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

The Amplifier - v. 15, no. 2

In this issue...Geophysics, Bob Hutt, Oregon State, Antarctica, Tech Dances, Frontier Conference, Montana Folklore, Montana Board of Regents

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

O corpo na dança - A dança no corpo

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica.

Biografía de una Champeta. Producción, Difusión y Distribución de la Música de Picó, en Barranquilla Caribe de Colombia

Desde los años 80’s, en los barrios populares de Cartagena y Barranquilla se ha venido desarrollando un fenómeno musical denominado champeta. Este tipo de música es descendiente de bailes populares conocidos en la tradición regional como casetas o verbenas, en los cuales el eje central son grandes amplificadores de sonido denominados picós y datan aproximadamente del decenio de 1950 del siglo XX . El presente trabajo se inscribe en los estudios sociales de la música en los que se analiza los procesos de creación, difusión y distribución por los que atraviesa una canción de champeta en la ciudad de Barranquilla, Caribe de Colombia. Teniendo en cuenta que dichos procesos responden a una lógica de circulación musical alternativa enmarcada en un contexto en el que la música champeta es marginada y estigmatizada por las élites costeñas y nacionales a través de varios mecanismos discursivos, legales y mediáticos, generando unas formas de circulación musical propias que colindan entre lo informal/ilegal.

La performance rituale delle Nava Durgā: musica e danza tra i Banmālā di Bhaktapur, Nepal

Il presente lavoro è il risultato di cinque anni di ricerca sulla performance rituale delle Nava Durgā del popolo newar a Bhaktapur (Nepal). Dal 1512, per circa nove mesi all'anno, gli uomini della casta inferiore Banmālā reincarnano le nove manifestazioni femminili della dea Durgā ed eseguono le danze in maschera. La performance della Nava Durgā è una pratica culturale molto complessa, composta da suoni, danze, processioni, momenti di venerazione (pūjā), rituali tantrici e momenti sacrificali. Gli aspetti musicali e teatrali della performance costituiscono il focus dell’indagine di questo studio. Dopo una descrizione analitica degli strumenti musicali utilizzati nella performance, alcuni elementi sonori vengono trascritti e analizzati mettendo in luce le caratteristiche tipiche della musica newar. I contenuti narrativi delle danze e il ciclo vitale delle Nava Durgā rispecchiano la vita hindu. La loro interpretazione viene realizzata in base alle osservazioni etnografiche; alcuni temi che costituiscono gli obiettivi dei devoti hindu (puruṣārtha) vengono esaminati attraverso l’approccio storico e quello etnografico, anche al fine di sottolineare il ruolo didascalico e formativo della performance. Un altro argomento discusso in questo lavoro consiste nell'identità dei danzatori Banmālā e quella del popolo newar in generale; questo aspetto è emerso in modo rilevante anche durante le fasi di mediatizzazione della performance delle Nava Durgā avvenute nel periodo del COVID-19. Da questo punto di vista, il presente lavoro costituisce un contributo alla diffusione della conoscenza della tradizione delle Nava Durgā; questo converge con l'obiettivo dei Banmālā di aumentare la visibilità della performance al fine di affermare la propria identità sia nel contesto nazionale che in quello internazionale.