A estética dissidente em rede: o autorretrato fotográfico como construção de identidade de pessoas negras

Abstract

The process of disidentification of the black population took place since the period of colonization and continued through coloniality perpetuated by the project of a modern society. The great trauma that plagues the history of dissident Afro-diasporic people offers a forced, stereotypical, racist and binary identity, in which the multiplicity of body-worlds that exist in all their power does not fit. Since the visual, artistic and photographic construction was developed, told and represented from a colonial perspective, it is necessary to understand the importance of these bodies telling their own narratives. This research seeks to highlight, through theoretical construction and image analysis, how the self-portrait shared online has been a possible path of counter-narrative, self-definition and identity construction for black people who are gender and sexuality dissidents. From a theoretical point of view, we sought in literature ways to understand the historical processes of photography, as well as elucidate how the construction of the dominant image helped in the constant erasure of the memory, subjectivity and narratives of these groups. Through literature engaged with black and intersectional feminism, the political and social processes that involve the representation of black people in photography are recognized; It also seeks to identify the categories of gender, sexuality and race and their power dynamics in the photographic image, in order to contribute to the field of research into images that value and instigate the development of visual creations, which contribute to memory, narratives and subjectivities. Of and for the black population, of dissident genders and sexualities.For the development of image analysis, visual semiotics studies are used as a guide for understanding the processes of image construction, as well as studies of visual poetics, contributing to the understanding of photographs beyond a practical function. The analysis of the selfportraits is based on the author herself who develops the research, adopting an epistemographic bias, aiming at the construction of an academic discourse that aims at the personal and subjective, as a constituent of marginalized knowledge. Thus, among the main conclusions it was found that by positioning an epistemographic look, that is, through a self-developed narrative, shared on a platform where subalternized knowledge is inhabited, it becomes possible to construct an analysis of images woven in an interdisciplinary way, composing a set of knowledge that, firstly, is analyzed in a critical and social way, só that other images can be shared and analyzed with an intersectional and politicized bias. Thus, based on the literature brought to this research, the self-analyzed self-portrait allows the construction of a look at the field of images that are constructed in a personal way, valuing collective transformations. Therefore, it is concluded that the self-portrait becomes a necessary tool for the construction of self-agency, understanding and construction of identity for black people.