Arte no Candomblé: uma leitura feminina das obras de Neves e Sousa
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Data
2022
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Resumo
Este trabalho tem como finalidade dialogar sobre a performance ritual do Candomblé a partir
das experiências corporais de mulheres que integram a religião. Como fio condutor da
narrativa elaborada, foram usadas obras do artista e etnografista português Neves e Sousa,
consideradas aqui como iconografias históricas. Para o Candomblé, a arte é o meio por onde
as memórias são passadas, sendo também, a chave essencial de todo ritual para atrair e
manifestar o sagrado, que nesta cosmovisão, são reconhecidos como Orixás. Entre todos os
elementos artísticos que compõem o Candomblé, tais como dança, teatro, música,
ornamentária, vestimenta, gastronomia e outros, o destaque está no corpo, pois é ele quem
manipula os saberes e recebe seus deuses. Assim, sendo esta uma religião tradicionalmente
matrifocal, percebeu-se na literatura a necessidade de abordar as experiências corporais e
místicas, que partissem de olhares propriamente femininos. A proposta levantada não almeja
concluir, mas sim abrir espaços para reflexões sobre como no universo de terreiro, arte e
religião mesclam-se e desenvolvem-se junto dos movimentos sociopolíticos brasileiros ao
longo do tempo.
Performance Ritual, Candomblé, Arte, Feminino, Corporalidade
This work aims to discuss the ritual performance of Candomblé from the bodily experiences of women who are part of the religion. As a guiding thread for the elaborated narrative, works by the Portuguese artist and ethnographer Neves e Sousa were used, considered here as historical iconographies. For Candomblé, art is the means through which memories are passed, being also the essential key of every ritual to attract and manifest the sacred, which in this cosmovision, are recognized as Orixás. Among all the artistic elements that make up Candomblé, such as dance, acting, music, ornaments, clothing, gastronomy and others, the highlight is on the body, as it is the body that manipulates knowledge and receives its gods. Thus, as this is a traditionally matrifocal religion, the need to address bodily and mystical experiences, which departed from properly feminine gazes, was perceived in the literature. The proposal raised does not aim to conclude, but make room for reflections on how, in the terreiro's universe, art and religion mix and develop together with Brazilian sociopolitical movements over time. Performance Ritual, Candomblé, Art, Feminine, Corporality.
This work aims to discuss the ritual performance of Candomblé from the bodily experiences of women who are part of the religion. As a guiding thread for the elaborated narrative, works by the Portuguese artist and ethnographer Neves e Sousa were used, considered here as historical iconographies. For Candomblé, art is the means through which memories are passed, being also the essential key of every ritual to attract and manifest the sacred, which in this cosmovision, are recognized as Orixás. Among all the artistic elements that make up Candomblé, such as dance, acting, music, ornaments, clothing, gastronomy and others, the highlight is on the body, as it is the body that manipulates knowledge and receives its gods. Thus, as this is a traditionally matrifocal religion, the need to address bodily and mystical experiences, which departed from properly feminine gazes, was perceived in the literature. The proposal raised does not aim to conclude, but make room for reflections on how, in the terreiro's universe, art and religion mix and develop together with Brazilian sociopolitical movements over time. Performance Ritual, Candomblé, Art, Feminine, Corporality.
Descrição
Orientação: Paulo Mendes Pinto
Palavras-chave
MESTRADO EM CIÊNCIA DAS RELIGIÕES, RELIGIÃO, SOUSA, NEVES E, RITUAIS, MULHERES, RITUALS, RELIGION, ARTE, CANDOMBLÉ, ART, WOMEN