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description=Completed from 1816 to 1817, the Guia de Caminhantes (“Guide for Walkers”) held at the National Library of Brazil in Rio de Janeiro, is one of the few extant cartographic projects completed by a Black artist in the early nineteenth century. Professor Rarey considers this rare atlas and what is known about Anastásio de Sant’Anna, its creator. The Guia demonstrates how one Black cartographer crafted an intermingled perspective of Black, Indigenous, and colonial histories and epistemologies to forge a novel vision of Brazilian national identity on the eve of its independence. This presentation is an edited version of Professor Rarey’s lecture at Emory University on January 30, 2025. The full video is available by clicking here.;

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Text of the page (random words):
ne model of black geographies that suggests that the visibility of black histories depends on framing blackness as uprooted and perhaps in axiomatic opposition to the modern western nation state and the material maps which instantiate it jefferson s works provide the impetus to look backward to ask how black artists have thought about the history of mapmaking and its relationship to racial formation and especially to racial fixity stated bluntly what demands does blackness inextricability from histories of forced displacement and archival erasure place on those that wish to engage with material maps a medium that might privilege histories of fixity and boundedness i ask this question by looking to the guia de caminhantes completed from 1816 to 1817 the guia de caminhantes guide for walkers hereafter referred to as the guia held at the national library of brazil in rio de janeiro is one of the few extant cartographic projects completed by a black artist in the early nineteenth century in the guia s introductory text which you see here on the top half of the cover page its artist anastásio de sant anna identifies himself as an old painter of mixed race and a resident of the city salvador also known as bahia a major port city in northeastern brazil where he had long lived and where he completed the work cover page of the guia de caminhantes guide for walkers salvador bahia brazil 1817 created by anastásio de sant anna courtesy of the national library of brazil image provided by the author the guia has attracted scarce attention in portuguese language scholarship and has never been discussed in english prior to this talk yet it is a rare example of a manuscript map of brazilian territory produced outside of the context of a military or surveying expedition in the eighteenth and early nineteenth centuries far exceeding its somewhat timid title the guia is more properly thought of as an atlas and indeed potentially the first one ever produced in brazil an unbound grouping of thirteen hand drawn hand colored aerial view maps depicting as the work s cover page outlines kingdoms and provinces of america especially of brazil while it opens as we will see with a large hemispheric map of the americas and a map of brazil the rest of the guia consists of eleven aerial view maps of brazil s captaincies the name for portuguese colonial brazil s political divisions which collectively detail their rivers mountain ranges beaches settlements churches sugar mills indigenous settlements and roads all landmarks that would be important to any early nineteenth century walker referenced in the guia s title of the upper hemisphere of america map 1 in the guia de caminhantes 1816 map by anastásio de sant anna courtesy of the national library of brazil image provided by the author of all brazil map 2 in the guia de caminhantes 1816 map by anastásio de sant anna courtesy of the national library of brazil image provided by the author mato grosso and cuiabá map 5 in the guia de caminhantes 1816 map by anastásio de sant anna courtesy of the national library of brazil image provided by the author pernambuco ceará and piauí map 8 in the guia de caminhantes 1816 map by anastásio de sant anna courtesy of the national library of brazil image provided by the author the guia evinces the artist s intimate knowledge of two centuries of the history of cartography and landscape painting and these references potently intersect with the social politics around the artist s racial identity in turn as we will see these maps reproduce and subtly shift conventions of portuguese military cartography while also traversing the boundaries between military precision and painterly imagination sant anna produced re framed and challenged the intersections of empire and racialization in a political and social context in which race strongly stratified but did not neatly latch onto the hierarchies of colonial society in turn the guia foregrounds the antiquity and contemporary persistence of black and indigenous histories in brazil and the wider americas as if responding to jefferson s uprooted people of the usa more than a century before she produced it the guia frames blackness not as diasporic but rather as indigenous to the americas and in turn constitutive of the modern nation state in this way the guia starkly contrasts with the maps discussed previously by productively interrogating