Abstract
The transcultural panel interacts directly with indigenous Ful-niô and Potiguara Indians, in order to establish the participatory basis in the ways of preservation and revitalization of traditional cultures through Body Painting, Urban Graphics (Graffit), Music and Dance, and Arts and Crafts. This study considers indigenous graphics and contemporary design. This painted transcultutal panel is inspired by the transcultural philosophy (Jacques Poulain 2001) for whom the university allows the reinforcement of the socialist culture by favoring the critical spirit that develops in the human being through philosophy, literature, art, architecture, and aesthetics with the culture of communication and history. The anthropophagic aesthetics configured by Oswald de Andrade and Hélio Oiticica emphasizes a “joyful freedom” based on the crossing of borders between art and popular culture and on the transience that demarcates the very aesthetics tradition of non-repressive Brazilian freedom. Transcultural aesthetics therefore represents a dialogical movement of performance, in the sense of incorporating indigenous and Afro-descendants languages. However, there is still a lack of a contemporary museum space to express the living culture of indigenous, Afro-Brazilian and popular populations: “In countries like ours, which do not arrive exhausted, although oppressed and underdeveloped, at the level of contemporary history, (…) when it is said that their art is primitive or popular, it is worth as much as saying that it is futuristic” (Mário Pedrosa. Speech to the Tupiniquins or Nambás, Paris 1977).
Presenters
Dinah Tereza Papi de GuimaraensAssociate Professor, Architecture, University Federal Fluminense-UFF, Rio de Janeiro, Brazil
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Transcultural Aesthetics; Graphic Workshop; Indigenous Design
