https://repositorio.ufba.br/handle/ri/7239 2026-04-17T10:05:08Z https://repositorio.ufba.br/handle/ri/43672 Oralidançando encantados e encantaria: um passeio guiado através da cultura da oralidade em Lençóis da Bahia PEREIRA, IANA SCHRAMM Arrais, Joubert de Albuquerque 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). Universidade Federal da Bahia Dissertação 2025-03-28T00:00:00Z https://repositorio.ufba.br/handle/ri/43671 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 https://repositorio.ufba.br/handle/ri/43670 Programa Move la America: Grupo de Pesquisa Corponectivos em Danças em Conexão com Bolsista. Rengel, Lenira Peral; Barrios, Maria Virgínia; Martins, Mayanna Costa; Gonçalves, Camila Correia Santos Universidade Federal da Bahia Outros 2025-08-22T00:00:00Z https://repositorio.ufba.br/handle/ri/43669 (RE)Montada: dança, audiovisual, bixa, acadêmica, de Salvador, nas redes sociais SANTOS, ITAMAR SOUZA Rocha, Lucas Valentim 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. Universidade Federal da Bahia Dissertação 2025-06-04T00:00:00Z