https://repositorio.ufba.br/handle/ri/7241 Sun, 03 May 2026 05:40:01 GMT 2026-05-03T05:40:01Z https://repositorio.ufba.br/handle/ri/43672 Título: Oralidançando encantados e encantaria: um passeio guiado através da cultura da oralidade em Lençóis da Bahia Autor(es): PEREIRA, IANA SCHRAMM Primeiro Orientador: Arrais, Joubert de Albuquerque Abstract: This research works with the relationship between dance, culture and orality, and is structured as a guided tour through the voices of the masters of the city of Lençóis in Bahia, located in the Chapada da Diamantina, and recognized for their stories of Encantarias [Enchantments]. In its development, we present an initial survey of the Encantados [Enchanteds], who are animals, hybrid creatures and spectres, with striking characteristics and magical functions, and who inhabit the narratives of Lençóis, embodied in the knowledge and rituals of Brazilian northeastern popular culture. In this sense, it proposes a shared dialog of experience/living with the aforementioned community through stories told as Oralituras [Orality-Oraliteracy] (Martins, 2003) and Escrevivências [writing-living] (Evaristo, 2003) and following a performative methodology of participant observation, converging to refer to the socalled Oralidanças [Oralidancing] and their oralidançar (Cia Balé Baião, 2021), which are dramaturgical dance propositions with the performance of/in the culture of orality; and also in making-thinking-researching dance as an artificial action (Arrais, 2013). These exploratory, investigative and conceptual movements were configured in the dance creation workshop Dançando o Conto da Serpente da Ponte do Rio Lençóis [Dancing the Tale of the Serpent of the Lençóis River Bridge] and in the danceperformance A Mulher d'Branco [Woman in White], mobilized by the spoken narratives of the gold miner Djalma de Jesus Carvalho (Usquinha) and Mestre Aurino, from Lagoa Encantada [Echanted Lagoon], composing a proposal for a musical and video dance rooted in the quilombola community of Remanso. These three creations are based on the poetics of the enchanted, based on the question: how do the enchanted and their enchantments awaken poetics in my body to develop a methodology for creating dance? In this sense, the artistic presentation Terra Vermelha [Red Earth] (Pereira, 2014-2024) was our point of departure and arrival, intersecting with the methodology “Jogo da Construção Poética” [Poetic Construction Game] (Machado, 2017), already from undergraduate research, in order to continue mobilizing this relationship between dance and the body that dances with the body that speaks and tells stories, in entering “Oralidancing” this world of enchantments, thus demarcating the aesthetic-political force of tradition, memory and ancestry in contemporary times, with a strong indigenous influence (Kopenawa; Albert, 2015) and African influence (Conrado, 2006). Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Fri, 28 Mar 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43672 2025-03-28T00:00:00Z https://repositorio.ufba.br/handle/ri/43669 Título: (RE)Montada: dança, audiovisual, bixa, acadêmica, de Salvador, nas redes sociais Autor(es): SANTOS, ITAMAR SOUZA Primeiro Orientador: Rocha, Lucas Valentim Abstract: This research, titled "(RE)Dressed: Dance, audiovisual, Bixa, academic, fromSalvador, on social media," investigates the processes of constructionandexpression of the Bixa identity in the Soteropolitano context (Salvador-BA, Brazil), focusing on the intersection between Dance, audiovisual production, andtheappropriation of social media as spaces of (re)existence and visibility. TheBricolage methodology (Denzin; Lincoln, 2006 apud Rocha, 2019) underpinstheweaving together of personal narrative, cultural analysis, and artistic creation. Drawing from an Autoethnographic perspective (Macedo; Sá, 2018) andPracticeas Research (Fernandes; Scialom, 2022), the study aims to analyze howdissident bodies (re)dress their narratives and performances, challenging gender normsandcolonial power structures, while simultaneously exploring the potentialitiesandcontradictions of the digital environment. The research delves into theauthor'smemories and experiences, from a childhood marked by inadequacy in relationtomasculinity expectations, to their academic and artistic trajectory as aBixawhodances. The theoretical foundation for discussing gender and sexualityissuesarticulates the authors (Vidarte, 2019; Butler, 1990; Pelúcio, 2014; Halberstam, 2018). The definition of body is supported by Corpomedia Theory (Katz; Greiner, 2004), and reflections on Dance and audiovisual engage with (Pimentel, 2000). The research discusses gender violence, performativity, the influenceof colonialism in the construction of identities, and the work of artists and collectivessuch as Afrobapho and Fervu Profanu, who use art as an instrument of resistanceand social transformation in Salvador/Ba. As a practical and central outcomeof the investigation, the artistic projects "Montação no Capão", "Re-montado", and"Corpa Montada" are presented. These works explore audiovisual language, dragperformance (through the persona La Benina), and Dance as ways toquestiongender binarisms, re-signify symbols, and construct Bixa poetics. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Wed, 04 Jun 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43669 2025-06-04T00:00:00Z https://repositorio.ufba.br/handle/ri/43602 Título: Quem disse que a dança do ventre não é para mim? A presença da mulher negra nos festivais de dança do ventre no Brasil Autor(es): Ribeiro, Thaismary Neri dos Santos Primeiro Orientador: Silva, Márcia Virgínia Mignac da Abstract: Belly dance festivals in Brazil began in the 1990s and have grown in popularity in recent years. However, as a Black woman, dancer, teacher, and researcher of belly dance, I noticed that when observing the arts promoted in the media and the teachers featured in national festival programs, the dominant body standard did not represent bodies like mine. The profile of the people I saw in prominent positions in this environment consisted predominantly of white, cisgender, and slender women, who represented a notion of femininity aligned with the capitalist colonial system. This research is driven by the following question: Are Black women in leading roles in the programs of major belly dance festivals in Brazil? This question reflects the study’s objective, which is to examine how Black bodies are present in this space. From there, we will analyze whether representation, protagonism, and equity in these events are limited to the festivals themselves or whether they reflect broader social structures that reproduce structural racism. This research is justified by the need to challenge the hegemonic and orientalist frameworks imposed on the belly dance community, which also shape the collective imagination of belly dancers. This study is an exploratory, mixed-methods (quantitative and qualitative) investigation that combines a bibliographical review, field research using semi-structured interviews, and an analysis of selected examples within the research corpus. For this purpose, two major belly dance festivals with national relevance were selected: the Baladi Congress in Salvador-BA and the Dahab Festival in São Paulo-SP. The theoretical framework prioritizes the biopolitical relationships between body, belly dance, race, gender, Orientalism, and coloniality, highlighting the contributions of authors such as Carneiro (2023), Berth (2019), Katz & Greiner (2005), Mignac (2008, 2023), Santos (2023), Said (2007), Ribeiro (2017), Bento (2022), Gonzaléz (2020), Ratts (2006), and Oliveira (2023). The potential findings of this research will be crucial for understanding how racist biopolitical inscriptions shape and permeate both society and belly dance festivals. While conducting this critical analysis, I am to demonstrate that there are ways to resist and persist through quilombola practices, such as those embraced by the Belly Black movement. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Mon, 31 Mar 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43602 2025-03-31T00:00:00Z https://repositorio.ufba.br/handle/ri/43404 Título: Dançapolítica: um grito do corpo para a morte Autor(es): Franco, Ana Lacombe Junqueira Primeiro Orientador: Rocha, Lucas Valentim Abstract: This work arises from the need to converge and open horizons for when the act of dancing overflows the body–mind paradigm established since coloniality (Europe, 17th to 19th centuries). Who dances when I dance? is the question that casts the body(-that-dances) as the problem of this research. Based on and through my experiences in dance, and in dialogue with themes raised by the Japanese dancer Hijikata Tatsumi (1928–1986), this question guides the development of critical and creative reflection on the research object: the inseparable intertwining of dance, body, and politics. Dançapolítica: a cry from the body towards death thus seeks to expose and question the foundational pillars of the colonial–capitalistic paradigm inherent in the body of the I(-that-dances). This is the figure in which the research object converges. It is therefore central, as it represents the exercise of political power within myself. Synonymous with the I think, therefore I am, it is a modus operandi whose sensory experience is conditioned by its rational mind — Reason. Essential authors for understanding this paradigm are Denise Ferreira da Silva, Marilena Chauí, Gilles Deleuze, André Lepecki (when presenting the ontology of dance tied to the mode of its structure), and Christine Greiner (in presenting characteristics of the body–mind logic). The emergence of the figure of the I(-that-dances) occurs through writing itself: a somatic–performative writing, embodied and situated in the context of Practice as Research [PaR]. The body’s cry is for the I(-that-dances) to once again trust its more-than-human reality. Thus, death is not a final sentence, but a condition for its process of becoming what it is — its paradoxical experience of life-and-death. Carried out through its solar experience represented in the Bakongo Cosmogram, Dikenga Dia Kongo, as presented by Fu-Kiau, the I(-that-dances) learns/unlearns itself as cosmic, recognizing that the void constitutes it. Authors such as Bunseki Fu-Kiau, Christine Greiner, Michiko Okano, and Mario Novello are key to this discussion. Liberating sensitivity from rational conditioning was a task made possible through the “confluence” of African cosmology (with Fu-Kiau and Katiúscia Pontes); Afro-diasporic philosophies (with Leda Maria Martins and Muniz Sodré); Indigenous thought (with the Brazilian Ailton Krenak and the Mexican Don Juan); and, finally, European philosophy, with Gilles Deleuze who, converging with Don Juan, contributes with his concepts of becoming and sensation. Editora / Evento / Instituição: Universidade Federal da Bahia Tipo: Dissertação Wed, 18 Jun 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/43404 2025-06-18T00:00:00Z