the opposition of violent colonial cartographies and black alternative mapping practices in so doing it demonstrates how one black cartographer crafted an intermingled vision of black indigenous and colonial histories and epistemologies to forge a novel vision of brazilian national identity on the eve of its independence of all brazil map 2 in the guia de caminhanges 1816 in the guia s second map of all brazil sant anna renders latitude with the city of bahia at zero i ve indicated salvador s location here with a large red dot the gesture may speak to sant anna s pride in his home city but it also testifies to salvador s critical political position as sant anna completed the guia in 1817 though salvador had served as the capital of portuguese colonial brazil since the mid sixteenth century the city had been relegated to secondary status after the capital s 1763 transfer to rio de janeiro hundreds of miles to the south salvador again toyed with primacy in the early nineteenth century as the portuguese royal court fled the napoleonic wars in europe and temporarily relocated to brazil making brazil the first country in the americas to house the government seat of a european empire in 1808 king joão vi and his family spent one month in salvador before moving on to rio de janeiro rio would remain the portuguese empire s temporary capital until the empire of brazil s independence from portugal in 1822 the portuguese crown s relocation to brazil encouraged the colonial settlement of the brazilian interior which prior to this period had been predominantly populated by indigenous peoples who had been displaced by colonial activity on the coast this means sant anna completed the guia during a surge of interest in mapping the country s interior as a proxy for territorial conquest and implicit civilizing sant anna s guia also seems to preface the brazilian empire s 1824 constitution which extended citizenship to anyone born in brazil regardless of racial background though this excluded the millions of people of african descent then enslaved in brazil even then as sant anna completed the guia brazil s atlantic frontier became a theater of staggering anti indigenous violence and the entrenchment of african based slavery as a byproduct of increased settlement living in salvador in the early nineteenth century sant anna would have experienced the political implications of such inequities firsthand he was part a large vibrant diverse black population in a city that for two centuries had been a major disembarkation point for enslaved africans in brazil and brazil itself received around forty percent of all enslaved africans who arrived in the americas between the sixteenth and nineteenth centuries in sant anna s time two thirds of salvador s population was of african descent enslaved and free while shipping routes established around the turn of the eighteenth century directly linked bahia with west african ports anyone walking around salvador could see evidence of the city s african character everywhere african born merchants dominated the city s street economy by selling food and african made textiles while african languages were as commonly spoken as portuguese bahia s african populace also shaped its politics a series of african led revolts and conspiracies in early nineteenth century bahia shook the foundations of the city s slavery system and its racial order lisbon inquisition trial record 7037 december 1796 text reads in part anastácio de sant anna married free man of mixed race official painter of maps and perpetual lunar calendars courtesy of arquivo nacional torre de tombo lisbonk portugal image provided by the author yet outside of the political and social context in which sant anna worked we have very little other information about him portugal s national archive contains the earliest known mention of the artist albeit when sant anna was likely middle aged a 1796 judicial proceeding which named sant anna as defendant the document describes sant anna as a free married man of mixed race who painted maps and created perpetual lunar calendars over two decades before producing the guia sant anna was already well known for his artistic and cartographic creations the document describes him as an official painter a designation suggesting that sant anna was a respected professional and by implication an active participant in one of salvador s many mixed race catholic brotherhoods these religious mutual aid organizations that were a staple of brazilian social life many of which supported free professional artisans and craftspeople specifically black catholic brotherhoods had long served as incubators of black agency in brazil by purchasing freedom for the enslaved providing social and economic aid to members and creating pathways for social mobility and collective solidarity sant anna s likely membership in one of these brotherhoods though does little to help us understand his political orientations while directly connected to the rise of black political consciousness through the nineteenth century brotherhoods were diverse in their priorities and social orientations 18th century church of the third order of our lady of the rosary of black people salvador bahia brazil august 2022 photograph by and courtesy of the