Este estudo propõe-se a realizar uma releitura da obra do sociólogo brasileiro Florestan Fernandes com vistas a estabelecer aproximações, afinidades e diálogos entre a obra deste autor e o pensamento decolonial latino-americano. Partindo das hipóteses de invisibilidade de Florestan Fernandes no cenário latino-americano de língua espanhola, e de que sua obra tem sido pouco analisada tendo em vista sua relação com a América Latina, com outros intelectuais latino-americanos de sua geração e com os chamados estudos descoloniais, buscamos dar luz à sua contribuição para a formação de um pensamento social a partir da América Latina, e para a atualidade de suas formulações teóricas anticoloniais diante da emergência e consolidação de perspectivas epistemológicas que reivindicam a descolonização do saber na América Latina, inserindo-o como um protagonista desse movimento de resistência epistêmica do Sul global ainda no século XX. Nesse sentido, as aproximações entre essas duas perspectivas se deram principalmente a partir das problemáticas do eurocentrismo, colonialismo, descolonização e questão racial, todas inter-relacionadas com a caracterização do tipo específico de capitalismo existente na América Latina, o dependente. A partir dessas questões, postas em diferentes momentos históricos da América Latina e que se encontram no âmago de seus dilemas históricos, foi possível reestabelecer um diálogo e uma ponte entre essas duas diferentes gerações de intelectuais latino-americanos que compartilharam do mesmo ideal de construção de um pensamento autônomo. / Este estudio se propone realizar una relectura de la obra del sociólogo brasileño Florestan Fernandes con miras a establecer aproximaciones, afinidades y diálogos entre la obra de este autor y el pensamiento decolonial latinoamericano. A partir de las hipótesis de invisibilidad de Florestan Fernandes en el escenario latinoamericano de lengua española, y de que su obra ha sido poco analizada teniendo en vista su relación con América Latina, con otros intelectuales latinoamericanos de su generación y con los llamados estudios decoloniales, buscamos dar luz a su contribución a la formación de un pensamiento social a partir de América Latina, y para la actualidad de sus formulaciones teóricas anticoloniales ante la emergencia y consolidación de perspectivas epistemológicas que reivindican la descolonización del saber en América Latina, insertándolo como un protagonista de ese movimiento de resistencia epistémica del Sur global aún en el siglo XX. En este sentido, las aproximaciones entre estas dos perspectivas se dieron principalmente a partir de las problemáticas del eurocentrismo, colonialismo, descolonización y cuestión racial, todas interrelacionadas con la caracterización del tipo específico de capitalismo existente en América Latina, el dependiente. A partir de estas cuestiones, colocadas en diferentes momentos históricos de América Latina y que se encuentran en el centro de sus dilemas históricos, fue posible reestablecer un diálogo y un puente entre esas dos diferentes generaciones de intelectuales latinoamericanos que compartieron el mismo ideal de construcción de un pensamiento autónomo.

O presente estudo visa contribuir para o ensino da cultura e da história africana e afro-brasileira tendo como centro de sua reflexão e problematização a figura emblemática de Exu e suas representações em canções brasileiras. O estudo procura desconstruir a associação desse orixá/mediador com o demônio cristão, associação primeiro realizada pela Igreja Católica e hoje reapropriada por algumas Igrejas Neopentecostais ao tornar o Exu alvo preferencial de abjeção, valendo-se de sua figura para difundir intolerância e perseguição às religiões de matriz africana, manifestação do que hoje é conceituado como racismo religioso. Tornar acessível a todos a riqueza das culturas afro-brasileiras mediante as canções populares que falam do Exu, afastando dele a demonização e o preconceito, nos parece pedagogia estratégica para cumprir e estar de acordo com as Leis 10.639/03 e 11.645/08 e com o Parecer CNE nº 03/2004, que tratam das Diretrizes Curriculares Nacionais para a Educação Étnico Racial e o Ensino da História e da Cultura Afro-brasileira e Africana. Por meio de pesquisa bibliográfica, investigamos os entrelaçamentos da trajetória do símbolo de Exu e suas múltiplas representações com a trajetória histórica e sócio cultural do negro no Brasil. Partindo do levantamento realizado por Reginaldo Prandi (2005) e ampliando-o, elencamos canções brasileiras que tratam de Exu, compostas entre os anos de 1912 e 2018. Destacamos, entre elas, uma para cada representação de Exu que consideramos significativas, capazes de serem desenvolvidas em projetos pedagógicos, tais como Exu e o poder feminino ou Exu e a representação do malandro, realizando observações sobre aspectos textuais e musicais das mesmas. A escolha das canções como núcleos de reflexões sobre Exu se deu pelo reconhecimento da força mobilizadora da canção e por representar, cada uma delas, um aspecto diferente