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Disertaciones |
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1
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ARIANA DOS SANTOS GOMES
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THE BODY IN THE RODA: FEMALE IDENTITIES, (RE)EXISTENCE AND POTENTIALITIES IN RODA DE SAMBA IN SALVADOR/BA
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Líder : LUCAS VALENTIM ROCHA
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MIEMBROS DE LA BANCA :
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CLECIA MARIA AQUINO DE QUEIROZ
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FERNANDO MARQUES CAMARGO FERRAZ
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LUCAS VALENTIM ROCHA
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Data: 10-may-2022
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Resumen Espectáculo
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The present research aims to propose a reflection on the samba circle. In Salvador there are movements of black women who associate and create groups of Roda de Samba. We propose to investigate which forms and through which paths the samba circle provides a dynamic that mediates the potentialities of black women's existence in contemporary society. I interpret the circle as a process of transmitting knowledge, knowledge and forms of sociability where, through an intergenerational dialogue, younger women learn from older women. Throughout the research, we used procedures that dialogue with different types of research, configuring a bricolage, a work done in an artisanal way, a weaving of seams between different parts "DENZIN and LINCOLN (2006)". Here we are interested in knowing how some women experience and express the samba circle, which motivates them to integrate these spaces and keep alive a popular and ancestral culture, resisting the ostensible appeals of mass culture. For the construction of the knowledge presented here, I am guided by theorists from different epistemological areas, such as Anthropology, with Lélia Gonzalez and Osmundo Pinho; Communication, with Ceiça Ferreira; Dance with Clécia Queiroz, Fernando Ferraz and Inaicyra Falcão; Education, with Dante Galeffi; Philosophy, Achille Mbembe, Frantz Fanon, Merleau-Ponty and Sueli Carneiro; History, with Beatriz Nascimento, Maria Antonacci, and Pierre Nora; Literature, Conceição Evaristo, Édouard Glissant, Eno Belinga, Esiaba Irobi, Homi K. Bhabha and Vilma Piedade; Performance, with Leda Maria Martins; Psychology, with Jurandir Costa, Neuza Santos Souza and Isildinha Nogueira; and Sociology, with Muniz Sodré, Paul Gilroy, and Stuart Hall.
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2
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JOÃO PERENE NETO
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WHAT MOVES WHEN EVERYTHING STOPS: Genetic Traces of a Creator
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Líder : CARMEN PATERNOSTRO SCHAFFNER
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MIEMBROS DE LA BANCA :
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ANA ELISABETH SIMOES BRANDAO
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CARMEN PATERNOSTRO SCHAFFNER
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MARCIA VIRGINIA MIGNAC DA SILVA
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Data: 26-may-2022
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Resumen Espectáculo
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Based on the principles of ethnography for its development and assuming myself as an object of research, the look of this writing is, in a certain way, archaeological. It's a synthesis. A brief clipping about the constitution of an artist in constant transformation and the traces left by him in the course of his processes. For the construction of this document, names such as Cecilia Salles with her concept of Genetic Criticism, Helena Katz and Christine Greiner with their perceptions and theoretical elaborations of Corpomídia, Isabel Marques with her provocations about the function of art, as well as many others no less relevant. that will be mentioned throughout, served me as a precious support, for the conduction of this script. The frame of each period made it necessary to highlight, to elucidate how my construction as an artist took place, the circumstances and political/sociocultural contexts that I was inserted and the consequences that led me to significant transformations. Questions such as: The referential importance, construction of artistic identity, longevity of the body in dance and autonomy of the creator, arise from the traces left by this trajectory, having as a background, the project Ateliê de Choreógrafos Brasileiros and its aspect directed to Choreographers Baianos for the end of this academic cycle in the Professional Masters in Dance-PRODAN, from the Federal University of Bahia-UFBA.
