This research reflected on how bodies learn to create dance by copying or repeating
movements, actions, gestures, and dances. The reflection (work/study) was developed
through a pedagogical process of creation in dance registered in the academic period
2014.1, during the teaching cycle and disciplines of the Bachelor's Degree in Dance at
the Federal University of Bahia. The situation analyzed was critically discussed based
on the studies of Jorge Vieira on the General Theory of Systems and from some points
of view of neuroscience and dance compatible with that theory so that it was possible
to verify a correspondence between copying, learning, and creating while the body is
in motor action, i.e., dancing. This way, it was verified through the copy/repetition that
learning (which means to create to some extent) and to create (which means also to
learn in some proportion) are very propitious actions to the permanence or survival of
systems such as body, dance, and education. In compliance with the entanglement of
copying, learning, and creating, the research also observed notions of creation in
dance in which copying and creating or learning and creating present a certain
distancing or opposition. Finally, the research reinforces the power of systems thinking
to study learning and creation in dance.

This work was developed in the research line of “Dance and African Diaspora: poetic,
political, educational and epistemic expressions” of the postgraduate program in Dance -
UFBA. The objective of this dissertation is to investigate the performance of a Dance teacher

in basic education from processes of implication with decolonial (WALSH, 2017) and
afro-referenced pedagogies (SIMAS and RUFINO, 2018; RUFINO, 2019; PETIT, 2015;
ROSA, 2013; FERREIRA, 2019). The recognition of colonial and racist physical, psychic,
symbolic and epistemic violence that found western society structured under the aegis of
modernity, with its own ideals of progress and development, and the understanding that
educational perspectives, in general, remain strongly oriented by this paradigm, were the
driving concerns of this work. This research developed in the Dance curricular component of
the Colégio de Aplicação da Universidade Federal de Pernambuco, explored the notion of
professorship (ASSIS, 2018; PEREIRA, 2013) and, in this sense, in methodological terms,
the (auto)biography (JOSSO, 2004 ; NÓVOA, 2010, BOLIVAR, 2002) was configured as a
relevant path for this study. After contextualizing the term Decolonial Turn according to the
Modernity/Coloniality group, this theoretical contribution was relativized and criticized
(CUSICANQUI, 2010) and the artistic-pedagogical practice in basic education was shared
and analyzed so that decoloniality is not restricted to the academic area and its
epistemological debates (CURIEL, 2019; CARVALHO, 2018). These experimental practices
in the classroom, built in dialogue with the groups of students, were designed to bring up
discussions related to diversity, plurality and interculturality and seek solutions based on the
problematization of universalizing, hierarchical and Eurocentric precepts in Dance teaching
at school.

This research explore the influence of matriarchy and the orality in teaching and
disseminating of Afro-brazilian dances, also named “Black Dances”. It will be
demonstrated the importance of women in the production and dissemination of body
knowledge through the description of female participation in the construction of new
corporeities as from African ancestry knowledge. Through the literature review about
matriarchy, oral tradition and Afro-brazilian culture, women will be presented as the
holders of body knowledge that enabled creation, development and popularization of
Black Dances. Four artists were interviewed so it could be colected impressions and
experiences about the researched topics. A workshop held in Brasília-DF applied the
knowledge acquired during the research in three days of classes and the results are
also shared here.

This research has as its central theme the dance of the Pernambucan Ciranda
presided over by Lia de Itamaracá with surveys of its historical, diasporic and
cultural context. From it, we weave a pedagogical proposal sewn by conceptual
ways of the field of art, dance and education, having as references authors such
as Zeca Ligiéro, Ana Mae Barbosa, Castro Gómez, Grada Kilomba, Paulo Freire,
Daniela Amoroso, José Jorge de Carvalho , among others.as and documents
that subsidize Brazilian education. We assume the contextualization, drumming,
singing and dancing as foundations that underlie a proposal that was elaborated
with the intention of enabling a process of mediation in popular dances, having
the Ciranda as our investigative base. Performed as theoretical-practical
knowledge, we had experiences on Brazilian soil in classes and body laboratories
held at the Dance School of the Federal University of Bahia - and we were able
to experience these propositions also in the Mexican territory during the
exchange at Escuela Nacional de Danza Nellie y Gloria Campobello with
undergraduate dance students. The research methodology took place from the
perspective of ethnoscenology bringing Pradier and Amoroso into the theoretical
scope and Roberto Macedo's critical ethnoresearch, which contributed to the
understanding of the scenic cultural phenomenon as well as our implication and
choice of what to make this dance's formative content.

The main objective of this thesis is to describe the transformations in the object category that occurred throughout the history of art and its relationship with the body, which narrows in the language of artistic performance. It is in the works of Hélio Oiticica and Lygia Clark that we will recognize as icons the works that will demonstrate that the artistic object, after its end, will become an event. To this end, we will analyze the artistic object and its transformations based on modern art movements, while expanding the concept of object in dialogue with the body. I rescue Ferreira Gullar's theory of the non-object to verify the end of the object and defend that after its end the object became an event. The investigation expands to the problem of consumption, the destruction of the ecosystem and the pertinence of thinking about an ethical-poetic approach to current practices, understanding the potential of the object as an entity in transit, in process, with the ability to activate aesthetic states in us through relational experience.

This work proposes a reflection on Belly Dance with the perspective of the
principles of the rhizome, a philosophical concept brought by Gilles Deleuze and
Félix Guattari in the book Mil Platôs (2017). In this sense, the objective is to
present connection, heterogeneity, multiplicity, asignifying rupture, cartography
and decalcomania as devices that clarify its composition, development, relevance
and continuity. Such an approach is necessary to combat its arborescent
implications and a mode of representation that reduces its inherent diversity.
Deeply affected by the capitalist and colonial situation of Modernity, Belly Dance
began to encompass a multiplicity of dances and identities in a generalizing way,
surveyed by Eurocentric hegemonic paradigms. By analyzing the contiguity of
these crossings, this argument justifies and encourages the promotion of new
developments and becomings that give new meaning to their essentialisms. The
methodology applied will consist of surveying, reviewing and critically reading the
bibliographic reference table. As main theoretical frameworks, in addition to the
rhizome of Deleuze and Guattari (2017), the concept of orientalism as developed
by Edward W. Said (2007) will also be presented. Furthermore, primary sources
from the 18th century will be referenced, such as the works of Carsten Niebuhr
(1776 ), Claude-Étienne Savary (1787) and Edward William Lane (1836), in
addition to works by Arab, Iranian, Armenian and Turkish authors, regarding
Najwa Adra (1998), Arzu Öztürkmen (2003) and Rosina-Fawzia Al- Rawi (2012)
With this research, we hope to demonstrate the unsustainability of chronopolitical
fictions, orientalist discourses and narratives, as well as the epistemic fixity in
linking centralizing and mythical origins to Belly Dance. Just as the rhizome is
resilient to reifications and silencing, we propose its use as a political,
epistemological, social and ethical tool that results in a Belly Dance that expands
through deviation. We consider that it is in becoming, therefore, that it finds its
permanence and insurgency.

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.

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.

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.

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?

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).

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.

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.

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.

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.

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.

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.

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.

BISPO, Jairson Pereira. Movediço estudo de chão. 2021. Thesis advisor: Gilsamara Moura. 97 f. ill. Dissertation (Master in Dance) – Programa de Pós-Graduação em Dança, Escola de Dança, Universidade Federal da Bahia, 2021.

ABSTRACT

This research is the result of studies in dance and of situations created by the dancing body, as well as of the incidents that arise during these processes, that are ignited by the "curious" contact with the ground, treated here as unstable, and understood beyond the its significance as a support surface,  that is flat and smooth. To this end, correspondences, letters, and clues are shared here which attempt to create a field of meanings, frictions and relationships with the ground and lead to the exercise of inventing conversations with the ground, making the grounds that constitute the body dance its history, memory, experience and presence. The proposed conversation is part of a creation process between a network of participating artists and dance students, including Achille Mbembe, Frantz Fanon, Helena Katz, and André Lepecki, among others. This research is a proposal for studies of the body and of the political gravity that provides its steps; of a curiosity about how we tread on the ground; and of questions about the possible relational constructions between people and things and the unfolding of these propositions in the pedagogical practice established in a given dance context. It takes into account the constitution of absences or presences from the ground, of the ground conquered and/or denied, and of the unstable ground. It is a way of thinking about the body in space and as space, as interpersonal and as having power. It is an exercise in asking questions of time itself.

