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Mahfouz Ag Adnane.Pdf 1 Pontifícia Universidade Católica de São Paulo Mahfouz Ag Adnane Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) Doutorado em História São Paulo 2019 2 Pontifícia Universidade Católica de São Paulo PRPG - Secretaria Acadêmica da Pós-Graduação Mahfouz Ag Adnane Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) Doutorado em História Tese apresentada à Banca Examinadora do Programa de Estudos Pós-Graduados em História da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutor em História sob a orientação da Profa. Dra. Maria Antonieta Martines Antonacci. São Paulo 2019 3 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL E PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação da Publicação Sistema para Geração Automática de Ficha Catalográfica para Teses com dados fornecidos pelo autor AG259 Ag Adnane, Mahfouz Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) / Mahfouz Ag Adnane. -- São Paulo, 2019. 370p. il.; 210 × 297 mm. Orientador: Maria Antonieta Martines Antonacci. Tese (Doutorado em História) -- Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em História, 2019. 1. História da África. 2. Festivais culturais. 3. Kel Tamacheque. 4. Saara. 5. Música africana I. Antonacci, Maria Antonieta Martines. II. Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em História. III. Título. CDD 960 961 969 916 4 Banca Examinadora Assinatura Nome _________________________________________ Assinatura Nome _________________________________________ Assinatura Nome _________________________________________ Assinatura Nome _________________________________________ Assinatura Nome _________________________________________ Defesa de Tese realizada em 21 de março de 2019 5 Este doutorado recebeu apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES, processo n.88887.149650/2017-00. 6 DEDICATÓRIA Esperando que todo reconhecimento e recompensa dos conhecimentos aprendidos, revenham a quem criou e facilitou seu caminho: Adnane Ag Almoukalam ( in memoriam ) e Oumouhani Walet Abdou Razak, meus pais. Attuta Ag Nafe’a, Oumar Ag Almehdi, Ismaïl Ag Ali, por terem lutado pela escola de Inelfis onde iniciei. Salma Walet Azamzami, Alhabib Ag Almouctafi, Dr. Abderrahmane Ag Fakik, Hindou Walet Abdou Razak, Ahmed Ag Najiyoune, Dr. Moussa Ag Almoujtahid, Sidi Mohamed Ag Aljuneidi, Denise Dias Barros. A homens, mulheres de todas as idades que lutaram e lutam por AzaWad. TinariWen, inspiradores de meus melhores horizontes: Ibrahim Ag Alhabib, Abdallah Ag Alhousseini, Iyadou Ag Lech. 7 AGRADECIMENTOS Tanimert é a palavra que usamos na língua tamacheque para expressar o sentimento de agradecimento. Inúmeras foram as pessoas, grupos e instituições que, de diferentes maneiras, permitiram que esta tese se concretizasse. A cada gesto, palavra e apoio, meu agradecimento profundo . Sem pretender esgotar, nomeio algumas das pessoas e instituições que me auxiliaram nessas travessias de continentes e conhecimentos. Inicio pela dedicada e atenciosa orientadora, Profa. Dra. Maria Antonieta Martines Antonacci que me acolheu e dirigiu minhas leituras além de viajar e incentivar o desafio do trabalho de campo e da escrita em português. Sou grato aos docentes do Programa de Pós-Graduação em História e à PUC-SP que viabilizaram institucionalmente minha permanência no Brasil e que abriram campos de saberes instigantes e comprometidos com projetos de sociedade justa e igualitária. Agradeço ainda à Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES, que forneceu o suporte fundamental. O Centro de Estudos Culturais Africanos e da Diáspora, CECAFRO, foi o lugar de construção de minha identidade afrobrasileira que se somou à experiência saariana tamacheque e me inseriu o mais suavemente possível no dolorido mundo do racismo brasileiro, inspirando a luta de sermos o que somos, altivamente. Antonieta, Amailton, Bebel, Célia, Silvane, Victor, Ana Paula, Priscila, Sabrina, Rafael, Liliane, Jaergenton: seguimos juntos! A Casa das Áfricas foi o coletivo indispensável e inesquecível que não apenas viabilizou minha vinda ao Brasil como tornou mais significativo todo o processo de formação com inúmeros seminários, grupos de trabalho, militância, palestras e outras atividades culturais: Denise Dias Barros, Débora Galvani, Marina Pastore, Jair Guilherme Filho, Edson Eduardo Ramos, Cleide Vitorino, Valdir Pierote, Abdoul Hadi Savadogo e Marina Lima vivem de muitos modos nas linhas dessa tese. Aos mestres Paulo Farias, José Luís Cabaço, Marina Berthet. À Daniela Moreau pelo apoio constante e generoso. À Diones Dias e família por