Navegando por Assunto "Cerâmica marajoara"

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Acesso aberto (Open Access)
De caco a espetáculo: a produção cerâmica de Cachoeira do Arari (ilha do Marajó, PA)
(Universidade Federal do Pará, 2007-09-25) LINHARES, Anna Maria Alves; BELTRÃO, Jane Felipe; http://lattes.cnpq.br/6647582671406048
Artisans from Cachoeira do Arari, located in Marajó fields, in the State of Pará, they reproduce copied ceramic pieces of archeological objects found in stiff of the place. Nowadays, the objects are exposed in the Museum of Marajó, located in Cachoeira. The museum was created by Giovanni Gallo, Italian priest that arrived in the area in the 70's. The objective of this work is to analyze the several appropriation forms and reverse-significance of that archeological patrimony, the artistic and/or expository, the scientific and marketing, in other words, their several metamorphoses. It is worth to stress that the spectaclelization of that patrimony felt starting from the moment that of mere bits of Indians that lived in the area, called marajoaras, and that they cared the residents when found them in their houses yards, according to narratives orals, they turned tourist spectacles, commercial and cultural identification.
Acesso aberto (Open Access)
Um grego agora nu: índios marajoara e identidade nacional brasileira
(Universidade Federal do Pará, 2015-06-19) LINHARES, Anna Maria Alves; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
The purpose of this thesis is to analyze the dissemination of marajoara symbolism derived from archaeological pieces found in Marajó island. The documentary basis of this research consists of sources of the nineteenth century published in the journal of the National Museum of Rio de Janeiro, as well as newspapers of the twentieth century. From science, marajoara symbolism started to be used in art, architecture, clothing, public and private spaces. In handicrafts, the redefinition of the material culture is recurring until nowadays. We conclude that, from mere pieces found in archaeological sites, marajoara ceramic was coated of ennobled values, being spectacularized as an emblem of the Brazilian national identity.
Acesso aberto (Open Access)
Na seara das cousas indígenas: cerâmica marajoara, arte nacional e representação pictórica do índio no trânsito Belém - Rio de Janeiro (1871-1929)
(Universidade Federal do Pará, 2014-12-29) SILVA NETO, João Augusto da; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
In the last decades of the 19th century and the first decades of the 20th century, Marajoara pottery was used in order to meet different and specific purposes. From scientific object to the inspiration for Brazilian art, through the decorative applied art, to the Fine Arts, intellectuals and artists built a range of ceramic legacy‟s meanings of the ancient Marajo Indians. In view of this, the present work on the trails of the appropriation of marajoara ceramics, taking into account the studies of Orville Derby, João Barbosa Rodrigues, Domingos Soares Ferreira Penna, Ladislau de Souza Mello Netto and Charles Frederick Hartt, as well as the trajectory of painters Theodoro Braga and Manoel Santiago. Further, the work also discusses the production of indigenous pictorial image made by these artists.
Acesso aberto (Open Access)
As voltas do tempo: as reminiscências de um projeto de identidade nacional na cerâmica “marajoara” de Icoaraci
(Universidade Federal do Pará, 2011) SANTOS, Telma Saraiva dos; FARIAS, Edison da Silva; http://lattes.cnpq.br/4500138216841766
The "marajoara" ceramic produced in the district of Icoaraci (Belém), inspired in ceramics founded in Marajó Island, is one of the symbols that define the identity of the people in Pará today. Through government incentives, this artcraft production won public recognition, contributing to a national project survival started in the Imperial period, which recommended the creation of a Brazilian identity supported in the Indigenous’s image as an outstanding referent. Reflecting about the construction of identities from a material object of a popular culture, involves asking questions and reflections about concepts such as tradition, culture, identity, multiculturalism, cultural circularity, heterogeneity or hybridization. These concepts whose theoretical informations are found in the Canclini, Ginzburg, Milton Santos, Ulpiano Meneses and Marcos Areválo’s works contribute to the development of a new understanding about the identity of the people in Pará from their material culture: the traditional ceramic from Icoaraci.