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• W4365806791 abstract "Vila Buriti Arielle Martins (bio) and Sávio Farias (bio) Vila Buriti é uma coleção artística em homenagem às pequenas cidadezinhas do interior do nordeste que resistem com muita graça, suor e força. Nossa pesquisa está baseada principalmente na cidade de Pedro II, Piauí que é conhecida como a terra da opala e como a capital da rede. Buscamos retratar a configuração dessas cidades passando pelas quitandas, bares, arquitetura e cores, e pela irreverência dessa gente tão bunita. Colocamos também junto a essas informações histórias verdadeiras de duas avós que homenageamos nesse trabalho, dona Raimunda e dona Gracinha. Vila Buriti é a nossa forma de dizer que o Brasil fora da rota turística é lindo e necessário e hoje mais do que nunca temos que entender que o sertão está em toda parte desse Brasil e que o Brasil impossível é brasileiramente lindo e merece ser mais usado como referência de beleza e de graça. ________ Vila Buriti is an artistic collection in tribute to the small towns in the interior of the Northeast that endure with a lot of grace, sweat and strength. Our project is based mainly on the town of Pedro II–Piauí, known as the land of opal and as the capital of the hammock. We seek to portray the configuration of these towns—passing through greengrocers, bars, architecture, and colors—through the irreverence of these beautiful people. We also draw on true stories of two grandmothers that we honor in this work, Mrs. Raimunda and Mrs. Gracinha. Vila Buriti is our way of saying that the other Brazil, the one off the beaten path, is beautiful and necessary. Today, more than ever, we have to understand that the sertão is everywhere in Brazil and that the contradictory Brazil is beautiful and deserves to be mentioned in reference to beauty and grace. [End Page 135] Click for larger view View full resolution Figure 1. Vila Buriti Diz dona Gracinha que nesta casa de primeiro, como ela gosta de falar, acontecia de um tudo, desde suas filhas na calçada brincando à noite à luz de lamparina, até as redes sendo vendidas sobre as raízes do enorme pé de Tamburi que fica em frente. E o que dizer da velha cadeira de macarrão sempre ali à espera daquele descanso no finalzin da tarde? Dona Gracinha tem muita história dessa casa e desse lugar que sempre estará em sua memória embalada pelo som da velha vitrola, que só não era mar bonito que o som do sabiá laranjeira que, do alto do pé de Tamburi, rogava por chuva toda manhãzinha. ________ Mrs. Gracinha says that in this house everything happened: her daughters used to play on the sidewalk at night by lamplight and the hammocks were sold over the roots of a huge Tamburi tree that existed in front of the house. [End Page 136] And what about the old spaghetti chair that was always there waiting for that late-afternoon rest? Mrs. Gracinha has a lot of stories about this house and this place that will always be in her memory, lulled by the sound of the old record player whose melodies were second only to the sound of the songbird that, from the top of the Tamburi tree, pleaded for rain every morning. [End Page 137] Arielle Martins Arielle Martins is an illustrator from Brasília. She is the creative director at Acaiá Studio and has worked on editorial and advertising projects as well as fine art and product development with brands like Bobinex and TastemadeBR. Her work has been published in Casa Vogue, ArchDaily, and Metrópoles. Sávio Farias Sávio Farias is a master's student in fashion and sustainability design at Escola d'Art i Superior de Disseny de València (EASD), in Spain. Born in Brazil, he is the creative director of his own brand, Drew, and has worked as a fashion design teacher as well as creative director and producer for several audiovisual projects. Copyright © 2021 Trustees of Indiana University" @default.
• W4365806791 created "2023-04-16" @default.
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• W4365806791 date "2021-01-01" @default.
• W4365806791 modified "2023-09-23" @default.
• W4365806791 title "Vila Buriti" @default.
• W4365806791 doi "https://doi.org/10.2979/chiricu.6.1.13" @default.
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