https://repositorio.ufba.br/handle/ri/7244 2026-04-17T16:05:35Z 2026-04-17T16:05:35Z SOUZA, GIORRDANI GORKI QUEIROZ DE https://repositorio.ufba.br/handle/ri/43671 2025-12-15T19:44:25Z 2025-07-14T00:00:00Z

Improvisar-se dançando: atencionando o mover, o compor e o conhecer, conjuntamente SOUZA, GIORRDANI GORKI QUEIROZ DE Moura, Gilsamara This doctoral thesis-score aims to investigate the role of attentional processes in improvisational dance practices, as well as to articulate a discussion on the learning process of the improvisingbody. It is also part of the objective of this study to investigate the central role that cognition, attention and sensorimotor-affective skills play in making bodies available and organizing themselves for the experience of Improvised Dance Composition. Improvised Dance Composition is understood here as a modality within the field of contemporary dances, which has been expanding considerably in the last three decades and which deserves a more in-depth look at its learning processes. Improvisation is understood as the practice of focusing attention on specific movements and environment and activating the acquired sensorimotor-affective skills to produce meaning about oneself, in the world, through shared composition and the creation of attentional ecosystems. Using cartography (Deleuze; Guattari, 1995; Rolnik, 2011, Passos, Kastrup, Escóssia, 2009) as a research methodology, this research-score articulates the clues found to present a reflection on how some understandings present in its theoretical foundation and in the artistic experience of improvising bodies can contribute to the elaboration of methodological principles that can contribute to practices of making the body available for the doing of improvisation. As well as identifying the methodological contributions arising from the mapped theoretical-practical intersections to present them as possibilities of pedagogical and creative tools that can support the process of training the improviser in dance. Having as theoretical support for our reflections the enactive approach to embodied cognition (Varela, Thompson & Rosch, 1991; Gallagher, 2017; Hutto & Myin, 2013); attention studies (Citton, 2017; Kastrup, 1999, 2004; Vasconcelos, 2009; Sade & Kastrup, 2011; Romero, 2018; Wu, 2014; Ganeri, 2017; Waltz, 2017); first-person methodologies by (Depraz, Varela and Vermersch, 2003. To address the artistic and pedagogical processes that have improvisational practices as a focus, the research uses (Buckwalter, 2010); Midgelow, 2019; De Spain, 2014; Mundim, 2017; and Wait, 2023. This research also presents the articulation of knowledge produced in artistic and theoretical practices with the aim of pointing to the importance of knowledge resulting from these practices for academic research in the field of dance. Thus, this research proposes the development of methodological principles for the process of training the improvising artist based on three attentional gestures: attention to the sensory-motor-affective aspects of the body; attention to the relationship of the body with the environment and attention to the act of composing. Universidade Federal da Bahia Tese

2025-07-14T00:00:00Z Gonçalves, Camila Correia Santos https://repositorio.ufba.br/handle/ri/42672 2025-08-06T03:38:06Z 2025-05-15T00:00:00Z

