Navegando por Assunto "Decoloniality"

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Caminhos de um Clube de Ciências na Amazônia em perspectiva decolonial: de suas origens a seus desdobramentos
(Universidade Federal do Pará, 2021-09-09) CABRAL, Raimunda Ediane da Silva; RAMOS, João Batista Santiago; http://lattes.cnpq.br/8078757512392983; MALHEIRO, João Manoel da Silva; http://lattes.cnpq.br/7502225344402729; https://orcid.org/0000-0002-2495-7806
This research presents a study that aims to analyze whether decoloniality is present in the actions carried out at the Science Club Prof. Dr. Cristovam W. P. Diniz, pluralizing the perspectives of knowledge. Its construction emerged from reflections of the researcher's personal and professional life trajectory, that throughout the entire journey, made many ponderations about Mathematics Education and other Sciences, how they are passed on from generation to generation. Therefore, with the purpose to problematize the teaching and learning processes established in this non-formal science education environment, we applied a semi-structured interview, through the Google Meet platform, in which we seek to interpret the process of emergence and functioning of the Science Club, from a decolonial perspective. As a data decomposition tool, we used video recordings of the interviews, and then the transcription of the participants' speeches. The research methodological proposal consists of a qualitative approach, in which we use content analysis to analyze qualitative data and interpret information. The research environment is a differentiated educational space, that allows the teacher monitor to act in a different way as well. The research participants were the coordinating teacher, three monitor teachers and two students, totaling six (06) social subjects. During the analysis, we observed, in the participants' speeches the plurality of knowledge dialogues presents in the activities developed, the role of student and teacher monitors during the foundation and functioning of the Club and the involvement of subjects in the educational process. It was concluded that the Science Club Prof. Dr. Cristovam WP Diniz keep decolonial practices in his pedagogical activities, valuing students' prior knowledge, as also need to improve on issues involving the student's social environment, understanding that they are ties that go beyond the classroom and need to be questioned, that is, thinking from the reality of the other.
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O Descompasso do “modelo” na urbe amazônida: o caso de Porto Velho, Rondônia
(Universidade Federal do Pará, 2021-09-30) MORELATO, Adriana Hiromi Nishida; CARDOSO, Ana Cláudia Duarte; http://lattes.cnpq.br/3138101153535395
The establishment of the company town Madeira Mamoré Railway Company represents the genesis of the city of Porto Velho. Since then, the city´s urban expansion has been characterized by the hegemony of the functionalist logic of production, aimed to the exploitation of natural resources and capital accumulation. In contrast to the pre-existing way of life, which was based on a harmonious relationship of diverse communities and the natural environment, focusing on the coexistence of both parts. Therefore, this research aims to analyze the consequences of the city model adopted at the origin of Porto Velho, based on the pragmatic and functional patterns of the company town MMR, and how it affected the population’s quality of life and the coexistences on the natural environment. Hence, we sought to understand the city standards of the industrial society in the 20th century through the analysis of the Urbanism anthology elaborated by Choay (1965), and to demonstrate that the expansion of capital over the Global South occurred as a re-presentation of the colonialism based on the need for domination and domestication of a different local reality. Authors such as Fanon (1952), Acosta (2009) and Cusicanqui (2015) were used to highlight the need for a holistic and cosmopolitan view of the reality of the cities in the Global South, especially in the Amazon area. Targeting a true development, aligned with the de-colonial concepts. The order-disorder, progress-delay and rupture-continuity dichotomies were used to analyze the city of Porto Velho in its genesis and contemporaneity, considering the "space production agents", "infrastructure provision", " road network", "socio-spatial organization", "housing" and "natural elements" categories. As a result, the inefficiency of the exogenous solutions that led the process of creation and expansion of the city was proven. This welcomes and reconcile the Amazonian diversity with the human needs, based on an alliance between ancestral knowledge and new technologies, constituting, finally, innovative alternatives.
