Patrícia (Pagi) Giselia Batista, University of Uberlandia, Brazil
In contemporary societies, such as Brazil and the United States, the segregating marks of colonization remain, mainly racial discrimination that has its roots in socio-cultural and historical conditions in the enslavement of African blacks since the fifteenth century by the Europeans, and in the racial theories spread by nineteenth-century science. Performance art like "Bombril" by Priscila Rezende and "Merci beaucoup, blanco!" by Michelle Mattiuzzi exemplify the results of analyzes based on investigations that I have been developing on black feminist artistic actions that metaphorize slavery and its effects in the present day. These performances are insurgent and political artistic actions because they allow us to question part of the "official" history of Brazil, written by Eurocentric hands and theories. This research was developed from a multidisciplinary study, carried out in the field of history, anchored in feminist and postcolonial theories with an intersectional approach. "Performance art" has been establishing itself as a channel of cultural decolonization that works in the direction of overcoming the discrimination of black bodies. The works I have researched, not by chance, have been used from these artistic spaces for incisive criticism of the neoliberal, androcentric, and racist culture, and configured as a territory and an instrument of political strategy.