Dicionário reúne frases machistas que dão uma ideia de como o sexo feminino é percebido e expõe patriarcalismo

Notícias

Publicado em 17 de setembro de 2013 | por Ana Martins

85 Comentários

Em meio às atuais discussões e gritos contra a sociedade patriarcal e seus resquícios, Salma Ferraz (que é doutora em Literatura Portuguesa, professora associada de Literatura Portuguesa da Universidade Federal de Santa Catarina e autora de mais de vinte livros de crítica literária e ficção) agrupa frases e citações sexistas no livro “Dicionário Machista – Três mil anos de frases cretinas contras as mulheres”, que mistura humor e erudição. As declarações que compõem a obra são de escritores, celebridades, pensadores, músicos e anônimos. Entre eles estão: Nietzsche, Machado de Assis, Vinicius de Moraes, Marilyn Monroe e até mesmo Jesus Cristo.

Desta forma, Salma tenta mostrar como a sociedade patriarcal influencia nos pensamentos e na moral tanto de homens, quanto de mulheres através de milênios. “Eu ouvia uma coisa ali, outra aqui, e aí fui juntando tudo e guardando. Achei que reunindo num dicionário as frases poderíamos ter uma ideia mais seletiva de que como e o que os homens pensavam sobre as mulheres e até mesmo e o que as mulheres pensavam sobra elas mesmas”, conta a autora.

Salma afirma que, durante a construção do livro, conseguiu perceber os avanços da sociedade na questão e que, mesmo assim, “a conquista deve ser levada adiante”. Ela deixa claro que o objetivo do livro é expor a estupidez e a irracionalidade das quais o machismo é feito, “deixar registrado isto, para que sigamos em direção a um mundo melhor. Demorou 2 mil anos para que as mulheres conquistassem seu espaço no Ocidente. Sempre digo que a iluminação não tem volta. Temos que caminhar para a frente. Homens não são superiores às mulheres e vice-versa.”, completa.

A autora também não deixa passar o “machismo velado” – que é o mais comum atualmente na sociedade Ocidental – e diz que é necessário ter cuidado para não se deixar cair nesses termos. “Existe ainda um ranço de machismo suave, aquele que transforma a mulher num mero objeto sexual descartável. No Brasil, há outro tipo de escravidão, a da Bunda, na qual a mulher dança com o rosto voltado para a parede. Não importa seu nome, só sua bunda que fica voltada para o público masculino, é o que eu denomino de a hiperbunda midiática”, finaliza de forma cômica.

Algumas citações presentes no livro são:

Chamar uma mulher de galinha é uma ofensa. Coitada da galinha, que vive à disposição do galo, na hora que ele quiser, como uma odalisca num harém. (Carmen Miranda, cantora e atriz)

“Vais ver mulheres? Não esqueças o açoite”. (Nietzsche)

Não digo que toda mulher goste de apanhar; só as normais. (Nelson Rodrigues)

Existem umas feias potáveis. Mas a maioria só serve mesmo para fazer sabão. (Vinicius de Moraes)

Pouquíssimas são as mulheres capazes de abrigar dois conceitos ao mesmo tempo. (Woody Allen)

Professora não é mal paga, é mal casada. (Paulo Maluf)

“Fraqueza, teu nome é mulher”. (Shakespeare, em Hamlet)

“A mulher, quando pensa, pensa mal”. (Publílio Siro)

Não devemos nos esquecer, porém, que o ódio, desprezo ou repulsa à mulher e às características que são associadas a ela, é chamado de “misoginia”. E que o termo “machismo” e suas variações referem-se ao patriarcalismo da América Latina, é um termo, portanto, latino. “A misoginia é um aspecto central do preconceito sexista e ideológico, e, como tal, é uma base importante para a opressão de mulheres em sociedades dominadas pelo homem (patriarcais). A misoginia é manifesta em várias formas diferentes: de piadas, pornografia e violência ao autodesprezo que as mulheres são ensinadas a sentir pelos seus corpos.”, segundo Michael Flood. Olhando por este ponto de vista, é fácil perceber o sexismo nas entrelinhas do nosso cotidiano.

