Design na encruzilhada: o Afrofuturismo enquanto sugestão de um design de futuro
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Data
2023-03
Tipo de documento
Dissertação
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Acesso aberto
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Autores
NUNES, Cynthia Maria Rocha
Orientador
ARANTES, Priscila Almeida Cunha
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Resumo
Este trabalho tem por objetivo realizar o cruzo entre a concepção de Afrofuturismo e o design, buscando estabelecer uma base de análise para esta aproximação, tanto para a presente pesquisa quanto para pesquisas futuras. Para tanto, partiu-se da perspectiva da descolonialidade, com o intuito de manter duas ideias antagônicas em interação. Para isso, primeiramente, foi realizado um apanhado teórico do campo do design, entendendo a disciplina enquanto limitadora e possibilitadora dos caminhos a serem seguidos. O design aparece, portanto, como uma prática amplamente difundida, popular e partícipe da capacidade de projetar dos seres humanos. Neste sentido, a
Encruzilhada, lugar de pertença do orixá iorubano Exu, aparece enquanto encadeamento entre a descolonização e o design, colidindo a visão que parte de uma perspectiva religiosa, por vezes entendida como mundana, com as concepções eurocentradas. O design, portanto, estaria no território de Exu. Num segundo momento, realizou-se uma exposição do objeto de estudo, o Afrofuturismo, primeiro como antítese do Futurismo, de matriz colonial, e segundo como princípio organizativo para a elaboração de diferentes futuros aos sujeitos afrodiaspóricos, com o intuito de fazê-lo encontrar-se com o design na Encruzilhada. Na terceira parte, apresentou-se o método de análise desenvolvido para a investigação de imagens afrofuturistas, embasado na retomada da memória, tradição e modernidade e a análise de elementos gráficos, culminando num estudo de caso de Karina Duarte (Deskdearte). Desta forma, o cruzo aparece enquanto um mecanismo fulcral para atravessar a perspectiva colonial do design, permitindo que elementos antagônicos encontrem-se e formem o novo, que também é constituído do ancestral, daquilo que já existe. Conclui-se, portanto, que o Afrofuturismo é uma manifestação do cruzo, e que as representações de futuro nele contidas constituem o reverberar sobre o futuro dos que foram apagados pela história.
Os artefatos afrofuturistas representam, consequentemente, um processo de humanização dos indivíduos afrodiaspóricos, que representam-se a apresentam-se ao mundo a partir de seus futuros imaginados, mas imanentes.
This work aims to provide the cruzo between the conception of Afrofuturism and design, seeking to establish an analysis basis for this approach, both for the present research and for future research. To do so, we departed from the perspective of decoloniality, with the aim of keeping two antagonistic ideas in interaction. For this, firstly, a theoretical overview of the field of design was developed, understanding the discipline as limiting but also as a provider of the paths to be followed. Design appears, therefore, as a widespread and popular practice that participates in the ability of human beings to be. In this sense, the encruzilhada (the crossroads), place of belonging of the Yoruba orixá Exu, appears as a link between decolonization and design, clashing the vision that starts from a religious perspective, sometimes understood as mundane, with Eurocentric conceptions. Design, therefore, would be in Exu's territory. In a second moment, we provide an exposition of the object of study, Afrofuturism, first as the antithesis of Futurism, of colonial origin, and second as an organizational principle for the elaboration of different futures for Afrodiasporic subjects, with the intention of making them find with design at encruzilhada. In the third part, the analysis method developed for the investigation of Afrofuturist images was presented, based on the resumption of memory, tradition and modernity and the analysis of graphic elements, culminating in a case study of Karina Duarte (Deskdearte). In this way, the cruzo appears as a key mechanism to cross the colonial perspective of design, allowing antagonistic elements to meet and form the new, which is also made up of the ancestor, of what already exists. It is concluded, therefore, that Afrofuturism is a manifestation of the cruzo, and that the representations of the future contained in it constitute the reverberation on the future of those who have been erased by history. Afrofuturist artifacts therefore represent a process of humanization of Afrodiasporic individuals, who represent and present themselves to the world based on their imagined but immanent futures.
This work aims to provide the cruzo between the conception of Afrofuturism and design, seeking to establish an analysis basis for this approach, both for the present research and for future research. To do so, we departed from the perspective of decoloniality, with the aim of keeping two antagonistic ideas in interaction. For this, firstly, a theoretical overview of the field of design was developed, understanding the discipline as limiting but also as a provider of the paths to be followed. Design appears, therefore, as a widespread and popular practice that participates in the ability of human beings to be. In this sense, the encruzilhada (the crossroads), place of belonging of the Yoruba orixá Exu, appears as a link between decolonization and design, clashing the vision that starts from a religious perspective, sometimes understood as mundane, with Eurocentric conceptions. Design, therefore, would be in Exu's territory. In a second moment, we provide an exposition of the object of study, Afrofuturism, first as the antithesis of Futurism, of colonial origin, and second as an organizational principle for the elaboration of different futures for Afrodiasporic subjects, with the intention of making them find with design at encruzilhada. In the third part, the analysis method developed for the investigation of Afrofuturist images was presented, based on the resumption of memory, tradition and modernity and the analysis of graphic elements, culminating in a case study of Karina Duarte (Deskdearte). In this way, the cruzo appears as a key mechanism to cross the colonial perspective of design, allowing antagonistic elements to meet and form the new, which is also made up of the ancestor, of what already exists. It is concluded, therefore, that Afrofuturism is a manifestation of the cruzo, and that the representations of the future contained in it constitute the reverberation on the future of those who have been erased by history. Afrofuturist artifacts therefore represent a process of humanization of Afrodiasporic individuals, who represent and present themselves to the world based on their imagined but immanent futures.
Palavras-chave
Design, Afrofuturismo, Encruzilhada, Descolonialidade, Exu