝑐𝑒𝑛𝑎𝑟, 𝑠𝑜𝑛ℎ𝑜𝑢 𝑐𝑜𝑚 𝑜 𝑝𝑎𝑝𝑒𝑙 𝑑𝑒 𝑝𝑟𝑜𝑡𝑎𝑔𝑜𝑛𝑖𝑠𝑡𝑎, 𝑎𝑗𝑢𝑑𝑜𝑢 𝑜𝑠 𝑐𝑜𝑙𝑒𝑔𝑎𝑠 𝑛𝑎 𝑝𝑟𝑒𝑝𝑎𝑟𝑎𝑐̧𝑎̃𝑜, 𝑚𝑎𝑠, 𝑛𝑎 ℎ𝑜𝑟𝑎 𝑑𝑒 𝑠𝑢𝑏𝑖𝑟 𝑎𝑜 𝑝𝑎𝑙𝑐𝑜 𝑜 𝑢́𝑛𝑖𝑐𝑜 𝑝𝑎𝑝𝑒𝑙 𝑞𝑢𝑒 𝑙ℎ𝑒 𝑒𝑠𝑡𝑎𝑣𝑎 𝑎𝑐𝑒𝑠𝑠𝑖́𝑣𝑒𝑙 𝑒𝑟𝑎 𝑜 𝑑𝑒 𝑢𝑚 𝑡𝑜𝑢𝑟𝑜. "𝐸́ 𝑜 𝑚𝑎𝑖𝑠 𝑝𝑎𝑟𝑒𝑐𝑖𝑑𝑜 𝑐𝑜𝑛𝑡𝑖𝑔𝑜, 𝑡𝑎𝑚𝑏𝑒́𝑚 𝑒́ 𝑝𝑟𝑒𝑡𝑜 𝑒 𝑔𝑟𝑎𝑛𝑑𝑒", 𝑎𝑝𝑜𝑛𝑡𝑜𝑢-𝑙ℎ𝑒 𝑎𝑙𝑔𝑢𝑒́𝑚 𝑑𝑎 𝑚𝑒𝑠𝑚𝑎 𝑖𝑑𝑎𝑑𝑒, 𝑠𝑒𝑚 𝑞𝑢𝑒 𝑢𝑚 𝑢́𝑛𝑖𝑐𝑜 𝑎𝑑𝑢𝑙𝑡𝑜 𝑡𝑟𝑎𝑣𝑎𝑠𝑠𝑒 𝑎 𝑎𝑔𝑟𝑒𝑠𝑠𝑎̃𝑜.

𝐶𝑜𝑚 𝐷. 𝑠𝑒𝑟𝑖𝑎 𝑑𝑖𝑓𝑒𝑟𝑒𝑛𝑡𝑒? 𝑆𝑒𝑚 𝑛𝑖𝑛𝑔𝑢𝑒́𝑚 𝑝𝑎𝑟𝑒𝑐𝑖𝑑𝑜 𝑐𝑜𝑛𝑠𝑖𝑔𝑜 𝑒𝑚 𝑡𝑜𝑑𝑜𝑠 𝑜𝑠 𝑐𝑎𝑝𝑖́𝑡𝑢𝑙𝑜𝑠 𝑑𝑎 𝐻𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑑𝑒 𝑃𝑜𝑟𝑡𝑢𝑔𝑎𝑙 𝑞𝑢𝑒 𝑗𝑎́ 𝑡𝑖𝑛ℎ𝑎 𝑎𝑝𝑟𝑒𝑛𝑑𝑖𝑑𝑜, 𝑞𝑢𝑒 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑚 𝑝𝑜𝑑𝑒𝑟𝑖𝑎 𝑒𝑠𝑐𝑜𝑙ℎ𝑒𝑟? 𝐴 𝑚𝑎̃𝑒 𝑒𝑥𝑝𝑙𝑖𝑐𝑜𝑢-𝑙ℎ𝑒 𝑎 𝑑𝑖𝑓𝑖𝑐𝑢𝑙𝑑𝑎𝑑𝑒 𝑒, 𝑒𝑚 𝑐𝑜𝑛𝑗𝑢𝑛𝑡𝑜, 𝑑𝑒𝑐𝑖𝑑𝑖𝑟𝑎𝑚 𝑞𝑢𝑒, 𝑛𝑎𝑞𝑢𝑒𝑙𝑒 𝑎𝑛𝑜, 𝑜 𝐶𝑎𝑟𝑛𝑎𝑣𝑎𝑙 𝑛𝑎̃𝑜 𝑝𝑎𝑠𝑠𝑎𝑟𝑖𝑎 𝑝𝑒𝑙𝑜 𝑑𝑒𝑠𝑓𝑖𝑙𝑒 𝑒𝑠𝑐𝑜𝑙𝑎𝑟.

