[Music]
[Applause]
once a quilombo
today I will tell you a story
about hypotheses dolls and women
I’ll start with this one where you
speaks
as a child I was very stimulated was
a child who learns to mess with
hands
my mother gave me the ability to
imagine the books my father gave me
Tools hammer pliers put me
at the top of the stairs to learn how to move
in electrical wiring
my grandparents taught me how to sew
approach to making doll clothes with this
people I always had the possibility of
make it possible to
create and it moved me that moved me in
my curiosity is curious hands
always led me to this thought that
I could accomplish and it moved me in the
My professional life I went to do
university the course of design and this is
led me to deepen this relationship with
the materials the preferred subjects
were workshop metal workshop metal
the graphic representation with the cake
with crayons all this is me
approximate this capacity of
representation I was never exímia
designer
but I’ve never been able to
representation of the other and that is what
I moved during my journey
professional and in my choice of
life too
when I was 23 years old
I came to maranhão or vacation with
my friends and here I decided that I would
stay
São Luís chose for my home
Since then were 14 years
in those choices that we make in life
We always pay a price, but we
people got a little scared going
get out of rio de janeiro to maranhão
and the mother stayed a year without talking to me
thinking that I was shooting at the
foot
but today she recognizes you shot the
what did you saw hit
who did not see it and so I started my
professional career in são luís
and already arriving here in the city I started
master’s degree in social sciences in
I came across this book
He was the founder for me.
thinking about what I wanted for the
my life I did not want to sit
behind a computer
I did not want the life mediated, huh?
For the machines I wanted to know.
The people I wanted to represent the other
in a very close way
then this idea of the work of the
designer as behind the computer
This has been set aside in my life.
So this book that I ‘m not
American sociologist called
lay news
he talks about it about the life of the
researcher as crafts and
coincidence or not was precisely the
that I was researching artisanal production
so I’m riding this
presentation I started looking for
photos that I wanted to make a counterpoint
between raquel working on the computer and
raquel in the field and I did not find
freud explains no photo of me behind
I only found the computer
painting with the artisans with their hand
pasta
[Music]
reading learner and this is what I
I wanted it for my life and that’s what I
I managed to build on this path until
I arrived in alcantara alcantara
in fact as a field of research
singing I came from the beginning when
I arrived here in San Luis is for a
very special place for me this
matter of time I did not want to lose
time ago in transit is not it
that moved me of Rio de Janeiro for the
calm
among other things and although today
Luis is like that too and
being in alcantara allowed me to do that, right?
if you notice this accumulation of time the
accumulation of images of the messages is
the whole question of the legends of
stories and ruins what
they mean these ruins
these ruins to me they are the
story that is hidden history
not counted and went after
story this untold story
that I set out to research the
Quilombos of Alcântara Alcântara not
it’s just the historic center of Alcântara
huh
There are several beautiful beaches and
many stories that we are not
are available to us
to know
among the villages I met a very
special called itamatatiua itapé
drama tamata fish uncle a rio ita
patativa is a place with a
very specific territoriality was
formed by blacks who have escaped from all
naive farms in these farms of Alcântara
and there they were concealed by the brothers
carmelitas né that gave all the support
so that if these blacks become
established in that village there formed
families have reproduced their families and
they took with them the image of Santa Teresa
d’ávila there alcantara and santa
teresa becomes the owner of this
territory as well as being a land of
alcantara bullshit and is active
it’s also santa ‘s land
Teresa
santa Teresa is the foundress’s protector
and welcomes all the families there
live in an itamatatiua women do
Otis pots like this
these packages have moved all
local economy
and have been doing this for over 300 years since
that arrived there at that time is the
production is declining in this pot
all landscape modification
social economic and cultural comes
modifying the production of treatment
formerly my informants count
that they made 20 pots a day and
put in the oven more than 300 at a time
in this process the whole community
sustainable production of
ceramics women were doing
children with their children on the
men would put on trucks
and a sell all over the lowland
Maranhão and this will
Making a pot is not a
a very easy job he is born a
ball and he is being picked up
