Corpos que gingam: comunicação e persistência cultural na capoeira Angola

• Ano de defesa: 2023
• Autor(a) principal: Gomes, Elisângela
• Orientador(a): Dias, Luciene de Oliveira
• Banca de defesa: Dias, Luciene de Oliveira, Borges, Rosane da Silva, Vaz, Gláucia Aparecida, Fernandes, Ana Rita Vidica, Cirqueira, Diogo Marçal
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Comunicação (FIC)
• Departamento: Faculdade de Informação e Comunicação - FIC (RMG)
• País: Brasil
• Palavras-chave em Português: Comunicação; Capoeira Angola; Cultura; Contravisualidade; Escrevivência
• Palavras-chave em Inglês: Communication; Culture; Contravisuality; Writing
• Área do conhecimento CNPq: CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/13115

Corporeality in the African diaspora establishes new territories, albeit impermanently. It is transformed, but it also modifies the geography of cities by disputing meanings and constructions of identity. The body’s existence is based on a continuous movement to stay alive, so black corporeality can be understood as the driving force behind communication. It affirms itself through its culture, which in turn finds in the body the possibility of remaining. In this way, I seek to understand how communication is established through corporeality and presents African civilizational values in the Black Diaspora. At the beginning of each chapter, a short story presents stories heard and lived that dialog with the understanding of evaristian writing, bringing to this great circle the ginga present between theory and practice. Capoeira Angola, chosen for analysis, manifests itself centrally in the body and its reactions. Therefore, corporeality not only constitutes culture, but is also a fundamental part of its existence. The type of research was participant-based, understanding the importance of theory and practice combined. As data collection instruments, I used a script of semi-structured questions that were applied with Mestre Guaraná, Mestra Ana Maria, Ceiça Ferreira, Andresa Moreno and Juliana Cordeiro; associated with photographic, sound and audiovisual records. The composition of images was contributed by Goiás photographers and capoeiristas Juliana Cordeiro and Andresa Moreno. The search is for the possibility of seeing portraits of Capoeira Angola from Goiás made from an inside look at the experience in a movement to claim the “right to look”. I use the articulation between the body, communication and black identity elaborated by Muniz Sodré (1998; 2017), who, based on the analysis of cultural aspects such as samba and musicality, perceives the body as an affirmation of an African cultural universe. My understanding of communication is based on the contributions of Fabien Eboussi Boulaga (1977), who states that the original communication with the world lies in the act of feeling; and Ciro Marcondes Filho (2007; 2019), who interprets it as a process, an event that can occur between people or between people and objects, but even so, a rare event. The discursive practice that claims the right to look has its own techniques, and has been disseminated as a counter-visuality by Nicholas Mirzoeff (2016), a visual culture theorist. The data resulting from the collection stage was analyzed in convergence with the theoretical-methodological framework adopted. In constant dialog with communication, I bring up references based on cultural studies, covering concepts from African philosophy and sociology, black literature and visual culture. To encompass the complexity of the body, I brought in the Yoruba world concept of Cosmosensation (OYĚWÙMÍ, 2021), which understands that, in a sensory and cognitive dimension, we are integrated with nature, with the cosmos. To conceptualize culture, the perspective presented is based on an African cultural unity (DIOP, 2014), supported by the existence of a common trunk founded on African civilizational values that accompanied the African people in the Black Diaspora. I enter cultural studies from the perspective of Stuart Hall (2009), who, when scrutinizing the migration process in the Caribbean, states that there is a reunion with Afro-Caribbean traditions due to the need to make sense of the interpretative matrix and cultural self-images. With this research, it was possible to affirm that black cultural manifestations have the potential to bring together the construction of collectivities, a sense of belonging and the creation of bonds of affection, making it possible to learn and remember teachings that were “forgotten” as a survival strategy in the face of the politics of death. Its foundations present African civilizational values, which in turn are under constant threat considering the presence of structural racism, the lack of institutional recognition of the figure of Mestras and Mestres and acts of cultural appropriation and intolerance. The analysis of the images resulted in the understanding that Capoeira Angola is a space for identity formation and recognition of corporeality and has the potential to transform the gaze of its practitioners, so the images recorded by the photographers reconstitute historical images, generating an imagetic representation based on respect, affection, dignity and protagonism of black people. I conclude that black corporeality is not at the service of visuality, and by proposing other possibilities for recording, they provide an opportunity to create new memories of black corporeality.