Programa de Pós-graduação em Performances Culturais
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Item Ciranda na arte, construindo performances, afetos e liminaridades. Experiências arte/educativas na rede pública do Estado de Goiás (2009-2016)(Universidade Federal de Goiás, 2020-10-08) Alcantara, Luz Marina de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Barbosa , Ana Mae; Koudela , Ingrid Dormien; Rizzi , Maria Christina; Reinato , Eduardo JoséThis study analyzes the performances of Ciranda da Arte Center of Study and Research, an institution of the State of Goiás, with no similar at the national level, founded on July 15th, 2005. Ciranda aims to develop a process of continuing education in art, focusing on artistic production, research and training of art/educators. Ciranda looks for updating and deepening knowledge that reverberates in the quality of art teaching in the system of state public school and the aesthetic education of society in general (PPP 2015). Therefore, we examine the historical path of art teaching in the public network of Goiás developed under the intervention of Ciranda da Arte, historically considering the eleven years before its creation and the eleven years that followed (1994-2016). As a theoretical framework, the performances were produced according to the concepts of affectivity and significant learning developed by the French philosopher and psychologist Henri Wallon (1879-1962), and also the American philosopher John Dewey (1859-1952). From the cultural performance perspective, the current study tries to understand the relational game of the ciranda performances as processes of structure, anti-structure and liminalities, concepts developed by Victor Turner (1920-1983) in his book The Ritual Process. Structure and Anti-structure (Lewis H. Morgan Lectures, 1966). I also adopted the sequence of artistic performance as it was developed by Richard Schechner (1934) for the analysis of the collective and individual art exhibitions of the full-time state schools in the cities of Anápolis, Goiânia, Inhumas and Palmeiras de Goiás.Item Tex, um mundo de sensibilidades e imaginários(Universidade Federal de Goiás, 2022-03-10) Antunes, Aline Ferreira; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Christino, Daniel; Abdala Júnior, Roberto; Gomes, Ivan Lima; Beneduzi, Luis FernandoThis PhD research is the result of accumulated years of studies since my History graduation. The source and the research area remained the same: the cultural production of Comic Book magazines dedicated to the most long-lived Italian character in Western: Tex Willer - produced by Giovanni Luigi Bonelli (arguments and scripts) and Aurelio Galleppini (drawing), since 1948 in Milan, Italy. The central theme of this research is focused on readings of Tex fans in the light of Cultural Performances, understood here as an area of intersection between many fields of study. In this sense, it is necessary to dialogue with authors of Historiography and Communication. The methodology was based on a qualitative research, theoretical bibliographic reviews on comic books and Tex, as well as a case study of TEX magazines and also fan letters, cosplays made at meetings dedicated exclusively to the character. In addition, postings on social networks dedicated to the character such as Facebook and Instagram were also used as sources. The main question discussed on the text is about how does a cowboy produced in comics in Italy arrive in Brazil (reception) and dialogue with other cultural products of his time, in this case Western Hollywood films and Western Spaghetti? In this sense, the main objective was to understand TEX's reception in Brazil with a focus on fan cosplays, analyzing the performativity and sensitivity of these fans who dress up in the character of fumetti and who express their opinions and passions via internet. Such research contributed to a closer approximation of the Texian world, Brazilian Tex fans and how this community organizes itself through social networks. It is the result of an interdisciplinary training, moving between History and Cultural Performances, with a source of research in itself that is also interdisciplinary and hybrid.Item Crueldade e poesia: manifestações performáticas (in-de) Antonin Artaud e Manoel de Barros(Universidade Federal de Goiás, 2022-02-08) Barbara, Rodrigo Peixoto; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Leal, Cristyane Batista; Satler, Lara Lima; Pascali, Maria Julia; Figueiredo, Valéria Maria Chaves deEverything is body! One who writes, does it with the body, a body work. One who reads, does it with the body, the body work of someone. Above all, this anti-Thesis is an encounter with the body (corpus) of life, the result of my experience with the Cruelty by Antonin Artaud and the Poetry by Manoel de Barros as well as the resonance/vibrations from this experience, in my body. Therefore, I present a corpography that: • Reflects the cruelty and the poetry as performative manifestations (in-by) Artaud and Manoel de Barros. In other words, what is firstly revealed inside, ‘in’, and then ‘by’, outside oneself and finally projected into the collective. The word manifestation is acquired as a personal revelation and personal-collective, in terms of taking a stand in and for life. Moreover, the concept of performance implies an artistic, anarchic, transgressive, subversive, freeing and revolutionary expression which ends up changing the reality. • Proposes a friendship between Artaud and Manoel de Barros (Poetic Cruelty, Cruel Poetry), considering the existential issues and the similar perspectives regarding