Lei Cultura Viva acaba de ser aprovada na Comissão de Constituição e Justiça da Câmara dos Deputados

A Lei Cultura Viva acaba de ser aprovada na Comissão de Constituição e Justiça da Câmara dos Deputados!!!! Agora o projeto vai direto para o Senado. Se aprovado, segue para a sanção presidencial!!! 

Esta é uma demanda real da sociedade civil, protagonista do Programa Cultura Viva que foi desenvolvido pelo Ministério da Cultura e engendrou em rede cerca de 4 mil iniciativas culturais. Envolveram em suas atividades cerca de 8 milhões de pessoas, segundo dados do Instituto de Pesquisa Econômica Aplicada (IPEA), em pesquisa realizada no ano de 2009.

Assim sendo, a Lei Cultura Viva é mais que a consolidação de um programa, representa uma nova forma de governos se relacionarem e dialogarem com a sociedade. Uma sociedade que há muito tempo já faz, seja diretamente pela cultura ou outros campos da vida, trabalhos em comunidade. E agora quer ser reconhecida em seu protagonismo e em suas formas de autogoverno, mais autonomas e descentralizadas.

Saiba mais:

O que são Pontos de Cultura?

Iniciativas culturais independentes, comunitarias e auto gestionadas em rede, desenvolvidas com autonomia e protagonismo pela sociedade civil

Ponto central da Lei:

Cria mecanismos permanentes - Pontos de Cultura como instrumento do estado- para uma política cultural baseada no reconhecimento e apoio do Estado às manifestações, linguagens e formas de expressão independentes e comunitárias.

Para quem?

Entidades, grupos, coletivos e processos culturais de arte , cultura e comunicação de caráter independente e comunitario, informais e formais

Por que?

Para os coletivos dizerem não somente “o que querem” (ou necessitam), mas “como querem”, e assim recebem meios para essa execução direta; Para estabelecer novas formas de relacionamento entre governos e sociedade. Uma sociedade que há muito tempo já faz e que agora quer ser reconhecida em seu protagonismo e em suas formas de autogoverno.

Como:

Desburocratizando e simplificando o processo de financiamento e prestação de contas de entidades, grupos e coletivos culturais com programas do Estado.

Cadastro Nacional de Pontos de Cultura (a exemplo do currículo Lattes, do CNPQ, ou de cadastro de entidades assistenciais),

Prestação de contas:

Lugar de convênios burocráticos, contratos e prestação de contas por resultados e controle comunitario

Phillis Wheatley

1753–1784

Although she was an African slave, Phillis Wheatley was one of the best-known poets in prenineteenth-century America. Pampered in the household of prominent Boston commercialist John Wheatley, lionized in New England and England, with presses in both places publishing her poems, and paraded before the new republic's political leadership and the old empire's aristocracy, Phillis was the abolitionists' illustrative testimony that blacks could be both artistic and intellectual. Her name was a household word among literate colonists and her achievements a catalyst for the fledgling antislavery movement.

Phillis was seized from Senegal/Gambia, West Africa, when she was about seven years old. She was transported to the Boston docks with a shipment of "refugee" slaves, who because of age or physical frailty were unsuited for rigorous labor in the West Indian and Southern colonies, the first ports of call after the Atlantic crossing. In the month of August 1761, "in want of a domestic," Susanna Wheatley, wife of prominent Boston tailor John Wheatley, purchased "a slender, frail female child ... for a trifle" because the captain of the slave ship believed that the waif was terminally ill, and he wanted to gain at least a small profit before she died. A Wheatley relative later reported that the family surmised the girl—who was "of slender frame and evidently suffering from a change of climate," nearly naked, with "no other covering than a quantity of dirty carpet about her"—to be "about seven years old ... from the circumstances of shedding her front teeth."

