# data[].attributes.body
Com o objetivo de me comunicar sem a linguagem oral, durante o doutorado, iniciei um experimento artístico baseado em meus estudos em dança, Língua Brasileira de Sinais, artes marciais e artes visuais, e inspirado em práticas rituais indígenas com pintura corporal e obras audiovisuais, para criar uma linguagem gestual-visual. Cada sequência de movimento tornou-se uma partitura e foi gravada em vídeo. Esse trabalho se desdobrou em um workshop chamado Descolonizar a linguagem.

Nessa página encontram-se os registros de minhas criações e imagens e citações das referências que compõem a pesquisa compartilhada na oficina.

//

I have the desire to communicate without spoken language. During my PhD, I initiated an artistic experiment that drew on my studies in dance, Brazilian Sign Language, martial arts, and visual arts, inspired by Indigenous ritual practices, body painting, and audio-visual works, to create a gestural-visual language. Each movement sequence became a score and was recorded on video. This work became the workshop called Decolonizing Language.

On this page, you'll find records of my creations, along with images and quotes from the references that inform the research shared in the workshop.

# data[].attributes.body
a language I, 2019

video recording and score of the first experiment.

composition based on a poem by Michelangelo.

# data[].attributes.body
a language II, 2019

video recording and score of the second experiment

# data[].attributes.body
a language III, 2020

video recording and score of the third experiment

# data[].attributes.body
a language IV

score of the fourth experiment

# data[].attributes.body
a language V, 2020

video recording and score of the fifth experiment

# data[].attributes.body
Mira Schendel

# data[].attributes.body
Mira Schendel

# data[].attributes.body
Mira Schendel

paintings

# data[].attributes.body
Mirtha Dermisache

asemic writing

# data[].attributes.body
Mirtha Dermisache

asemic writing

# data[].attributes.body
"It’s a representational game: at what moment do the identity categories that move me make me subordinate, and at what moment do they make me special, so to speak. All of this is within a representational logic of its own, and what I find myself trying, wanting, and desiring to break is precisely that—the dominance of representation and the imposition of representation as a structuring element of our ethical equations, our sensory principles, the way we feel things, the way we relate.

So, I am particularly interested right now in breaking with representation—I, in some way, gaining awareness and consistency in this effort to break with the dominance or imposition of representation or the violence of representation. I think this is a very powerful element of the possible ruptures available to us now, and that somehow makes possible a deeper break with the colonial tradition, which heavily depends on representation."

Jota Mombaça, interview for the 34th São Paulo Biennial, 2021 (our translation)

# data[].attributes.body
Mirtha Dermisache

asemic writing

# data[].attributes.body
Mirtha Dermisache

asemic writing

# data[].attributes.body
Trisha Brown

# data[].attributes.body
"I began to write and the result was something illegible. In fact, illegibility is a fundamental aspect of my work. In retrospect, I must admit that all my works create a certain tension between communication formats that offer a stable structure and the act of writing, which brings an unstable dimension. Perhaps it’s like saying that for me, the liberation of the sign takes place in culture and history, not at their margins. I begin to write and develop a formal idea that can be transformed into an idea of time. My work is characterized by movement. There are no closed forms. There are no secrets in my work. I develop a form to its highest point of evolution. You will never find any title referring to feelings or psychological dimensions. The titles only identify the format, that is, they say how to organize the writings on the page and possibly their order of appearance in a given year of production."

Mirtha Dermisache, September 2011 (our translation)

# data[].attributes.body
"When I go to a stream, a spring, a water source, and I feel the beauty and am moved by the water that is there, in that source, in that spring, I establish a relationship with it, I talk to it, I bathe in it, I drink that water and create a communication with that water entity which, to me, is a marvelous gift that connects me to other possibilities of relationship—with the stones, with the mountains, with the forests. (...) Relationships are not established solely as a force that occurs only between people, in the common sense in which we understand people, human relationships, social relationships. They are alliances with many other forces that are present, that are possible."
Ailton Krenak, interviewed by Pedro Cesarino, 2016 (our translation)