women are turning and lifting the
pot shape the bulge always in this
position
Notice the lady there is Dona Neide Dona
neide is 67 years old
you know the big city some
almost seventy-year-old woman sitting
so working to make a pot like me
said it is a ritual
they make the bulge make his neck
no mouth
often the package also has
ears in relation to women
Hug the pot to mold it
the body of women is shaped by the
as well as a bar shaped by the
women in this body relationship
cosmological woman’s hypotheses are
same thing when they want to talk
on the production of ceramics in
we ask how the
ceramics acceleration of my people and
blackbird that neither us in this process of
self-identification with oneself
job
I also identify with them in this
process of mutual construction of which the
that we do our job is the
our identity and how people do not
perceive from this identity
What image do we build the
from our research that is not only
work is also a way of living
it also contains this cosmology
it’s very present and very
preponderant
this image is the opposite of the chora post
the mall is an enchanted place is a
place that is awaited by a sapa
golden and a snake
while we seek all the mythology
about the production of ceramics, people
found in Amerindian mythology is
all indigenous peoples that there is
neighborhood where pottery is made is the
deepest of the barreiro
and there it is guarded by snakes
in this cosmological relation in several
types of interdictions woman can not
playing in mud when menstruating
the menstrual cycle it affects the texture of the
clay and when we put the neighborhood
to trace it can crack the other thing is
the question of the lunar cycle does not
can put the boat back to when the
other full moon in the growing room
because the force of the moon causes the
spot and in this context this is the dish
people end up getting involved is the job
and life I also got carried away by
these snake stories are more
still active at the first moment of
survey was not visiting
several villages and I was bitten by a
snake and it was a mess with fear I
crying was far from alcantara not
I had serum been to San Luis is in
I know that in the middle of the
confusion a little lady side the village
where I was talking to my daughters so
were going to die not will you go
remember every time the whole moon will come
Once the lady’s birthday
remember the snake but it will not die no
at the time I did not make an impact
I was very nervous but then I
I realized that it was really there
a warning, and I warned back home
everything was well healed the bite and
but it’s impressive it was a month
when he arrived on the same moon as that
period in which we had been bitten
and gauged shines and I passed a six
seven months in the process of opening
wound close wound
so I realized what it was
temporality what it was to be connected to
territory
[Music]
and in this process comes the development
in treatment since the 1970s and
80 the pots were not no more
produced or too little already had
that quantity being sold because
arrived plastic the plastic and water
talking to Mrs.
85 years old, Dona Maria, telling me about
production over the past
and I asked her, Mrs. Maria
lady has no packages at home
She has some sentinels.
Grandson search when she brought her botou
wet pot that was inside one of
a tank and began to talk and
I glimpsed this image that I
photograph that represents exactly
this is this pot on one side and the
refrigerator of another representing this
the arrival of the development of the
progress
the electric light drove away the water mothers
on the other hand running water
from 1988 onwards, mainly with
collective rights of communities
Quilombolas is starting to arrive
Researchers their own policies
public health and
education then the whole good side of
development has also
and what interests me in this
history the arrival of tourists
who in his life brought them
design
this relationship between design and craftsmanship
is much researched both in the field of
design in the field of anthropology and
I will not stop
in her at this moment but it is very
important to think that it is a
delicate relationship with a designer who
with knowledge from outside and the craftsman who
is in the community any holder of
knowledge linked to that territory and
how does this relationship occur?
this relationship of mutual construction of
construction and respect for knowledge ,
each one
and there in one of those consultancies there
A plan has been implemented in 2000
implemented a new product that was
quilombo doll doll pictures
a much smaller product if we take it
a doll
the doll gives for us to take home
You can put it in the bag and take it as
souvenir
You can not take a pot of
souvenir of the quilombo and all this
search for the quilombo talks about it to us
take home another time another one
experience another way of experiencing
natura’s relationships
and that’s why tourists are looking for a
quilombo and in this process the
begin modeling your ancestors has
several stories, not a pepper girl
What are you doing here?