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3
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FABIANA LIMA DA SILVA
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EXPANDED GAME FOR CHOREOGRAPHIC CREATION: MODERN DANCE CLUES
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Líder : DANIELA BEMFICA GUIMARAES
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MIEMBROS DE LA BANCA :
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ANA CAROLINA DA ROCHA MUNDIM
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BEATRIZ ADEODATO ALVES DE SOUZA
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DANIELA BEMFICA GUIMARAES
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Data: 11-jul-2022
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Resumen Espectáculo
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This Course Conclusion Work has as its study the Basic Principles of the Limón Technique of Modern Dance. This practical study is built on the following principles: isolation; fall and recovery; weight; suspension and succession, in order to produce corporeal vocabulary. The objective of the research proposes strategies of choreographic creation with the use of pedagogical artistic material Expanded Game with Dance Cards divided into categories, directed to works of improvisation and composition, from the Limón Technique of Modern Dance. With this practical context of Dance, the construction of a body game as clues for a choreographic creation aims to stimulate and help artists of the body, creative performers, dancers, students and dance teachers in their scenic composition works. A research methodology happened together with the Expanded Game Study Group of Modern Dance: Improvisation and Creation, with theoretical-practical meetings of remote classes and a bibliographic review on the Studies of Modern Dance Improvisation and Composition. At first, I bring as the main reference of the research: The Illustrated Dance Technique of José Limón (LEWIS, 1999); The Art of Making Dances (HUMPHREY, 1991); Dança Moderna Fundamentos e Técnicas (GIGUERE, 2016); Jogos Teatrais: o fichário de Viola Spolin (SPOLIN, 2014). As complementary and testing material, I used for the studies of practical contents: Jogos de Criação CORPOLUMEN: um baralho para o estudo da Improvisação em tempo real (GUIMARÃES, 2017); Pequena Coleção de Insignificâncias (COHEN, 2019).
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4
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MARIA LUIZA DA SILVA MEIRELES
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The absence of black dancers in public dance Companies in Brazil: Facet of brazilian institutional racism
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Líder : DANIELA BEMFICA GUIMARAES
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MIEMBROS DE LA BANCA :
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CARMEN LUZIA FERREIRA
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AMELIA VITORIA DE SOUZA CONRADO
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DANIELA BEMFICA GUIMARAES
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Data: 14-jul-2022
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Resumen Espectáculo
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This article presents a research proposal that addresses the invisibility of black dancers in the scene of Public Dance Companies in Brazil. They aim to promote discussion on the subject from the perspective of an artist who has worked as a dancer for almost 03 (three) decades in this specific market of Public Companies, to contribute to the appreciation of these professionals through discussions that strengthen discourses of ethnic empowerment -social with implications on gender, class and race in the Brazilian dance scene and suggest actions and paths that allow black dancers to access the market of Brazilian Public Dance Companies. The research is justified by the importance of critical, reflective and political thinking about racial ethnic representation in the contemporary context (MOREIRA, 2007), by the mandatory observance of rights guaranteed by the Federal Constitution of Brazil and by the contribution to the strengthening of black female artists of Brazilian dance.
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5
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EDSON ALVES DE LIMA
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IN BETWEEN ARRIVALS AND DEPARTURES: Poetics of confrontation while we dance
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Líder : DANIELA BEMFICA GUIMARAES
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MIEMBROS DE LA BANCA :
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ANA CRISTINA NUNES PAIS
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DANIELA BEMFICA GUIMARAES
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FERNANDO MARQUES CAMARGO FERRAZ
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Data: 15-jul-2022
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Resumen Espectáculo
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In this research of autoethnographic character, I trace in two parts the trajectory as master's student of the Professional Master's Program in Dance of the Federal University of Bahia. In the FIRST PART the drawings of this trajectory, composed of seven components, carried out throughout the first two semesters of 2021, and texts produced to the demand of the teaching people responsible for each of them, bringing some of the bibliographic references presented by them. I also bring some certificates and flyers related to events where I participated as an artist and dance researcher during the three semesters of the course. Next, I present two textual productions, ASMA: a process mediated by absences", an experience report published in the “ANAIS DA ANDA 2021”, in the first semester, and "An Empty to see up close", textual essay commissioned by “Palco Giratório 2021”, in the second semester, text not yet published. I finish this course conclusion work with two specific productions built as a proposal to close this master's cycle, which I contextualize in the SECOND PART. "DRAMATURGY IN DANCE AS STORYTELLING: Creative processes in dance enchanted by the experience as a candomblecist", an article in which I bring two dance pieces, from the perspective of dance dramaturgy in which I worked as an artist, in the second half of 2021; and "CorpoManifesta: poetics of confrontation while we dance", textual essay on the cycle of artistic residencies in dance (object of initial research, at the time named as BARRICADES) held in the first half of 2022; in addition to this I bring the link with the mini documentary of the creative processes engendered in this cycle, in its final version, for the link of the journey as master by PRODAN.
