{"id":55998,"date":"2025-09-21T10:30:30","date_gmt":"2025-09-21T13:30:30","guid":{"rendered":"https:\/\/fotodoc.com.br\/nao-categorizado\/marcio-vasconcelos-os-fios-ancestrais-da-magia-bantu\/"},"modified":"2025-09-09T14:26:43","modified_gmt":"2025-09-09T17:26:43","slug":"marcio-vasconcelos-the-ancestral-threads-of-bantu-magic","status":"publish","type":"post","link":"https:\/\/fotodoc.com.br\/en\/profiles\/marcio-vasconcelos-the-ancestral-threads-of-bantu-magic\/","title":{"rendered":"M\u00e1rcio Vasconcelos: The Ancestral Threads of Bantu Magic"},"content":{"rendered":"

At 66 years old, Maranhense photographer M\u00e1rcio Vasconcelos<\/strong> <\/a>builds a unique photographic trajectory that moves between anthropological research and authorial expression. A former Banco do Brasil employee who abandoned financial stability to dedicate himself to photography, he left behind a successful advertising studio to follow his calling as a photographer-researcher, idealizer, and producer of deeply personal works connected to ancestral roots.<\/h4>\n

His portfolio “Wizards and Healers: Bantu Magic Across Africa, Cuba, and Maranh\u00e3o<\/a><\/strong>“, a finalist for the FotoDoc Photo Contest 2025<\/strong><\/a>, is a monumental work of rescuing the transatlantic connections of African spirituality. Carried out in Havana (Cuba) and the Western Lowlands of Maranh\u00e3o (especially Cod\u00f3 and Guimar\u00e3es), the project traces the invisible threads that unite the religious manifestations of Cuban Palo Monte to the traditions of Maranhense\u00a0Paj\u00e9s de Negro<\/em>,\u00a0Terec\u00f4<\/em>, and\u00a0Tambor de Mina<\/em>. With a respectful and ethnographic gaze, Vasconcelos documents how the Bantu diaspora re-signified in Latin America the belief in the constant interaction between the visible and invisible worlds, creating an essential visual record on the preservation of African cosmologies in the American continent.<\/h4>\n

Discover more about this extraordinary photographic research and the photographer’s ongoing projects in the following interview.<\/h4>\n
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Curandeira \u2013 Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Jo\u00e3ozinho Vila Nova \u2013 S\u00e3o Lu\u00eds – Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Irene Moreira. Terec\u00f4 \u2013 Quilombo Santo Ant\u00f4nio dos Pretos \u2013 Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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How old are you? Where do you currently live and work?<\/strong><\/em><\/p>\n

66 years old \u2013 S\u00e3o Lu\u00eds, MA.<\/p>\n

Tell us about your journey in photography. When did you start photographing and why? What role does photography play in your life?<\/strong><\/em><\/p>\n

In my university life, I studied Mechanical Engineering and Physical Education, nothing to do with photography. Later, I joined Banco do Brasil and with my first salary, I bought the best camera available at the time. That’s when a photographer began to be born in me. I photographed everything, like an avid amateur discovering light and shadow. I decided to leave BB with a voluntary dismissal plan they offered, the PDV; with the severance pay, I bought a plot of land in the center of S\u00e3o Lu\u00eds and built a very well-equipped and spacious studio. I worked a lot and made good money with advertising photography.<\/p>\n

After some time in advertising, I realized that everything I did was disposable and served the clients’ objectives, but it didn’t satisfy me; I didn’t feel like the owner of the idea. I changed fields and started doing my own authorial work, where I would be the idealizer, researcher, and producer of the research and the images, able to do all of this alone. My way of photographing is very solitary. I am always restless and searching for themes for new projects. Photography is my way of living intensely.<\/p>\n<\/div>\n<\/div>\n

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Curandeiro \u2013 Caxias – Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Palo Monte – Prendas (Ngangas) \u2013 Lawtaon \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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El Pilly. Tata Nkisi \u2013 Havana \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Mario Rodrigues \u2013 Palo Monte \u2013 Guanabacoa \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Tell us about your finalist work for the FotoDoc Photo Contest 2025. When and where was it created? What is its concept? How does it fit into your photographic practice?<\/strong><\/em><\/p>\n

