Mestrado em Performances Culturais (FCS)
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Item Performatividade em rede e inteligência coletiva no YouTube(Universidade Federal de Goiás, 2021-05-14) Cavalcante, Laíse Barbosa; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Satler, Lara Lima; Araújo, Cláudia Helena dos SantosThe communicational processes in the network establish a social performative context with several consequences, among them, reverberations in the learning mechanisms. This is because the technological innovations, especially those of communication and information, affect the forms of sociability, languages and cognition, arising new ways of act. This dissertation analyzes a performative behavior that emerges today, that is the consumption of instructional and educational content, from short videos to carry out a project. For this, we checked the records of the interactions taken on four channels of the YouTube video sharing platform, named: Manual do Mundo, Paloma Cipriano, Professor Noslen and Algodão Cru. Through the phenomenological approach, we identified that this behavior is collaborative, reviews issues of time and place to learn, has applicability in the daily lives of individuals and results in new social performances that, among other things, echo in the identification of users with formal models or in person teaching. We demonstrate that this behavior adheres to concepts of learning, with articulation with the interactionist strand and that these informal and non-formal ways of learning through interactive media, go beyond educational objectives applied in formal education. We highlight the performative materiality of social media in the communicative processes established in it and how these processes continuously impact the actors who participate in them. Finally, we reflect on the recent expansion of this behavior, the need to learn networked, collaboratively, in the very exercise of sociability, as shown by the reality in the face of the Covid-19 pandemic.Item Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível(Universidade Federal de Goiás, 2021-12-15) Chibanga, Vitor Abílio; Manjate, Teresa Maria Alfredo; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Manjate, Teresa Maria Alfredo; Correa Júnior, Sebastião Rios; Menezes, Marcos Antonio de; Morais, Sara SantosThis dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way.Item A dança negra de Ismael Ivo: a antropofagia de si como recurso para fazer dança como arte(Universidade Federal de Goiás, 2021-02-26) Ferreira, Juliana de Oliveira; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Fernández Serratos, María de Lourdes; Paixão, Maria de Lurdes Barros da; Dias, Luciene de OliveiraThis paper dedicates itself to explore the performance of the brazilian black artist, choreographer and dancer, Ismael Ivo (1955). Born and raised in the Zona Leste, in the city of São Paulo, Ismael Ivo has an international dance career, recognized by his artwork and dance management. What makes his practice so unique, and what makes us interested in this study, is the construction of his work as an artist, presenting a black dance perspective that kept an enduring dialogue with the european and north-american cultures dance canons historically called art, and titling himself as “a good son of the anthropophagy”. Using this as a starting point, we intend to comprehend which are the aspects of a black art the does not isolate itself in imaginaries claiming of supposed “essentialized origins” by the tradition’s bias but a black art dedicated to “devour” different perspectives in the frequent construction of his poetic, presenting another way of existence of the black diaspora shaped as dance. Thereto, this analysis will use narratives over his life, images and some of his scenic spectacles, to comprehend as Ismael Ivo invented his understanding about anthropophagy as a resource to make himself exist as a black artist in the artistic dance area.Item Etnografia audiovisual: reafricanização e reexistência na religião de matriz africana(Universidade Federal de Goiás, 2022-04-28) Filene, Bruno Karasiaki; Alvarez, Gabriel Omar; http://lattes.cnpq.br/1246783304706348; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Dias, Luciana de Oliveira; Souza, Geórgia Cynara Coelho de; Alvarez, Gabriel Omar; Oliveira, Rodrigo CássioEtnografía Audiovisual: Reafricanizaciones y Reexistencias en Religiones de Matriz Africana trae un compendio con cuatro etnografías en video, dos trailers y una mesa de lanzamiento. El texto de la disertación utiliza los conceptos Reafricanizaciones y Reexistencias para reflexionar sobre las poblaciones del terreiro. Con base en la discusión teórica, se adaptan diferentes metodologías para el estudio de los pueblos de terreiros. Se señalan cuestiones epistemológicas en el tratamiento de las poblaciones por el censo oficial, y sus limitaciones predictivas. Hay un capítulo dedicado a cada visita de campo realizada y al proceso de elaboración de productos culturales audiovisuales. Los cortometrajes Obrigações de