A força e a chuva feminina em um sertão bem masculino: imersão performática nos ritos de passagem de Bia Mulato pela mitodologia em arte

Abstract

While several researches around the world were seeking answers to the phenomena that occur in outer universe, the swiss psychologist Carl Gustav Jung (1984a , 2000b , 2012c , 2013d ) was conducting a research towards the opposite direction, rising questions about the phenomena in our inner self. Jung, who dedicated part of his life to this research, concluded that in the inner masculine subject there is a feminine dimension that remains in a continuous feedback. This feminine dimension was named Anima, a term of latin origin that means Soul. According to Jung, besides the religious connotation of the word, anima/soul also represents the archetypal images of the eternal feminine dimension, both in the unconscious and conscious mind of all men. Following this Jungian proposition and recognizing and valuing my femininity, as a researcher, since 2013 I have started searching for creative processes in performing arts that have as motto the provocation of the soul dimension in me, in order to release the feminine figures that are in my inner self. Over several processes of corporal investigation in the course of three years, during my graduation in performing arts at UFRN, I have reached to the figure of my maternal grandmother, Bibiana Maria da Conceição, known as Bia Mulato. In this regard, this study was conducted through the figure of cabocla Bia, whose history of struggle and resistance recreates significant rites of passage (GENNEP, 2011) in episodes of violence (FEDERICI, 2004), prostitution (DESPENTES, 2016) and the search for freedom (ESTES, 1994a ; 2007b ). During a series of ritualistic and mythical creation procedures that were fostered in laboratories of creation through Mythodology in arts (2011a ; 2014b ; 2015c ) and developed by Profa. Dr. Luciana Lyra, I have entered into corporal experiences that have been unraveling my soul's impulses, which brought me closer to the figure of my grandmother, in pursuit of a space for hearing between generations, which, at the same time, leads to the speech through the scene.