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6
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Regivaldo Gomes da Silva
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ANTHROPOPHAGEAL POETICAL TUTTORIAL: EMANCIPATORY EXPERIENCES IN DANCER-CHOOREOGRAPHER RELATIONSHIPS IN OFFICIAL DANCE COMPANIES
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Líder : ISABELLE CORDEIRO NOGUEIRA
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MIEMBROS DE LA BANCA :
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ROBSON LOURENÇO
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ANTRIFO RIBEIRO SANCHES NETO
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ISABELLE CORDEIRO NOGUEIRA
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Data: 18-ago-2022
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Resumen Espectáculo
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This work intends to delve into dance creation processes, experienced by the researcher in Brazilian public dance companies, which affected him to seek his autonomy and emancipation. In an anthropophagic view, also observe how these crossings continue to reverberate and can reveal the creative artist, being able to serve as investigative clues to be transformed into compositions of their own authorship. The research also has a brief contextualization of the researcher's trajectory until reaching the academy, with exclusive testimonials from the respective choreographers and some artists involved in the creation process, in addition to an audiovisual poetic TUTTORIAL (prototype), as a result of the investigation to which the research proposes to analyze. The analysis of the material takes place in the technical and subjective field of dance, ranging from interviews, and video material of the studied works collected for analysis, production of videos under the researcher's personal impressions with his anthropophagic poetics.
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7
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Nailton Ronei Gomes Lima
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Wand(eRR)ing as a costume designer
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Líder : RITA FERREIRA DE AQUINO
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MIEMBROS DE LA BANCA :
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CIANE FERNANDES
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LUCAS VALENTIM ROCHA
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RITA FERREIRA DE AQUINO
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Data: 24-ago-2022
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Resumen Espectáculo
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This research was initially mobilized by the questioning of thenotion of costume, mainly in the context of contemporaryperforming arts. In this sense, it also questioned the practice ofthe costume designer, seeking to break with normativehegemonic standards present in the professional context.Therefore, a bibliographic review was carried out, enlarging thecomprehension of the work of a costume designer based onthe concepts of performativity and dramaturgy. The artisticpractice methodologically structured the investigation, whichsews a theoretical and analytical reference to theautobiographical experiences in the trajectory as an artist. Theessayistic structure of the text allowed variations in the ways ofwriting, relating concepts to images, textures and memories forthe composition of this artist's book, which presents the fourperformances conceived in the Master in Dance: “Study forred” (2019); “Pepper grinding machine” (2019); “Variation forred” (2020); and “Who needs a costume designer?” (2020).The performances materialize the creation of images of thebody on stage as an expanded field, in which theunderstanding of the costumes tensions boundaries betweeninside/outside, body/object, space/time, demonstratingpossibilities of happening in a provisional and transitory zone.It is concluded that, from this perspective, it would be up to thecostume designer to take another position in the creativeprocess, closer to the work of a dramaturgist in the sense ofcollaborating with the flow of images on the scene - which arenot restricted to visualities.