desse orixá no imaginário social. Os estudos de Silva (2000; 2007; 2012; 2015), Ortiz (1999), Pordeus Jr. (1993; 2000) e Lagos (2007) foram essenciais para o entendimento do símbolo Exu e suas interpretações no Brasil, bem como para as análises dos conteúdos dos textos das canções, produtos artísticos que espelham os contextos históricos e culturais em que surgiram, assim como os interesses mercadológicos enquanto produtos fonográficos. Tais análises foram feitas buscando identificar os indícios sociais e históricos capazes de detectar, na estrutura poética e musical das canções, as múltiplas faces assumidas por Exu. Dessa forma, apontamos Exu como elemento essencial na construção de uma efetiva educação antirracista, intercultural e decolonial e as canções como instrumento facilitador de sua concretização. / The present study aims to contribute to the teaching of African and Afro-Brazilian culture and history taking the emblematic figure of Exu represented in Brazilian songs as the center of this reflections and problematization. This study aims to deconstruct the association of this orixá with the Christian devil, association originaly made by Catholic Church. Today, this concept is reappropriated by some neopentecostal churches making Exu a particular target of abjection, using its figure to disseminate intolerance and persecution of African matrices religions, an expression that is considered today as religious racism. To offer wide accessibility to the richness of Afro-Brazilian cultures through popular songs that speak about Exu, pushing demonization and prejudice away, seems to be an strategic pedagogy to comply with Laws 10.639/03 e 11.645/08 and Legal Advice CNE n.º 03/2004, regarding the Curricular Guidelines to Racial and Etnical Education and Afro-Brazilian and African Culture and History Teaching. Through bibliography research, we could explore the historical intertwining of the trajectory of Exus symbol and its multiple representations with the historical and social cultural trajectory of black people in Brazil. Starting from the data collection made by Reginaldo Prandi (2005) and expanding it, we could list Brazilian songs that refer to Exu composed over the years of 1912 and 2018. We chose, among them all, one for each representation of Exu that we consider significant and able to be developed in pedagogic projects such as Exu and the feminine power and the representations of the malandro, making observations about the textual and musical aspects of these songs. The selection of these songs as nuclei of reflections about Exu was due to the recognition of the driving force of the song and the representations, made by each one of them, of a different aspect of the orixá in social imaginary. The studies of Silva (2000; 2007; 2012; 2015), Ortiz (1999), Pordeus Jr. (1993; 2000) and Lagos (2007) were essential to the understanding of Exus symbols and its interpretations in Brazil, as well as the analyses of the contents of songs lyrics, artistic elements that reflect historical and cultural contexts in which they arose, as well the market interests as phonographic products. Such evaluations were made in order to identify social and historical evidences capable of detecting, in the musical and poetical structure of these songs, Exus multiple faces. Therefore, we consider Exu as essential element in the construction of an effective anti-racist, intercultural and decolonial education, and the songs as facilitator instrument in its concretization.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-17T10:47:15Z No. of bitstreams: 2 Tese - Clarissa Adjuto Ulhoa - 2018.pdf: 8501272 bytes, checksum: 28839ac1a731eeb390c670298ece1754 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-09-17T10:52:13Z (GMT) No. of bitstreams: 2 Tese - Clarissa Adjuto Ulhoa - 2018.pdf: 8501272 bytes, checksum: 28839ac1a731eeb390c670298ece1754 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-09-17T10:52:13Z (GMT). No. of bitstreams: 2 Tese - Clarissa Adjuto Ulhoa - 2018.pdf: 8501272 bytes, checksum: 28839ac1a731eeb390c670298ece1754 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-05-11 / This academic work has the intention to contribute to the implementation process of the law 10639/2003, witch became indispensable the teach of history and the afro-brazilian and african culture in schools, proposing the use of afro-brazilian and african material culture as a source to teach themes predicted in the mentioned law and the others documents related to it. Therefore, it was considered necessary to evaluate in which way this same material culture has been englobed (or ignored) among the curriculum and didactics books, as well as in the students’ representations. By and concomitantly to those datas debate, the material culture will be presented as a privileged source to the history teach and the afro-brazilian and african culture. Unlikely to what happens in the case of the writtens fonts, almost always elaborated by an eurocentric perspective, the most diverse examples of the material universe were thought