Murilo Dos Santos Gomes

Na Toca da Onça cabe o Brasil todinho

Introduction

Na toca da onça cabe o brasil todinho. Ensaio poético explora colonização e violências em Jaguaquara-BA. Revela apagamentos, confronta memórias e a resistência indígena e negra.

Abstract

Este ensaio poético é fruto de um intenso mergulho interior e de um exercício de volta ancestral, que, à luz de Povinelli, Krenak, Gonzalez, Mombaça e outres, expõe as catástrofes ancestrais e as violências, apagamentos e silenciamentos que emergem do chão da colonização em Jaguaquara-BA, mas que se mantêm até hoje. Assim, por meio da análise dos discursos dominantes legitimados pela colonialidade do saber, como “A História”, e do seu confronto com as memórias (Gonzalez, 1984) enquanto narrativas locais e pessoais, e dos silêncios e silenciamentos, este ensaio poético evidencia as ficções de poder colonial forjadas como saber legítimo e história oficial, que apagam as participações negras e indígenas no fazer contínuo Jaguaquara. O objetivo é a redistribuição da violência (Mombaça, 2021) colonial praticada contra as populações indígenas, negras e mais que humanas, há muitos séculos, nas terras da Toca da Onça. Além disso, busco contar, por meio dos rastros e dos vazios, uma outra versão de Jaguaquara, ao mesmo tempo em que se evidenciam as resistências que florescem, muitas vezes invisíveis sob o peso da colonialidade.

Review

"Na Toca da Onça cabe o Brasil todinho" presents itself as a profoundly impactful and necessary poetic essay, born from an intense interior and ancestral journey. The work immediately signals its critical and decolonial stance by positioning itself within the theoretical frameworks of Povinelli, Krenak, Gonzalez, and Mombaça. Its primary focus on exposing "ancestral catastrophes and the violence, erasures, and silencings that emerge from the ground of colonization" in Jaguaquara-BA, and how these persist today, underscores its urgent relevance. This approach promises a deep engagement with the enduring legacies of colonialism, not merely as historical events but as ongoing processes that shape contemporary realities. The essay's methodology is particularly compelling, proposing a confrontational analysis between dominant discourses, exemplified by "A História," and the crucial counter-narratives of local and personal memories (Gonzalez, 1984), alongside an examination of silences and deliberate silencing. By identifying colonial power fictions "forged as legitimate knowledge and official history," which systematically erase Black and Indigenous contributions to Jaguaquara's continuous making, the author embarks on a vital project of epistemic justice. The stated objective of "redistribution of violence" (Mombaça, 2021) colonial violence against Indigenous, Black, and more-than-human populations, positions this work not just as an academic inquiry, but as an act of resistance and reparation, seeking to reframe historical narratives and challenge established power dynamics. Ultimately, this poetic essay is poised to offer a significant contribution to decolonial studies, critical regional histories, and the broader understanding of cultural resistance in Brazil. By meticulously tracing "rasts and voids," the author aims to unveil an alternative version of Jaguaquara, simultaneously illuminating the often-invisible resistances that flourish under the weight of coloniality. This endeavor to render visible the hidden forms of struggle and survival, through a blend of personal introspection and robust theoretical grounding, promises to be a powerful and moving piece of scholarship that not only critiques but also actively reconstructs history from marginalized perspectives.

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