This dissertation, which is linked to the research line “Dance, body and cognition (PPG
Dance - UFBA), it aims to promote emancipatory processes, based on artistic and
educational experiences through dance, in women who call themselves “elderly”,
residents in Araras (SP), Brazil. The work discusses how dance, in “contemporary
thinking” and in the experiences of the current world, can contribute to the
empowerment and recognition of the aging process, central principles of the forms of
emancipation of these women. In this sense, this way of “acting-thinking” is brought up
as experiences of “self-knowing”, in constant exchanges of knowledge, even
generating perspectives of political and social resistance. The research, therefore, is
constituted in experiences with dance, relating references that cross the emancipated
pedagogical actions, together with others participants. In this work, such actions were
described and analyzed, including the methodological procedures that encouraged
doing in dance, so that the powers of each woman were recognized, questioning,
finally, a set of stereotypes and discrimination. In 2020, in particular, this research
found remote ways to stay alive during the “new coronavirus” pandemic. The main
references were Gomes, Agamben, Arruzza, Chattacharya, Fraser. To address issues
of body as a power, I refer to Santos and Machado; Dowbor is one of the contributions
to methodological strategies. The research results showed the importance of reflecting
on the aging process so that the dance i salso shared with the elderly and reversing
stigmatized and discriminatory ideas about “old age”. Encouraging (and participating
in) empowerment actions helps these women to appropriate their own stories, in their
social contexts. Finally, it is considered that research contributes to the development
and production of knowledge in dance in the elderly, a field of research that is still in
formation in Brasil

This work proposes a reflection on the historical, cultural and political importance of
knowledge production spaces in Afro-diasporic dances in the city of Curitiba. Experiences
that span my life course and teach about cultivating deep relationships with the lands we
inhabit. Crossing autobiography, dialogues with people linked to the construction of part of
these spaces, as well as historiographical productions about the city, I critically assess the
formative and transforming power of these actions in time. The trajectory and legacy of the
artist and activist from Paraná Vera Paixão, creator of the ―Black Beauty Contest‖ as well as
the ― Afro Cultural Group Ka-Naombo‖, both produced within the CANPA – Cultural
Association of Negritude and Popular Action, founded in the 90s in Curitiba, it is one of the
stories involved in this plot and as a common thread, it connected us to active groups from the
80's to the present day. Knowing and recording the trajectories of different generations of
Afro-oriented dances (SILVA, 2018) in the contexts of Curitiba, documenting this process
with the Graduate Program in Dance at the Federal University of Bahia, in this work, actions
undertaken as a movement of land repossession. Body, space and knowledge are dimensions
through which writing stands and together they sustain the concept of territory-body proposed
as a key in the work.

This research is a study about the presence of the group A Corda Samba de Roda in the
vherevgvy of Tubarão, Railway Suburb of Salvador and about experiences that the making
of samba de roda triggered through the relations between memory and power, as the bodies
access people, stories, knowledge and traditions.The central hypothesis of this work is that
the body, vher accessing memories and understanding itself as a fundamental vherevgv of
history, develops property to live, write, tell and dance what it lives and vherevgvyvs. No
longer oblivious, the body that samba consciously becomes the continuity itself. As a
researcher, sambadeira, vherevgvy and cultural mobilizer of Tubarão, author of this research,
I bring theoretical references that cross my trajectory, as Conceição Evaristo who inspires
me not vher to read, but to write my history and with it impresses me in the world through
the escrevivência, but I bring mainly vivid and vherevgv references in my daily life, through
the knowledge expressed in the orality and movement of the women of my vherevgvy, my
masters of samba de roda and capoeira who are living sources of transversal knowledge
vhere research, body and history. The methodology I use is the same that I developed during
my career as na educator in the periphery, which has the focus at the meeting, the place vhere
things happen, including knowledge. In this dissertation I choose to break some academic
standards that, in my perception, interfere in the comprehension of writing, mainly for people
who, like me, do not have the constant exercise of vherevg due to several factors, of which
I highlight the time, normally dedicated to the supply of basic needs such as food, housing,
health, children’s education. This is a research of many voices and bodies, it is circular and
collective like samba and roda, it is unique as the configuration of each group, which has its
own identities. It is from vhere the samba de roda is born and flourishes that the motivation
for the studies presented here is born: the female body that samba, writes, sings, teaches and
tirelessly learns it is who identifies, means and prose in this dissertation offering for women
and for those who find more motivation to read/live.

The Cambindas de Triunfo is a popular manifestation that had its appearance around 1913
in the Alto da Boa Vista community, in the city of Triunfo, in the Sertão Pernambucano.
As a carnival manifestation, composed primarily of mostly black men, Cambindas went
out into the streets dressed as women to play and cheer the party where they passed. One
of the characteristics of the procession was to pass in the houses where they were always
received with food and drinks by the owners. The elders tell us that the residents of the
whole city when the carnival arrived opened spaces in the rooms of their houses, because
there had great possibilities of being contemplated with a visit from the cambindas. After
decades of cheering for carnivals, Cambindas no longer take to the streets, and nobody
knows the reasons that triggered the discontinuity of this performance within this
community. Today what I believe to mediate as a popular teacher who teaches the ways
of making Cambindas is a process of re_invention of this tradition (Hobsbawn, 1997).
The objective was, from the reinvention acts with the group “Cambindas de Triunfo”, to
deepen the relationship with the neighborhood cradle of this manifestation, broadening
the understanding of its importance for the culture of this city. This research deal with the
methodology of action research, life histories and critical ethnoresearch as
methodological perspectives for this cultural mediation. I also understand that it is in
doing research that the re_invention of Cambindas gains new meanings by strengthening
the bonds of memory and triggering the symbolic imaginary of the bodies in the
community that play, sing and dance.

This research work presents arguments and announces new paths for the continuing education
of teachers and for teaching dance to children in non-formal spaces, based on the experiences
in the project Oficina de Dança para Criança from Núcleo Viladança (2009-2015). investigate
the possible contributions of Systemic Pedagogy and of playing in an interrelationship with
dance, through studies that start from the experiences and experiences, from the knowledge
and understandings of today; I propose to remember, revisit and investigate, from the
particularities and events in the mentioned project, as a research stage, bringing strategies
other ways of perceiving and analyzing what is presented and from the memories, through
dialogue with the actors involved in this project , supported by the authors to weave
connections and open a field for new possibilities of discoveries for the training of dance
teachers and for teaching dance to children. Considering that it is possible, based on the
studies, meetings and discoveries of Systemic Pedagogy and of playing in an interrelationship
with dance, to discuss specificities, on issues of the order of human relations, to discuss
educational practice in dance for children and teacher training, new openings, attitudes and
postures, wishing to make the dancing speech meaningful for the child, in order to enable the
transit between knowledge, expanding the dialogue and considering contributing to academic
debates. They are theoretical reflections, notes and reflections based on concrete experiences,
which are also the result of all the experiences, perceptions and concerns that are part of my
path as a teacher. The methodology is based on qualitative research, its method is the
production of information and the record that emerges from the experience itself. The work is
based on texts by authors such as FRANKE-GRICKSCH (2014), KISHIMOTO (2019),
AGAMBEN (2009), ROCHA (2016), LARROSSA (2015), PIMENTA (1999), among others.
The aim is to contribute to reducing possible shortcomings in relation to the topic2.