of, constructed, used, and traded by Africans themselves and their descendants. In this sense, englobe this material culture can be faced as a way out to question the colonialists speeches. / Este trabalho tem o intuito de contribuir para o processo de implementação da Lei 10639/2003, que tornou indispensável o ensino da história e da cultura afro-brasileira e africana nas escolas, propondo o uso da cultura material afro-brasileira e africana como fonte para o ensino dos temas previstos na mencionada lei e nos demais documentos a ela relacionados. Para tanto, se considerou necessário avaliar de que maneira essa mesma cultura material tem sido abarcada (ou ignorada) no âmbito dos currículos e dos livros didáticos, bem como nas representações dos estudantes. Por meio e concomitantemente ao debate desses dados, a cultura material será apresentada como fonte privilegiada para o ensino da história e da cultura afro-brasileira e africana. Diferentemente do que ocorre no caso das fontes escritas, quase sempre elaboradas a partir da perspectiva eurocêntrica, os mais diversos exemplares do universo material foram pensados, construídos, usados e comerciados pelos próprios africanos e por seus descendentes. Nesse sentido, o ato de se abarcar esta cultura material pode ser encarado como uma saída para se questionar os limitadores discursos colonialistas.

[pt] Esta pesquisa tem por objetivo conhecer o surgimento das afro-pastorais no Brasil a partir do desenvolvimento das Teologia(s) Negra(s). A partir do Vaticano II, o mundo caminhou em direção a novos caminhos para diversas áreas de conhecimento, dentre elas a Teologia. Devido às viragens epistêmicas ocorridas no século XX, percebe-se o surgimento de novidades teológicas, a contar da ambientação contextual em que o ser humano está inserido. Este impacto antropológico se encontra com a estrutura racial que o mundo ocidental cunhou para dominação de povos ditos primitivos e inferiores, gerando a narrativa racial e, consequentemente, o racismo. Ainda que seja negado, o racismo perpassa as comunidades religiosas e a Igreja não está imune a ele. Urgiu a necessidade de uma teologia, nascida em contexto diaspórico, que afetasse essas marcas seculares de opressão. A Teologia Negra encontra-se nesse lugar e percebe-se teologias negras emergentes em diversos solos continentais, que influenciam umas às outras, como um grande quilombo mundial. Este cuidado coletivo nasce pela gestação de pastorais que, numa perspectiva cristológica, compreendem a Revelação pelo rosto do Cristo negro. Seja nos séculos das colônias, seja no pós-abolição, as afro-pastorais são lugar de acolhida e entendimento das (inter)subjetividades negras, que se dá no encontro da pessoa negra com a sua própria negritude perpassada pela fé cristã. Conclui-se que o nascimento da Teologia Negra sistematizada verbalizou o que já era vivido há épocas anteriores no Brasil no que tange a afro-pastoral, potencializou o que foi criado após a sua organização sistemática e afetará a Igreja de forma futura, trazendo um novo olhar para o objeto da Revelação e produzindo uma pastoral cada vez mais horizontalizada e descentralizada da figura sacerdotal. / [en] This research aims to understand the emergence of Afro-pastoralists in Brazil from the development of Black Theology(ies). Since Vatican II, the world has moved towards new paths for different areas of knowledge, among them theology. Due to the epistemic changes that took place in the 20th century, the emergence of theological novelties can be seen, based on the contextual setting in which the human being is inserted. This anthropological impact meets the racial structure that the Western world coined for the domination of so-called primitive and inferior peoples, generating the racial narrative and, consequently, racism. Although it is denied, racism permeates religious communities and the Church is not immune to it. There was an urgent need for a theology, born in a diasporic context, that would affect these secular marks of oppression. Black Theology is in this place and it is possible to see black theologies emerging in several continental soils, which influence each other, like a great world quilombo. This collective care is born from the gestation of pastorals that, from a Christological perspective, understand the Revelation through the face of the black Christ. Whether in the centuries of the colonies or in the post-abolition period, Afro-pastorals are a place of acceptance and understanding of black (inter) subjectivities, which takes place in the encounter of the black person with his own blackness permeated by the Christian faith. It is concluded that the birth of systematized Black Theology verbalized what was already experienced in previous times in Brazil with regard to Afro-pastoralism, enhanced what was created after its systematic organization and will affect the Church in the future, bringing a new looking at the object of Revelation and producing an increasingly horizontalized and decentralized pastoral care of the priestly figure.