After discovering the girl's precociousness, the Wheatleys, including their son Nathaniel and their daughter Mary, did not entirely excuse Phillis from her domestic duties but taught her to read and write. Soon she was immersed in the Bible, astronomy, geography, history, British literature (particularly John Milton and Alexander Pope), and the Greek and Latin classics of Vergil, Ovid, Terence, and Homer. In "To the University of Cambridge in New England" (probably the first poem she wrote but not published until 1773) Phillis indicated that despite this exposure, rich and unusual for an American slave, her spirit yearned for the intellectual challenge of a more academic atmosphere.

Although scholars had generally believed that An Elegiac Poem, on the Death of that Celebrated Divine, and Eminent Servant of Jesus Christ, the Reverend and Learned George Whitefield ... (1770) was Wheatley's first published poem, Carl Bridenbaugh revealed in 1969 that thirteen-year-old Phillis—after hearing a miraculous saga of survival at sea—wrote "On Messrs. Hussey and Coffin," a poem which was published on 21 December 1767 in the Newport, Rhode Island, Mercury. But it was the Whitefield elegy that brought Wheatley national renown. Published as a broadside and a pamphlet in Boston, Newport, and Philadelphia, the poem was published with Ebenezer Pemberton's funeral sermon for Whitefield in London in 1771, bringing her international acclaim.

By the time she was eighteen, Phillis had gathered a collection of twenty-eight poems for which she, with the help of Mrs. Wheatley, ran advertisements for subscribers in Boston newspapers in February 1772. When the colonists were apparently unwilling to support literature by an African, she and the Wheatleys turned in frustration to London for a publisher. Phillis had forwarded the Whitefield poem to Selina Hastings, Countess of Huntingdon, to whom Whitefield had been chaplain. A wealthy supporter of evangelical and abolitionist causes, the countess instructed bookseller Archibald Bell to begin correspondence with Phillis in preparation for the book.

Phillis, suffering from a chronic asthma condition and accompanied by Nathaniel, left for London on 8 May 1771. The now-celebrated poetess was welcomed by several dignitaries: abolitionists' patron the Earl of Dartmouth, poet and activist Baron George Lyttleton, Sir Brook Watson (soon to be the Lord Mayor of London), philanthropist John Thorton, and Benjamin Franklin. While Phillis was recrossing the Atlantic to reach Mrs. Wheatley, who, at the summer's end, had become seriously ill, Bell was circulating the first edition of Poems on Various Subjects, Religious and Moral (1773), the first volume of poetry by an American Negro published in modern times.

Poems on Various Subjects revealed that Phillis's favorite poetic form was the couplet, both iambic pentameter and heroic. More than one-third of her canon is composed of elegies, poems on the deaths of noted persons, friends, or even strangers whose loved ones employed the poet. The poems that best demonstrate her abilities and are most often questioned by detractors are those that employ classical themes as well as techniques. In her epyllion "Niobe in Distress for Her Children Slain by Apollo, from Ovid's Metamorphoses , Book VI, and from a "View of the Painting of Mr. Richard Wilson," she not only translates Ovid but adds her own beautiful lines to extend the dramatic imagery. In "To Maecenas" she transforms Horace's ode into a celebration of Christ."

In addition to classical and neoclassical techniques, Wheatley applied biblical symbolism to evangelize and to comment on slavery. For instance, "On Being Brought from Africa to America," the best-known Wheatley poem, chides the Great Awakening audience to remember that Africans must be included in the Christian stream: "Remember, Christians, Negroes, black as Cain, /May be refin'd and join th' angelic train." The remainder of Wheatley's themes can be classified as celebrations of America. She was the first to applaud this nation as glorious "Columbia" and that in a letter to no less than the first president of the United States, George Washington, with whom she had corresponded and whom she was later privileged to meet. Her love of virgin America as well as her religious fervor is further suggested by the names of those colonial leaders who signed the attestation that appeared in some copies of Poems on Various Subjects to authenticate and support her work: Thomas Hutchinson, governor of Massachusetts; John Hancock; Andrew Oliver, lieutenant governor; James Bowdoin; and Reverend Mather Byles. Another fervent Wheatley supporter was Dr. Benjamin Rush, one of the signers of the Declaration of Independence.

