One Thousand Liters of Black: a poetics of necropolitics
This article will analyze the performance-installation Mil Litros de Preto: A Maré está Cheia, by the performer Lucimélia Romão, whose guiding axes are the genocide of young black Brazilians by the military police, the systematic violence of the State over black bodies and the omission of part of Br...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Estadual de Campinas (UNICAMP) |
| Repositorio: | Conceição/Conception |
| Idioma: | portugués inglés |
| OAI Identifier: | oai:ojs.periodicos.sbu.unicamp.br:article/8660778 |
| Acceso en línea: | https://periodicos.sbu.unicamp.br/ojs/index.php/conce/article/view/8660778 |
| Access Level: | acceso abierto |
| Palabra clave: | Escena contemporánea Genocídio Necropolítica Cena contemporânea Contemporary scene Genocide Necropolitic |
| Sumario: | This article will analyze the performance-installation Mil Litros de Preto: A Maré está Cheia, by the performer Lucimélia Romão, whose guiding axes are the genocide of young black Brazilians by the military police, the systematic violence of the State over black bodies and the omission of part of Brazilian society. For this, it focuses on theconcept of necropolitics (MBEMBE, 2016) and its surroundings, to trace the developments of such performance-installation. |
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