author attesting to the artist s commitment to cartography caio figueiredo fernandes adan and iris kantor have identified a series of unsigned early nineteenth century manuscript maps of brazil which they attribute to sant anna on stylistic grounds 3 caio figueiredo fernande adan and iris kantor a cartografia de um oficial pintor de mapas liberto estudo de atribuição de autoria bahia brasil século xix in 8a siahc siímposio ibero americano de história de cartografía o mapa como elemento de ligação cultural entre a américa e a europa edited by carme montaner and carla lois barcelona institut cartogràfic i geològic de catalunya 2012 120 33 distributed at archives in rio de janeiro some of these maps appear to be early studies for those found in the guia suggesting that the guia was the culmination of years of study and analysis by the artist in short his magnum opus yet sant anna s decades of work in cartography prior to the guia is striking given that he does not appear to have even been employed by the military or studied military cartography in an official capacity i say this because between the mid 1700s and brazilian independence in 1822 almost all known manuscript maps of brazilian territories were produced in the context of military surveying expeditions even stranger the guia s maps reproduce some of the major conventions of late eighteenth and early nineteenth century portuguese military cartography an emphasis on aerial perspective defined captaincy borders fastidious naming of rivers and towns standardized representations of topographic features and exacting scales for measuring distance we can see at the bottom left of this map sant anna precise scale for measuring distance and if we return to the cover page of the guia at bottom right we see his detailed guide for interpreting the symbols and designs on his maps these conventions originally emerged from eighteenth century portuguese military training reforms that prioritized cartographic training alongside scientific precision and technical uniformity these military and cartographic reforms went together with desires in lisbon to increase control over what it viewed as colonial hinterlands imperial reforms instituted in the second half of the eighteenth century utilized military cartography as a tool of colonial authority conducting surveys to identify and suppress rebellious indigenous and maroon communities while also assimilating inland territories and indigenous peoples into direct portuguese territorial control given his lack of military background sant anna s work in cartography prompts two questions one is factual how did sant anna access the knowledge and military maps necessary to produce the guia other scholars have productively suggested that the bahia public library in salvador may have provided sant anna access to a range of manuscripts and printed maps on which to base his designs especially since the library received a large donation of maps in 1812 sant anna also would have had access to the bahia military academy where interested laymen like him could attend classes on military cartography but my hopefully informed speculation on the question of sant anna s access to military cartography does not answer the second question why was he interested in mapmaking at all one clue comes from the guia s long opening text where sant anna describes the guia as a correction for the many errors that are found in some imprecise maps of the interior of brazil by which he means military manuscript maps sant anna claims the guia corrects the names of rivers presents the proper names for towns and settlements and establishes formerly erroneous latitudinal and longitudinal lines however naming practices are never neutral sant anna s guia throughout makes a point of giving indigenous names to places rivers and cities sant anna s reliance on indigenous place names does not necessarily signal his investment in a kind of contemporary anti colonial politics rather i forward that it may reflect the complex and shifting implications of the ongoing indigenous presence in brazilian history one which could be antagonistic to or supportive of colonial projects sant anna s effort to correct the errors of contemporary cartography begins not with maps but with an unprecedented watercolor painting on the bottom left of the guia s title page kirimurê ancient gentilic name of bahia and place where the city of salvador was founded from cover page of the guia de caminhantes 1817 watercolor painting by anastásio de sant anna courtesy of the national library of brazil image provided by the author the image depicts an encounter at jiquitaia described by sant anna as a beach in salvador formerly known as a thriving commerce center for the area s tupi population the primary indigenous group of brazil s atlantic coast though in 1817 jiquitaia was home to a newly constructed portuguese military fort one that still utilized the beach s tupi name and so shows the portuguese imperial appropriation of indigenous landscapes sant anna envisions jiquitaia as a place of ethnic egalitarianism and relative peace sant anna s painting presents a group of white european men identified by their skin tone and their dress trading weapons alcohol and other objects on the beach t...