Phillis was manumitted some three months before Mrs. Wheatley died on 3 March 1774. Although many British editorials castigated the Wheatleys for keeping Phillis in slavery while presenting her to London as the African genius, the family had provided an ambiguous haven for the poet. Phillis was kept in a servant's place--a respectable arm's length from the Wheatleys' genteel circles--but she had experienced neither slavery's treacherous demands nor the harsh economic exclusions pervasive in a free-black existence. With the death of her benefactor, Phillis slipped toward this tenuous life. Mary Wheatley and her father died in 1778; Nathaniel, who had married and moved to England, died in 1783. Throughout the lean years of the war and the following depression, the assault of these racial realities was more than her sickly body or aesthetic soul could withstand.

On 1 April 1778, despite the skepticism and disapproval of some of her closest friends, Phillis married John Peters, whom she had known for some five years. A free black, Peters evidently aspired to entrepreneurial and professional greatness. He is purported in various historical records to have called himself Dr. Peters, to have practiced law (perhaps as a free-lance advocate for hapless blacks), kept a grocery in Court Street, exchanged trade as a baker and a barber, and applied for a liquor license for a bar. Described by Merle A. Richmond as "a man of very handsome person and manners," who "wore a wig, carried a cane, and quite acted out 'the gentleman,'" Peters was also called "a remarkable specimen of his race, being a fluent writer, a ready speaker." Peters's ambitions cast him as "shiftless," arrogant, and proud in the eyes of some reporters, but as a black man in an era that valued only his brawn, Peters's business acumen was simply not salable. Like many others who scattered throughout the Northeast to avoid the fighting during the Revolutionary War, the Peterses moved temporarily from Boston to Wilmington, Massachusetts, shortly after their marriage.

Merle A. Richmond points out that economic conditions in the colonies during and after the war were harsh, particularly for free blacks, who were unprepared to compete with whites in a stringent job market. These societal factors, rather than any refusal to work on Peters's part, were perhaps most responsible for the newfound poverty that Phillis suffered in Wilmington and Boston, after they later returned there. Between 1779 and 1783, the couple had three children (all of whom died as toddlers), and Peters drifted further into penury, often leaving Phillis to fend for herself and the children by working as a charwoman while he dodged creditors and tried to find employment.

During the first six weeks after their return to Boston, Phillis and the children stayed with one of Mrs. Wheatley's nieces in a bombed-out mansion that was converted to a day school after the war. Peters then moved them into an apartment in a rundown section of Boston, where other Wheatley relatives soon found Phillis sick and destitute. As Margaretta Matilda Odell recalls, "Two of her children were dead, and the third was sick unto death. She was herself suffering for want of attention, for many comforts, and that greatest of all comforts in sickness--cleanliness. She was reduced to a condition too loathsome to describe.... In a filthy apartment, in an obscure part of the metropolis, lay dying the mother, and the wasting child. The woman who had stood honored and respected in the presence of the wise and good ... was numbering the last hours of life in a state of the most abject misery, surrounded by all the emblems of a squalid poverty!"

Yet throughout these lean years, Phillis continued to write and publish her poems and to maintain, though on a much more limited scale, her international correspondence. She also felt that despite the poor economy, her American audience and certainly her evangelical friends would support a second volume of poetry. Between 30 October and 18 December 1779, with at least the partial motive of raising funds for her family, she ran six advertisements soliciting subscribers for "300 pages in Octavo," a volume "Dedicated to the Right Hon. Benjamin Franklin, Esq.: One of the Ambassadors of the United States at the Court of France," that would include thirty-three poems and thirteen letters. As with Poems on Various Subjects, however, the American populace would not support one of its most noted poets. (The first American edition of this book was not published until two years after her death.) During the year of her death (1784), she was able to publish, under the name Phillis Peters, a masterful sixty-four-line poem in a pamphlet entitled Liberty and Peace , which hailed America as "Columbia" victorious over "Britannia Law." Proud of her nation's intense struggle for freedom that, to her, bespoke an eternal spiritual greatness, Phillis ended the poem with a triumphant ring:

Britannia owns her Independent Reign,

Hibernia, Scotia, and the Realms of Spain;

And Great Germania's ample Coast admires

The generous Spirit that Columbia fires.

