Histórias de vida feitas à mão: das colonialidades ao transbordar das re-existências

Abstract

This dissertation aimed to understand, from the life stories of visual artists PatoBranco-PR city residents, how they experience their artistic work, considering the colonialities of power, being and knowledge and the praxis of re-existence. It has as theoretical basis the contributions of latin american decolonial authors (QUIJANO, 1992, 2002; MIGNOLO, 2008, 2017; LANDER, 2000; WALSH, 2005, 2013; ALBÁN ACHINTE,2013, 2017; BOSI, 1986, 1992; and others), with reflections on the themes of work, development, art and artists.The justification for this research is aimed at the need to broaden understandings about modern-colonial society from artists and their local realities. In this regard, plastic artists were chosen as participants in the research, due to the set of characteristics present in artistic making,that involve different times from the imposed acceleration imposed by the transformations of economic development in the last centuries (BOSI, 1992; ALBÁN ACHINTE, 2017), what affects their experiences and relationships with the world. It is characterized as a qualitative research of life stories (BOSI, 1987, 2003),which aims at valuing the person and its history, as important components for social formation. Two artists residing in Pato Branco -PR, were invited, Jurema Edy Pereira and Kalu Chueiri,to remember and recount their experiences in the relationship with society. Two in-depth interviews were conducted with each participant, in the years 2019 and 2020, being written from the transcreation process (CALDAS, 1999). The stories were examined trough narrative analysis (GILL e GOODSON, 2015), based on the concepts of the colonialities of power (QUIJANO, 2002), of being (MALDONADO-TORRES, 2007) and of knowledge (LANDER, 2000) and the praxis of re-existence (ALBÁN ACHINTE, 2017). The main considerations of this dissertation involve the possibilities ofre-thinking and re-creating reality, based on the re-existences praxis identified in artistic practice, expanding the range of possibilities to transform the colonialities still present in society. It was possible to identify the action of these three colonialities in episodes recalled by the artists,with acts of exclusion, invisibility, ignorance and intolerance with the artistic doing, linked to the modern-colonial logic that are present in their daily lives. Examples of re-existence praxis present in the daily life of the stories told were also identified,highlighting its relevance to inspire and transform other ways of being in this society. The work, as one of the constituent areas of the subject, is directly affected by the modern-colonial system, butalso, as noted in this research, it is one of the possible tools of decolonial action from its places in the world. By getting to know parts of how art and culture are mobilized in Pato Branco city, from the stories recalled by Kalu and Jurema, we see howthese actions move the field of regional development, from this area of expertise. Still, we consider it relevant to contribute to expand studies in the area of artistic trajectories, and to think about the work with arts from the artist's perspective, in decoloniality.