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Dissertations |
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1
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JOÃO PAULO PETRONÍLIO
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Catiço: “the construction of the black body at the crossroads”
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Advisor : AMELIA VITORIA DE SOUZA CONRADO
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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FERNANDO MARQUES CAMARGO FERRAZ
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INAICYRA FALCÃO DOS SANTOS
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Data: Mar 7, 2022
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Show Abstract
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This research, whose theme is “Catiço: the construction of the black body at the crossroads”, is the result of the researcher's intimate relationship with the sociocultural and philosophical heritage that constitutes the performative
dimensions of Exu in its conditions and possible translations by the transatlantic diaspora: Africa x Brazil, having as a cut the recreations of the same cultural sign/divinity in Brazilian territories, the Exus and the Pombagiras — also popularly named as Catiços, Castiços, slaves, encatados and others. In this way, this study proposes a critical reflection of the cross paths in which the symbology of Exu, in its various translations, established itself as a central sign of the event of African culture in Brazil. From a methodological process that sees the body as the primary place of the exuziac experience, this work was developed from the memories that constitute the researcher's own-body/being, as well as the intimate relationship of exchange and listening with other subjects-bodies, named “guardians of memories”, who are immersed in the contexts (candomblés, umbandas and others) that produce and say about the Exus and Pombagiras. As an unfolding of such relationships, the research concludes as a dance thought based on the complexities of Brazilian performance practices centered on the black, from the investigation of the corporal, aesthetic and political event present in the performances of Exu and Pombagira. It proposes the dance thinking named “Vibrate, spin, unbalance, fall and come back: the corporal event of Exus and Pombagiras”, a counter-hegemonic artistic making that raises new narratives and epistemic possibilities for the area of knowledge of dance in Brazil. For this, the
concepts of “performance-ritual” by Martins (2002), the studies of “Body- Ancestry” by Santos (2006) and “The State of Research on Performance in
Africa” by Drewal (1999) were fundamental. As a materialization of the conceptual and practical path of this research, a short cinematographic movie called “CATIÇO” was produced, a dance film by João Petronílio, Laryssa Machada and Victor Mota, available through a QR code in the last chapter of this dissertation.
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2
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SOFIA SERAPHIM
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PARTNER DANCES BY IMAGE AND IMAGINATION: CONSIDERATIONS
ABOUT DANCE, SECUALITY AND SEX
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Advisor : FERNANDO MARQUES CAMARGO FERRAZ
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COMMITTEE MEMBERS :
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PAOLA DE VASCONCELOS SILVEIRA
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FERNANDO MARQUES CAMARGO FERRAZ
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LENIRA PERAL RENGEL
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Data: Apr 28, 2022
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Show Abstract
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This research investigates the interplay between dance, sexuality, and sex in partner dances through image and imagination. The concerns which motivated this research arose from the author’s experience as a ballroom dance teacher and practitioner. This dissertation was based on exploratory research, from references in movies and choreographic works depicting the common ground between dance, sexuality and sex, in order to increase the knowledge on the
subject. During the material survey, it became necessary to highlight image- partner-dances and imagination-partner-dances, which consider, respectively,
the formation of a pair on stage, and further pair possibilities arising from the spectator’s imagination, based on the comprehension that dance communicates, expresses and stimulates the realm of imagination (HANNA, 1999). Research analysis has made possible the identification of male-sexist and heteronormative patterns (MISKOLCI, 2012), which exclude the diversity in relationships and ways of life. Sexuality as a control device over individuals is discussed through Foulcault (1988) and Preciado (2014). As a counterpoint, through Nunes Filho (2012) and Lorde (2009), body and eroticism are seen as potential means of confrontation against prevailing thought patterns.
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3
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LEONARDO DAS CHAGAS SILVA
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PELEJAS AND ARRUDEIOS OF DANCE/ART IN THE CURRICULUM AND CURRICULUM ACTS IN MUNICIPAL SCHOOLS IN SÃO FRANCISCO DO
CONDE/BAHIA: BETWEEN CROSSROADS, MACUMBIZATION AND AFRO- AMERICAN PERFORMANCES
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Advisor : FERNANDO MARQUES CAMARGO FERRAZ
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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FERNANDO MARQUES CAMARGO FERRAZ
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ROBERTO SIDNEI ALVES MACEDO
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Data: May 18, 2022
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Show Abstract
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The investigative construct of this work deals with the event and configuration of Dance/Art in the curriculum and curriculum acts, in municipal elementary schools in São Francisco do Conde-Bahia. Seeking to adjust, therefore, to the prerogatives of the research line Cultural and Educational Mediations in Dance, of the PPG-Dança da UFBA, whose dedication turns trans and interdisciplinary to the study of the conceptions, compositions and political, cultural and educational implications that present and dialogue with processes and forms of configuration in Dance, in different circumstances. Thus, its main speculative problems are the following questions: how does Dance/Art take place and is configured in the curriculum and curriculum acts in school environments of the municipal Basic Education of São Francisco do Conde, in an anti-racist dimension? What propositions can be constituted for the teaching-learning of Dance/Art in the San Francisco curriculum based on the teaching experience and/or based on the heuristic constructed by the research in question? In this sense, the objective is to purposefully understand how the teaching-learning of Dance/Art takes place in the curriculum and acts of curricula in elementary schools of the Municipal Basic Education Network of São Francisco do Conde, through the anti-racist perspective, climbed in the teaching experience and in the meetings with school communities. Therefore, through the qualitative approach, with field research as an investigative procedure, it approaches Anthropology studies, based on participant observation (INGOLD, 2016); from the Philosophy of Ancestrality (OLIVEIRA, 2005), from Performance Studies (LIGIÉRO, 2011), from the Pedagogy of Crossroads (RUFINO, 2019), as well as from the Curriculum field (FORQUIN, 1996), (SILVA, 2005), (MACEDO , 2017) and (LOPES & MACEDO, 2011). From this, we explain the concept of curriculum acts by Macedo (2017), as a training device, the notions of performance, by Ligiéro (2011), as well as the conceptual ideas of body, crossroads and terreiro (RUFINO, 2019) , similarly to macumba
(SIMAS & RUFINO, 2018) and macumba (MALOMALO, 2016), in the light of the wisdom of the Afro- Amerindian and Afro-Brazilian cultural tradition, in contrast to cultural racism (FANON, 1980, apud ALMEIDA,
2018). ) and epistemic racism (MIGNOLO, 2008, apud RUFINO, 2019), which ordinarily affects the institutions and most black bodies that make up, mostly, San Francisco municipal schools and public schools in Brazil, in general. The main justification of this work comprises, above all, the observance of laws 10,639/2003 and 11,645/2008, as well as law 13,278/2016. It is considered here, the fights and the arrudeios as ways of strategically incessant confrontations in favor of the incorporation of the Afro-Amerindian know-how in the curricular and pedagogical proposal of the teaching of Art, as a form of school knowledge (MOREIRA & CANDAU, 2008), without losing sight, moreover, that their teaching at school as a curricular component must provide and guarantee the effective presence of the respective artistic languages in the curriculum, namely: Dance, Music, Theater and Plastic/Visual Arts. This academic investigation is concluded, considering, therefore, its discussions and reflections on the agenda in an anti-racist dimension, whose relevance and its positioning consists, considerably, in tensioning some of the conceptions about the curriculum and the teaching/learning of Art in the school, whose contents are still, restrictively, Euroreferenced.
