Slam Surdo em cena: corpo e voz constituindo resistência e reexistência

Abstract

Peripheral literature has as its main specificity the cultural resistance of people who were pushed to the margins of society. In this context, this study develops from the theme “Slam: performance of the Deaf Community engendering senses and territories of resistance and re-existence”. This research becomes relevant because it highlights the Slam, a performance enacted by the junction of Sign Language and oral language, using the body and voice as channels, as constitutive elements that propel the senses of territories of resistance and re-existence of the Deaf Subjects and their culture in the face of the erasure and subalternity that have historically been imposed on them. From this perspetive, this study aims to analyze the Deaf Slam as a cultural manifestation of a community that makes use of the body, voice and space to establish communication in order to understand such manifestation as a strength that stimulates resistance, re-existence and recognition of the cultural territory of the Deaf Subject. It is a bibliographical research based on the theoretical framework on Peripheral Literature as presented by Jerusa de Carvalho Pires Ferreira (2010); as for performative Deaf Literature and in Brazilian Sign Languages (Libras) Literature, we based on the assumptions of Cynthia Peters (2010) and Rachel Sutton-Spence (2021), respectively; regarding Deaf Culture and Deaf Literature, the ideas of Karin Strobel (2008) were highlighted; about Slam and Deaf Slam, we based on the conjectures by Jéssica Balbino (2016) and Bruno Ferreira Abrahão (2018), respectively; and, finally, regarding the performance and the use of the body and voice, the perspectives of Paul Zumthor (2000) were used. The state of the art carried out as well as the use of reflections made by deaf poets Edinho Santos and Catharine Moreira in the documentary “O Silêncio e a Fúria: Poetas do Corpo” (2018) and in the class entitled “Potência artista - Poéticas do corpo, expressões visuais na criação artística em LIBRAS” (2022), respectively, provided the basis for the analysis of the Slams selected as corpus: “Do Trono” (2016a), by Amanda Lioli and Catharine Moreira, and “Mudinho” (2018), by Edinho Santos and James Bantu. By using the body as a propellant of values and senses, the voice as a means of expanding reality, and the space as a physical and abstract territory, these performances constitute themselves as aesthetics rooted in history, Culture and Deaf Identity, establishing themselves as territories of resistance, re-existence and recognition of this culture.