# data[].attributes.body
Trisha Brown

# data[].attributes.body
Trisha Brown

# data[].attributes.body
Trisha Brown

# data[].attributes.body
Maria Noujaim

# data[].attributes.body
Maria Noujaim

performance

# data[].attributes.body
Maria Noujaim

# data[].attributes.body
Maria Noujaim

# data[].attributes.body
Gê Viana

video performance

# data[].attributes.body
anonymous graffiti in São Paulo, Brazil

# data[].attributes.body
Joana Cesar

graffiti

# data[].attributes.body
Joana Cesar

graffiti

# data[].attributes.body
Joana Cesar

graffiti

# data[].attributes.body
anonymous graffiti

# data[].attributes.body
Gê Viana

video performance

# data[].attributes.body
anonymous graffiti - Rio de Janeiro style

# data[].attributes.body
One day, I went out with the boys to walk around the historic center of São Luís, MA, Brazil. (...) In the transition from the theatrical space to a dance performance—I wanted to project the body more into reality, and less into a theatricalized place. With the boys, I was stopped by the police. So, still within the artistic residency, I was doing at the time, I began to investigate the whole scope of graffiti—the aesthetic, symbolic, and architectural aspects... I started to notice that each graffiti has a different characteristic depending on the city, for instance. And then, within this context of contemporary dance, I created the performance.
Gê Viana in an interview with Continente magazine (our translation)

# data[].attributes.body
Gê Viana

video performance in which the artist dances in response to the graffiti on the city

# data[].attributes.body
Edinho - deaf poet

documentary Silêncio e fúria - poetas do corpo [Silence and Fury - poets of the body]

the film shows his creative process in collaboration with the LIBRAS (Brazilian Sign Language) interpreter

# data[].attributes.body
Corposinalizante

group to research and practice poetry intertwining LIBRAS and Portuguese, at Museum of Modern Art São Paulo

# data[].attributes.body
still from the film The Land of Silence and Darkness, by Werner Herzog

# data[].attributes.body
“Omama’s art is the exercise of creating the world. (…) It seems that [Omama] is this vital exercise, it is life itself, it is this possibility of being alive, of being powerful, of creating and interacting with the cosmos, of being in the Universe in an active way. To be creative, to be active, to create. That is art. The separation between living and making art—I don’t perceive this division in any of the thought systems of Indigenous peoples I’ve encountered.”

“To imprint on the body, and from that imprint, from the adoption of that image that is now on your body, you gain the ability to move among all of them.” (p. 183)

“At some point, everyone used to paint themselves, but this rupture between the thinking of white people and that magical thinking led to a distancing from nature, a detachment from that idea of hunting for beauty toward another kind of construction, let’s say, of the idea of beauty—where beauty becomes something you project, not something you capture. Something you radiate as an illusion of permanence. Feeding the illusion that you have duration. And magical thinking—if we agree to use this term—believes we have no certainty that we will still be alive in a moment, or tomorrow. This absence of guarantee, this lack of certainty, frees a person from needing to construct a projection onto the world. There’s no need to keep building a projection because you have no certainty that it’s going anywhere.”

Ainton Krenak interviewed by Pedro Cesarino, 2016 (our translation)

# data[].attributes.body
Yanomami body painting

# data[].attributes.body
Davi Kopenawa ‘refer to writing with terms that describe certain motifs in their body painting: oni (series of short strokes), turu (set of thick dots) and yãikano (sinusoids). Writing is thus ‘drawing strokes’, ‘drawing dots’ or ‘drawing sinusoids’.’

Quote from the book The Falling Sky: Words of a Yanomami Shaman (our translation)

# data[].attributes.body
drawing by Davi Kopenawa

# data[].attributes.body
mudras and mantras

# data[].attributes.body
still from the tv show The OA

# data[].attributes.body
still from the tv show The OA

# data[].attributes.body
extract from the tv series The OA

# data[].attributes.attachment_link.title
The OA by Netflix 1x08   Song   The Movements in the School 1080p

# data[].attributes.body
Jota Mombaça and Michelle Mattiuzzi

performance 2021: Spell to Become Invisible

# data[].attributes.body
Jota Mombaça and Michelle Mattiuzzi

2021: Spell to Become Invisible