life, art, social structure and the urgency of and for freedom.Item Performances negras e homoeróticas na literatura de James Baldwin(Universidade Federal de Goiás, 2020-12-21) Bezerra, Paulo Rogério Bentes; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Nunes, Flávio Adriano Nantes; Correia, Paulo Petronílio; Almeida Neto, Luiz Mello de; Camargo, Flávio Pereira; Dias, Luciene de OliveiraThe aim of this academic paper is to discuss, primarily, the homoeroticism and the negritude in the literature produced by James Baldwin, with the focus on Performances Culturais.The homoeroticism is discussed under the conception that the sexuality of the main male characters of both novels is not fixed, stable, but undefined, in transit and performative. The masculinity and the space are also issues within this literary scope of black and homoerotic bodies, particularly in the narrative of the novels Another Country and Just Above My Head, written by James Baldwin. Both novels are discussed in this work throughout the idea of an anti-hegemonic masculinity, in which the virility is not attached to heteronormativity but to a whole set of sexual ambiguity, regarding the main male characters. In terms of the space matter, this research carries the idea that it is intertwined with the characters, through their peripheric aspect, indoors and outdoors. The narratives take place in neighborhoods which are located in the margins of New York City. Furthermore, the city communities, their places of social interaction and the ideology of racial segregations are issues of discussion and lead to a complex urban performance in the writing by Baldwin. Moreover, African American Literature brings out the discussion of Escrevivência, a literary term created by Brazilian black female writter Conceição Evaristo. This term is viewed in this research as object of an approximation between the literature of James Baldwin and Conceição Evaristo. Finally, in order to better conduct his academic paper, I selected as theoretical framework, the works of bell hooks (1992, 2015), Paul Gilroy (2007), Kimberlé Crenshaw (1989), Grada Kilomba (2019), Gaston Bachelard (1984), Fernando Seffner (2016), Jurandir Freire Costa (1992, 1995), Toni Morrison and Conceição Evaristo (1996) among other contributions.Item O arrepio do lúdico: análise da construção do espaço e da atmosfera de jogos de videogame de horror, terror, suspense e subgêneros(Universidade Federal de Goiás, 2021-08-06) Bueno, Murilo Gabriel Berardo; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Rocha, Claudio Aleixo; Franco, Edgar Silveira; Nogueira, Lisandro Magalhaes; Melo, Marcilon Almeida deCette thèse de doctorat analyse la construction de l'espace et l'atmosphère de l'horreur, le suspense et les genres possibles dans le jeux vidéo. L'investi-gation interdisciplinaire combine les études phénomènologiques propos par Heidegger, Gumbrecht et Fink, avec un cadre complemmentaire des étu-des sur les performances culturelles propos par Schechner, Turner et Gen-nep, ainsi que les études sur le genre et les narratifs cinématographiques, en permettrant d'annaliser comment l'expérience et matérialisation de l'espace et de l'atmosphère sont construites dans les jeux, en amenent points de con-tact avec les états liminaires et performatiques qui constituent l’expérience de la jouabilité et offrent la possibilité d'étudier des genres et des catégories nar-ratifs dans les jeux. The objectif de la recherche est d'analyser l'espace et l'atmosphère des jeux Outlast, Outlast II, The Evil Within, The Evil Within 2, Resident Evil 2 (Remake), Resident Evil 3 (Remake). Ces jeux ont été choisi pour être, bien qu'ils sont issus d'une recherche qualitative, d'un échantillon pertinent pour une discussion sur différents types d'espaces, d'atmosphères, d'ouvertures esthétiques et de genres narratifs. L'objectifs spécifiques ont été établis pour analyser l'interface entre les performances culturelles et phéno-ménologie, par l'analyse de la construction d'espaces organisés pour faire peur. Un objectif supplémentaire pour l'orientation et le développement de la recherche était de mener l'investigation des jeux d'un point de vue esthéti-que, liés à apporter la consolidation du climat de peur et la constitution d'un langage visant à l'esthétique dans les jeux qui font partie du corpus de re-cherche. Enfin, le besoin d'enqueter sur les histoires, les intrigues et les récits dans la consolidation des tropes de genre à chaque moment de jeuabilité. Au cours de la discussion sur le sujet dont je m'occupe, l'objet d'un corpus d'étu-des et de recherches, nous avons développé l'analyse basée sur une structu-re interdisciplinaire, dans une combinaison d'éléments théoriques, com-me proposé avant.Item Memória, ancestralidade e práticas corporais na congada da Vila João Vaz(Universidade Federal de Goiás, 2021-08-02) Carvalho, Cleber de Sousa; Corrêa Junior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Corrêa Junior, Sebastião Rios; Falcão, José Luiz Cirqueira; Antunes, Priscilla de Cesaro; Silva, Renata de Lima; Neves, Talita VianaThis study presents reflections on the processes of evoking memories among the congadeiros of the Festa da João Vaz (Goiânia-GO). We seek to understand the processes of evoking African and Afro-Brazilian memories of Bantu matrices, mainly, but also Sudanese, in view of the protagonism of the bodily practices of its participants. Among the objectives, we highlight the interest in analyzing the intercultural processes that occur at the festival, from different Bantu, Sudanese and popular Catholic traditions; identify the references of religiosities experienced