Ricardo Aleixo: poeta na encruzilhada

Abstract

This dissertation's main focus is the work of the poet and multi-artist from Minas Gerais, Ricardo Aleixo, seeking to analyze it from a plural logic that encompasses diverse experiences and poetic references. In this way, we relate poetry and crossroads as a place of Afro-diasporic power in Brazil. To this end, we chose three works by the author: Festim (1992), A roda do mundo (1996) and Diário da encruza (2022), which, separated by distinct temporality in the historical course of literary traditions, have a strong relationship with different poetic perspectives, are works that, in our view, exemplify the plurality within Aleixo's work, enabling a series of antics and very particular constructions by the author. As support for our analyses, we chose to use a series of epistemologies that are born from the margin, such as: Pedagogia Das Encruzilhadas by Luiz Rufino, Performances do tempo espiralar, poetics of the body-screen by Leda Maria Martins, Poetics of Relation by Edouard Glissant and Pensar Nagô by Muniz Sodré, among others. Our choice for a theoretical corpus that emanates from the margin has a strong relationship with Aleixo's own poetic construction, since the artist seems to think about his work from a very well-defined place: that of a black man born and raised on the outskirts of Belo Horizonte. In this way, at various times, his poetry is permeated by a series of intersectionalities that originate in his place as a citizen, not that Aleixo places himself in the place of a standard-bearer of ethnic or social issues, however, for a more attentive reader, these issues are directly associated with his poetry. Thus, we understand that to analyze a poetry that has a strong relationship with the margin, epistemes that have the same origin are logical and conducive choices for dialogue. We believe that it was thus possible to demonstrate a little of the great diversity of languages, traditions and poetics in Ricardo Aleixo's work, a fact that opens up the possibility for us to think about art, literature and society in a collective and collaborative way, a fundamental point in a society increasingly guided by the logic of competition and meritocracy.