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4
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EVERTON BISPO DOS SANTOS
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The dance of pagode baiano at school: the black peripheral body and its intersection in these contexts.
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Advisor : AMELIA VITORIA DE SOUZA CONRADO
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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IVANILDE GUEDES DE MATTOS
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THIAGO SANTOS DE ASSIS
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Data: May 27, 2022
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Show Abstract
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This research aims to enhance the understanding of baiano pagode dance as a motto for artistic-educational discussions and approaches, concerned with the black body in the school scenario. The central problem poses the following question: How does pagode baiano present possibilities for the teaching of dance in the public schools of Salvador, including the narratives of the black peripheral body? Our theoretical and methodological framework is based on the following authors: Mattos, to deal with the performance of pagode baiano in the school context; Freire, thinking about an education focused on the oppressed; Dewey, to understand the relationship between experience and education; Marques, in order to reflect on a critical and transformative dance teaching, and also Ribeiro, to think about the place of speech, especially, of the black body. We also used the ethnographic methodology, through dance, presented by Dantas. The results point to the visibility of the history of pagode baiano, through the eyes of dance artists; to the recognition of this dance as an artistic-educational knowledge in dialogue with various themes; and to the epistemological contribution to the fields of education and dance. Therefore we conclude that this study is necessary because it is an important pioneering work in the specific research of the dance of pagode baiano at the University. It also offers tools for dance teachers and teachers of other disciplines who want to work with this style.
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5
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ANA EDWIGES SILVA BENTO
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A dance that flows: anti-asylum dancing actions with women assisted at a Psychosocial Care Center (CAPS) in Fortaleza.
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Advisor : MARCIA VIRGINIA MIGNAC DA SILVA
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COMMITTEE MEMBERS :
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MARCIA VIRGINIA MIGNAC DA SILVA
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DANIELA MARIA AMOROSO
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HELENA TANIA KATZ
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Data: May 30, 2022
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Show Abstract
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This research emerges from the need to investigate, develop and deepen understandings and articulations between dance, body and mental health in the context of a Psychosocial Care Center, in the city of Fortaleza, based on the experience carried out in 2017 and 2018 in a group with women. In this way, it presents as an object of study the implementation of dance as a proponent of anti-asylum actions with a group of women assisted in a Psychosocial Care Center (CAPS). Thus, it aims to present dance as a purposeful action capable of establishing other ways of life with women in psychosocial suffering. To this end, the dance experience developed at CAPS in the years 2017 and 2018 is revisited, using content in images and writings during the group's occurrence and conducting semi-structured interviews with women, service professionals and family members. The chosen methodology is constituted as a multiple approach that combines bibliographic research, cartography and field research. The entire construction of the research takes place from the understanding that the dance actions worked on and by the dancing body can stir up in these bodies other ways of perceiving and existing different from the intervention actions to which they were submitted, as well as the processes of subjectivation linked to mental health. Considering the CAPS as the locus of research, the crossing of knowledge and practices from the fields of dance, mental health and gender studies seek to address the complexity of the theme, without the illusion of exhausting it. In this way, it is intended to understand the relationships between the perception of bodily states and the construction of modes of existence as women in the context of an equipment of public mental health policies. The knowledge shared by women interacts with theoretical references, constituting themselves as possible intercessors in the foundation of the research, such as Katz and Greiner (2005, 2015), Pelbart (2018, 2019), Foucault (1997, 2014), Oliveira (2009, 2012), Amarante (1994, 1995, 2007), Santos (2011), among others. It is intended, therefore, to open spaces for investigative paths in dance about the processes of subjectivation and ways of life in the field of mental health and to contribute to the production of knowledge in which there is dialogue between art and health.
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6
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NADILENE RODRIGUES DA SILVA
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Ballroom dancing: outlines for a constitutive ontology in a context of transcendent ontology.