by the congadeiros and their correlations with the event in focus; investigate how bodily practices participate in memory recall processes; and finally, perceive and register the senses and meanings of the experiences of the congadeiros with dancing, singing and drumming. An ethnographic study was carried out in the context of the preparation and realization of the Festa da João Vaz. The analyzes were also based on the studies of Cultural Performances, considering the integrality of the performances of the congadeiros, as well as the perception and analysis of their experiences with the phenomenon in question. Aspects of the corporeality of the congadeiros revealed memories whose plots constituted in gestures, in the familiarity with the places and in the use of objects and artifacts as insignia of power during the celebrations. The diversity of dances, songs, colors of uniforms, types of musical instruments and their ways of performing them demonstrate dynamics of identity (re)signification that occur between the participants and their guardas in Congada. Memory, its meanings and the ways in which it is evoked nurture the link between congadeiros and their notions of African and Afro-Brazilian ancestry. Through the link with ancestry, they experience their own relationship with the sacred in a black bodily mnemonic that goes beyond the most current conceptions of Catholicism, Umbanda and Candomblé. In the encounter and interdependence of these phenomena, the memories incorporated in the congadeiros reveal cosmovisions and symbols in the composition of black culture in Brazil.Item Um olhar para as performances culturais na midiatização do ritual da novena a Nossa Senhora do Perpétuo Socorro durante a pandemia da Covid-19(Universidade Federal de Goiás, 2023-01-13) Costa, Christiane Gonçalves; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Nogueira, Lisandro Magalhães; Silva, Wagner Bandeira da; Arbués, Margareth Pereira; Veloso, Sainy Coelho BorgesThis paper brings a look at the mediatization of the ritual of the Novena in honor of Our Lady of Perpetual Help during the Covid-19 Pandemic, which goes through the concepts of the media-tization of religion and cultural performances regarding the theories of ritual and drama. The objective is to describe the scenario of the novena, its origin since the 14th century, and its continuity worldwide, in specific, in the Sacrosanct Minor Basilica of Our Lady of Perpetual Help, in Goiânia, Goiás, and how this scenario changed during the COVID-19 pandemic. With this, was sought to scrutinize the traces of cultural performances, observing how this ritual is char-acterized, as well as the relationship that the population and the faithful have with the rite, their beliefs, and how this behavior was changed, during the period of physical isolation, required by the pandemic of COVID-19. The research content was produced in the light of theoretical studies of cultural performances, theology, particularly Mariology, and the mediatization of religion. The data analysis was done qualitatively, by online research methods, based on observations of noted behaviors, during rituals, before the pandemic, and in social media, during the pandemic period.Item As performances do carimbó “pau e corda”: entre batuques e partilha de saberes(Universidade Federal de Goiás, 2022-08-29) Costa, Elyane Lobão da; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Silva, Renata de Lima; Gabbay, Marcelo Monteiro; Oliveira, Joana Abreu Pereira de; Guimarães, Vinicius Oliveira SeabraThe present thesis has as its object the carimbó, as a Cultural Performance. This is a field research, which understands the importance of Collective Memory for the transmission of knowledge. Around this Ancestral Manifestation, there is an exchange of knowledge that is shared between mestres and carimbozeiros, and between mestres and sympathizers, thus marking the cultural identity of these subjects. This cultural manifestation is expressed as music, dance, leisure, religiosity and work, and must be analyzed from different perspectives, thus realizing its symbolic character. From the analysis of the memories of the carimbozeiros masters, it was noticed that the carimbó remains alive through resistance, through the transmission of knowledge through generations and through Non-Formal education, thus being a field of social, political, historical and cultural disputes, thus demarcating the identity of the subjects individually and collectively. The barracões are collective and privileged spaces in which this process of knowledge sharing takes place, thus contributing to a broad training of subjects, focused on citizenship, and the training process plays a fundamental role in safeguarding this cultural asset of an immaterial nature.Item Psicanálise e arte: performances do eu em Jogo de cena(Universidade Federal de Goiás, 2023-09-22) Ferreira, Ezequiel Martins; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Nogueira, Lisandro Magalhães; Bezerra, Cláudio Roberto de Araújo; Nunes, Alexandre Silva; Amaral, Roberto Antônio Penêdo do; Christino, DanielThe proposal to relate the theories of Cultural Performances with Psychoanalysis was carried out based on the film by director Eduardo Coutinho, Play of Scene, taken, here, as a film within the limits of the documentary that carries traces of performance art, and evokes elements that point to the subjectivity behind the characters. In this, the objective is to elucidate the way in which this subjectivity appears in Coutinho's device, where the register of the imaginary prevails. The concepts of narcissism and the image of I are