Resumo

This research discusses, in dialogue, in a comparative way, performances of bodies on stage/from the scene of the film “Travessia” (Safira Moreira 2019) and the music video “Travessia”, (Sued Nunes 2021), through the method of “montagem umbigada” (Bogado, Souza 2022). Both audiovisuals, made by black Brazilian artists, from Bahia, tell and sing aspects that were long made invisible by the colonial burden (Simas, Rufino 2019), such as the possibility of creating images of oneself with more autonomy, (by the oral tradition or the act of posing for the camera), the constitution of dialogic experiences between the personal/collective perspectives with the experiences of African Diaspora in Americas, here, more specifically in Brasil. Metaphors, such as the audiovisual as abode of crosses, “encruzilhada” (Rufino 2018), crossroads constructed through the bodies on stage (the perspectives around the agents who perform in the audiovisual experience, human and non-human) and the scene (aspects linked to visible/invisible resources that marks the art/life relationship in the audiovisual), so that the different audiovisual corporalities propose the insurgency of images that break with the erasures and silencing of colonial Brazil, proposing images of inversion, more propositional, promoting other forms of aesthetic- political redistribution, reconnected with the ancestry of the Amefrican legacy, matrices of images to come that allow temporal, belonging, aesthetic, political, territorial, affective crossings.