Entre as palhas de Xapanã: sentidos e conexões para criação etno-performativa.

Abstract

The research presented refers to the master's dissertation developed with the Post-graduate Program in Visual Arts at the Arts Center of the Federal University of Pelo-tas - UFPel, linked to the line of research Processes of Creation and Poetics of Eve-ryday Life. The main objective was to compose an artistic work of an ethnoperforma-tive character and to problematize it based on experimentation and the creation of a new look at the gestures and senses inspired by the Orixá Xapanã, through a video dance. The specific objectives are: to produce material in video dance as a way of valuing and disseminating the black theme; reflect on the creative process in dance around the universe of Orixá Xapanã; contribute to the dissemination of black arts through an afroreferenced work of video dance. The study, which adopted performa-tive ethnography as a theoretical-methodological line, addresses an artistic creation process inspired by the Orixá Xapanã and its signs, in which I sought, through expe-riments that emerged from my body in movement, to build an audiovisual work in a performance that resulted in the creation of the video work ―Atotoó - interdicts and mysteries of blackness‖, in partnership with the artist Bárbara Cezano. The main theoretical references were adopted: (SILVA, 2014); (RIBEIRO, 2019); (DUMAS, 2019); (CORRÊA, 1992); (DANTAS, 2016); (SAMPAIO, 2012); (COELHO, 2019); (OSTROWER, 1981); (NETO, 2019); (MUNANGA, 2005); (CÔRTEZ, 2013); (PRANDI, 2005; 2001); (GUIMARÃES, 2017); (FERREIRA, 2011), among others who also contributed to the development of this writing. We sought to explore ele-ments associated with the Afro-religious universe through a contemporary visuality, avoiding the distancing of ancestral aspects of black culture that articulate with Batu-que in Rio Grande do Sul, based on my experience as a practitioner and frequenter of a Terreiro. The research was conducted along a narrative line that had as its cen-tral point the individual-orixá-religiosity relationship, translating and rereading for the video scene some of the elements that represented or made reference to this deity, such as popcorn, straw, fire. In short, the focus was on the exploration of characteris-tics in his dance, in a direct and indirect way, movement and non-movement, guided by the energy and strength that are the hallmarks of Xapanã, maintaining, as an es-sential characteristic, the mystery that involves the mythology associated with this Orixá that makes the work thematic.