Dissertações em Artes (Mestrado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806

O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).

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Artes indígenas no sistema das artes visuais: modos de exibição na Argentina e no Brasil
(Universidade Federal do Pará, 2025-08-12) MELI, Marlene Binder; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
Acesso aberto (Open Access)
Memórias do Hip-Hop na Amazônia : Os pioneiros na formação e resistência da cena de Belém-PA.
(Universidade Federal do Pará, 2025-06-24) LEÃO, Gesiel Ribeiro de; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
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Distopia Neocabana (2021): Ficção especulativa e imaginário nos quadrinhos na Amazônia Paraense
(Universidade Federal do Pará, 2025-07-10) MATHEUS, Keoma Calandrini de Azevedo; SMITH JÚNIOR, Francisco Pereira; http://lattes.cnpq.br/4369023473293807
This research analyzes the theme of dystopia in the comic book AÇAÍ PESADO: Distopia Neocabana (2021), produced in the context of the city of Belém do Pará by the Coletivo Açaí Pesado. Based on the proposition of comics as art and cultural expression, the study investigates how speculative fiction and the theme of dystopia reflect contemporary social, environmental, and political tensions, within the context of the Pará Amazon. The analysis moves in the areas of Arts, Social Sciences, and Technology, exploring the relationship between fictional elements and the critical debate on politics, globalization, and ecological crises; highlighting the way in which the work presents local and global references to construct a dystopian vision of the Amazonian reality. The methodology of comparative literature allows us to draw connections between Distopia Neocabana and other works of speculative fiction, establishing thematic and stylistic parallels with diverse literary and visual traditions. Thus, it reveals how comics operate not only as entertainment, but as a product to reflect on socio-environmental and cultural transformations in the Amazon. With a critical and interdisciplinary perspective, the dissertation inserts Neocabana Dystopia as an expressive work in the contemporary imagination, which redefines the Amazon as a territory of artistic creation and resistance.
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Corpo-Raiz: O processo de criação do bolero Interamor
(Universidade Federal do Pará, 2025-06-25) ALCANTARA, Wallesson Amaral; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This research addresses the notion of Root Body, which is a way of thinking about ballroom dance intertwined with the life and artistic trajectory of an artist-teacher-researcher. This trajectory is permeated by different artistic experiences in ballroom dance, especially bolero, and constitutes experiences informed by Neuroscience (Marçal, 2019), with theoretical and practical foundations in Movement Ecology (Bolsanello, 2016) and Immanent Dance (Mendes, 2008), in addition to the notion of "dance as a politics of appearance" (Castelo, 2022). As a result, the poetics of Interamor are presented, along with its methodological developments, applicable both to the creation and teaching of ballroom dancing, and the social discussion triggered by the work of art
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Atos performativos de uma Bufonaria Matuta: Arte, cura e ancestralidade em Belém do Pará.
(Universidade Federal do Pará, 2025-06-30) NUNES, Ana Carolina Marceliano; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210
Acesso aberto (Open Access)
Vestígios na tela: Dança floresta, corpo situado em Improviso
(Universidade Federal do Pará, 2025-02-26) CASTRO, Roberta Suellen Ferreira; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211
The Videomaker, as well as the Editor, are recent modalities in the art of dance, and it is necessary to trace studies for what comes gradually, emerging as a dance artist, who in action interpellates himself with the video in a relationship of immersion and exploratory contact with space, camera, computer and other bodies. Without a script and under conditions of real-time composition, in the filming and editing stages, the artist handles dance skills and abilities, generating an intensive somatic field of fragility and uncertainties, since she produces gestures and positions with the camera in motion. The change in action requires constant attention to be careful with the camera and the movements it performs. It is the artist himself who conducts the imagetic production that comes from the process of capture and editing, where another dance originates with its cuts, connections and unfoldings, forming a body that is interpellated by a first dance, which is not the first, but only a vestige of another dance, which is made in the selection of the movable frames in the post-production process. Based on the choreographic production "Dança Floresta", carried out in 2021 by Cia Experimental de Dança Waldete Brito, this study aims to investigate subjectivities of the dancing body, based on the relationship that the multimedia artist of Videodança establishes with the medias in the context of the Amazon. The research starts from the following questions: What is the nature and subjectivities of contemporary dance? What moves the Videomaker who dances and improvises in the forest space? How to analyze/investigate subjectivities of the dancing body through the images of the Videomaker in contact with the performercreator in dance, when they compose in real time? Qualitative in nature and from the perspective of the participating researcher, the production of data comes from the analysis of videos, images and a semi-structured questionnaire. Situated on the thin line between fields of knowledge, the research points out as a result a possible path of video production. Although it permeates the technical means, the image produced comes from the capture and intertwining of subjectivities that multiply on the screen, it points to a highly complex technology, which, although it appropriates the camera device, is managed by human nature, an organic gear endowed with sensitivity, perception and particular desires. These mechanisms not only guide the process of choreographic creation but also subvert the order of what has been employed as technological innovation. Thus, the dancing body does not place it self at the service of these utensils, but dialogues with them, becoming the technology itself embodied by the creative act.