𝐶ℎ𝑒𝑔𝑢𝑒𝑖 𝑒 𝑒𝑠𝑡𝑎 ℎ𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑗𝑎́ 𝑠𝑒𝑚 𝑎 𝑝𝑜𝑠𝑠𝑖𝑏𝑖𝑙𝑖𝑑𝑎𝑑𝑒 𝑑𝑒 𝑖𝑛𝑓𝑙𝑢𝑒𝑛𝑐𝑖𝑎𝑟 𝑜 𝑠𝑒𝑢 𝑑𝑒𝑠𝑓𝑒𝑐ℎ𝑜 𝑖𝑚𝑒𝑑𝑖𝑎𝑡𝑜 (𝑝𝑎𝑟𝑡𝑖𝑐𝑖𝑝𝑎𝑟, 𝑜𝑢 𝑛𝑎̃𝑜 𝑝𝑎𝑟𝑡𝑖𝑐𝑖𝑝𝑎𝑟?), 𝑚𝑎𝑠 𝑛𝑎̃𝑜 𝑚𝑒 𝑒𝑠𝑞𝑢𝑒𝑐̧𝑜 𝑑𝑜𝑠 𝑚𝑢́𝑙𝑡𝑖𝑝𝑙𝑜𝑠 𝑞𝑢𝑒𝑠𝑡𝑖𝑜𝑛𝑎𝑚𝑒𝑛𝑡𝑜𝑠 𝑞𝑢𝑒 𝑒𝑙𝑎 𝑐𝑜𝑙𝑜𝑐𝑜𝑢 – 𝑎 𝑚𝑖𝑚 𝑒 𝑎̀ 𝑚𝑎̃𝑒 𝑑𝑎 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎.

𝐹𝑎𝑟𝑖𝑎 𝑠𝑒𝑛𝑡𝑖𝑑𝑜, 𝑐𝑜𝑚𝑜 𝑝𝑟𝑜𝑝𝑢𝑠, 𝑡𝑟𝑎𝑧𝑒𝑟 𝑝𝑎𝑟𝑎 𝑜 𝑑𝑒𝑠𝑓𝑖𝑙𝑒 𝑢𝑚𝑎 𝑓𝑖𝑔𝑢𝑟𝑎 𝑛𝑒𝑔𝑟𝑎 𝑛𝑎̃𝑜 𝑝𝑜𝑟𝑡𝑢𝑔𝑢𝑒𝑠𝑎, 𝑚𝑎𝑠 𝑖𝑛𝑑𝑖𝑠𝑐𝑢𝑡𝑖𝑣𝑒𝑙𝑚𝑒𝑛𝑡𝑒 𝑝𝑎𝑟𝑡𝑒 𝑑𝑎 𝑠𝑢𝑎 𝐻𝑖𝑠𝑡𝑜́𝑟𝑖𝑎?

𝑂𝑢 𝑐𝑜𝑙𝑜𝑐𝑎𝑟 𝑛𝑜 𝑐𝑒𝑛𝑡𝑟𝑜 𝑢𝑚𝑎 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑚 𝑐𝑜𝑚𝑜, 𝑝𝑜𝑟 𝑒𝑥𝑒𝑚𝑝𝑙𝑜, 𝑎 𝑅𝑎𝑖𝑛ℎ𝑎 𝑁𝑧𝑖𝑛𝑔𝑎, 𝑎𝑐𝑎𝑏𝑎𝑟𝑖𝑎 𝑝𝑜𝑟 𝑝𝑒𝑛𝑎𝑙𝑖𝑧𝑎𝑟 𝑎𝑖𝑛𝑑𝑎 𝑚𝑎𝑖𝑠 𝑎 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎, 𝑝𝑒𝑙𝑎 𝑝𝑟𝑒𝑣𝑖𝑠𝑖́𝑣𝑒𝑙 𝑑𝑖𝑓𝑖𝑐𝑢𝑙𝑑𝑎𝑑𝑒 𝑑𝑜 𝑠𝑒𝑢 𝑟𝑒𝑐𝑜𝑛ℎ𝑒𝑐𝑖𝑚𝑒𝑛𝑡𝑜 𝑝𝑒𝑙𝑎 𝑝𝑟𝑜𝑓𝑒𝑠𝑠𝑜𝑟𝑎 𝑒 𝑐𝑜𝑙𝑒𝑔𝑎𝑠

