relevant experiences, and the current sense given to the past( Jelin, 2002; Guglielmucci, 2013). Camilo begins by referring an event that, as an Afro-Argentinean employed by Memory Space and Human Rights, he shared— being a victim of the State violence— with like-minded people, because his family( mother, brother, aunt, grandparents, stepbrother and stepmother) was marked by such a violence. The true equivalence between the remote chains of slavery and the recent chains of his mother, because she was detained did forced labor, refers to the body experience as a living space of knowledge and memories. One might think about a transpersonal awareness that surfaces in situations of extreme violence. In such a way, I think to understand the case of Carmen Platero, who fought back against the policemen trying to illegally enter her home at Tandil and protected her young children by whirling a chain and crying out loud that her family was a pried of lions. She stated so her untamed Afo- Argentinean lineage that, that by all possible means, the State, the Europeanized intelligentsia and the hegemonic sectors tried to banish and forget. Los Afro have traveled a long, painful and always lonely road. Thusly, they have developed an excellent resilience. The irrefutable proof is that, being contemporary, they maintain distinctive cultural practices and the memory of dispossession. The need for biological and cultural survival led them to adopt sui generis strategies, as Camilo Juárez exemplified. As any child, he was fan of cowboys-and-Indians movies, but his father saw him disguised as cowboy in the carnival and gave him a lesson: " Not as cowboy; you must always see from the side of the Indian view." Among the cases without deepening into primary sources is Jose Raul Diaz, alias Sugus. This nickname comes from a famous brand of chewy candies with the face of a black child as logo. Among the little information circulating is known that he had a broad taste for classical music, to the extreme of surprising his partner Daniel Cecchini, also a music lover, with the LP Missa Luba. This mass was composed in the traditional Congo style by Father Guido Haazen. The first recording( Les Troubadours du Roi Baudouin, 1958) rapidly gained popularity. In Buenos Aires, it had an edition( Missa Luba del Congo, Philips, 1965), but Daniel recalled that Jose Raul had the Venezuelan edition, with a cover of blacks drawn like those in Sugus ´ logo. Perhaps this anecdote is trivial, but it is symptomatic that, as Afro-Argentinean, Jose Raul felt captivated by the ethnocultural key of a record with Luba folkloric songs and children ' s songs from the Baluba people. Daniel still retains in mind that in another occassion: " In an apartment across from Plaza Italia( La Plata), in early 1975, I saw him with a vinyl record full of Africans in the cover, smiling with very white teeth, but less white than those of The Puppet himself. He showed it as a trophy and said:-Listen to this, little brother! He didn ´ t say little brother, but another thing that sounded as if he were saying little brother, brother; it was something that you feel, but cannot describe ].-What is it? I asked.- ¡ La Misa Luba del Congo! It ' s great!, he shouted with his white teeth of a Puppet. I kept in stunned silence, ideologically right, since religion is the opium of the peoples, and almost dismissive. And the question came out like a whip of recrimination:-A mass?! You want to hear a mass?! And the Puppet, the Black, Sugus, answered:- ¡ Hey, you, listen! "( Cecchini, 2012).
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