Almanaque Navilouca (1974): itinerários da marginalidade artística no Brasil
Data
2021-02-18
Autores
Lucio, Amanda Costa Ferreira 
Orientadores
Toledo, Maria Rita de Almeida
Tipo
Trabalho de conclusão de curso
Título da Revista
ISSN da Revista
Título de Volume
Resumo
Esta pesquisa tem como escopo a análise do Almanaque Navilouca, organizado pelos poetas Torquato Neto e Waly Salomão, lançado intencionalmente em primeira e única edição em 1974, reunindo produções de artistas plásticos, cineastas e poetas do período. Após 1968, a repressão militar promovida pela decretação do AI-5 ocasionou o fechamento dos espaços culturais, e contraditoriamente, acirrou o desenvolvimento de diversos embates no campo das artes e da cultura, aflorando a elaboração de novos espaços de atuação. O Almanaque, observado como um espaço situado à margem da cultura institucional, exercitou a liberdade de criação e opinião, articulando um circuito de arte “marginal” no Brasil dos “anos de chumbo” (1969-1974) da ditadura civil-militar. Com o objetivo de identificar os elementos que orientaram e influenciaram intelectualmente os artistas envolvidos, operando como traços de aproximação do grupo, a pesquisa desenvolvida analisa o impresso como espaço de sociabilidade que, permite o exame da fermentação intelectual, o desenvolvimento de sensibilidades, referências e experiências trocadas entre os participantes. Para tanto, mobilizando a bibliografia sobre o tema, a investigação analisou a materialidade do Almanaque, a fórmula editorial adotada, junto às correspondências trocadas entre alguns participantes, também sua recepção pela imprensa do período. Desta forma, o impresso foi compreendido como um espaço no qual se articularam traços de aproximação afetiva e intelectual dos envolvidos, que ao compartilharem das mesmas referências e processos de produção, conduziram um projeto cultural orientado pelo imperativo da “invenção” artística, materializando um discurso que dimensionava a subversão das práticas culturais estabelecidas e o comportamento como formas de ação política. O que marca a intencionalidade da produção da Navilouca – como uma “trincheira” artística – é o delineando de outros parâmetros para o processo criativo, apresentando uma nova sensibilidade artístico-cultural durante a primeira metade da década de 1970.
This research has as scope the analysis of the Navilouca almanac, organized by the poets Torquato Neto and Waly Salomão, launched intentionally in the first and only edition in 1974, bringing together productions by plastic artists, filmmakers and poets of the period. After 1968, the military repression promoted by the decree of the AI-5 caused the closure of cultural spaces, and contradictorily, it intensified the development of several clashes in the field of arts and culture, emerging the development of new areas of performance. The almanac, observed as a space located on the margins of institutional culture, exercised freedom of creation and opinion, articulating a circuit of “marginal” art in Brazil from the “lead years” (1969-1974) of the civil-military dictatorship. With the objective of identifying the elements that guided and intellectually influenced the artists involved, operating as traces of approximation of the group, the research developed analyzes the printed matter as a space of sociability that allows the examination of intellectual fermentation, the development of sensibilities, references and experiences exchanged between participants. Therefore, mobilizing the bibliography about the subject, the investigation analyzed the materiality of the Almanac, the editorial formula adopted, along with the correspondence exchanged between some participants, also its reception by the press of the period. In this way, the printed matter was understood as a space in which traces of affective and intellectual approximation of those involved were articulated, who, by sharing the same references and production processes, led a cultural project guided by the imperative of artistic “invention”, materializing a discourse that dimensioned the subversion of established cultural practices and behavior as forms of political action. What marks the intentionality of Navilouca's production – as an artistic “trench” – is the outlining of other parameters for the creative process, presenting a new artistic-cultural sensitivity during the first half of the 1970s.
This research has as scope the analysis of the Navilouca almanac, organized by the poets Torquato Neto and Waly Salomão, launched intentionally in the first and only edition in 1974, bringing together productions by plastic artists, filmmakers and poets of the period. After 1968, the military repression promoted by the decree of the AI-5 caused the closure of cultural spaces, and contradictorily, it intensified the development of several clashes in the field of arts and culture, emerging the development of new areas of performance. The almanac, observed as a space located on the margins of institutional culture, exercised freedom of creation and opinion, articulating a circuit of “marginal” art in Brazil from the “lead years” (1969-1974) of the civil-military dictatorship. With the objective of identifying the elements that guided and intellectually influenced the artists involved, operating as traces of approximation of the group, the research developed analyzes the printed matter as a space of sociability that allows the examination of intellectual fermentation, the development of sensibilities, references and experiences exchanged between participants. Therefore, mobilizing the bibliography about the subject, the investigation analyzed the materiality of the Almanac, the editorial formula adopted, along with the correspondence exchanged between some participants, also its reception by the press of the period. In this way, the printed matter was understood as a space in which traces of affective and intellectual approximation of those involved were articulated, who, by sharing the same references and production processes, led a cultural project guided by the imperative of artistic “invention”, materializing a discourse that dimensioned the subversion of established cultural practices and behavior as forms of political action. What marks the intentionality of Navilouca's production – as an artistic “trench” – is the outlining of other parameters for the creative process, presenting a new artistic-cultural sensitivity during the first half of the 1970s.
Descrição
Citação
LUCIO, A. C. F. Almanaque Navilouca (1974): itinerários da marginalidade artística no Brasil. 2021. Trabalho de Conclusão de Curso (Graduação em História) – Universidade Federal de São Paulo, Guarulhos, 2021.