Apresentation

Abstract

The voice as a territory of (re)existence, in its multiple embodiments, exists and resists the passing of time, whether it is part of the paths of our bodies in the wheels where we found ourselves in prose (and that we hope to live like that again) , whether walking more than fast through invisible, but already so present, networks, cell phone screens, computers... And what was born in the heat of affection won salons, classrooms, schools, universities, being, as one, time, media, poetry, speech, pamphlet. We already know that it is no longer possible to talk about the death of the popular, as many have announced, but about a continuous and living reinvention of a tradition that creates, recreates and creates in an infinite lemniscate.
This issue of the Revista Boitatá presents all of this, covering different spaces for interlocution of research, experiences and reflections on the multiple manifestations of oral poetics, affections and exchange of knowledge. These differences meet and converge in voices that (re)exist in spite of scriptocentric, Eurocentric, racist, elitist, sexist, prejudice and discrimination and all other abysses.
In this sense, the interview/conversation with and about Salete Maria da Silva opens the dialogues about the voice as a territory of (re)existence, announcing the different theoretical, methodological, epistemological frameworks and ways of understanding the poetics of the voices that the set of articles in that dossier covers. The cordelista history itself is a chapter in the great history of orality.
We have another look at this with Edilene Matos, when introducing us the authors Antônio Aleixo and Antônio Vieira who, although separated by the overseas, are linked from the poetics present in their works, revealing the intricacies between orality and writing that, in friction, they come closer and tense each other.b Maurílio Antonio Dias de Sousa, in turn, shows us from within the editorial system of leaflets, in its organizational web, highlighting elements present in the relationship between poet and editor, insofar as which exposes how popular cultures create and generate their own editorial models in a counter-hegemonic way. Another counter-hegemonic shift is made in the article by Ria Lemaire, in which we are introduced to a new epistemology that places women's voices at the center of a debate whose elements collaborate to strengthen a new paradigm involving cordel and gender.
Still on the voices of women, we have the work of Joel Vieira da Silva Filho and Cristian Souza de Sales on the writing of Eliane Potiguara in her work Half face, half mask, showing how collective memory and individual memory are articulated in autobiographical text that unveils the diasporic process of this indigenous writer, which is also the motto of Renata Daflon Leite's article, in which the political character and performative power present in Eliane Potiguara's works are brought to the scene, reinforcing the transit between orality and present writing in indigenous literature.
Extending the understanding of the gender issue in the poetics of orality, Maria Gislene Carvalho da Silva from Autobiographies of Cordel women: a contribution to the new historiography of cordel invites us to know the works of cordelists Julie Oliveira, Izabel Nascimento and Auritha Tabajara, this an indigenous woman, exposing the threads that guide gender relations in the cordel universe. The relationship between women's authorship and orality – also a locus in which the voice is a territory of (re)existence – is honored in the article by Fernanda Oliveira da Silva and Maria Teresa Salgado, in which they analyze Té's shoes, a work in which Elisabete Nascimento records the oral texts of her mother Cremilda, a griot, highlighting memory as a guiding thread for the social complaints presented.
The voices of black women are also revered in the text by Railda Maria da Cruz dos Santos and Edil Silva Costa, in which they focus on oral poetics based on the analysis of the songs and narratives of black women who lead a group by Lindro Amor, in the city of Maracangalha, exposing its modes of (re)existence in the face of the dynamism of the cultural practice in question.
To end the open conversation, or even to enter other spaces of dialogue, Adriana Aparecida de Jesus Reis proposes a parallel between one of the narratives of Giambattista Basile, a Neapolitan writer, and an oral tale collected in the interior of Bahia and present in one of the works of the writer Marco Haurelio, showing which popular elements can be activated in orality for the construction of wonderful tales in order to bring together cultural contexts that are apparently so different.

When going through these articles, as well as the lives, voices and poetics studied, it is observed that the territories of (re)existence are largely linked to the lives, doings and knowledge of women, especially those whose speaking places are counter-hegemonic , it cannot be forgotten that orality in academic studies itself means some dissonance. The allies in this dialogue are added to the ancestral forces of these voices, which converge and cross in becoming.