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8
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RENILZA MACHADO RAMOS
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Diary of affections: A proposal for teaching-learning dance in public school
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Líder : LENIRA PERAL RENGEL
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MIEMBROS DE LA BANCA :
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AMANDA DA SILVA PINTO
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ANA ELISABETH SIMOES BRANDAO
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LENIRA PERAL RENGEL
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Data: 09-sep-2022
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Resumen Espectáculo
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This research comes from an artistic-pedagogical path committed to actions that sensitize the public school environment about the need to understand what affects the routine of Dance classes at school. This study was carried out at Escola Municipal Teodoro Sampaio, located in the neighborhood of Santa Cruz, Salvador-BA, with and for students in the final years of elementary school, in a way implied as a political positioning. The purpose is an invitation to dive into this Course Conclusion Work that seeks to emancipate bodies and root actions. It is necessary to have a dialogue about political affections (SAFATLE, 2019), bringing their forms of implications in the public school, as well as self-images and images as a way of (re)knowledge of the self, acting with cognitive actions that are emancipatory and liberating. The research presents the gathering of: Descriptive Memorandum, E-book, Publications, Evidence Attachments of academic journeys and References. This whole brings a detailed memorial of curricular components, courses and participation in events held during the course of the Professional Master's degree. In this work, with reference to Rengel (2007), the creation of neologisms intends to emphasize and elaborate through the junction of words a way of thinking through the image read, avoiding dichotomies. The parts and subparts of the research are named after acts and/or scenes. The act proposal involves the idea of scene (RENGEL and THRALL, 2010) as being not only that of the stage, but the scene that acts engaged in the context, whether educational, political, social or artistic. The Diário de Afetos, as the name says, narrates, describes and discusses the dance actions proposed in the school throughout this study. It presents notes, letters, photos of the dances, conversations, drawings, analysis, reflections on everyday school life, with the participation of students. The daily e-book of affections was also produced as digital content to be made available to the school community and to all people who want to know it. As main references: Damásio (2012), with the perspective of how images are constructed. hooks (2008), is a reference with the ethics of love, to affirm the need to love each other. The concept of corponectivity by Rengel (2007), signals that we are body and mind together. Insurgencies by Moretti & Streck (2013), as ways of building knowledge. Freire (2020), with knowledge for an emancipatory education. In this circuit of concepts for the construction of the Diary, I am inspired by the writing of Evaristo (2020), which guides writing experiences as writing of a body, of a condition. The scenes presented here are between acts and intertwining, wanderings and publications, actions and (re)actions. Memories of know-how that involved me and the students in this academic and life trajectory are posted. Dances, affections, images, emancipatory actions, education, non- dichotomy and insurgencies guided this research. The making of this Diary of Affections brought positive impacts on interpersonal relationships throughout the school community, as well as the recognition of the positive self-image of students. The paths traced here reverberate possibilities for the strengthening of a public basic education that acts in an equitable way and respects all the people involved in the school environment. To rebel politically is a modus operandi of freeing public basic education from the institutional abyss in which it has been falling and transforming linked processes into educational actions that emancipate.
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9
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MÔNICA LIRA DE QUEIROZ TRINDADE
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P.O.N.T.I.L.H.A.D.O.S - dancing human experiences in inhuman worlds
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Líder : LUCAS VALENTIM ROCHA
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MIEMBROS DE LA BANCA :
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DANIELA BEMFICA GUIMARAES
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LENIRA PERAL RENGEL
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LUCAS VALENTIM ROCHA
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Data: 17-sep-2022
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Resumen Espectáculo
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This research, developed in a professional dance context, has as its central point the itinerant dance work of urban intervention: Pontilhados – human interventions in urban environments. The work was conceived by me in partnership with artists from the Experimental Group, of which I have been the director since its creation in 1993. Therefore, this journey of almost 30 decades appears in a strong way during this word dance, as it is also a a walk that intertwines with the history of the group residing in the city of Recife. In Experimental's repertoire, the dramaturgical choices ended up creating a chronicle of the city, and only from the experiences danced in our city came the need to dialogue with other urban centers in our country. The research Pontilhados – dancing human experiences in inhuman worlds dialogues with this artistic journey through which the work has passed, addressing recurring themes that show us a Brazil of so many contrasts, fractures, cruelties, inhumanities. My main experience was the city of Salvador, where I had the opportunity to get closer to artists and people who are and are all in this world of inhumanity.