𝐶𝑟𝑖𝑎𝑟 𝑛𝑜𝑣𝑜𝑠 𝑎𝑓𝑒𝑐𝑡𝑜𝑠

𝑆𝑒 𝑐𝑜𝑛ℎ𝑒𝑐̧𝑜 𝑞𝑢𝑒𝑚, 𝑗𝑎́ 𝑒𝑚 𝑖𝑑𝑎𝑑𝑒 𝑎𝑑𝑢𝑙𝑡𝑎, 𝑎𝑝𝑜́𝑠 𝑒𝑛𝑓𝑟𝑒𝑛𝑡𝑎𝑟 𝑎 𝑜𝑝𝑜𝑠𝑖𝑐̧𝑎̃𝑜 𝑑𝑒 𝑢𝑚 𝑝𝑟𝑜𝑓𝑒𝑠𝑠𝑜𝑟 𝑞𝑢𝑎𝑠𝑒 𝑑𝑒𝑠𝑖𝑠𝑡𝑖𝑢 𝑑𝑒 𝑎𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑎𝑟 𝑢𝑚 𝑡𝑟𝑎𝑏𝑎𝑙ℎ𝑜 𝑎𝑐𝑎𝑑𝑒́𝑚𝑖𝑐𝑜 𝑠𝑜𝑏𝑟𝑒 𝐴𝑚𝑖́𝑙𝑐𝑎𝑟 𝐶𝑎𝑏𝑟𝑎𝑙 𝑖𝑛𝑡𝑒𝑔𝑟𝑎𝑑𝑜 𝑛𝑢𝑚 𝑐𝑎𝑝𝑖́𝑡𝑢𝑙𝑜 𝑑𝑎 𝐻𝑖𝑠𝑡𝑜́𝑟𝑖𝑎 𝑑𝑒 𝑃𝑜𝑟𝑡𝑢𝑔𝑎𝑙, 𝑞𝑢𝑒 𝑖𝑚𝑝𝑎𝑐𝑡𝑜 𝑝𝑜𝑑𝑒𝑟𝑖́𝑎𝑚𝑜𝑠 𝑒𝑠𝑝𝑒𝑟𝑎𝑟 𝑑𝑒 𝑢𝑚𝑎 𝑏𝑎𝑡𝑎𝑙ℎ𝑎 𝑑𝑒𝑠𝑡𝑎𝑠 𝑝𝑎𝑟𝑎 𝑢𝑚𝑎 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎?

𝑀𝑎𝑖𝑠: 𝑠𝑒𝑟𝑖𝑎 𝑝𝑖𝑜𝑟 𝐷. 𝑠𝑒𝑛𝑡𝑖𝑟 𝑞𝑢𝑒 𝑓𝑖𝑐𝑎𝑟𝑖𝑎 𝑑𝑒 𝑓𝑜𝑟𝑎 𝑝𝑜𝑟 𝑛𝑎̃𝑜 ℎ𝑎𝑣𝑒𝑟 𝑛𝑜 “𝑒𝑙𝑒𝑛𝑐𝑜” 𝑛𝑒𝑛ℎ𝑢𝑚 𝑝𝑎𝑝𝑒𝑙 𝑎𝑗𝑢𝑠𝑡𝑎𝑑𝑜 𝑎̀ 𝑠𝑢𝑎 𝑝𝑒𝑟𝑡𝑒𝑛𝑐̧𝑎; 𝑜𝑢 𝑜𝑐𝑢𝑝𝑎𝑟 𝑢𝑚 𝑝𝑎𝑝𝑒𝑙 𝑒 𝑡𝑜𝑟𝑛𝑎𝑟-𝑠𝑒 𝑎𝑙𝑣𝑜 𝑑𝑒 𝑡𝑟𝑜𝑐̧𝑎 𝑝𝑜𝑟 𝑐𝑎𝑢𝑠𝑎 𝑑𝑒𝑠𝑠𝑎 𝑝𝑒𝑟𝑡𝑒𝑛𝑐̧𝑎?