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Arte, imaginação e criação com crianças da cidade de Benevides-PA
(Universidade Federal do Pará, 2025-05-15) CALDERARO, Kelly Lene Lopes; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
The aim of this paper is to reflect on children's paintings and what they can represent in their lives. Specifically, this research involved listening to children's drawings of the territory of Benevides, Pará, and trying to establish relationships with their lives by looking at the concepts of Imagination and Art in childhood. Lev Vygotsky's (2014) Cultural-Historical perspective was used as a conceptual basis, observing that the richer the human experience is culturally, the greater the material available for imagination and creation. Seen from this perspective, the child's imagination would be expressively open to countless creative experiences, considering that, when compared to adults, their repertoire would not be permeated by the marks of experiences that have already been widely experienced. And it is in this sense that the Art, Children and the City project sought this experience of listening, to give children a voice and bring them to the center of the process, in which they can participate in the construction of a territory, since they have a perception of the place in which they live and desires to be fulfilled for this place, demonstrating their sensitivity and affectivity. It is in this sense that we emphasize the importance of looking at both the experiences the child already has and those that are still open. Observing the relationships that are established between the child, art and its creation. The methodology used was participant research. The technique used was to listen to children, through drawings, in four public squares in the Benevides area, with the guiding question of how they see this city and how they would like it to be? Seventy-eight drawings were collected for analysis and construction of the results. In the same way, bibliographical research was carried out in the methodology developed, with the data presented coming from books, dissertations, theses, research published in periodicals and presentations of scientific papers. In order to analyze these drawings, discourse analysis and Vygotsky's approach to Art and Imagination were used. It is hoped that this research, together with other studies, can contribute to the academic field, as well as giving greater visibility to the importance of listening to children, their desires, ideas and dreams, through Art and Imagination.
Acesso aberto (Open Access)
Inacontecimentos, Amazônia : [re]ações ambientais
(Universidade Federal do Pará, 2024-09-27) NEGRÃO, Lucas da Silva; OLIVEIRA, Hosana Celeste; http://lattes.cnpq.br/4177178840952700
The research addresses the degradation of the Amazon biome resulting from human activity, utilizing three main sources: monitoring systems from the National Institute for Space Research (INPE), Google Earth images, and original aerial photographs produced in the state of Pará. This dissertation aims to understand how the interactions between art, body, and environment in the creative process of the interactive-reactive artwork ‘Inacontecimento’ can contribute to discussions on the environmental degradation of the Amazon, drawing from authors such as Ailton Krenak, Gilles Deleuze, Bruno Latour, Milton Sogabe, and Tetsuro Watsuji. Additionally, the research includes a curatorial exhibition that brings together works by artists focused on the impacts of exploitation projects in the Amazon.
