The master{\crq}s thesis is divided into three parts. The introductory part is concerned with the turtle from a professional viewpoint. The historical development and symbolism of this creature are dealt with, as well as palaeontological findings and relevant bits of interesting information. The following chapters are primarily practical. This practical work on the ceramic sculpture, though, is also based on the study of relevant literature. The third part provides a photodocumentation to the text. It features the final product as well as the process of its creation.

This diploma paper is divided into two parts, a practical and a theoretical part. The practical part portrays dance in a set of five figures of dancers created using the method of ceramic sculpture made of ceramic clay. The figures of dancers are chosen as representatives of five various dances that stand for the historical era and the continent where they originated. The theoretical part follows the set of sculptures with information about historical and local contexts of the individual dances as well as stylizations of each dancer and the working methods used.

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O presente trabalho em poéticas visuais buscou investigar possibilidades artísticas que evocam um lugar para além-mundo, anseios por plenitude e perfeição, tendo como objeto a escultura em cerâmica. Foi realizada uma produção imagética articulada a partir da prática e subjetividade artística, construindo uma visão de mundo. O imaginário como princípio e vetor encontrou configurações artísticas que apontam para um conjunto de crenças e valores humanos dentro do tema proposto. Este tema, substanciado na expressão Paraíso Paradoxal, inicialmente em estado latente, acabou por explicitar-se ao longo do desenvolvimento deste trabalho, estabelecendo-se ao final como quadro conceitual organizador do conjunto da obra. Durante este processo, os principais avanços metodológicos consistiram em gradualmente acrescentar aos trabalhos em cerâmica outros materiais como o metal, o vidro, penas de pássaro, líquidos, galhos de vime e fibras de algodão, tornando o trabalho mais fecundo e ampliando notavelmente as possibilidades. / The present work in visual poetry sought to investigate artistic possibilities that evoke a place beyond the world, longings for fullness and perfection, having as object the ceramic sculpture. An imagistic production articulated from the practice and artistic subjectivity was built, constructing a worldview. The imaginary as principle and vector found artistic configurations that point to a set of human beliefs and values within the proposed theme. This theme, substantiated in the expression Paradoxical Paradise, initially in a latent state, became explicit throughout the development of this work, establishing itself at the end as a conceptual framework that organizes the work as a whole. During this process, the main methodological advances consisted in gradually adding to the ceramic work other materials such as metal, glass, bird feathers, liquids, wicker twigs and cotton fibers, making the work more fruitful and greatly enhancing possibilities.

Culture, as defined by Edward Said, is a concept of identity selectively curated through imperialism. Through my ceramic practice, I explore what constitutes my cultural identity as a first generation Arab American. My work, primarily influenced by family narrative was initially expressed through investigations in the figure and viewer relationships with my sculpted figures. As my research progressed into Western Imperialism, I began noticing extensive evidence of colonialism’s lasting effects, especially within Western consumer markets. Interest in the writings of Said, works by French Orientalist painters, family memory, and a general displeasure with the plethora of Middle Eastern design used in Western decor culminates into Arab Americanesque; an installation that explores ideas of cultural obfuscation, power, and belonging.