taken, and, extracted from the participants' testimonies, the significant extracts that are repeated and that point to a failure, at the same time that it expresses, as a mask, a another scene, in which something beyond the imaginary appears. Thus, as a result, the proposal given in the invitation, which is to crystallize an image of I in the form of characters, stumbles upon the reality of the scene itself.Item Corpos em extensão: por uma educação performática, intercultural e sensível(Universidade Federal de Goiás, 2022-02-17) Fratti, Rodrigo Graboski; Falcão, José Luiz Cirqueira; http://lattes.cnpq.br/4321211789462639; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Hartmann, Luciana; Barcelos, Tania Maia; Fleuri, Reinaldo Matias; Lima, Marlini Dorneles deThe objective of this thesis was to formulate, having the pedagogical practice as a background, an academic reflection on Performance, Intercultural/Decolonial and Sensitive Education in the field of University Extension and Culture. For that, we developed an analysis of the formative experiences in a University Extension and Culture Program: the Grupo CorpoEncena of UFCAT as a starting point; then, we elaborate a conceptual and categorical reflection of the postulates of Cultural Performances and their mediations with Education, of Interculturality/Decoloniality and their mediations with Education, as well as of Sensitive Education as a contribution to formative processes within the University. We ended the writing by producing a proposal for a University Extension and Culture Project that dialogues with the framework proposed in the thesis, as well as with the knowledge and practices of an African matrix and their interrelationships with the training of people with disabilities.Item Cartografia camerística: uma poiética intertextual na performance contemporânea da música de câmara(Universidade Federal de Goiás, 2021-03-05) Freccia, Gustavo Weiss; Rios, Sebastião; http://lattes.cnpq.br/7078983629857043; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Santos, Rafael Guarato dos; Oliveira, Vânia Dolores Estevam de; Bittar, Valéria Maria Fuser; Ballestero, Luiz Ricardo BassoThis work is the product of a cartographic investigation about the performance(s) that is (are) to be found in today's chamber music recital. Starting from a discussion on the creative role played by a classical music performer (when he or she structures the spectacle's performance, chooses his or her repertoire, sets spacialities and the intertextual devices that integrate each recital), we assume that the recital takes the shape of a ritual (GOFFMAN, 1959; TURNER, 1974). Even though such chamber music recital's cultural rituals are secular, they do comprise an artistic dimension that overcomes common place and everyday life, such as in the case of sacred things. The chamber musical recital, therefore, is an event full of performatic dimensions that go through all phases of the performance (SCHECHNER, 1985), in its inceptions, as well as in its performance or its mouvance (ZUMTHOR, 2018). I name “performatic layers” (genre, praxis, and recital) those very dimensions through which one may set a certain perspective by means of the lenses of the performances for they at times coexist, superimpose upon each other or take place separately and yet they are co-dependent. In a way, such matters drive theme, problem and method itself and therefore some assumptions are set by means of an investigation about the arts (BORGDORF, 2012; 2018), thereby setting a certain entanglement with the so-called qualitative investigations (BAUER; GASKELL, 2008, VELARDI, 2018), and performatic investigations (HASEMAN, 2015), as well as cartographic investigations (ROLNIK, 2006, DELEUZE; GUATTARI, 2011, PASSOS; KASTRUP; ESCÓSSIA, 2015). In another way, cartographic deambulatory experience merges artistic experience with research experience, thus generating data that throw some light upon the setting of this thesis and demand a specific method. Besides the theoretical framework related to the very features of this research, its concepts and the history of chamber music and beyond the theory concerning cultural performances, there also appear as generated data the observation and analysis of recitals which I attended and of recitals in which I took part (as a musician), as well as interviews with chamber musicians. Such data comprise a kind of counterpoint to the information present in the three first chapters and the description of the making of the recitals and therefore demonstrate the applicability of the concepts that have been used. This thesis culminates in the artistic project elaborated through the cartography made during this investigation (narratives, theoretical references, discussion of concepts and interviews), in a video-recital entitled Improvisório. It is a self-poietic testimony, which closes this work from the perspective of artistic practice.Item Na teia de Ananse: a contação de histórias como performance, com crianças, na escola(Universidade Federal de Goiás, 2021-07-30) Gabriel, Sonaly Torres Silva; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Ribeiro, Kelly Cristine; Fernandes, Maria Lidia Bueno; Icle, Gilberto; Dias, Luciene de OliveiraThis research presents a study on storytelling performances, shared between children and adults, with the goal of investigating how this experience can contribute to children's protagonism in school environments. In this context, a performative research was developed, whose practices were carried out in two public schools in the Metropolitan Region of Vale do Aço, in Minas Gerais – Brazil. The methodology