Abstract

Nos de Aruanda: Artistas de Terreiro is a project of collective exhibition withprotagonism of artists from terreiros and collective curatorship, which happens in Belem doPara since 2013, made with the objective of bringing together artists from communities of thetraditional African peoples (terreiros de candomble) in an exhibition with works originatingfrom the daily life of these communities and that reveal the poetic production of the black visualartists of terreiros, to circulate information about artistic production with the protagonism ofthese peoples, to contribute to the implementation of Law 10.639 / 03, and to encourage theoccupation of spaces of cultural equipment by the black people. The need to insert artists fromterreiros into the circuit of visual arts appeared at the end of 2011 as an 'insigth' during theclasses of the discipline Poetic for the specialization course in 'Education forethnic-racial relations' offered by the Afro-Amazonian Studies Group - GEAAM / UFPA. It wasin these classes that we aimed to subsidize the teaching of and culture andcontribute to the implementation of Law 10.639 / 2003, that we perceive that most of the works that the history of registers as Afro-Brazilian art are of Euro-descendent artists who are notpart of traditional communities of African matrices. So what we perceive is a biased view ofAfro-Brazilian traditional practices. produced by artists who only use the ethnic-racial theme touse them in works without any involvement or deepening on ethnic-racial relations in theBrazilian diaspora. It is a cut, a quilt stitched together with several pieces of reports ofexperiences in the plural of artist interviews and other plots that recompose the memory of fivecenturies of black presence in the Amazon, and five years of a project aimed at re-being black inthe visual arts in the State of Para.

Highlights

  • Key-words: Nós de Aruanda; artistas de terreiro; poetics of black resistance; african matrix conversations; afro-brazilian Art; Visual arts; teaching Visual Arts; Law 10.639 / 03

  • Es un recorte, un edredón cosido con varios informes de experiencias, plural, entrevistas de artistas y otras parcelas que recomponemos la memoria de cinco siglos de presencia negra en el Amazonas, y cinco años de un proyecto que busca desobedescarse de las artes visuales en el estado de Pará

  • Quando o barroco mineiro pode ser considerado um “orgulho nacional”, as escolas de arte ainda omitem a negritude de Antônio Francisco Lisboa, e também omitem o fato de que a arte produzida em seu atelier/oficina também estava impregnada do simbolismo e das referências visuais da matriz africana que lhe habitava, e essa percepção da negritude na produção artística e na visualidade da nova capital do reino, também parece ter sido um problema para a corte portuguesa que se instalava no Rio de Janeiro

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Summary

Introduction

Key-words: Nós de Aruanda; artistas de terreiro; poetics of black resistance; african matrix conversations; afro-brazilian Art; Visual arts; teaching Visual Arts; Law 10.639 / 03.

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