Based on research, the theme introduced is racism of classic dancers in the Bahia
Capital. From the author's point of view she writes, the biography and the history of the
life of the ballet dancer Luis Bokanka. In the article the author explains the denial of
acceptance of the black body in the 1970's, problematic racial issues. Analysis the
structure of racism thru theory of the theme, Sueli Carneiro (2011), Grada Kilomba
(2019), Antônio Sergio Guimarães (1999), Silvio Almeida (2019), Nadir Nóbrega
(2007) e Fernando Ferraz (2012). The critical picture focus on the basic structure of
racism. The perspective of protest of continuous discriminatory practice in our current
society. It will be critically and analytically described passages in the life of the subject
of this research from his training in dance, to his passage in folklore groups such as
the Balu Dance Group, with master King, Ballet Brasileiro of Bahia- BBB, Frutos
Tropicais, Municipal of São Paulo Dance Theater, Grand Theater of Geneve and
Maurice Bejart Dance Company. The writing has a narrative and biographical tone, in
dialogue with the methodology of oral history, documentary research and black
feminist thought, by giving relevance to the lived experience as a criterion of meaning
(COLLINS, 2019). In order to track moments in the artist's career and to overcome the
obstacles brought by structural racism, this work understands that humanity is marked
by diversity, and it is urgent to accept one another by giving a helping hand to others.

This dissertation proposes a reflection about the trajectory of the Dance Company
Robson Correia, over the past 15 years of the artistic activities, they have been bringing
into an envairoment of identity and informative aspect for the dance and black people
consolidating themselves in the cultural scene of Salvador. The research takes a path
pointing out the scarcity knowledge regards African and aphrodiasporic that historically
are absent in formal public institutions of dance education, making it impossible for the
process of identity formation of black people in these spaces through this field of
knowledge. Seeking to point out possible solutions to the installed problem, the study
makes a reflexive immersion in unconventional spaces, sociocultural movements,
subjects and subjects who, through their teaching and learning activities, bring data that
make knowledge and practices of cultures subordinated by the dominant class visible.
According to this perspective, the work evidences the teaching methodological
strategies conceived and used in the formation process of the Robson Correia Dance
Company, further expanding the possibilities of this formation centre. The Fan of Oxum
from the perspective of the identity and conceptual construction of Corpo Iaô.
Continuing the investigation, it seeks to enhance African ancestry in Bahia lands
through the crossroads between Brazil and Togo. The path of the work shows the
contribution of Cia de Dança Robson Correia as a Centre for the formation of blacks in
society and as a result of the dancer / artist in the artistic scene of Salvador. To support
and reference this study, I bring to you some and some Exúas and Exus: Siqueira
(1998); Carvalho (2019); Almeida (2018); Brandão (2014); Gomes (2017); Falcão
(2019); Sabino and Lody (2011); Conrado (2015); Eyin (2014), who i have to thankful
for all the dedication and support through this beautiful experience.

The work presents the reflection and discussion of a didactic-methodological proposal for the teaching of classical ballet in the Professional Technical Education Course Middle Level of Dance of the Cultural Foundation of the State of Bahia, having as premises the somatic approaches and the appreciation of the student/subject , taking into account the experiences brought in their body and considering trajectories and stories of diverse and powerful lives to reaffirm the students as subjects of action in the Course. The proposal aims to broaden and enhance the perspectives found in professional training and interdisciplinary practice, working with information and experiences of other techniques and aesthetics, with a view to preparing a professional subject with a critical and political attitude to work in the labor market with participation. in society. As a result of research, the validation and contribution of a multidisciplinary/interdisciplinary methodology and in interface with other components of the curricular matrix of the Pedagogical Project of the Course was sought. Ethnographic, documentary, and bibliographic research were used, as well as theoretical foundations in the foundation of the work, contributing to the formation of an autonomous, critical and active student-body-subject in the dance area's job market.

The research concerns the teaching and artistic actions in dance, with specificity in the Labanianas corporal actions (Laban, 1978). To address the differences and similarities of bodies, the term multiple bodies are called a denomination. The homosexual body is also discussed in this teaching-learning process. Rudolf Laban's (1978) movement art describes the various modes of bodily action, and as a clipping, we deal with the basic and derived actions, grounded on the combinations of the effort qualities of the movement, with emphasis on the conditioning factors of space, weight and time, acting as cognitive actions of the body. In contexts, with particularities that imbricate in different and divergent cultures, biological, body structures, locations, epistemologies, they distinguish themselves, but intertwine in a very particular and almost imperceptible way. Teaching-learning is required (FREIRE, 2018) that respects the multiple epistemologies (SANTOS, 2018). Getting around, jumping, greeting are bodily actions (RENGEL, 2014, 2007) that are transmute and are shared in groups, communities and in society. In this interaction with the other and with the world, knowledge intersects and expands into new formats that come to coexist, with the intention of being body-based (body mind together, RENGEL, 2015). Does the other's movement, when performed, affect other bodies from interaction and observation, but the movement of the other becomes another movement? Or the movement of the another was or is it of others? And as the other and with others, does the body dialogue? In the principle that Ramachandran (2014) calls imitation, the body has the ability to interact, teach and learn knowledge which are developed in biological/cultural ways, providing the repertoire expansion. This knowledge are now filtered and elaborated with the existing information and constitute themselves as a body, which, by sharing their particularities, provides the other with other co-affects with their existing learning, from the perspective of the body as media body (KATZ AND GREINER, 2015). The methodological procedures articulate with the critical pedagogy, in processes of mutual exchange between student and teacher. We consider that, from the recognition and analysis of body actions, in exchange and specialization (RIDDLEY, 2014), a space for sharing processes, transformations and cognitive habits in which these different speeches overflowing, enable other practices in life and dance.

This research addresses the concept of apparatus, from the perspective of Agamben (2009). The intention is to point out the insertion of the apparatus in a determined dance scene, the position of profaning artists (AGAMBEN, 2007) and how contemporary dance can put itself in resistance to the modi operandi that are established by the apparatus in its scope. When observing the effects of the historical context, it is necessary to dance a on the ground politics (LEPECKI, 2009), choreographing by recognizing on which ground one is dancing and that it is possible to affect the relationship that one has with it. In this sense, dancing with the purpose of profaning, that in this word is understood proposition of acting in anti-apparatus, in order to resist the power over the body. In one of its topics, his work focuses on Grupo X de Improvisação em Dança, which completed 21 years of history in 2019. The specificity of the group demonstrates that there is reflection in their artistic works, such as knowledge formation, looking at issues current in their time, such as body, accessibility, resignation of standards, whether bodily in terms of the physical space of the presentations and the aesthetics of the dance. It is important to highlight the group's occupation in important events and spaces. One hypothesis is that the Judson Theater Dance movement has positioned itself with anti-apparatus propositions and has influenced the contemporary dance scene, and Grupo X de Improvisação em Dança acts in this sense. These contributions reveal influences on the procedures of Grupo de Dança Equilíbrio, also discussed here. The main references are Agamben (2009, 2007) to deal with apparatus and profanation, inspires to talk about anti-apparatus actions, Rengel (2007) to deal with dance and cognition bringing the concept of corponectivity, Greiner and Katz (2005) to corpomedia theory, thinking about the relationship of the body in the environment. Matos (2011), Fernandes (2010) and Pélbart (2006) contribute to highlight the political issues of dance. Data were collected through in loco observations, participation in Grupo X activities, reading documents, books, articles, conducting interviews with those responsible and participating in the groups studied. The data was analysed with the referential and from the observation and interviews data. Workshops were held in and by Grupo Equilíbrio, participation in Grupo X as an interpreter-creator, presentations, and artistic-pedagogical propositions within Grupo X. As a result, it was possible to observe that the actions of Grupo X and the workshops had and have an adhesion of a heterogeneous audience. Grupo X, with its characteristic of having people of all ages, with and without disabilities, taking their work to different audiences and spaces, brings reflections and a new meaning to dance, from its place in society. It redefines bodies, those that can occupy this space of dance, creates a context of profaning action in dance. This research led to the expansion of the concept of dance itself, by understanding its aspects as an apparatus for the body and as a profane action for itself and for society.