𝑂 𝑟𝑒𝑠𝑢𝑙𝑡𝑎𝑑𝑜 𝑎𝑝𝑎𝑟𝑒𝑛𝑡𝑎 𝑠𝑒𝑟 𝑜 𝑚𝑒𝑠𝑚𝑜, 𝑚𝑎𝑠 ℎ𝑎́ 𝑢𝑚𝑎 𝑑𝑖𝑓𝑒𝑟𝑒𝑛𝑐̧𝑎 𝑓𝑢𝑛𝑑𝑎𝑚𝑒𝑛𝑡𝑎𝑙: 𝑛𝑢𝑚𝑎 𝑠𝑖𝑡𝑢𝑎𝑐̧𝑎̃𝑜 𝑜 𝑓𝑜𝑐𝑜 𝑒𝑠𝑡𝑎́ 𝑛𝑜 𝑡𝑒𝑚𝑎 𝑞𝑢𝑒 𝑐𝑎𝑢𝑠𝑎 𝑜 𝑑𝑒𝑠𝑎𝑗𝑢𝑠𝑡𝑒, 𝑜 𝑞𝑢𝑒 𝑠𝑖𝑔𝑛𝑖𝑓𝑖𝑐𝑎 𝑞𝑢𝑒 𝑚𝑢𝑑𝑎𝑟 𝑜 𝑡𝑒𝑚𝑎 𝑠𝑢𝑟𝑔𝑒 𝑐𝑜𝑚𝑜 ℎ𝑖𝑝𝑜́𝑡𝑒𝑠𝑒 𝑝𝑎𝑟𝑎 𝑡𝑟𝑎𝑛𝑠𝑓𝑜𝑟𝑚𝑎𝑟 𝑎 𝑟𝑒𝑎𝑙𝑖𝑑𝑎𝑑𝑒; 𝑛𝑎 𝑜𝑢𝑡𝑟𝑎 𝑜 𝑓𝑜𝑐𝑜 𝑒𝑠𝑡𝑎́ 𝑛𝑜 𝑓𝑒𝑛𝑜́𝑡𝑖𝑝𝑜, 𝑞𝑢𝑒, 𝑎𝑜 𝑠𝑒𝑟 𝑑𝑒𝑝𝑟𝑒𝑐𝑖𝑎𝑑𝑜 𝑒 𝑎𝑡𝑒́ 𝑟𝑒𝑗𝑒𝑖𝑡𝑎𝑑𝑜 𝑝𝑒𝑙𝑜𝑠 𝑜𝑢𝑡𝑟𝑜𝑠, 𝑡𝑒𝑛𝑑𝑒 𝑎 𝑠𝑒𝑟 𝑓𝑜𝑛𝑡𝑒 𝑑𝑒 𝑐𝑜𝑛𝑓𝑙𝑖𝑡𝑜𝑠 𝑑𝑒 𝑖𝑑𝑒𝑛𝑡𝑖𝑑𝑎𝑑𝑒, 𝑓𝑎𝑙𝑡𝑎 𝑑𝑒 𝑎𝑚𝑜𝑟-𝑝𝑟𝑜́𝑝𝑟𝑖𝑜 𝑒 𝑏𝑎𝑖𝑥𝑎 𝑎𝑢𝑡𝑜-𝑒𝑠𝑡𝑖𝑚𝑎.

𝑃𝑎𝑟𝑡𝑖𝑙ℎ𝑒𝑖 𝑜 𝑐𝑎𝑠𝑜 𝑛𝑢𝑚𝑎 𝑓𝑜𝑟𝑚𝑎𝑐̧𝑎̃𝑜 𝑠𝑜𝑏𝑟𝑒 𝑑𝑖𝑣𝑒𝑟𝑠𝑖𝑑𝑎𝑑𝑒 – 𝑎𝑛𝑡𝑒𝑠 𝑑𝑒 𝑚𝑎𝑖𝑠 𝑝𝑎𝑟𝑎 𝑖𝑙𝑢𝑠𝑡𝑟𝑎𝑟 𝑐𝑜𝑚𝑜 𝑛𝑎̃𝑜 𝑡𝑒𝑚𝑜𝑠 𝑑𝑒 𝑝𝑟𝑒𝑡𝑒𝑛𝑑𝑒𝑟 𝑒𝑥𝑐𝑙𝑢𝑖𝑟 𝑎𝑙𝑔𝑢𝑒́𝑚 𝑝𝑎𝑟𝑎 𝑞𝑢𝑒 𝑜 𝑟𝑒𝑠𝑢𝑙𝑡𝑎𝑑𝑜 𝑑𝑎𝑠 𝑛𝑜𝑠𝑠𝑎𝑠 𝑎𝑐𝑐̧𝑜̃𝑒𝑠 𝑠𝑒𝑗𝑎 𝑎 𝑒𝑥𝑐𝑙𝑢𝑠𝑎̃𝑜 –, 𝑒, 𝑟𝑎𝑝𝑖𝑑𝑎𝑚𝑒𝑛𝑡𝑒 𝑠𝑜𝑜𝑢 𝑜 𝑎𝑙𝑎𝑟𝑚𝑒 𝑑𝑎 𝑐𝑜𝑛𝑡𝑒𝑠𝑡𝑎𝑐̧𝑎̃𝑜.

