Samba-Rock received the title of Intangiable Heritage of the city of São Paulo in 2011. This
recognition dialogues with a broad movement of patrimonialization of the Black Social Clubs
in the South and Southeast regions of the country. This occurred with Grêmio Recreativo e
Familiar Flor de Maio, whose was recognized as material heritage of the city of São Carlos in
the same year. These processes engender an important debate on nationalism and
transnationalism of cultural practices and spaces articulated by the African diaspora in the
Americas. Therefore, the research investigated the processes and circuits that compose the
practices and spatial relations produced in the African diaspora. The investigation was based
on some concepts such as contact zone, nation-state, modernity, black transnationalism,
vernacular afrodiasporic circuit and black diasporic culture and African diaspora. The research
has supported by participant observation, ethnographic incursion, bibliographical research
and audiovisual materials (films, music and photographic records), added to interviews and data
collection carried out in the state of São Paulo/BR as well as in the state of Georgia/USA from
2016 to 2019. It is concluded that, in order to understand the transits and the subjects whose
expressive black cultural practices are recreated, it has become necessary to activate another
element of analysis as an expressive practice: the body. It is through the inclusion of the
body that the recognition of dance and music are inseparable, and the productions of the
vernacular Afro diasporic circuit are expressed. In this panorama, the research was supported
by a narrative proposal focused on similarities and connections, recognizing, and guiding the
differences, which could be analyzed when associated with four other elements: dispersion,
hybridization, creativity/improvisation and the meanings attributed to the body in the
constitution of a diasporic black culture. In this way, the debate between these practices and
their spaces as a constituent of a community of memory starts to gain place, tensioning, and in
turn, the classical notions of the nation-state, modernity, and recognition policies (material and
immaterial) as strategies (re)inscription of practices in the modern debate. Furthermore,
I continue to defend the need for reflection on a political economy of black culture articulated
with the dynamics of production-regulation-consumption of expressive cultural productions as
one of the elements of constant (re)creation of practices in the vernacular afrodiasporic circuit.
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