Thus, it nostalgia century XX, where ' ' ' to fantasiar itself of africano' it was the skill more amused of the color population to participate of the party? ' ' (Albuquerque, 2002, P. 219). Although ' ' disfarce' ' to be equal, the contexts are different! These updates of memories of Africa in the carnivals present divergences in the context and different the practical discursivas. On this, Son (2007, P. 9) summarizes that ' ' of pra not to think the circulation of speeches and its legitimation without to attempt against for the reception projects negotiation rejection sincretizao in the different instances of the Real and in its multiple receptive cultures interativas' '. In century XX, in the carnavalesco model of French inspiration, this fancy of African was seen as an integration civilized to the festejos.
Albuquerque (2002, P. 221), however, surpasses this logic of being only one adjustment and refutes presenting it ' ' disfarce' ' as a speech of identitria rework, observing it as one it forms of ' ' assimilation resistncia' '. The desire of the poet, when using this clothes, is to assume its negritude and to reiterate the black conscience as it declares in its verses. It also intends to show that ' ' Black is not brincadeira' ' that is possible to still mix ' ' Blacks escravizados' ' with ' ' Blacks libertados' ' /' ' Without fear to have mistura' '. Its desire is to remember Tutu and Mandela, to greet I buzzed ' ' That he fought to be cidado' ' to prove that ' ' Our history has great vitrias' ' (2007, P. 8). The Substance of Layer ' ' In the streets, but without amargura' ' it ratifies the objective of desmitificar the false axioms and the prejudiced way as the people in situation of street for the media are portraied in general.