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Feminino pau e corda na Amazônia: as sereias de Vila Silva Tocadoras de Carimbó
(Universidade Federal do Pará, 2021-11-24) MENDES, Roberta Pinheiro; CASTRO, Marina Ramos Neves de; http://lattes.cnpq.br/6636359546031674
This work aims to overcome the essentialized and mediated image of the stamping woman proposed by traditional media. The group chosen as the guiding thread of this decolonial narrative that takes place through images is the pioneer group, composed, primarily, of women from the village Of Vila Silva, located in Marapanim, called Sereia do Mar. Musical presentations, articulations and the daily life of the village, evidenced from the perspective of a decolonial feminism (LUGONES, 2010) are the focus of this work that will discuss other forms of narratives coming from the Amazon Region. This work also dialogues with the term Escreviveência (EVARISTO,2021) by Conceição Evaristo, which proposes a feminine and Afrodescendant perspective (2018/ Revista Língua & Literatura) in the construction of the text, in its poetics. This concept was created by analyzing literary works, however this work uses this cut out in writing for the academic text. Therefore, the researcher's first-person account at various times comes to the fore and is important in the construction of this visual narrative. Why, based on this thought of Evaristo, where the writing is part, it reveals a lot about the work.
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Fora dos padrões: estética negra e identidade como proposta decolonial no ensino de História
(Universidade Federal do Pará, 2024-06-28) CASTELO BRANCO, Juliene Dias; CHARLET, Eliane Cristina Soares; http://lattes.cnpq.br/6000275052016633; orcid logo https://orcid.org/0009-0007-0797-4894; SILVA, Wesley Garcia Ribeiro; http://lattes.cnpq.br/2125737316069934; orcid logo https://orcid.org/0000-0002-2734-5442
The purpose of this work is to offer new possibilities regarding the teaching of African and Afro-Brazilian history, through an educational project, presenting the forms of African resistance to European domination and the structural racism existing in our society, thus proposing a decolonial education . Focusing on the process of formation and acceptance of a black aesthetic. Considering and highlighting the relevance of working on ethnic-racial issues in the classroom for greater acceptance, as well as racial identification and academic development of students, especially those who recognize or begin to recognize their blackness. As a result of the proposed educational project, as well as the dissertation, it is intended to develop a documentary video focused on black aesthetics, formulated and developed by the students themselves, which will aim to enrich debates about black resistance stamped in their aesthetics. As well as, presenting speeches aiming to contribute to an anti-racist education, showing possibilities and links to the process of teaching history and ethnic-racial relations, in the same way as offering possibilities for a decolonial education, according to the propositions of the Common National Curricular Base (BNCC), as well as the Education Guidelines and Base Laws (LDB), more specifically law 10.639/03, boosting and contributing to the teaching of African and Afro-Brazilian history.
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A formação dos docentes de História e a Lei nº 11.645/2008: mudanças de perspectivas no trato da temática indígena no ensino de História (2008-2018)
(Universidade Federal do Pará, 2020-08-31) BARARUÁ, Marcus Vinícius Valente; LIMA, Maria Roseane Corrêa Pinto; http://lattes.cnpq.br/0040917069487308; https://orcid.org/0000-0002-8396-0618
This work intends to comprehend the transformations that occurred in the initial formation of history teachers regarding the indigenous thematic after the promulgation of the law number 11.645/2008 until the year of 2018. The general goal of the thesis is to analyze the change of perspective about the indigenous historical agent in the official documents of Federal University of Pará’s History faculties (from Belém, Bragança, Tocantins/Cametá campuses) through the subjects, in the development of the curricular planning, research and extension projects. The Pedagogical Projects of Course (PPC’s) are the guidelines for the history degree, being a source of perception in the changes that occurred after the law number 11.645/2008. It is also a goal to analyze the experience reports from the faculty who trained the history teachers for the Elementary Education, making it possible to analyze the academic and pedagogic actions held after the promulgation of the legislation, mainly to teach in class. The documental and oral sources were analyzed through the concepts of decoloniality and critical interculturality. Through the considerations it was noted that the transformations regarding the indigenous thematic in the formation of history teachers occurred in a particular way at each campus of the Federal University of Pará. The changes perceived on the research about the changes of perspective regarding the indigenous thematic in history degree of UFPA’s three selected campus are highlighted by the work featured by teachers who research, teach and promote the Indigenous History and Indigenism. The Intervention Project developed is a booklet which has the intention to present the concept of critical interculturality and how this line of thought can be used on the formulation of didactic sequences that values the political fight, the knowledge and the history of brazilian indigenous people.
