Terra-chão em movimento
Ponto Riscado, Arte, Ritual
Bibliographic Data
| ID | 5807509 |
|---|---|
| Authors | Ligia Velloso Nobre (corresponding author) |
| Year | 2020 |
| Publication date | 2020-03-03 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | THESIS |
| Publisher | Universidade de Sao Paulo, Agencia USP de Gestao da Informacao Academica (AGUIA) (PUBLISHER) |
| DOI | 10.11606/t.93.2020.tde-03032020-172852 |
| OpenAlex | W3014384772 |
| Language | PT |
| References cited | 8 |
This thesis aims to research the pontos riscados [drawn points] of Nação Livre Aruanda (Cotia, São Paulo), a terreiro [temple, shrine, community of followers] of worship to the orishas [Yoruba deities] and entities or an artistic-ritualistic form of life, instituted in 2001 by the babalorisha [high priest] and artist Kabila Aruanda and Mentoria [Spiritual Mentors].The pontos riscados are inscriptions of Afro-diasporic matrix, made by the babalorisha, in the rituals-on the ground floor, on human bodies, on tissues or metals-in moving lines and multiple temporalities.These 'ritual diagrams' or 'cosmograms' operate as gestures of listening, producing and establishing modes of existence and relationships between humans and nonhumans, along with plural trajectories.The research dialogues with artistic practices that have problematized prior and standardized definitions of Western art history.It proposes a coexistence of heterogeneous practices, and the political/ ritualistic power of the art to think-act-feel with and in between worlds
Art · Geography · Humanities · Cultural, Media, and Literary Studies · Literature, Culture, and Criticism · Urban and sociocultural dynamics
| Citation velocity | historical |
|---|---|
| Highly cited | No |