Abstract
This paper proposes a reflection about the “brincadeira” as a genre of performance from a perspective which articulates aisthesis, the decolonial option and the politics of aesthetics, trying to contribute to the relatively new perspective of the decolonial aesthetics. An ethnography of maracatu-de-baque-solto (Pernambuco, Brazil) initiates the analytical reflection enlightening its singularities, understood as logics of dissensus, thus producing a merged conceptual and vitalist order of the multiplicity. Subsequently, my interest will focus specifically on the performative modalities of the brincadeira as genre in the light of a modality of action, “brincar”, which inscribes it as an indisciplined aisthesis. Finally, I will try to understand how, in this tension, the brincadeira as a native cultural production and from the perspective of performance can concretely contribute to the decolonial aesthetics project.
Key-words:
brincadeira; aisthesis; performance; decolonial aesthetics; maracatu-de-baque-solto