“𝑀𝑎𝑠 𝑜𝑛𝑑𝑒 𝑒𝑠𝑡𝑎́ 𝑒𝑠𝑐𝑟𝑖𝑡𝑜 𝑞𝑢𝑒 𝑢𝑚𝑎 𝐼𝑛𝑒̂𝑠 𝑑𝑒 𝐶𝑎𝑠𝑡𝑟𝑜 𝑛𝑒𝑔𝑟𝑎 𝑠𝑒𝑟𝑖𝑎 𝑟𝑒𝑗𝑒𝑖𝑡𝑎𝑑𝑎? 𝑂𝑠 𝑚𝑖𝑢́𝑑𝑜𝑠 𝑚𝑎𝑠𝑐𝑎𝑟𝑎𝑚-𝑠𝑒 𝑑𝑒 𝑡𝑢𝑑𝑜 𝑒 𝑚𝑎𝑖𝑠 𝑎𝑙𝑔𝑢𝑚𝑎 𝑐𝑜𝑖𝑠𝑎. 𝑁𝑎̃𝑜 ℎ𝑎́ 𝑙𝑖𝑚𝑖𝑡𝑒𝑠, 𝑒 𝑡𝑜𝑑𝑜𝑠 𝑝𝑜𝑑𝑒𝑚 𝑠𝑒𝑟 𝑜 𝑞𝑢𝑒 𝑞𝑢𝑖𝑠𝑒𝑟𝑒𝑚”.

𝑅𝑒𝑠𝑝𝑜𝑛𝑑𝑜 𝑎̀ 𝑝𝑒𝑠𝑠𝑜𝑎 𝑏𝑟𝑎𝑛𝑐𝑎 𝑞𝑢𝑒 𝑚𝑒 𝑖𝑛𝑡𝑒𝑟𝑝𝑒𝑙𝑎 𝑞𝑢𝑒 𝑎 𝑟𝑒𝑎𝑙𝑖𝑑𝑎𝑑𝑒 𝑖𝑛𝑑𝑖𝑐𝑎 𝑜 𝑜𝑝𝑜𝑠𝑡𝑜.

𝐴𝑓𝑖𝑛𝑎𝑙, 𝑠𝑒 𝑢𝑚𝑎 𝑝𝑒𝑟𝑠𝑜𝑛𝑎𝑔𝑒𝑚 𝑓𝑖𝑐𝑡𝑖́𝑐𝑖𝑎 𝑐𝑜𝑚𝑜 “𝐴 𝑝𝑒𝑞𝑢𝑒𝑛𝑎 𝑠𝑒𝑟𝑒𝑖𝑎” 𝑑𝑎 𝐷𝑖𝑠𝑛𝑒𝑦 𝑔𝑒𝑟𝑎 𝑓𝑒𝑟𝑣𝑜𝑟𝑜𝑠𝑎 𝑐𝑜𝑛𝑡𝑒𝑠𝑡𝑎𝑐̧𝑎̃𝑜 𝑝𝑜𝑟 𝑠𝑒𝑟 𝑟𝑒𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑎𝑑𝑎 𝑝𝑜𝑟 𝑢𝑚𝑎 𝑎𝑐𝑡𝑟𝑖𝑧 𝑛𝑒𝑔𝑟𝑎, 𝑜 𝑞𝑢𝑒 𝑒𝑠𝑝𝑒𝑟𝑎𝑟 𝑑𝑒 𝑢𝑚𝑎 𝑓𝑖𝑔𝑢𝑟𝑎 ℎ𝑖𝑠𝑡𝑜́𝑟𝑖𝑐𝑎?