me acolher como filho. À Magaly Romao, Luciana Barbosa pelas leituras e revisões. No Mali, incluindo AzaWad, meu reconhecimento: Ao Centro Cultural Tumast, à Mohamed Ag Ossad e Issa Dicko, ambos abriram caminhos que permitiram conhecer o universo artístico tamacheque em Bamako. À Instituição Festival au Désert nas pessoas de Manny Ansari, Illili e Vieux. Às/Aos artistas: Fadimata Walet Oumar, Keltoum Walet Emastagh, Mina Walet Oumar, Souleymane Ag Anara, Issa Ag Hadani, Badi Ag Aghaly e Hamouna (de Aratan n’Akal), Aba e TaWWal (Etran de Timbuctu); Mossa Sidi e seu produtor Ousmane Maiga. Agradeço, também, a Mohamed Ag Ahmedou (Wanafella Yamane) que me colocou em contato com artistas em M’Hamid El Ghizlane. À Mohamed Ag Ismail, pela fraternidade constante. Entre as pessoas que foram particularmente generosas nos percursos no Marrocos, destaco, Abdenasser Khabbar e família, Mohammed El Mahdi An Nassik, Mohamed Benour, Ibrahim Sbaï e a familia Laghfiri - Hassane, Aziz e Ali, e grupos musicais da cidade, Generation Taragalte e Les Jeunes Nomades. 8 AG ADNANE, Mahfouz. Movências tamacheque além-fronteiras: conexões, performances em narrativas insurgentes em festivais culturais saarianos (2001-2017) , 2019. 357p. Tese de Doutorado - Programa de Pós-Graduação em História, Pontifícia Universidade Católica de São Paulo (PUC-SP). RESUMO Este estudo aborda movências de práticas expressivas tamacheque, derivadas da música ichúmar ou movimento cultural techúmara, em circuitos saarianos, constituídos nas últimas décadas. Musicalidade, oralidade, visualidade, performances e história cultural - presentificadas nos festivais, encontros intercomunitários e outras configurações performáticas em meio urbano -, reenviam à problemática da fragmentação do Saara e do Sael por fronteiras territoriais, culturais e estéticas. A pesquisa, focada no período entre 2001 e 2017, tem base em levantamento e análise documental (publicações, catálogos dos eventos, websites , documentos oficiais) e pesquisa de campo no Mali e no Marrocos - realizada em 2016 e 2017. A atenção recai sobre a constituição de fontes alicerçadas nas dinâmicas de oralidade, com entrevistas e observações em festivais, encontros musicais diversos, espaços culturais urbanos e diálogos com artistas, produtores, agentes de cultura e festivaleiros. No contexto de processos que deram forma geopolítica e territorial aos atuais Estados nacionais da África do Oeste e do Norte, houve silenciamentos e descasos de sua composição cultural plural. Na situação malinesa ocorreram, igualmente, diversas ações por parte da sociedade tamacheque, tanto voltadas a reconhecimento sociocultural quanto de busca de autodeterminação, fazendo recurso às armas. Após acordos de paz de conflito armado (1990-1996) entre a sociedade tamacheque e os governos centrais do Mali e do Níger, diversos artistas e agentes de cultura organizaram festivais e encontros intercomunitários, valorizando sua presença no Saara e no Sael. Os festivais contemporâneos apoiam-se em expressões artísticas e manifestações éticas, políticas e estéticas de encontros intercomunitários como tamakanit ou takubelt . A mobilidade contemporânea da sociedade tamacheque inclui movências saarianas, interligando espacialidades, constituindo fator de impacto tanto no cenário cultural das capitais e grandes cidades, como nas reuniões anuais que cadenciam o nomadismo tamacheque, e em outras festividades locais. A plasticidade das identidades e mixidade de linguagens e expressões estéticas tecem ampliações de horizontes e de diálogos a fim de viabilizar a marcha histórica e cultural das sociedades do e no Saara, entre elas, a tamacheque. Palavras-chave: Festivais culturais; Kel Tamacheque; História do/no Saara; Música e oralidades africanas. 9 AG ADNANE, Mahfouz. Movences tamacheque beyond borders: connections, performances in insurgent narratives at Saharan cultural festivals (2001-2017), 2019. PhD thesis - - History Graduate Program, Pontifical Catholic University of São Paulo (PUC-SP). ABSTRACT This study deals With movences of expressive tamacheque practices, coming out from the ishumar music or the teshumara cultural movement, in Saharan circuits, established in the last decades. Musicality, orality, visuality, performances and cultural history - present in the festivals, intercommunal meetings and other performances in the urban environment - refer to the problematic Sahara and Sael fragmentation by territorial, cultural and aesthetic borders. The research, focused on the period betWeen 2001 and 2017, is based on a survey and documentary
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