of this work is eminently guided-by-practice and had as fundamental methodological aspects: (i) poetics, the power of the body as primacy; (ii) the processes of creation, interaction and transformation present in performances and in research as performance; (iii) the enthusiasm for listening to children's stories and with the events that emerge from the storytelling performances; (iv) interaction with children, not only as interlocutors, but as co-producers of knowledge and stories. The approach of storytelling as performance was chosen in this research for its critical and inventive perspective: the notion of performance, when understood as an essential element of human experience, constitutes a tool to problematize the multiple relationships of everyday life, such as relationships adult-child in the school context. From this perspective, the practices of this research include the creation of a Performance Ananse presentation and the realization of storytelling workshops with children. These practices and the stories narrated by the children led us to problematize themes such as: colonialism, racism, violence, silence and silencing, adult-child interaction, children's cultures, the importance of multiple stories. In this process, it was possible to realize that storytelling as a performance is a liminal experience that can destabilize what we adults know about school, about storytelling, about children. Furthermore, it was evident that the role of children in schools is crossed and limited by disciplinary frameworks and by the asymmetry of power in the adult-child relationship. We conclude that is really relevance the perspective of shared protagonism, in which there is flexibility in the adult-child power relations, which demands an openness from the adult to deal with their limitations, to learn with children, to co-create interactive experiences in which children can participate in pedagogical choices, be recognized as authors of their stories, producers of cultures and knowledge.Item Cinema encruzilhada: as performances culturais e o campo do filme documentário(Universidade Federal de Goiás, 2022-09-05) Gama, Alessandra Regina; Alexandre Sobrinho, Gilberto; http://lattes.cnpq.br/1858272036657626; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Nogueira, Lisandro Magalhães; Machado, Irene de Araújo; Dennison, Stephanie Rhona; Bezerra, Claudio Roberto de Araújo; Satler, Lara LimaIn this work we are interested in investigating, in the light of cultural performances, ways of representations of the Afro-Brazilian cosmovision, in documentary films that contribute to aesthetic and political reflections about representational practices of Candomblé and Afro-diasporic cultures. In this context, similarity, difference and otherness, therefore, identity issues, are mixed with symptoms historical racial groups that sediment representational practices of stereotyping. We start from the assumption that the points of contact between the performances cultural and documentary, crossed by the Afro-Brazilian cosmovision, configure an aesthetics of the crossroads and, thus, articulate codes, texts, gestures and symbolic systems, which create meanings and, consequently, elaborate responses to representational practices. To address the problem presented, we started the theoretical reflections approaching the relations between cultural performances and the field of documentary film from the crossroads perspective, which highlights the epistemic linkage of behaviors and narratives coherently aesthetic and policies, based on the perspective of the Afro-diasporic cosmovision. The studies on representational policies help us to think about the power embedded in the notion of representation as a creative act that challenges stereotypes through counter-strategic intervention and inversion movements. We are interested in establishing an opposing view of the colonialist discourse from which the historical and cultural formation of the peoples of the West derives. To that end, we invest in studies by authors of the main reference bases: Leda Maria Martins, Diana Taylor, Richard Schechner, Victor Turner, Fernão Ramos, Bill Nichols, Stela Bruzzi, Cláudio Bezerra, Manuela Penafria, bell hooks, Robert Stam, Stuart Hall, Beatriz Nascimento and Muniz Sodré. From the articulation invested in the notion of cinema crossroads, we move on to the filmic analysis of the documentary series carried out by the Society for the Study of Black Culture in Brazil – SECNEB: Orixá Ninu Ilê (1978), Iyá-Mi-Agbá (1981) and Egungun (1982). The result is an analysis of images and sounds that compose a cinematography interested in the dispute of modes of representation, based on the proposition of a decolonized look about the images and sounds of Afrodiasporic cultural performances.Item Epístolas profanas: performances dos silêncios manifestos(Universidade Federal de Goiás, 2019-10-10) Gomes, Morgana Barbosa; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Fernandes, Ciane; Medeiros, Maria Beatriz de; Silva, Renata de LimaThe Profane Epistles are cartographies (Suely Rolnik, Roberta Romagnoli) drawn from some pulsations that move us, namely: an expression of silence through artistic performances in the streets; an aesthetic performances (Susan Sontag) built at the intersection among art, philosophy and contemporary anthropology; a performance investigation (Ciane Fernandes, Brad Haseman) whose method implicates the epistolary literature as a genre of knowledge. We started from the cultural silencing of women, interacting with some thinkers, like Djamila Ribeiro, Sulei Carneiro, Marcia Tiburi, Gloria Anzaldúa, Grada