Acesso aberto (Open Access)
Máscara Búfala: Cartografia Cênica de um Corpo-Saudades
(Universidade Federal do Pará, 2025-01-17) SILVA, Bruno Rangel Viana e; SARÉ, Larissa Latif Plácido; http://lattes.cnpq.br/3313460196086035
Acesso aberto (Open Access)
VIDEOCLIPES QUE REIVINDICAM O DIREITO A OLHAR: Sentidos decoloniais da América Latina em This Is Not América, Tierra Zanta e Reza Forte
(Universidade Federal do Pará, 2025-01-30) MAIA, Yasmim Oliveira; DAMASCENO, Alex Ferreira; http://lattes.cnpq.br/8620263171962896
This dissertation addresses Latin American music videos, investigating narratives that counter hegemonic perspectives, based on the concept of Countervisuality by Nicholas Mirzoeff. To this end, the works Reza Forte (Baiana System), This Is Not America (Residente), and Tierra Zanta (Trueno) are analyzed. The objective is to understand how these music videos construct non-hegemonic meanings about Latin American culture, highlighting audiovisualities that claim the right to look for these peoples. Thus, the research contextualizes the music video language in Latin America, identifies distinct trends produced in this territory, and examines images created from the perspective of colonizers and how to challenge this view. Therefore, we aim to present music videos that share the following similarities: the presence of Indigenous peoples, Afro-descendants, and respect for nature. To achieve this, decolonial theorists such as Darcy Ribeiro, Aníbal Quijano, and Walter Mignolo are used to address aspects of Latin America, along with Visual Culture scholars such as Ulpiano Meneses and John Berger, to explore what constitutes the gaze identified as colonized. In these music videos, we find a narrative that empowers, celebrates, and elevates the culture and resistance of Latin American peoples.
Acesso aberto (Open Access)
Me inscreva quando sentir a minha falta: Poética da ausência na reinscrição de um acervo fotográfico
(Universidade Federal do Pará, 2025-02-06) SILVA, Paola Barros; DAMASCENO, Alex Ferreira; http://lattes.cnpq.br/8620263171962896
This thesis memorial presents the creative process behind the visual artwork and experimental photobook entitled Me inscreva quando sentir a minha falta ("Write Me In When You Feel My Absence"). Starting from the perception of my own visual absence in my family’s photographic archive, I sought to insert myself into the forgotten images stored on my mother’s Cyber-shot camera. To do so, I developed a methodology based on the concepts of Autofiction and Databending, which in this research served as technical tools for the creation of Pure Glitch images that form the visual essay belonging to the artist’s book and book-object developed. The text presents a hybrid research approach of a systematic and transdisciplinary nature, organizedin stages of theoretical research and creation and experimentation processes in the studio. With the theme of Poetics of Absence, the developed work makes use of Glitch Art aesthetics as a creative tool to elaborate the concept of Visual Metaphor of Error, thus creating a visuality expressed in images that reflect absence, deterritorialization, and complex questions surrounding memory. Through this study, I aim to contribute to the reflective arsenal of contemporary art and its relationship with works of resistance and counter-narrative, as well as to add to the body of work created by artists from the Northern and Amazonian regions of Brazil. As for the critical aspect, the study further expands on the reflection about the term Glitch Art and Autofiction as an experimental language within the field of visual arts. On a social level, the developed work sheds light on the need to recover marginalized memories, proposing a (visual and theoretical) reflection on absence and belonging, inspiring new creative and appreciative perspectives on art and memory in intersection with technology.
