[Bodies in balance: riverside images and everyday life in Açaí Port and on Maracujá Island, Belém (State of Pará)]. / Corpos em equilíbrio: imagens e cotidiano ribeirinho no Porto do Açaí e na Ilha do Maracujá, Belém (PA).

Based on photographic records, this paper reflects on the ebb and flow of the Maracujá Island dwellers, between the island and Belém, making use of the ways they use their bodies or 'know how to use' them, that Mauss called corporal techniques. Bodies disclosed, since they are always exposed and therefore capable of being visually and ethnographically categorized. Inspired on Certeau, the article seeks to think of the corporal tactics devised by island residents to practice the landscapes of belonging revealing peculiar body expressions in constructing their everyday experiences. Such observations do not refer to a body-object, but to a body that is the subject of culture, as Csordas says, a body that is "the existential basis of culture".

Corpos em equilíbrio: imagens e cotidiano ribeirinho no Porto do Açaí e na Ilha do Maracujá, Belém (PA) / Bodies in balance: riverside images and everyday life in Açaí Port and on Maracujá Island, Belém (State of Pará)

Refletir, partindo do registro fotográfico, sobre o fluxo de ida e volta dos moradores da ilha do Maracujá, entre a ilha e Belém, fazendo uso das formas com que utilizam seus corpos ou 'sabem servir-se' deles, no que Mauss chamou de técnicas corporais. Corpos evidenciados, uma vez que estão sempre à mostra, capazes, portanto, de ser visualmente etnografados. Inspirado em Certeau, o artigo busca pensar as táticas corporais elaboradas pelos moradores da ilha ao praticar as paisagens de pertença, revelando expressões de corpo peculiares na construção de suas experiências cotidianas. Tais observações não remetem a um corpo-objeto, mas a um corpo que é o sujeito da cultura, como diz Csordas, um corpo que é "a base existencial da cultura".

Based on photographic records, this paper reflects on the ebb and flow of the Maracujá Island dwellers, between the island and Belém, making use of the ways they use their bodies or 'know how to use' them, that Mauss called corporal techniques. Bodies disclosed, since they are always exposed and therefore capable of being visually and ethnographically categorized. Inspired on Certeau, the article seeks to think of the corporal tactics devised by island residents to practice the landscapes of belonging revealing peculiar body expressions in constructing their everyday experiences. Such observations do not refer to a body-object, but to a body that is the subject of culture, as Csordas says, a body that is "the existential basis of culture".