On November 22, 1981, thousands of laypeople, along with bishops, priests, and theologians, gathered in Recife to celebrate the Eucharist. Offered during a military dictatorship in a period of popular insurgency, the Quilombos Mass mourned the death of millions in the African slave trade, sought pardon for the Church's past sins, and celebrated the resistance of Blacks in Brazil and beyond its borders. The acclaimed Black Brazilian pop star and activist Milton de Nascimento collaborated with an activist poet and three bishops to produce a multimedia performance; in the spirit of liberation theology, it was marked by striking visuals, dance, music, and the invocation of the sacred. This article draws on reportage, speeches and correspondence, military court and intelligence records, published interviews, and the author's interview with one of its composers. It offers a close textual analysis, with attention to Catholic theological debates, as well as an analysis of the performance itself, drawn from video recordings and bringing attention to aspects neglected by most commentators, who refer only to the album, as it was finally produced. Initially stifled by the Vatican, Milton's masterpiece, issued as an album on vinyl and performed in paid concerts, became a powerful cultural reference for activists, serving as a touchstone for a strategic alliance between Black activists and the liberationist Church.

1981 年 11 月 22 日，数千名平信徒以及主教、神父和神学家聚集在累西腓庆祝圣体圣事。基隆博斯弥撒是在军事独裁时期民众叛乱时期举行的，哀悼非洲奴隶贸易中数百万人的死亡，寻求教会过去罪恶的宽恕，并庆祝巴西及其境外黑人的抵抗。广受赞誉的巴西黑人流行歌星和活动家米尔顿·德·纳西门托与一位活动家诗人和三位主教合作制作了一场多媒体表演；本着解放神学的精神，它以引人注目的视觉效果、舞蹈、音乐和对神圣的祈求为标志。本文借鉴了报告文学、演讲和信件、军事法庭和情报记录、发表的采访以及作者对其一位作曲家的采访。它提供了仔细的文本分析，关注天主教神学辩论，以及从录像中提取的对表演本身的分析，并引起大多数评论员忽视的方面的关注，他们只参考专辑，因为它最终制作。米尔顿的杰作最初受到梵蒂冈的压制，以黑胶唱片形式发行并在付费音乐会上演出，成为活动人士强有力的文化参考，成为黑人活动人士与解放主义教会之间战略联盟的试金石。