Pintar para não esquecer: as narrativas visuais e orais de Carmézia Emiliano

• Ano de defesa: 2014
• Autor(a) principal: Anater, Roseli
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Roraima; Brasil; PRPPG - Pró-reitoria de Pesquisa e Pós-Graduação; PPGL - Programa de Pós-Graduação em Letras; UFRR
• Palavras-chave em Português: Carmézia Emiliano; Arte Naif; Cultura indígena; Identidade; Memória; Indigenous culture; Identity; Memory; Naïf Art; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: http://repositorio.ufrr.br:8080/jspui/handle/prefix/552

This research aims at analyzing the identity and cultural elements that comprise Carmézia Emiliano‟s life and paintings, studying her works and ways of living as well as her memories, which are the reference to her works. Carmézia is an example of transition, of transculturation by way of migration, since she left her indigenous community and came to Boa Vista to conquer Brazil with her works, which makes the scope about her people‟s culture richer and more fertile. The analysis of her transition from rural to urban ambient was based on authors such as García Canclini, Stuart Hall, Woodward and Bauman, among others, always with reference to the artist‟s works which were selected to the last four Brazilian Naïf Art Biennials. Carmézia brings along with her the memories of her life in the indigenous dwellings, of the relationship with her indigenous fellows and with nature, myths and legends, as well as hunting, fishing, harvesting and partying. Imbued in her own identity, those themes are the basis for her work and are fundamental in understanding both the way she paints and her life; authors such as Halbwachs, Bosi, Burke, Davallon and Pêcheux are also fundamental in understanding Carmézia‟s works. This is a qualitative research involving a case study – the artworks and life history of the artist, achieved by way of interviews, informal and frequent dialogs, and based on the theoreticians cited above –which eventually allowed me to present an analysis of the living and artistic trajectory of this Macuxi painter.