9 mortos na Maré (RJ): O Estado tem que ter equilíbrio

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BOPE vem realizando ações desastrosas no Complexo da Maré, no Rio de Janeiro. Repórter relata relata o terror dos moradores

Um post acaba de surgir na tela do meu Facebook: “A noite de terror continua na favela da Maré: dois mortos ontem, incluindo um policial, mais um rapaz morto hoje, dentro de sua casa; vários feridos. Observatório sem energia, sem telefone: Bope acertou o transformador e cortou os cabos de telefone. Qual o sentido disso? O Estado tem que ter equilíbrio; senão, quem terá?”. Quem assina é o doutor em Sociologia da Educação e fundador do Observatório de Favelas, Jaílson de Souza e Silva.

Logo cedo estive na entrada da favela Nova Holanda, uma das 17 comunidades que compõem o Complexo da Maré, na zona norte do Rio, onde a polícia continua em ação. Não consigo entrar. E ninguém consegue sair para me dizer o que está acontecendo de fato. Meu telefone toca sem parar. São amigos relatando casos de abusos da polícia. São amigos desesperados com uma situação de insanidade que começou na noite de ontem quando um grupo que realizava uma manifestação na Avenida Brasil correu para dentro da favela, fugindo da repressão da polícia, que neste lado da cidade não usa bala de borracha, usa bala de canhão.

Os jornais relatam que houve um arrastão durante a manifestação. Arrastão? Segundo os moradores, o que aconteceu foi: a cracolândia carioca ficava exatamente na entrada da Nova Holanda, em plena Avenida Brasil. A coisa foi crescendo, tornando-se assustadora e vergonhosa para o prefeito Eduardo Paes. O que ele fez? Mandou limpar o lugar e empurrou os viciados para dentro da favela. Os mesmos passaram a viver uma situação insólita. Não mais podiam circular na Brasil porque a guarda municipal estava lá para descer o sarrafo. Não podiam circular dentro da favela porque os traficantes não permitiam. Ou seja: confinamento a uma rua, a rua Sete de setembro, entre a avenida e a favela. Aproveitando o caos instaurado pelo embate entre polícia e manifestantes, os “ cracudos”, como são chamados por aqui, corrduaseram para saquear. Lei da sobrevivência.

Os helicópteros sobrevoam… E mais um post do Jaílson surge na minha tela: “Já são oito mortos, sendo um o policial morto ontem. Hoje, o sentido da ação não passa de vingança. Onde se chega? Obrigado pelas falas e ligações solidárias. Seria bom que todos vissem isso para entender como as manifestações são necessárias. Vamos lutar pela reforma política, com constituinte exclusiva”. Um minuto depois, Jailson posta de novo: “Por favor, divulguem esta exigência: Parem a operação Policial JÁ! Ela não tem sentido e só é alimentada pelo desejo de vingar a morte, lamentável, do policial”. Na verdade, Jailsom, mesmo estando lá dentro, está desatualizado. Já são 9 mortos  confirmados, segundo a própria polícia.

As ações desastrosas do Batalhão de Operações Especiais (BOPE) no Complexo da Maré começaram há algumas semanas, com os “caveira” invadindo casas de pessoas de bem, espalhando terror e medo. Um dos fotógrafos do OBS teve a sua casa destruída e seu equipamento quebrado, jogado dentro do vaso sanitário. Assim age a polícia da dupla Cabral/Paes. Hoje, segundo as informações difusas, estão dentro da Maré BOPE, Batalhão de Ação com Cães (BAC) e Batalhão de Polícia de Choque (BPChoque). A desculpa do governo é desarticular o tráfico para a implantação da UPP (Unidade de Polícia Pacificadora), que os moradores chamam de Unidade de Polícia Porrada. Ou seja: Cabral/Paes estão promovendo um tiroteio pela paz.

