"Só tenho dois braços": a pandemia de Covid-19 e o setor artesanal do Rio Grande do Norte
In this dissertation, I analyze the context of crisis that affected the craft sector in the brazilian state of Rio Grande do Norte in the face of the new coronavirus pandemic, with emphasis on the strategies chosen by the artisans to deal with the consequences of the health crisis. To do so, I de...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/54451 |
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| Resumo: | In this dissertation, I analyze the context of crisis that affected the craft sector in the
brazilian state of Rio Grande do Norte in the face of the new coronavirus pandemic,
with emphasis on the strategies chosen by the artisans to deal with the
consequences of the health crisis. To do so, I delimit a social field of Potiguar
handcrafts as an analytical unit. My ethnographic path is broken down into several
stages: initially participating in the public management of policies for handcrafts,
through the monitoring of representative entities of the sector, and through digital
ethnography focused on the social media most employed by craftswomen. We
observed several obstacles faced by the workers of the sector during the pandemic:
the first moment of discouragement due to the abrupt suspension of fairs, tourism,
and every kind of face-to-face commercialization; the overload of domestic work; the
mobilizations and anxieties to receive the emergency aid; the crisis in the supply of
raw materials; the mobilizations for the Aldir Blanc Cultural Emergency Law; the
search for applications and marketplaces specific to the sector; and, finally, the
gradual resumption of face-to-face commercialization modalities. During all this time,
the accelerated insertion in digital commerce networks was a constant necessity, and
from the research it was possible to identify a multiplicity of discursive referentials
reflexively activated by the artisans in this process. I argue that the expansion of the
digital market for the craft sector as a result of the suspension of face-to-face
marketing modalities constitutes appropriation of technologies by craftswomen in a
context of exceptionality; the use of technology reflects the characteristics of the field
while also being influenced by the dynamics of digital platforms. |
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