Kilomba, Chimamanda Adichie, Gayatri Spivak, Judith Butlher, Simone de Beauvoir, Michelle Perrot, form among others, to demonstrations of this silence through artistic and cultural performances (Eni Orlandi, Richard Schechner, Paul Zumthor). This espistolary cartography is a composition of letters exchanged with readers, artists, professors, students, reseachers, witnesses, classmates and friends, from among other real and fictitious addressees, like cities and personified entities, artistic and highly – regarded characters, interacting with references who form the body of work. The letters refer to emergent questions from our practical experiences from the artistic programs Aesthetic of Silence (BA, 2015) and Poetics of Silence (GO, 2019), to the artistic performances Poems & Whispers, Profane Epistles, Elephant Woman, Silence Constellation, Beauty of Silence, Lady of Silence, which we performed in the streets of some brazilian cities amongst Bahia, Brasília e Goiás (2015-2019). We refered to writers who expressed their silence in the literature (Cora Coralina, Clarice Lispector, Hilda Hislt, Lya Luft, Virgínia Woolf, Franz Kafka), from among artists of other languages, writing to brazilian researchers contemporary with the silence in the arts. In this performative research, we experienced a synthesis between subject and object, theory and practice, content and shape, method and criation, being able to contribute to epistemologies and methodologies of researches into arts, interdisciplinary approaches to Cultural Performances.Item Arte e vida os parangolés de Hélio Oiticica - performances a contrapelo(Universidade Federal de Goiás, 2020-03-12) Gonzaga, Deusimar; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo , Robson Corrêa de; Camargo , Goiandira de Fátima Ortiz de; Reinato , Eduardo José; Veloso , Sainy Coelho; Lopes , Antônio HerculanoThis work aims at developing a study about Hélio Oiticica´s invention/performance Parangolé. The painter, sculptor and performance artist was born in Rio de Janeiro, in 1937 and died in the same city, in 1980. Parangolé is approached here as a language/performance of the subjectivities and the non-representational practices. The axis of the analyses is the artist´s written material which revolves around his parangolés (objects and performance) and his other objects. I search for an understanding of Parangolés entering Oiticica´s labyrinth-world. The analysis revolves around the thinking of three authors. Kenneth Burke (1897-1993): Symbolic action and Terministic Screens - categories of language analyses in his dramatism. Russian philosopher Mikhail Bakhtin (1895- 1975): his concept of exotopia - exceeding view (consideration of the other´s view, time and place of perspectives constituted in the work of art), to situate the presence of the spectator/participant of Parangolés. What Richard Schechner calls “actual”: a special manner of constituting and dealing with artistic experience. A mimesis event: imitation, presentation (in time, be present, existence, existence in time), representation and expression of the actions of living in the attempt to occupy the spaces between past and present, individual and group, inside and outside. I investigate in Parangolés what is beyond imitation or representation of reality; and beyond the expressions of mental and emotional states, circumscription that nests Oiticicas´s behavioral exercises. Chapter I - Ethics, aesthetics, action, and behavior of the embodied language of P(p)arangolés; Chapter II - Overview from an artistic angle of the Brazilian cultural scene of the 1960s: the constructivist art of the concrete and neo-concrete movements. Political and artistic matters from a sociocultural perspective; Chapter III - Deals with language as wills of presentation, introduction, and representation of the world, of us and others, in social interactions/performances; Chapter IV - A view from Burke´s screens; Chapter V - What one cannot see or see at Bakhtin´s screens; Chapter VI - Actualizing (Actual) as proposed by Schechner.Item O circuito cultural brasileiro e a crítica de cinema: um estudo sobre a recepção especializada dos filmes de Mazzaropi(Universidade Federal de Goiás, 2022-07-21) Junqueira, Juliana; Corrêa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Martins, Alice Fátima; Satler, Lara Lima; Fernandes, Ana Rita Vidica; Abdala Júnior, Roberto; Corrêa Junior, Sebastião RiosWith success with the public and the maintenance of a powerful national film industry over approximately thirty years, São Paulo filmmaker Amácio Mazzaropi was continuously evaluated by specialized critics between the 1950s and 1980s. comics by the filmmaker, addressed political and social issues characteristic of Brazilian society such as racism, machismo, exploitation of the worker, rural exodus, gentrification caused by the emergence of cities, among others. Even so, his productions were considered alienating, repetitive, simplistic, conformist and technically fragile. The objective of this thesis was to understand the critical reception that the works received over the years. We investigate Mazzaropian cinema within a social and historical context, in order to include them in the film analysis, going beyond the imagistic and semantic aspects of the films. Therefore, we sought to understand Mazzaropi's cinema, observing its history, evolution and relations with the national reality and also to understand the context of Brazilian cinema during the artist's production period. The theoretical-methodological paths of the research are linked to the fields of Cultural Studies and Cultural Performances, and