Introduction. This thesis investigates the digitisation of Indigenous collections at the Museum of World Culture (Gothenburg, Sweden), with particular attention to Carlotta’s role in shaping the digital collections. Previous studies have shown that there is a need for more research on the practical aspects of digitisation efforts on Indigenous cultural heritage in Sweden. Method. The museum’s documentation—digitisation strategies, annual reports and other official documents—was explored. In addition, several interviews and participant observations were conducted. Qualitative content analysis was used to evaluate the empirical data Analysis. The qualitative analyses of this study’s empirical data used postcritical and postcolonial museological theories. Additionally, Bhabha´s Third Space theory was applied Results. The results show that the digitisation of collections at the museum according to the organisation´s plans, applying the recommended guidelines and considering the ethical implications that arise when working with Indigenous material has not been achieved. Moreover, the results show that Carlotta is not a suitable collections management system for Indigenous cultural heritage. Conclusion. This study concludes that the Museum of World Culture needs to adapt the goals of its digitisation processes to the type of collections and resources they have and incorporate a decolonisation computing approach. In addition, there is a need for official regulations or guidelines addressed to those working with Indigenous collections in Swedish libraries, archives and museums. / <p>The thesis was funded by the Swedish National Archives (Riksarkivet samfond 2023).</p>

<p>This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.</p> / Dissertation

In order to address the effects of unequal relations of power inherent in expert medical knowledge and practice that contribute to health inequities, this project defines and instantiates the concept of rhetorical economies in public health through a case study of promotora practices. As everyday experts, promotoras support medically underserved communities through health education and counseling. This project defines rhetorical economies of public health as those practices and processes which deterritorialize medical expertise in order to produce and distribute new knowledge economies related to bodies, health, and disease across everyday and expert communities. This participatory research is shaped by a community partnership with a promotora at work in public health settings. Historical analysis of the emergence of biomedical perception provides the context for a feminist rhetorical, decolonial, and critical discourse analyses of public health messaging as well as of this promotora's work stories and pedagogies. This project draws from Chela Sandoval's (2000) articulation of "differential consciousness" to identify processes where everyday and embodied practice differentially engage dominant medical discourse in order to re/appropriate, subvert, and transform "spaces of power" in medical contexts. Rhetorical economies are the means through which these transformations are possible. Narrative and rhetorical analysis of a promotora's work stories and pedagogies reveal how neoliberal and racialized medical discourse reproduce political and economic marginalizations while reinscribing medicalized understandings of the body, health and disease. Using the framework afforded by González, Moll, & Amanti's (2005) "funds of knowledge" approach, this project illuminates how rhetorical economies function to recenter community ways of knowing in order to decolonize biomedical epistemologies and practices. This project provides the foundation for future research in how rhetorical economies act to re/appropriate dominant discourses and advance transformational change. Grounded in medical, feminist, and decolonial rhetorics, this project it will find application across the disciplines, including education, rhetorical studies, cultural studies, medical anthropology, medical humanities, community action research, disability studies, health communication studies, and public health.

