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Advisor(s)
Abstract(s)
A tese inscreve-se na área da Sociologia. De forma transdisciplinar (Sociologia geral, da arte, dos
processos identitários, política, económica),o trabalhoincide sobre a relação entre a produção
artística (artes plásticas) local e a sua imbricação com o global através de actores transnacionais.
Partindo dos pressupostosda pós-colonialidade e subalternidade adiantados por Said (1979), Appiah
(1997), Appadurai (1988), Bhabha (1998,2001), Spivak (2010) e outros, a tese visa dar conta da
estruturação, produção, disseminação e legitimação das artes plásticas em Moçambique, captando
as suas nuances e marcas estruturantes em duas épocas distintas: 1975-1986 e 1987-2016. A escolha
destes períodos deve-se ao facto de os dois corresponderem a momentos paradigmáticos distintos
da história política, económica e cultural de Moçambique. De 1975 a 1986, é o chamado período
do samorismo, assim definido pelo sociólogo moçambicano Carlos Serra, que sublinhaque usa o
termo utopia no sentido sugerido por Mannheim, isto é, um conjunto de ideias e de práticas
tendentes a modificar uma determinada ordem social. Portanto, utopia como crença e como praxis
que estruturam o quotidiano. É nesse sentido que me aproprio do mesmo termo neste trabalho,
utopia como possibilidade de mudança do statu quo a partir da agência/agency dos actores
sociais.O segundo período,de 1987 a 2016,posterior ao falecimento de Samora Machel, em 1986, é
caracterizado pelo facto de Moçambique ter aderido aos programas de reestruturação económica
com o beneplácito das instituições de Bretton Woods, o Fundo Monetário Internacional (FMI) e o
Banco Mundial (BM), um reajustamento económico a que o filósofo moçambicano Severino Ngoenha
chama de dolarcracia. Fazemos um mapeamento das relações que se estabelecem entre os actores
individuais (produtores) e colectivos (Estados, governos, sociedade civil, instituições de diplomacia
cultural, e outros), dando conta da sua relação sistemicamente imbricada. Traçamos também as
tendências iconográficas apresentadas nas duas épocas em apreço. O retrato do quotidiano, a
corporeidade, a zoomorfização e a efabulação são os recursos plásticos utilizados pelos artistas
cujas obras fazem parte do nosso corpus em análise. Concluímos que as duas épocas são
diametralmente opostas, sendo a primeira marcadamente ideologizada e de cariz colectivista e a
segunda particularmente monetarizada e de cariz individualista de tipo neo-liberal. Estamos,
portanto, perante duas épocas que se contrapõem: uma utópica e outra distópica. Numa, imperava
a utopia como crença em mudanças sociais. Noutra, subsiste um cepticismo face aos
acontecimentoseconómicos, políticos, sócio-culturais, o que se traduz numa distopia. Nas duas
épocas, os artistas plásticos participam de forma particular, retratando-as através dos diferentes
suportes técnicos.
This thesis pertains to the area of sociology. In a transdisciplinary approach (general sociology, sociology of art, sociology of identitary processes, political and economic sociology), it seeks to study howthe local artistic production (visual arts)relates with the global production through transnational actors. Building on the assumptions of postcoloniality and subalternity advanced by Said (1979), Appiah (1997), Appadurai (1988) Bhabha (1998,2001), Spivak (2010) and others, it aims at portraying the structure, production, dissemination and legitimation of plastic arts in Mozambique, capturing its nuances and structuring marks in two different periods: 1975-1986 and 1987-2016. These two periods correspond to paradigmatic moments of Mozambique’s political, economic and cultural history: the first, named after the charismatic President Samora Machel, known as the period of “samorism”, the second, after President Machel’s death, defined by the economic restructuring of the country with the approval and under the supervision of the IMF and the World Bank, a readjustment Mozambican philosopher Ngoenha accordingly dubbed “dollarcracy”. By mapping the relationships that build between individual (producers) and collective actors (states, governments, civil society, institutions of cultural diplomacy and others), which sistemically overlap, and the iconographic tendencies in both periods, i.e. the portrayal of everyday life, corporeity, zoomorphization and fabulation, the plastic resources used by the artists whose works are the subject of this study, we concluded that the two periods are diametrically opposed. While the samorist period is markedly ideologized and of a collectivistic nature, the second period is particularly monetarized and evidences a neo-liberal type of individualism. That means the two periods are in counterpose: one utopian and the other distopian. In the first, utopia prevailed as a belief in social change, in the other, skepticism was the rule in the view of economic, political or sociocultural events, translating into distopia. Participating in particular way, artists portrayed those periods accordingly by means of the various plastic techniques.
This thesis pertains to the area of sociology. In a transdisciplinary approach (general sociology, sociology of art, sociology of identitary processes, political and economic sociology), it seeks to study howthe local artistic production (visual arts)relates with the global production through transnational actors. Building on the assumptions of postcoloniality and subalternity advanced by Said (1979), Appiah (1997), Appadurai (1988) Bhabha (1998,2001), Spivak (2010) and others, it aims at portraying the structure, production, dissemination and legitimation of plastic arts in Mozambique, capturing its nuances and structuring marks in two different periods: 1975-1986 and 1987-2016. These two periods correspond to paradigmatic moments of Mozambique’s political, economic and cultural history: the first, named after the charismatic President Samora Machel, known as the period of “samorism”, the second, after President Machel’s death, defined by the economic restructuring of the country with the approval and under the supervision of the IMF and the World Bank, a readjustment Mozambican philosopher Ngoenha accordingly dubbed “dollarcracy”. By mapping the relationships that build between individual (producers) and collective actors (states, governments, civil society, institutions of cultural diplomacy and others), which sistemically overlap, and the iconographic tendencies in both periods, i.e. the portrayal of everyday life, corporeity, zoomorphization and fabulation, the plastic resources used by the artists whose works are the subject of this study, we concluded that the two periods are diametrically opposed. While the samorist period is markedly ideologized and of a collectivistic nature, the second period is particularly monetarized and evidences a neo-liberal type of individualism. That means the two periods are in counterpose: one utopian and the other distopian. In the first, utopia prevailed as a belief in social change, in the other, skepticism was the rule in the view of economic, political or sociocultural events, translating into distopia. Participating in particular way, artists portrayed those periods accordingly by means of the various plastic techniques.
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Keywords
Artes Plásticas - Aspectos Sociais - Moçambique Sociologia das Artes - Moçambique