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Guia didático para o Laboratório de Práticas e Experimentações Sala Arthur Leandro Tatá Kinamboji de Ensino Cultura e Artes Visuais Afro-Amazônica: caminhos para a decolonialidade
(Universidade Federal do Pará, 2023-06-29) VASQUEZ, Jessica Calandrine; RODRIGUES, Ronaldo de Oliveira; http://lattes.cnpq.br/1573942492848983; https://orcid.org/0000-0001-5721-2926
This work was developed with the objective of creating an educational product that is characterized as the Didactic Guide for the Laboratory of Practices and Experimentations Arthur Leandro Tatá Kinamboji Room for Teaching, Culture and Afro-Amazon Visual Arts. Methodologically, the research approach was qualitative, which unfolded in documentary research and participant research. The documents that served as the basis were the laboratory project, course plan, pedagogical project for the Visual Arts course in 2019, extension project, room project and teaching project. Participatory research was based on experiences in the Afro-Brazilian Art discipline, in meetings and actions from the Tatá Kinamboji Laboratory and Room. In the creation of the product, it was necessary to use two methodologies, design thinking and the open laboratory methodology. The first to think about the construction of this product in a practical way, and the second as a way of thinking about dynamics to enhance the aforementioned space. In this process, a pedagogical action was carried out, using the collection of Sala Tatá Kinamboji, in the discipline of Afro-Brazilian art. The validation and evaluation of the product was carried out from the application of physical and online questionnaires with the students of the class, questionnaire only online with the professors of the faculty of Visual Arts, as well as with the pedagogical sector of the course and members of the laboratory and Sala Tatá Kinamboji. The results present the construction of the guide as a proposal for direction and add up satisfactorily to validate the developed product. Although the product is finalized, it is extremely important to deploy and update it, as the laboratory is constantly being updated, due to the location where it is located, the need to continue cataloging incoming materials and new productions. Thus, this product contributes to the teaching-learning process, assists in the use of the laboratory, strengthening practices, research and actions in the decolonial perspective of Visual Arts Teaching.
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Guia para formação de professores: adaptação de música regional para aulas de trompa com iniciantes
(Universidade Federal do Pará, 2024-03-28) LOUZADA, Jaqueline Wailse Lira; DINIZ, André Monteiro; http://lattes.cnpq.br/5064351890235151; https://orcid.org/0000-0002-4895-7421
This work presents the "Musical Adaptation Guide for Horn Teachers in Training," a manual of adaptations of regional music for beginners. This educational product emerged as a proposal to address the challenges in music education, especially in the context of horn teaching, where there is a significant presence of teaching materials and repertoires of European origin. These materials, often from other countries and unfamiliar to students and their communities, do not take into account their cultural and regional specificities. This practice needs to be discussed in the training of horn teachers to promote the development of new approaches by them. The scarcity of resources that integrate local culture limits students' access to a potentially representative and meaningful music education. Developed within the Graduate Program in Creativity and Innovation in Higher Education Methodologies (PPGCIMES) at the Federal University of Pará (UFPA), with an emphasis on Methodological Innovations in Higher Education (INOVAMES), the resulting product aims to address these shortcomings, particularly the lack of adaptations of regional music from the Brazilian Amazon for beginners. The methodology involved a bibliographic research on the challenges and perspectives in horn teaching in Brazil, the literature used for teaching, and the influence of musical heritage on horn learning. It is based on Ausubel's (2003) theories of meaningful learning and Quijano's (2015) decolonial approach, as well as the analysis of idiomatic elements present in works written by horn players, as discussed by Matosinhos (2021). Additionally, an analysis of Pedagogical Course Projects (PPCs) from the Federal University of Pará (UFPA), the State Institute Carlos Gomes (IECG), and the State University of Pará (UEPA) was conducted. Subsequently, the educational product was developed and implemented, along with interviews with teachers and students to validate the proposed musical adaptations. The results highlight the potential of the developed educational product to equip both trainee and practicing teachers, providing a practical and accessible tool for teacher training and a music education that incorporates local culture. Furthermore, it is evident that the developed material serves as a resource for teachers in training, assisting them in integrating local cultural elements into their teaching, thus promoting a more contextualized and meaningful music education.