Axé, Encantaria na Jurema, Reexistências Nagô Ep.1 – Casa de Ajagunã y Reexistências Nagô Ep.2 – Linaje del Patriarca, fueron realizados en terreiros de Goiânia y Salvador. Los primeros dos videos están subtitulados y están dirigidos a audiencias internacionales de religiones latinoamericanas anticoloniales. Cuestiones teóricas, lenguaje cinematográfico, técnicas y metodologías, así como confrontaciones se presentan dentro de la colección.Item Um estudo de recepção e identidade social por meio dosmemes goianos(Universidade Federal de Goiás, 2022-07-04) Fragoso, Julyana Aleixo; Girardi Júnior, Liráucio; http://lattes.cnpq.br/9324283862222562; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Girardi Júnior, Liráucio; Pavan, Ricardo; Amaral, Adriana da RosaConsidering the cultural meaning that memes have reached, due to their ability to circulate and recombine different types of representations about the world we live in, this research analyzes the process of reception and propagation of memes capable of representing “regional” elements of the “ goianity”. In this study, a bibliographic survey will be carried out on the notions of identity and regionality, in addition to the definitions of meme, its typologies and categorizations. In dialogue with the theoretical framework, the Instagram profile, Meanwhile in Goiás, and the memes that circulate around the characters Jacques Vanier and Serjão Berranteiro will be analyzed, two profiles that represent the stereotype of the Goiás, circulating, respectively, at the local and at the national level. As cultural productions circulate through processes of appropriation and recombination, the study will investigate the ways that the person from Goiás recognizes or not in these “regional” elements the identification with memes because they are perceived as “goiano”. This investigation will be carried out through semistructured interviews and virtual and face-to-face group discussion meetings. The research has theoretical bases of memetic culture, cultural studies of communication and reception, in addition to identity studies, based on authors such as Richard Dawkins (1976), Susan Blackmore (2020), Limor Shifman (2014), Raquel Recuero (2007; 2009), Marcelo Peruzzo (2015) and Rosaria Conte (2001), Martín-Barbero (2001) and Paula Sibilia (2016). It is expected with this research to identify the elements that influence sharing, and to observe the reception of regional memes from Goiás, specifically, from the public that identifies itself as Goiás. From the research carried out with the discussion groups, results were obtained that humor is an essential factor for the production of successful memes, as well as the inserted context of who receives the communication. Cultural experiences can be a trigger for sharing memes, as long as they are based on an updated narrative. Resistance to the traditional identity of Goiás was identified, possibly due to generational factors of the collaborators of the research group.Item Contribuições performativas nas representações das lembranças do festival Goiânia em Cena 2001/2018 para a formação da memória cultural goianiense(Universidade Federal de Goiás, 2020-08-24) Jesus, Rosemary Aparecida de; Figueiredo, Valéria Maria Chaves de; http://lattes.cnpq.br/4166799919007370; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Dallago, Saulo Germano Sales; Veloso, Sainy Coelho BorgesThe present work deals with the International Festival of Performing Arts - Goiânia em Cena and has the general objective of raising the contributions of the performance in the representations of the memories of the festival, for the formation of the Goianiense cultural memory. It was guided by the collection of graphic material, presentation and dissemination, as well as interviews, verification of the Official Gazette and archive of the Municipal Secretary of Culture of Goiânia. The research aims to reflect on how the deponents perceive, describe and classify, over time, the facts involved in the operational dynamics of the event in question, in order to contribute to the cultural memory of Goiás. The following specific objectives were established: to describe the theoretical elements of cultural performances by the concepts related to this encounter of knowledge; identify the representations of the memories of the managers and artists involved with the event throughout its editions; present evaluate the repercussions of these memories as a possible record to contribute to the formation of the cultural memory of Goiás. We used an approach specific to the studies of cultural performances, called performative research, characterized by empirical works. Therefore, it was found as a result that the formation of memory goes through an individual point and extends to the collective plane, even when the experiences that happened in the past are processed individually. The participants revealed their memories of kept memories, expressing in their representations the memories they show in different ways, much or little when asked about the experiences lived in the operational