Uma coleção-documento: estudo da coleção de cópias em gesso de arte centro-africana do Museu Afro-Brasileiro-UFBA- primeiras notícias de pesquisa
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Data
2017
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Edições Universitárias Lusófonas
Resumo
Esta pesquisa de pós-doutorado trata do estudo de uma coleção de 12 cópias de importantes obras que se constituem
como referências da arte centro-africana, destacadas nos principais livros e catálogos especializados. As cópias pertencem
ao acervo do Museu Afro-Brasileiro da Universidade Federal da Bahia (MAFRO/UFBA), foram doadas pelo Museu Real da África
Central (Tervuren-Bélgica). Para compreender a trajetória e a história desta coleção de cópias em gesso, na dimensão de
coleção-documento, foi preciso trabalhar com histórias institucionais e pessoais, e conviver com espaços lacunares dos
diversos arquivos.Esta trama museal remete aos antecedentes da criação dos grandes museus etnográficos, uma vez que a
trajetória das cópias não se dissocia da trajetória de suas originais. As peças originais foram retiradas do antigo Congo
Belga, com produções dos povos das regiões geográficas da atual República Democrática do Congo e do Nordeste de Angola.
A história colonial-escravista, com suas instituições e personagens,está entrelaçada às peças em diferentes contextos,
desde a retirada dos seus locais de origem, anulando suas funções e usos, à transformação em acervos etnográficos e
posteriormente em acervos artísticos, servindo de suporte material para a divulgação de ideias raciais e racistas de
inferioridade cultural e social dos povos africanos. Pretende-se ao final do processo de estudo produzir uma narrativa escrita
com diversas vozes (livro-catálogo) e uma narrativa expográfica, que tratarão dos aspectos relativos às implicações e
entrelaçamentos das histórias que envolvem a coleção original e as cópias, os diversos sujeitos e instituições, que são
particularmente marcados por suas características identitárias.
This post-doctoral research deals with the study of a collection of twelve copies of important works to act as a reference of the Center African Art, highlighted in the main specialized books and catalogs. Copies belong to the Afro-Brazilian Museum collection of the Federal University of Bahia (MAFRO / UFBA), were donated by the Royal Museum of Central Africa (Tervuren, Belgium). To understand the trajectory and the history of this collection of plaster copies, like collection-document, we had to work with institutional and personal stories, and live with lacunars spaces of the various files. This museum plot refers to the background of the creation of the great ethnographic museums, since the trajectory of the copies does not dissociate the trajectory of their original. The original pieces were taken from the former Belgian Congo, with productions of people in the geographic regions of the Democratic Republic of Congo and the North East of Angola. The colonial-slavery history, with its institutions and characters, is intertwined with parts in different contexts, since the withdrawal of their places of origin, nullifying their functions and uses, processing in ethnographic collections and later in art collections, serving material support for the dissemination of racial and racist ideas of cultural and social inferiority of African people. It is intended, at the end of the study process, produce a written narrative with several voices (book and catalog) and a expographic narrative, which will deal with matters relating to the implications and intertwining of stories involving the original collection and prints, different individuals and institutions that are particularly marked by their identity characteristics.
This post-doctoral research deals with the study of a collection of twelve copies of important works to act as a reference of the Center African Art, highlighted in the main specialized books and catalogs. Copies belong to the Afro-Brazilian Museum collection of the Federal University of Bahia (MAFRO / UFBA), were donated by the Royal Museum of Central Africa (Tervuren, Belgium). To understand the trajectory and the history of this collection of plaster copies, like collection-document, we had to work with institutional and personal stories, and live with lacunars spaces of the various files. This museum plot refers to the background of the creation of the great ethnographic museums, since the trajectory of the copies does not dissociate the trajectory of their original. The original pieces were taken from the former Belgian Congo, with productions of people in the geographic regions of the Democratic Republic of Congo and the North East of Angola. The colonial-slavery history, with its institutions and characters, is intertwined with parts in different contexts, since the withdrawal of their places of origin, nullifying their functions and uses, processing in ethnographic collections and later in art collections, serving material support for the dissemination of racial and racist ideas of cultural and social inferiority of African people. It is intended, at the end of the study process, produce a written narrative with several voices (book and catalog) and a expographic narrative, which will deal with matters relating to the implications and intertwining of stories involving the original collection and prints, different individuals and institutions that are particularly marked by their identity characteristics.
Descrição
Cadernos de Sociomuseologia
Palavras-chave
MUSEOLOGIA, MUSEOLOGY, MEMÓRIA, MEMORY, PATRIMÓNIO, HERITAGE, ARTE AFRICANA, AFRICAN ART, BRASIL, BRAZIL, MUSEUS, MUSEUMS