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10
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ROSECLEIDE LIMA BISPO
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Write-up from a public school dance teacher: Liberdança (Dance Liberty) for the care of oneself and others
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Líder : LENIRA PERAL RENGEL
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MIEMBROS DE LA BANCA :
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AMANDA DA SILVA PINTO
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CECILIA BASTOS DA COSTA ACCIOLY
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LENIRA PERAL RENGEL
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Data: 14-oct-2022
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Resumen Espectáculo
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This Course Completion Work explains a process at Escola Municipal Eugênia Anna dos Santos, (Eugênia Anna dos Santos Municipal School), with kids from the early years of elementary school – 1st to 5th grade. It deals with the recognition of the public school environment as a conflict environment and proposes ways to carry out strategies and educational interventions that provide the reduction of conflicts in the teaching-learning actions of Dance, considering the care of oneself and others as a presupposition for a transformation of bodies and to strengthen interpersonal relationships within the school environment. It is important to provide paths that make it possible to work with diverse children who live within a social vulnerability context. Thus, promoting Dance action modes to elevate self-care and care for others, can strengthen interpersonal relationships and favor better interaction among students. Working with Dance in public schools involves a constant search for a recognition of bodies. In this sense, promoting dance classes within a perspective of care for oneself, and consequently with another person, can provide self-knowledge. The propositions take place within a methodology that incorporates theoretical-practical structures, stimulating critical and creative reflections/actions that are sensitive to bodies, with concepts referring to socialization and knowledge sharing. The emphasis of the methodological path considers kids opinion and their life contexts. This research takes place within a qualitative approach, which allows perceiving Dance as a form of knowledge, as well as understanding that with it, it is also possible to take care of oneself. The classes held were referenced in Foucault (2004), to address the care of oneself and the practice of freedom; Laban (1978) to address bodily actions and work on the creation and analysis of movements; Rancière (2011) to talk about emancipatory education: Rengel (2007), to discuss corponectivity, to understand/perceive the body as non-dualist; Santos (2017, 1996), as a reference for the issue of access to knowledge; Isabel Marques (1999) and Klaus Vianna (2008), who help to put these arguments into effect in Dance modes. As a student of Professional Master’s Course in Dance/PRODAN and a professional with Salvador Municipal Education Network, it was important to bring situations that helped people within the academy to have knowledge about the teaching of Dance in the municipal public school. The public education context in the city of Salvador is full of constant challenges, which make the teaching-learning process very difficult. Exposing some situations experienced on the school floor can help other people, students and Dance professionals, to better deal with some pertinent concerns in the public school environment. Therefore, as a continuation of a research that favors teachers, in the sense of pointing out ways that can promote actions that incite the recognition of students as included and important people within the school, the society and the world.
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11
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IRMA MARIA TRIGUEIRO VIDAL
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MEMORIES TRANSLATED INTO PHYSICAL REALITY: THE IMPORTANCE OF SYSTEMATIZING LIGHTING PROJECTS FOR THEATER AND DANCE SHOWS
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Líder : ANTRIFO RIBEIRO SANCHES NETO
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MIEMBROS DE LA BANCA :
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ANTRIFO RIBEIRO SANCHES NETO
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DANIELA BEMFICA GUIMARAES
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SERGIO SOBREIRA ARAUJO
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Data: 21-oct-2022
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Resumen Espectáculo
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The object of this research project is to present the systematization of scenic lighting projects. The main idea is to present a systematization method that can have a documentary language and that can be reproduced for each show. Having precise and technical instructions in a language that translates the creative processes of the lighting designers as faithfully as possible. There is an English term for this technique of systematizing the light of shows, “drawing package”. This document is produced by the lighting designer throughout the production process. It translates the art hidden in the designer's head into a real, understandable and palpable set of technical instructions. The package contains several other different types of documents that together tell the entire historical process of a project. In my 40 years of career as a designer, I have never had access to this type of document, nor have I produced it myself for my shows. It's precisely because we don't have such detailed instructions that we have so much difficulty re-creating shows on other stages. he objective of this study is precisely to present this method of documenting light in each project and teach how to do it. In this way, in addition to the technical document, we will also have a memory of the lighting of shows. This is qualitative research, of an applied nature, as it aims to generate knowledge for practical application, aimed at solving specific problems. Using bibliographic and documentary research methods
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12
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LISSANDRA PATRICIA CONCEIÇÃO DOS SANTOS
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MEMORIES TRANSLATED INTO PHYSICAL REALITY: THE IMPORTANCE OF SYSTEMATIZING LIGHTING PROJECTS FOR THEATER AND DANCE SHOWS
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Líder : ANTRIFO RIBEIRO SANCHES NETO
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MIEMBROS DE LA BANCA :
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ANTRIFO RIBEIRO SANCHES NETO
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FERNANDO MARQUES CAMARGO FERRAZ
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Régia Mabel da Silva Freitas
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Data: 05-dic-2022
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Resumen Espectáculo
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The research project entitled “Afro-referenced Dance in Public School: for the recognition of the black body in childhood” seeks to re-signify and strengthen the self-esteem of students in the final grades of fundamental I, 4th and 5th grade, through the appreciation of black culture, the feeling of belonging, rights, cultural and human formation and the fight against racism. It seeks to develop practices that encourage self-love and self-recognition and the black body in these students' childhood, through dance, lectures and reflections on our historical roots with greater acceptance of their color, enabling experiences where the black child sees himself in a different way potent, thus deconstructing the idea of a unique story that was told to us about our black ancestry. The project was developed at the Municipal School Lélis Piedade located in the community of Cosme de Farias in Salvador - Bahia. The activities took place once a week during the period between the months of September and December 2021, ending with the exhibition of an Orí-entado Guide entitled “Women Black References in Dance in Salvador-Bahia”.
