Imagens de mulheres e crianças afrodiaspóricas: narrativas piauienses para além do museu brasileiro

Abstract

In a Brazilian historical/aesthetic/educational context, of Piauí, of colonialities and subalternations, images of Afro-diasporic women and children can provide experiences of desubalternizations when tensions, negotiations in dialogical narratives, as well as epistemic disobediences happen this was the thesis that guided the job. That is, this work is an attempt to realize that the images of Afro-Diasporic women and children present in Brazilian museums not only reinforce stereotypes but point to possibilities of disobedience in teaching and learning art. In fact, the research problematic allows us to ask: How can images of Afro-Diasporic women and children collaborate for unsubstituted experiences in teaching and learning art, since they are often images that collaborate more to affirm narratives that subordinate these subjects? How to experience the art and teaching of art from the frontier, between the hegemonic/subalternizing knowledge about art and its teaching, about the images of Afro-Diasporic women and children and our daily life? The process had the following phases: visit and capture (through photographs and field diary) of works of art in museums in the southeast of Brazil between 2014 and 2015; the "Propositions on images of Afro-descendant women and children" at the Federal University of Piauí, in Teresina-PI with subjects/interlocutors of the research (artists, students, professors and researchers of art and education), on 21, 22 and October 23, 2015 (with audio and visual recordings); confection of dialogical map; identification, selection, dialogical analysis of the images and narratives discussed and produced in the workshop; and the writing of the thesis. The workshop was considered as a "meeting griô" (meetings of people inspired by Afro-descendant oral practices/aesthetics) provoked by "oralimagens" (life narratives with images of art), a meeting where we enunciated our stories, that allowed to embroider or to make narrate) these stories. Talking about images of women and children also allowed me to talk with the speakers in the workshop, with the theorists read and with my own story. As in a river, in the stream of water, the images appeared reflecting these encounters; the river that flows on the floor is like the screen, where the recurring images in our memories (experiences of the Afro-Diasporic frontiers) pass. The experiences were embroidered or laced (narrated) in the form of letter-chapters or chapters inspired by letters. Mikhail Bakhtin (2003; 2004; 2010; 2011), Walter Mignolo (2003; 2008), Jorges Didi-Huberman (2011; 2012; 2013), Roland Barthes (1984), Walter Benjamin (1985; 1994; 2002), Gloria Anzaldúa (2000; 2005), María Lugones (2014), bell hooks (2004; 2006; 2009), Frantz Fanon (1968; 2008), Miridan Falci (1991), Luiz Mott (1985), Solimar Lima (2005; 2008), Mailsa Passos (2014), Anibal Quijano (2000; 2005), Walter Mignolo e Pedro Pablo Gómez Moreno (2012), Darcy Ribeiro (1995), Clovis Moura (c. 1959), Florestan Fernandes (1989), Amadou Hampaté Bâ (2010), Michel de Certeau (1994) are some of the theoretical interlocutors with whom I try to talk