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Universidade Estadual De Campinas Instituto De Artes UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES MARIANA CONDE RHORMENS LOPES A Máscara Mapiko: entre identidades e alteridades Mapiko’s Mask: between identity and alterity CAMPINAS 2020 MARIANA CONDE RHORMENS LOPES A Máscara Mapiko: entre identidades e alteridades Mapiko’s Mask: between identity and alterity Tese apresentada ao Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutora em Artes da Cena, na área de Teatro, Dança e Performance. Thesis presented to the Institute of Art of the State University of Campinas in partial fulfillment of the requirements for the degree of Doctor in Performing Arts, in the area of Theater, Dance and Performance. ORIENTADOR: MATTEO BONFITTO JÚNIOR ESTE TRABALHO CORRESPONDE À VERSÃO FINAL DA TESE DEFENDIDA PELA ALUNA MARIANA CONDE RHORMENS LOPES, E ORIENTADO PELO PROF. DR. MATTEO BONFITTO JÚNIOR. CAMPINAS 2020 Processo nº 2016/07577-0 Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP). “As opiniões, hipóteses e conclusões ou recomendações expressas neste material são de responsabilidade do(s) autor(es) e não necessariamente refletem a visão da FAPESP”. COMISSÃO EXAMINADORA DA DEFESA DE DOUTORADO MARIANA CONDE RHORMENS LOPES ORIENTADOR: MATTEO BONFITTO JÚNIOR MEMBROS: 1. PROF. DR. MATTEO BONFITTO JÚNIOR 2. PROF. DR. CASSIANO SYDOW QUILICI 3. PROFA. DRA. LUCIANE DA SILVA 4. PROFA. DRA. MARTA DENISE DA ROSA JARDIM 5. PROFA. DRA. VILMA CAMPOS DOS SANTOS LEITE Programa de Pós-Graduação em Artes da Cena do Instituto de Artes da Universidade Estadual de Campinas. A ata de defesa com as respectivas assinaturas dos membros da comissão examinadora encontra-se no SIGA/Sistema de Fluxo de Dissertação/Tese e na Secretaria do Programa da Unidade. DATA DA DEFESA: 10.07.2020 À vida que leva e traz À Wilson Vieira À Luana Mwedi AGRADECIMENTOS Começo agradecendo às sementes… À semente que brotou em mim e se fez menina Lua Luana Mwedi. Que me acompanhou, ainda antes de nascer, em oficinas, Mapiko, viagens à Moçambique e África do Sul, e descobriu o mundo junto às escritas longas, e ensaios mascarada. Que me dá forças e me mostra diariamente a força dentro de mim. E então, àqueles que são raízes… Alicerces para que árvores possam crescer e dar frutos: Adriana Rhormens, Emílio Lopes Júnior, Audineia Conde, Mãe Cláudia, Clarice Scarpelli... e às raízes mais profundas que já estão em terra Wilson Vieira, Dona Magdalena Rhormens, Seu Perseu Rhormens, Vó Bela, Vovó Polita, Vó Mariana, Vô Emílio, Vó Marcolina, Bisa Esther, Vó Mina e todas aquelas que seguem enraizando… Agradeço também aos galhos... Que como meus outros braços auxiliaram várias necessidades: Carolina Rhormens, Tatiana Rhormens, Amanda Schmitz, Roselene Scarpelli, Felipe Lopes, Ana Pessoa, Carolina Portella, Marcelo Moraes, Sandra Frias, Rafael Augusto, Heraldo Firmino e Matteo Bonfitto. E às folhas… Que, às vezes, mesmo com passagens simples, significam tanto e nos permitem florir: Lidia Olinto, Luiza Lopes, Viridiana Bueno, Maíra da Rosa, Luisa Dalgalarrondo, Jessika Rabello, Tatiana Rabello, Gabriel Bito, Rosana Weg, Editora Kapulana, Marta Jardim, Vilma Campos, Olavo Frias, Regina Santos, Luciane da Silva Ramos, Thaiane Athanásio, Bruno Rhormens, Gustavo Rhormens, Edgard Ghilard, Caio Bueno, Pedro Bueno, Otávio Mattos, Márcia Conde, Thereza Cristina, Mariama Camara, Roberta Vianna, Thais Vasques, Célia Portella, Ocimar José, Lenna Bahule, Rubens Oliveira, Tiche Vianna, Ésio Magalhães, Fernando Linares, Victoria Viana, Viviane Vieira, Melina Marchetti, Juliana Birchal, Eliane Rocha, Paulo Xavier e André di Giacomo. Também aos rizomas que, passeando por terras, geram encontros... Agradeço cada encontro em terras: Marílio Wane, Claudia Mahota, Guimarães Mahota, Eduardo Adolfo Lichuge, Nália, Alda Costa, Evaristo Abreu, Marcial Macome, Alfredo Semo, Adelino Branquinho, Arménio Matavele, Assane Cassimo, Atanásio Nhussi, Moisés Abel, Mauricio Nangonga, Dawa Mafunga, Lindo Cuna, Boaventura Machavele, Tomás Melisse, Helio Atmanne, Maria Clotilde, Vitor Gonçalves, Arminda Reis, Dadivo José, Joaquim Matavel, Judith Novela, Eugenio Joaquim, Mario Macuvele, Rita Couto, Venâncio Calisto, Zainá Rajá, Alvim Cossa, David Abílio Mondlane, Estreanty, Mariana Tembe, Felix Mambucho, Maria José, Matheus Carvalho e todos os integrantes dos grupos e participantes das oficinas oferecidas Associação Cultural Hodi, CTO Moçambique, Grupo de Teatro Khuhlanganyeta, Grupo de Dança da Associação Cultural Wuchene, Companhia Nacional de Canto e Dança e atores que compareceram na oficina realizada no Centro Cultural Brasil - Moçambique. Agradeço os encontros nas areias: Germaine Acogny, Patrick Acogny, Alesandra Seutin, Irineu Nogueira, Saky Bertrand Tchébé, Max Diakok, Lamine Diagne dit Alvine, Rokhaya