these products for travel one of the
demands of the artisans was that
construct a box so that the
dolls could be transported without
break and that would make it easier to sell today
a doll costs more than one
pot and is a much more
salable
in this sense and what woman is this
represented in the subject dolls and
after the women had two
firewood beam on the head with the
head
I love this here in the foreground is
neusa she used to model the
ceramics and breastfeeding the same time
then she was with her breasts
breastfeeding and taking care of children
and it’s these dolls that were taken
instigated by this
during our research is one of the
my students wanted to model
he wanted to represent the artisans and there
we proposed a workshop in the workshop
of dolls
In this workshop, we proposed that
each one to model if the other and
The result of this is incredible and then I
I take a short break to make a
new reflection on this process of
identification of how the tourist
construction photography process
of the image is not from the outside
of this quilombo as this builds the
identity of the artisans as they count
stories that speak of this process of
tourist approximation
mainly the discourse that
they build for me is shaped by the
that they think I would like to
listen and this is collective imaginary
of the quilombo is the image that the ball
which is what I discussed so much in my
thesis about a documentary that
we carry out titled the hand and fire
and this image is very interesting
why not
movie this is a scene and she is watching
for the photo all the time she’s after
looking at my camera she is
dialogue with the tourist as well as
with me
this is very interesting of
realize and this was the doll workshop
in which each model to another and there the
result was incredible and it was very
exciting to realize how they
would like to be identified that
These were the dolls of the
quilombo
this hence the ângela ângela not okay with
firewood clasp on the head
glasses
Angela can read and write and it is
responsible for the entire accounting of
store it that makes all the pa pa the
accounts and makes the net distribution of
profits among the artisans
This one here is never one of the
younger artists who love to walk
Every hour is taking ferry boat to go
to são luís
so dunga always has a bag
are power images are
images about whom these
women want to be identity is that
that we can build together as
woman as researcher with an artisan
[Music]
and this last case is for me the most
emblematic
during this research process in the
quilombo they asked my
students draw football players
it was the time of the world cup that they
wanted to make a product line for
the cup
aiming at a larger sale aimed at
Marketplace
and then the boys drew the
little dolls and they made it together there
cut a small plate and they applied
in a bible such as this
and this bible I was in the title and
with a canopy Bible we can
make all the reservations
not a beautiful product aesthetically
but it is an idealized product and
asked us designers for them
and it is in this process of self
identification of recognition that the
people builds our identity as
researchers and they as artisans
And there’s a phrase in the quilombo that I
I identify a lot that speaks of itself
empowerment and it is with this phrase that I
I’m saying goodbye to you, which is who.
can not with the pot does not put mop
thank you
[Music]
[Applause]
once a quilombo
today I will tell you a story
about hypotheses dolls and women
I’ll start with this one where you
speaks
as a child I was very stimulated was
a child who learns to mess with
hands
my mother gave me the ability to
imagine the books my father gave me
Tools hammer pliers put me
at the top of the stairs to learn how to move
in electrical wiring
my grandparents taught me how to sew
approach to making doll clothes with this
people I always had the possibility of
make it possible to
create and it moved me that moved me in
my curiosity is curious hands
always led me to this thought that
I could accomplish and it moved me in the
My professional life I went to do
university the course of design and this is
led me to deepen this relationship with
the materials the preferred subjects
were workshop metal workshop metal
the graphic representation with the cake
with crayons all this is me
approximate this capacity of
representation I was never exímia
designer
but I’ve never been able to
representation of the other and that is what
I moved during my journey
professional and in my choice of
life too
when I was 23 years old
I came to maranhão or vacation with
my friends and here I decided that I would
stay
São Luís chose for my home
Since then were 14 years
in those choices that we make in life
We always pay a price, but we
people got a little scared going
get out of rio de janeiro to maranhão
and the mother stayed a year without talking to me
thinking that I was shooting at the
foot
but today she recognizes you shot the
what did you saw hit
who did not see it and so I started my
professional career in são luís
and already arriving here in the city I started
master’s degree in social sciences in
I came across this book
He was the founder for me.
thinking about what I wanted for the
my life I did not want to sit
behind a computer
I did not want the life mediated, huh?
For the machines I wanted to know.
The people I wanted to represent the other
in a very close way
then this idea of the work of the
designer as behind the computer
This has been set aside in my life.