Acesso aberto (Open Access)
ESCRITA DE TEXTOS TEATRAIS : Material didático em Ambiente Online sob uma perspectiva BIPOC
(Universidade Federal do Pará, 2024-08-09) ROCHA, Danilo José Assunção da; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
The present work aims to develop educational material for an online course that introduces the writing of drama texts for BIPOC individuals - acronym in English referring to Black, Indigenous, and People of Color. By understanding language as a social and historical product, a vehicle for ideological representations in which materialization manifests through discourse (FIORIN, 1990), this dissertation addresses the study of ramaturgy and proposes to investigate the theme as part of the phenomenon of dramatic theater (MAGALDI, 1994) and its possibilities in conveying discourses. Grounded in the intersections between Art, Education, and Digital Technologies, the hybrid methodology action research (THIOLLENT, 2011) combines bibliographic research on drama as a textual genre, online education (KENSKI, 2012), and design (KENSKI, 2012; PAWAN, 2012) to create the didactic-dramaturgical material in digital space (ØSTERN, 2021). The development of this material, with key elements and teaching strategies to introduce the writing of theatrical dramaturgy in an open learning environment, seeks to promote access to the mentioned knowledge and democratize artistic creation, as well as contribute to perspectives related to the use of technological tools in writing.
Acesso aberto (Open Access)
Quando os Caramujos vão ao Funeral e Mira o Amor que Parte…Mira o Amor que Fica: O processo criativo para uma dramaturgia da saudade
(Universidade Federal do Pará, 2024-12-02) ROSÁRIO, Adilson Pimenta do; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
We have Dorflex, paracetamol, dipyrone, anador, original and generic cataflam.”. The creative process for a dramaturgy of longing, poetry, experience and Love in the shows When the Snails Go to the Funeral and Look at the Love that Leaves… Look at the Love that Stays. ...And for longing, what is the cure? The relationship between longing and affective heritage in art. This research arose from the need to study the creative process of two shows experienced in different periods, and by different groups in the city, to which I was present in these scenic constructions. When opening manuscripts and photo albums in a drawer, I meet again with a group of 45 young people who were part of the scenic group of the Curro Velho Foundation and I go to the reunion of directors, scriptwriters, musicians, lighting technicians, costume designers, makeup artists, set designers who were part of the theatrical productions of the shows of the Scenic Group of the Curro Velho Foundation, founded in 2002, ending the Its activities began in 2010. All productions were funded by the same foundation. The group was conceived by Professor Olinda Charone. My proposal is to analyze two shows, the first from 2003, in the staging of Quando os caramujos vai ao funeral, adapted by Neuza Titan from a short story by the French writer Jacques Prévert, for which she is the stage director. This is my first show in which I join the stage group as an actor. The second production is “Mira o Amor que Parte…Mira o Amor que Fica” (2021). Produced and performed by Espaço Artístico Cultural D.Mira. Under the stage direction of Maurício Franco. In which I am the creator of the cultural space, actor and sign the dramaturgy constructed with Wellington Romário and Luciano Cantanhêde. Both shows have an overwhelming impact on me regarding art. My crossings of memories, memories, affections that I emphasize in this writing during the processes of these collective constructions, with due attention to the constructions of the dramaturgies of the two shows, as they were written at times of loss of great loves of our lives. Neuza Titan adapts the text with a writing of an adaptation of the Amazonian woman, after the loss of her husband and after 18 years, we wrote Mira amor que parte Mira o Amor que Fica, about the loss of my mother, one of the victims of Covid. Our dramaturgies are metaphors of longing.
Acesso aberto (Open Access)
Educação musical e o ensino de violino para crianças autistas: Uma vivência com o método de Edgar Willems.