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13
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AGNALDO SOUSA FONSÊCA
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DANCE (ART) – EDUCATION AND LOCAL CULTURE: ARTISTIC AND PEDAGOGICAL CROSSROADS OF AN IMPLIED BODY-TERRITORY
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Líder : AMELIA VITORIA DE SOUZA CONRADO
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MIEMBROS DE LA BANCA :
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AMELIA VITORIA DE SOUZA CONRADO
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FERNANDO MARQUES CAMARGO FERRAZ
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PEDRO RODOLPHO JUNGERS ABIB
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Data: 12-dic-2022
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Resumen Espectáculo
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This final paper of the Professional Post-graduation Program in Dance - PRODAN (UFBA) corresponds to a compilation of three studies and research during the course period. They are built from the research line 2: Pedagogical processes, mediations and educational management in dance, and the research topic was based on Agnaldo Fonsêca’s actions and artistic-pedagogical performances in a municipal public school from Salvador in a training and creation context in dance. These experiments implicated him as a black, peripheral, Soteropolitan researcher, dance artist, pedagogue, art educator and mediator of Afro-Brazilian dances. The paper is organized as follows: Crossroad 1 – Memorial, that has the following title: “Gum Memorial: crossroads of an implicated body-territory” – the chapters are named with Afro-referenced terms and the memorial has a brief overview about its content and theoretical framework, followed by the opening remarks, the content arguments of the main generated and published textual productions, the artistic-pedagogical practices in dance, the participations in academic and sociocultural events, the final remarks and the bibliography. Crossroad 2 - Article, named: “Ogunhê! The Crossroads of dance in a public school from Salvador-Bahia: an insurgent decolonial artistic-educational experience”; it describes and discuss the systematization of the artistic-educational experience in dance, insurgent and decolonial, developed at Dorival Caymmi Municipal School in 2017, in Itapuã, Salvador – BA. Crossroad 3 - Didactic Textbook for Teachers, named: “Gum Textbook of Dance: decolonial artistic-pedagogical proposals”. It is intended for elementary education and because of its decolonial perspective of teaching-learning it is constituted from the crossroads of the self and the cultural, artistic, pedagogical and methodological knowledge which give support to strategies that will enable the configuration of dance aesthetics to be developed and named “Gum Dances ”. The paper concludes with the final remarks.