So this book that I ‘m not
American sociologist called
lay news
he talks about it about the life of the
researcher as crafts and
coincidence or not was precisely the
that I was researching artisanal production
so I’m riding this
presentation I started looking for
photos that I wanted to make a counterpoint
between raquel working on the computer and
raquel in the field and I did not find
freud explains no photo of me behind
I only found the computer
painting with the artisans with their hand
pasta
[Music]
reading learner and this is what I
I wanted it for my life and that’s what I
I managed to build on this path until
I arrived in alcantara alcantara
in fact as a field of research
singing I came from the beginning when
I arrived here in San Luis is for a
very special place for me this
matter of time I did not want to lose
time ago in transit is not it
that moved me of Rio de Janeiro for the
calm
among other things and although today
Luis is like that too and
being in alcantara allowed me to do that, right?
if you notice this accumulation of time the
accumulation of images of the messages is
the whole question of the legends of
stories and ruins what
they mean these ruins
these ruins to me they are the
story that is hidden history
not counted and went after
story this untold story
that I set out to research the
Quilombos of Alcântara Alcântara not
it’s just the historic center of Alcântara
huh
There are several beautiful beaches and
many stories that we are not
are available to us
to know
among the villages I met a very
special called itamatatiua itapé
drama tamata fish uncle a rio ita
patativa is a place with a
very specific territoriality was
formed by blacks who have escaped from all
naive farms in these farms of Alcântara
and there they were concealed by the brothers
carmelitas né that gave all the support
so that if these blacks become
established in that village there formed
families have reproduced their families and
they took with them the image of Santa Teresa
d’ávila there alcantara and santa
teresa becomes the owner of this
territory as well as being a land of
alcantara bullshit and is active
it’s also santa ‘s land
Teresa
santa Teresa is the foundress’s protector
and welcomes all the families there
live in an itamatatiua women do
Otis pots like this
these packages have moved all
local economy
and have been doing this for over 300 years since
that arrived there at that time is the
production is declining in this pot
all landscape modification
social economic and cultural comes
modifying the production of treatment
formerly my informants count
that they made 20 pots a day and
put in the oven more than 300 at a time
in this process the whole community
sustainable production of
ceramics women were doing
children with their children on the
men would put on trucks
and a sell all over the lowland
Maranhão and this will
Making a pot is not a
a very easy job he is born a
ball and he is being picked up
women are turning and lifting the
pot shape the bulge always in this
position
Notice the lady there is Dona Neide Dona
neide is 67 years old
you know the big city some
almost seventy-year-old woman sitting
so working to make a pot like me
said it is a ritual
they make the bulge make his neck
no mouth
often the package also has
ears in relation to women
Hug the pot to mold it
the body of women is shaped by the
as well as a bar shaped by the
women in this body relationship
cosmological woman’s hypotheses are
same thing when they want to talk
on the production of ceramics in
we ask how the
ceramics acceleration of my people and
blackbird that neither us in this process of
self-identification with oneself
job
I also identify with them in this
process of mutual construction of which the
that we do our job is the
our identity and how people do not
perceive from this identity
What image do we build the
from our research that is not only
work is also a way of living
it also contains this cosmology
it’s very present and very
preponderant
this image is the opposite of the chora post
the mall is an enchanted place is a
place that is awaited by a sapa
golden and a snake
while we seek all the mythology
about the production of ceramics, people
found in Amerindian mythology is
all indigenous peoples that there is
neighborhood where pottery is made is the
deepest of the barreiro
and there it is guarded by snakes
in this cosmological relation in several
types of interdictions woman can not
playing in mud when menstruating
the menstrual cycle it affects the texture of the
clay and when we put the neighborhood
to trace it can crack the other thing is
the question of the lunar cycle does not
can put the boat back to when the
other full moon in the growing room
because the force of the moon causes the
spot and in this context this is the dish
people end up getting involved is the job
and life I also got carried away by
these snake stories are more
still active at the first moment of
survey was not visiting
several villages and I was bitten by a
snake and it was a mess with fear I
crying was far from alcantara not
I had serum been to San Luis is in
I know that in the middle of the
confusion a little lady side the village
where I was talking to my daughters so
were going to die not will you go
remember every time the whole moon will come
Once the lady’s birthday
remember the snake but it will not die no
at the time I did not make an impact
I was very nervous but then I
I realized that it was really there
a warning, and I warned back home
everything was well healed the bite and
but it’s impressive it was a month
when he arrived on the same moon as that
period in which we had been bitten
and gauged shines and I passed a six
seven months in the process of opening
wound close wound
so I realized what it was
temporality what it was to be connected to
territory
[Music]
and in this process comes the development
in treatment since the 1970s and
80 the pots were not no more
produced or too little already had
that quantity being sold because
arrived plastic the plastic and water
talking to Mrs.
