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The various volumes coordinated by Pierre Nora to pursue a history of the places of memory in France have become a multidisciplinary theoretical reference for those who, like us, seek to reconstruct the memories with which the land of the Potiguara aborigines of Brazil is organized today. In the introduction to the voluminous work that he directed for eight years, Nora explained his epistemic understanding of the notion of “places of memory”, stressing that a “lieu de mémoire” is any significant entity that, material or immaterial in nature, through a human will or the wear and tear of time, has become a symbolic element of a community's memorial heritage. The French historian also added that, since memory is the fundamental structure of this generally lengthy process, it was convenient to understand it as a phenomenon of emotions and magic that only accommodates the facts that feed it. Strictly speaking, memory is always vague, and reminiscent, stirring both general impressions and fine symbolic details. Furthermore, memory is always vulnerable to transference, repressed and imagined memories, censorship, and all kinds of projections. (Nora, 1984). In this article, we try to understand that the places of memory are also almost always what comes to us, stays, and selects the past. The reserve where they live appears as a symbolic locus to which the Potiguara aborigines cling with all their strength to preserve what remains of their past.
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This research intends to analyze how the social, political, economical and cultural transformations of the retrocession of Macao S.A.R. to China influenced the contemporary grassroots artistic production, namely their response to the issue of One Country, Two Systems policy. This transitional state of these places in-between creates a somehow ambivalent situation where some of the core values of identity and heritage are fading away due to the forces of the current development. In this sense, it urges to consider the ways in which artists in the post-retrocession era in their lived experiences, form their own sense of community and consciousness of place, time and belonging and, by doing so, can contribute to the preservation of some of the local and specific characteristics, enhancing the cultural vitality of the region. The growing interest by the artists in the issues of preservation and engagement with the locality, trough memory and history, manifested in ‘alternative’ modes of production, is providing a different model of ‘place making’ and a narrative that contrasts and complements some of the top-down cultural policies. Since the focus of development in these territories has been on the idea of creative industries, entertainment and tourism as possible realities for the pressing economical diversification, these grassroots models, functioning as the ‘second system’ open up complexity, providing different questions and answers to the future of artistic production. Finally, departing from these examples, we analyze the possibility of a new image for these kinds of artistic practices, through their incorporation into the possibility of relational aesthetics ‘with Chinese characteristics’, within the perspective of integration, and as emergent features in the field of contemporary art
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Nessa noite decidiram hospedar-se num motel pois queriam acordar às 3.45 para ver o primeiro sol das Américas na Ponta de Seixas, João Pessoa, Paraíba. Subiram à torre do Nazareno às 4.45 e, quando já pensavam que as nuvens não iam deixar assistir ao nascer de mais um dia aprazível, eis que ele, o senhor rei dos dias, surge do mar. Enquanto os olhos brilhavam ao sol, lembrou-se que Chico César era dali perto, do interior da Paraíba, para as bandas de Campina Grande. Recordou que a primeira vez que tentou olhá-lo nos olhos percebeu que ele estava envolvido numa […]
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Nowadays, contemporary art practices have been expanding into fields outside their own borders. According to Claire Bishop (2012), this expanded field of post-studio practices currently goes under a variety of names: socially engaged art, community-based art, experimental communities, dialogic art, littoral art, interventionist art, participatory art, collaborative art, contextual art and (most recently) social practice. By engaging, artists nurture the sense of belonging and search for an identity of the place they inhabit. In Hong Kong and Macao, as well as in the Pearl River Delta and China in general, the speed of urban transformation is forcing artists to reconsider their participation in the city in order to develop a creative place making process that is according to the new identity of the place. By doing so, they are also included in what has been defined as “creative industries” that tries to build a new image of the urban fabric. Linked with this sort of collective attitude, there is also an attempt to find a sense of local identity that has been disappearing in the face of these major developments. Engaging with the city and the communities may constitute, therefore, a challenge for the young generation, especially in hybrid places such as Hong Kong and Macao, where artists find themselves in an effort to understand the core values of their fragmented identity. In this paper we will analyze some projects that artists are doing in both SAR´s, in order to create a sense of place in this state of transition.
