Cette recherche doctorale examine les pratiques figuratives, les représentations symboliques et les enjeux socio-culturels des arts graphiques inuit dans les communautés de Kinngait (Cape Dorset) et de Pangniqtuuq (Pangnirtung) au Nunavut (Arctique canadien). Les notions de dessin (titiqtugaq-) et de parole (uqaq-) se placent au centre de la démarche qui est guidée par une approche interdisciplinaire, dans la perspective d’une ethnohistoire de l’art du dessin inuit. Trois parties structurent la démonstration. La première explore les configurations de la pensée inuit associées aux concepts d’art graphique, de représentation visuelle et de créateur, à partir de leur expression linguistique (chapitre II). Puis, une ethnographie de la scène artistique locale présente le dessin et les activités socio-économiques qui lui sont associées autour de la question du statut de l’artiste (chapitres III et IV). La deuxième partie envisage la figuration en rapport à la parole, à partir de la cosmogénèse et des techniques graphiques anciennes (chapitre V). Elle s’intéresse ensuite aux interactions entre le dessin et la parole sur un plan symbolique : dans le dessin, les pensées et les mots sont mis en actes (chapitres VI et VII). La dernière partie de la thèse définit l’art comme un élément de la dynamique socio-culturelle et politique des Nunavummiut. Le recours au dessin dans le cadre de projets communautaires est étudié à partir d’exemples récents (chapitre VIII), avant d’être replacé au centre des dynamiques relationnelles et des échanges socio-cosmiques dans une dimension ontologique (chapitre IX) / This doctoral research examines the themes of figurative practices, symbolic representations and the socio-cultural stakes specific to Inuit graphic arts in the communities of Kinngait (Cape Dorset) and Pangniqtuuq (Pangnirtung) in Nunavut (the Canadian Arctic). The notions of drawing (titiqtugaq-) and of speech (uqaq-) are central to the thesis, which is guided by an interdisciplinary approach within the perspective of ethno-history of Inuit sketch art. The thesis is organized into three parts. The first explores the configuration of Inuit thought associated with the concepts of graphic art, visual representation and creation, through their linguistic expression (Chapter II). In addition, ethnography of the local art scene looks at drawing and the socio-economic activities that are associated with it, in connection with the status of the artist (Chapters III and IV). The second part looks at figuration in relation to power words, from cosmogenesis and ancient graphic techniques (Chapter V). With this in hand, the second part then looks at the interactions between drawing and speaking from a symbolic perspective: through drawings, the thoughts and words are put into action (Chapters VI and VII). The last part of the dissertation continues the analysis by defining art as part of the socio-cultural and political dynamics of the Nunavummiut. Recourse to drawing, as a community project, is studied with reference to recent examples (Chapter VIII), prior to being placed, within an ontological dimension, at the centre of relational and socio-cosmic exchange dynamics (Chapter IX)

O objetivo desta dissertação é explorar as construções de narrativas históricas, culturais, de classe, de gênero e de geração produzidas pela comunidade okinawana brasileira. Por meio de suas várias expressões dança, performance, publicações , mas também de suas formas de sociabilidade, intentamos entender as diferentes maneiras como esse grupo se produz nos seus jogos paradoxais de inclusão e de exclusão social. Procuramos avaliar, ainda, como todos esses processos estão conectados a uma certa brasilidade, mas como também (e ao mesmo tempo) o grupo reforça, sempre, discursos de diferença e autonomia. A metodologia do trabalho se insere no debate sobre antropologias nativas e lida com seus impasses. / The main goal of this dissertation is to explore how the historical, cultural, but also class, gender and generation narratives are built by the Brazilian Okinawan community. Through its various expressions dance, performance, publications and also thought other forms of sociability, we tried to understand the different ways that this group creates to understand and to deal with social inclusion and exclusion. We tried to portrait how this road is connected with a certain brazility and, at the same time, how they reiterate speeches that mark difference and autonomy. The methodology of this work is based on the debate known as native anthropology, and deals with its challenges.

O objetivo desta dissertação é explorar as construções de narrativas históricas, culturais, de classe, de gênero e de geração produzidas pela comunidade okinawana brasileira. Por meio de suas várias expressões dança, performance, publicações , mas também de suas formas de sociabilidade, intentamos entender as diferentes maneiras como esse grupo se produz nos seus jogos paradoxais de inclusão e de exclusão social. Procuramos avaliar, ainda, como todos esses processos estão conectados a uma certa brasilidade, mas como também (e ao mesmo tempo) o grupo reforça, sempre, discursos de diferença e autonomia. A metodologia do trabalho se insere no debate sobre antropologias nativas e lida com seus impasses. / The main goal of this dissertation is to explore how the historical, cultural, but also class, gender and generation narratives are built by the Brazilian Okinawan community. Through its various expressions dance, performance, publications and also thought other forms of sociability, we tried to understand the different ways that this group creates to understand and to deal with social inclusion and exclusion. We tried to portrait how this road is connected with a certain brazility and, at the same time, how they reiterate speeches that mark difference and autonomy. The methodology of this work is based on the debate known as native anthropology, and deals with its challenges.

La thèse se situe dans le domaine de la sociologie appliquée, la socio-muséologie, pour guider un projet muséologique visant à l’autonomie des Indiens Potiguara. C’est un peuple qui est à l’origine une « communauté de parentage » et qui veut conserver son « appartenance raciale ». Mais il a développé un processus de formation d’une identité ethnique distincte, résultant des luttes pour la démarcation de ses terres à partir des années 80, ce qui a contribué au renforcement identitaire. La terre, en tant que représentation de la « dimension spatiale de la relation de parenté », est l’endroit où s’établit la communalisation créé par le travail de la parentalité et de voisinage. A travers la terre se développent des pratiques traditionnelles qui préservent l’héritage des ancêtres. Si les liens « d’appartenance raciale » proviennent de l’ancêtre métisse, la représentation ethnique considérée comme « valeur de culture et de l’histoire » est pour la société extérieure la culture indigène. Cette ambivalence est résolue par le rituel Toré où se manifestent les deux expressions symboliques, présentant une solution inclusive de valeurs muséales propre à ouvrir une voie d’émancipation épistémologique au projet. / This thesis falls within the field of Applied Sociology and Socio-Museology, guiding a museum project that aims the autonomy of Potiguara Indians. This people is originally is a “family relationship community” and want to save their “racial origin”, but there is an advanced process of a distinctive ethnic identity formation, resulting from land demarcation fights from the 80s, strengthening their identity.The earth, a representation of “spatial dimension of family relationiship”, is where is established the sense of community built by the collective work of parenting and neighborhood and through it traditional practices that keep the memory of the heritage of the ancestors are developed. If the bonds of “racial origin” come from the mestizo ancestor, also called “old brench”, the ethnic representation considered as “a cultural and a historical value” to the outsiders is the Indian culture. This ambivalence is resolved through the Toré ritual through which two symbolic expressions are shown, an inclusive solution that will open an epistemological emancipatory route to the project.