(Universidade Federal do Pará, 2024-07-10) PINHO, Vivian Ferreira.; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
In the legislative sphere, Law No. 12,764, of December 27, 2012, is in force, which establishes the National Policy for the Protection of the Rights of Persons with Autism Spectrum Disorder (ASD) and in its article 3 establishes that access to education and vocational training are its rights. From this perspective, teachers need to be prepared to take on the challenges of teaching to this audience. This study aims to contribute to this issue by addressing methodological strategies for music education and violin teaching to autistic children, inspired by the pedagogical-musical proposal of Edgar Willems and consequently provides guidelines for teachers who intend to specialize in the field of music education for inclusive classes with autistic children. The general objective of this research is to investigate the contributions of the Edgar Willems method to the process of musicalization and teaching of the violin in inclusive classes with autistic children. This objective unfolds specifically in two, which are: to propose musical activities, through literature review, based on the Willems method; and to verify the musical learning of autistic students achieved through an evaluation scale. To this end, a literature review was carried out in articles, dissertations, theses and books in Portuguese and Spanish, available on online platforms, to identify what the literature deals with music education, from the perspective of inclusive education directed to people with ASD, involving themes such as inclusive legislation, inclusive music education, autism, relations between music education and psychomotricity in the inclusive perspective, music education and violin teaching and music education for Edgar Willems. This is action research, with a qualitative approach and has an exploratory character. The participants of this research come from the Research Group on Developmental Disorders and Learning Disabilities (GP-TDDA), in activity at the Federal University of Pará (UFPA), as a collection technique the participant observation was carried out and an evaluative scale was structured based on the pillars of the pedagogical musical proposal of Edgar Willems, they are: the song, the rhythm, the sound movement (pitch of the sound) and the hearing. There were 11 classes and 3 evaluations, the classes were previously planned and based on the pillars of the method revealed in the literature review. The learning results of the autistic children collected in the evaluations were expressed in graphs and the description was carried out through the participatory research of the musical advances and the behavior of all the participants. The study revealed that the class, both autistic and typical students, evolved. The autistic children demonstrated resourcefulness and understanding of musical practices, experimented with musical elements and autonomously transferred this knowledge to the study of the violin.
Acesso aberto (Open Access)
Artivismo sapatão amazônida na cultura digital como dispositivo de afeto
(Universidade Federal do Pará, 2024-12-10) SALIMOS, Nícia Coelho; MELO, Ana Cláudia da Cruz; http://lattes.cnpq.br/4777116947247545
The research investigates the lesbofeminist artivism of amazonian collectives from the state of Pará, which I term sapativistas, focusing on the visual expressions, digitally available, that constitute an "artified device of sapatão1 affection." The concept of device is grounded in Michel Foucault (1979) and directed towards the intersections of gender, race, and class, as explored particularly by bell hooks (1995; 2019) and Sueli Carneiro (2005; 2019). It is understood as a cultural practice that articulates affection, identity, and LBTQ+ resistance in the context of digital culture. The research seeks to understand how the visual and poetic productions of collectives such as Sapato Preto Amazônida and Rede ALAMP, on Instagram and in physical spaces, express and construct an imaginary of resistance and affect, highlighting symbols and narratives of belonging. The identification of these images as forms of art is based on concepts of artivism, drawing from Lucy Lippard (2024), and on the hypothesis of artification, primarily introduced by Ellen Dissanayake (2009). The analysis methodology combines feminist approaches with sapatão and queer epistemologies, drawing from authors such as Adrienne Rich (2012), Audre Lorde (2019), Glória Anzaldúa (2000; 2005), Ann Cvetkovich (2021), and Sara Ahmed (2006; 2010). These perspectives help to understand dissident poetic production through the lens of lesbian existence and continuum, unveiling the aesthetic and affective codes present in the images and collective actions, as well as the impact of these productions in expanding lesbian visibility and fostering public policies. Among the findings, the research identifies contemporary lesbofeminist artivism in the Amazon region, which operates on digital social networks and appropriates these spaces to create existence and, above all, to expand, make visible, and resignify images while bringing people together in physical or non-physical spaces through encounters of political and cultural resistance. From the perspectives of activist poetics and artification, the sapativistas emerge not only as activist subjects and social protagonists across all analyzed groups but also as creative artivists who reframe images, turning them into powerful forms of affection and emotional impact. With this study, we aim to highlight historically dissident artistic expressions and contribute to the debate on the role of digital culture in the expansion and reconfiguration of lesbian and feminist discourses by Amazonian collectives. This is a challenging endeavor in the face of social media algorithms shaped by a concept of compulsory heteronormativity, while simultaneously promoting new forms of political articulation for the local sapphic community.