The dancing in the evangelical church can be perceived as an expanding phenomenon
nowadays, besides the religious scope, including festivals, competitions, and dance
schools outside the temples. From this perspective, one question seems to be
important: how does this practice occur in this context? What is the role of dancing in
the church? Facing some clues found, it is possible to suggest that the worship dance
reunites different variations of dance in this context. There is evidence that dancing
has performed a liturgical role and is also connected to a commercial logic present in
the evangelical churches, serving as a market reserve, advertising, and spread of an
ideology. This research collects data, intending an overview of how these practices
occur in terms of creation, sanctification during the services, ways of evangelization,
and teaching inside evangelical dance groups. Besides a collection of data regarding
the occurrence of dance, this research collects bibliography with authors that
contribute to the discussion about this theme, as: Agamben (2009), Britto (2011),
Cunha (2004), Katz and Greiner, (2005) and Lipovetsky and Serroy (2015). The
research points out to the coimplication among body, dance, and religion, that
constitute themselves mutually, answering to what Gilles Lipovetsky and Jean Serroy
(2015) present as artistic capitalism and, then, dancing becomes a good. There is a
sanctification of the profane and a profanation of the holy, so that the church can adept
and survive. With this research, it is expected to nourish a dialogue (theoretical,
historical, and analytical) with the fields of religion and dance, contributing with the
reflection and analysis about such a strong phenomenon in the contemporary culture.

This research analyzes some assemblages resulting from micropolitics
generated by Núcleo do Dirceu (ND). It is based not only on the performative
actions of 1000 Casas, but also on the micropolitics produced by ND artists in
the compositions and affections shared with the community of Dirceu and the
city of Piauí. This happened during the process of creating the work, from 2011
to 2012. Dance is discussed here from these conditions, crossed by issues of
molar and molecular orders specific to this backlands territory. The cartographic
path of this writing addresses the assemblages present in the interactions and
experiences of some subjects involved in the performance; discussing the
construction of other modes of subjectivation from their creative / formative
processes as artists, guided by the issues and tensions of political making in the
relations between art and life, public and private, artist and spectator. The
methodological framework for this research is based on qualitative and
participatory research, of a research-intervention nature, with an emphasis on
the cartographic method. It helps us to discuss some clues found in the process
that contributed to the identification, tensioning, and understanding of the
reference modes that singularize the contemporary dance scenario in Teresina,
as well the experiences produced. This is done in the light of Gilles Deleuze
and Félix Guattari (2012), Suely Rolnik and Félix Guattari (2011) with their
concepts of micropolitics, macropolitics and agency. The considerations
presented in this analysis point to CASA as the space for happenings, a space
capable of reorganizing its information from pre-existing elements in constant
updates with the context, creating new ways of (re)existing. This perspective
helps us to notice that resignifying this space through art demands implication,
occupation, desire and assemblages between the dimensions of the subjects
and their context, based on a critical position; in which, what is already
stablished can be tensioned by the body and its daily crossings.

This research presents an artistic and historiographical study on frevo dance. The ways of organizing this dance will be investigated considering the dynamics of updates of these legacies. For this, the understanding of tradition occurs as something changeable, time is configured within a non-linear perspective, and the frevo dance is conceived as a crossroads (SIMAS e RUFINO, 2018). Transgressive and resilient, here, paths are seen in the counterflow of hegemonic perspectives that seek to reduce it to a single narrative. Also provoking us about colonization in the teaching of History of Dance and stimulating the construction of critical thoughts that fissure a linear and factual temporal structure. Crossed by different methodological procedures, this dissertation is based on documentary and bibliographical research, oral history and autoethnography. Therefore, based on the encounter with the works of authors such as Simas e Rufino (2018), Albuquerque Jr. (2009), Launay (2012), Fabião (2012), Lepecki (2010), Marques (2012 e 2016), Vicente (2009 e 2015), Oliveira (2005), among others, it aims to dialogue, reflect and provoke other possibilities of looking at frevo dance at the cross with the concepts, writings and provocations of these authors. In this “faz que vai, mas não vai” dance move, this research emerges through writing, and, above all, through the body. It also presents a poetic-creative reading, in video-dance format, stimulated by provocations that arise from access to newspaper articles, photos, videos and archives on the history of frevo and its transformations. I seek, as a frevo dancer and artist-researcher in dance, to present frevo as a doing of possibilities and crossings, expanding the ways of thinking, experimenting, teaching and creating dance.

This master's dissertation is entitled Arromba Chão Que Anima o Salão, Quadrilha
de São João! Memórias e Transformações das Quadrilhas Juninas em Salvador. The
central question of this research is: what can the narratives of the ‘quadrilheiros'
memories reveal about the soteropolitan quadrilhas juninas characteristics? It
presents mapping of groups of Juninas Quadrilhas in the Metropolitan Region of
Salvador and the history of local, regional and national competitions as important
spaces for transformations. I plead that Toré, a dance referring to the Kariri-Xocó, as
a path to the modality breaks down the quadrille floor, whose way of dancing consists
of stamping the feet in the strong tempo of the music, usually the pace of the march;
From the perspective of the conceptual choices that underlie the theme and the
central question of this research, the basic assumptions and the ways to analyze the
data, I choose a cross-theoretical and methodological framework. In this direction, to
address concepts of Dances, cultural manifestations and Dance of Brincantes, I
quote Monteiro (2011), Tinhorão (1972), Leal (2004), Chianca (2013), Martins (1997)
and others. Resources such as interviews, videos, newspapers, photographs,
personal collections and experiences as a gang dancer served as a contribution
because I am a participant subject. Addressing cultural studies and decolonial
perspectives, Stuart Hall (2003), Santos (2018), Luz (2000), Hampâté Bá (2010). In
the specificity of cultural policies, the studies by Rubim (2014), Carvalho (2012),
Carmo (2010). As for the methodological path of the research, I choose the
qualitative approach, according to Lüdke and André (1986), removing contributions
from the strategies of data collection, analysis and treatment according to the
guidelines of action research, Thiollent (2011). I present as a research action, the
creation of the Permanent Forum of Quadrilhas Juninas, promoting collective spaces
for reflection and debates in search of public policies for maintaining this cultural
segment.

This work presents notions of nakedness in dance, which may or may not presuppose the nakedness of a body, based on the solo Masturbatório (2014) created by William Gomes; guided by Practice as Research methodology with Ciane Fernandes (2013), inspirations of falling from Ailton Krenak (2019), relations between spectator and audience from Jacques Rancière (2012), intersections of visible and invisible from Kuniichi Uno (2012), about learning to be reborn from Maryse Condé (2019), mestiza and mestiça perspectives from Gloria Anzaldúa (2005; 2016) and miscegenation in Brazil with Kabengele Munanga (1999). The nakedness here presents possibilities that can contribute to studies in dance creation processes and clues to point out questions about how we can study an artistic work to elaborate an academic research, aiming to hold the researcher body responsible from the violence, inheritances and / or privileges that constitutes it in your skin place. As well as developing appointments for a mestiça perspective in order to correlate body, nakedness, privileges and violences from non-linear understandings and temporalities.

The research centers on an exploratory case study on the utilization of dance in
the process of rehabilitation of a group of children with cerebral palsy. In this
context, the notion of dance as an exclusively therapeutic art is expanded to
understand the concept of dance as a cognitive action of the body. The theories
of the embodiment are utilized (LAKOFF & JOHNSON, 1999) in association with
the concepts of neuroplasticity (LENT, 2001; KOLB & GIBB, 2011;
RAMACHANDRAN, 2014; BERTHOZ, 2017), and the principles of learning
(MATURANA and VARELA, 1995) affection (DAMÁSIO, 2004; SILVA, 2015) and
cognition associated with dance (KATZ, 2005; CALVO-MERINO, 2004 and 2006;
CROSS, 2012; WACHOWICZ, 2009; HAGENDOORN, 2012). The field research
was done in a child rehabilitation institution with children with cerebral palsy. The
main directions of the work are discussed and also how develops the body selfperception
of these patients and the understanding of the subject by the
therapeutic team. The purpose of the work is to contribute to the dissemination
of the understanding of Dance as a specific field of knowledge, in areas other
than Arts, such as Health