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últimos assumidos remanescentes provavelmente de um território cultural antes bem mais vasto vivem atualmente nos municípios de Baía da Traição, Marcação e Rio Tinto, no litoral setentrional da Paraíba - nem sobre s seus espaços, culturas e gentes. É preciso dobrar a primeira metade do século XX para se encontrar nos títulos gerais de histórias da Paraíba alguma atenção pelos Potiguara e a sua movimentação histórica no processo longo e contraditório de formação da capitania e da instalação portuguesa na região, enfrentando primeiro a concorrência comercial e militar francesa, depois no século XVII a ocupação holandesa e sempre, até quase meados de seiscentos, a oposição muitas vezes feroz e brutal de vários grupos e milícias potiguaras. A arqueologia confirma um processo recente de formação histórica dos espaços atualmente reivindicados como originais e tradicionais pelos Potiguara. Os estudos linguísticos disponíveis sobre os Potiguara também não destacam a memória rigorosa de um espaço cultural arcano e pré-colonial. Os espaços Potiguara de hoje com este sistema de organização agrícola quase binário são tudo menos naturais. Trata-se, antes, de um espaço em recorrentes transformações históricas, demográficas, económicas e sociais que desafia qualquer ideia de um espaço ‘natural’, ‘original’ ou ‘essencial’ dos Potiguara. Seja como for, estas polarizações estruturais são historicamente aquelas que presidiram à exata produção dos espaços que atualmente os Potiguara apresentam como seus, originais, antigos e tradicionais seguindo, afinal, um modelo colonial de ocupação de espaços e especialização das gentes do Brasil.
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eoi/doi Deposit-Electronic Object Identifierhttp://eoi.citefactor.org/10.11248/ehum.v6i2.1385RESUMO: A aldeia dos índios Potiguara não é somente um aglomerado de casas e pessoas. Trata-se de um espaço social muito mais complexo, somando ao habitat modelos de parentesco, cruzando práticas culturais e economicas, juntando aos humanos bichos e plantas, rotinas de trabalhos e “libertações” de lazeres. A aldeia Potiguara embora se apresente como singular, ela comunicava e continua a comunicar hoje com redes mais amplas de aldeias rurais e indígenas, gerando transformações culturais e sociais profundas. Embora as alterações marquem as mudanças nos habitos da aldeia Potiguara acredita-se que as práticas culturais que se estendem das festas ao turismo das suas aldeias são tão tradicionais como singulares.PALAVRAS-CHAVES: Aldeia indígena – Espaço social – Práticas culturais – TransformaçõesABSTRACT:The village of Potiguara Indians is not only a cluster of houses and people. This is a social space much more complex, adding to habitat kinship models, crossing cultural and economic practices, joining human animals and plants, work routines and "releases" of leisure.The Potiguara village despite presenting as singular, she communicated and continues to communicate today with wider networks of rural and indigenous villages, generating deep cultural and social transformations. Although the changes mark the changes in the habits of the village Potiguara is believed that cultural practices that extend parties to tourism from their villages are so traditional and unique.KEYWORDS: Indian Village - social area - Cultural practices - TransformationsRecebido: 31/08/2014 Aceito: 01/10/2014
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Sinã, conhecido entre os seus parentes pelo nome de “Luz Lilás”, homem de um imenso metro e noventa, cacique, mandou reunir a sua comunidade na oca central, a maior, situada no ponto mais alto do cimo da falésia, feita de massaranduba e sucupira – as madeiras mais resistentes – entrelaçadas com cipós de fogo. Pintaram-lhe o longo rosto com traços firmes, a geometria dos signos direcionada ao céu e à terra, protetores das suas gentes. Dessa vez as linhas marcadas na face de “Luz Lilás” eram mais simétricas do que o habitual, as tintas extraídas das sementes de urucu […]
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