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Advisor : LENIRA PERAL RENGEL
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COMMITTEE MEMBERS :
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LENIRA PERAL RENGEL
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ADRIANA BITTENCOURT MACHADO
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CECILIA BASTOS DA COSTA ACCIOLY
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Data: Jun 29, 2022
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Show Abstract
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This dissertation intends to futher develop into ballroom dancing teaching- learning, pointing out, mainly its hegemonic conceptions. In them, the teacher
and his partner are exclusive role models to be followed, and she (the woman) is not seen as a holder of knowledge. Women have played an important role in society as a whole. More and more protagonists both in the personal and professional spheres. Thus, the power relations that there are between men and women in ballroom dancing have to be reviewed and reconfigured, as they are also part of society. Based on a literary review, a brief history (ZAMONER, 2017) of the development of these dances will be presented, in which the hegemonic conceptions are pointed out as transcendent ontologies (MATURANA, 2001). The proposal is to expose these transcendences and argue how they can constitute constitutive ontologies, within this dance practice, as they are democratic and non-authoritarian actions. The methodologies articulate with my experiences as a student and teacher. However, I seek to join the emancipatory position of many women (BIROLLI, 2018). Several times understood as a social dance, ballroom dances tend to present and portray in their actions, chauvinistic (LENER, 2013), sexist, heteronormative and patriarchal aspects supported by a little discussed conservatism. Ballroom dancing should not be understood just as distraction and complacency with a cognitive habit that fosters nefarious patriarchy. It is the co-conduction between people (FEITOZA, 2011). Being understood in this way and understanding bodies as corporective (RENGEL, 2021) there will be potente dialogues to reorganize, reorient the transcendente and/or immutable ontology that they seem to have in transformation to a constitutive ontology.
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7
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GARDÊNIA FERNANDES COLETO
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[DES]INTEGRADA: INFLAMAÇÕES ARTÍSTICAS PARA UMA DANÇA COLETIVA
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Advisor : DANIELA BEMFICA GUIMARAES
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COMMITTEE MEMBERS :
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DANIELA BEMFICA GUIMARAES
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FERNANDA CAPIBARIBE LEITE
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RITA FERREIRA DE AQUINO
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Data: Jul 6, 2022
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Show Abstract
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The research has as its moving axes ancestry, feminism and the artistic process, aiming at the creation/reflection of/on dancing actions in the face of sexist and ultraconservative postures present in patriarchy. Coletiva Rua das Vadias [name under transformation] – a group of women dedicated to the arts of the body of which I am a member – appears as a place of creative effervescence to think about such actions. Blood trails lead us to the discovery of raped-silenced-murdered bodies by the supremacy of androcentric power, permeating the gestation-creation of dances of (r)existence. Feminist critiques of scientific rationality/objectivity will guide the writing, allowing the text to be contaminated by imagery fragments, in the search for interfaces between text and dance. We chose the e-zine format as support, building a hypertext from the choices and windows opened along the way. The research is spread across #8eight e-zines{and a preview of #9nine for future urgency]. The transit between individual and collective memories will be informed by statistical data, historical facts, documentary and fictional writings around reflections on changes and perpetuations concerning gender violence. The theoretical framework will be composed of feminist theorists, poets and artists, moving between different discursive textures, such as academic text, prose, poetry, images and knowledge incorporated in the presence-action-dance. Different speechbodies connected to question limiting hierarchies of knowing. Which paths to take to meet these voices-movements-bodies? How to ignite transformative desires through artistic actions?
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8
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SHEILA MARTINS CABRAL
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Pilates in dance: a study from the hip with the body memory of objects for autonomy and playfulness.
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Advisor : LENIRA PERAL RENGEL
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COMMITTEE MEMBERS :
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LENIRA PERAL RENGEL
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LUCAS VALENTIM ROCHA
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MARIA SOFIA VILLAS BOAS GUIMARAES
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Data: Aug 26, 2022
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Show Abstract
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This qualitative research reflects on analyzes and studies methodological procedures, with a methodology called ‘Open Lesson Plan’ in Pilates Method classes (Classical and Contemporary), focused from the hip, for the formation of the person. Seeks as an objective to investigate from the person's experience with the Methods and the ball accessory, ways of the body to operate cognitively that manage the construction of autonomous knowledge in dance movement and/or for life. The hypothesis that guides this research is that this attention directed by the teacher, trigger a process of autonomy of the body, that is, of the person. Points out the importance of formation, in virtue of the practice of the Method to collaborate for the construction of more conscious actions of the cognitive processes, giving rise to possible methodological procedures from the lived experience. As main references: Paulo Freire (1996) to deal about autonomy, Lenira Rengel (2015,2007) for the approach of the metaphorical body procedure, Bonnie Cohen (2015) in the Somatic Approach, Antonio Damásio (2010) to deal about body images, Bondía Larrosa (2002) to says about experience, Lúcia Pimentel (2015) for Method and Methodology questions. Activities were carried out in person and online (because of COVID-19), often with objects/accessories and sometimes without, only with the indicative of metaphorical images. In this work, the difficulty of talking about this region of the body was perceived, however the wordless gesture was experienced. Contemporary Pilates is highlighted in its respiratory principle, as a practice in a somatic approach, triggering a possible contribution to learning from movement as knowledge. Extensão In this intertwining of knowledge realized with different bodies during the extension
classes, bodies questioned patterns, maneuvers of control, repressions and non- domination, as a result, a booklet was built, 'Pilates booklet in the University
Extension', that embraced new epistemological elements for academic research in Dance.
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9
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ARTUR BRAÚNA DE MOURA
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TERRIFYING OBS-SCENITIES: BODY AND TERROR IN MOVEMENT
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Advisor : DANIELA BEMFICA GUIMARAES
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COMMITTEE MEMBERS :
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DANIELA BEMFICA GUIMARAES
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LUCAS VALENTIM ROCHA
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GISELLE RODRIGUES DE BRITO
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Data: Sep 24, 2022
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Show Abstract
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With the intention of expanding the panorama of investigations into creative procedures in dance and the possibilities of interchange in studies of the body and politics, this research intends to present an investigation that has terror as its foundation. Based on the presupposition that it is possible to instigate various kinds of perceptions and sensations in the spectator of a dance piece, we intend to present the materials developed in a research practice that seeks, during fruition, to stimulate fear-related sensations in the spectator, pointing out examples of narratives that use the allegory of terrifying political situations to question episodes of terror in today's society. It also seeks to make a survey of examples of artistic works that used/use as a basis the mechanisms that have a relationship with the horror genre. In an objective way, this research uses the triad Terror (cinematographic genre) - Dance - State Terror, in order to try to answer or offer discursive ramifications to the question: How to generate terrifying states of body in the field of dance using State Terror as allegory? The hypothesis is that it is possible to develop terrifying states of body in dance, using the referential field of State Terror as a stimulus, combined with an understanding of the scenic artifices used by works of various artistic modalities - primarily cinema, but also dance, theater and performance. The following authors were articulated for these studies: Carroll (1999), Mbembe (2003; 2016), Safatle (2015), Cohen, Jerome, James, Ian (2007), Rengel, (2015), Manso (2020), Fernandes (2014; 2020), Vargas, Pinho (2016), Guimarães (2012; 2017), Cavarero (2009), Flauzina (2006), Foucault (2002), Rodrigues, (2006), Vieira (2012), Courtine (2006), Coelho (2008), Santaella (2007).