Auspicious Heaven shall fill with fav'ring Gales,

Where e'er Columbia spreads her swelling Sails:

To every Realm shall Peace her Charms display,

And Heavenly Freedom spread her gold Ray.

On 2 January of that same year, she published An Elegy, Sacred to the Memory of that Great Divine, The Reverend and Learned Dr. Samuel Cooper, just a few days after the death of the Brattle Street church's pastor. And, sadly, in September the "Poetical Essays" section of The Boston Magazine carried "To Mr. and Mrs.________, on the Death of their Infant Son," which probably was a lamentation for the death of one of her own children and which certainly foreshadowed her death three months later."

Phillis Wheatley died, uncared for and alone. As Richmond concludes, with ample evidence, when Phillis expired on 5 December 1784, John Peters was incarcerated, "forced to relieve himself of debt by an imprisonment in the county jail." Their last surviving child died in time to be buried with his mother, and, as Odell recalled, "A grandniece of Phillis' benefactress, passing up Court Street, met the funeral of an adult and a child: a bystander informed her that they were bearing Phillis Wheatley to that silent mansion...."

Recent scholarship shows that Phillis Wheatley wrote perhaps 145 poems (most of which would have been published if the encouragers she begged for had come forth to support the second volume), but this artistic heritage is now lost, probably abandoned during Peters's quest for subsistence after her death. Of the numerous letters she wrote to national and international political and religious leaders, some two dozen notes and letters are extant. As an exhibition of African intelligence, exploitable by members of the enlightenment movement, by evangelical Christians, and by other abolitionists, she was perhaps recognized even more in England and Europe than in America. Early twentieth-century critics of Black American literature were not very kind to Wheatley because of her supposed lack of concern about slavery. Wheatley, however, did have a statement to make about the institution of slavery, and she made it to the most influential segment of eighteenth-century society--the institutional church. Two of the greatest influences on Phillis Wheatley's thought and poetry were the Bible and eighteenth-century evangelical Christianity; but until fairly recently Wheatley's critics did not consider her use of biblical allusion nor its symbolic application as a statement against slavery. She often spoke in explicit biblical language designed to move church members to decisive action. For instance, these bold lines in her poetic eulogy to General David Wooster castigate patriots who confess Christianity yet oppress her people:

But how presumptuous shall we hope to find

Divine acceptance with the Almighty mind

While yet o deed ungenerous they disgrace

And hold in bondage Afric: blameless race

Let virtue reign and then accord our prayers

Be victory ours and generous freedom theirs.

And in an outspoken letter to the Reverend Samson Occom, written after Wheatley was free and published repeatedly in Boston newspapers in 1774, she equates American slaveholding to that of pagan Egypt in ancient times: "Otherwise, perhaps, the Israelites had been less solicitous for their Freedom from Egyptian Slavery: I don't say they would have been contented without it, by no Means, for in every human Breast, God has implanted a Principle, which we call Love of freedom; it is impatient of Oppression, and pants for Deliverance; and by the Leave of our modern Egyptians I will assert that the same Principle lives in us."