Richard Johnson's Culture Circuit was chosen as the theoretical methodological path for the development of the analyses. Three films by Mazzaropi were analyzed: Sai da Frente, Meu Japão Brasileiro and Jeca e Seu Filho Preto, each one corresponding to a decade of work by the filmmaker, in the first as an actor and in the last two as an actor and owner of his production company. to Amacio Mazzaropi Productions. The films were selected from the texts of critics found in the press. From the large amount of reviews researched on electronic sites such as Hemeroteca Digital and digital collections of periodicals, we selected those with the highest density and written by professionals with a relevant professional trajectory in the cinematographic field. In this way, from the bibliographic research and analysis, through the Culture Circuit, of the selected films and the reviews published about them in the press of the time, we obtained a greater knowledge about the Mazzaropian production and we found evidence that proves that the place and the time in which the reviews were written influenced the specialized reception of the filmmaker's work. Thus, we found that the social, political and historical context in which the films were released influenced the critics' reading and that the approach to social problems, through comics, prevented a less stereotyped specialized reading of Mazzaropi's films.Item Performances afro-brasileiras na cidade de Goiás (GO): diálogos patrimoniais(Universidade Federal de Goiás, 2021-04-15) Macedo, Eliene Nunes; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Tamaso, Izabela Maria; Pires, Ema Cláudia Ribeiro; Osório, Patrícia Silva; Silva, Renata de Lima; Corrêa Júnior, Sebastião RiosThe present thesis seeks to explain black performances in some Afro-Brazilian groups from Cidade de Goiás (GO) and how they relate to the world heritage title given to the city by UNESCO and IPHAN. In such sense, the research followed the Congo, Afoxé, Avó Delê and Bloco Pilão de Prata groups to understand, in a dialogical perspective, the identity relations and their mirrors, as well as the embodiment and experiences of ethnic racial relations in heritage performance practices taking into consideration the way cultural policies are developed both worldwide and nationally with local specifications. Goiás was considered a UNESCO World Heritage in 2001 thanks to the preservation of its historical, architectonic and urbanistic values, which witnessed the occupations and colonization that happened in the 18th Century. Paradoxically, at the beginning of the 20th Century, other cultural practices start to emerge and build connections with the descolonialism context besides instigating discussions about ethnic racial relations. Such scientific investigation is justified by the need of understanding the ethnic racial identity relations that exist in post-modernity and thereby it attempts to reflect upon the multiple processes of identification and manifestations of expression that run through the aforementioned subjects. In addition to these discussions illuminating reflections on ethnic-racial relations, it underlines the emerging need for Brazilian society to critically reflect and act in the fight against racism. The analysis presented has a field research done between 2016 and 2020 as a reference in which ethnographic methods were used and whose goal is to interpret Afro-Brazilian performances in the town of Goiás and their heritage dialogues. It is possible to observe that the historical center heritage speech, which had a unique identity, starts to get fissured and displaced. As far as it is concerned, the groups Congo, Bloco do Pilão de Prata and Afoxé Avó Delê attribute new outlines to the local cultural practices and highlight the agency of symbolic content in Afro-Brazilian manifestations, which therefore result in a complex process of descolonialism as an outcome of their performances and educational actions.Item As performances das Folias de Reis e suas clivagens no campo e na cidade no município de Morrinhos/Go(Universidade Federal de Goiás, 2023-10-11) Machado, José Henrique Rodrigues; Souza, Geórgia Cynara Coelho de; http://lattes.cnpq.br/4911717849806520; Souza, Geórgia Cynara Coelho de; D’Abadia , Maria Idelma Vieira; Souza, Julierme Sebastião Morais; Amaral , Roberto Antônio Penêdo do; Oliveira, Rodrigo CássioThis research is linked to reflections on the Folias de Reis in the city of Morrinhos/GO. With the problem raised about this mode, and in what terms and cleavages, late capitalism and modern sociability are presented in/from the festivities of the countryside and the city, presented as a general objective to understand the possible differences, coincidences and determinations in the ritual, in the performance of the folios and their ritual, considering late modernity and modern sociability as influenced by the (dis)continuity and transformation of tradition. That said, an ethnographic survey of city and country leaves will be carried out, and their common, discrepant and convergent rites/acts will be verified. With the need to also capture unique markers of the performances of the festivities, the countryside and the city, in order to understand the countryside and the city as transformers of an invented tradition. The intention is still to document the founding symbolism existing in the ritual of the festivities and its imbrications in the tradition invented in the countryside and in the city and its possible variants, in the municipality of Morrinhos/GO. We will use Raymond Williams' theories that will demonstrate the relationships we need, with