Identidade, memória e narrativas na dança de São Gonçalo do povoado Mussuca (SE)

This study deals with the participation of the dance of São Gonçalo of the Mussuca town/SE, in the process of construction of the ethnic identity among this social group. The Mussuca is a grouping recognized as afro-descendents, linked with black enslaved people in the valley of the Cotinguiba region. The collective memory functions as a drive of this linking with the past and if it makes to elaborate narratives on this descent. The objective of this study was to investigate the ways the rite went through to constitute itself as an element of ethnic representation. Internal and external agents had been identified who had participated in different contexts. By means of an ethnographic work we ve reached some aspects of the local structure social which demonstrated the contradictions through the social relations of the group. This process of ethnic autorecognition presents the kinship and the space question as definers of the social arrangements which establish its ethnic boundaries

Ampliação de movimentos na dança circular com pessoas com deficiência visual

This paper aims at studying how circular dance can afford to sight-disabled peoples movement and how they can learn to cope with the deep movement of relation, consciousness, appropriation and communion with the world. Inside circular dance, a cosmic metaphor, is inscribed the movement of the world, which tells and changes amorously the human history. In the works of Paulo Freire and Maurice Merleau-Ponty one can find the necessary support to discuss, as long as possible, movement and existence. Research-action is used as a methodological approach whose empirical center is placed on the Institute of Education and Rehabilitation of Blind, in Natal, which shelters eight sightdisabled adults. The research s data reveal that the practice of circular dance concurs to enlarge the movement of the research s subjects, to develop a more accurate perception of their selves and of their own capacities, as well as improve the relations Me/Others, Me/World, which require a context of differences. The study has revealed that the practice of dance develops a better perception of the limits and surpasses as a human condition and, in consequence, the discovery of one s own body and the other s body as a resource of lessons and representations of the self and of the world. It lets out the development of a new way of thinking and coping with discrimination surrounding the disabled persons. In movement, in circular dance, the barrier between sight disablement and vision loses force.

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art

Para transvalorar a dança contemporânea: potências de dança no (do) corpo-artista

Tanto no contexto acadêmico quanto no artístico e mercadológico, é crescente a discussão sobre o espaço de conceituação da dança contemporânea e suas fissuras, que deixam de abarcar esta ou aquela manifestação artística ou mesmo acaba por abarcar aquelas manifestações que não se encaixam em outros espaços de conceituação. No presente trabalho objetivamos a investigar, a Dança na Contemporaneidade, para além do que se entende por dança contemporânea, em sua capacidade de atravessar os espaços de conceituação já estabelecidos, para implicar em uma pluralidade de fazeres. Objetivamos também pensar a potência que a Dança imprime no corpo do artista criador, pensando também como este se comporta no espaço de entre linguagens . A dissertação que aqui se apresenta encontrou enquanto estratégia metodológica o recurso da metáfora, partindo das ideias de travessia, cartografia e cidades invisíveis para a construção do pensamento sobre o corpo do artista e suas relações com as diferentes linguagens artísticas, tomando por base uma retomada das experiências estéticas e artísticas de sua proponente. Dialogando experiências práticas e referenciais teóricos, inicialmente tratamos da dança contemporânea em seus problemas de classificação que apontam para a necessidade de um pensamento contemporâneo em dança, que pense as manifestações artísticas em seus pontos convergentes, e não nos divergentes que as situam sob diversas nomenclaturas. No capítulo seguinte discutimos a possibilidade de contaminação entre as linguagens artísticas a partir do próprio corpo-artista. Discorremos também sobre a dança enquanto agenciamento e resposta aos impulsos resultantes da relação com o espaço e outros corpos, pensando como o corpo do vivente se organiza nesta relação de compartilhamento de experiências. Mostrando uma potência do corpo artista criador que se dedica à transvaloração das fronteiras entre as linguagens para a organização do seu fazer. Por fim, apontamos para a diversidade na metodologia de processos de criação que variam de acordo com as possibilidades técnicas e necessidades estéticas de cada artista criador

Caldo do caldo: memória do espetáculo de dança paraibano caldo da cana

This research investigated the dance piece Caldo da Cana which premiered in João Pessoa-PB, in September 1984. It problematizes theoretical and practical way to make dance history, investigating this possibility through the dance itself. Arises from the fact that the dance has specific characteristics that can not be neglected by the historical account. In this sense, it was initiated by the raising of a theoretical framework that speaks to the indicated issues and unfolds through a field study, which included collecting testimonies from people who participated in the show, documentary research, gathering material traces and finally consists a practical part by transposing elaborated historical knowledge into the body through a creative process, resulting on this moment, in the construction of a duo dance