This research seeks to reflect on the dance degrees’ curricula of the School of Dance at the
Universidade Federal da Bahia. It deals with pressing issues, such as Gender and Sexualities,
by talking to and for a Queer Pedagogy. Highlighting the importance of this knowledge in
institutional actions (curriculum, Pedagogical Course Project, pedagogical planning) and
acting in the agents (managers, professors, students) corroborates with the struggles of
homo/lesbo/transphobia. When perceiving the normative (heterogeneous) procedures that are
evidenced in the curricula, we try to promote instabilities, transgressions and nondichotomous
arrangements of the Queer Theory to subvert the pedagogical logics of Higher
Education Institutions (HEI). The understanding of the body as corpomídia (KATZ and
GREINER, 2005), as corponectivo (RENGEL, 2015, 2007) and co-formed and co-produced
(BACCHETTA, 2009) collaborates on the dissemination of body discourses such as gender
and sexualities. Forms of access, in graduations, to this field contribute (or not) to a
problematizing, fluid and challenging approach to binarisms and essentialisms. Curriculum
analysis, bibliographic review and questionnaire responses were research procedures in line
with Post-Critical Methodologies in Education (PARAÍSO, 2012). These methodologies,
which emerged as a pedagogical analysis locus of undergraduate courses, promoted
interlocutions with a queer pedagogy when reflecting, constructing and deconstructing
pedagogical actions. The epistemological intersection between the Queer Theories (BUTLER,
2017a; SPARGO, 2017; REA, 2017), of a Queer Pedagogy (LOURO, 2015; MISKOLCI,
2016; PARADISE, 2018), sexualities and gender (FOUCAULT, 2014, 2017), the possibility
of an incarnate curriculum (MOLINA, 2015) in dialogue with queer pedagogy and studies on
pedagogy (D'ÁVILA and MADEIRA, 2018) intends an updated teaching with a connection to
sensitive questions. It is expected that new curricula will be structured, based on an
understanding of queer pedagogy, intending to empower professionals, the field and society
by stimulating research, critical thinking and approaches to differences.

The dissertation “Body Tiles: empowering metaphors in the Grupo Poder Grisalho
dance processes” (GPG) aims to identity and reflect on the use of metaphors in the
educational artistic processes with eldery women who belong to this group. It
approaches to indicate possible empowerment actions which contribute to the
process of recognition of aging leading to greater self acceptance and self pride. It
also involves recognition of eging knowlegde, learnig and living. Using theorical
frameworks helped to explain, discuss and analise empowerment actions in a shared
way with these eldery women and their dance classes experiences. It also helped to
explore their understanding of dance as a cognitive action of the body, body
languages, configurations in dance, changes, transformations, connections and
achievements. The qualitative research study consists of a developed study in way of
a research action (THIOLLENT, 2011). In teaching/learnig actions, the
methodological procedures present as group practices that encourage doing and
sharing productions in dance through the notions of Kinesiology, improvisation and
verbal language games using empowering metaphors. This reseach seeks its
constituition as methodological procedures by means of pedagogical actions which
deal with the art of dance in the aging, empowered, emancipated processes of these
ladies. This study also presents relevant meaninful contributions on teaching/learning
actions for them. Semi-structered interviews were conducted, analysed and used as
part of the results of this research. The main references are Rengel (2007) on the
proposition of the metaphorical procedure of the body as a cognitive process, Nunes
(2014) who explains the group interactions, the personal and collective
transformation, and Rancière (2002) who proposes an educational approach to the
dialogic processes that are based on the equality of the intelligences and their
elimination of hierarchy. Through the analysis of the interwiews it was possible to
identify questions and possibilities for reflection both related to the use of
empowering metaphors and the emancipation of the GPG and related to the dance
processes as building a self-recognition of their aging process. Co-influences can be
identified in all dimensions of life and the lives of these ladies, as well as the feeling
of being able to reach new challenges so that they can share their knowledge and
experiences to themselves as well as to other ladies outside of their group. Thus, this
study points limitations but also possibilities for further and deeper researches, poetic
existences and resistances, and perspectives that can be faced by these elderly
women. Social and academic relevances play an important role in contributing to the
continuity of further studies that adress art and actions of dance developed with a
group of eldery women.

This dissertation is a cartographic experiment (PASSOS et al., 2015) that aims to offer an expanded view of the field of Dance to different audiences, especially those entering the higher education of Dance. Therefore, it was decided to invest on connectivity between different areas of knowledge, especially Philosophy, in order to promote immersive moments in different subjects that concern dance-life relations. A cartographic experiment presupposes an understanding of methodology that is constituted during the writing itself and whose intention is not the search for a solution, but the nutrition of a system that changes from the perspective of difference. It is of the utmost importance to recognize in this dissertation the experiment of a dance and a life, in view of the necessity of an inhomogeneous position before these two concepts. It is in the meetings of authors such as Gilles Deleuze, Michel Foucault, Giorgio Agamben and choreographers such as Steve Paxton, Merce Cunningham and Rudolf Laban that this dissertation offers the beginning of a conversation or clues to “open the body” to dialogue in regards the close and almost confusing dance-life relationship.

Xote com A comes up to flourish the following role of woman in forró pé de serra ball,
more specifically in dance. This study explores the reasons why the ball and the forró
pé de serra can be oppressive to women, especially for the ones who identify
themselves as followers - the people there are being conducted during the dance.
Therefore, the ball way to dance/teach forró pé de serra, its traditions, conventions
and habits can reinforce oppressive forms of dancing. This paper aims to articulate
the power relations among genders at forró pé de serra dance and their included
context approaching towards an interdisciplinary epistemology and feminist
methodology. The research methodology used the literature review, active field
research (SCHMIDT, 2006) with ethnographic atitude (PIMENTEL, 2014) with visit
and participations in the capital at São Paulo’s balls and by research
pedagogic/artistic with the group 3ª Categoria. Delving the understanding of the
research, I took music and dance classes to improve my techniques, and intensified
music lyrics analysis as well. The theoretical references passes through cognitive
sciences (DAMÁSIO, 2011; KATZ; GREINER, 2001, 2003, 2005; RENGEL, 2015,
2007; TOMASELLO, 2003); South epistemologies (SANTOS, B., 2018); forró pé de
serra history (SANTOS, C., 2014; 2013; MATOS, 2007); feminisms (RIBEIRO, D.,
2017; BIROLI, 2016, 2013; BEAUVOIR, 2016; BERTH, 2018); learning processes
(FREIRE, 1986, 1987; NEVES, 2010); masculinity and nordestinidade stereotypes
(ALBUQUERQUE JR, 2011, 2013; TROTTA, 2009, 2012, 2014). As results we'll be
able to contribute with practical theoretical dada and in the search of historical
understanding, including recently. The intent was and it is to propose a
pedagogic/artistic, practical/theoretical work with forró pé de serra that reflects and
questions its context in the colonialist, capitalist and patriarchal relations on society
and in this dance.

Through recent artistic experiences, with a special focus on "Cualquiera! Cualquer cosa sobre todo en mi" traces a relationship between the concept of heterosexuality, under the theoretical support of the Afro-American researcher Ochy Curiel, and possible creative resistances, inspired by aesthetics by pornography, materialized in the work of the performer and poet Diana Torres. Taking into consideration the fact that the colonial period was of fundamental importance in the heterosexual and racist construction of the imaginary of nation, it is necessary that the epistemological tessitura of this text goes through a black gaze and shoe, under understanding that the embodied knowledge of these existences are of fundamental importance in the destruction of colonial imaginaries. The body is here extended to the erotic, passing through knowledge, and embodying anticolonial revenge, materialized in artistic creations, immersed in the context of the drag queen art located and experienced in the city of Salvador - BA, performance and movement. The concept of eroticism is worked from two distinct perspectives, revealing the disembodiment of modern scientific knowledge, whose efficiency rests on a masculine and white neutrality. Audre Lorde, a black woman, lesbian, mother, artist, activist and poet, and the French philosopher Georges Bataille, a white man, heterosexual, anthropologist, sociologist and writer, are the body as a marking and demarcation of speech. presented in relation, evidencing the differences arising from the theoretical formulations around the concept of erotic, from the perspective of each author. Methodologically, the artistic practice developed throughout the research is responsible for the conduction of research, data collection, organization of material raised and consideration of the body as producer of knowledge. Created during this research process, the "Cualquiera! Cualquer cosa sobre todo en mi" sewing this text in terms of visuality, metaphor, incarnation of trauma and violence, body organization and aesthetic composition of the violence suffered, the purge of the colonial image and the formulation of revenge. I could experience a series of shared vengeance and move toward the meeting, realizing the strength of space and time shared between distinct existences that meet and spark at the very moment of suspension are in their wounds