Thioune, Ibrahima, Ndeye Seck, Eliot Shrimpton, Aisha, Mamas que cozinhavam maravilhosos peixes, toda equipe da escola e cada aluno do curso Danses Noire 2017. Agradeço aos encontros nos quintais de casa: Grupo Desembargadores do Furgão, Ilú Obá de Min, Teatro da Neura. E aos que alimentam tantas árvores: FAPESP, Universidade Estadual de Campinas, Universidade Eduardo Mondlane. E a essa natureza que permite que as árvores cresçam, criem raízes, floresçam dêem frutos e estejam umas ao lado de tantas. Salve todos os orixás! Axé! RESUMO O presente trabalho propõe um aprofundamento no estudo acerca dos saberes tradicionais das máscaras de Mapiko, manifestação cultural de Moçambique. A partir da investigação do mascaramento de tal tradição, discorre-se sobre o termo Corpo- Fronteira, ampliando questões acerca da liminaridade e da percepção do ator/atriz/dançante/performer. Problematizando a formação eurocêntrica e propondo um debate sobre as epistemologias decoloniais, apresenta-se propostas metodológicas para as técnicas de mascaramento. Realizando trocas interculturais, a tese traz um material extenso sobre a tradição Mapiko e o Teatro Moçambicano. Com pesquisa realizada no Brasil, Moçambique e Senegal, essa investigação dispõe de conteúdos extraídos de entrevistas, oficinas ministradas e cursos realizados tais como ‘Danses Noires 2 - Mémoire et évolution’ na École des Sables, e do contato com artistas e grupos moçambicanos: Cia Nacional de Canto e Dança de Moçambique, Cia Mutumbela Gogo, Cia de Teatro Gungu, Grupo de teatro Girassol, Associação Cultural Wuchene, Centro do Teatro do Oprimido em Maputo, Associação Cultural Hodi, entre outros. A tese envolve ainda a produção de um material áudio-visual: o Documentário “Ka Mimbangu: A Cena Moçambicana - entre tradições e contemporaneidades”. PALAVRAS-CHAVE Máscara; Mapiko; Moçambique; Maconde; Liminaridade; Decolonial; Corpo-fronteira ABSTRACT This paper proposes a deepening in the study about the traditional knowledge of Mapiko masks, a cultural manifestation from Mozambique. Based on the investigation about the use of masks in such a tradition, the term Corpo-Fronteira (body-frontier) is discussed, expanding questions about the liminality and perception of the actress/actor/dancer/performer. In order to question eurocentric formation and proposing a debate on decolonial epistemologies, methodological approaches for masking techniques are presented. Performing intercultural exchanges, the thesis brings extensive material on the Mapiko tradition and the Mozambican Theater. With researches carried out in Brazil, Mozambique and Senegal, this investigation has relevant topics extracted from interviews, workshops and courses such as 'Danses Noires 2 - Mémoire et évolution' at École des Sables, and contact with Mozambican artists and groups: Cia Nacional de Canto e Dança de Moçambique, Cia Mutumbela Gogo, Cia de Teatro Gungu, Grupo de teatro Girassol, Associação Cultural Wuchene, Centro do Teatro do Oprimido em Maputo, Associação Cultural Hodi, among others. The thesis also involves the production of audiovisual material: the Documentary “Ka Mimbangu: A Cena Moçambicana - entre tradições e contemporaneidades”. KEYWORDS Mask, Mapiko, Mozambique, Maconde, Liminality, Decolonization, Body-frontier SUMÁRIO INTRODUÇÃO ..........................................................................................................13 CAPÍTULO 1 - TERRA: CONTANDO CONCEITOS A importância das histórias .......................................................................................19 Exu, o colecionador de histórias ................................................................................22 A tradição oral – tradição griot – condensados de saberes ......................................23 Contos (conceitos em formas de contos) ..................................................................31 Natu Imbeju - As três sementes ...................................................................31 Alto do céu. Alto do mar. ..............................................................................36 A casa da tradição ........................................................................................42 Caminhando com… ......................................................................................46 Baobab .........................................................................................................50 Do outro lado da rua .....................................................................................54 De onde vem? ..............................................................................................59 CAPÍTULO 2 - RAIZ: REMEMORANDO PARTE A A silenciada África .....................................................................................................63
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