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O movimento da Zwanga African fashion: comunicação e moda ativista como prática decolonial na Amazônia-amapaense
(Universidade Federal do Pará, 2024-12-20) NEVES, Lúcio Dias das; AMARAL FILHO, Otacílio; http://lattes.cnpq.br/2605877670235703; https://orcid.org/0000-0001-5467-8528
The thesis analyzed the understanding of the communicative experience of women who participated in the fashion shows proposed by Zwanga in the 2020, 2022 and 2023 editions, as well as a small sample of men who participated in the 2023 edition. Studying Zwanga as a locus of doctoral research transcends fashion, as it articulates the creative economy, entrepreneurship, and the restoration of the self-esteem of Afro-Brazilians. The theoretical foundation was based on the works of researchers from the Amazon como Amaral Filho (2016), tendo suas idéias reforçadas em autores como Tarcízio Silva (2020), Joaze Bernardino-Costa, Nelson Maldonado-Torres e Ramón Grosfoguel (2018) e Molefi Kete Asante (2009) who strengthen the ideas about decoloniality based on local culture, racism,maraçá, quilombismo and other manifestations of Afro-Amapaense culture and an important approach to Zwanga and other cultural manifestations of Amapá . Communication research is basic in nature, using as a case study the means for investigating the Afro-Amazonian traditions and heritages that permeate the Zwanga movement. Under this approach, we opted for an explanatory and participatory type of research – since the author is part of and knows himself in this process, to study specific phenomena, in an analytical and critical way, referring to the universe of Afro-entrepreneurial fashion in Amapá – the experience of Zwanga. For data collection and analysis, several open interviews were used with the Afroentrepreneur and semi-structured interviews with women and men who participated in Zwanga's fashion and social events between the period 2020–2023.
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Museus e colonialidade: uma análise da exposição de longa duração o Museu do Estado do Pará
(Universidade Federal do Pará, 2021-09-15) LEÃO, Andrey Manoel Leão de; BRITTO, Rosângela Marques de; FIGUEIREDO, Silvio José de Lima; http://lattes.cnpq.br/2578700144404800; https://orcid.org/0000-0002-6810-1639
The work seeks to discuss how colonization in the state of Para established various narratives about the region, placing groups of European origins and their lifestyles at the center, and all other groups on the margin. This was maintained throughout the state's history from the colonial period until the time known as the Belle Époque, the period of economic boom in the region that, seeking local urban development, based on its public policies on an ideal of life in European cities. Therefore, I discuss how these visions are posted in the Museum of the State of Pará, which is coined as a historical museum, and therefore, aims to tell the history of the state. This hierarchization of cultures and peoples at the expense of others, based on the idea of race, that is maintained even with the independence of countries or with decolonization is known as coloniality. Thus, the analysis takes place critically on the museum's long-term exhibition, seeing who is in the spotlight, who is not, how cultural groups are shown, what is shown, how sensitization is made, etc. These actions are made to show how coloniality is posted in the museum's representations. The work also points out as follows are certain representations to combat these colonializing perspectives, based on the notion of decoloniality as a way of undoing a perspective of cultural construct hierarchization. For this, the new museological perspectives point out that museums, especially stories that play the role of legitimizing what is the truth, must have a social role that seeks to solve current problems, mainly discursive ones, which historically gave unilaterally and have high coercive power over society. Finally, when there is no discursive equivalence and when colonizing perspectives are transported to the region's current times, by not discussing or linking them to local problems, the museum sometimes ends up being a reinforcer of these hierarchical and prejudiced perspectives.
