Space, authenticity and utopia in the hip-hop teen dance film

The dance film flourished in the 2000s in the form of the hip-hop teen dance film. Such films as Save the Last Dance (Thomas Carter, 2001), Honey (Billy Woodruff, 2002) and Step Up (Anne Fletcher, 2006) drew on hip-hop’s dominance of the mainstream music industry and combined the teen film’s pre-existing social problem and musical narratives. Yet various tension were created by their interweaving of representations of post-industrial city youth with the utopian sensibilities of the classical Hollywood musical. Their narratives celebrated hip-hop performance, and depicted dance’s ability to bridge cultural boundaries and bring together couples and communities. These films used hip-hop to define space and identity yet often constructed divisions within their soundscapes, limiting hip-hop’s expressive potential. This article explores the cycle’s celebration of, yet struggle with, hip-hop through examining select films’ interactions between soundscape, narrative and form. It will engage with these films’ attempts to marry the representational, narrative and aesthetic meanings of hip-hop culture with the form and ideologies of the musical genre, particularly the tensions and continuities that arise from their engagement with the genre’s utopian qualities identified by Richard Dyer (1985). Yet whilst these films illustrate the tensions and challenges of combining hip-hop culture and the musical genre, they also demonstrate an effective integration of hip-hop soundscape and the dancing body in their depiction of dance, highlighting both form’s aesthetics of layering, rupture and flow (Rose, 1994: 22).

“Capoeira sou eu”: Memória, identidade, tradição e conflito

Configura-se como objetivo desta pesquisa analisar como se dão os conflitos de tradição na capoeira, presentes principalmente a partir da criação das vertentes Angola e Regional nos anos 1930. As disputas de memória que se dão entre os mais diversos grupos existentes, na tentativa de se legitimarem como a verdadeira capoeira, são igualmente objeto de estudo. Busca-se compreender neste trabalho de que maneira os mestres de capoeira constroem e recuperam o passado. Além disso, foi feita uma análise das maneiras pelas quais suas memórias são articuladas, dando sentido às suas posturas atuais e formando as fronteiras identitárias dos grupos que organizam. Para esta pesquisa, o saber e a visão de mundo dos mestres foram o viés pelo qual se procurou imergir no mundo da capoeira e perceber as questões em pauta atualmente para esses atores sociais. A metodologia privilegiada nesse trabalho, e assim como o principal procedimento de produção de fontes de dados foi a história oral.

Do empirismo para a ciência, na procura da eficiência conceptual e metodológica no treino da capoeira

Na actual conjuntura de crise, é necessária a emergência de um paradigma mais rentável e que analise os fenómenos na sua globalidade, mantendo a coerência do todo. Utilizando o desporto, mais concretamente a capoeira, pretende-se promover a desejada transformação do Homem de forma intencional e eficiente, através da rentabilização da modalidade quer nos seus objectivos imediatos quer mediatos. A generalidade do conhecimento sobre capoeira é baseado e veiculado sob a forma empírica, o que se reflecte no processo de operacionalização da modalidade. Procura-se então, iniciar a ruptura com o empirismo, através da aplicação de ferramentas já testadas, nomeadamente o Modelo de Desportos de Combate da taxonomia de Almada (1994), que permite desdobrar as variáveis básicas de movimento e identificar quais as que podem ser tratadas de forma rentável. Recorrendo a um elemento técnico da capoeira – a meia-lua de compasso –, procurou-se verificar se a análise realizada através do modelo poderia ser útil. Realizaram-se duas situações experimentais, de análise videográfica, que permitem conhecer os limites temporais sobre os quais a acção se pode dar, utilizando para a situação 1 uma amostra de n=13 capoeiristas, e para a situação 2 duas amostras de n1=12 capoeiristas de nível iniciado-intermédio, e n2=8 capoeiristas de nível avançado. Verificou-se, assim, que através da utilização do referido modelo, é possível identificar variáveis fundamentais para a compreensão do fenómeno e de limites a respeitar.