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10
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DIOGO LINS DE LIMA
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Cultural Mediation: a study on dance teaching in the MedioTec – Dança program, in Pernambuco.
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Advisor : RITA FERREIRA DE AQUINO
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COMMITTEE MEMBERS :
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EVERSON MELQUÍADES ARAÚJO DA SILVA
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DANIELA BEMFICA GUIMARAES
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RITA FERREIRA DE AQUINO
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Data: Oct 8, 2022
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Show Abstract
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From the identification of the problem of the forms of inequality present in society, especially with regard to access to art and culture, the main objective of this research was to understand the contributions of cultural mediation to the teaching of dance in a school context, focusing professional education in the state of Pernambuco. The hypothesis investigated was that dance teaching via cultural mediation contributes to the elaboration of critical readings of oneself and the world, which make it possible to expand opportunities for access to art and culture. The research approach was exploratory, descriptive and analytical. The methodological design had as its main reference the single case study of the experience of cultural mediation in dance teaching carried out in the Technical Dance Course of the MedioTec Program in the city of Jaboatão dos Guararapes, Metropolitan Region of Recife, from 2017 to 2018. Therefore, the research was based on multiple sources of evidence: document analysis, semi-structured interviews, autobiographical accounts and participant observation records. The literature review included contributions from Aquino and Assis (2017); Andrade (2018); Barbosa (1989, 2014); Coutinho (2011); Dayrell (1996); Freire (1996, 2020); hooks (2017); Louppe (2012); Marques (2010); Martins (2012); Oliveira (2011) and Perrotti (2016). The investigation showed that MedioTec - Dança enabled high school students to enter cultural circuits in which they had not previously participated. In addition, awareness of the right to arts and culture contributed to the development of cultural projects by students within their own communities. The hypothesis was confirmed, explaining that the consolidation of cultural habits demands continued actions, which points, above all, to the importance of investing in public policies for education and culture, an effective way to bring about structural and society changes.
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11
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Morena Nascimento Oliveira
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TRANSATLANTIC CARTOGRAPHY:REFLECTIVE MAPPING OF ENCOUNTERS AND AFFECTIONS IN A JOURNEYAUTHORAL WITH THE DANCE BETWEEN BRAZIL AND GERMANY
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Advisor : DANIELA BEMFICA GUIMARAES
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COMMITTEE MEMBERS :
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DANIELA BEMFICA GUIMARAES
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AMELIA VITORIA DE SOUZA CONRADO
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SAYONARA PEREIRA
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Data: Oct 18, 2022
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Show Abstract
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This dissertation consists of the critical organization of a succession of encounters and affections from artistic experiences that comprise an authorial journey of a dancer, choreographer and director, from the moment when an artistic training begins – the experience as a collaborative interpreter in some companies of dance, in Brazil and Germany – until the moment when creation begins to be characterized by intense partnerships and dialogues with artists from other fields of art, within the scope of artistic-pedagogical relations. Its objective is to map processes and contexts in a way to produce and live art, seeking to develop a prospective and retroactive critical look at the experience, sharing it and bringing reflections on history and dance practice as a networked and porous system. This research raises the following question: Can a critical diary of experiences that maps the trajectory of a dance artist generate new perspectives and artistic-pedagogical contributions to this field of knowledge? The intention of this study is due to the notorious lack of bibliographic material that reveals the personal trajectories of active dance artists, seeking to share creative and teaching/ learning processes. The main theoretical supports of this research are Deleuze e Guattari (1980) to understand desire as a potentiator of new given meanings to the becoming of experience, Rolnik (1989) to think about cartographic writing and Salles (2006) to look at artistic work as an unfinished and networked system. As this research presents multiple research focuses, it uses cartography as a methodology and other methodological procedures, such as autobiography and practice as research. It aims to build a reflective Artist Diary that seeks to create possibilities for rethinking and sharing ways of doing dance so that this investigation will offer clues for updates on the trajectory in question, as well as intending to provoke other artists to write about their experiences with creation, enriching and expanding bibliographical material in the field of Brazilian authorial dance.
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12
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CRISTIANE PINHO DA SILVA
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CORPODUNCAN: The legacy of Isadora Duncan and its reverberations in Artistic Processes in Bahia.
