Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

Mover/se(r) a gênese do corpo entre/corpos e seus trajetos no processo coreográfico

This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and José Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)áporos, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is

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

Dançando a carne: uma poética do corpo no mito adâmico

In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It´s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am”, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

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

Dança Folclórica: um estudo das qualidades físicas básicas em universitários de diferentes níveis técnicos

Health and life quality can be preserved and improved by the regular practice of physical activity. Sedentarism is an undesirable condition and represents risk for the health. This study has as objective to analyze the caloric cost and the basic physical qualities in college students of different technical levels. The research was descriptive and applied to 35 students, volunteers, from 19 to 34 years old, from both sexes, participants of the Dance Body of State University of Piauí, in the city of Teresina, in the activities of folkloric dance and walking. The caloric cost was evaluated with the accelerometer Caltrac 100/100 Plan, the basic physical qualities through the sitting and reaching test (flexibility); the vertical impulsion test, crouch (inferior members strength); the abdominal test (located muscular resistance); and the Burpee test (motor coordination). The participants were separated in two groups according to their time of practice: group 1 (beginners), group 2 (advanced). The parametric tests t by Student and correlation by Pearson were used, observing a significance p<0,05 in the sense of comparing the observed results, which showed that there are no significant differences between the two groups of students, according to the time of practice, in which concerns the caloric cost. The results of Strength, Resistance and Co-ordination test did not differ so much between the two groups. On the other hand, in the variable flexibility significant differences were observed (sig.p = 0,0022 << 0,05) between the observed groups, being Group 1 (31,5 ± 6,3) meaningfully less than Group 2 (38,1 ± 4,9), which constitutes a difference of about 21%. Such results present relations of caloric cost compensation between the studied groups, the motivation to the beginners group and flexibility to tne advanced group, justifying the lack of significant distinctions. In this sense the folkloric dance, as a physical activity, appears to be efficient, for significant co-relations are still noticed between the caloric cost levels of the dance with the walking, besides not presenting expressive differences between them.

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

Estudos sobre dançatividade: dança – corpo – performance

A partir de trabalhos que questionam limites de linguagens artísticas, discute-se o termo dançatividade enquanto potência do corpo-artista. A escolha dos trabalhos se orientou pela percepção de tal potência como impulso para a desterritorialização dos campos específicos da dança para se re-territorializar em outro campo de fronteira pela própria experiência do corpo

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

A dança dos monstros: corpo e estética na arte e na Educação Física

The speeches about the body in interface with the technology, that fulfill the contemporary discussions, have been a stage of innumerable ethical, epistemological, aesthetic and ontological reflections. These happened bodies of the biotechnological scene also invade the dance, making several possible dialogues, making old concepts instable, opening way to revealing explorations and bringing with it implications and reflections. In this context, this research has as objective to discuss relations between body and technology in the dance; to understand the aesthetic configurations of the monster in the dance as possibility to question the body; to establish relations between the monstrous body in the dance and the conceptions of body in the Physical Education. We believe to be able to contribute for the reflection in the field of the Physical Education, since the work visualizes to extend the field of the discussions on aesthetic body and, as well as evidencing dialogues between different areas of the knowledge, as the Art and the Physical Education. From the point of view of the method, the work follows orientation of the Phenomenology for an aesthetic image appreciation of the videos in the choreographies In'perfeito and Violência of Cena 11, Dance Group that has marked new aesthetic configurations in the brazilian dance. Thus, we took for us the reflections on the "significant scenes" proposed by Bicudo (2000), to appreciate the dance of Cena 11. We emphasize that, after the identification of the Significant Scenes, it was necessary to approach these scenes from close senses, from which we detach the appearance, the space and the gesture. We evidence that, the bodies revealed by the group Cena 11, show an aesthetic that it interlaces the beauty, the ugly and the grotesque. An aesthetic of the unharmony, capable to transgress the oppositions, dialoguing with multiple antagonisms and that it amplifies the apollonian aesthetic linear rules, so predominant in the history of the dance and the Physical Education. We identify some indicatives that take us to the problematizations on an affective and anarchic body, when questioning the tyranny of the perfect corporality; the naturalization of the pain; the closed gesture in a finished and unique grammar; the standardization of feminine and masculine roles and the negation of the feeling. From these indicatives, we discuss the aesthetic of the deformed bodies of Cena 11, approaching it of the conceptions of body in the Physical Education, sometimes criticizing the rationalists and naturalistic views, sometimes dialoguing with more recent perspectives studied by researchers of this area of knowledge, which point to a reflection on the body under the optics of the sensible

