Class Concave-Convex: Dilemmas and Subjectivities

In this optional CU, we assume that no common sense statement has absolute validity, that is, that common expressions can and do have their reverse side, their essential dilemma. But we also assume its opposite: some common sense data seems to have sapiential validity. Where is the key to this apparent dystopia? In the epistemic analysis of popular wisdom (myths, proverbs, legends, taboos...,) and its translation into events, handicrafts, folklore, costumes, etc., we find a wide field of confirmation of these "subjectivities". Its manifestation in the so-called "popular art" has provoked, at all times, contradictory, highly imaginative, diversely creative messages, where even what is obvious can be denied: the concave of the convex. The challenge posed to visual artists is, in this CU, to parallel or dichotomise in the folk phenomenon its moral message (or vice versa), confirming how, in common sense, the whole database is ambivalent.    

Not applicable

1.Popular wisdom or "the perpetuation of unverified knowledge": what is it? The epistemic basis of human knowledge. Theoretical framework of heritage (family, geographical, gastronomic, political, religious, musical, etc.) as an anthropological reference of Visual Culture. 2.Traditions, myths, legends, taboos, beliefs, mottos, proverbs: what are they? Relations and interference of cultural systems in the visual process of identification and understanding of the world and reality. Identification and analysis of case studies in the area of Anthropological Visual Culture: from mentalities to manualities. The traditional visual: deformity and beauty, perversity and naivety, dogmatism and relativism. The disruptive pairs of the real in popular culture. 3.Traditional culture and its dilemmas: the popular contradiction. Analysis of subjectivities in popular wisdom 4.Application in popular art: how they express themselves? Research and presentation of case studies in Visual Arts

This CU involves alternating methodologies. The first (the critical analysis of a phenomenon of popular visual culture - whether traditional or transformed - found in folklore, festivals or legends) takes place only during the first 4 to 5 weeks, with discussions encouraged at least every 15 minutes. In the following weeks, an innovative methodology is adopted which reverses the traditional system through role-play: a student (the 'teacher' for that day) will deliver the lesson to their classmates and the lecturer, who will record all observations in a detailed SWOT analysis (the basis for the ensuing debate) all their assessments (which will be presented).  These assessment methods (critical analysis, oral presentation in a role-play, SWOT analysis and in-depth debate) demonstrate, in a versatile and original way, an understanding of popular visual culture (nowadays on social media), fostering skills such as interpersonal communication and the reasoned defence of arguments

LIMA. Pires de, F. (1968). Arte Popular em Portugal: Ilhas adjacentes e Ultramar. Volume I. Lisboa: Editorial Verbo. MORRIS, W. (2003). Artes Menores. Lisboa: Antígona. RESTIVO, M.M. (2020). A emergência da autoria na arte popular portuguesa.Universidade do Porto, Faculdade de Letras/DCTP ROUSSEAU, V. (2012). Vers une définition de l¿art populaire: l¿institution problématique d¿une notion polysémyque. L¿axe France-Canada dans une perspective européene et nord-americaine. Montréal: Université du Québec. Tese de Doutoramento. SHELTON, A. A. (2015). Heaven, hell and somewhere in between. Portuguese popular art. Vancouver: MOA/University of British Columbia. SPENCE, Jo Spence (1995). Cultural Sniping / The art of transgression. Londres e Nova Iorque: Routledge