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Advisor : GILSAMARA MOURA
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COMMITTEE MEMBERS :
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CARMEN PATERNOSTRO SCHAFFNER
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GILSAMARA MOURA
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SUZANA MARIA COELHO MARTINS
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Data: Nov 10, 2022
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Show Abstract
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This study presents the history of the North American dancer Isadora Duncan, a precursor of modern dance. It is a narrative about her origins and the pathways that made possible for her to create a dance style that is connected with the elements of nature, Greek mythology and the Renaissance. The creation of this new way of thinking about dance made it detached from the formal aesthetics of classical ballet and advocates the idea of the solar plexus as the place from which all dance movements come from. Since Isadora’s tour of Brazil in 1916, where she performed in the cities of Rio do Janeiro, São Paulo and in Salvador at Teatro São João, her creative flow has influenced artistic processes and pedagogical actions implemented by the Escola Contemporânea de Dança. These experiences establish possible dialogues with thinkers who also connect with the elements presented in this research, such as Jorge Larossa, Paulo Freire, Helena Katz and Christine Greiner, Ailton Krenak and Susan Foster and contribute to the understanding of dance. The expressive nature of Duncan lines and their connection to mind, spirit and movement manifest the creation of the term CORPODUNCAN. These continuous exchanges of knowledge are opposed to Cartesian dualisms, the binary structures that fragment the body and try to separate it. In this way, CORPODUNCAN intuits the symbiosis of body, culture and environment in dialogue with the “Corpomedia theory” to help understand this concept. It is a testament to how the aforementioned dancer's body caused a change of paradigms, crossed the century and still represents an emblem of emancipatory achievements and aspirations, constituting one of the representative ideals of female freedom, so necessary in these contemporary times.
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13
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CAÍQUE SILVA MELO
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TRIBAL FUSION DANCE IN THE TRIBAL CARAVAN NORTHEAST IN BRAZIL: DANCING CORPOMEDIA IN THE
REPOSITIONING OF ISSUES
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Advisor : MARCIA VIRGINIA MIGNAC DA SILVA
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COMMITTEE MEMBERS :
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MARCIA VIRGINIA MIGNAC DA SILVA
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GILSAMARA MOURA
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HELENA TANIA KATZ
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Data: Nov 18, 2022
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Show Abstract
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This dissertation had as object of study the Tribal Fusion dance produced in the northeast region of Brazil. In this sense, it presented as a research question how artists understand the fusion of ethnic dances in the conception of Tribal Fusion Dance, whether artists who promote and participate in the Northeast Tribal Caravan (Caravana Tribal Nordeste), or other artists and researchers from the northeast region. From there, Tribal Fusion Dance is analyzed in order to draw attention to the complexity of the fusion approach in the research field, with an interest in issues that seemed to be unnoticed, starting with the choice of the fusion name to identify the dance to which it refers. The proposal is to point to the inadequacy of the use of this expression, precisely because it is a phenomenon that does not cease in the act of "merging". In this sense, it is assumed that fusion creation, as a phenomenon of culture, occurs by inestanáveis contaminatory flows. The Northeast Tribal Caravan was constituted in the corpus of research, precisely because its dancers in their creations approach what is a "Fusion Dance" in move, which differs from a "fused" dance. In addition, the Northeast Tribal Caravan (Caravana Tribal Nordeste) gives visibility to local movers and apparently against hegemonic, as it opposes a market trend that prioritizes hegemonically established artistic productions. The theoretical framework prioritizes the Corpomedia Theory, by the researchers Katz and Greiner (2005), since it helps to understand the body that dances as a media of exchanges that occur with environment. In addition, the contribution of authors such as BEZERRA (2017), VASCONCELOS (2019), OLIVEIRA (2019), ANDRADE (2011), SCHULZE (2013), HAN (2019) e WILLIAM (2019). The methodological approach combines bibliographic review, field research through the application of questionnaires and semi-structured interviews and the critical analysis of the mobiles of the Northeast Tribal Caravan (Caravana Tribal Nordeste). Finally, the research presented the artistic works of dancers of the Northeast Tribal Caravan, in order to approach the theoretical approach with artistic productions.
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14
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JEAN FERREIRA SOUZA
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BODY-EBÓ: axé, saBenças, dances and candomblés to support negro revolutions
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Advisor : GILSAMARA MOURA
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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GILSAMARA MOURA
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TÁSSIO FERREIRA SANTANA
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Data: Nov 21, 2022
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Show Abstract
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This present academic master’s dissertation in Dance’s field interpretates the relation between Body and Candomblé in the saBenças’ construction. These saBenças are supported by the axé/nguunzo (vital force) from the Space-Candomblé Houses and forcefully contribute to build what is expected as Body-Ebó. We reinforce that this Body moves and Dances the negro-Brazilian existence in diaspora. The/A Body-Ebó is an ancestral movement which acts cognitively and epistemologically to delight the world in a negro referenced perspective and it aims and supports black revolutions. This is also able to stablish different perspectives regarding the negro-Brazilian existence on aiê (Earth), inspired by the negro-African legacies which are sustained since the colonization started to be the main political strategy of social domination in Brazil. Therefore, we bulked the Crossroad Research (FERREIRA, 2019, 2021), that is understood here as a Metodology of Gira to sustain a negro-based episteme based on the Cowry Shell Ritual – technology and practice frequently present in Candomblés Houses in Bahia. Thereby, these saBenças are spread in the deep bowl of hope in which the discourse/functions of ebó (offering, food, sacrifice) drains to elaborate the modus operandi from/of a Body-Ebó. The epistemic structure is divided into three sections: three “Entrances”, three “supplementary notes”; followed by three chapters in which the Cowry Shell Ritual is manifested through the intercrossing of six Falls. In addition, there are three “Supplementary Falls”, three “Demanded Falls” and six “Diasporic Contemporary Itans”. Thus, it is stablished the relations between the main Theoretical Framework and the secondary and tertiary. Therefore, this episteme negro-based and Terreira moves together with Prandi (2001, 2006, 2017, 2018), Beniste (2016, 2021), Santos (2020, 2021), Santana (2019) e Ferreira (2019, 2021), Simas e Rufino (2018, 2019), Rufino (2016, 2019), Santos (2016), Simas (2020), Quijano (2005), Machado (2010), Machado (2019), Novaes (2021), Sodré (2019), Santos (2012), Reis (2014), Maurício (2009), Lima (2015), Oliveira (2005, 2021), Nascimento (2016). Secondary: Rocha (1999), Lagos I (2021), Martins (2014), Oxóssi (2020), Krenak (2020), Cunha (2007), Póvoas (2004, 2015), Sousa Junior (2018, 2019) and others; and tertiary: Conrado (2021), Amado (1970), Amancio (2019), Silva (2021) and others. Finally, the Body-Ebó builds dances with the political intersections/discourses of ancestral continuity and permanency; legitimacy and affirmation for itself and its egbé (community), understanding the ancestry and indivisible affection which unites the Orum/Aiê Ntoto/Duílo – Earth and Sky, placing us, negro-Brazilian people and Body-Ebós together with Orishas, Inquices, Voduns, Caboclo Entities, Villages, Caciques, Tupa and the Nature in a cheerful celebration of Dances, power of the negro revolutions deeply ruled by contemporary politics.
