Dança de salão: traçados para uma ontologia constitutiva em um contexto de ontologia transcendente

Abstract

This dissertation intends to futher develop into ballroom dancing teaching-learning, pointing out, mainly its hegemonic conceptions. In them, the teacher and his partner are exclusive role models to be followed, and she (the woman) is not seen as a holder of knowledge. Women have played an important role in society as a whole. More and more protagonists both in the personal and professional spheres. Thus, the power relations that there are between men and women in ballroom dancing have to be reviewed and reconfigured, as they are also part of society. Based on a literary review, a brief history (ZAMONER, 2017) of the development of these dances will be presented, in which the hegemonic conceptions are pointed out as transcendent ontologies (MATURANA, 2001). The proposal is to expose these transcendences and argue how they can constitute constitutive ontologies, within this dance practice, as they are democratic and non-authoritarian actions. The methodologies articulate with my experiences as a student and teacher. However, I seek to join the emancipatory position of many women (BIROLLI, 2018). Several times understood as a social dance, ballroom dances tend to present and portray in their actions, chauvinistic (LENER, 2013), sexist, heteronormative and patriarchal aspects supported by a little discussed conservatism. Ballroom dancing should not be understood just as distraction and complacency with a cognitive habit that fosters nefarious patriarchy. It is the co-conduction between people (FEITOZA, 2011). Being understood in this way and understanding bodies as corporective (RENGEL, 2021) there will be potente dialogues to reorganize, reorient the transcendente and/or immutable ontology that they seem to have in transformation to a constitutive ontology.