Escrever é uma maneira de sangrar: estilhaços, sombras, fardos e espasmos autoetnográficos de uma professora performer
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Data
2019-04-12
Autores
Rachel, Denise Pereira [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Como fazer de uma aula de arte um acontecimento performático? Questão desencadeadora de tantas outras que moveram um pensamento em processo em torno do trabalho que tenho desenvolvido enquanto professora performer pesquisadora na instituição de ensino voltada à educação básica para jovens e adultos CIEJA Ermelino Matarazzo, localizada na zona leste da cidade de São Paulo. Tal questão me levou a um embate com minha experiência corporificada de mulher negra lésbica servidora pública da rede municipal de ensino, como um meio para investigar a criação de aulas performáticas. Estas aulas foram concebidas em um contexto permeado por impossibilidades vinculadas a parâmetros instituídos na intersecção entre raça, gênero, sexualidade e classe. Neste âmbito, o pensamento em processo que constitui esse trabalho propõe a professora performer pesquisadora como autoetnógrafa na criação de aulas performáticas junto ao Coletivo Parabelo. Por meio de uma abordagem autoetnográfica performativa com o intuito de acionar a escrita enquanto narrativa pessoal, em uma atitude autorreflexiva acerca das inadequações impelidas à condição de mulher negra lésbica servidora pública, que um dia ousou se autodeclarar professora performer pesquisadora. Ao assumir a perspectiva proposta pelo filósofo Achille Mbembe de que o projeto moderno parece estar fundamentado na invenção do negro, a medida em que um corpo de extração é concebido pela lógica escravocrata, transformando a colonização no maior aparato tecnológico da modernidade. Desse modo, essa pesquisa foi composta por uma escrita autoetnográfica que, a partir de impulsos autobiográficos, almeja expor os cortes, lesões e traumas herdados de um processo sócio histórico cultural, que emerge de um conflito intrínseco à modernidade/colonialidade. Através desse gesto autoetnográfico, escritos são compostos como estilhaços, sombras, fardos e espasmos de uma professora performer pesquisadora na experiência da criação de aulas performáticas.
How to make an art class a performance event? A triggering issue for so many others that have moved a thought in process around the work that I have developed as a professor performer researcher at the CIEJA Ermelino Matarazzo elementary school for youths and adults, in the east side of São Paulo city. This question made me feel the relevance of my incorporated experience as a black woman lesbian public servant of the municipal school network, as a way of investigating the criation of performatic classes. These classes were conceived in a context permeated by impossibilities linked to the parameters established at the intersection between race, gender, sexuality and class. In this context, the thought in process that constitutes this work proposes the professor performer researcher as autoethnographer in the act of creating performatic classes. To using a performative autoethnographic approach, with the intention of triggering writing as a personal narrative in a self-reflexive attitude about the inadequacies impelled to the condition of a black woman lesbian public servant who once dared self-declare professor performer researcher. In assuming the perspective proposed by the philosopher Achille Mbembe that the modern project seems to be grounded in the invention of the Negro, the extent to which a extraction body is conceived through slave-like logic, transforming colonization into the greatest technological apparatus of modernity. In this way, this research was composed by an autoethnographic writing that, based on autobiographical impulses, aims to expose the cuts, injuries and traumas inherited from a socio-historical-cultural process that emerges from a conflict intrinsic to modernity/coloniality. Through this autoetnographic gesture are constituted narratives such as shrapnel, shadows, burdens and spasms of a professor performer researcher in the experience of creating performatic classes.
How to make an art class a performance event? A triggering issue for so many others that have moved a thought in process around the work that I have developed as a professor performer researcher at the CIEJA Ermelino Matarazzo elementary school for youths and adults, in the east side of São Paulo city. This question made me feel the relevance of my incorporated experience as a black woman lesbian public servant of the municipal school network, as a way of investigating the criation of performatic classes. These classes were conceived in a context permeated by impossibilities linked to the parameters established at the intersection between race, gender, sexuality and class. In this context, the thought in process that constitutes this work proposes the professor performer researcher as autoethnographer in the act of creating performatic classes. To using a performative autoethnographic approach, with the intention of triggering writing as a personal narrative in a self-reflexive attitude about the inadequacies impelled to the condition of a black woman lesbian public servant who once dared self-declare professor performer researcher. In assuming the perspective proposed by the philosopher Achille Mbembe that the modern project seems to be grounded in the invention of the Negro, the extent to which a extraction body is conceived through slave-like logic, transforming colonization into the greatest technological apparatus of modernity. In this way, this research was composed by an autoethnographic writing that, based on autobiographical impulses, aims to expose the cuts, injuries and traumas inherited from a socio-historical-cultural process that emerges from a conflict intrinsic to modernity/coloniality. Through this autoetnographic gesture are constituted narratives such as shrapnel, shadows, burdens and spasms of a professor performer researcher in the experience of creating performatic classes.
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Palavras-chave
Autoetnografia performativa, Professora performer, Aula performática, Interseccionalidade, Pedagogia da assimilação, Performative autoethnography, Professor performer, Performatic class, Intersectionality, Pedagogy of assimilation