𝑆𝑒 𝑡𝑜𝑑𝑜𝑠 𝑝𝑜𝑑𝑒𝑚𝑜𝑠 𝑠𝑒𝑟 𝑜 𝑞𝑢𝑒 𝑞𝑢𝑖𝑠𝑒𝑟𝑚𝑜𝑠, 𝑝𝑜𝑟𝑞𝑢𝑒 𝑒́ 𝑞𝑢𝑒 𝑢𝑚𝑎 𝑝𝑒𝑠𝑠𝑜𝑎 𝑛𝑒𝑔𝑟𝑎 𝑎 𝑜𝑐𝑢𝑝𝑎𝑟 𝑢𝑚 𝑝𝑎𝑝𝑒𝑙 ℎ𝑖𝑠𝑡𝑜𝑟𝑖𝑐𝑎𝑚𝑒𝑛𝑡𝑒 𝑑𝑒𝑠𝑒𝑚𝑝𝑒𝑛ℎ𝑎𝑑𝑜 𝑝𝑜𝑟 𝑝𝑒𝑠𝑠𝑜𝑎𝑠 𝑏𝑟𝑎𝑛𝑐𝑎𝑠 𝑔𝑒𝑟𝑎 𝑡𝑎𝑛𝑡𝑎 𝑟𝑒𝑠𝑖𝑠𝑡𝑒̂𝑛𝑐𝑖𝑎? 𝑃𝑜𝑟𝑞𝑢𝑒 𝑒́ 𝑞𝑢𝑒 𝑢𝑚𝑎 𝑝𝑒𝑠𝑠𝑜𝑎 𝑛𝑒𝑔𝑟𝑎 𝑎 𝑖𝑛𝑡𝑒𝑟𝑝𝑟𝑒𝑡𝑎𝑟 𝑢𝑚 𝑝𝑎𝑝𝑒𝑙 ℎ𝑖𝑠𝑡𝑜𝑟𝑖𝑐𝑎𝑚𝑒𝑛𝑡𝑒 𝑜𝑐𝑢𝑝𝑎𝑑𝑜 𝑝𝑜𝑟 𝑝𝑒𝑠𝑠𝑜𝑎𝑠 𝑏𝑟𝑎𝑛𝑐𝑎𝑠 𝑒𝑞𝑢𝑖𝑣𝑎𝑙𝑒 𝑎 “𝑑𝑒𝑠𝑣𝑖𝑟𝑡𝑢𝑎𝑟” 𝑜 𝑎𝑟𝑔𝑢𝑚𝑒𝑛𝑡𝑜?

𝑃𝑜𝑢𝑐𝑎 𝑖𝑚𝑝𝑜𝑟𝑡𝑎 𝑞𝑢𝑒 𝐻𝑎𝑙𝑙𝑒 𝐵𝑎𝑖𝑙𝑒𝑦 𝑡𝑒𝑛ℎ𝑎 𝑠𝑖𝑑𝑜 𝑎 𝑚𝑒𝑙ℎ𝑜𝑟 𝑛𝑎 𝑐𝑜𝑟𝑟𝑖𝑑𝑎 𝑝𝑎𝑟𝑎 𝑖𝑛𝑡𝑒𝑟𝑝𝑟𝑒𝑡𝑎𝑟 𝑎 𝑝𝑟𝑜𝑡𝑎𝑔𝑜𝑛𝑖𝑠𝑡𝑎 𝐴𝑟𝑖𝑒𝑙: 𝑎 𝑠𝑢𝑎 𝑐𝑜𝑟 𝑑𝑒 𝑝𝑒𝑙𝑒 𝑓𝑎𝑙𝑎 𝑚𝑎𝑖𝑠 𝑎𝑙𝑡𝑜. 𝑃𝑜𝑟 𝑖𝑠𝑠𝑜, 𝑑𝑒𝑠𝑑𝑒 𝑞𝑢𝑒 𝑎 𝑒𝑠𝑐𝑜𝑙ℎ𝑎 𝑑𝑜 𝑑𝑖𝑟𝑒𝑐𝑡𝑜𝑟 𝑅𝑜𝑏 𝑀𝑎𝑟𝑠ℎ𝑎𝑙𝑙 𝑓𝑜𝑖 𝑟𝑒𝑣𝑒𝑙𝑎𝑑𝑎, 𝑒𝑚 𝟸𝟶𝟷𝟿, 𝑜𝑠 𝑝𝑟𝑜𝑡𝑒𝑠𝑡𝑜𝑠 𝑑𝑖𝑠𝑝𝑎𝑟𝑎𝑟𝑎𝑚 𝑠𝑜𝑏 𝑎 ℎ𝑎𝑠ℎ𝑡𝑎𝑔 #𝑛𝑜𝑡𝑚𝑦𝑎𝑟𝑖𝑒𝑙.

