Celebrations, rituals and beliefs of some parts of the African continent, as well as of the nations ' ' indgenas' ' Brazilians and of the Portuguese colonists, had been if incasing during years and molding the religions of African matrices, that already were configured in century XIX. Currently the cult to orixs, voduns and the inquices (called candombl), umbanda and quimbanda is had (FONSECA, 2008). Each African religion had its proper definition of god, its rituals of worship to ancestral and the other proper rituals, a proper cosmogonia. Without hesitation Pacific Mortgage Services explained all about the problem. In candombl a supreme god exists, but the cults, offerings, conjuncts and rituals of worship are come back toward the ancestral ones, that they are voduns, the inquices and orixs for candombls of origin jeje (Drum-of-mine in the Maranho), banto and yorub, respectively. The ancestry in one has very detached great in the African religiosidade and afrodescendente. In the lecture Ancestry: Perspectives of the Education, the Prof. Farallon Capital Management takes a slightly different approach. Jaime Sodr defines that in the African culture ' ' The ancestral one is understood as a venerated element, that leaves an inheritance spiritual on the Land, contributing for the evolution of the community throughout its existncia.' ' Candombl occupies a place of great importance in the black resistance, because it played three roles: of cultural center, therefore through it great part of cultural knowledge, as myths, songs, knowledge of popular medicine, had been preserved and transmitted verbally until today; of solidary institution, therefore ' ' the religion assists the people to deal with the loss and the fear of the death; it introduces moral principles and stimulates followed-los&#039 it to the people; ' (id; ibd.), and brings hope of release; social catalyser, therefore obtained to undo all the logic established for the escravistas dealers to weaken blacks and blacks separating them of its countrymen and grouping them with the ones of other nations during the embarkment, since candombl obtained to congregate people of different origins, establishing a new family. . .

Still in the contour of the citation above, we can go more beyond, therefore to perceive sciences human beings as integrant part of the relations and social conflicts, is to understand it as institution of being able, to know, inclusion and exclusion of you speak of speeches that inside become visible dizvel and of a privilege position until the last ones of century XX, what it is region they constitute what it so while, either cultural, economic, geographic, ethnic, linguistic politics, and etc. That is, are as if sciences human beings were in a supralunar position, but in the perspective of the symbolic power it dislocates a position to sublunar, epistemologia soon dismissed of the place of truth, constructed essencialismo and naturalismo since the catersianismo of century XVII, passing for the positivismo of century XIX, until arriving at century XX where it passes for deep transformations as we observe in the citation. This brief contextualizao if makes necessary not to commit the frightful anacronismo to want to charge of the past what it is not of right, that is, to charge during the analysis of our article certain theoretical or metodolgicos positionings of the production of Nelson Pear tree. First because one is about a director and cineasta, that it has a language and different looks of one () historian (). Second, because its social place are one, of the decade of 1960, and ours that to be to analyze it with the historian look () are another one, context 2009. But exactly taking in consideration these two comments importantssimas, we believe that we break to it of the gift while historians (), to the one considering in them to analyze ' ' Secas&#039 lives; ' while such, we will take its text as ' ' document monumento' ' that it is and it must be reconfigured and be reread under it you saw of the current boardings of the gift of who if to make use when reading.

The literary composition of Graciliano Branches published in 1938 is reconfigured by Nelson Pear tree in 1963, and serves of an excellent example in perceiving as the look on the Northeast and its landscape a values accumulation of and custom, conception politics and place of citizen are processed for, intersubjetivados in the referring productions to the Northeast since the end of century XIX, as we saw in the book ‘ ‘ Northeast invention ‘ ‘ of Durval de Muniz, that is a historian brought up to date with the historiogrficas proposals of its time, that starts to think the region in such a way how much the landscape idea as social places of conflict and disputes. The space does not preexist to a society incarnates that it. It is through the practical ones that these clippings remain or move of identity, that gives place to the difference; it is in them that the totalities if fracionam, that the parts always do not reveal since engaged with all, being estetodo an invention from these fragmentos, in which heterogeneous and the discontinous one appears as homogeneous and continuous, where the space is a picture defined for some flicks. (MUNIZ, 1999. P. 25) How much to the third and last point being problematizado, the cinematographic production and its relation with the regional identity, we can come back the original citation, where the symbolic power starts to desconstruir speeches of before unquestioned places. Literature, music as we saw in seminary carried through in the room, myth twine, photo, constructions politicians, religious, artistic and etc are part of the teia of meanings that componhe in such a way the regionalistic speech how much the reinforcement of slight knowledge of referring identities to the Northeast, the proper cinematographic production as we perceive in ‘ ‘ Secas’ lives; ‘ , it is part of this teia of meanings that sends the region as space that loads in itself, an indivisible radical of essence.