The Peanut Harvest in Recôncavo da Bahia

Abstract

The fine carries a poetry of encounter, both as an icon of the June festival, a space for popular celebration of northern culture, as long as it is not appropriate to have its harvest, in which friends, compadres and close friends are summoned, and following, at the end of the work, between gifts and food. Therefore, it carries the synthesis of the month of June, the most beloved by our people, the synthesis of a culture bathed in popular Catholicism, which celebrates the saints in a sacred and profane way, and is itself intertwined with the Catholic calendar. By tradition, it is planted on Saint Joseph's Day, March 19th, and is associated with the celebration of Saint John and Saint Peter, June 24th and 29th. So I was contacted by Balbina, Erenita and Francisco, owners of the piece of ground that I shelter and show the fines in the photos that follow. But that's not a problem, it all depends on the ingredients and the fruit diaries that accompany them. A collective event, mobilizing family and friends. These functions include some brands, some of which are covered in oil, some of the bodies are recessed and some of the remaining ingredients, some of which "drop" into the fruits. The wheel to remove the fruit from the roots is formed, and the conversation continues, as the peanuts accumulate in the crates, in a cycle of dirt and hands. The secret, according to Binho, Balbina's son, is to pull out the entire branch, and in one go. Additionally, it is important to know that plants have a good reputation, so we do not have soil for our plants, and this is exactly how they compare to other species.

We want to know that there are many cases of mobilizations and actions that are not instantaneous when the change takes place, especially the social relationships that were generated, the visibility of the subjects who promote practical activities, the disposition of the body, as well as the relationships of genes, And admittedly the technique itself of removing and hanging the peanut, the hands and wheels that form in this becoming. Following Cpoque (2012), a fixed photographic image appears as a space for recording and dialogue, wave or subject to the enunciator, without an image making process, revealed through gestures, poses, apparently banal framing, staging and masks its values ​​and meanings, in a symbolic way , embodied, performed, making it possible to trace the social relations, senses and meanings that are articulated around them.