Batidas intensas : corpo e sociabilidade nas festas de música eletrônica em Natal

The significance of the body in electronic music parties as a sign for communicating and socializing among participants is the focus of this work. Qualitative research undertaken in this study seeks to investigate how sociability happens at raves and nightclubs in Natal/RN. Sociability is understood here as a play expression involving the dimensions of music, dance and party; the body, seen from a transdisciplinary approach, is understood as a symbolic instance, with its own meanings, as a result and a producer of social and as a cross between the cultural and the biological. The body has a communicative potential, is primary media. An intersection point between nature and culture, it serves as the seat of emotions and sociability, since it is through it that social relations are made. In electronic music parties, the body is interpreted based on its communication signs: clothing, accessories, body movements, tactile contact, body language, interactions between the public and dj, the dj and the public, gestures, expressive speech of emotions. Through such signs, body communication and a sense of community among participants develop sociability in the festive place and change the mood of the dancers. The Natal s electronic music parties young goer interacts on parties, adopts cheerful and receptive positions towards the other, maintains physical contact, values dance as a form of communication and lists happiness as the main feeling aroused in electronic music festivals. To achieve this result, a plurimetodological approach was used, which consisted of various methodological devices and various techniques of investigation: ethnographic observation, individual and informal interview techniques, photographic record of the scene, in-depth interview and application thirty questionnaires to patrons of electronic music parties

A Poética do corpo no mito e na dança butô: por uma educação sensível

The thesis presents the body poetry and its inscribing in the myth and Butô dance. The argumentation highlights the sensitive dimension present in these itineraries, as a possibility to operate the emergency of knowing inscribed in the body, bringing a kind of rationality that links the fragments, that allows the knowing to break through the barriers of disciplinary isolation, that abandons the certainties and goes through the ways of creation and that gives the body new space and time, featuring epistemological elements, ethical and esthetical, that can permit a sensitive education. All along the way, we comprehend by sensitive education, a education that considers the relinking of logical, analogical, symbolic and artistic knowledge and therefore reconsiders the own act of knowing as a continuous and inconcluded process. That sensitive education is also understood as retaking the body experience, its sensitive nature, as well as being meaningful to reading the world. It includes the body memory, its history and creativity, opening it to innovation, change, sense amplification and dialogue with other bodies and world, because it is within them. It is about an investigation of phenomenologic nature, that dialogues philosophy and art, pointing breakdowns of this reflection foe the body and education studies. We find it necessary to notice the body language, that allows one to think through movements, articulate a thought that is risen from articulations, guts and all the body. This incarnated reason starts the expressive body action, that makes us move to mean, communicate, inaugurate senses. Among these senses, we present a possibility of approach of the elements of Butô dance teaching and physical education, as ways of sensitive education showings of body poetry

Corpo e poesia: para uma educação dos sentidos

In this research, we reflect on Body and Poetry: for an Education of the senses. This piece of work has as its objective the comprehension of the body and poetry s interlacement, for an education of the senses, starting from the experience of the Being in the world. With this purpose, we search to understand the poetic creation as the corporal transubstantiation by means of the senses, which is realized in the creative expression and manifests itself in the body language, opening ways to an education felt in the aesthetic experience. In order to comprehend the process of poetic creation, we rely on the phenomenological method of the lived world from Merleau-Ponty, philosophy, always opening forests of questionings and sprouting new doubts in search of other comprehensions about Poetry, Body and Education. These three phenomena were investigated by means of a reflection on my own life trajectory as a poet and Physical Education professor; identification and analysis of poets/reciters; sensitive experiences experience lived in Oficinas de Poesias (Poetry Workshops), held in seven public governmental schools of the State of Rio Grande do Norte and through a permanent dialogue with the works of Merleau-Ponty, Severino Antonio, Paul Zumthor, Petrucia Nóbrega, among other authors. Phenomenology and the sources investigated have permitted us to conclude that poetic creation is not a product of a divine inspiration, of a spirit come from over yonder, nor a hereditary gift, but poetry is created from a dialogue between the poet and the organic and cultural world, revealing at each experience undergone a new world of senses and meanings. It was possible to comprehend the poetic language as a synesthetic and performable manifestation, which ontologically reveals itself and hides itself at each experience, bringing new expressive clarities of the Being in the world. This piece of research has revealed us that poetry as a sensitive experience of the poetic state makes it possible a construction of a sensitive, glad and ludic knowledge for an education of the senses

