A pele que habito: o corpo negro no/do feminino como território de pesquisa acadêmica, da criação artística e da estratégia política

• Ano de defesa: 2022
• Autor(a) principal: Batista, Patrícia Giselia
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em História
• Palavras-chave em Português: Interseccionalidade; Teorias feministas; Performance Arte; Raça; História; CNPQ::CIENCIAS HUMANAS::HISTORIA; Performance (Arte); Estudos feministas
• Link de acesso: https://repositorio.ufu.br/handle/123456789/36494; http://doi.org/10.14393/ufu.te.2022.509

This is a thesis developed in the area of history, based on axes of analysis of cultural, decolonial studies, and feminist theories, particularly fertilized by the recent production of Afro-Brazilian Studies. By establishing dialogues between History and Art, I try to decipher/recipher the historical construction of bodies/subjects/subjectivations that materialize in the creation, in the language and in the aesthetic and political effects of the “performance art” developed by Brazilian artists, instigated by the interrogation – what do female bodies mean in performances in Brazil? With the research and reflection on the technologies of sex-gender and race in the practices and theories in progress, the need was forged to discuss the object - performance - from an intersectional point of view - in particular, between race, gender, class and sexuality, in order to approach a reflection that could proceed toward the historical conditions of aesthetic, political, critical, intertextual, multiple identities in/of the feminine. It still did not seem possible to despise the problematization of the place of the research subject, a place of speech intersected by the same historical vectors of power, resistance and self-representation / subjectivation in the perspective of construction of a situated knowledge. In this trajectory of (re)knowledge and analysis, I propose to proceed toward in a privileged way works by Afro-Brazilian artists, subjects who, not by chance, present themselves as “new” or “emerging” socially, as they have only recently managed to conquer significant spaces in the world. social discourse, and above all academic, political and artistic spaces, thus being able to be recognized among libertarian practices.