Olhos de sal: ancestralidade e memória em narrativas visuais performáticas afrodiaspóricas

Abstract

This research is part of a poetic-reflective context at the intersection of three fields: Creative Processes, Ancestry and Visual Arts. To align this analysis, it is important to highlight the approximations, tensions, and problematizations about how the realities of black women from the African diaspora in Brazil can be motivators of a poetics in performance art, linked to contemporary aesthetic and political discussions, which can promote a reflection on the importance of black affirmative self-writing in the process of artistic creation that enables other forms of existence and of looking at these issues. Such relationships make up a piece of writing in the poetic trajectory of the researcher who, in more than ten years of artistic practice in the professional scene, generated performance presentations, video works and photographs, derived from research that begins with the crossing of the body by social facts and historical ills directed at black people, and leads to the search for the relationship between ancestry, history and fable, as a possibility of creating other visual narratives through the activation of Itàn Images. In this formative and creative itinerary, we sought to carry out a self-investigative study through the performance and stories of black women and identify and examine how theoretical crossovers – Ancestry, Encruzilhada and Performance – combine with the guiding principles of the artist's poetics – emancipatory notions constant in black creations, such as the recreation of Atlantic memories, autobiographical narratives and the centrality of the black body in performance – which constitute current guiding interests. In this context, a brief contextualization of Afro-diasporic memory and the rituality of Candomblé as a methodological framework and life experience is presented, combined with the relations of performance and black historical issues through a comprehensive approach in dialogue with authors such as Leda Maria Martins, Luiz Rufino, bell hooks, Muniz Sodré, Juana Elbein Santos, Marco Aurélio Luz, Angela Davis, Stuart Hall, Grada Kilomba, Márcio de Jagum. To these are added interviews and analyzes of works by reference artists for Bahian and Brazilian art such as Ayrson Heráclito, Renata Felinto, Laís Machado, Diego Araúja, Priscila Rezende, Val Souza, Yasmin Nogueira, Jamile Cazumbá, Castiel Vitorino among others. In the research, performances performed by the artist throughout her career are analyzed, intertwined with the production of other black performing arts artists with whom contacts and exchanges were established, evaluating points of convergence, reference and relationship between creative processes , theoretical cruisers and experienced and in-depth poetics. The results point to the possibilities of creating visual narratives that start from the crossings and immersions arising from life experiences and artistic practice, which highlight the critical and reflective aspects in the construction of an aesthetic and poetic, which feeds on ancestry and desire to share black stories, images and presences beyond pain.