Corpo e beleza: uma análise das produções da educação física, em nível de mestrado

Talking about body and beauty seems fairly familiar to physical education. We understand that the body language in the area provides many meanings over the appearance, beauty and aesthetics, thus requiring the need of criticism and the need to interrogate her to realize how physical education has been re-signified. For this purpose, considering the multiplicity of meanings that surround the body and beauty, we discussed the implications that this brings to the area of Physical Education, analyzing the conception of body and beauty in the studies in this area, at the masters level, from some questions: What conceptions of body and beauty have been discussed in the studies of physical education at the masters level? What is the relationship between the meanings of body and beauty products analyzed and identified in the models of beauty outlined in Physical Education? We understand the importance of this research and its contribution to the epistemological analysis of existing studies. And, mainly because there is a lack of studies that discuss these productions. For construction of this text and for our reflections, we rely on thoughts like David Le Breton, Claude Levi- Strauss, Michel Foucault, Maurice Merleau-Ponty, Ana Marcia Silva, Carmen Smith, Isabel Mendes, Karenin Porpino Nobrega and flounder. The present study is characterized as a qualitative research, and content analysis proposed by Laurence Bardin (1977) for data processing. The corpus was composed of eight essays in the area of Physical Education, published in the CAPES Theses Database for the period 2004 to 2008, selected from the subject and body beauty. The initial reading allowed us to select meaningful units and guide our discussions on two main themes, which make up the two chapters of the work. In the first chapter, entitled Body, beauty and culture, as evidenced understandings of body, nature and culture that are present in the work is considered. In the second chapter, Standard Body Transformations and beauty, we present the concepts of body and beauty found in the dissertation, focusing on the mutability of representations of the models of beauty in body singularities in the relations of power-knowledge and the importance given the body in society, especially with regard to physical education professionals. We have thus found that, considering the dissertations analyzed, the understanding of body and beauty has been resignified, when dealing with other aesthetic conceptions that consider the uniqueness expressed in the human body and the culture of which the individual belongs

Encontros entre dança, subjetivação e saúde mental

Taking from starting point the contact with the experience of a dancing body language group at Centro de Atenção Psicossocial (CAPS) II in Fortaleza-CE, aiming to investigate the relationship between what we denominate dancing-dispositive and the process of de-institutionalization of insanity. Based in the philosophy of difference and in the cartographic perspective, we used the concept of dispositive in order to make visible the lines that compose it and the way they tangle in the production of different ways of subjectivation through another form of expression using the body. We followed two fortnight groups of body language recording the conversations that took place in the beginning and in the end of the activities. We also recorded our informal talks with the workshopper, with the psychiatrist responsible for the course of formation of artists of CAPS and the choreographer who was part of the artistic formation of the workshopper aiming to elucidate the body, dance and art conceptions which guided such work. Finally, we interviewed some technicians and we participated of a meeting of the team aiming to understand how that activity was perceived. We observed that the use of certain conception of dance in the field of mental health is in consonance with the the Phychiatric Reform, since it provides another way of dealing with the body, different from that produced by the contention and by the discipline. Nevertheless, we understood that there is a risk that, in some moments, the group being more a place of normalization than one of experimenting other ways of relating with yourself and with the others. We also noted that the dancing-dispositive appears as an important analyzer of the connections established at CAPS, indicating a need of the service to be more opened to the production of new care and harboring strategies, breaking the mental health facility logic of incarceration of life which still persists in the quotidian of that institution

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.