Vida gay en santo tome y principe

Photo courtesy of the author. In addition to these activities, sculptor Geane Castro provides training in recycling metals at FACA, while craftswomen, such as Ivete Amaro, teach people how to make table mats from wood. Seamstresses also teach women in the community how to make handbags and shirts so that they can have a source of income.

The project was developed as part of the trans-African initiative, Invisible Borders , which aimed to involve people who were not necessarily experienced in photography. Both male and female forms of same-sex sexual activity are legal in São Tomé and Príncipe, however LGBTQ persons face stigmatization among the broader population.

Santo Tomé y Príncipe fue uno de los pocos estados africanos que firmó en una "declaración conjunta para poner fin a los actos de violencia y las violaciones de los derechos humanos relacionadas con la orientación sexual y la identidad de género" en las Naciones Unidas, condenando la violencia y la discriminación contra las personas.

Located in the heart of a very poor neighborhood, it aims to develop the community by providing training in sewing and basketry for local women and artisans and by organizing recycling and environmental awareness initiatives for children. In this way, they can encourage social change.

Lesbian, gay, bisexual, transgender, and queer (LGBTQ) people in São Tomé and Príncipe face legal challenges not experienced by non- LGBTQ residents. Sao Tome and Principe, an island nation located off the west coast of Africa, has decriminalized gay sex. LGBT Rights in Sao Tome and Principe: homosexuality, gay marriage, gay adoption, serving in the military, sexual orientation discrimination protection, changing legal gender, donating blood, age of consent, and more.

The coordinator further stated that, although each weaver knew which part of the tapestry they had worked on, it would be impossible for any other person to recognize the difference between their handiwork. These projects are 1. This analysis will be developed in line with two principal axes: 1 the notions of social transformation that inform the projects, and 2 the social imaginaries they foster.

However, it is not enough for a certain work or initiative to promote collaborative or relational practices in order for it to transform a social imaginary. By contrast, the collaborative relationship established by Emeka Okereke with his workshop participants was consistent with his theoretical premises.

In this way, O Mundo das Voltas is a work of empowerment. However, it can still be analyzed as a social art project due to its focus on the artistic process and its local context. The most popularly accepted version of the story is that the Angolars descended from slaves shipwrecked on the southern coast of the island, a theory proposed for the first time by Lucas Azevedo in the mid-eighteenth century and which has since been developed by several other authors, such as Tenreiro and Macedo.

This final part follows the adventures of a homeless man sleeping on a bench in the square who is awoken by two passersby who offer him money and are faced with his reluctance to accept it. Finally, the role of collaborators may ultimately be nothing more than that of mere task executors directed by a given artist.

They each call for the participation of at least one subgroup from the Santomean population. A minority of white Portuguese settlers colonized the archipelago and brought enslaved Africans from Benin, in the Niger Delta, and, as of the early sixteenth-century, from the Kingdoms of Congo and Ndongo present-day Angola.

The artist served only to guide the actions of his collaborators and was physically present for the duration of the workshops. She leads recycling activities with children at FACA using materials like paper and plastic, which they collect on beaches or elsewhere and then knit and make into clothes that they may sell in the future.

The Reino Angolar project involves a relationship with the Angolar community. On the other hand, in the case of Reino Angolar—a Origem , the Angolar community does not play an active role in the production of the work, its authorship is not shared, and it enters the circuit of artworks under the name of the artist.

As noted by Arjun Appadurai, the imagination, through its encounter with modernity, can overcame the barriers that separate it from reality, and which relegate it to the world of fiction or intellectual speculation, to become a foundation for social practice. The video is composed of five parts.

The project has different sub-themes depending on the context of each exhibition. Accordingly, Kwame de Sousa has been spending periods of three or four months with this community regularly for the past three years and has gradually been accepted by it. The group had shared authorship of the video and edited the end result.

This group is generally closed to the outside world, and its origin is still debatable today. What follows is a critical reflection on these case studies, comparing the different notions of social transformation that underlie them. Creative practices are, in this context, one of the potential means of freeing the imagination and conceiving of possible futures beyond contemporary reality.

The banana fiber threads used in the tapestry were also made from imported banana fiber. The liberated imagination diverges from a specific historico-cultural meeting point, constituting multiple modernities. The tapestry was projected to be ninety square meters, but at the time of the biennial, only about half of it was completed.