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ENGLISH VERSION ORIGINS

the world. Af er all, art teaches us to see and space whose history is preceded by myths, So I came back. Anyway, to put it simply,
strengthens existence. legends, remains, isolation, inhabited and I returned to Belém. I was arrested. And
In turn, the artists launch an invitation to invaded.ready made: then I went to Rio. It was tough there,
discover the pulsating life of these territories. In the chapter From the gaze of the Indian because I participated in the National
Understanding the way of being of the people to that of the Caboclo – A Same Route, (page Union of Students and I had a very, very
here is the beginning of this journey to listen 83), says Loureiro: close presence at the cpc, at the Centro
and experience the endless stories that “In indigenous cosmology, when myths refer Popular de Cultura, where we were going
overflow in the songs, pajelanças, homemade to the creation of the Amazonian world, they to create a national program to value
science, prayers of the healers, alternation are actually referring to the creation of the listening, culture , the arts, the different
of tides, colorful festivals, forests, waters, world”, the creation of planet Earth. The first regions of Brazil.
smells, dances, women erveiras and many night everything came out of the heart of a We were a committee of five
other significant experiences. As a Tucuju tucumã (small palm coconut). (…) You can coordinators. Among others, Ferreira
cabocla from Amapá, I reinforce our loving also turn to Nunes Pereira, in the anthology Gullar, who was a poet from a generation
desire for us to be in communion. It’s what Moronguetá – an indigenous decameron: The much earlier than mine, Teresa Aragão,
moves me in art and in life. sun, in the past, was a strong and handsome who was his wife, linked to the theater
*Curator of the first Amazon Biennial young man (…) The sun drank all the urucu issue, a very active producer. We all
and became red in the face like urucu and the continue to be and persecuted because
amazon biennial [pages 36 to 41] muirapiranga. Then he went up into the sky of this. To be able to participate in this
POETICS OF THE and got into the clouds. (1) (…) In the Amazonian coordination, I needed to be studying at
world, there is the production of a true daily
the National Faculty of Law.
IMAGINARY theogony. Revealing a cosmic affectivity, man When I returned to Belém to continue in
We spoke with Professor João de Jesus promotes the aestheticizing conversion of the fif h year of Law, to be able to graduate,
Paes Loureiro, one of the main scholars and reality into signs, through daily work, dialogue I’m talking about 1964, I already brought
formulators of Amazonian cultural thought with the tides, companionship with the stars, my transfer signed by the Minister of
by fabio cypriano the solidarity of the winds that drive the sails, Education at the time.
the patient friendship of rivers. (…) A unique I am putting these two situations so that
joão pães loureiro was born in 1939, real and imaginary world.” you can understand, first, my connection
in Abaetetuba, a city in Pará located on the Below are Loureiro’s words during our with riverside culture, and, secondly, my
banks of the Tocantins River, where he spent meeting, in his apartment in Belém, in connection, through academic life as a
his childhood. He studied Law, Literature, Arts November. student, with the renewal movements
and Communication at the Federal University in Brazil at that time, which always lef
of Pará. He was arrested between 1964 and 1970 – I would like you to start by telling me with this desire , this concern for an
as a result of his political activism against the us when and how you began your research egalitarian society, a democratic society,
military dictatorship. Much later, he became into the different ways in which man and a society that had a university that was
a master in Literary Theory and Semiology nature meet. increasingly open to people. So much
from puc Campinas and a doctor in Sociology I was born in a city in the interior of Pará, so that when the dictatorship broke out
of Culture from the Sorbonne, Paris, in 1990. the city of Abaetetuba, which is located here in Belém we were holding the first
He held several public positions, having been on the Tocantins River, in a stretch called Latin American Congress on University
Secretary of Culture of Pará, as well as creator Baixo Tocantins, close to Belém. There Reform. There were people from Cuba,
and president of the Institute of Arts from Pará. we have the city in front, but forming Chile, people from Argentina.
“Nature existed in the beginning. The man part of the municipality is a meeting
came later. They confronted each other, of 72 islands. I always remember this, – Let’s go back to this strong
alternated, modified, transfigured. A slow loss because these islands are a kind of presence of childhood…
of innocence and entry into history.” This is how mythical region of our municipality. It Yes, all this riverside origin served for
his thesis book begins, Amazonian Culture – A is a kind of labyrinth and, in this place, we me as a way of incorporating that type of
poetics of the imaginaryio, published in 2015 would all spend our holidays, my sisters man’s behavior in the face of reality. First,
by Editora Valer, from Manaus. and I. My father came from one of the respect and dialogue with nature. Then,
Poet, writer and teacher, Paes Loureiro is rivers on these islands, the Távora River, the experience of a form of wisdom, the
the author of several essays on the culture of and an uncle of ours lived at Engenho experiences of canoeists, planters and
the region, among them Semiotic Conversion Tucumã, in Tubarão, where all the kids people who, in short, lived with the river
in Art and Culture. Loureiro researches the spent their June holidays. in an almost existential way. Less so today,
meaning of spaces and objects beyond their Interestingly, it was there that I took but in the deep Amazon, in the Amazon
usage needs, concerned with the symbolic refuge from the dictatorship. I was young, furthest from Belém and Santarém, a
resignification that they acquire when they 20, 21 years old, and that’s where I ran relationship with the imaginary still prevails
are received according to different hierarchies away, to hide somewhere I couldn’t be through mythology, through legends and
of the functions contained in them. The true seen, going from house to house. I spent through a way of understanding the world
cultural construction would therefore be given some time hiding in a guesthouse in the itself. In the Amazon, the imaginary is a
by the relationship between man and this red light area here in Belém because, let’s social fact, something shared on the
adjustment. say, I wouldn’t be wanted there. And then streets and in people’s coexistence.
In the History of Art we have seen several I went to these islands. I stayed there for
movements – the pop-art, the happenings a while, until I couldn’t bear that isolation, – This tends to be publicized only
etc. – changed the hierarchy of objects that anguish, listening to the radio news as an indigenous issue…
demonstrating this semiotic conversion, that came from Belém, Brazil. I decided Yes, but it is riverside, indigenous and rural,
and Paes Loureiro delves into the origins of to go back because I was in my fif h year but riverine is more intense. Especially
Amazonian aesthetics, trying to understand of Law and was going to graduate and I because reference is made here to this
the construction of these relationships in a didn’t want to miss the course. culture, so to speak, born in the Amazon, as

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