dynamics of the “Festival Goiânia em Cena” revealed and analyzed.Item Entre giros, esmolas e donzelas: uma prática performática de mulheres na folia de São João em Lagolândia(Universidade Federal de Goiás, 2021-03-30) Luz, Vinícius Machado; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Santos, Nádia Maria Weber; Guimarães, Leda Maria de Barros; Curado, João Guilherme da Trindade; Satler, Lara LimaThis dissertation presents the Revelry of Saint John in the city of Lagolândia (district of Pirenópolis, state of Goias, Brazil), by using its cultural performances. The Revelry of Saint John with characteristics that remained little know, until now, has the particularity of being performed by proximately 24 women, known as "maidens", apparently, also unique in the country. This manifestation, likewise, other religious/cultural celebrations from the region, arises from the initiative of a religious and political leader in the first half of the XX century, Benedita Cipriano Gomes, popularly known as Saint Dica. This research arose from the problem that there is a religious rite staged for decades in the region, with its unique rules and characteristics, dictated by the feminine, with the hypothesis that those manifestations occur by motivations linked to memory and identity of the place, which surpass the religious and devotional slant. This study follows the line of research Spaces, Materiality and Theatricalities, the temporal and spatial aspect, with emphasis on the characters and how they interact, modifying the relationship and spaces (buildings, streets, houses...) through their performances, of their female bodies and their relations with the history of the place and the language as an act, surpassing the religious and devotional slant. The main authors that give sustenance to this study are some of the main world references, while discussion and approach of the performances, from the popular culture, Anthropology and of the rites, such as Richard Schechner (2002, 2006 and 2012), Milton Singer (1985) and Victor Turner (1974, 1978 and 2005), among others. The survey had some restrictions imposed by the COVID-19 pandemic, in 2020; however, there was no loss regarding its objectives, which intended to show the characteristics of the party and its unique nature of the festivity in the region. Therefore, it was possible to present a result within what was proposed, with material registered during the project period. As a part of the conclusion, it was possible the comprehension of Revelry of Saint John as a festivity linked to the memory and the legacy of its founder, the Saint Dica.Item Intervenção urbana e dança: um estudo das performances e relações de poder a partir das obras Aparecidas e Escape(Universidade Federal de Goiás, 2020-12-17) Marques, José Jayme da Silva; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Bastos, Maria Helena Franco de AraújoThis research is based on a performance study and it relations of power that exist in the artistic dance practice. How is it aesthetically organized and how it could be understood as urban Interventions. To exemplify this theory, we analyze two urban interventions from the city of Goiânia-GO, Brazil. “Aparecidas” was produced by ¿por quá? grupo que dança and “Escape” was produced by Nômades Grupo de Dança. Both interventions were developed and performed in between 2017 and 2018. This research verifies how the relations of power were developed by both groups in the artistic project previously mentioned. Analyzing both interventions from an observer point of view during the creative period. To work on it we will talk about arts: what is art, what is the artistic object, what is and who belong to the art world questioning their relation itself. We will contextualize cultural performance and performance art developing their historical link. That connection intends to bring us to what are urban interventions. In that way we can understand how are they dependent of social relations and interactions. By the end we will consider the human factor and its cultures, clarifying how it could be understood as power relations. We will use theories about power to identify in the artistic practice reflections about their compositions; describing both artistic experiences with the urban interventions analyzing the human relations from the beginning of the production to it exhibition.Item “Meu destino é cantar” as performances e memórias do grupo raízes do museu da Associação dos Idosos do Brasil(Universidade Federal de Goiás, 2021-12-10) Matteucci, Janice de Almeida; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Fonseca, Edilberto José de Macedo; Corrêa Júnior, Sebastião RiosThe present of the past is memory, the present of the present is perception, the present of the future is expectation. This phrase by Saint Augustine points out the paths taken in my research, the memories of the past today in the present in the Performances of Coral Raízes and the Spinners of the Museum of the Association of the Elderly of Brazil in urban spaces. The perceptions about the transformations