Hackeando a colonialidade: corpo-hacker de mulheres negras como espaço de desobediência na comunicação visual

Abstract

This research seeks to understand how the body-territory (Miranda, 2020) functions as a space of visual communication (Munari, 1979), acting as a catalyst for the continuous memory of a people by drawing Yoruba myths through the performances of Black artists Rachel Reis and Majur. In this sense, the body-territory, equipped with gestures, colors, and clothing, highlights Afro-Brazilian civilizational values (Trindade, 2010). Based on a qualitative approach, the research investigates how colonialities (Maldonado-Torres, 2024) present in the cultural industry are subverted — or even hacked — by these artists, who reframe narratives and break with the coloniality of seeing (Barriendos, 2019). Thus, the research proposes the conceptual perspective of the body-hacker, which seeks to understand the movements of counter-narratives and the epistemic disobedience of these artists. In alignment with this perspective, Suely Rolnik's sentimental cartography (2017) is adopted as a methodology, allowing the researcher to act as a cartographer of affects and select the necessary tools for the crossing from the sensitive to the real. The dissertation, therefore, reveals that the relationship between myth, drawing, and body-territory materializes Afro-diasporic visualities that hack colonial language, promoting epistemic disobedience through liminal thinking.