Acesso aberto (Open Access)
Experimento Social Online e Fenômeno Artístico: Uma análise do r/place
(Universidade Federal do Pará, 2024-09-30) BOTELHO, Marcela Jatene Cavalcante; STOCO, Savio Luís; http://lattes.cnpq.br/3206903170798612; OLIVEIRA, Hosana Celeste; http://lattes.cnpq.br/4177178840952700
This research aims to understand the following problem: how an analysis of the online social experiment, r/place, can help us utilize the field of the arts to comprehend productions and online phenomena not yet contemplated. For this purpose, the following objectives were established: identify r/place in this 2017 and 2022 editions, trace an analysis methodology for online phenomena, analyze r/place using such methodology and relate r/place with artistic phenomena with peculiar characteristics that puts them on the frontier of formal art thinking. To identify r/place, a literature review about the experiment was conducted, both in his 2017 and 2022 editions, and noted a void of works that studied it, concentrated on the field of arts. As an analysis tool, the hybrid triangular analysis methodology (MATH), was created to understand online phenomena, such as r/place, on three branches: behaviour, as understood under the Artification theory of Ellen Dissanayake, the technique, based on Lev Manovich’s theory on the roles of software, and image, based on studies of art and technology by Stephen Wilson and Christiane Paul. As such, r/place was analyzed following these three characteristics, noting the artified behaviour by its participants, exhibiting the five aesthetic operations as described by Dissanayake, identifying the role of software and technical choices applied by its developers during the event, and how their intentions overflowed to the functionalities of r/place and decisions made regarding software, and the image aspect, understood within the context of digital art as a result of an object (analogic or digital), that suffers from an intentional mediation of software, focusing on the specifics of r/place’s mediation, investigating the imagetic characteristics of the phenomena not as a static picture, but undergoing constant change, in great part thanks to said mediation. Alas, it was established the relation between r/place and two artistic expressions considered by me as on the frontier of the formal understanding of art, the paraense non-architecture known as Raio Que o Para, and pixel art, not as na isolated piece of art, but as an artistic medium, realizing the parallels between r/place and the ways to comprehend said phenomena. The research concludes that the chosen objectives were accomplished, and the analysis of r/place, based on the MATH, can help us utilize the field of the arts to understand online phenomena located yet at the periphery of this area of knowledge opening the possibility to, in the future, apply this methodology to similar productions
Acesso aberto (Open Access)
CORPO – CASA – GAIOLA: O Tapete de Penélope
(Universidade Federal do Pará, 2024-12-19) LIMA, Penélope Lopes de; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
Based on the perception of life’s trajectory as a great source of dramaturgical, poetic and scenic creation; as well as the understanding of the performer's body on stage as a patchwork quilt stitched together by memories, experiences and emotions; this artistic research aims to unravel, unearth and map the patchwork-quilt body of the artist-researcher who stands for both subject and object of research. An excerpt from the childhood period in the actress's life trajectory is the base catalyst for the construction of a solo scenic experiment that explores narrative theater, showcasing her body-home-cage and sharing intimate accounts of the actress's personal dramaturgy with the spectator. By transforming the rehearsal space into a portal directed towards the past (in which photographs and writings recorded within a logbook during rehearsals are true treasures of the creation process), the actress portrays childhood moments in a retreat to her own child self through the narration of portions of the Odyssey (the epic poem attributed to Homer), conveying aspects that influence her performing body today, such as motherhood and blackness. In the crossroads between the girl and the woman, the myth. As dramaturgy of life and the performing body exert on each other, thereby boosting creation processes.