that they have taken along their trajectory up to the present day and the expectations of the future in times of pandemic. In the drawers of your memories, discover the repertoire of your songs, some composed by members of the group and the different places where these performances took place. How, where and with whom they learned to sing and play musical instruments. The Museum of the Association, reference address in the work with the elderly person in Goiania and the social museology developed there that comes with the function of opening doors to the community where it participates in the development and presence of popular culture present in its Knowledge, Doing and Living, intangible heritage of the Museum. The studies it is wall carried out through field, documentary and literature research on the topics covered, such as old age, social assistance, memory, museums and cultural performancesItem Os cantos de presépios como identidade da comunidade de Pirenópolis(Universidade Federal de Goiás, 2020-10-13) Matteucci, Letícia Wayne; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Correa Júnior , Sebastião Rios; Curado, João Guilherme da Trindade; Dias, Luciene de Oliveira; Guimarães, LedaIn the present work, we investigate the tradition of songs of cribs that is celebrated by the community of the city of Pirenópolis. It was born in the first half of the XVIII century, in the time called Mines of Our Lady of the Rosary of Meia Ponte, it was in the XIX century that with the name of Meia Ponte, it stood out like cultural cradle Goiano - with the appearance of the band and great masters and of the press, with the emergence of the first Central West newspaper. Today, still influenced by the historical cultural festivities, the traditional houses of the city are surrounded by cribs, tradition and religiousness in the Christmas period. The representations of the tradition of songs of cribs, the mourners and devotees, will be in this production presented and portrayed, through the narrative of who experienced the ceremony and related to the mythical and spiritualized historic city. The intention is to extract from literature, fieldwork, memories and experiences of rezadeiras in the Alto do Bonfim neighborhood in Pirenópolis, subsidies for a description and understanding of the cultural manifestations that make up the city’s festive calendar. The trajectory begins with a journey through time when we produce the rescue of the city’s historicity and the implementation of its churches and religious and cultural festivities. Soon after, a description of the traditions of the songs of cribs and their memories is presented so that, afterwards, they can be debated as rituals, so that we can understand the memories and their transmissions as identity constituent parts of the pyrenopoline community.Item Performando para existir: nuances históricas da profissionalização das danças de salão em Goiânia - 1990-2020(Universidade Federal de Goiás, 2021-12-17) Muniz, Andrea Palmerston; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Buarque, Isabela Maria Azevedo Gama; Veiga, Felipe Berocan; Duque, Ana Maria TamayoThis study is dedicated to the history of ballroom dancing in the city of Goiânia (Brazil) between 1990 and 2020. Its main objective is to understand the transformations and processes of constitution of a specific work area and sociability through ballroom dance in Goiânia, seeking to understand how the practice of this dance marked profound social and cultural changes in the sensibilities and performances of dancers from Goiás; as well as the role that ballroom dancing and the imaginary of the city of Rio de Janeiro perceived as a synonymous of a place that emits knowledge, obtained among ballroom dancing professionals in the city of Goiânia throughout this time. Here, ballroom dancing had its first contours through etiquette and gained cultural rearrangements with the advent of lambada in the 1990s. This study also concerns how this scenario is redrawn, contributing to the emergence of a ballroom dancing market and its products dedicated to the middle and upper classes, rising the teacher training specialized for this market. The sources used in the research were photographs, journalistic material, official documents about the dance cooperatives and oral interviews. It also used studies in cultural history, dance and anthropology studies, in an interdisciplinary perspective to understand cultural performances.Item As conversas de Edifício Master: entre o mundo e a cena(Universidade Federal de Goiás, 2020-08-19) Nakamura, Lucas Hideki da Silva; Nogueira, Lisandro Magalhães; http://lattes.cnpq.br/6994570742767643; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Nogueira, Lisandro Magalhães; Christino, Daniel; Silva, Joanise Levy daThe research aims to examine the trajectory of the concepts of staging and performance in the documentary through the work from the maturity of Brazilian filmmaker Eduardo Coutinho: Edificio Master (2002). In this film, we are able to comprehend the director’s creation process, it’s