Avermelhada, corpa-guerra corpa-cura: resistência indígena Kariri nas artes da cena

• Ano de defesa: 2024
• Autor(a) principal: Barbara Leite Matias
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; EBA - ESCOLA DE BELAS ARTES; Programa de Pós-Graduação em Artes; UFMG
• Palavras-chave em Português: Povos indígenas; Teatro performativo; Atuação performativa; Feminismo comunitário; Processos criativos; Performance (Arte); Mulheres artistas; Índios Tapuia; Nativos; Feminismo e arte; Indígenas da América do Sul - Brasil - Mulheres; Artes cênicas
• Link de acesso: http://hdl.handle.net/1843/77326

This research aims to identify and analyze the performative actions of indigenous women artists from the Kariri people, based on the study of these artists' works, theories of anti-patriarchal and community feminism, gender studies and the context of the struggle of indigenous peoples in Brazil. The thesis is audiovisual (interview and video) and written. A YouTube channel called Avermelhada Kariri has been created to show episodes discussing the creative processes of myself and the artists Ana Floresta and Luz Barbara, who are also discussed in the writing of this thesis. The thesis is divided into five cycles (chapters), in three parts: in the first two chapters I begin from my life story, contextualizing the struggle of Brazil's indigenous peoples, specifically the Kariri people of Aldeia das Marrecas community, in Lavras da Mangabeira, Ceará, where I was born and still belong. The third and fourth chapters deal with the feminist struggle traced through my life story, using agriculture as a methodology for performative arts research and reflecting on the shows of the artists Ana Floresta (Histórias que Penha conta, Crato, Ceará) Luz Bárbara (Margarida, PB-SP) and my works Cardinal (2017), Trilogia de performance da terra (2011 - 2023) and Trilogia de performance afeminada (2018 - 2022). To this end, I have conducted field research that included investigative cartographic work, such as collecting audio and video recordings, visiting spaces where these artists have an affective/political and memorial relationship, historical documentation of the struggle of indigenous peoples, especially through oral narratives, accompanying shows and performances and actions relevant to the investigation of this thesis. In the fifth and final chapter, I give a critical and reflective account of contemporary art made by indigenous people and introduce the group I founded in 2020 (the year I started my PhD), Coletiva Flecha Lançada Arte. These encounters of creative processes / investigative procedures present an overview of how the honest re-signification of indigenous culture / everyday life (presented by indigenous people) can be read and re-elaborated in the practices of artists of indigenous and non-indigenous backgrounds.