Acesso aberto (Open Access)
ILUMINAÇÃO DOS MORTOS: Uma fotofabulação Afro-pindorâma na Amazônia paraense a partir dos acervos da família Jinknss e Castro em contraponto aos carte de visite etnográficos do século XIX
(Universidade Federal do Pará, 2024-10-25) CASTRO, Naiara Jinknss de; Sequeira, Alexandre Romariz; http://lattes.cnpq.br/0763555042066498
This research aims to create “photofabulations” to fill gaps and recover the memories and histories of Afro-Pindoramic people through photography. As practice-based research, I developed the concept of “Photofabulation” as an artistic practice that emerges for the study and reinterpretation of the XIX century’s carte de visite. Therefore, I challenge and fictionalize the carte de visite created by foreign photographers in Brazil throughout the XIX century that contributed to a history of violence, stereotypes, and one-sided histories regarding the Afro Pindoramic population. I elaborate this process in order to understand how racial stigmas that are present in these cartes de visite have impacted the development of my identity and the history of my family. To reach this proposal, I have created digital interventions in my family’s photo albums aiming to evoke, complement, recognize, and restore the absences generated through the widespread reproduction of the carte de visite. While reflecting upon these images and integrating them into the histories of my family, I hope to establish a more sensible relationship with the past and the memories of my own family’s histories. This research’s methodology includes: a literature review on the concept of Critical Fabulation; digital interventions in images of historical archives; and the digital merging of my family’s (Jinknss and Castro) photo albums. I hope to contribute to the development of artistic counter-narratives that value and represent the experiences and knowledge of Afro-Pindoramic populations in Brazil, exposing an array of complexities that compose of the identity, diversity and history of the country, thus promoting a richer and more inclusive comprehension of Brazilian society.
Acesso aberto (Open Access)
Bilreiras ancestres: alumbramentos para rendilhar uma poética artística
(Universidade Federal do Pará, 2024-09-06) SILVA, Jucélia Bernardo da; SARÉ, Larissa Latif Plácido; http://lattes.cnpq.br/3313460196086035
This research delves into the creation process of artworks from the hybrid performative arts field, which present textile yarn as their primary element of poetic expression, culminating then in the photo performance Bilreiras Ancestres as their current development. The works have been conceived based on the confluence of two distinct leitmotivs, respectively characterized as biographical-affective and political poetical: the practice of bobbin lace techniques by my great-grandmother, Maria Antônia da Conceição, an ancestral instance and creation spark of the here present poetic (MARTINS, 2021); and changes observed in this centenary know-how from its insertion among indigenous people onwards in the brazilian North and Northeast regions during the portuguese colonial time (LOPES, 2005). The relational aspect through the contact with the materials and techniques emerges as a fundamental stage for the deflagration of theoretical considerations and creative processes. This aspect reveals a dimension of entrancement by the ancestral textile technologies as a methodological and poetical resource towards the renewal of traditional knowledge through the production of contemporary art.
Acesso aberto (Open Access)
Tecnologias de Sobrevivência em Arte: Narrativas de uma Ama [Dor] A
(Universidade Federal do Pará, 2023-03-15) OLIVEIRA, Débora Alessandra Costa de; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592
Esta investigación presenta un memorial narrativo, de acciones en/con el arte construidas en los caminos estéticos y críticos que conforman Las Tecnologías de la Supervivencia en el Arte, que son, según mi propuesta argumentativa, colectividades que parten de experiencias femeninas periféricas, y principalmente de mujeres con las que dialogé durante mi trayectoria vital/artística, por lo tanto, entiendo que desde estos procesos periféricos de supervivencia que fundamentan y conducen mi creación estética en el Arte. Presento relaciones de interseccionalidades de género, clase, raza e identidades diaspóricas amazónicas que son el resultado de una vida/experiencia en los márgenes. Procesos que me permitieron comprender una cultura periférica de supervivencia mayoritariamente femenina. Así, compongo las narrativas personales que se comprenden en las teorías de Gonzalés 1998, hooks 2013, Lorde 2012, Njeri 2019, Oyêwumí 2020, Costa 2013, Walker 2021, Carneiro 2005, Piedade 2017, Akotirene 2019, Alvarez 2009, Nascimento 1994. Beatriz Nacimiento que incluso inspira algunas construcciones narrativas dentro de la investigación. Presento una comprensión del matriarcado periférico de la relación brasileño/amazónica con la ascendencia, que pretendo fortalecernos y orientarnos en formas de existir como sujetos diaspóricos. Aquí presento caminos artísticos construidos a partir del apoyo y referencia colectiva de la necesidad, y el registro y visibilización de una red afectiva femenina.