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15
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MYLLA MAGGI VIEIRA DA COSTA
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“I DON'T BUMP, I SWIFT AND DRUM!”COCO DE RODA OF THE QUILOMBO DO IPIRANGA
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Advisor : MARIA DE LURDES BARROS DA PAIXÃO
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COMMITTEE MEMBERS :
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DANIELA MARIA AMOROSO
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MARIA DE LURDES BARROS DA PAIXÃO
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VICTOR HUGO NEVES DE OLIVEIRA
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Data: Dec 1, 2022
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Show Abstract
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This work has the Coco de Roda of the Quilombo do Ipiranga as its research object and seeks to unveil the labor gestures of the quilombolas as the first key to understanding and analyzing the manifestation of the Coco de Roda dance. Ancestry is the thread that weaves this historical research to understand the gestures and actions that make up the ethical and aesthetic movement of the dance in order to highlight and analyze the aspects and inferences of the relationship with the land in the manifestation of the Coco de Roda of the Quilombo do Ipiranga in its questions concerning the body. The research focuses on identity formation processes, which involves the contexts and memories of the cultural agents studied here. The methodological weaving adopts the spiral time, starting from the fields of dance and anthropology, anchored in the cartography method, in the complex method, aiming at a committed and sensitive research. The dialogical character with these fields of knowledge makes an approach to cultural ethics in dance possible. The focus on aesthetic and creative manifestation in conjunction with anthropological research aims at understanding the social and historical questions connected with cultural manifestations. This dance research extends into the educational field, analyzing the teaching-learning processes that occur in the manifestation of the Coco de Roda in the Quilombo do Ipiranga. From this perspective, it is believed that the manifestations of popular culture contribute to the preservation of the community's knowledge and skills.
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16
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IARA COSTA DE MELO
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BODY OF WHO? BODY OF WHAT? THE DANCE IN THEIR MULTISPECIES RELATIONSHIPS
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Advisor : ADRIANA BITTENCOURT MACHADO
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COMMITTEE MEMBERS :
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ADRIANA BITTENCOURT MACHADO
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DANIELA BEMFICA GUIMARAES
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JAILSON JOSÉ GOMES DA ROCHA
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Data: Dec 3, 2022
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Show Abstract
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Anthropocentrism and speciesism are social relations that hierarchize bodies, based on the colonial definition of what would be human in detriment of what would not, prescribing how one lives and how one dies according to the approximations of the body to the enlightenment project of human, thus acting as a social status. The anthropocentric narrative turns bodies into resources and promotes mass extinctions. These are environmental catastrophes and political disappearances (FAUSTO, 2020) that are fostered by the civilizational project and Christian theocentrism. This research aims to relate dance and speciesism. For this, I resort to an anti-methodology to the way of doing science that is based on human exceptionalism (DERRIDA, 2002) and on analyses based on all-ornothing (INGOLD, 1994) through: question-fabrications (DESPRET, 2021) that seek to promote fissures in anthropocentric certainties; compositions with imagetic fragments to tense the supremacy of the written word (COLETO, 2022); tensioning of binary language (HABIB, 2022); analyses of explicit speciesism in artistic works and interactions with ontologies and epistemologies that are subversive to anthropocentrism such as Amerindian perspectivism (DANOWSKI, VIVEIROS DE CASTRO, 2017), animism (INGOLD, 2021; KRENAK, 2020), and Multispecies Studies (HARAWAY,2019; VAN DOOREN, KIRSKEY, MÜNSTER, 2016; GILBERT, SAPP, TAUBER, 2016) to add other perspectives to definitions that are important to the field of dance such as “human”, “nonhuman”, “individual”, “environment”, and “society”. Corpo de que-m inhabits the ruins unraveling into contributions for creative processes in dance; into clues for perceiving speciesist manifestations in the body arts; in ways to subvert speciesism in artistic practices; in the creation of a dance almost-solo and in the political understanding that dance is a multi- species relation.
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17
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Eric Barbosa Araújo
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SWING AFRO BAIANO: A PERSPECTIVE OF POPULAR DANCE IN BAHIA
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Advisor : FERNANDO MARQUES CAMARGO FERRAZ
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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FERNANDO MARQUES CAMARGO FERRAZ
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ROMILSON AUGUSTO DOS SANTOS
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Data: Dec 12, 2022
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Show Abstract
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Swing Afro Baiano emerged in the late 80s and emerged along with the musical movement called “Axé Music", thus being two major responsible for the success of the new format and proposal of the “soteropolitano” carnival, considered as the biggest street party in the world. This is the first dissertation to deal with the
subject, among its main objectives it is in the struggle to allow another Afro- Brazilian cultural manifestation to be extinguished. Swing Afro Baiano was
reduced to a gym modality, thus turning away from the cultural manifestations and crossings contained in this Dance. Since 2013 there has also been a business and capitalist action that has been taking over this Dance in order to obtain personal profits, for this purpose it has been investing in the extinction of “Swing Afro Baiano” and its various nomenclatures. This work goes beyond the academic limits, becoming a possibility of political, cultural, social and historical struggle, so hope that many others may emerge repairing yet another piece of our diaspora.