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A natureza do feminino decolonial no romance latino-americano: representações ecofeministas em Eva Luna e tropical sol da liberdade
(Universidade Federal do Pará, 2021-01-28) LARANJEIRA, Jéssika Vales; ALMEIDA, Carlos Henrique Lopes de; //lattes.cnpq.br/9511564560016368
In the latin american literature, especially those created by women, there is a curious succession of narratives that relate, somehow, women and Nature explorations. This perception evidences a need to articulation several critical perspectives to expand the delecolonial ecofeminist criticism scope. Thereby, this work aims to identify ecofeminist representations as mechanisms of resistance to coloniality in the novels Eva Luna (1987), by chilean Isabel Allende, and Tropical Sol da Liberdade (1988), by brazilian Ana Maria Machado. For this, this research was developed under a qualitative deductive approach of a theoretical nature based on two analysis categories: the care relationships and the sensitive perceptions about the Nature. In theoretical corpus, the following stand out: Zinani (2013) and Navarro (1995) about women in literature; Perrot (2017) about the historicity of women as a social category; Quijano (2005 and 2008) and Lugones (2008 and 2010) about Latin American decoloniality; Kheel (1993) and Shiva (2001, 2003 and 2018) about ecofeminist philosophy and Candau (2016), Bosi (1994) and Sarlo (2007) about memory, identity and resistance, themes that frequently involve the analyzed narratives. As comparative results between the novels, two similarities of ecofeminist resistance and subversion to coloniality were identified: the valorization/resignification of feminized care work and writing as a way to become marginalized female perspectives visible.
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Periferia e negritude: ritmo e poesia (rap) como produção estratégica do mundo periférico em Belém-PA (1996-2023)
(Universidade Federal do Pará, 2024-04-08) MAIA, Emily Maria Pantoja; COSTA, Antonio Maurício Dias da; http://lattes.cnpq.br/2563255308649361; https://orcid.org/0000-0002-0223-9264
In 1994 saw the first appearance of a rap group in the city of Belém do Pará. Emerging from the Terra Firme neighborhood, on the outskirts of Belém, the MBGC group - Manos da Baixada do Grosso Calibre - revolutionized with a new musical style to portray the reality of Belém's outskirts. Since the 1980s, a time of great change in cultural representation, including the historiographical sphere, rap has spread worldwide as a way of mirroring popular culture and the dissatisfactions suffered in neighborhoods far from the centers. It emerged in the 1970s in the United States, after a period of great crisis, as an innovative way of getting around the neglect experienced by young people in marginalized neighbourhoods. On the Brazilian scene, rap began as a form of entertainment and later became politicized. Thaide and DJ Hum started national rap and soon other names emerged, gaining prominence, such as Racionais Mc's, who gave rap an engaged form. As a result of these events and the visibility of rapping in the Belém newspapers and hip hop culture, the musical style gained strength and influenced new subjects in the region, paying attention to the Amazonian scenario and the difficulties suffered by the city's neighborhoods, including artists from Pará such as Pelé do Manifesto and Th do 91, with great visibility in "abolitionist poems". In this way, the general aim of this work is to understand the possibilities of the rap musical style as being susceptible to historical analysis and understanding, in that it includes people from the periphery - Pelé do Manifesto, Th do 91 and others who started the movement such as Mc Negro Edi, Bruno BO, Marcelo Muslim, Dj Morcegão - with their rhymes loaded with aspects of diasporic culture. Rap is a style characterized as "spoken song", which seeks to counter social, economic, cultural and historical injustices, and takes on the role of portraying realities faced strictly by black people, and can therefore be characterized as an effect of colonization. In view of this, it is noticeable that it stimulates thoughts contrary to a formed hegemony, in order to confront cultural tensions and racism.