Made available in DSpace on 2015-03-26T13:53:23Z (GMT). No. of bitstreams: 1 texto completo.pdf: 2607078 bytes, checksum: bff6b71b3fce9380f57e7ddef6db2df2 (MD5) Previous issue date: 2008-01-28 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Located in the northeast of Minas Gerais state, the Mid Jequitinhonha occupies about 18 thousand km², corresponding to about 25 % of the total area of the Jequitinhonha valley. Its natural characteristics have distinct characteristics of climate, relief, geology, soil and land use. The main support of the regional economy are family agriculture, extensive cattle ranching and handcrafted pottery. Family agriculture is concentrated mainly in the Haplic Cambissoils of cropped slopes and Fluvial Neosoil located in the alluvial plains of the rivers Jequitinhonha, Araçuaí and some of their tributaries. In the areas of Haplic Cambissoils, small hill (murundu) micro reliefs are found that are also used for family agriculture, but little characterized. Although the crop yields are low, the farmers consider them satisfactory, suggesting the higher natural fertility of the soils. In addition to these soils, Planosoil and Gleysoils (barriers), depending on the horizon, are used to manufacture handcrafted pottery pieces. Thus the objectives of this study were to characterize physically, chemically and mineralogically the Fluvial Neossoilos, Cambissolos and Cambissolos with small hills, both Haplic, used in family agriculture along two toposequences and characterize the hydromorphic soils used to manufacture handcrafted pottery in the Pasmado community, municipality of Itaobim, MG. Nine profiles were selected and collected for the physical chemical and mineralogical characterizations, distributed in toposequence 1 (T1) consisting of two Haplic Cambisoils (P1 and P2), a Cambisoil with small hills (P3) associated to profile P2 and two Fluvial Neosoils (P4 and P5) and in toposequence 2 (T2), consisting of a Haplic Cambissoil (P6), its Cambissoil with small hills (P7) and a Fluvial Neosoil (P8) used for family agriculture. A Haplic Cambisoil profile (P9) was also collected that served as an extra sample and reference for this class. In addition, three `barrier´ profiles were used to manufacture handcrafted pottery. Granulometric analyses were carried out along with the water retention curve test and consistency limits for pottery soils; routine chemical analyses and total Ca, Mg, K, P, Co, Cu, Zn and Ni in the TFSA contents in the sand and silt fraction, Fe extraction for dethionite citrate bicarbonate (DCB) and ammonium exalate and mineralogical analyses by X ray difratometry in the clay, silt and sand fractions. Semi-structured questionnaires were carried out with the craftsmen and a manufacture flow gram was made of pottery up to its commercialization. The Haplic Cambissoils and Fluvial Neosoils presented medium texture and, or clay, texture, and there were high values of clay in the B horizon of the Cambissoils. The soils were slightly acid, eutrophic and dystrophic, suggesting that there is differentiation in the yields reached, even though the calcium magnesium and potassium contents were good and considered from medium to good in the surface horizons. Furthermore, the total and exchangeable contents of the sand and silt fractions, together with the clay fraction, seemed to be important sources of nutrients for the plants. The Haplic Cambissoils with small hills had greater silt and clay, Ca2+, P and organic carbon (CO) contents, indicating that termite activity, probably in the past, was important for its greater fertility compared to the Haplic Cambissoils to which they are associated. The minerology of the Fluvial Neossoils and Cambissoil clay fraction consists basically of kaolin and ilyte and the sand and silt fraction consists of mica, calcium and soda plagioclasium and potassium feldspars. The total chemical analysis of the TFSA fraction and the sand and silt fractions confirmed greater potassium contents in these soils. The horizons selected by the potters for handcrafted pottery manufacture have greater clay and silt contents, plasticity index (PI) and colloidal activity index (Ia), that are important for the end pottery quality. The small quantities of fine sand did not seem to be sufficient to promote a non-plastic effect on the Gleysoil, confirmed by its restricted use for the manufacture of some handcrafted pieces. With the increase in temperature in the pottery mass, the Feo/Fed decreased that led to questioning whether this can