Sereia Preta-Mão-d’Água: o corpo feminino das águas da afrodiáspora e o cotidiano escolar das crianças em Chapadinha-MA

• Autor(a) principal: Almeida, Cleuma Maria Chaves de
• Data de Publicação: 2020
• Outros Autores: [e-mail]
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/20561
• topic: Black female body; Chronotope; Decolonial stories; Mother of water; Black mermaid; Corpo feminino negro; Cronotopo; Histórias decoloniais; Mãe-d’água; Sereia preta; CIENCIAS HUMANAS::EDUCACAO::TOPICOS ESPECIFICOS DE EDUCACAO

In this thesis, we have as object decolonial stories of black women from the female body as a total chronotope, elaborated from the knowledge about the “encantaria maranhense”, a concept brought to the daily school life by students of early childhood education of the Municipal School of Early Childhood Education Jardim Cirandinha (Chapadinha, MA). These children, while reading the story "When the slave Esperança Garcia wrote a letter", find the black mermaid and, from this discovery, give their own meaning to the story of the black heroine, enchanting her into a mermaid/mother of water. This is how Esperança Garcia's space-time and body widen and the human body merges with nature, becoming a water body "power of being". In this way, the goal of this thesis is to tell, from the chronotope of the incarnated and enchanted body of Esperança Garcia/black mermaid, decolonial stories. A telling tensioned by the enunciations of children in early childhood education in the experience of telling/read/listening to black children's literature, as well as telling stories of black female protagonism imbricated with the female myth of the waters of the afro-diasporas that tension coloniality/modernity with decolonial movements in life. As for the methodology of research and writing, the movement of diving into the waters was conceived, through which all the senses of the flesh-and-blood body reflect the research and not only Western rational cognition. This methodology was based on the narrative of the afro-diasporic female myth of the waters, by Bakhtin's studies of the chronotope of François Rabelais, and by the movements of doing research in Nilda Alves' daily life. Thus, the stories told take place in the matter/body movement embodied in the space-time flow of the waters of the rivers Munim and Preto, in Maranhão. In this way, the bodies of the black mermaid from Maranhão and of Esperança Garcia, in this thesis, symbolize the coming together of body and nature, between the low body and the high body, bringing together black women from different space-times, in which the rational and spiritual dimensions, represented by the high body, are inseparable from nature, the low body. This is how the ancestral female myth becomes the movement of the plunge through the stories of so many other black mermaids that tensioned, in different space-time-spaces, the rational and Christian polarity of matter versus spirit/logos, duality that justified the colonization of Africa and America by the West. Black siren women who rejected the racialized and corporatized framing of coloniality/modernity, in which the peoples and lands of Africa and South America were intentionally reduced to the corporatization of the black being and their territories into natural resources to be exploited/civilized by the white European. The theoretical referential is substantiated by works by Bakhtin, Benjamin, Fanon, Mignolo, and Quijano.