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"Póngase las plumas" - A decolonialidade no sistema das artes visuais contemporâneas pelas perspectivas de gênero e corpos dissidentes: complexidades e contradições entre Brasil, Colômbia e Peru
(Universidade Federal do Pará, 2024-08-30) VIVIANI, Maria Cristina Simões; GONTIJO, Fabiano de Souza; http://lattes.cnpq.br/7539767705260462
The concept of decoloniality has frequently been mobilized by the contemporary visual arts system. The term, proposed by the Modernity/Coloniality Group, is mainly used to highlight curatorial practices that include dissident artists—Indigenous, black, queer, and marginalized individuals. However, fieldwork conducted across Brazil, Colombia, and Peru indicated that "decoloniality" has been appropriated by the arts field, becoming a native term within artistic institutions. The capitalization of the concept by the art market has resulted in an identity-based approach that merely refers to the presence of non-hegemonic artists' work, without the structural transformations that decoloniality should entail. Consequently, art agents accuse the system of instrumentalizing their identities, which were previously marginalized, for the benefit of the art system. In light of this issue, the research investigated the art circuit in these three countries through interviews with women artists, curators, and gallerists (cis and transgender), non-binary individuals, and transgender men. Considering the art system as a porous system, formed by a network of power relations between agents, institutions, and artworks, the study sought to highlight the complexities and contradictions inherent in this field from the perspective of gender and dissident bodies. The territorial connection marked by the tri-border region between Brazil, Colombia, and Peru also underscores the hegemonic perspective of the Global North on their artistic productions. Power hierarchies are replicated in a colonial model within the art institutions of these three countries. The conflicts and disputes over who decides what is art, who sells art, and who consumes art reveal that the decolonial perspective is more aligned with discourse than practice in the art circuit. The advancement of decoloniality, driven by social pressure for increased representation of minority groups in positions of power, alongside high-impact academic production on decoloniality and market demand, has generated the search for dissident identities that the arts system of the Global South is experiencing today. The limitations imposed on artists' productions, marked by otherness from a hegemonic perspective, expose the need for new strategies to truly decolonize the art system. The essentialization of identities and the reductionist reading of how these bodies and productions are perceived by the art system indicate a simplistic understanding of complex experiences. It is therefore necessary for art agents to question and resist, aiming for historical reparation where productions are contextualized, and the "universal" subject is challenged. This would decentralize the rigidity imposed on dissident identities, allowing for the expansion of the imagination surrounding their bodies and experiences.
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Os tambores da África reverberam aqui: o projeto batuque como prática decolonial na comunidade quilombola de São Pedro dos bois-AP
(Universidade Federal do Pará, 2022-08-11) BARBOSA, Adrian Kethen Picanço; PEIXOTO, Rodrigo Corrêa Diniz; http://lattes.cnpq.br/9872938064820413
This research has as its theme Quilombola School Education (EEQ). Within this modality of teaching, I will analyze the Batuque Project as a decolonial practice in the Quilombola community of São Pedro dos Bois, Amapá. The study follows the methodology of Orlando Fals Borda's Participatory Action Research (1978), updating it according to the perspective of decoloniality. My analysis of the Batuque Project in the aforementioned Quilombola community emphasizes the decolonial transformations promoted by Quilombola School Education. The research presents the decolonial practice within the State Quilombola School Teixeira de Freitas, which is the result of an education engaged and committed to the environment in which the institution is inserted.