<p>La disertación no define un campo disciplinario, ni una construcción formal, ni una metodología que intente llegar a una verdad racional. Se desobedece la linealidad epistémica occidental y el enfoque en un tema específico. El manuscrito opta por navegar a través de rutas relacionales en conversación desde, con y entre varios saberes y experiencias personales, tribales y comunitarias. Localizamos el andar decolonial en un territorio expandido donde incorporamos una geo-­‐‑política trazada en la continuidad que ofrece la ancestralidad lingüística y cultural entre maya, seminole y loko, esta última conectada a la lengua madre arahuaca que se extiende desde la región amazónica del este de Los Andes, norte de Argentina y Paraguay desde 9000 A.C.</p><p>Al hilvanar experiencias y saberes otros, se establecen conexiones y rupturas más cercanas a los que entendimos como cosmos-­‐‑existencia y cosmoconvivencia en los imaginarios indígenas, afro y US latinxs. La disertación no podrá abarcar todas las rutas y encrucijadas que propician la decolonialidad del imaginario erótico kairibe, pero transito caminos sacbes desde donde los trazos de la memoria y la experiencia sanan la opresión colonial y nutren el andar del espíritu por los saberes inscritos en los relatos de creación indígenas y afro caribe, la oralidad de las lenguas maya yucateca y loko, la expresión de varixs creadores decoloniales, y las conversaciones e intercambios sociales con algunos de los miembros del proyecto decolonial.</p><p>A partir de la propuesta metodológica de Linda Tuhiwai Smith, en la cual se afirma que las metodologías indígenas son el resultado de la elaboración de un tejido, este manuscrito entrelaza una plataforma crítica, una encrucijada de saberes donde confluyen la variabilidad de los proyectos metodológicos propuesto por Tuhiwai Smith (1999), el pensamiento fronterizo de Gloria Anzaldúa (1987), la corpo-­‐‑política de Frantz Fanon (1987), la poética relacional de Edouard Glissant (1997), las pedagogía sagrada de Jacqui Alexander (2005), el desprendimiento, delinking de Walter D. Mignolo (2007), el poder erótico de Audre Lorde (1986), la transmodernidad de Enrique Dussel (2005) y la geopolítica del pensar propuesta por Catherine Walsh (2007).</p><p>Desde esta encrucijada de saberes, la disertación navega el racismo cognitivo eurocentrado, al mismo tiempo que efectúa el desligue epistémico y creativo hacia locaciones otras donde las experiencias y aprendizajes, conectados a las memorias ancestrales de lxs abuelxs, propician la decolonización del imaginario erótico kairibeafroxeri.</p> / Dissertation

This thesis presents an ethnography of public discourse in postcolonial, decolonial, queer, and multimedia contexts, as part of a critical analysis of imperialism in the digital age. In mixing experiences with theory and social practice, I draw on the work of activists who have already begun to mold these theories into everyday practice, paying particular attention to Occupy Wall Street, the Zapatistas of Mexico, and Southerners on New Ground (SONG)—a regionally focused non-profit organization based in the southern United States. I develop techno-seduction as a term to deconstruct the lure of technological determinism promoting static interpretations of democracy, consensus, and participation, and to describe the impact these interpretations have on intrapersonal and group identity formation.

This dissertation examines local congregations in Puerto Rico to help articulate a theology of sustainable hope revealed through their outreach practices and ecclesiologies of public and political participation. Nurtured by qualitative research with six Christian congregations in Puerto Rico, the work moves from an articulation of context, hope, practice, and future to reveal its aim of liberation through sustainable hope. Puerto Rico’s continuous colonial history, and most recently its devastation during and after Hurricane María, heightened the socio-economic crisis that continues to hinder the hope of Puerto Ricans inside and outside the island. In this dissertation, I analyze the operations of political systems that suppress hope in Puerto Rico. I weave the theme of a theology of hope, with the fields of ecclesiology, memory studies, postcolonial and decolonial theory, liberation theology, and the study of social movements to build a model that puts hope at the center of our practices and moves toward a recipe for a hope that is sustainable in practice. Along with many other theologians and theorists, I converse with the work of theologians Rubem Alves and Ellen Ott Marshall. Alves shapes the definition of hope in this dissertation by challenging how society is organized and revealing how this organization oppresses imagination and people’s liberative agency. Marshall describes hope as elastic, making room for the expectation of a hopeful future that coexists in tension with the challenges of our daily lives. My writing is framed by an ecclesiological context; an articulation of a hope that does not remain static and responds to the challenges of colonialism, the erasure of memory, and oppression; and a liberation theology of creation. I present a way to articulate a hope that is able to sustain the people of Puerto Rico through their practices of hope. / 2021-07-23T00:00:00Z