This study aims to analyze whether national and state education public policies include Art / Dance as part of the curriculum in the context of public schools in the Brazilian state of Minas Gerais and whether qualified Dance graduates are inserted into the curriculum. For this analysis, an online questionnaire was completed by Dance degree graduates from the Federal University of Minas Gerais (UFMG) and The Federal University of Viçosa (UFV), these being the only two universities offering a Degree in Dance in the State of Minas Gerais. Looking at the results of these questionnaires and also at the legal basis and curricular directives in relation to the teaching of Art in Basic Education, we analyze microdata from the School Census (2017), through which we obtained a panorama about the teachers working in the curricular component of Art and Dance, both on a national level and in the State of Minas Gerais. In order to increase the amount of qualitative data, semi-structured interviews were carried out with five qualified Dance teachers working in different schools and municipalities in Basic Education, and with an educational manager from three municipalities containing graduates participating in this research. The data was analyzed using quanti-qualitative methods (Creswell e Clark, 2007), and was triangulated with the analysis of various documents related to education policies on a national level and in the state of Minas Gerais. In this study, three educational networks were identified as being those in which the Dance graduates who participated in the study were most present: the municipal education network of Juiz de Fora, which showed the most positive scenario concerning the appreciation of Art/Dance in public education policies, the state education network of Minas Geraism and the local network of Viçosa. In the latter two networks, the results show that the public education policies do not contribute to the insertion of Dance, and classroom hours for the teaching of Art have been reduced, with this subject being by teachers without qualifications in this area. Based on the data obtained in the research, we observe that the relationship between national, state and municipal public education policies and the school context, occurs in different ways. Despite the fact that Dance is present in some schools, we can see that selections are not always made via public selection exams used to qualify Dance degree graduates as teachers of this subject area within the curriculum, meaning that these teachers work for only short periods within the Basic Education system. We observe that, in the contexts analyzed, there is a variation between: 1- the understanding of Dance as belonging to the area of Art, at the moment of contracting the role, 2- the multi-purpose role of the Dance graduate teacher and 3- different perspectives in schools in relation to the presence of Dance present in the school context. In general, based on the data collected in this study, we can see that there is still an insignificant presence of Dance teachers in Basic Education, as shown in the microdata of the School Census (2017). Furthermore, in the specific scenario of school networks in the State of Minas Gerais and in the local area of Viçosa (Minas Gerais State), the education policies of these contexts do not contribute to the effective insertion of Art/Dance in accordance with national public policies.

This dissertation aims to approach the research and creation of an artistic process that is
being studied with and on the corta-ventos of the Banda de Congo José Lúcio Rocha de
Airões, district of Paula Cândido-MG: Maria de Lourdes Mateus and Marcelly Cristina
Mateus Celestino. Grandmother and granddaughter, quilombola black women, tell, sing
and dance their stories in afrographs – the oralituras named by Leda Maria Martins
(1997). The choice of this research is due to my trajectory as a black woman and the
main relevance of dance studies in reference to Afro-Brazilian popular cultures and
Afro-Amerindians. Congado, a local culture in Minas Gerais, is my study started in the
undergraduation in Dance at the Federal University of Viçosa (UFV) and it continues in
this master's degree. The highlight for black women is a political choice due to our
protagonism still little recognized and also for my life interest in this study which runs
through an anti-racist struggle in the context of structural racism. To present my
standpoint speech, I dialogue with Djamila Ribeiro (2017) about intersectionality
(RIBEIRO, 2017; AKOTIRENE, 2018). In order to articulate my theory and
methodologies and the paths of artistic creation, I chose the authors: Leda Maria
Martins (1997; 2002; 2003), who deals with oral reading and Afrography; Conceição
Evaristo (2003; 2016), which conceptualizes the escrevivência; Armindo Bião (1995;
1999) and Daniela Amoroso (2009; 2019) – references from ethnocenology and,
specifically, from Skènos, device of research and creation developed by Daniela
Amoroso (2009; 2019) –,that support the methodology chosen for this work based on
the ethnographic description in the body and in laboratories of research and creation;
and Renata Silva (2011; 2012; 2014; 2015), reference of the dance creation process.
With all these guidelines, I trace spellings in the dance in the process of creation named
Andeja nos Ventos, presented in the dance and textual writing.

This work is a dissertation and describes what is entitled: “Microdance of hands in
fado: corporeality in the creative process of the show “Emergencies: black bodies!
What beauty?”” Here I present and discuss the microdance of hands in fado, a
concept born from my perceptions and practices as an artist that deals with
corporeality from the perspective of the construction of my show. The show, wich
makes a seam of dance, music and poetry, has as its framework of movement
research the corporality in the observation and video analysis of fado singer Amália
Rodrigues. Sometimes it brings, just for the sake of collation, the corporeality of the
samba-song singers among other poetics. “Emergencias…”, inspired by Mário
Quintana’s poem Emergência, dialogues with the poetic urgency and talks about the
importance of the presence of the female black body in the scene. It also talk about
how the imposition of limitations on its corporeality, in the social sphere reverberates
in its most varied representations and ways of being in the world, including the artist
making. There are many other studies, but for the purposes of this work I argue –
supported in part by a review of the literature devoted to the theme, in part by my
own artistic experience as a singer and dancer – that fado has matrixes in Afro-
Brazilian music and dance. Their manifestations suffered varied influences of
historical, social, cultural and political order, thus changing, over the years, the
corporal movement of their singers. The basic assumption for this investigation was
therefore: the role attributed to the socio-historical contexts of fado singers in limiting
their interpretative movements: their corporeality. Therefort, and only from the
perspective of my work, I will make a brief historical review of the common matrices
between fado and samba, bringing to this discussion Brazilian and Portugueses
authors. With regard to dance and corporeality, the relevants concepts that help
enrich the theme of this research will be presented here. This work, in continuous
process, is a prerequisite for obtaining the degree of Master in the postgraduate
program in Dance, and brings in its composition information about the elaboration
and development of the project, the explanation of the creative process and their
products. It is also worth mentioning that it lends itself to the socialization of the
developed activities and as systematization of the research presenting, in detail, its
steps, the steps taken and the non-given ones in its accomplishment, seeking
consonance with the reasons required to the nature of this research.

This research deals with the coimplication between discourse and dance in the artist’s
creative processes. For this, it proposes the elaboration of an equation between the
terms body, speech and dance, far from a deterministic logic. Here, discourse and
dance are characterized as two possibilities of producing knowledge that it is always
related to the body, since they come from its condition of producing them. The body
operates in a flow of changes, it is constituted of provisional states and in this
procedural character, speech and dance are co-evolving as productions of the body.
Producing a dance and producing a speech about this dance are actions of the same
body. The configuration of the equation proposed in this dissertation presents a way
of understanding that body, speech and dance as three instances of this same process.
Although they have different aspects, they are intertwined, because in the body, they
are simultaneous processes. The raised hypothesis is that the body, speech and dance
operate in a logic of simultaneity because both occur at the same time, and somehow
both are being reformulated, that is, are co-affected. Different from attesting to the
condition of unity, the proposition is to discuss the specificities of each action, to dance
and to write / talk about dance. The processuality of the body presupposes a condition
of non-causality in this relational process. To understand this equation whose terms
do not separate themselves from each other, each term was presented as a
perspective of the process. In the perspective of the body, the articulation with Dawkins
(1979), Prigogine (2009), Bittencourt (2012) and Britto (2008) allowed discussing the
temporality of the body as a possibility to understand its procedural and unstable
nature. From the perspective of discourse, Brandão (1998), Maingueneau (2013) and
Foucault (1999) made possible the understanding of discourse as a construction of
meanings related directly to its production conditions, its social and historical character.
And from the perspective of dance, the accounts of Setenta (2008) and Tridapalli
(2008) were the references chosen to share the possibility of thinking dance as a
process of constitution of the subject. Each one of these perspectives presents itself
as a point of view on the process of the artist’s dance composition in the relations
established with what is in between, between dancing and discourse, which is seen in
between-views.