𝐸𝑛𝑡𝑟𝑒 𝑜𝑠 𝑎𝑟𝑔𝑢𝑚𝑒𝑛𝑡𝑜𝑠 𝑐𝑜𝑛𝑡𝑟𝑎 𝑎 𝑒𝑠𝑐𝑜𝑙ℎ𝑎, 𝑟𝑒𝑝𝑒𝑡𝑒-𝑠𝑒 𝑎 𝑖𝑑𝑒𝑖𝑎 𝑑𝑒 𝑞𝑢𝑒 𝑎𝑠 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎𝑠 𝑣𝑎̃𝑜 𝑓𝑖𝑐𝑎𝑟 𝑑𝑒𝑠𝑡𝑟𝑜𝑐̧𝑎𝑑𝑎𝑠 𝑐𝑜𝑚 𝑜 𝑓𝑖𝑙𝑚𝑒, 𝑝𝑜𝑟𝑞𝑢𝑒 𝑠𝑒 𝑎𝑓𝑒𝑖𝑐̧𝑜𝑎𝑟𝑎𝑚 𝑎̀ 𝑖𝑚𝑎𝑔𝑒𝑚 𝑑𝑒 𝑢𝑚𝑎 𝑝𝑒𝑞𝑢𝑒𝑛𝑎 𝑠𝑒𝑟𝑒𝑖𝑎 𝑑𝑒 𝑝𝑒𝑙𝑒 𝑏𝑟𝑎𝑛𝑐𝑎. 𝑆𝑖𝑔𝑛𝑖𝑓𝑖𝑐𝑎 𝑞𝑢𝑒 𝑛𝑎̃𝑜 𝑠𝑒 𝑐𝑜𝑛𝑠𝑒𝑔𝑢𝑖𝑟𝑎̃𝑜 𝑎𝑓𝑒𝑖𝑐̧𝑜𝑎𝑟 𝑎̀ 𝑖𝑚𝑎𝑔𝑒𝑚 𝑑𝑒 𝑢𝑚𝑎 𝑝𝑒𝑞𝑢𝑒𝑛𝑎 𝑠𝑒𝑟𝑒𝑖𝑎 𝑑𝑒 𝑝𝑒𝑙𝑒 𝑛𝑒𝑔𝑟𝑎?

𝐿𝑜𝑛𝑔𝑒 𝑑𝑖𝑠𝑠𝑜. 𝐵𝑎𝑠𝑡𝑎 𝑙𝑒𝑟𝑚𝑜𝑠 𝑒 𝑜𝑢𝑣𝑖𝑟𝑚𝑜𝑠 𝑟𝑒𝑙𝑎𝑡𝑜𝑠 𝑑𝑒 𝑓𝑎𝑚𝑖́𝑙𝑖𝑎𝑠 𝑛𝑒𝑔𝑟𝑎𝑠 𝑠𝑜𝑏𝑟𝑒 𝑎 𝑓𝑒𝑙𝑖𝑐𝑖𝑑𝑎𝑑𝑒 𝑑𝑎𝑠 𝑠𝑢𝑎𝑠 𝑐𝑟𝑖𝑎𝑛𝑐̧𝑎𝑠 𝑑𝑖𝑎𝑛𝑡𝑒 𝑑𝑎 𝑖𝑚𝑎𝑔𝑒𝑚 𝑑𝑒 𝑢𝑚𝑎 𝐴𝑟𝑖𝑒𝑙 𝑎̀ 𝑠𝑢𝑎 𝑠𝑒𝑚𝑒𝑙ℎ𝑎𝑛𝑐̧𝑎.

