ABSTRACT
In Antromovimento, the objective is to learn the myths and histories of Afro-Brazilian Candomble culture through theatrical investigations designed to elicit visceral, corporeal responses. The author articulates the theoretical underpinnings of the work and the proposed mode of engaging with theatre, dance, anthropology, religious studies, and performance studies. She presents a description of how the work has been developed thus far, initial responses from participants, and an outline for moving forward with the development of the project to the next phase. The author describes the genealogy of the knowledge gained from two very different paths: Mestre Monza as an initiate of Candomble and dancer/choreographer with decades of professional experience in this area, and her own path as a performance maker and scholar of performance and ethnography. Diana Taylor identifies an important concept for articulating Antromovimento as a research methodology: performance as an act of transference of knowledge.
