A maloca-museum for Feliciano Lana, the son of the drawings of dreams

Detalhes bibliográficos
Autor(a) principal: Baniwa, Denilson
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: por
Título da fonte: DATJournal
Texto Completo: https://datjournal.anhembi.br/dat/article/view/245
Resumo: When a master dies he takes a multitude of experiences and knowledge with him, that’s how we felt when we lost Mr. Feliciano Lana, an indigenous of the Desana people that Covid-19 took in this world health crisis. The text I share here is a claim to what Mr Feliciano Lana represents to contemporary indigenous artists and also an attempt to take his memory beyond the indian-village boundaries. It is necessary to understand Lana’s production as an important geography in which we can rethink Brazilian art, or original art. The legacy that Lana leaves us is a database, magical and everyday knowledge that connect the worlds, which need to be studied, preserved and shared with everyone, especially those who are yet to be born. As an indian artist, I need to take care of memory so that it is present in living thoughts, because understanding the past is taking care to make the future a good experience for those who will come. It is necessary as an artist to think about an art-pussanga and a maloca-museum to expand the meaning of art.
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spelling A maloca-museum for Feliciano Lana, the son of the drawings of dreamsUna maloca-museo para Feliciano Lana, el hijo de los dibujos oníricosUma maloca-museu para Feliciano Lana, o filho dos desenhos dos sonhosArte IndígenaArte ContemporâneaLegadoMemóriaIndigenous artContemporary artLegacyMemoryArte indígenaArte ContemporáneoLegadoMemoriaWhen a master dies he takes a multitude of experiences and knowledge with him, that’s how we felt when we lost Mr. Feliciano Lana, an indigenous of the Desana people that Covid-19 took in this world health crisis. The text I share here is a claim to what Mr Feliciano Lana represents to contemporary indigenous artists and also an attempt to take his memory beyond the indian-village boundaries. It is necessary to understand Lana’s production as an important geography in which we can rethink Brazilian art, or original art. The legacy that Lana leaves us is a database, magical and everyday knowledge that connect the worlds, which need to be studied, preserved and shared with everyone, especially those who are yet to be born. As an indian artist, I need to take care of memory so that it is present in living thoughts, because understanding the past is taking care to make the future a good experience for those who will come. It is necessary as an artist to think about an art-pussanga and a maloca-museum to expand the meaning of art.Cuando un maestro muere se lleva multitud de experiencias y conocimientos, así nos sentimos cuando perdimos al señor Feliciano Lana, un indígena del pueblo Desana que tomó Covid-19 en esta crisis de salud mundial. El texto que comparto aquí es un reclamo de lo que el Sr. Feliciano Lana representa para los artistas indígenas contemporáneos y también un intento de llevar su memoria más allá de los límites de las aldeas indígenas. Es necesario entender la producción de Lana como una geografía importante en la que podemos repensar el arte brasileño, o el arte original. El legado que nos deja Lana es una base de datos, conocimientos mágicos y cotidianos que conectan los mundos, que necesitan ser estudiados, preservados y compartidos con todos, especialmente con los que están por nacer. Como artista indio, necesito cuidar la memoria para que esté presente en los pensamientos vivos, porque comprender el pasado es cuidar que el futuro sea una buena experiencia para los que vendrán. Es necesario como artista pensar en un arte-pussanga y una maloca-museo para ampliar el significado del arte.Quando um mestre morre leva com ele uma infinidade de experiências e conhecimentos, foi assim que nos sentimos quando perdemos o Sr Feliciano Lana, indígena do povo Desana que o Covid-19 levou nesta crise de saúde mundial. O texto que compartilho aqui é uma reivindicação ao que o Sr Feliciano Lana representa aos artistas indígenas contemporâneos e também uma tentativa de levar sua memória para além das fronteiras índio-aldeia. É preciso compreender a produção de Lana como uma importante geografia no que podemos repensar a arte brasileira, ou arte originária. O legado que Lana nos deixa é um banco de dados, conhecimentos mágicos e cotidianos que conectam os mundos, que precisam ser estudados, preservados e compartilhados com todos, principalmente com aqueles que ainda irão nascer. Enquanto índio-artista eu preciso cuidar da memória para que ela esteja presente nos pensamentos vivos, pois entender o passado é cuidar para que o futuro seja uma boa experiência para os que virão. É preciso enquanto artista pensar sobre uma arte-pussanga e uma maloca-museu para ampliarmos o sentido da arte.Universidade Anhambi Murumbi2020-10-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://datjournal.anhembi.br/dat/article/view/24510.29147/dat.v5i3.245DAT Journal; Vol. 5 No. