Alianças do artivismo brincante: cartografias do corpo desencantado nas dissidências sexuais e de gêneros nos Reisados de Juazeiro do Norte-CE

Abstract

This research has as main objective to produce a study about the sexual and gender dissidences in popular culture from the performative production of the Reisado tradition in Juazeiro do Norte, Ceará countryside. To this end, I sought to perceive religious cultural manifestation as a form of plural embodied performativity, especially in view of the alignment of the precarious conditions of popular culture with the emergence of the performances of sexual and gender minorities in dance. From the circulations, directions, and becoming’s of street politics in the parade of jokers, I consider the LGBTQIA+ performance in Reisado dances to be a key point in understanding how the right to appear as a coalition framework can relate sexual and social minorities gender to precarious populations. Between the enchantment and disenchantment of the nomadic theater of Reisado, i followed the way in which subjective processes and subjectivation policies, through visibilities and dissimilarities, provide the dissenting bodies with lines of deterritorialization in the axes that structure the practices of social relations in the communities gender and sexuality dynamics in the regional artistic tradition. The investigation of performance, with the clipping of the Cycles of Kings from 2018 to 2020, led the analysis to follow danced body pathways, the implication of desire production processes and the connection of networks in Reisado groups. The map that was traced by the wanderings expresses cartographies of the disenchanted body, above all, points to the transit that artivism enchants in the dance scene and disenchants in sexual and gender dissent. Disenchantment allows us to understand how the spectrum of alliance vulnerability can establish gender micropolitics as a basis for resistance to more sustainable and viable living conditions. The research highlights that on the basis of resistance, vulnerability does not become action, but an emerging condition of life. Thus, I suggest that Reisado, in the framework of performativity, precariousness and politics, may appear as a provisional and transitory assembly, where misplaced performances are required and celebrated through the improvisations of the scenes of play, especially in the non-violent reconstruction of regulatory schemes traditions through the artivism of playful alliances in the arts of the Northeast.