the purpose of understanding how late capitalism and modern sociability, theories brought by João Emanuel Cardoso de Melo, the object of this research, form a line of meaning. Here we will research the Folias de Reis, the rituals, the ambience, and to do so we will use, to illuminate this research, the concepts brought about culture by Peter Burke and his load of meaning on the breadth of the theme; Cultural Circularity by Mikhail Bakhtin; Representation, by Roger Chartier; Identity, by Stuart Hall; Memory, by Boaventura de Souza Santos; Invented Tradition, by Eric Hobsbawm. The methodology used was qualitative research, at an exploratory level. Derived from an ethnographic method, of an interdisciplinary nature, of a bibliographic nature, with field research, in which 59 festivities were visited, whose focus is on the social relations between devotion, the agents (devotees) and all the communities that receive the festivities described in order to highlight a dynamic scenario between Country and City and their divisions, always seeking to achieve maximum security from a visual point of view, and to frame what was seen in theories, taking into account the strength of the festivities of the festivities in Morrinhos/Go.Item Transcorporeidade e saber: narrativas performativas e indisciplinares por uma descolonização epistêmica(Universidade Federal de Goiás, 2020-10-28) Maciel, Ceila Portilho; Bairon, Sérgio; http://lattes.cnpq.br/8712052461153621; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Brandão, Carlos Rodrigues; Fernandes, Ciane; Peres, Marta Simões; Silva, Renata de LimaThis Thesis aims to propose the concept of transcorporeity, from the perspective of the body wisdom and proposes to rethink the question of the construction and elaboration of knowledge, still governed by a colonial heritage - from an Eurocentric epistemic perspective - which includes the belief in the traditional method of modern science as a hegemonic paradigm. The investigation in the territory of the sensitive and creative body arts, having as reference the methodological proposal of the Performative Research, proposed to develop an investigative corporeality and its own methodology born from the field experience and an indisciplinary performance, which came to be designed as a intuitive-creative methodology. The initial steps of the research pointed to both the need for the decolonization of thought and the corporeity of the researcher herself, as well as the theoretical alignment with the epistemic decolonization movements. In this path, a strong intertwining of epistemic references from the global south was built, more specifically of traditional epistemologies of the peoples originating in Brazil and of African-Latinamerican origin, among others, interweaving an inclusive transepistemic perspective, of knowledge coexistence. The germination of the notion of transcorporeity, and the perception of several dimensions of its manifestation, became a medullary axis and an integrating element of the constellations of concepts, knowledge and experiences with which the thesis is involved and takes shape.Item Cuidado com aquele bizarra! Performatividades desobedientes de gênero na artevida de corpas dissidentes do binário(Universidade Federal de Goiás, 2023-02-28) Martins, Ricardo Marinelli; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Fornari Diez, Carmen Lúcia; Oliveira, Victor Hugo Neves de; Cardoso, Thereza Cristina Rocha; Silva , Larissa Maués PelúcioThe proposal of this research was to produce a self-oreographic cartography of Princess Ricardo Marinelli and between crossing it with the selfographies of two other non-binary artist subjectivities (Stefano Belo and Cali Ossani), betting on a poetics and a narrative of the meeting. For this we resorted to the methodological parameters of cartography (Deleuze-Guarri, 1995, 1996, 1997a, 1997b; Rolnik, 1996, 2018; Barros, 2015; Aguiar, 2010). Along with this, we resorted to “performative research”, in which we find support to actually build selfographically thinking (Haseman, 2015). The challenge has always been to bring the possibilities of academic writing closer to those of art creation, daunting the boundaries between art, science and what we call life. In this endeavor helps us the theory of gender performance (1990) developed by philosopher Judith Butler in the 1990s and pointing out the performative character of the genre, the theory is based on three main points: 1. The concept of performative acts of language, by John Austin (1990); 2. The understanding of citation, of Jacques Derruda (1991; 2004); and finally, 3. Understanding of performance recognized in its dimension of production of the real. Along with this conceptual elaboration, we were interested in realizing how the intersection of these performative dimensions happen in the gesture, the choreography of the materiality of the body, and therefore, in the processes of subjectivation, especially to perceive and make visible what we are calling performance kuir. In this context the proposal of the contrarssexuality of Paul Preciac (2014) to understand and explain that I am part of a flood of bodies that re/exist challenging the binary genre and its compulsory dynamics. A horde that is not afraid to inhabit the uncertain, the little defined, the blurred, the strange. An swarm that does not swallow the alleged truth that humanity is divided solely between men and women. And so I have no choice but to update their survival strategies daily and daily. And we are spiraling time, connecting with ancestments and producing unthinkable future. In the midst of bizarre and chaos.