In the past ten years, Wheatley scholars have uncovered poems, letters, and more facts about her life and her association with eighteenth-century black abolitionists. They have also charted her notable use of classicism and have explicated the sociological intent of her biblical allusions. All this research and interpretation has proven Wheatley's disdain for the institution of slavery and her use of art to undermine its practice. Before the end of this century the full aesthetic, political, and religious implications of Wheatley's art and even more salient facts about her life and works will surely be known and celebrated by all who study the eighteenth century and by all who revere this woman, a most important poet in the American literary canon.
— Sondra A. O'Neale, Emory University

Bibliography

Books

• An Elegiac Poem, on the Death of that Celebrated Divine, and Eminent Servant of Jesus Christ, the Reverend and Learned George Whitefield ... (Boston: Printed & sold by Ezekiel Russell & by John Boyles, 1770); republished in Heaven the Residence of Saints, by Ebenezer Pemberton (London: Printed for E. & C. Dilly, 1771).
• Poems on Various Subjects, Religious and Moral. By Phillis Wheatley, Negro Servant to Mr. John Wheatley of Boston (London: Printed for Archibald Bell & sold in Boston by Cox & Berry, 1773; Philadelphia: Printed by Joseph Crukshank, 1786).
• An Elegy, Sacred to the Memory of that Great Divine, The Reverend and Learned Dr. Samuel Cooper (Boston: Printed & sold by E. Russell, 1784).
• Liberty and Peace, A Poem (Boston: Printed by Warden & Russell, 1784).

Collections

• Life and Works of Phillis Wheatley. Containing Her complete Poetical Works, Numerous Letters and a complete Biography of This Famous Poet of a Century and a Half Ago, edited by G. Herbert Renfro (Washington, D.C.: A. Jenkins, 1916).
• The Poems of Phillis Wheatley, Edited with an Introduction and Notes, edited by Charlotte Ruth Wright (Philadelphia: The Wrights, 1930).
• The Poems of Phillis Wheatley, edited by Julian D. Mason, Jr. (Chapel Hill: University of North Carolina Press, 1966).

Letters

• Charles Deane, ed., Letters of Phillis Wheatley, the Negro-Slave Poet of Boston (Boston: Privately printed, 1864).
• Carter G. Woodson, ed., The Mind of the Negro as Reflected in Letters Written During the Crisis: 1800-1860 (Washington, D.C., 1926): xvi-xxi.

Further Reading

William H. Robinson, Phillis Wheatley: A Bio-Bibliography (Boston: G. K. Hall, 1981).

Margaretta Matilda Odell, Memoir and Poems of Phillis Wheatley (Boston: Light, 1834).

B. B. Thatcher, Memoir of Phillis Wheatley, A Native African and a Slave (Boston: G. W. Light/New York: Moore & Payne, 1834).

Benjamin Griffith Brawley, Note on Wheatley, in Early Negro American Writers: Selections with Biographical and Critical Introductions, edited by Brawley (Chapel Hill: University of North Carolina Press, 1935), pp. 31-55.

Brawley, Negro Builders and Heroes (Chapel Hill: University of North Carolina Press, 1937).

Shirley Graham, The Story of Phillis Wheatley (New York: J. Messner, 1949).

Martha Bacon, Puritan Promenade (Boston: Houghton Mifflin, 1964).

Sidney Kaplan, "Phillis Wheatley," in The Black Presence in the Era of the American Revolution, 1770-1800 (Greenwich, Conn.: New York Graphic Society, 1973), pp. 150-170.

Merle A. Richmond, Bid the Vassal Soar: Interpretive Essays on the Life and Poetry of Phillis Wheatley (ca. 1753-1784) and George Moses Horton (ca. 1799-1883) (Washington, D.C.: Howard University Press, 1974).

Carl Bridenbaugh, "The First Published Poems of Phillis Wheatley," New England Quarterly, 42 (December 1969): 583-584.

Charles F. Heartman, Phillis Wheatley: A Critical Attempt and a Bibliography of Her Writings (New York: Printed for the author, 1915).

Mukhtar Ali Isani, "The British Reception of Wheatley's Poems on Various Subjects," Journal of Negro History, 66 (Summer 1981): 144-149.

Sarah Dunlap Jackson, "Letters of Phillis Wheatley and Susanna Wheatley," Journal of Negro History, 58 (April 1972): 212.

Robert C. Kuncio, "Some Unpublished Poems of Phillis Wheatley," New England Quarterly, 43 (June 1970): 287-297.

