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Doctoral Thesis
DOI
https://doi.org/10.11606/T.93.2020.tde-03032020-172852
Document
Author
Full name
Ligia Velloso Nobre
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2019
Supervisor
Committee
Freire, Maria Cristina Machado (President)
Azevedo, José Fernando Peixoto de
Jacques, Paola Berenstein
Marquez, Renata Moreira
Pelbart, Peter Pal
Sztutman, Renato
Title in Portuguese
Terra-chão em movimento: ponto riscado, arte, ritual
Keywords in Portuguese
Arte e ritual
Modos de vida e arte contemporânea
Pontos riscados
Rituais afro-brasileiros
Teoria da arte e antropologia
Abstract in Portuguese
Esta tese se propõe a pesquisar os pontos riscados da Nação Livre Aruanda (Cotia, São Paulo), um terreiro de culto aos orixás e guias-entidades ou um modo de vida artístico-ritualístico, instituída em 2001 pelo babalorixá e artista Kabila Aruanda e Mentoria. Os pontos riscados são inscrições de matriz afro-diaspórica, feitos pelo babalorixá, nos rituais no chão de terra batida, em corpos humanos, em tecidos ou metais em linhas em movimento e múltiplas temporalidades. Esses diagramas rituais ou cosmogramas operam como gestos da escuta, de produção e de instauração de modos de existência e de relações entre humanos e não humanos, ao longo de trajetórias plurais. Esta investigação dialoga com práticas artísticas que têm problematizado definições prévias e normatizadas da história da arte ocidental. Propõe uma coexistência de práticas heterogêneas, e a potência política/ritualística da arte de pensar-agir- -sentir com e entre mundos.
Title in English
Moving Earth-ground: drawn point, art, ritual
Keywords in English
Afro-Brazilian rituals
Art and ritual
Art theory and anthropology
Drawn points
Forms of life and contemporary art
Abstract in English
This thesis aims to research the pontos riscados [drawn points] of Nação Livre Aruanda (Cotia, São Paulo), a terreiro [temple, shrine, community of followers] of worship to the orishas [Yoruba deities] and entities or an artistic-ritualistic form of life, instituted in 2001 by the babalorisha [high priest] and artist Kabila Aruanda and Mentoria [Spiritual Mentors]. The pontos riscados are inscriptions of Afro-diasporic matrix, made by the babalorisha, in the ritualson the ground floor, on human bodies, on tissues or metalsin moving lines and multiple temporalities. These 'ritual diagrams' or 'cosmograms' operate as gestures of listening, producing and establishing modes of existence and relationships between humans and nonhumans, along with plural trajectories. The research dialogues with artistic practices that have problematized prior and standardized definitions of Western art history. It proposes a coexistence of heterogeneous practices, and the political/ ritualistic power of the art to think-act-feel with and in between worlds.
 
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Publishing Date
2020-03-03
 
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