unique relationship with the documentary characters and his conception about the devices. Our hypothesis is that Coutinho’s conversation cinema, which finds its maturity on movies like Edificio Master, articulates staging strategies to certain procedures that aim to create a fissure in what is real, allowing for the emergence of a liminal space, between the everyday and the performative space. A place of invention among those who film and those who are filmed. An interweave of performance as defined by Brasil (2011): the gesture before the mise en scène. This work explores how Eduardo Coutinho, prominent name of the conversation cinema, enables, in the final phase of his work, the dialogue between contemporary documentary thought and practice and performance theory.Item A performatividade da jazz afro-estadunidense e sua reinvenção em Jazz Roots(Universidade Federal de Goiás, 2021-04-16) Nogueira, Lenise Cardoso Lima; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Silva, Renata de Lima; Mundim, Ana Carolina da Rocha; Vallejos, Juan IgnacioThe main objective of this research was guided by the intention of investigating the Paris Jazz Roots Dance Festival event, held in France in 2019. In this section, we seek to relate the existing practices as a claim in the plot of this current jazz dance, which requires for itself, a link with an aphrodiasporic jazz tradition, as well as understanding of this interaction and sharing that assumes dances of Afro-American jazz and cultural knowledge of black communities of the beginning of the 20th century, more specifically between 1920 and 1940. For this endeavor, we will use the audiovisual record of the event as a source analysis of components and culturally transmitted meanings. Despite its historically hybrid aspect, jazz dance is often approached from the same "origin", conglomerating different practices that were and are constructed through different mediations, which interconnect hegemonic models and norms. Considering the transformations inherent to jazz dance, this survey seeks to organize implicit and explicit clashes that the term jazz dance entails and its historical contextualization. Thus, based on the classical literature that deals with jazz dance, this study develops in three moments, namely: a) problems of information that bother Brazilian researchers and artists, since the written materials have an incipient character of critical debates and reflections; b) a study on the ideas and categories institutionalized by Marshall Stearns and Jean Stearns (1994); c) analysis of a jazz roots video, choosing the authentic category and, consequently, the traditional characteristics such as theoretical affiliation, proposed by Stearns and Patricia Cohen (2014). In addition to the presentation and relationship of traditional elements in contemporary times, this part seeks to give visibility to the performances of artists who dance with different aesthetic forms called jazz and that are not widely disseminated or recognized in Brazil, but that already have an international aspect. By examining jazz dance through the roots lens, this dissertation provides a narrative of the intersection between African American jazz and its reinventive manifestation in the 21st century.Item Performance do feminino e do masculino no aparelho solo da ginástica artística(Universidade Federal de Goiás, 2020-04-17) Oliveira, Antonio Dias de; Santos, Rafael Guarato do; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato do; Dias, Luciene de Oliveira; Iwamoto, Thiago CamargoThis work aims at investigating and understanding in a more assertive way the male and female performances in Artistic Gymnastics, emphasizing this observation in the Solo apparatus. To develop this research, readings of texts that approach discussions about Artistic Gymnastics, gender, sexuality and sport in general have been made, relating the collected observations with the modality in question. Associated to these readings, analyses were also made on the gestures displayed on photos taken from the web and official documents from agencies responsible for inspection/control. Those regard the presentations of Solo in Artistic Gymnastics, in order to understand more broadly how these gestures and their approach by the media contribute to the construction of the existing duality between men andwomen in Artistic Gymnastics, in sport and in the social field. It is understood that the gestural demands presented by gymnasts at the time of their performances are determined by official documents (scoring codes), which define in which formats these presentations should be based and, thus, reaffirm normative patterns of heterosexuality and binary sexual conception.Keywords: Gymnastics, Gender, Sexuality, Sport, Binary Sexual Conception.Item Aspectos da performance em Copacabana mon amour: entre o ator e a mise en scène no cinema de Rogério Sganzerla(Universidade Federal de Goiás, 2021-06-14) Oliveira, Karine Matos de; Nogueira, Lisandro Magalhães; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Oliveira, Sandro