Bom… O que eu tenho a ver com tudo isso? Em janeiro eu comecei a trabalhar no Observatório de Favelas. Conheci de perto uma das organizações mais interessantes e ativas do Rio de Janeiro, um lugar de produção de pensamento e de formação de cidadãos, no sentido mais amplo da palavra. Em 15 anos de jornalismo, jamais me deparei com tamanha força, tamanho desejo de formar e informar. A Escola de Fotógrafos Populares e a Escola de Comunicação Crítica, ambos projetos do Observatório, despejam jovens politizados, intelectualizados e dispostos a criar um canal de comunicação direto com a população – e principalmente dispostos a produzir arte engajada. Eu me apaixonei pelo projeto… E pelas pessoas. E pela Favela da Maré.

 

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CartaCapital já pediu e está aguardando um posicionamento da Polícia Militar do do Rio de Janeiro.

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102 ideias sobre “9 mortos na Maré (RJ): O Estado tem que ter equilíbrio”

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    In society today there is a clear divide between fashions considered feminine and those considered masculine. However, is this a result of the fashion industry itself, or is the industry merely reflecting the changing attitudes of society as a whole? It is difficult to determine where the line between gender reproduction and gender construction stands in regards to fashion and dress, as it can be read in a number of ways. Fashion has been used in attempts to deconstruct gender stereotypes, as in some cases of cross dressing, but has also been used as a means of reinforcing them via items like the high heeled shoe. Fashion has been a part of western culture for centuries and as fashion has changed so too has its significations. The style of the garments we wear, their fabrics and colours, all carry signifiers of various aspects of our lives. In times past, fashion trends were set by the middle and upper classes, with the result that fashion became a signifier of social standing. For example during the Baroque period of the seventeenth century it was fashionable for both men and woman of the upper classes to wear garments decorated with large amounts of lace and ribbon (Stecker, 1996, p14). This gave men’s fashion a highly feminine appearance; however they were quite distinct from the lower classes which did not utilise such decoration. In the present day this class distinction has lessened and a gender distinction has become predominant. This division is established almost as soon as we are born. In western culture it is customary for male babies to wear blue and female babies to wear pink. earning a living) (Lurie, 1992, p214). In the adult world it is acceptable for women to wear blue, however men still rarely wear pink, and those who do are often accused of being effeminate and homosexual (Lurie, 1992, p214). One theory states that one of the first functions of clothing was to attract the opposite sex. By only revealing and highlighting specific parts of the body, much can be left to the imagination and thus sexual desire is increased (Lurie, 1992, p213). This is similar to Freud’s assertion that “visual impressions remain the most frequent pathway along which libidinal excitation is aroused” (Freud, 1977, p69). In order to be successful in attracting a member of the opposite sex the garments must therefore serve to distinguish men from women. On a basic level this can be seen in department stores where the women’s clothing section is distinct from the men’s. However the relationship between fashion and gender is significantly more complicated, with the definition of what gender actually is having a significant effect on how fashion could be seen to impact it.

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    Cross dressing has been utilized by performers like comedian Barry Humphries, as a means of making a social statement. Humphries’ famous character Dame Edna Everage has become a popular entertainment figure. Through this character Humphries is able to explore and parody the construction of femininity. Dame Edna is deliberately extreme in her appearance, often wearing large ornate glasses and purple hair (Dame Edna The Official Site). She is an example of exaggerated femininity which borders on the grotesque. She is a loaded signifier, with her purple hair and extremely costume like clothes she is the epitome of gender as construction and denaturalises the idea that there is a natural gendered state. Such parody is not limited to cross dressing however, it can also be revealed through strategically designed garments like the Jean Paul Gaultier corset which Madonna famously wore.

