Meu encontro com a cobra coral e outras cobras inofensivas: mulheres negras em situação de dança

Abstract

My encounter with the coral snake and other harmless snakes: black women in a dance situation”, is built in the Postgraduate in Dance at the Universidade Federal da Bahia (UFBA) and is inserted in line 2, Processes and Configurations in Dance. The main problem that arises is the condition of invisibility and hypervisibility of black women artists of contemporary dance in Brazil, due to the structural racism in which we are inserted. Based on this problem, I propose the following question: since skin color is one of the phenotypic traits that is an index of blackness in our bodies, does it matter in Brazilian contemporary dance? Starting from an Afrocentric methodological perspective (ASSANTE, 1998), I constructed the writing considering my psychological location, in Piauí, Brazil´s hinterlands, now in Salvador, and based on memories and some imaginations arising from the processes of the black diaspora experienced by me and my ancestors brought from the African continent to Brazil. My sister, who was born dead, Luzia's skull and creations that I invented participate in this research like bodies that dance between the real and the imaginary, in absurd dialogues. Therefore, black thinkers, intellectuals and artists strengthen the propositions raised here, such as ANI (2015), Mbembe (2018), Kilomba (2019) and hooks (2019), among others. In the field of dance, I try to tension it, connecting it with the oppressions of race, gender and class that only black women experience. At the same time, I try to point out ways embracing the amefricanity category (Gonzales,1988), which allows us to enter a larger unit, specific to South America, through the images of Eliana de Santana (SP), Jaqueline Elesbão (BA), Roberta Rox (GO). Wilemara Barros (CE), Jamila Marques (PE) Tieta Macau (MA) and the projects that make up what I call the “Trilogy of hope” in the cities of Teresina (PI) and Salvador (BA). I also present the “Disobedient Projects” (Galindo, 2020), based on love as an action and commitment to collective emancipation (WEST, 2021). Through the intellectual constructions of Bittencourt (2012), Conrado (2015) and SILVA (2017), I propose that black women in a dance situation disrupt through and with their dance actions the harmful effects of racism and sexism in the field of Brazilian contemporary dance.