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-46DAT Journal; Vol. 5 Núm. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-46DAT Journal; v. 5 n. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-462526-178910.29147/dat.v5i3reponame:DATJournalinstname:Universidade Anhembi Morumbi (ANHEMBI)instacron:ANHEMBIporhttps://datjournal.anhembi.br/dat/article/view/245/178Copyright (c) 2020 DAT Journalinfo:eu-repo/semantics/openAccessBaniwa, Denilson 2021-10-22T15:01:31Zoai:ojs.datjournal.anhembi.br:article/245Revistahttps://datjournal.anhembi.br/datPUBhttps://datjournal.anhembi.br/dat/oai||ppgdesign@anhembi.br2526-17892526-1789opendoar:2021-10-22T15:01:31DATJournal - Universidade Anhembi Morumbi (ANHEMBI)false
dc.title.none.fl_str_mv A maloca-museum for Feliciano Lana, the son of the drawings of dreams
Una maloca-museo para Feliciano Lana, el hijo de los dibujos oníricos
Uma maloca-museu para Feliciano Lana, o filho dos desenhos dos sonhos
title A maloca-museum for Feliciano Lana, the son of the drawings of dreams
spellingShingle A maloca-museum for Feliciano Lana, the son of the drawings of dreams
Baniwa, Denilson
Arte Indígena
Arte Contemporânea
Legado
Memória
Indigenous art
Contemporary art
Legacy
Memory
Arte indígena
Arte Contemporáneo
Legado
Memoria
title_short A maloca-museum for Feliciano Lana, the son of the drawings of dreams
title_full A maloca-museum for Feliciano Lana, the son of the drawings of dreams
title_fullStr A maloca-museum for Feliciano Lana, the son of the drawings of dreams
title_full_unstemmed A maloca-museum for Feliciano Lana, the son of the drawings of dreams
title_sort A maloca-museum for Feliciano Lana, the son of the drawings of dreams
author Baniwa, Denilson
author_facet Baniwa, Denilson
author_role author
dc.contributor.author.fl_str_mv Baniwa, Denilson
dc.subject.por.fl_str_mv Arte Indígena
Arte Contemporânea
Legado
Memória
Indigenous art
Contemporary art
Legacy
Memory
Arte indígena
Arte Contemporáneo
Legado
Memoria
topic Arte Indígena
Arte Contemporânea
Legado
Memória
Indigenous art
Contemporary art
Legacy
Memory
Arte indígena
Arte Contemporáneo
Legado
Memoria
description When a master dies he takes a multitude of experiences and knowledge with him, that’s how we felt when we lost Mr. Feliciano Lana, an indigenous of the Desana people that Covid-19 took in this world health crisis. The text I share here is a claim to what Mr Feliciano Lana represents to contemporary indigenous artists and also an attempt to take his memory beyond the indian-village boundaries. It is necessary to understand Lana’s production as an important geography in which we can rethink Brazilian art, or original art. The legacy that Lana leaves us is a database, magical and everyday knowledge that connect the worlds, which need to be studied, preserved and shared with everyone, especially those who are yet to be born. As an indian artist, I need to take care of memory so that it is present in living thoughts, because understanding the past is taking care to make the future a good experience for those who will come. It is necessary as an artist to think about an art-pussanga and a maloca-museum to expand the meaning of art.
publishDate 2020
dc.date.none.fl_str_mv 2020-10-19
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://datjournal.anhembi.br/dat/article/view/245
10.29147/dat.v5i3.245
url https://datjournal.anhembi.br/dat/article/view/245
identifier_str_mv 10.29147/dat.v5i3.245
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://datjournal.anhembi.br/dat/article/view/245/178
dc.rights.driver.fl_str_mv Copyright (c) 2020 DAT Journal
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2020 DAT Journal
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade Anhambi Murumbi
publisher.none.fl_str_mv Universidade Anhambi Murumbi
dc.source.none.fl_str_mv DAT Journal; Vol. 5 No. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-46
DAT Journal; Vol. 5 Núm. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-46
DAT Journal; v. 5 n. 3 (2020): Curadoria, design expositivo e museu + Dossiê PPG Design UnB; 42-46
2526-1789
10.29147/dat.v5i3
reponame:DATJournal
instname:Universidade Anhembi Morumbi (ANHEMBI)
instacron:ANHEMBI
instname_str Universidade Anhembi Morumbi (ANHEMBI)
instacron_str ANHEMBI
institution ANHEMBI
reponame_str DATJournal
collection DATJournal
repository.name.fl_str_mv DATJournal - Universidade Anhembi Morumbi (ANHEMBI)
repository.mail.fl_str_mv ||ppgdesign@anhembi.br
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