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    Madonna has been a ‘sex symbol’ for decades, with her streamlined, slim, healthy body and attractive blonde image conforming to the feminine ideal. She has become a loaded sign in herself. In this way, when she makes the corset visible it becomes fetishised. The revealing of undergarments is already a sexual image, but by coupling it with a sexual body this effect is enhanced (Lurie, 1992, p6). She also does not appear uncomfortable in the garment, and can move easily about the stage, thus indicating that if one conforms to this stereotype then they will achieve some element of freedom. Similarly the cone shaped breasts become objects of sexual desire by drawing attention to her breasts in a non maternal light, making them the most eye catching thing about the entire garment. The costume is completed with fish net stockings, an item which conjures images of promiscuous women. To add to this her hair is tied up in a style reminiscent of Barbra Eden’s in I Dream of Jeannie, in which Jeannie calls Major Nelson (played by Larry Hagman) ‘Master’ (I Dream of Jeannie, 1965 1970). This combination of signifiers serves to reinforce the feminine stereotype through Jean Paul Gaultier’s corset, rather than subverting the feminine ideal. In this costume Madonna becomes the fetishised subject of the male gaze. The duality of the garment is a clear indicator of the various ways in which fashion and dress can be read, as well as the way it ultimately still supports the constructed female gender identity despite trying to subvert it. It also shows that the reading of fashion can be influenced by the body and any pre existing signs which a garment or image may refer to. At times these references are clearly apparent.

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    Whilst fashion may try to subvert or construct gender identities, it may simply support social ideals already in place. As Malcom Barnard writes in his book Fashion as Communication, “Signs are only meaningful on the basis of their relations to all other signs” (1996, p156). In this way fashion can only convey a meaning when coupled with other signs (particularly the body itself), and as such cannot construct a gendered identity of its own accord. In order for clothing to be a signifier of a gender identity, that gender identity must already be constructed in order to give fashion its meaning. In which case, fashion is not constructing gender identities; it is reflecting and reinforcing them. Not all fashions have been accepted by society, the most obvious examples being skirts and the colour pink not being acceptable for men (Lurie, 1992, p214). Some designers, like Jennifer Minniti, have attempted to promote skirts and dresses as a male alternative; however such designs have not succeeded in the mainstream (Shreve, 1998). This is likely due to them not conforming to society’s expectations of gender identities. Men in skirts are still considered to be cross dressing, and as such skirts remain signifiers of femininity. Gender identity also comprises more than appearance. Gesture, behaviour and social standing all contribute to a person’s gender identity, and whilst fashion can attempt to draw on or hide these signifiers it cannot do so completely.

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    High heeled shoes, like the corset, are an example of fashion supporting the female gender identity by constricting and binding women. The narrow toed high heel shoe that has been so popular in recent years, forces the foot and ankle into an unnatural position, as well as restricting the toes. The heel places the foot at an angle, making the legs look longer and more elegant and drawing attention to the ankle (which has long been associated with physical attraction) (Lurie, 1992, p227). This angle also forces the woman to ‘strut’ to some extent in order to walk. The unnatural position inevitably makes standing and walking for any length of time painful as well as making running at any speed an impossibility. Any woman in heels attempting to outrun a man is certain to fail, thus reaffirming mans position of dominance. Yet high heeled shoes are extremely popular and are considered quite stylish, even being worn with jeans (Lurie, 1992, p227). This example in particular highlights femininity as a construction being based on appearance not physical ability. The appearance of a long leg is considered superior to being able to actually utilize it. This unhealthy focus on women’s appearance rather than their physical ability and health has been perpetrated by the fashion industry for decades. One of the dominant messages that fashion conveys is that women should be thin (Macdonald, 1995, p201).

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    A woman wearing men’s clothing does not conform to the feminine ideal and as such is recognisably subverting it. The fact that this subversion is identifiable highlights the gendered nature of the fashion industry and the way in which it supports society’s belief in the feminine being separate from the masculine. If gender identity is learnt, then by choosing our own clothes we reflect how well we have learnt to be masculine or feminine. For cross dressers fashion is a means of either constructing a gendered identity different to the one expected of them or parodying the constructed nature of gender itself.

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    Gaultier’s design can be read as an attempt at subverting the objectification of women through fashion. By taking on a traditional signifier of women’s restriction, that is, the corset, and placing large cone shaped breasts on it, it can be said that Gaultier has created an image of female empowerment (French, 2004). By making the corset visible he highlights the way in which women have been forced to conform to accepted standards of beauty, and the way in which these standards are constructed. The cones add to this reading by removing the maternal aspects of the breast and indicating the way in which they have been objectified and the unnatural form that has become the beauty standard in western culture (French, 2004). However this design could also be seen not as a parody and symbol of empowerment, but as a reinforcement of patriarchal ideals.

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