Thomas Oxley, "Survey of Negro Literature," Messenger: World's Greatest Negro Monthly, 60 (February 1927): 37-39.

Carole A. Parks, "Phillis Wheatley Comes Home," Black World, 23 (February 1974): 92-97.

Benjamin Quarles, "A Phillis Wheatley Letter," Journal of Negro History, 34 (October 1949): 462-466.

Gregory Rigsby, "Form and Content in Phillis Wheatley's Elegies," CLA Journal, 19 (December 1975): 248-257.

Rigsby, "Phillis Wheatley's Craft as Reflected in Her Revised Elegies," Journal of Negro Education, 47 (Fall 1978): 402-413.

William H. Robinson, Phillis Wheatley in the Black American Beginnings (Detroit: Broadside Press, 1975).

Robinson, "Phillis Wheatley in London," CLA Journal, 21 (December 1977): 187-201.

Robinson, ed., Critical Essays on Phillis Wheatley (Boston: G. K. Hall, 1982).

Charles Scruggs, "Phillis Wheatley and the Poetical Legacy of Eighteenth Century England," Studies in Eighteenth Century Culture, 10 (1981): 279-295.

John C. Shields, "Phillis Wheatley and Mather Byles: A Study in Literary Relationship," CLA Journal, 23 (June 1980): 391-398.

Shields, "Phillis Wheatley's Use of Classicism," American Literature, 52 (March 1980): 97-111.

Kenneth Silverman, "Four New Letters by Phillis Wheatley," Early American Literature, 8 (Winter 1974): 257-271.

Albertha Sistrunk, "Phillis Wheatley: An Eighteenth-Century Black American Poet Revisited," CLA Journal, 23 (June 1980): 391-398.

Original manuscripts, letters, and first editions are in collections at the Boston Public Library; Duke University Library; Massachusetts Historical Society; Historical Society of Pennsylvania; Library Company of Philadelphia; American Antiquarian Society; Houghton Library, Harvard University; The Schomburg Collection, New York City; Churchill College, Cambridge; The Scottish Record Office, Edinburgh; Dartmouth College Library; William Salt Library, Staffordshire, England; Cheshunt Foundation, Cambridge University; British Library, London.

9º Encontro Internacional da MMM

Vamos pra rua! Manifestação Feminismo em Marcha para Mudar o Mundo, 31 de agosto, em São Paulo

7 de Agosto de 2013 Por ofensiva Deixe um comentário

No dia 31 de agosto, mulheres de todo o mundo estarão nas ruas de São Paulo para reafirmar o feminismo como um projeto para mudar o mundo e nossas vidas! Estamos em marcha para transformar a sociedade! Queremos acabar com o machismo e o capitalismo, que também é racista, lesbofóbico e depredador da natureza. Afirmamos […]

Filed Under: Encontro Internacional, Mobilização Tagged With: encontro internacional da marcha mundial das mulheres, feminismo em marcha para mudar o mundo, feminismo no brasil, feminismo no mundo, mmm

Cultura feminista no Encontro Internacional da MMM: participe!

6 de Agosto de 2013 Por ofensiva Deixe um comentário

Estamos a mil na organização do 9° Encontro Internacional da Marcha Mundial das Mulheres. A Comissão de Cultura tem trabalhado para elaborar uma proposta artística cultural que lide com a diversidade, que promova reflexões sobre a cultura na nossa prática militante e, ao mesmo tempo, esteja coordenada com os conteúdos debatidos. Para que toda nossa […]

Filed Under: Encontro Internacional Tagged With: arte feminista, cultura feminista, encontro internacional da marcha mundial das mulheres, mmm, mulheres na cultura

Inscreva-se aqui para o 9º Encontro Internacional da MMM

2 de Agosto de 2013 Por ofensiva 6 Comentários

Feminismo em marcha para mudar o mundo! 25 a 31 de agosto de 2013 – Memorial da América Latina São Paulo Entre os dias 25 e 31 de agosto de 2013, o Brasil sedia pela primeira vez um Encontro Internacional da Marcha Mundial das Mulheres. O Encontro vai reunir ativistas feministas dos cinco continentes do […]