de; Jordão, Janaína Vieira de Paula; Nogueira, Lisandro MagalhãesThis research has as its theme the acting in modern Brazilian cinema, focusing on Rogério Sganzerla's cinema in the context of Cinema Marginal that emerged in the second half of the 1960s. The corpus of the research consists of the film Copacabana mon amour (1970), directed by Sganzerla when he worked at the production company Belair. The objective of the research is to apply the concept of performance in a study of cinematographic stylistics focused on the mise en scène, emphasizing the work of the actors, in order to understand to what extent Copacabana mon amour incorporated elements characteristic of the performance as an artistic language, defining, thus, its particularities as a film of modern Brazilian cinema. The hypothesis is that Rogério Sganzerla adopted forms in the film Copacabana mon amour that have aspects in common with the way of thinking and making the scene, as well as the way of being in the scene of performance art. The language of the performance is taken as a type of scenic expression that has its own ways of acting and construction of the scene and that emphasizes the event at the moment of its presentation. Therefore, the cinema made by Sganzerla in Belair goes against a way of disposing the mise en scène approached by Aumont (2008a) and Oliveira Júnior (2013), which emerged in modern cinema, which values the creation of the actor at the time of filming as a component of its composition. This is a qualitative study that uses film analysis as a methodology. The result achieved with the research is that by combining aspects of the language of performance with an approximation of reality through the scenarios typical of modern cinema, Sganzerla allowed the actors to perform similar to that performed in performance art.Item Interfaces, dados e algoritmos performativos como formas culturais na Netflix(Universidade Federal de Goiás, 2023-09-18) Oliveira, Thiago Moreira de; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Melo, Marcilon Almeida de; Marchi, Leonardo Gabriel deThis dissertation aimed to understand how interfaces, data and performative algorithms represent a new way of perceiving ourselves and the world, therefore, it would be cultural forms; and in what way they impact, particularly, the categories in which the audiovisual of the Netflix device in its desktop version is enunciated. It is with this objective that we look, in this research, at the triggers, the action, the performance from what humans and non-humans establish as articulation. For this, we use the methodology of frames as an epistemology of analysis and synthesis as a standard for problematizing and discussing results, direct observation of the Netflix platform, accessed mainly from a private window of the Internet browser Firefox version 110.0.1 (64-bit), such as data collection techniques. As a theoretical reference, we used the assumptions of authors who approach Anthropology, Data Science, Media and Cultural Performances from a technocultural perspective, such as Bauman, Baudrillard, Di Felice, Feenberg, Frey, Dubois, Kerckhove, Murray, Manovich, MerleauPonty, Rocha, Santaella and Williams, evidencing the transdisciplinary nature of the topic addressed. As a result, we found that Netflix's recommendation system increasingly raises the user's algorithmic challenge for the most diverse actions. This is characterized by measurability, submitting attributes, activities and interactions to different categories of metrics; by recursion, continuously refining and recalibrating it based on information about itself supplied in some way by the user; by profiling, defining profiles from the contingent articulation of vestiges, data and digital traces obtained from each one; and by nichification, grouping profiles into consumption-oriented niches. These are consolidated by their assumption by the user, which corresponds to performativity, and this also refers to performance in the sense of performance. Finding out what this recommendation system shows, how it shows itself, what the user sees and how he sees it has impacts on individual and collective subjectivity and experience, making it necessary to investigate the performative reordering of Netflix based on these media crossings.Item Do canto ritual do mara´akame ao ‘el canto de lo sagrado’: a cantografia do sagrado ou perform(ando) ancestralidades(Universidade Federal de Goiás, 2021-09-27) Ordaz Guzmán, Patricia; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Coelho, José Luiz Ligiéro; Souza, Geórgia Cynara Coelho deLa propuesta de este trabajo es describir y analizar sobre la formación de per-formances-rituales que relacionan el trabajo artístico basado en la voz y en el canto, en contacto con el canto Wixarika do Mara´akame (ZINGG, 1982; LUNA, 2004; LIRA, 2017) en su contexto ritual y sagrado. A investigación acompaño mi proceso de creación vocal y sonoro de uno de los movimientos de lo que fue titulado El canto de lo Sagrado (XO-CHTIZIN, 2020). La investigación tiene por principales referencias