A capoeira e os mestres

The Capoeira considered as a manifestation of the Popular Culture - inheritance of African peoples - is a cultural and social practice present in Brazil since the colonial time. This study is dedicated to the Capoeira and its masters. We work the Capoeira as a social field through the theoretical perspective of the Sociology of Pierre Bourdieu. We try to apprehend the social construction of the master, the legitimacy of his knowledge, the disputes and the representations that they ve elaborated over the space which was redefined for material and symbolic changes that occurred with the Capoeira through the last decades. The operating notions of social field, habitus, capital and tradition had been pertinent to think the power games , the social relations and the symbolic plots in the Field of Capoeira. From the methodological standpoint, although the interviews with the masters and the direct observation have had a special place in the research, other strategies had been used: researches in newspapers, thematic magazines and periodic, musical compositions and academic works. The performance of the masters in the process of reinvention of traditions has redefined their social place in relation to the previous generations. These are perceived as social actors responsible for the maintenance, dynamicity, affirmation, spreading and expansion of the capoeirístic practice

Corpo e gestualidade :o jogo da capoeira e os jogos do conhecimento

In the direction of questing a sociology that considers the flesh dimension of the existence, that favors to think the body while place of the production of the knowledge, our itinerary of research is characterized for the reflection on the gesture of the body as power of life and production of knowledge, recognizing the precision of the gesture as a privileged breach of comment of the collective life, of the projection and registration of the culture, of the symbolic, of the sensitivity. Our problematic can be meet in the possibility to enhance an open and sensible rationality, tattooed in the body and accessible for the gestures, that its materialized in the relations of the human being with the other and the world, in singular and collective relations. Therefore, the gesture, constructed in the intention the experience of the body, can tell us about the human being, the society and the culture, therefore the sensed of the gestures is constructed from the established and recognized mutual actions for the citizens. It is in this field of production of the knowledge, of knowing of the meat that we direct our perception, in the challenge to immerge into the intention of the gesture in the capoeira game. Of the methodological point of view, for the analysis of the gestures of the capoeira, therefore, of the body as knowledge power, we consider registers of images as well as narratives registers of the universe of the capoeira, as well as my experience of more than seven years in the group of capoeira cordão de ouro1. A epistemological exercise has as support a qualitative research where parts of the quantity of images of the investigated group, as well as interviews, daily registers in of field and over all my experience of life next to the group and to the capoeira, in intention to recognize symbols tattooed in the body and for it produced in the inter subjectivists relations. We search therefore, to evidence sensible and meanings drawn for the gesture and evidenced by the look of the researcher. We presents as objectives of this inquiry to nuance ribbings around of the social and cultural elements in the production of the knowledge of the body, of the gesture, weaveeed for the sensible rationality

Professores de Street Dance do Estado de São Paulo: formação e saberes

This research of qualitative nature, aimed to analyze the formation and knowledges of the teachers of Street Dance from the State of São Paulo. Reviewing the literarature it was approached the conceptions of culture, "Hip Hop Culture", and Street Dance. Also, some studies referred to the professional formation in dance and Physical Education; acting in dance by the teacher of Physical Education; and professional academic formation and/or experimental. The approaching method was the story of the time at present. The technique: interview semi-structured. According to the analysis of the statements: a) we noticed that no one of the interviewers show academic formation in dance; a small part is graduated in Physical Education, and the majority act as authorized teachers by the CREF and/ or DRT; b) we verified that the teaching of Street Dance is determined by experimental knowledges. The Street Dance shows itself as a process of constitution, and the formation and the knowledges to its teaching did not show systematization.

Quilombolas e desenvolvimento sustentável: análise a partir da comunidade Capoeira dos Negros (Macaíba/RN)

Quilombo communities remaining are groups marked by insufficient public assistance and characterized by living in rural and conducting economic activities such as agriculture. The development on a sustainable basis is important to ensure strategies for economic growth and environmental preservation. This work aims to study the remaining Quilombo Capoeira Black community, located in the municipality of Macaíba, Rio Grande do Norte, considering the principles of sustainable development. Attempt to respond to what level such community can be considered sustainable from an analysis of their social practices. The methodological procedures used consisted of a literature review and documentary, questionnaires, conducting semi-structured interviews and direct observation. The final results show that the family farm has characteristics that approximate the principles of sustainable development, including the diversification of labor, food production with less environmental damage and strengthening the rural environment, and indicate that the main economic activities practiced in Capoeira dos Negros community are agriculture, manufacturing of cassava flour and brick manufacturing, which, in turn, are linked to negative environmental impacts, such as sedimentation pond, groundwater contamination, air pollution and soil erosion. What lead to the conclusion that the social practices of the community are not in line with the dimensions of sustainable development. It is hoped that the survey results provide subsidies for development and implementation of public policies