Unveiling the African diaspora leads to the conclusion that Latin America is, definitively, the epicenter of the extraordinary in the world. This realization becomes clear when creatively exploring secular connections between Europe (Portugal), Africa (Congo and Angola), and Latin America (Brazil and Cuba).<\/p>\n

Bantu is the name given to numerous populations who lived in the southern equatorial portion of Africa; their presence was so strong that they ended up occupying a vast territorial extension.<\/p>\n

It is understood that these peoples\u2014diverse in their languages, social and political organization\u2014began their occupation in 3000 BC, being one of the main groups enslaved until the end of the 17th century.<\/p>\n

Religiosity is one of the main markers of these societies, which believed in the constant interaction between two worlds: the visible (of human beings, the earth) and the invisible (of spirits and gods). And it is precisely with this gaze toward the sacred that this Project recovers the common imaginary of an ancient Africa re-signified in Cuba and Brazil.<\/p>\n

If in Brazil, over approximately three hundred years, about 4 million Africans arrived enslaved, Cuba legally received until 1867 about 600,000.<\/p>\n

In Cuba, more specifically in Havana, this Project addressed the cultural and religious manifestations related to Palo Monte, also known as “Regla Conga” or Cuban Brujer\u00eda, whose ancestry traces back to slaves from the area now known as the Lower Congo.<\/p>\n

In Brazil, the focus was on the terreiros (places of worship) located in quilombos (maroon communities) in the Western Lowlands of Maranh\u00e3o, in the cities of Cod\u00f3 and Guimar\u00e3es. In this case, the religions studied were Paj\u00e9s de Negro, Terec\u00f4, and Tambor de Mina.<\/p>\n

As a researcher-photographer, I identify with themes related to religions of African origin, although I am not an initiate. The majority of my completed and ongoing works are always related to ancestry.<\/p>\n<\/div>\n<\/div>\n

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Assentamento – Cod\u00f3 \u2013 Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Curandeiro \u2013 Quilombo Santo Ant\u00f4nio dos Pretos \u2013 Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Boneco colocado em Prendas – Lawtaon \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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El Chino \u2013 Rama Mayombe \u2013 Havana \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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What projects are you currently working on? What are your near-future plans for photographic production?<\/strong><\/em><\/p>\n

Project 1.<\/strong>
\nI am currently editing a project about a trip I took to Benin, West Africa. This work is based on the research of French photographer and anthropologist Pierre Verger and Sergio Ferretti, a Carioca\/Maranhense anthropologist and museologist. They claim that the former Queen of Dahomey, N\u00e3 Agotim\u00e9, was sold into slavery in Brazil and would be the founder of the Casa das Minas in S\u00e3o Lu\u00eds do Maranh\u00e3o (Querebent\u00e3 de Zomad\u00f4nu), in the mid-19th century. The oldest Tambor de Mina Terreiro in Brazil.<\/p>\n

To learn more about this story, and tracing the reverse path of N\u00e3 Agotim\u00e9, I went to Benin, in Western Africa, accompanied by Beninese anthropologist Hippolyte Brice Sogbossi, a PhD Professor of Anthropology at the Federal University of Sergipe. There we visited the cities of Cotonou, Abomey, Allada, Ouidah, Calavi, and Porto Novo, where we interviewed and recorded priests, rituals, and sacred spaces. The goal of the trip was to ascertain how the Vodun rituals, the attire, the drumming, and the songs in Fon still retain similarities between the origin in Benin and the destination in S\u00e3o Lu\u00eds do Maranh\u00e3o, of this religious manifestation worshiping Voduns.<\/p>\n

Project 2.<\/strong>
\nI have been immersed for over 4 years in a project at Casa Fanti-Ashanti, one of the most traditional Tambor de Mina terreiros in Maranh\u00e3o, with 71 years since its foundation. The goal is to edit a book showing the entire ritual calendar of the Casa.<\/p>\n