Linguagens afetuosas na dança: ações emancipatórias na formação docente Gonçalves, Camila Correia Santos Rengel, Lenira Peral Carried out in the Graduate Program in Dance at the Federal University of Bahia, linked to the research line Dance, body and cognition, this thesis presents the hypothesis that affectionate communicational approaches in learning-teaching relationships (Freire, 1996) work towards building conditions for the emancipation of students. It points to the importance of establishing relationships between dance, affection and emancipation in the training environment of the Dance Degree program at UFBA, with the intention that these assumptions echo in the artistic and educational spaces where these professionals work, with a focus on basic education. It set out to produce contributions to the field of dance teaching, challenging molds rooted in the structures and organizations of teacher training, especially those related to modes of language, establishing a critical reflection on educational contexts based on exclusionary and colonizing premises. The research aimed to investigate the relationship between affection, languages and emancipation and, consequently, to defend the thesis that affectionate languages are aggregating didactic actions in favor of emancipation processes in the training of dance teachers. It also aimed to establish a multi-referential dialog to understand how affective languages are configured as didactic-pedagogical approaches. It approaches languages as systems that structure and enable the processes of communication and interaction, which are understood to go beyond verbal, spoken and written action. The reason behind this thesis is to find strategies for transforming, maintaining and valuing dance as an area of knowledge in educational environments, collaborating with the training of dance teachers in training, as well as with continuing education processes. The research methodology presented here is qualitative and exploratory in nature (Gil, 2019). It consists of using bibliographic review procedures for conceptual review, and data production, developing an analysis of the discourses and narratives (Minayo, 2007) presented in the internship conclusion works and final pedagogical residency reports, produced in the Dance degree course at UFBA between the years 2021 and 2024. The data was organized and categorized, identifying emergencies and pointing out methodological teaching strategies based on the experiences of this training course. The work defends the ideals of liberating education in its potential to emancipate and transform people and society, based on Paulo Freire (1967, 2003) and bell hooks (2013, 2020). In the field of cognition, neuroscientist António Damásio (1996, 2018, 2022) addresses the correlations between affections, emotions, feelings and the development of human consciousness and cognition. The theme of dualism is approached through the research of Lenira Peral Rengel (2007). As a result, the research seeks to advance contributions to the field of teacher training in Dance, proposing that teachers act in the construction of possibilities for the development of emancipatory processes for students, stimulating an autonomous professional performance with transformative potential. Universidade Federal da Bahia Tese

2025-05-15T00:00:00Z Freire, Francisca Jocélia de Oliveira https://repositorio.ufba.br/handle/ri/42592 2025-07-24T21:11:45Z 2025-02-04T00:00:00Z

Danças de salão numa perspectiva feminista e decolonial: amefricanizar e afrocentralizar o ensino Freire, Francisca Jocélia de Oliveira Conrado, Amélia Vitória de Souza This thesis was developed as part of the Doctoral Program in Dance at the Dance School of the Federal University of Bahia. The research was based on the premise that the historical relationship of the origin of Ballroom Dances with the reproductive influence of a hegemonic, Eurocentric, cis-heteronormative traditional mindset in the teaching of these dances results in the construction of concepts that contribute to the maintenance of socia standards. Considering this aspect, the research aims to analyze some historical, cultural, and social data that highlight the role of Black people in the history of Ballroom Dances. Thus, the goal of the research is to promote a feminist decolonial, Amefricanized, and Afrocentered perspective to offer a different view on the historical process and teaching of Ballroom Dances. The theoretical-methodological framework is based on decolonial feminist studies and authors who address and provide analyses that contribute to understanding the processes of colonization and their consequences in the cultural construction of Afro-Latin America. To gather data, it was necessary to make two trips to countries where Ballroom Dances are representative of national culture: Tango in Argentina and Salsa in Cuba. One of the methodological procedures used was the semi-structured interview, aiming to identify possible similarities or differences between the issues addressed in the research and the context of the interviewed individuals. Actions to promote and spread the decolonial feminist perspective, carried out in the environments where Ballroom Dances take place, were essential for the completion of the investigation. Therefore, this research is characterized as action-research. It is believed that, based on an Amefricanized and Afrocentered feminist concept, it is possible to bring about a change in approach to the teaching of Ballroom Dances. To achieve this, it was necessary to intersect the categories of gender, race, and social class, as it is essential to broaden the perspective and aim to affirm and reconstruct critical thinking, as well as to establish history from a decolonial perspective, whether in the classrooms or dance halls of these dances. As a result, the research not only points out that there is a predominance of dance based on the reproduction of cis-heteronormativity and Eurocentric standards, which we conceptualize in the research as “Cis Ballroom Dances”, but also, based on a decolonial feminist conception, Amefricanized and Afrocentered, the “Escrevidanças de Salão” (Ballroom Writing Dances), a concept rooted in the writing experiences of Conceição Evaristo, emerges, gaining strength as possible practices that challenge these normativities. This promotes more inclusive and diverse horizons for Ballroom Dances." Universidade Federal da Bahia Tese