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14
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Simone Lisete Santos Gomes
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ISADORA WEARS A UNIFORM IN THE PUBLIC SCHOOL: CHILDREN FREE TO DANCE
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Líder : LENIRA PERAL RENGEL
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MIEMBROS DE LA BANCA :
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LENIRA PERAL RENGEL
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ANA ELISABETH SIMOES BRANDAO
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GISELE KLIEMANN
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Data: 14-dic-2022
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Resumen Espectáculo
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This research aims to think about dance possibilities for public schools, specifically emphasizing the early years of elementary school, based on aspects of Isadora Duncan's legacy. Isadora, as she is mostly called, had a very strong impact on Dance because, among her innovations, she was considered a liberator from the constraints of bodies, such as corsets and ballet shoes, for example. This learning phase urgently needs to be conducted towards an education on values, respect, care for oneself, and care for others (FOUCAULT, 1984). It also needs to act and to understand the great relevance of the anti-racist issue (RIBEIRO, 2019), something that must permeate all relationships, as well as to develop awareness of the environmental issue, paying attention to nature as a principle of life, as advocated by environmentalist Ailton Krenak (2019). One purpose is to reflect, analyze, and propose what would be most appropriate in terms of dance technique, in which the very conception of this dance moves factors such as care and respect, for nature and for others, and it is inserted in the conduction of a reflective dance. This research has sought and formulated arguments to discern these issues and what sensations a costume or “dressing for dance” can express in the movement and moment of dancing (ECO, 1982). To address the respect that is impregnated by the culture, environment, and genetics of children, Steven Pinker (2004) is a reference. In order to address the use of metaphors during dance classes, Lenira Rengel (2007) references this notion with the proposal of a metaphorical procedure of the body. As methodological procedures, it used dynamics of experiences, games with varied rhythms, audiovisual material with environments of nature, as well as improvisations in contact with nature, constructions of mandalas for the perception of aesthetics, and the essence of the class of the Technique of Isadora Duncan (KURTH, 2004). In this study, the use of the uniform is approached as a form of empowerment, of belonging to the place that educates and emancipates. Hence the idea of “Isadora wears a uniform”, that is, the children will not wear tunics (a garment associated with the dancer Isadora Duncan), but “Isadora” is the one who wears the uniform.
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15
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CLAUDIA MARQUES AUHAREK
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CLUES FOR AN EXPERIENTIAL ANATOMY: ANATOMICAL STUDIES INTEGRATED TO MOVEMENT
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Líder : BEATRIZ ADEODATO ALVES DE SOUZA
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MIEMBROS DE LA BANCA :
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JULIANA CARVALHO FRANCO DA SILVEIRA
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ANA ELISABETH SIMOES BRANDAO
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BEATRIZ ADEODATO ALVES DE SOUZA
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Data: 15-dic-2022
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Resumen Espectáculo
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This work is the conclusion of the professional master's degree in Dance that has as its main production the didactic material in e-book format called "Pistas para uma Anatomia Experiencial" (Clues to an Experiential Anatomy). The material approaches anatomy from an experiential perspective, proposing that our relationship with anatomical information be focused on aspects such as singularity and subjectivity. This critical and reflective path is covered through conceptual, historical, pedagogical, methodological discussions, etc. Along with this, the material presents an editorial direction that values experiential aspects related to the reading process itself and the relationship with the book. In this way, we seek to create a book that encourages pleasure and enthusiasm in the learning process for an education that is constituted as a practice of freedom. The present work also includes bibliographical productions and a critical-reflective memoir about research and results generated during the master's program.
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16
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ROSE MARY COELHO SANTANA DA SILVA
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JOINTS IN DANCE IN THE CITY OF SIMÕES FILHO: PROMOTION, PRODUCTION AND VISIBILITY OF DANCE ARTISTS IN METROPOLITAN REGION OF SALVADOR
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Líder : LUCAS VALENTIM ROCHA
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MIEMBROS DE LA BANCA :
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LUCAS VALENTIM ROCHA
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RITA FERREIRA DE AQUINO
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THIAGO SANTOS DE ASSIS
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Data: 15-dic-2022
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Resumen Espectáculo
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This work reflects on the articulations that have been made in the municipality of Simões Filho, metropolitan region of Salvador, to deal with a very precarious context, regarding the production and circulation of dance works. It deals with the importance of group work to open paths in arid terrain and seek answers from political representatives at municipal, state and federal levels. In this sense, attention is paid to the work being developed by Coletivo Arte Metropolitana, the group responsible for introducing the need to think about collaborative networks in the city of Simões Filho. This research concludes with the realization of 5 productions: this memorial that reports the development of the research and some steps taken so far by Coletivo Arte Metropolitana, as a way of registering and producing memory of this movement; artistic productions, Simões Filho has dance! I will show you and traces and the constant movement Dança Simões Filho; the realization and expansion of the IV Festival de Dança Arte Metropolitana and the II Congress of Art and Culture of the Municipality and two texts in the form of experience reports.
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