𝐻𝑎𝑙𝑙𝑒 𝐵𝑎𝑖𝑙𝑒𝑦 𝑞𝑢𝑒 𝑜 𝑑𝑖𝑔𝑎: 𝑓𝑜𝑖 𝑔𝑟𝑎𝑐̧𝑎𝑠 𝑎𝑜 𝑖𝑛𝑐𝑒𝑛𝑡𝑖𝑣𝑜 𝑑𝑜𝑠 𝑎𝑣𝑜́𝑠 𝑞𝑢𝑒, 𝑚𝑒𝑠𝑚𝑜 𝑑𝑖𝑎𝑛𝑡𝑒 𝑑𝑒 𝑚𝑖𝑙ℎ𝑎𝑟𝑒𝑠 𝑑𝑒 𝑐𝑜𝑚𝑒𝑛𝑡𝑎́𝑟𝑖𝑜𝑠 𝑑𝑒 𝑟𝑒𝑗𝑒𝑖𝑐̧𝑎̃𝑜, 𝑛𝑎̃𝑜 𝑑𝑒𝑠𝑖𝑠𝑡𝑖𝑢 𝑑𝑜 𝑝𝑎𝑝𝑒𝑙. “𝐸𝑙𝑒𝑠 𝑑𝑖𝑠𝑠𝑒𝑟𝑎𝑚-𝑚𝑒: ‘𝑃𝑒𝑛𝑠𝑎 𝑛𝑜 𝑞𝑢𝑒 𝑖𝑠𝑠𝑜 𝑒𝑠𝑡𝑎́ 𝑎 𝑓𝑎𝑧𝑒𝑟 𝑝𝑜𝑟 𝑛𝑜́𝑠, 𝑝𝑒𝑙𝑎 𝑛𝑜𝑠𝑠𝑎 𝑐𝑜𝑚𝑢𝑛𝑖𝑑𝑎𝑑𝑒, 𝑝𝑜𝑟 𝑡𝑜𝑑𝑎𝑠 𝑎𝑠 𝑚𝑒𝑛𝑖𝑛𝑎𝑠 𝑛𝑒𝑔𝑟𝑎𝑠 𝑞𝑢𝑒 𝑠𝑒 𝑣𝑎̃𝑜 𝑟𝑒𝑣𝑒𝑟 𝑒𝑚 𝑡𝑖”. 𝐴𝑙𝑒́𝑚 𝑑𝑒 𝑟𝑒𝑓𝑙𝑒𝑐𝑡𝑖𝑟 𝑛𝑜 𝑖𝑚𝑝𝑎𝑐𝑡𝑜 𝑝𝑟𝑒𝑠𝑒𝑛𝑡𝑒 𝑒 𝑓𝑢𝑡𝑢𝑟𝑜 𝑠𝑜𝑏𝑟𝑒 𝑜𝑢𝑡𝑟𝑎𝑠 𝑣𝑖𝑑𝑎𝑠, 𝑎 𝑎𝑐𝑡𝑟𝑖𝑧 𝑝𝑜𝑛𝑑𝑒𝑟𝑜𝑢 𝑜 𝑒𝑓𝑒𝑖𝑡𝑜 𝑜 𝑞𝑢𝑒 𝑒𝑠𝑠𝑒 𝑝𝑎𝑝𝑒𝑙 𝑡𝑒𝑟𝑖𝑎 𝑝𝑟𝑜𝑑𝑢𝑧𝑖𝑑𝑜 𝑛𝑎 𝑠𝑢𝑎 𝑖𝑛𝑓𝑎̂𝑛𝑐𝑖𝑎.

“𝑂 𝑞𝑢𝑒 𝑖𝑠𝑠𝑜 𝑡𝑒𝑟𝑖𝑎 𝑓𝑒𝑖𝑡𝑜 𝑝𝑜𝑟 𝑚𝑖𝑚, 𝑐𝑜𝑚𝑜 𝑖𝑠𝑠𝑜 𝑡𝑒𝑟𝑖𝑎 𝑚𝑢𝑑𝑎𝑑𝑜 𝑎 𝑚𝑖𝑛ℎ𝑎 𝑐𝑜𝑛𝑓𝑖𝑎𝑛𝑐̧𝑎, 𝑎 𝑚𝑖𝑛ℎ𝑎 𝑐𝑟𝑒𝑛𝑐̧𝑎 𝑒𝑚 𝑚𝑖𝑚 𝑚𝑒𝑠𝑚𝑎…𝑡𝑢𝑑𝑜! 𝐶𝑜𝑖𝑠𝑎𝑠 𝑞𝑢𝑒 𝑝𝑎𝑟𝑒𝑐𝑒𝑚 𝑡𝑎̃𝑜 𝑝𝑒𝑞𝑢𝑒𝑛𝑎𝑠 𝑝𝑎𝑟𝑎 𝑡𝑜𝑑𝑜𝑠, 𝑠𝑎̃𝑜 𝑡𝑎̃𝑜 𝑔𝑟𝑎𝑛𝑑𝑒𝑠 𝑝𝑎𝑟𝑎 𝑛𝑜́𝑠”. 𝐸 𝑖𝑚𝑝𝑜𝑟𝑡𝑎𝑚.

* Jornalista, militante anti-racista luso-moçambicana.

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IN "SETENTA E QUATRO" - 25/08/22