ABSTRACT
The chapter provides readers with testimony about teaching at the Universidade Federal de Minas Gerais in Brazil. The author describes difficulties overcome by inserting his courses within the framework of “third space” in an academic system dominated by a latent and colonially fed aversion to Afro-Brazilian scholars. The author combined qualitative and autoethnographic methods of data collection within an interdisciplinary framework. The findings go beyond critical race theory and reinforce an understanding of the “third space” through “African Art” and “Angolan Drums” that reached Brazil with slaves. “Angolan Drums” have since become the symbol of resistance, national identity construction, and shared African educational resources. The “third space” based on communications with scholars and local populations contributes to identity reconstruction prospects in the Global South. The author demonstrates how such a vital and collaborative “third space” fights prejudice, historical falsifications, and engages in maximising new educational opportunities and resources.
