As duas margens do Atlântico

Abstract

The performance-exhibition As Duas Margens do Atlântico intersects the poetics of the body, memory, identity, and ancestry, expanding discussions in the fields of Art and Culture. Centered on the concept of corpographies in context, this study investigates localized, disobedient, and coexisting forms of knowledge, articulating artistic creation through the body with intersections between cosmopoetic, cosmopolitical, and corporeal learning. The research operates by recognizing identity resistance through opacity and promoting a pact between eco and Afro knowledge, exercising anticoloniality and calling for historical reparations. Methodologically, the project combines bibliographic research, autobiographical inquiry, and critical analysis of the creative process, with an emphasis on the experience report of the artist-researcher in a South-South context (Brazil-Cape Verde). It is grounded in concepts from contemporary Black studies, such as cosmopoéticas (Bona, 2020), fugitividade (Harney and Moten, 2013), opacidade (Glissant, 1996), and afrografia (Martins, 1997) in order to elucidate ethnoracial artistic-pedagogical practices in the Global South. The proposal challenges hegemonic narratives, positioning itself as a disobedient poetic manifesto that embodies opacity as a strategy of survival and resistance to coloniality. The exhibition materializes in photo-performances sublimated onto fabric, produced on the shores of Cape Verde and Brazil, as well as in the video performance Caminho-Para-Mar, projected within the exhibition space to engage in dialogue with the creative process. The installation includes symbolic material elements such as sea sand, paper boats, personal and collective images, and suspended flags, creating an atmosphere that evokes ancestral crossings. The expography, detailed in technical sheets, emphasizes materiality and spatial arrangement as an extension of the concept of corpographies. Finally, the work celebrates the connection between Atlantic shores, highlighting Creole language, Black female resistance, and quilombola struggles as central axes of a counter-colonial pedagogy. As Duas Margens do Atlântico thus proposes an epistemological journey that values Black technologies and intellectualities, reaffirming art as a space of (re)existence and social mobility.