The presented research has a deepen understanding of the issues concerning
costume worn in contemporary dance and the ideas that reverberate from it. Therefore,
the focus in here is to point out costume as a meaningful and no determined scene
prop, a neutral outfit. The here mentioned neutrality is based on the studies of the
sociologist Roland Barthes (2003), in which he discusses neutrality as being different
from the common sense: neutral as inexistent. In order to support the here mentioned
studies, I bring a brief panoramic historical study on outfit and dance done by Antônio
José Faro (2011), the concept of clothing and fashion from Malcolm Barnard (2003),
the ideas on what is contemporary from Giorgio Agamben (2009), the definition of
image given by Adriana Bittencourt (2012) and some other authors mentioned
throughout the text, are essential to a better understanding of the discussions in this
work. The development of the here presented analysis have as foundation the following
works on contemporary dance: Encarnado (2005) by Lia Rodrigues Cia de Dança, and
Partes Sem Roteiros (2008) by His-Contemporâneo de dança, they both present outfits
that do not follow a linear narrative in scene, as well as, the changing and widen
possibilities of interpretation.

This dissertation presents research clues about the silence in the dance, through a
cartographic writing that also invites to a state of cartographic reading. This
methodological-compositional strategy adopted in the work proposes composition
and invention of reading, in an invitation to the reader to follow the trail of her/his
desire. In this sense, silence is understood as a provocateur of senses, discourses
and presences, having as main references the contributions of ORLANDI (2007,
2015) and GUMBRECHT (2010). The research proposes the poetic analysis of the
dance works "Amarelo", by Elizabete Finger (2007), "Vestígios" by Marta Soares
(2010) and "Entre Ver" by Denize Stutz (2015), whose focus is to discuss the
understanding of silence in each of the works. It is important to note that silence
does not constitute the motifs for the creation of these dances, but is identified in
them from certain compositional procedures, related in turn to certain notions that
attribute specific qualities to the works: anthropophagous silence, sambaqui
silence and empathic silence. To this analysis is added the investigation of the
silence in my own artistic trajectory, which I denominate of woolfiano silence. The
questions developed in this dissertative tessitura have implications on aesthetic,
political and gender discussions, seeking to contribute to the field of dance in
concerning to the appreciation and analysis of artistic processes.

This is a black LGBTQI+oriented and activist research whose aim is to analyze and
reflect on the Brazilian ethnic and racial relations and how such complex social and
cultural expressions impact the dance education in the universities.This research
was developed at the Dance School of Universidade Federal da Bahia (Federal
University of Bahia).Questions are raised on the cultural and cognitive effects of
both lack and presence of knowledge of Brazilian and African black cultures and
ethnic and racial relations. Such awareness is essential to decolonize the
knowledge required for future dance teachers, whether they are teaching, learning
or creating.Laws 10.639/02 and 11.645/08 require that the History of African,
African-Brazilian, and Indigenous People be taught in the Basic Education. The
Epistemologies of the South (SANTOS 2010; 2007) allows us to acknowledge the
epistemicide of knowledge provided by black researches, artists and intellectuals on
dance, according to Asante (2009).The African-centered Disobedient Dance and
the Exu-based artistic methodology allow us to reflect on the social, economic and
cultural situation of the black people, from their life in Africa to the subsequent
diasporas. The Dance and the methodology are introduced herein as a decolonizing
tool and an African-centered way related to the action research concept
(THIOLLENT, 1986) so as to present the learning and teaching of black aesthetic
dances as an emancipatory contemporary artistic and a pedagogic body project
within the “place of speech” (RIBEIRO, 2017) in order to bring to light the black
epistemes on dance and education under an intersectional approach concerning
race, gender, sexuality and class.Having in mind the cultural and cognitive harm in
the teacher’s education and on dance teaching, based on the Cognitive Sciences
(LAKOFF; JOHNSON, 2004; 1999) the “black activist metaphors” are introduced as
an alternative to empower the “black population”, a political position (MUNANGA,
2016; 2015) of counter-device (AGAMBEN, 2009) towards the “colonizing
metaphors” found in the dance and its mirroring (RAMACHANDRAM, 2014).This
research was based on bibliographical review, critical analysis of complaints against
teachers for racism, academic and artistic events, pedagogical projects, seminars
and other educational actions undertaken by the Dance School and related to the
issues presented herein.The outcome revealed the existence of institutional racism
with the epistemicide, a symbolic violence perpetrated against black knowledge and
bodies, as well as the complaints about racism.The racism issue faced by black researchers and artists are only discussed wh eann dc othnev ecnhiaelnletn agneds
useful for the political dispute in the institution, maintaining the white institutional
power and its Eurocentric epistemes.Activist initiatives from students (most of them
black) with the creation of artistic works and research groups for the ethnic and
racial issues were also considered for this study.Despite some progress, there are
setbacks to the Dance School (UFBA) and they demand more time for analysis.The
identity policy in this School still reproduces the Eurocentric epistemes as essential
knowledge.There is no political and pedagogical project to effectively prepare new
teachers on their sapproach pursuant to the Law 11.645/08 and to the ethnic and
racial studies at school.

This master thesis reports parameters on digital dance, it investigates the
convergences of the media, as well as, the concept of intermidiality in the field of
dance, and from these reports, presents categories of analysis for artistic
configurations. For that, it was necessary to investigate artistic configurations that
effect its art through negotiations or crossings of digital media. Expanding this
knowledge, it was essential to apply configurations analysis based on the
subcategories presented by Rajewsky (2012) and the studies of body and technologies
in the artistic field by Pimentel (2008), we create records categories for analysis of
configurations and with this purpose we expanded the knowledge of digital dance
observing the relationship of immersion proposed by Machon (2013). From the
cataloging of categories, we identified parameters of analysis that contributes to critical
writing in art mediated with technologies, as we also propose a category of analysis
properly focused on artistic configurations in the field of digital media.

The research aims to study the artistic experiences developed during the ten years of the Balé Jovem de Salvador (BJS) in order to recognize the learning processes that are contained in these experiences and which result in the qualification of young people in Dance. The BJS has been organizing itself as a Dance company that aims to collaborate with the social participation of young dancers in the field of Dance, seeking to narrow possible distances between educational institutions and companies, groups and artistic collectives. From this perspective, we ask ourselves: how can a Dance company constitute itself as an educational environment? The objective of the research is to systematize the artistic practice developed by the BJS and to discuss it as a significant experience for the education of young people in Dance. It adopts as methodology the action research (THIOLLENT, 2011) defined based on its empirical and qualitative nature, in which the relationships between researchers and other subjects involved in the investigated situation are characterized by engagement and participation. In this research, we identify constitutive elements of the praxis exercised by the company that articulate themselves interdisciplinarly: the autonomy of the subject, the artistic production and the political participation. We emphasize the educational dimension of artistic experience in the sense of demonstrating how artistic experiences can constitute learning processes. To give substance to the discussion, we focus on the following concepts: dialogia, based on the work of the educator Paulo Freire (1967, 1987, 1996); experience based on the contributions of philosopher John Dewey (2010a, 2010b) and of Philosophy of Education professor Jorge Larrosa (2002); emancipation from the perspective of the philosopher Jacques Rancière (2002); as well as the concept of cooperation through the reflections proposed by sociologist Richard Sennet (2012). Finally, we present the systematization of the company's artistic praxis by addressing conceptual, procedural and attitudinal issues through participant observation, and highlighting the aesthetic-political implications of research. It is expected that the debate on the role of an educational Dance company may contribute to educational institutions and reflections in the context of public cultural policies.

The research discusses the process of creating the Dance Degree Program at the Faculty of Architecture, Design and Arts at the National University of Asunción, Paraguay, identifying two phases in the process of conformation of the program. There is talk of a phase of "Initial Consensus", to account for the series of plans prior to the implementation of the Program researched, and a phase of "Incarnate Curriculum" to refer to the series of curricula that happen in the daily relationship between the actors -authors protagonists of the curricular scenario from the implementation of the Degree Program in the instances of FADA / UNA and the entry of a heterogeneous group of professors and students to the mentioned academic space. The interest of the research is to problematize the authorization processes (MACEDO, 2013b) that the curricular subjects involved play in both phases, analyzing both the construction exercise of the provisional curricular consensuses at the beginning of the program, and the way in which new plans are implemented of meanings from the meetings between the protagonists of this formative process and the consequent transit of knowledge that reconfigures and updates the curricular contents instituted. The chosen methodology is the implied research (MACEDO, 2012), based on the understanding of our place of implication within the research, having been a subject of the analyzed experience. We performed 39 semi-structured interviews with key informants and 2 focus groups of consultation with students of the first and last semesters of the selected program. Moving toward the conclusions, the existence of opposing perceptions and discourses among the actors involved in the Degree Program is examined, for the moment disciplinary-conservative readings and critical readings maintain permanent disputes. This confrontation becomes visible when certain actors-authors conceive the pedagogical processes in dance as an inventive and non-reproductive learning field (KASTRUP, 2012), in counterpart to other actors-actors who understand the formative processes in dance as tools of instrumental rationality to solve specific problems. The divergences also become visible in the reproduction of binary discursive schemes such as the dichotomies between body-and-mind, theory-and-practice, and the divergent readings that pose dialogic bridges to get out of the dichotomies.

