Banca de QUALIFICAÇÃO: DEBORAH MAIA DE LIMA

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
DISCENTE : DEBORAH MAIA DE LIMA
DATA : 10/10/2019
HORA: 14:00
LOCAL: Sala 10 - Escola de teatro (virtual)
TÍTULO:

MARIA FUX'S DANCE TEACHING: FUNDAMENTS AND PRACTICES 

PALAVRAS-CHAVES:

María Fux; fundamentals of dance teaching practice; conceptions of dance education; somatic principles.

PÁGINAS: 450
GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Artes
SUBÁREA: Dança
RESUMO:

This thesis describes and analyzes the teaching of dance by María Fux, as she develops it in her Creative Center of Contemporary Danza located in Buenos Aires. Despite María Fux's notoriety in Argentina, as well as in several countries in South America and Europe, her practice remains little studied and is known primarily for the bias of her written works, which are mostly personal and biographical reflections (Fux , 1979, 1982). Known by the name Danzaterapia, there are constant disagreements about the understanding of this practice, as well as the different understandings about what it fulfills, which impels us to carry out an in-depth study, the main question of which is: What are the fundamentals and the dance teaching practices of María Fux? Four sub questions were asked: 1) What are the conceptions that base the teaching of dance by María Fux? 2) How are these conceptions manifested in your dance teaching? 3) What are the contents that structure the teaching of dance by María Fux? 4) What are the somatic principles that emerge from María Fux's dance teaching?
This study adopts the post-positivist paradigm, which seeks to interpret or understand a particular research context (Paillé et Mucchielli, 2016), constituting itself as ethnographic research and adopting an understanding-interpretive intellectual position as an epistemological stance. This study comprises 16 participants, María Fux herself, who is the central subject of the research, and 15 complementary participants: her two collaborators, her assistant, six of her students, two mothers of her students, two members of the dance field in Argentina and two members of the therapeutic environment. This diversity of participating subjects allowed the understanding of the various aspects that surround their practice of teaching dance. As data production methods, semi-structured interviews, observant participation of the researcher and the analysis of five class records by María Fux were obtained from video recordings during the years 2014 to 2016. The analysis method adopted for this study was thematic analysis, from which three thematic trees were generated: Biographical Portrait of María Fux; Conceptions that base her dance teaching and Dance Teaching Practices by María Fux.
From the results obtained it was possible to identify six pedagogical means used by María Fux: 1) Use of humor; 2) Use of the imaginary; 3) Identification of the orchestra conductor; 4) Modeling of danced movement; 5) Organization of space to motivate student engagement; 6) Creation of a sound universe to engage the student in dance. It was also possible to identify the structuring of María Fux's classes in 4 key moments: Meeting with students, Activation in the "small space", Moving around in the "large space", Improvisation to integrate the experience of the dance movement. The human values found in this practice, and the original creativity (Chopin, 2015) that it offers, highlight an artistic and somatic contribution in his way of teaching dance.

MEMBROS DA BANCA:
Presidente - 102.106.258-80 - ELOISA LEITE DOMENICI - UFRB
Interno - 1560873 - DENISE MARIA BARRETO COUTINHO
Externo à Instituição - CAROLINE RAYMOND