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A dança bate-barriga em Helvécia (Bahia/Brasil) : uma performance afrobrasileira de coesão social
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A tese consiste no estudo da performance cultural da dança bate-barriga do distrito de Helvécia (Bahia/Brasil), comunidade afrobrasileira originada em contextos da colonização materializados na região pela então “Colônia” Leopoldina – 1818, com base no Decreto de 1808. O empreendimento se utilizou do trabalho de africanos e afrobrasileiros em regime de escravidão, instituído pelo projeto de expansão da Conquista da América que teve como paradigma a diferença colonial. A questão da pesquisa incide em saber como a dança bate-barriga, uma “arte performativa” que vem do século XVIII é um fator de identificação e coesão social da comunidade de Helvécia? Neste intuito, objetivamos analisar a performance da dança bate-barriga neste processo de identificação e coesão entre as atuais gerações; compreender a performance como Patrimônio Cultural; aprofundar o estudo desenvolvido no Mestrado revisitando o processo de fragmentação das culturas sob os efeitos da monocultura do eucalipto, apontada pelos dançantes e foliões, ênfase para o caráter de identificação referenciado; produzir um estudo teórico-conceitual sobre a performance, estética ancestral produzida a partir da recolha permanente de significações deixadas nos enfrentamentos da diáspora africana. Os estudos da performance, a antropologia cultural, a teoria pós-colonial e os estudos subalternos ancoram a pesquisa. A metodologia assenta no tipo de Pesquisa Social na abordagem qualitativa e na prática da etnografia, em diálogo com outros métodos de investigação; este conjunto consubstancia-se na âncora teórica para compor o estudo de caso. Constatamos que a performance da dança bate barriga, Patrimônio Cultural, é fator de identificação e coesão social da comunidade. Helvécia, em nossos dias, é uma comunidade atravessada pelo poder da cultura dominante representada pelo imaginário do mundo colonial-moderno. As ações empreendidas historicamente mantém o coletivo de afrobrasileiros em condições subalternas, as quais subalternizam a arte, as culturas e os comportamentos. Helvécia é composta de grupos sociais sem representação. Este estudo de caso nos orientou ainda a propor a reescrita da história das culturas produzidas nessas comunidades, tendo por narrativa articuladora os sentidos de ancestralidade, material simbólico de seu patrimônio e matéria-prima de suas performances. Com vistas a romper com a condição de subalternidade, na perspectiva da descolonização de corpos, culturas e costumes à consciência coletiva subalterna e à conscientização estético política de suas práticas e de seus contextos.
The thesis consists on the study of the cultural performance beat-belly dance in Helvecia district (Ba-hia, Brazil), a black comunity which has its origin in the colonization context, materialized on the region by the Leopoldina colony - 1818, based on the 1808 Decree. The venture made use of African and Afro-Brazilian workforce under slavery regimen, which was instituted by the Conquer of America expansion project, having colonial difference as a paradigm. The study was focused on the investiga-tion of the beat-belly dance, a performative art with its origins in the XVIII century, as a element of identity and social cohesion within Helvecia comunity. As such, the purpose of the thesis is to analyse the beat-belly dance in the proccess of indentidy and cohesion between new generations; understand the performance as a cultural heritage; provide further understanding on the knowledge aquired during master degree, revisiting the process of fragmentation of cultures under the effect of the eucalyptus monoculture, pointed by dancers and revelers, emphasizing the identification characteristics refered; to produce a theoretical-conceptual study on the performance as a ancestral aesthetic manifestation pro-duct of the collection of meanings left in the confrontations of the African diaspora. Therefore, the study of the performannce, cultural anthropology, post-colonial theories and subaltern studies were base for this research. The methodology employed in this study was the Social Research type, with qualitative and ethnography approach, in dialogue with other research methods; substantiates this set on the theoretical anchor to write the case study. Results shows that the performance of beat belly dance, a Cultural Heritage, is a factor of identity and social cohesion within the community. Currently, Helvécia is a community crossed by the power of the dominant culture, represented by the Imaginary colonial-modern world. Actions undertaken over time historically holds Afro Brazilian in subordinate conditions, which leads to hold its art, culture and behavior under subaltern status. Helvécia is composed by social groups without social representation. This study has guided us to also propose a rewrite of the history of the culture produced in these communities, demonstrating that the narrative is articulated by the sense of ancestry, symbolic material of their heritage and raw material for their performances. With the intent to rupture the subaltern status, considering the perspective of decolonization of people and cultures, to the collective subaltern conciousness and to raise esthetic and political awa-reness of their practices and their contexts.
The thesis consists on the study of the cultural performance beat-belly dance in Helvecia district (Ba-hia, Brazil), a black comunity which has its origin in the colonization context, materialized on the region by the Leopoldina colony - 1818, based on the 1808 Decree. The venture made use of African and Afro-Brazilian workforce under slavery regimen, which was instituted by the Conquer of America expansion project, having colonial difference as a paradigm. The study was focused on the investiga-tion of the beat-belly dance, a performative art with its origins in the XVIII century, as a element of identity and social cohesion within Helvecia comunity. As such, the purpose of the thesis is to analyse the beat-belly dance in the proccess of indentidy and cohesion between new generations; understand the performance as a cultural heritage; provide further understanding on the knowledge aquired during master degree, revisiting the process of fragmentation of cultures under the effect of the eucalyptus monoculture, pointed by dancers and revelers, emphasizing the identification characteristics refered; to produce a theoretical-conceptual study on the performance as a ancestral aesthetic manifestation pro-duct of the collection of meanings left in the confrontations of the African diaspora. Therefore, the study of the performannce, cultural anthropology, post-colonial theories and subaltern studies were base for this research. The methodology employed in this study was the Social Research type, with qualitative and ethnography approach, in dialogue with other research methods; substantiates this set on the theoretical anchor to write the case study. Results shows that the performance of beat belly dance, a Cultural Heritage, is a factor of identity and social cohesion within the community. Currently, Helvécia is a community crossed by the power of the dominant culture, represented by the Imaginary colonial-modern world. Actions undertaken over time historically holds Afro Brazilian in subordinate conditions, which leads to hold its art, culture and behavior under subaltern status. Helvécia is composed by social groups without social representation. This study has guided us to also propose a rewrite of the history of the culture produced in these communities, demonstrating that the narrative is articulated by the sense of ancestry, symbolic material of their heritage and raw material for their performances. With the intent to rupture the subaltern status, considering the perspective of decolonization of people and cultures, to the collective subaltern conciousness and to raise esthetic and political awa-reness of their practices and their contexts.
Descrição
Tese de doutoramento, Belas Artes (Especialidade de Ciências da Arte), Universidade de Lisboa, Faculdade de Belas artes, 2017
Palavras-chave
Teses de doutoramento - 2017 Património cultural Performance Dança Etnologia Rituais Estética Brasil