O Corpo do grupo corpo: os movimentos das obras Benguelê, Lecuona e Onqotô

In this research, we invite to reflection by a phenomenological gaze on the body, through the description of some works of contemporary Brazilian dance company Grupo Corpo. This Company was chosen intentionally to give us elements in their creations to interrogate the understanding of the body and sensitive. Thus, as we launch issues in this dissertation: that body dance in Grupo Corpo? And as we can see, a phenomenological approach, an understanding of the body and sensitive works in that company? Building on this, the works are to be questioned Benguelê (1998/2003), Lecuona (2004) and Onqotô (2005). It is intended, through these works, coreological approaching the discourse of philosophical discourse and give movement to phenomenological thought of Maurice Merleau-Ponty, in special the sensitive, flesh of the body, the investment in the sensory world as a merger, calling the know body and its power to take chances, to incorporate the world, language, culture, create and choose. Thus, these openings is where thought enters this research. This consistency, we used the phenomenological attitude of Maurice Merleau-Ponty as a methodological approach, since in their study the philosopher takes a look expressive on the body, forming a sensitive language that is expressed in the movements, which deepens the arguments of the Phenomenology a new arrangement for knowledge as a result of our experience in the lived world. The reflections presented here aim to take us to the amazement, the unthinking, whom many still impose epistemological challenges, including understanding the body of knowledge and sensitive

Trajetória profissional e rupturas epistemológicas na educação física e na atuação do professor

This dissertation is the result of concerns with the theoretical-methodological and pedagogical learning processes occurred in the practice of physical education in school, which accompany me since the initial training, when I experienced learning in a piecemeal fashion, focused on technicality and sportivization. In order to better qualify the pedagogical interventions of physical education in school, I have always been worried on applying what I received at the University, but the routine of classes was always demanding others doings. In this sense, there were many moments of epistemological ruptures occurred in my training, in which I always sought new investment in training to account for the provision of a more humanistic and grounded in real educational precepts physical education. To that end I had to reflect on the pedagogical interventions throughout my training, in order not to carry out the activities as heavy doings, but as metamorphoses of knowledge and thus generating learning for students. Thus, this dissertation fits into this context with the overall goal of discussing my professional career, considering the epistemological ruptures of Physical Education, occurred in my training and expertise. The objective is also to identify the contributions of these formations in professional activities, centered on storytelling and reflection of significant experiences in the teaching of sports and Physical Education. We highlight the paradigm shifts, leaving the gymnastic methods, through dance-physical education method, psychomotor, reaching the contemporary critical theories experienced from the culture of movement as well as its implications for professional practice. We chose a qualitative research, using the autobiographical method, using as sources or techniques, narratives, photographic recording and video samples. In the studies within the area of education, for the most part, qualitative research came to oppose the positivist view of the quantification on analysis of social phenomena. New ideas were appearing in order to present innovative perspectives to understand the real. The survey data will be presented in narrated form (descriptive), analyzed based on the theoretical framework that guides the study, especially authors who discuss school physical education, vocational training and body conception. We believe our study may be of relevance for training in Physical Education that as from pedagogical reflections in certain historical realities, envisions being able to open new perspectives for the performance of other physical education teachers

Machado de Assis em contos :Uma constelação de partituras

This work aims at encouraging the reading or rereading of tales such as Um homem célebre , Cantiga de esponsais , Terpsícore , Trio em lá menor , O machete , and Marcha fúnebre from the Brazilian writer Joaquim Maria Machado de Assis, hoping to find in them the manifestations of musicality, which is understood, from the viewpoint of contemporary musical theories, as dinamicity indications resulting from the melopaico (melodious verse) stimulus to the understanding of words and/or images, which are inserted in the writing static body from the literary procedures transferring to the text specific characteristics from other arts, such as music, poetry, performatic dance e theater. Such procedures, which are reflected in the writing as a product of Machado s close repertory, often favor, through the fiction, the delineation of the musical context from Rio de Janeiro in the 19th century, as well as the social implications that the transformations of the musical scene impose on the subjectivity constitution

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