Art Afro Hall
THE AFRO PRESENCE IN BRAZILIAN ARTISTIC DIVERSITY The Rio Afro-Brazilian Art Salon project was conceived and promoted for the first time in 2005 by cultural producer Patrícia Brito in partnership with the Associação Satélite Prontidão, an associative and charitable organization, founded in Porto Alegre , In RS in 1902, by some families of the black community with the purpose of harboring the black culture and its costumes. In an unprecedented way, the proposal of the Salon is to realize a mapping in the segment of the visual arts of the influence and Afro culture in the artistic production of the Rio Grande do Sul, and propose a meeting with ethnic diversity in the light of contemporaneity. The show was consolidated in the State, bringing opinions about the rescue of black culture and historical debt, but above all, served as a basis in line with Law 10.639 / 03. For every black contribution in the country, its constant presence in the African culture, history and traditions in the various types of artistic manifestations in Brazil is undeniable. The colors, the rhythms, the sounds and the black religiosity for their expressiveness and daily closeness, end up influencing in a very significant way, not only the way of life of the Brazilians, but always serving as a source of inspiration and creation for artists in several areas . The aesthetics of black influence celebrates and identifies the depth of its presence in Brazilian culture. Black art is rescued in Rio Grande do Sul, accompanied by a collection of the cultural memory of our State in historical research. We connect then, education and culture, having art as mediation. In fact, this creative miscegenation that intensifies in the country to almost 500 years, and that often acts of unconscious form, mixes with diverse cultural manifestations without the due mapping.
The exhibition "AFRODESCENDENCIALIDADE: chronology of the struggle for the end of racial discrimination in the country" is a collection of historical records about the Negro's trajectory, his culture, contribution and struggles for the conquest of legitimate citizenship. It is a historical-documentary exhibition in the form of a timeline, which portrays in chronological form, great achievements generated in little more than 500 years of slavery. We highlight facts and characters linked to the struggle for the end of racial discrimination in the country, providing a reflection on the role of the black in Brazilian history. The result is an inventory or mapping, which covers and extensively analyzes the influence of the Afro issue on the cultural diversity of our people.
Naïve and Primitive a Tribute to J. Altair
They deceive those who do not see in Afro-Brazilian culture an extension of the history of their own country. In fact, presenting part of the artist's collection, which in a great deal of the quietude of each person, opens a gap for the dialogue about the immaterial religious heritage derived from signs, semiotics and semiosis. The Naive and Primitive exhibition: a tribute to J. Altair, sought to value and preserve their forms of expression in order to promote a reflexive look at the maintenance of ancestral matrices as poles of resistance that sustain the cultural heritage of African origin. Religion has its peculiar language to convey who it is, its systems and way of thinking; It is permeated with symbols that give it meaning. These symbols and images are universal in religiosity, mainly African, having their particular versions in each expression. Symbols consist of openings to a trans-historical world, but they find their own way according to their culture and influences. The ritual here is the transmitting medium of myth and religious symbols. Ritual language, in turn, is necessary for the transmission of symbols, values and the mythical narrative that gives it meaning through long generations. In this sense, symbols are able to indicate how experiences are experienced, since the individual is exposed to interaction with a world of sensations - temperature, sounds, smells, textures, shapes, colors. Everything enters us by the senses like vision, smell, taste, hearing, touch, which receive stimuli that will later be transformed through reasoning into representations that form in the interpreter a mental idealization of objects, culminating in Semiosis. The symbol relates to its object by force of an idea in the user's mind; The Oxé, double ax of Xango, as a symbol of strength and high magic; The shells and the various shells used in the rituals, as a symbol of wealth; Water as a symbol of fertility; The horn of buffalo, which adorns the settlement of Iansan, as a symbol of the strength of this Orixá; The masks presented to us by female ancestors are the great "sorceress mothers"; The bird, far from being a bird in its literal sense as a simple bird is committed to "the birds," of which the "sorcerous mothers," the AH, appropriate and personify themselves. These witches represent "the mystical powers of the woman"; (VERGER, 1992, p.24; 2002, p. 122). The same is true of the Yorubas, who mark their faces with cuts that indicate their social position or the way of dressing: when an Ialorixá uses its various collars, it is displaying its position in the hierarchy. Another constantly intrinsic meaning, but essentially as part of a plot and a process we can observe in the settlement of Exu with its tridents. In this sense, the Ogo and the gourd of Exu bear a resemblance to the male sexual organ and thus become symbols of high magic: the Ogo, a kind of magic scepter, can carry Exu to the most distant paths and his gourd gives him Connection to the feminine, masculine ancestry and the creation of the world. Exu is linked to these symbols because it is the mythical bearer of the semen and the ancestral uterus (SANTOS, 1986, p.130). Considered by some as peripheral art, that is, at the edge of society, the fluctuation between the concepts of Naïve art or primitive modern art and popular art constitute a field of its own. The audience here is divided in two: those to whom the figures represent and have a sacred power and those whose interest is merely aesthetic. Patrícia Brito, Curator.
BLACK BRAZIL ART