2025-02-04T00:00:00Z Saraiva, Camila Silva https://repositorio.ufba.br/handle/ri/42292 2025-06-10T17:21:41Z 2024-12-13T00:00:00Z

Serpenteando proposições artísticas, educacionais e políticas em danças do ventre: uma abordagem contemporânea Saraiva, Camila Silva Silva, Marcia Virginia Mignac da This text presents a doctoral thesis in dance conducted at the Federal University of Bahia (UFBA) between 2021 and 2024 within the Graduate Program in Dance (PPGDança), under the supervision of Professor Márcia Virgínia Mignac da Silva. Doctoral student Camila Silva Saraiva develops her research with the aim of constructing a critical, theoretical, and artistic reflection on belly dances from a contemporary perspective, exploring their educational, artistic, and political practices, while “serpenteando” (snaking) through feminisms, gender studies, sexuality, and intersectionalities. This contributes to the LGBTQIAPN+ resistance movement, calling for (or demanding) diverse existences in dance. The main question of this research is presented: Is it possible to reframe belly dance, diverting from the cisheteronormative, LGBTQIAPN+phobic logic? “Serpentear” (to snake) emerges as an action-verb, an epistemological foundation of the research, a conceptual principle of movement, a survival strategy in dance, and more than that, as an ancestral technology of life. In line with its objective, the research seeks to build connections and dialogues between biology and dance, opening up to various epistemologies and pluriversal knowledge systems. In this regard, we engage with a diverse set of references, some of which include among others: Anzaldúa (1987, 2000); Agamben (2009); Akotirene (2019); Bhabha (2013); Brandão (2014); Butler (1990, 2022); Borges (2017); Delors (1999); Dantas (2016); Freire (1996, 1992); Fatumma (2023); Fortin (2009); Greiner (2005); Haseman (2015); Jablonka et al. (2010); Karayanni (2004); Krenak, (2021, 2022); Lauretis (1997); Lerner (2019); Louro (1997, 2012); Lipovetsky e Serroy (2015); Lugones (2008); Said (2007); Saadawi (2007); Setenta (2008); Mignac e Saraiva (2021); Mignac (2023); Nascimento (2021); Wittig (1977;2022); Oyewùmí (2021); Preciado (2023); Rocha (2016); Xavier (2006). This thesis-creation is methodologically structured as a qualitative and performative research, aimed at exploring, investigating, analyzing, and describing phenomena and topics across the fields of art, dance, education, sociopolitics, biology, philosophy, gender, and sexuality studies, among other intersections. The research method is hybrid, based on artistic, educational, and social research, specifically on implicated action research, critical ethnoresearch, ethnography, addressing biographical and autobiographical narratives through literature review, document and audiovisual material analysis, participant observation, and implementation of educational intervention, using instruments such as questionnaires, interviews, and field journals. The text is structured into eight sections: two introductory sessions and six subsequent chapters. The thesis-creation critically reflects on and discusses artistic, educational, and political propositions in dance, specifically in belly dance, through a contemporary approach that in some ways deviates from the dominant cisheteronormative logic. We build a reflection that engages with different areas of knowledge, bringing together insights from Biology and Dance, with possibilities for epistemic shifts and renunciation of the usual hegemonic projections and understandings about serpents and oriental odalisques. Considering movement as a foundation of cognition and as a political action of the dancing body, we “serpenteamos” (snake) in refusal of the cisheteronormative order. We investigate “serpentine” ways of “experiventrar” (experiencing belly dance), proposing “reinventrar” (reinventing) possibilities of existence, and “cobra_ndo” (demanding) ways of being in dance for LGBTQIAPN+ artists. Universidade Federal da Bahia Tese

2024-12-13T00:00:00Z