Avessos da comunicação, do bordado e da fotografia: a construção de uma pesquisadora-mãe-professora-fotógrafa com a cooperativa Bordana

Abstract

The reverse... we learn, culturally, that the reverse is the side of error, what should be hidden and neglected, the reverse is fault, it is what I do not show anyone. In this thesis, generated from an action-research, I present the reverse of communication, of embroidery, and of photography through lines traced together with the embroiderers of the Cooperativa Bordana. This research has a decolonial and autobiographical perspective and was written by a mother-researcherteacher-photographer guided by the objective of expanding the theoretical-methodological proposal of Aby Warburg and Georges Didi-Huberman, through the construction of imagetic reverses. Images, like us, are collective, just as communication, which occurs in sharing with others; it is together that images reach their full potential. I give the first point for the reverse side of communication, seen as affective, sensitive, and non-hierarchical, according to Muniz Sodré and Jeanne Favret-Saada. In contrast to traditional communication that is sexist, racist, and Eurocentric, I seek a hybrid communication, one that passes through sharing with the other as proposed by Ciro Marcondes Filho, which happens in the bond created through embroidered photography workshops. The second point explores the reverse side of embroidery, an art that for so many centuries was subordinate and still fights today for spaces of resistance. Through in-depth interviews conducted with the embroiderers of the Bordana Cooperative, located in Goiânia (GO), I reflect on what it means "to be a woman" and, based on these women's voices, I stitch our knots together. our pains, obstacles, and struggles, our resilience and capacity to grow again, just like the Cerrado biome. The third point is the reverse side of photography. What lies behind a photographic image, the emotions and memories, the unspoken, in the construction of the embroidered photographs by the Bordana embroiderers. These three points are stitched together by the theoretical-methodological proposal of Georges Didivisual montages, based on images that traverse my history and that of the embroiderers, also created through their reverse side. I weave this research concluding that there are other ways of accessing the other and ourselves that occur through the reverse sides of communication, embroidery, and photography.