Project 3.<\/strong>
\nAlso already underway is a photography book inspired by the novel \u201cNoite sobre Alc\u00e2ntara\u201d (Night over Alc\u00e2ntara) by Maranhense writer Josu\u00e9 Montelo.<\/p>\n

The story takes place in the city of Alc\u00e2ntara, Maranh\u00e3o, an important center of the Maranhense aristocracy during the Empire. The book tells the story of the decay of Alc\u00e2ntara, which became an almost dead city after the abolition of slavery, the change in economy, and the proclamation of the Republic.<\/p>\n

The book’s narrator reconstructs the work through memory, transforming it into images, art, and literature.<\/p>\n

In 2016, I did a similar work, this time inspired by the poem “Poema Sujo” (Dirty Poem), a masterpiece by the Maranhense Poet Ferreira Gullar. A work that won the Funarte Marc Ferrez Photography Prize.<\/p>\n<\/div>\n<\/div>\n

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Pai Euclides Talabyan \u2013 S\u00e3o Lu\u00eds Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Bruxo \u2013 Caxias \u2013 Maranh\u00e3o – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n
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Bruxa de Quiebra Hacha \u2013 Mariel \u2013 Cuba – Imagem do Portf\u00f3lio Bruxos e Curandeiros: A Magia Bantu entre \u00c1frica, Cuba e Maranh\u00e3o, de M\u00e1rcio Vasconcelos, finalista do Pr\u00eamio Portf\u00f3lio FotoDoc 2025<\/figcaption><\/figure>\n

Click here and discover FotoDoc Photo Contest 2025 Finalists<\/em><\/a><\/h2>\n

<\/h2>\n","protected":false},"excerpt":{"rendered":"

At 66 years old, Maranhense photographer M\u00e1rcio Vasconcelos builds a unique photographic trajectory that moves between anthropological research and authorial expression. A former Banco do Brasil employee who abandoned financial stability to dedicate himself to photography, he left behind a successful advertising studio to follow his calling as a photographer-researcher, idealizer, and producer of deeply […]<\/p>\n","protected":false},"author":2,"featured_media":44764,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jnews-multi-image_gallery":[],"jnews_single_post":{"subtitle":"","format":"standard","override":[{"template":"2","parallax":"1","fullscreen":"1","layout":"no-sidebar","sidebar":"default-sidebar","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"hide","share_float_style":"share-monocrhome","show_share_counter":"1","show_view_counter":"1","show_featured":"1","show_post_meta":"1","show_post_author":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"Y\/m\/d","show_post_category":"1","show_post_reading_time":"0","post_reading_time_wpm":"300","post_calculate_word_method":"str_word_count","show_zoom_button":"0","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","number_popup_post":"1","show_author_box":"1","show_post_related":"1","show_inline_post_related":"0"}],"image_override":[{"single_post_thumbnail_size":"no-crop","single_post_gallery_size":"crop-500"}],"trending_post_position":"meta","trending_post_label":"Trending","sponsored_post_label":"Sponsored by","disable_ad":"0"},"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":{"view_counter_number":"0","share_counter_number":"0","like_counter_number":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[1298],"tags":[1288,2721,1290,2695,2722,764,2776],"edicao":[],"status_da_inscricao":[],"coauthors":[771],"class_list":["post-55998","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-profiles","tag-destaque-2025-en","tag-documental-en","tag-fotodoc-photo-contest-2025","tag-marcio-vasconcelos-en","tag-perfil-en","tag-premio-portfolio-fotodoc-2025","tag-premio-portfolio-fotodoc-2025-en"],"acf":[],"yoast_head":"\nM\u00e1rcio Vasconcelos: The Ancestral Threads of Bantu Magic - FotoDoc<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fotodoc.com.br\/perfis\/marcio-vasconcelos-os-fios-ancestrais-da-magia-bantu\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e1rcio Vasconcelos: The Ancestral Threads of Bantu Magic - FotoDoc\" \/>\n<meta property=\"og:description\" content=\"At 66 years old, Maranhense photographer M\u00e1rcio Vasconcelos builds a unique photographic trajectory that moves between anthropological research and authorial expression. 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