UMA TRADUÇÃO VISUAL E SONORA DA FEIRA DO VER-O-PESO: EM BELÉM DO PARÁ, A ESTÉTICA NA CULTURA DE BORDAS

Abstract

This paper refers to some routes constructed in which the subjects appropriate the everyday space, adding values and interfering in their entirety and parts, creating to the various interfaces of reality aesthetically, environmentally, culturally and socially. In that diversity, the subject constructs its path emerged in a cyclical relationship that goes from local to global that transforms him from passive appreciator into translator and co-author of so many heterogeneous symbols that comprise his context and inner context. For an understanding of these meaningful processes we introduce the concept of "Culture of Borders", defined by Jerusa Pires Ferreira (1990) as the exclusion of the center, what lies in a transition zone between ones and the others, between the traditional cultures recognized as folklore and that of those who hold major upgrade and prestige. A production that addresses various types of popular audiences, including those in urban peripheries. The "borders" that ultimately can be understood as expressions of groups with specific identities, marked by practices ranging from the typical influence of folklore to the more elaborate alleged cultures, endowed with refinement and sophistication. We present the cultures of edges as spatial interferences, settled in Ver-O-Peso Fair, in Belém do Pará (the largest outdoor market in Latin America), where the everyday aesthetic path manifests itself through compositional expressions existing at vendors newsstands, common in commercial areas of the city. The popular products face technologies, emerging trends and bold designs. They are standing in line in everyday trajectory as an aesthetic interference open to so many others interferences of the other subjects involved, characters that create and recreate the endless aesthetic landscapes. Certainly there are multiple identities in the space of expression that these guys intervene, take ownership and cause. There are those who transgress and attack, the ones who reveal in endless possibilities the language and expression forms that only human action is able to perform with such dynamism. To trace the aesthetic path of interventions of borders cultures redoes the act of looking, changes concepts and interpretations, recreates sounds and forms, as it enters the movement of collective imagination, where the speeches, as well as the cultural and social identities are. Through the fragmentation of aesthetic events decoded into sounds and pictures, we follow the routine process of manifestations, the result of informal work, survival, lawlessness and fleeting. The aesthetic tracking absorbed the phenomenon revealed by the scenes cutting, audible and visual impulses and meant the spatial relationship between subject and object again, seeking the subjectivity present in the hybrid atmosphere that nurtures the dynamic of movements expressed in sound and image.