The work initially addresses concerns about gender and sexuality addressed through dance
and performance: The solo "XL," a re-reading of the Giselle ballet, where instead of seeking
to conform to rigid models imposed by tradition, I proposed to reflection on the various
patterns that constrain human existence, among them, the protagonist's interpretation: I, black
homosexual and inhabitant of Salvador's periphery would embody Giselle. Judith Hannah
(1999) discusses the well-defined roles in dance, linked to anatomical and physiological
factors that echo messages of domination and naturalize hierarchies, and find theoretical
support in Judith Hannah's "Dance, Gender and Sexuality". Then I write about the "Queer
Scene" - a meeting of dance / performance works in the traffic with other languages
(audiovisual, music and plastic arts), exhibited in a series of presentations in alternative
spaces and theaters in Salvador, where the (1990), Preciado (2000), and Colling (1990), and
the literature on gender and sexuality in the literature on sexuality and sexuality. (2003)),
fundamental for the development of writing, guided by the methodology of implied ethnology
(MACEDO, 2012), I finish the work reflecting and elaborating a critical thinking to think
about dissident art of gender and sexualities in dialogue with the Queer studies produced in
Brazil through contact with the artistic and theoretical production of the essayist and
performer Jota Mombasa or Monstra Errátika, and the artists Michelle Mattiuzzi and Pêdra
Costa.

This research analyzes instances of political representation in dance that make
proposals for public policies in Salvador. The objects of this research are
associations, forums, group of artists, collegiate bodies, councils, among other
configurations of class representation. The hypothesis is: the collaborative
articulation of the instances of dance representation in Salvador directly interferes in
the construction of specific policies for the sector, in all federative instances. The
approach is both quantitative and qualitative, a participant research, in the light of the
theoretical contributions of Marila Vellozo, Albino Rubim, Dennys Cuche, Antonio
Gramsci and Noberto Bobbio. The analysis of these instances sought to understand
the profile of these subjects, their discourses, contexts, organization and
understanding of cultural policies, based on the context of the institutionalization of
policies, goals and programs formulated for the dance sector from 2003 to 2016.
Throughout this research were evaluated the advances, practices and articulations
that contributed to a broader understanding of the transdisciplinary and collaborative
nature of these subjects and organizations. The research protocol used was the
documentary analysis, interviews and the application of a semi-structured
questionnaire. It is concluded that these instances of political representation in dance
participated actively in the formulation of important legal landmarks to the cultural
policy in the city of Salvador, in the state of Bahia and even in Brazil, mainly between
2007 and 2014. These organizations acted singly and collectively in agendas that
discussed the institutionalization of culture; drew up and implemented representative
instances of the dance in dialogue with public administration institutions, both at the
state level and at the federal level; contributed to the elaboration of important
research and diagnostics about the qualification of the cultural policies in dance; in
addition to other achievements at the symbolic, political and professional field, even
in the face of low resources and infrastructure.

This research emerges from concerns in the field of contemporary Brazilian dance
production that imply a reexamination of dominant epistemology in the face of new
perspectives anchored in the emerging experiences of the South. As a problem, the
visibility of some productions and discourses that are hegemonically Contemporary
dance produced in Brazil, promoting the invisibility of other knowledge and dance
performances. As a crucial question, some knowledge productions and dance
discourses will be analyzed, based on the experiences of some Piauí artists who are
inserted in this context, permeated by hegemonic knowledge and that end up
causing the appearance of abyssal lines. It is worth highlighting the importance of
identifying devices that are maintained as hegemonic thoughts and that promote the
invisibility of knowledge that is forged by visibility. It will also be discussed the
importance of knowing and giving visibility to the diversity of knowledge of some
discourses and knowledge popular dances that are systematically associated with an
exotic context and are not contemplated, neither in contemporary dance circuits nor
with specific programs. This concept is based on the ideas of Santos (2007), which
analyzes the abyssal lines and suggests to think of epistemologies of the South as a
counterpoint to Eurocentric knowledge, in order to reflect on the importance of
investigating the wasted experiences, constructing new postures and modes of
Reflect the production of knowledge in contemporary dance. And it will be in front of
the ecology of knowledge and its discourses of possibilities, that we will go through
the epistemologies of the South in the argumentative construction of this dissertation.
They will also be with us, Agamben (2009), with the concept of contemporary,
Bittencourt (2012), which addresses the event, aiding our dialogue in transit and
Moura (2000), who, in this research, contributed to the construction and discussion of
the Ways of thinking dance and its political and artistic performance in the world.

This dissertation addresses the reality and specificity of the practices of improvisation
in dance in three locations in Latin America through the review of four proposals:
Extensiones del pe(n)sar in Buenos Aires, Argentina; DANZAS CALLE in Santiago,
Chile; La Salvajería in Santiago, Chile; and Grupo X in Salvador BA, Brasil; Looking
for reflect on the position of professional dance artists in relation to the practice of
improvisation as do non-commercial purposes.
In the course of the investigation, aspects of the particularities of arts works,
specifically in contemporary dance, ways to get involved in improvisation in dance are
addressed, and some of the issues related to financing and management, together
with the solutions driven by each revised proposal.
This way is woven a network of reflections across the perspectives of dance and
philosophy authors mainly, Bittencourt (2010), Giannini (2007), Bardet (2012), among
others; together with the comments of the artists of the three cities mentioned,
appreciation of the author from his experiences in participatory observation and from
its experience in the field of improvisation in dance.

The proposal of this dissertation is to think that the singularities of the dances
by Trisha Brown is in a understanding of meteorological space.
Our investigation focused on the relation between her choreographic works made for
the outside environment, phase known as Early Works, and the posterior moment,
when her works were produced for the traditional black box theatre building.
Digressions from the Renaissance period of King Louis XIV, and the emergency of
ballet as a professional affair had to be made in order to expose how the renaissance
perspectivated space, its logics, práxis was placed, forged. That space model was,
later, reiterated and mathematically developed by Isaac Newton and acknowledged
as "absolute space”. Those digressions were necessary because that model of space
remains strong, even five centuries later, framing our perceptions, and experiences
not only in dance but in several other fields. It is the space thought as an empty box
waiting to be occupied, a priori, neutral, non historic, and timeless. Our claim is that
the works of Trisha implicates the contrary, that is, a relational, time tensed,
historical, contingent model of space. And even more specific, of a meteorological
space. As such, Trisha’s space is open to uncertainty, sensitive to minimum noises,
accumulations of possibilities.
Our main theoretical support were the following theories: Profa. Helena Katz and,
Profa. Christine Greiner’s corpomidia, Distribuited Cognition by Prof. Edwin Hutchins.
Charles Sanders Peirce semiotics, and the doctorate thesis, about the spatial
composition in dance, by Profa Dra Dulce Aquino were also highly taken in account.
Our claim is that the works of Trisha implicates a relational, time tensed, historical,
contingent model of space, and finally that of a meteorological space. As a
meteorological, Trisha’s space is open to uncertainty, sensitive to minimum noises,
and the accumulations of possibilities.
Our theoretical support were the following theories: Profa. Dra Helena Katz and, Profa.
Dra Christine Greiner’s corpomidia; Distribuited Cognition by Prof. Edwin Hutchins.
Semiotics of Charles Sanders Peirce, and the doctorate thesis, on the spatial
composition in dance, by Profa Dra Dulce Aquino were also strongly taken in account.