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The Sights and Voices of Dispossession: The Fight for the Land and the Emerging Culture of the MST (The Movement of the Landless Rural Workers of Brazil)


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Emerging culture by categories -> Culture: Icons, symbols, and monuments 57 resources (Cultural categories devised by & © Else R P Vieira)

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Photo donated by the MST. Reproduced by permission.


Mural of a landless rural worker painted by Brother (Frei) Daniel, 1998.
Although it shares with other murals the familiar iconography of the straw hat, the hoe, and the strings of barbed wire, this mural painted by Brother Daniel in 1998 differs from most in its depiction of the protagonist of the struggle for land as a rural working man, as opposed to the family, including men, women, and children. A sort of exception that highlights the new rule of agrarian activism led by the MST that stresses participation across gender and generation. (Photo donated by the MST)

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Murals : Edited by Malcolm McNee. Translation © Else R P Vieira.


November 2002

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Mural Painting
Murals, conceived of and painted collectively, have become important as allegorical representations of the defining themes of state and national level congresses of the MST. They also draw upon and strengthen the symbols of the MST.
Else R P Vieira

See also: The Plastic Arts in the MST: Beauty as a Human Right

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Project Director & Academic Editor: Else R P Vieira
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Last updated: July 5th 2016