Filed Under: Encontro Internacional Tagged With: encontro internacional da marcha mundial das mulheres, feminismo no brasil, feminismo no mundo, mmm

Salve o ponto de cultura

Você se apropriou 
Da nossa identidade 
Você nos expulsou 
Do centro da cidade 
Você não publicou 
aquela entrevista 
Você não revelou que sou protagonista

Só porque você tem poder
Acha que vai nos convencer
Estamos prontos pra valer
A nossa força é o saber

Tem hip-hop na comunidade
Tem grafiteiro com dignidade
O teatro é realidade
Também tem literatura
Dançadeira a sua vaidade
Capoeira toda liberdade
A bandeira da sinceridade
Salve o ponto de cultura
https://www.youtube.com/watch?v=sZ5qDBs_VtA 

--
Sttela Cabral

II TEIA Estadual São Paulo 2013 “Cultura Sempre Viva”

A TEIA é um grande Encontro que reunirá a diversidade cultural do Estado de São Paulo, com a participação de aproximadamente 700 Pontos de Cultura conveniados com as Redes do MinC, a Rede Estadual e as Redes Municipais, no período de 25 a 28 de julho de 2013, na Capital-SP

Os objetivos da TEIA são a troca de saberes e fazeres, o fortalecimento dos Marcos Legais do Programa Cultura Viva e das políticas públicas de cultura, o fomento das redes de relacionamento e articulação institucional entre os Pontos, sociedade e governos.

*A sua presença é fundamental no III Fórum de Pontos de Cultura para a discussão de políticas públicas e do Programa Cultura Viva. 
*As despesas de alimentação, hospedagem e transporte serão todas custeadas.
*As inscrições e os critérios para o III Fórum de Pontos de Cultura, a Feira de Economia Solidária, os Workshops , a Cobertura Colaborativa, a Exposição de Artes e a Mostra Artística estão abertas até o dia 22 de maio de 2013, fiquem atentos!
*Os Pontos de Cultura poderão apresentar inscrições para mais de uma ação, mas apenas uma será contemplada. 
*As apresentações selecionados para Mostra Artística, Exposição de Artes e Workshop receberão cachê artístico 

*Para poder participar da seleção da Mostra Artística, Exposição de Artes e Workshop a inscrição no III Fórum de Pontos de Cultura é obrigatória

As ações propostas são:
III Fórum de Pontos de Cultura: encontro dos representantes dos Pontos de Cultura para debates, discussões e deliberações. Inscrição Fórum Link

Feira de Economia Solidária: espaço para divulgar e comercializar produtos dos Pontos de Cultura;     Inscrição Feira de Economia Solidária

Workshop: espaço para a difusão dos saberes e fazeres dos Pontos de Cultura destinados à sociedade; Inscrição Workshop Link

Exposição: divulgação dos trabalhos, ações e produtos dos Pontos de Cultura;  Inscrição Exposição de artes Link

Mostra Artística: difusão e circulação das produções artísticas e culturais dos Pontos de Cultura; Inscrição Mostra Artística Link  
Cobertura Colaborativa: comunicação compartilhada com objetivo de registrar e divulgar o evento em todos os segmentos das mídias Inscrição Cobertura Colaborativa Link

Equipe de Comunicação TEIA Estadual São Paulo 2013

Sttela Cabral

CNPdC-GT Legislação

Setorial Nacional Arte Digital-Região Sudeste
Pontão Setecidades
Rede Pontos de Cultura de Diadema/SP
+55(11) 9-6483-2347 - VIVO
+55(11) 4072-9332 - Pontão Setecidades

http://twitter.com/stelafeminista
http://twitter.com/leiculturaviva
http://culturadigital.br/leiculturaviva

Mapa da Rede de pontos de Cultura georreferenciada

Link do Catálogo Digital da Rede de Pontos de Cultura