85 years old, Dona Maria, telling me about
production over the past
and I asked her, Mrs. Maria
lady has no packages at home
She has some sentinels.
Grandson search when she brought her botou
wet pot that was inside one of
a tank and began to talk and
I glimpsed this image that I
photograph that represents exactly
this is this pot on one side and the
refrigerator of another representing this
the arrival of the development of the
progress
the electric light drove away the water mothers
on the other hand running water
from 1988 onwards, mainly with
collective rights of communities
Quilombolas is starting to arrive
Researchers their own policies
public health and
education then the whole good side of
development has also
and what interests me in this
history the arrival of tourists
who in his life brought them
design
this relationship between design and craftsmanship
is much researched both in the field of
design in the field of anthropology and
I will not stop
in her at this moment but it is very
important to think that it is a
delicate relationship with a designer who
with knowledge from outside and the craftsman who
is in the community any holder of
knowledge linked to that territory and
how does this relationship occur?
this relationship of mutual construction of
construction and respect for knowledge ,
each one
and there in one of those consultancies there
A plan has been implemented in 2000
implemented a new product that was
quilombo doll doll pictures
a much smaller product if we take it
a doll
the doll gives for us to take home
You can put it in the bag and take it as
souvenir
You can not take a pot of
souvenir of the quilombo and all this
search for the quilombo talks about it to us
take home another time another one
experience another way of experiencing
natura’s relationships
and that’s why tourists are looking for a
quilombo and in this process the
begin modeling your ancestors has
several stories, not a pepper girl
What are you doing here?
these products for travel one of the
demands of the artisans was that
construct a box so that the
dolls could be transported without
break and that would make it easier to sell today
a doll costs more than one
pot and is a much more
salable
in this sense and what woman is this
represented in the subject dolls and
after the women had two
firewood beam on the head with the
head
I love this here in the foreground is
neusa she used to model the
ceramics and breastfeeding the same time
then she was with her breasts
breastfeeding and taking care of children
and it’s these dolls that were taken
instigated by this
during our research is one of the
my students wanted to model
he wanted to represent the artisans and there
we proposed a workshop in the workshop
of dolls
In this workshop, we proposed that
each one to model if the other and
The result of this is incredible and then I
I take a short break to make a
new reflection on this process of
identification of how the tourist
construction photography process
of the image is not from the outside
of this quilombo as this builds the
identity of the artisans as they count
stories that speak of this process of
tourist approximation
mainly the discourse that
they build for me is shaped by the
that they think I would like to
listen and this is collective imaginary
of the quilombo is the image that the ball
which is what I discussed so much in my
thesis about a documentary that
we carry out titled the hand and fire
and this image is very interesting
why not
movie this is a scene and she is watching
for the photo all the time she’s after
looking at my camera she is
dialogue with the tourist as well as
with me
this is very interesting of
realize and this was the doll workshop
in which each model to another and there the
result was incredible and it was very
exciting to realize how they
would like to be identified that
These were the dolls of the
quilombo
this hence the ângela ângela not okay with
firewood clasp on the head
glasses
Angela can read and write and it is
responsible for the entire accounting of
store it that makes all the pa pa the
accounts and makes the net distribution of
profits among the artisans
This one here is never one of the
younger artists who love to walk
Every hour is taking ferry boat to go
to são luís
so dunga always has a bag
are power images are
images about whom these
women want to be identity is that
that we can build together as
woman as researcher with an artisan
[Music]
and this last case is for me the most
emblematic
during this research process in the
quilombo they asked my
students draw football players
it was the time of the world cup that they
wanted to make a product line for
the cup
aiming at a larger sale aimed at
Marketplace
and then the boys drew the
little dolls and they made it together there
cut a small plate and they applied
in a bible such as this
and this bible I was in the title and
with a canopy Bible we can
make all the reservations
not a beautiful product aesthetically
but it is an idealized product and
asked us designers for them
and it is in this process of self
identification of recognition that the
people builds our identity as
researchers and they as artisans
And there’s a phrase in the quilombo that I
I identify a lot that speaks of itself
empowerment and it is with this phrase that I
I’m saying goodbye to you, which is who.
can not with the pot does not put mop
thank you
[Music]
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