Sal grosso e terra preta: políticas de memória e inclusão das travestis no Museu da Imagem e do Som do Ceará

Abstract

This research analyzes actions at the Museum of Image and Sound of Ceará (MIS/CE) between 2023 and 2024 that propose new ways for travestis to occupy museological spaces, focusing on the first Atelier for the Creation of Transvestigender Technologies, promoted by the Trair o CIStema Program, coordinated by a team of travesti art educators. The study adopts an ethnographic approach inspired by Tim Ingold's (2015) perspective, which seeks to understand cultural dynamics and creative practices. The methodology employed is the travecametodologia, developed by Isadora Ravena Teixeira da Silva (2022) and grounded in Obrist; Glissant (2023) concepts, particularly his advocacy for the "right to opacity." Travecametodologia explores zones of enchantment and confabulation, using travesti knowledge as a foundation to create new epistemologies. The study also addresses the issue of time and memory, emphasizing that memory is not a fixed phenomenon but an ongoing process of construction in the present. Through the practices and experiences of the artists, the research reveals how these elements become central to the occupation and re-signification of museological spaces. The research adopts a decolonial perspective, grounded in the reflections of thinkers such as Françoise Vergès (2023), Frantz Fanon (1961), Maria Lugones (2014), Andreas Huyssen (2014), Jaqueline de Jesus (2019), Grada Kilomba (2019), Dediane Souza (2024), and Castiel Brasileiro (2022), who challenge dominant narratives and highlight the importance of occupying public spaces by historically marginalized groups.