As mãos, a arte, a ciência: modelando diálogos entre os saberes populares e os conhecimentos químicos a partir do barro

Abstract

Due to our desire to investigate, with regard to ancestry, applications and relevance, the knowledge of a Chemical nature that is present beyond university borders, we propose this study aiming to understand the dialogues that exist between sociocultural knowledge related to the production of tableware clay in the Chã da Pia community - Areia/PB and chemical knowledge. Distancing ourselves from attempts to “conduct” what is academically produced to those who are distant from this context, we approach, through ethnographic research, the rural community Chã da Pia, located in the municipality of Areia-PB, a scenario marked by artisanal production of clay crockery. In order to enable data production, we carried out semi-structured face-to-face interviews with 20 (twenty) louceiros about their artistic productions, as well as producing, throughout our insertion in the community, a field diary, which summarizes narratives regarding our immediate impressions regarding social, cultural and artistic aspects observed. Furthermore, as the last instrument used, we held a mini-course focused on the production of paints from clay. The data obtained was analyzed based on the steps proposed by discursive textual analysis (ATD), originating 4 (four) analytical categories: (I) Walking in Chã da Pia: weaving art, culture and hospitality; (II) “We live on these dishes”: between experiences with clay and sharing in the community; (III) “Doesn’t Chemistry even study the sand that sticks?”: understanding the Chemical nature of clay modeling practices and (IV) Weaving ethnochemical dialogues about/with/through clay. The results showed that the knowledge that is part of clay modeling practices is, in its nature, cumulative and communal, strengthened in communication networks between artisans. Furthermore, we recognize that clay modeling has important historical and cultural value, being perceived as a form of resistance by artisans in the face of survival challenges. We understand that there are several chemical practices developed by dishwashers, from stone collecting processes to the complex observations required in the context of burning dishes, an approach that made it possible to create dialogues and search for other possibilities for modeling. clay, especially in relation to painting. We conclude that the participants maintain and strengthen cultural heritages, imprinting their personal marks and preserving knowledge that dialogues with Chemistry produced in the academic context.