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18
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Erick Santos Silva
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JUNTÓ DANÇANDO SANKOFA: Escrevivência na Dança Africana-Brasileira
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Advisor : MARIA DE LURDES BARROS DA PAIXÃO
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COMMITTEE MEMBERS :
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ADILBÊNIA FREIRE MACHADO
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AMELIA VITORIA DE SOUZA CONRADO
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MARIA DE LURDES BARROS DA PAIXÃO
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Data: Dec 13, 2022
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Show Abstract
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This research presents an afro-referenced perspective and its catalytic effects in performing arts. It is developed in the Postgraduate Program in Dance at UFBA, and it is founded on the premises of Ancestry, the Sankofa adinkra, the cosmoperception that encompasses the whole being, and Candomblé. All these premises are centralized on and has as its starting point the black body, a body that is also candomblecist, peripheral to the margins of society, and grown up on the countryside. It is urgent that performance be guided by the very doings, inspirations and theoretical-practical basis of being a black person. The employed methodologies are “Escrevivência” (“self-writing”) along with autoethnography applied to dance, bringing materials from the researcher practice, in dialogue with the theoretical basis; practice together with writing, therefore: the Juntó. The purpose of this knot is to untie ancestral Afro-diasporic paths in performing arts. The writing also comes from self-writing, based on epistemes that roots African philosophies. It describes also meetings on the theme of Ancestry, which nurture the Nagôs Dialogues that are part of this work. The practice attached to the theory is inspired by the movements of the Òrìṣà, with the aim of paying homage, therefore, the terminology dance for the Òrìṣà is used. The practice movements also rely on Sankofa's past-present-future and how it culminates in the body. The (in)finite considerations point to a path that this research intends to continue, but which for the time being rooted in black knowledge needed to exist. So, you are: Juntó Dancing Sankofa: Self-writing in the Ancestral Dance. I choose to categorize the dissertation as component parts of the ancestral tree: The Baobab, resulting in: Seed, Roots, Trunk, Branches and Fruits Loaded with Seeds.
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19
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Luana Lordêlo Cunha
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“ANYONE WHO WANTS TO LEARN TO DANCE GO TO DONA JUQUINHA'S HOUSE” UMBIGATING PO(ETHICS) AND METHODOLOGIES IN DANCE(S) TEACHING IN CHILDHOOD(S)
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Advisor : DANIELA MARIA AMOROSO
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COMMITTEE MEMBERS :
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Renato Noguera dos Santos Júnior
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DANIELA MARIA AMOROSO
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RITA FERREIRA DE AQUINO
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Data: Dec 13, 2022
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Show Abstract
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This dissertation discusses the methodological ways of teaching dance for early childhood in the school space. The main objective is confronted methodologies with colonial logic, to confront new ways based on afroperspective philosophy Ubuntu and Teko Porã. How do childhood poetics contribute to a decolonial dance? We start from the afro-centered action, understanding how the navel can guide the studies of the body and our stories. We arrived at the Maria Felipe school, in Salvador, tracking children from 3 to 5 years old in their dance classes, exchanging poetic experiences, registered in ethnography records with the support of bricolage. Surviving the covid-19 pandemic, this research understands love as the greatest ancestral pedagogical resource.
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20
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ALCINÉIA SOARES DOS SANTOS
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The place of speech of the teachers: spaces of social, temporal, symbolic and resistance experience artistic
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Advisor : MARIA DE LURDES BARROS DA PAIXÃO
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COMMITTEE MEMBERS :
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AMELIA VITORIA DE SOUZA CONRADO
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INAICYRA FALCÃO DOS SANTOS
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MARIA DE LURDES BARROS DA PAIXÃO
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Data: Dec 14, 2022
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Show Abstract
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The present study investigates the protagonism of women who occupy the role of masters of Afrodiasporic Popular Dances, emphasizing their place of speech, understood here as the awareness of the role of women in their struggles and agendas within the social debate. This research aims at discussing gender relations in the context of popular culture, starting from the questioning of the reduced number of masters in folguedos and other popular cultural manifestations in the field of dance and the feminist provocations proposed by the interlocutor masters, Janja, precursor of Angoleiro feminism, and Mestra Joana, precursor of feminism in Maracatu do Baque Virado. The theoretical and methodological referential of the research is based on ethnographic studies and netnography, aiming to cover the exploratory nature of the research. The proposed studies are based on the epistemologies of Popular Culture, understood as a space of production of knowledge and actions of the popular classes in Brazil, composed mostly by a black population. The gender relations presented in this research are conducted from the perspective of Black feminism, recognizing the interconnections between race, class, gender, thus, the present study embraces intersectional studies. It is hoped with this research to foster the debate in favor of women's participation in the candidacy for the post of master, and to emphasize their contribution in cultural activism, aiming to diminish the effects of the lack or non-management of public policies in the cultural sector and other social areas. Highlighting the role of women as masters in this struggle is extremely relevant, due to the legacy that will be passed on to future generations.
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21
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ALEXSANDER BARBOSA DA SILVA
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Histories of teaching-learning processes in dance: Maria Fux and the Escolinha de Arte do Brasil.