influence the quality of the end pottery product, especially in terms of resistance to breakage. The surface layers, because they are more sandy, and the subsurface layers, because of their hardness, are discarded even though in some cases the latter can be used to manufacture handcrafted pieces (C horizon). The mineralogical analyses of these soils indicate the presence of quartz, feldspar, plagioclasiums and mica in the sand and silt fractions, and kaolin and mica in the clay fraction. This aspect is relevant because of the small areas that the Jequitinhonha river alluvial plains occupy, and they can be considered as a finite natural resource. The stages of the manufacture process of the handcrafted pottery count on the participation of the men in the initial collection stages, `mud´ transport and paste formation while mostly women model the pieces to the final art. The pottery activity is carried out in all the months of the year, by men, women and children and they all sell their own production. In addition to retirement pensions and social programs such as the School Grant, the pottery activity is an important complement of the family income, and is even, in some cases, the only source of income in the Pasmado community. / Localizado no nordeste do Estado de Minas Gerais, o Médio Jequitinhonha ocupa cerca de 18 mil km², correspondendo a cerca de 25 % da área total do Vale do Jequitinhonha. Apresenta quadro natural com distintas características de clima, relevo, geologia, solos e uso da terra. O suporte básico da economia regional são as atividades de agricultura familiar, pecuária extensiva e artesanato de cerâmica. A agricultura familiar concentra-se principalmente nos Cambissolos Háplicos de rampas de colúvio e Neossolos Flúvicos localizados nas várzeas dos rios Jequitinhonha, Araçuaí e alguns de seus afluentes. Nas áreas dos Cambissolos Háplicos de rampas de colúvio, encontram-se microrrelevos de murundus, também utilizados para a agricultura familiar, porém poucos caracterizados. Ainda que as produtividades das culturas sejam baixas, os agricultores consideram-nas satisfatórias, sugerindo fertilidade natural mais elevada dos solos. Além destes solos, Planossolos e Gleissolos ( barreiros ), dependendo do horizonte, são usados para a fabricação de peças de cerâmica artesanal. Assim, os objetivos deste trabalho foram: caracterizar física, química e mineralogicamente Neossolos Flúvicos, Cambissolos e Cambissolos com murundus, ambos Háplicos, utilizados na agricultura familiar ao longo de duas topossequências, e caracterizar solos hidromórficos utilizados para a fabricação de cerâmica artesanal na comunidade de Pasmado, município de Itaobim, MG. Para as caracterizações físicas, químicas e mineralógicas, foram selecionados e coletados nove perfis, distribuídos nas topossequências 1 (T1), composta por dois Cambissolos Háplicos (P1 e P2), um Cambissolo com murundu (P3) associado ao perfil P2 e dois Neossolos Flúvicos (P4 e P5), e na topossequência 2 (T2), compreendendo um Cambissolo Háplico (P6), seu Cambissolo com murundu (P7) e um Neossolo Flúvico (P8) utilizados para a agricultura familiar. Também foi coletado perfil de Cambissolo Háplico (P9) que serviu de amostra extra de referência para esta classe. Foram ainda coletados três perfis de barreiros usados para a fabricação de cerâmica artesanal. Foram realizadas as seguintes análises: granulometria, curva de retenção de água e limites de consistência para os solos utilizados na cerâmica; químicas de rotina e teores totais de Ca, Mg, K, P, Co, Cu, Zn e Ni na TFSA e nas frações areia e silte, extrações de Fe por ditionito-citrato-bicarbonato (DCB) e oxalato amônio e análises mineralógicas por meio da difratometria de raios-X nas frações argila, silte e areia. Foram ainda realizadas entrevistas semiestruturadas com os artesãos e elaboração do fluxograma de fabricação da cerâmica até sua comercialização. Os Cambissolos Háplicos e Neossolos Flúvicos apresentam textura média e, ou argilosa, com valores mais elevados de argila no horizonte B dos Cambissolos. Os solos apresentaram-se fracamente ácidos, eutróficos e distróficos, sugerindo que existe diferenciação nas produtividades alcançadas, mesmo que os teores de cálcio, magnésio e potássio tenham sido considerados de médios a bons nos horizontes superficiais. Além disso, os teores totais e trocáveis das frações areia e silte, juntamente com a fração argila, parecem importantes fontes de nutrientes para as plantas. Os Cambissolos Háplicos fase murundus apresentaram maiores teores de