conceptuales, los es-tudios de performances culturales em sus relaciones de saberes de la antropología y de arte, especialmente de las nociones de ritual (TURNER, 1974, 2005) y sagrado (SCHE-CHNER, 2002, 2005, 2012). Se escribe em primera persona como una construcción de narrativas atravesando la auto etnografía (RUTTEN, 2016) y entendiendo la investigación como un proceso creativo vocal y sonoro que se construye por medio del referido canto del Mara´akame, de manera de tenerlo como una experiencia vivida, vista, senti-da/pensada (FABA e AEDO, 2017) para la creación artística vocal cantada. Describimos como el trabajo artístico constituye performances-rituales basadas en la voz y en el can-to en contacto con lo sagrado, interrelacionando creación vocal y elementos de la cultura Wixarika por medio de cartografía y rizoma conforme proponen los filósofos Deleuze y Guatarri (2011) y de la noción de escucha fluctuante y sensible de Melo (2016). Demos-tramos en el trabajo, por fin, la idea de que esa manera de concebir la creación y la in-teracción con los saberes amerindios es una forma rizomática de producción de encuen-tros, configurando un sistema sonoro que “figura contextos (PAREYON, 2020) y que se descoloniza en un cuerpo territorializado creando ‘Cantografias de lo Sagrado’.Item Udigrudi recifense e suas performances(Universidade Federal de Goiás, 2023-11-29) Patury, Fernando Fagner; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Correa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Correa Júnior, Sebastião Rios; Amorim, Lara Santos de; Christino, DanielThe purpose of this dissertation is to analyze the Udigrudi Recifense counterculture movement, which emerged at the beginning of the 1970s. A movement initiated through cultural hybridism and reaction to the social and political context of the Military Dictatorship. Thus, we are willing to discuss counterculture and movements prior to Udigrudi and the situation of Brazilian culture and artists during a period of political change and tension. Through the perspective of cultural performances, the work is dedicated to exposing the main aesthetic elements of this movement, from its emergence, environments, productions and impacts on Brazilian culture and arts. Methodologically, we will use the review of bibliographies on the topic and analysis of Udigrudi's diverse artistic productions. We will rely on the influence of history, sociology, geography and other areas of human sciences to expose existing contrasts between the Udigrudi Movement and the historical context in which it was inserted. The stabilization of ideals and ideologies is built in culture through various mechanisms. Within each social, historical and political context, there is a construction of practices, knowledge and living that are rooted through practices and disseminated through communication and cultural vehicles. Likewise, ideas, movements and manifestations arise that oppose this mass culture.Item Poéticas e saberes da capoeira Angola: caminhos para pensar a performance negra de atrizes e atores narradores(Universidade Federal de Goiás, 2021-02-26) Peixoto, Jordana Dolores; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Oliveira, Luciene Dias de; Lima, Evani Tavares; Silva, Renata de LimaThis master degree research had the intention to investigate and present reflections about the technical, poetical, symbolic, political, and conceptual contributions that Capoeira Angola may offer to scenic arts from a look to the concept of black performance, the “limial body” of the capoeira practitioner, the crossroad of the “roda de capoeira” and the performance of the ora-lity of masters as the basis that substantiate creating processes and the formation of narrating actors and actresses. For this purpose were taken as foundations Studies of performance, thea-trical studies, counter colonization studies. The methodology that guides this study is suppor-ted by the notions of poetnography and lived field and was accomplished by the following procedures: bibliographic review, field narrative, personal narrative, and analysis of the ar-twork “Dikeledi e as voltas que o mundo dá” developed by the Núcleo Histórias de Comadre.Item Arte expandida decolonial: tensões entre a arte-vida, o corpo, a dramaturgia e as possibilidades de performar a si mesmo(Universidade Federal de Goiás, 2021-06-25) Pereira, José Arnaldo; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Conrado, Amélia Vitoria de Souza; Cardoso, Thereza Cristina RochaI proposed to follow the connections and clues of the notion of expanded field, identifying: art-life, the body, dramaturgy and possibilities of expanded ways of performing oneself. Thus, problematizing and constituting a centered and expanding research path between the look, the reeducation, the body of the artist himself, research guided by practice, performativity, the Indigenous Paradigm, the Actor-network Theory, as well as decolonial problematizations. What derives the notion-practice of Decolonial Expanded Art and its applicability in the cultural project arroboBOI.