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Advisor : RITA FERREIRA DE AQUINO
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COMMITTEE MEMBERS :
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DÉBORAH MAIA DE LIMA
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RITA FERREIRA DE AQUINO
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THIAGO SANTOS DE ASSIS
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Data: Dec 14, 2022
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Show Abstract
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This research aims to understand the contributions of Maria Fux, regarding her
experiences at the Escolinha de Arte in Brazil, to the debate on the history of teaching- learning processes in Dance. Thus, we organized the study into three
dance/educational movements entitled: (1) Maria Fux and her Dance Teaching processes; (2) Philosophical conceptions of School Dance Teaching, the creations of the concepts of Dance/Education in Brazil and their dialogues with Maria Fux's practices, and (3) Philosophical tensions between the assumptions of the Escolinha de Arte do Brasil and the assumptions of Maria Fux. At first, we present a biographical excerpt of Fux, along with his teaching experiences, and the description of his pedagogical practices in Dance for formal education (organized by levels and age groups) and for people with disabilities. Subsequently, in the second movement, we expose one of the possibilities to understand the philosophical conceptions of School Dance Teaching, in effect, noting the concepts elaborated by these trends in our country, so that we can recognize the methodological processes and their conceptions of the body. In turn, in the third movement, we propose a tension between Maria’s assumptions and those defended in the Escolinha de Arte do Brasil (EAB) and in the Escolinhas de Arte Movement (MEA), to understand what were the discursive bases that legitimized the narratives of this artist- Argentine teacher in our country. Therefore, it was necessary to adopt data collection procedures through semi-structured interviews and documentary research in newspapers, which are presented in the chapter that describes the methodological approach, results and discussion. From the discursive analysis, through the archeology of knowledge, it was possible to map several actions and presentation that Fux developed in the country, linked to EAB and MEA, such as his participation in: Course of Dance in Education, Intensive Course of Art in Education and the 1st Art Course in Special Education. Due to the reflections carried out, we believe that this research contributes to displace and decentralize hegemonic discourses about Fux and Dance Teaching in our country, recognizing Maria as an important character for the projection of teaching-learning processes in Dance for school education.
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22
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DANILLO TAYLAN QUEIROZ DE SOUZA
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Identity's Territories: Cultural Policies for Dance in the city of Jaguarari (BA).
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Advisor : RITA FERREIRA DE AQUINO
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COMMITTEE MEMBERS :
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ALEXANDRE JOSE MOLINA
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RITA FERREIRA DE AQUINO
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THIAGO SANTOS DE ASSIS
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Data: Dec 21, 2022
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Show Abstract
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This master's thesis discusses the relationships established between popular dances, social participation and public policies for the cultural sector in the municipality of Jaguarari, located in the Território de Identidade Piemonte Norte do Itapicuru, Bahia. Introducing the Dance of São Gonçalo do Amarante and the Quadrilha Junina as a cut of interest, the investigation started from the following research problem: how can political and social articulations contribute to enable the promotion of local culture and art in the municipality under analysis? The main objective was to understand the conceptions present in the community about the concept of culture, as well as the cultural policies present and/or absent in the municipality and their relationships with culture makers. The following were outlined as specific objectives: to document the aforementioned manifestations; recognize the paths, actions and knowledge of local actors; identify initiatives for maintaining memory and safeguarding manifestations; make the community's claims visible; and to collaborate, even if indirectly, for the local cultural development pointing out perspectives for the formation, qualification and continued performance of agents of culture. The study was organized in an exploratory, analytical and participatory approach, highlighting the realities experienced in the locality and the experiences with the interlocutors based on the action-research
method. An action plan was defined with observation procedures, dialogues and semi-
structured interviews carried out in person and online, a review of specialized literature
on culture and cultural policies in Brazil, as well as verification of documents (laws, councils, fund, actions) pertinent to the Municipal Secretary of Culture, Sport, Leisure and Youth and the Secretary of Culture of the State of Bahia. It is noteworthy that the analyzes and discussions had their concentrations from the time frame from 2007 to 2022, giving us the opportunity to observe the paths taken by cultural policies in the municipality and the relations with other spheres of government. There was no mention of dance in terms of municipal policies, the lack of a municipal culture plan, the lack of a municipal culture fund and the lack of dialogue between the Municipal and State spheres, findings that have an impact on the lack of of participation of the agents in the legal formulations and in the recognition of the doings and promotion of the local culture. The results obtained corroborate the joint preparation of a document that highlights Dance as an important movement to compose the political agenda of the municipality, whose expectation is to contribute to the field of knowledge and to the development of local public policies.
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Thesis |
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1
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SEBASTIÃO DE SALES SILVA
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POETICS OF SERENADING CATIRINAS
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Advisor : LARA RODRIGUES MACHADO
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COMMITTEE MEMBERS :
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EDUARDO DAVID DE OLIVEIRA
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FERNANDO MARQUES CAMARGO FERRAZ
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LARA RODRIGUES MACHADO
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MARCOS DOS SANTOS SANTOS
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THULHO CEZAR SANTOS SIQUEIRA
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Data: Oct 26, 2022
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Show Abstract
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ABSTRACT
The thesis "danced" here presents a sewing of memories about the play of Boi de Reisthroughout my very history.In this narrative, I play with the passage of my time as a boy until I reach my pedagogical-performative wanderings as a player in the popular scene.The weaving of this text intends to meet the need to recognize the play of theBoi de Reis, which has been going on for more than one hundred years in the city of Vera Cruz/RN, as a cultural representation of my people and so many others who make this play.In particular, I focus on the whole play and dedicate myself to the perception of Catirina's body – the only female presence in the ludic play of the Boi.With her, I seek to study the poetic construction and the cultural and educational knowledge immersed in the context of this Bois’ dance.The self-referential investigative research addresses poetic-political, sensory-social, and imagetic-cultural issues that cross my path in the materialization of the character Catirina in her different versions during the creative process.With this, I intend to bring into debate some propositions about the universe of play, understanding it as a cultural representation of a given social group, a given place, a given people.Those who guidethistext are MACHADO (2017), with Danças no Jogo da Construção Poética, OLIVEIRA (2021), withFilosofia da Ancestralidade, RUFINO (2016), with Pedagogia das Encruzilhadas, SANTOS (2002), making the crosswith Corpo e Ancestralidade.I evokeGLISSANT (2021) to dance with meand his Poética da Relação, and MARTINS (2021) inPerformances do tempo espiralar.I share the contributions ofAMOROSO (2009) whosemiudinhomade me spin.SANTOS (2020) drummed in this "danced" thesis, tuning me to the Poetics of Relationships. The great Master Tião Carvalho, a brincante of the Boi and my godfather in theplay, illuminated my steps in the scene and in the ways of playing. The construction of this weaving recovers my ancestrality, for with it I play and access the ancestral divinities of the "Serestar Catirinas," an artistic work that is the outcome of this doctoral research.
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