DSpace Coleção:https://repositorio.ufba.br/handle/ri/72442024-03-29T12:50:57Z2024-03-29T12:50:57ZAS NOÇÕES DE TRABALHO NA DANÇA EM GRUPOS, COMPANHIAS E COLETIVOS BRASILEIROS E SUAS RELAÇÕES COM AS POLÍTICAS CULTURAISLUZ JÚNIOR, MATIAS SANTIAGO OLIVEIRAhttps://repositorio.ufba.br/handle/ri/377422023-09-02T05:04:03Z2023-06-05T00:00:00ZTítulo: AS NOÇÕES DE TRABALHO NA DANÇA EM GRUPOS, COMPANHIAS E COLETIVOS BRASILEIROS E SUAS RELAÇÕES COM AS POLÍTICAS CULTURAIS
Autor(es): LUZ JÚNIOR, MATIAS SANTIAGO OLIVEIRA
Primeiro Orientador: Matos, Lúcia Helena Alfredi de
Abstract: The investigation was configured as a cartographic process of Brazilian groups, companies and
collectives and aimed to identify clues about the notion of work enunciated by artistic groups,
as well as to analyze the impacts of cultural policies, linked to those generated by the Covid-19
pandemic, together with the subjects involved in the research. Cartography is used as a
methodology (PASSOS, KASTRUP, 2009), defined as a qualitative investigation of a
participatory nature that involves ethical, aesthetic and political aspects arising from the
subjects involved, based on their experiences and also on the researcher's experience. This
methodology gives the opportunity for new perspectives to emerge during the investigation,
which will be validated by the clues built in the process and by the triangulation of the data. In
the theoretical framework, historiographical excerpts of social work in Brazil and the legal
frameworks that supported the consolidation of the working classes in the country are presented,
as well as the unique aspects of this formation process, the invisibilities and the conceptions
that configure logics about work, establishing relationships with the field of dance. To this end,
aspects related to the global history of work are treated, its transformations and relationship
with the field of dance, its markets and its precariousness, having as a transverse axis the Covid 19 pandemic in Brazil. In the end, based on the analysis of the data collection carried out
through virtual meetings, called performative propositions, based on the methodology of focus
groups (BARBOU, 2009), a diagnosis was drawn with the notions of work present in groups,
companies and collectives of dance in Brazil participating in this investigation, identifying the
different conceptions and demands of the dance sector as a category of workers.
Editora / Evento / Instituição: Universidade Federal da Bahia
Tipo: Tese2023-06-05T00:00:00ZNinguém solta a mão de ninguém: cirandando com Lia de Itamaracá em mediações culturais e educacionais em DançaOtelo, Renata Celina de Moraishttps://repositorio.ufba.br/handle/ri/376642023-08-16T09:34:27Z2023-05-05T00:00:00ZTítulo: Ninguém solta a mão de ninguém: cirandando com Lia de Itamaracá em mediações culturais e educacionais em Dança
Autor(es): Otelo, Renata Celina de Morais
Primeiro Orientador: Amoroso, Daniela Maria
Abstract: 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.
Editora / Evento / Instituição: Universidade Federal da Bahia
Tipo: Tese2023-05-05T00:00:00ZPOÉTICA DE SERESTAR CATIRINASSILVA, SEBASTIÃO DE SALEShttps://repositorio.ufba.br/handle/ri/368202023-04-15T05:04:14Z2022-10-26T00:00:00ZTítulo: POÉTICA DE SERESTAR CATIRINAS
Autor(es): SILVA, SEBASTIÃO DE SALES
Primeiro Orientador: Machado, Lara Rodrigues
Abstract: The thesis "danced" here presents a sewing of memories about the play of Boi de Reis
throughout 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 the Boi de Reis,
which has been going on for more than one hundred years in the city of Vera Cruz/RN, as a
way of knowing through the body of my people and of 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 guide this text are MACHADO (2017), with Danças no Jogo da Construção Poética,
OLIVEIRA (2021), with Filosofia da Ancestralidade, RUFINO (2016), with Pedagogia das
Encruzilhadas, SANTOS (2002), making the cross with Corpo e Ancestralidade. I evoke
GLISSANT (2021) to dance with me and his Poética da Relação, and MARTINS (2021) in
Performances do tempo espiralar. I share the contributions of AMOROSO (2009) whose
miudinho made 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 the play, 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.
Editora / Evento / Instituição: Universidade Federal da Bahia
Tipo: Tese2022-10-26T00:00:00ZSentir, Criar, Dançar: o autoconhecimento como fundamento para a Dança-EducaçãoSilva, Maria Aparecida Linhares dos Santoshttps://repositorio.ufba.br/handle/ri/146892022-07-05T17:04:52Z2014-02-21T00:00:00ZTítulo: Sentir, Criar, Dançar: o autoconhecimento como fundamento para a Dança-Educação
Autor(es): Silva, Maria Aparecida Linhares dos Santos
Abstract: A práxis pedagógica resultante desta pesquisa sobre a Dança-Educação e sua criação artística, foi desenvolvida através da conscientização dos processos sensoriais do Ser-dan-çarino, da busca do autoconhecimento como fator fundamental na transversalidade de todo aprendizado da Dança, e da necessidade artística e profissional dos alunos da Escola de Dança da UFBA. Essa busca foi fundamentada pela Dança-Educação, pela Psicologia, es-pecificamente teoria da Análise Transacional, pela teoria do Umwelt (entorno ou auto mundo) de Jacob Von Uexküll trabalhando no encontro de um material específico que pode ser utilizado pelo dançarino para a sua criação. Trazemos a teoria dos Sistemas que funda-menta o sistema Ser-Corpo e seu Universo e a teoria da Complexidade. O trabalho artístico elaborado foi o desenvolvimento de um processo de composição em dança que levasse as oito alunas do grupo criado para essa pesquisa à criação de uma dança genuína do ser dan-çarino. A dança genuína é individual e foi baseada no trabalho de busca do autoconheci-mento de cada uma dessas alunas. O autoconhecimento foi o fator fundante para o conheci-mento e reconhecimento do Ser-Corpo e da Arte da Dança. Essa processo busca conhecer, reconhecer e apreender a informação ressignificada pelo Corpo que, estando em constante relação com seu ambiente de vivência é registro de acontecimentos, é mídia, e busca, através da Arte da Dança, constituir-se como um Ser-integral, Ser-Dança, Ser-Pleno.
Tipo: Tese2014-02-21T00:00:00Z