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

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

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

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.

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

O percurso da ressignificação de si : do esporte à formação do professor de dança

The present work is characterized as a research-formation study. The author analyses his trajectory as dance professor, observing processes of transition in the perception of the body: from the mechanical body to the sensitive body. He tries to outstand this new meaning of the body and the dance teaching and artistic experience as the matter that instructs itself. This research puts together the experience of two teachers, one of them as student (researcher), while the other, as master and professor (collaborator) and intends to comprehend how this new meaning of the body was brought to each one s life, motivated by the dance. It is used the self biographic method and the research-formation methodology to analyze and identify common points between their self formation processes. The researcher and collaborator life narratives as well as a partially structured interview with the collaborator were used as investigation source. The analysis followed the models suggested by Schütze (1977), presented by Bauer and Jovchelovitch (2004), guided by the five pillars of the study: the Subject aspect, as guiding point for the analysis; Corporal aspect, as component and integrant element of an individual and of the dance; the Dance while seen as forming and guiding practice for the individuals researched; the Complexity aspect; and finally the Instructor and Professional Formation, emphasizing the self formation process. The results showed how the dance has changed their perception of their own bodies and the whole corporal aspect, leading to subject-actor body point of view, and no longer from a strictly mechanic perspective. The teaching trajectory was defined by the new evaluation of the body through the Dance bringing the individuals researched to a dialogical-reflexive teaching practice that motivates self consciousness, humanization and automatization, in the context of their background experiences and the environment they act

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.