Investigation of Risk Factors and Characteristics of Dance Injuries

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A capoeira como escola de ofício

The purpose of this paper is to provide an in-depth look at the origins of the capoeira, as well as the occupation school, aiming to structure a work in the historic-bibliographic perspective which allows elucidating this relation with the occupation school, since this beging its origins until nowadays. It is a descriptive study, using the source documentary collection of data. Among the results it was observed that the capoeira it was not considered a ocupation (it was rather forbidden) but a "subsistence system", being transmitted from one generation to the other orally. The paths that the capoeira has walked through and, under certain circumstance, has draw for itself, make it a occupation school, such as in the relationship master-apprentice which lasts until the present moment. We are able to conclude that the capoeira as corporation and occupation school are realities lived due to its structure and function, both present in the contemporary world.

Historical aspects of Belly Dance and its practice in Brazil

Dance is regarded as one of the oldest art forms, which is based on evidence from prehistoric paintings found in caves; man expressed himself through body language prior to the development of spoken and written forms of communication. Dance was then used during important events, common to their era and culture, and often in religious rituals, to ensure good harvests - their economic activity. Belly-dance appeared approximately eight thousand years B. C. E. as a sacred dance firstly practiced by priestesses, and after that, it was popularized amongst women from Mesopotamia. Virtually considered an ancient form of physical exercise, it is still practiced by Bedouin women as a preparation for spontaneous delivery. In Brazil, belly-dance is widely practiced and our corporal culture enables its learning and improvement, resulting in professional dancers.

Work and injuries in dancers: Survey of a professional dance company in Brazil

This study examined the daily life and most important physical injuries suffered and reported by the dancers of a professional (contemporary) dance company in S (a) over tilde $o Paulo, Brazil. Through an observational, cross,sectional, retrospective procedure using a questionnaire that collected qualitative and quantitative data, we were able to gather information on 30 dancers who collaborated with the survey. We determined that the injuries considered as most important by dancers were those that prevented dance activity during some months. These injuries occurred mainly during rehearsals (which is the activity occuppying, the most time on the schedule). Articular injuries were the most frequent and mainly involved the knee and ankle. They were related to classical technique, in which most of the company's artists started their dance careers. Medical care usually was sought within 1 day, and the prescribed treatment resolved the problem, but the injury cause was not identified in all cases.

Musculoskeletal disorders (MSDs) in dancers and former dancers participating in the largest dance festival in the world

Objective: To verify the presence of musculoskeletal disorders (MSD) in dancers and former dancers participating in the 27th Joinville Dance FestivalMaterial and methods: The research was conducted at the 27th Joinville Dance Festival in Santa Catarina, Brazil, with 173 participants in the competition, where 139 were dancers and 34 were former dancers with at least ten years of practiceIn order to obtain information related to MSDs, dancers answered a specific questionnaireResults: The study group consisted of adults (28±9 years) with body mass index within the normal range (21.3±2.3) with high weekly training time (955.7±837.2) and featuring long-time experience in dancing (18±7years)The lumbar spine and knees were the most affected by MSDsThe pain of high intensity was the symptom that most often appeared in reports among survey participantsConclusion: It is important to have deeper knowledge of the prevalence of pain among professional dancers, the factors associated with pain conditions and its impact on everyday life in order to plan new forms of prevention and plan new forms of prevention and treatment within a multidisciplinary approach© 2012 Elsevier Masson SAS.

Versos, veredas e vadiação: uma viagem no mundo da Capoeira Angola

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Os ritos das danças Xondaro e do Terreiro da Aldeia Guarani M'bya - Aguapeú e das danças circulares

Pós-graduação em Ciências da Motricidade - IBRC