silte e argila, Ca2+, P e carbono orgânico (CO), indicando que a atividade das térmitas, provavelmente no passado, foi importante para sua maior fertilidade em relação aos Cambissolos Háplicos aos quais estão associados. A mineralogia da fração argila dos Neossolos Flúvicos e Cambissolos é constituída basicamente de caulinita e ilita, e as frações areia e silte por mica, plagioclásios cálcicos e sódicos e feldspatos potássicos. A análise química total das frações TFSA, areia e silte confirmaram maiores teores de potássio nestessolos. Os horizontes selecionados pelos ceramistas para a fabricação de cerâmica artesanal apresentaram os maiores teores de argila e silte, índice de plasticidade (IP) e índice de atividade coloidal (Ia), importantes para a qualidade final da cerâmica. As pequenas quantidades de areia fina parecem não ser suficientes para promover efeito não plástico no Gleissolo estudado, confirmando seu uso restrito para a confecção de algumas peças artesanais. Com o aumento da temperatura na massa cerâmica, houve redução da relação Feo/Fed, o que leva a questionar se isto pode influenciar na qualidade do produto final da cerâmica, principalmente em termos de resistência ao rompimento. A camada superficial, por ser mais arenosa, e subsuperficial, pela sua dureza, são descartadas, mesmo que em alguns casos esta última possa ser aproveitada para a fabricação de peças artesanais (horizonte C). O uso do horizonte C dos Planossolos estudados como matéria-prima ( barro ) para o uso em cerâmica é de extrema relevância para a comunidade, pois estes solos ocupam pequena extensão geográfica nas várzeas do rio Jequitinhonha, podendo serem considerados como um recurso finito para o desenvolvimento dessa atividade. As análises mineralógicas desses solos indicam presença de quartzo, feldspatos, plagioclásios e micas nas frações areia e silte, e caulinita e ilita na fração argila. As etapas pertinentes ao processo de confecção da cerâmica artesanal contam com participação masculina nas etapas iniciais de coleta, transporte do barro e formação da pasta, cabendo às mulheres, mesmo que não exclusivamente, a modelagem das peças até a arte final. A atividade ceramista é desenvolvida em todos os meses do ano, realizada por homens, mulheres e crianças, todos vendendo sua própria produção. Além de aposentadorias e programas sociais como o bolsa escola, a atividade ceramista constitui importante complemento da renda familiar, sendo mesmo, em alguns casos, a única fonte de renda na comunidade de Pasmado.

M.Tech. (Fine Art) / The focus of this research is an exploration of aspects of liminality and how it manifests in selected unsanctioned public art interventions in ‘urban places’, specifically, the Johannesburg Central Business District. Liminality informs my own art work and to contextualise my practice I investigate Steven Cohen’s performance/intervention entitled Chandelier (2001-2002), and Alison Kearney’s The Portable Hawkers Museum (2003). I argue that unsanctioned public art maintains a liminal identity, a fluidity of ‘repurposing a space’ that is in constant shift between different dimensions of liminality. Such works create a zone between physical and conceptual space, challenging the relationships between people and places, the artist and the audience. Liminal spaces (such as the underside of bridges for example) provide the platform for new mediation to happen outside of the normal social structures. Homi Bhabha (1994:54) refers to this as a “third space” where transformation may occur, and it is this transformation of space and experience that I aim to explore in my work. In my practical component I present a body of unsanctioned public art interventions consisting of ceramic sculptures placed in urban liminal spaces in Johannesburg. I populate the chosen spaces with imaginative objects that playfully reflect my own cultural hybridity, and resultant liminal existence, in a post-colonial urban society. My practical work thus draws on analyses of the liminal aspects of Cohen and Kearney’s works as well as on aspects of my hybrid existence arising from my status as an immigrant in Johannesburg. Through my art works I attempt to engage with the local inhabitants without the restrictions of institutionalised arenas, allowing for a new experience of both the space and the artwork. Finally I record my own interventions in detail and compile an annotated photographic catalogue to document the sculptures in situ and the ephemeral life span of these unsanctioned public art interventions.