Programa de Pós-graduação em Performances Culturais

URI Permanente desta comunidade

http://200.137.215.59/tede/handle/tede/8784

Navegar

Agora exibindo 1 - 20 de 77

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 José
This 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.
Plínio Marcos: do texto à tela
(Universidade Federal de Goiás, 2024-05-15) Almeida, Alcione Gomes de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Abdala Júnior, Roberto; Mari, Marcelo; Moura, Paulo Vieira de; Leão, Raimundo Matos de
This paper introduces the renowned author Plínio Marcos focusing on themes of interest such as culture, performance, and cultural performances. The introduction aims to provide a concise yet consistent approach to his life and career, thus discussing his influence on Brazilian culture over the decades and nowadays. The discussion initially considers the temporal framework, and remarks emerge regarding the analysis’ corpus. Plínio's theatrical success attracted filmmakers, leading to adaptations of his plays, short stories, and scripts into movies, including Navalha na carne (1970, 1997), Dois perdidos numa noite suja (1971, 2003), Nenê Bandalho (1971), A rainha diaba (1974), Barra pesada (1977), Barrela: escola de crimes (1994), Querô (2006). The primary purpose of this paper is to systematically analyze the cinematographic corpus in chronological order, prioritizing the adaptations of Plínio’s theatrical plays due to their role in the dramatist’s career. This approach facilitates the equilibrium of this extensive work. When it comes to the Plinian universe, it is essential to observe the social role a character plays; their origins; the relationships built; the dialogues’ linguistic selection; the environment where the plot evolves; the progress of the conflict. Accordingly, there are differences between the films and the original text - suppression, complementation, and update, with the Brazilian society and its period characteristics during filming as a horizon, in addition to the Brazilian film industry, which impacts the production, promotion, and reception. A case in point is the CivilMilitary Dictatorship (1964-1985), which, among other authoritarian policies, implemented violent restrictions on society, the Arts, artists, and other professionals in the field. The results of this investigation corroborate with other authors: the singularity, relevance, and power of Plínio Marcos in Brazilian culture in any period. The Santista author strongly opposed the suppression of the Arts and freedom of speech during the Military regime. He was at risk for isolation and became a prominent resistance figure even after political liberalization, without ever soothing his ideas and dissenting voice. His legacy’s endurance and relevance for contemporary society is a consensus. The theoretical base of Mikhail Bakhtin (1988, 2010, 2011, 2014, 2019, 2020) is essential for the effective development of film analysis, considering the ideas provide density for the adaptation’s study and, therefore, viable possibilities to observe and comprehend cinematographic language. When applying the Bakhtinian repertoire to the films, several concepts are valuable to filmmaking characteristics, the stance of the creators, researchers, and the public, as well as the themes explored, expanding beyond an analytical and critical examination. Thus, the analysis of the corpus is primarily supported by: otherness; the self/other; responsible act; non-alibi; the ethical and the aesthetic; the world of theory; the world of culture; dialogism; responsive understanding; discourse genres; theoreticism (critique of the objectification of historicity that constitutes life); refraction; polyphony; ideology; chronotope (involves spatial and temporal relations, originates from the Greek words crónos, meaning time, and tópos, meaning space).
Luto e ritos de passagem em tempos de Covid-19
(Universidade Federal de Goiás, 2024-06-27) Andrade, José Nilton Alves de; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Amaral, Roberto Antônio Penedo do; Kushnir, Beatriz; Camargo, Robson Corrêa de
The present master's thesis analyzes how changes occurred in the funeral ritual and in the rites that compose it, during the process of experiencing and elaborating mourning in the context of COVID-19. To this end, authors of culturais performances such as Schechner (1985), Turner (2013), Gennep (2011) are used, as well the philosopher Cassirer (2009). As it is understood that there has been a shift from face to-face wakes to sharing experiences on social networks due to the restrictive sanitary measures imposed during the pandemic, the netnographic method by Kozinets (2014) was chosen here, which investigates the reaction of newspaper readers to the newsworthiness of the growing number of deaths during the pandemic period and the socialization of experiences in virtual memorials created by the newspapers themselves. As a corpus for research, news items posted on the website of the newspapers O Popular, Folha de São Paulo and O Globo were chosen, which denote a recreation of the rites that make up the funeral ritual. As it is understood that there has been a shift from in-person wakes to sharing experiences on social networks due to restrictive health measures imposed during the pandemic, the netnographic method of Kozinets (2014) was chosen here, which investigates the reaction of newspaper readers to the newsworthiness of the growing number of deaths during the pandemic period and the socialization of experiences in virtual memorials created by the newspapers themselves. From the collection of netnographic data, interdisciplinary analyzes were developed and interpreted of these contents from the literature belonging to the theoretical framework of Cultural Performances. As a result, it was noted that even with the attempt to adapt the rites that precede and implement the burial for social networks, the absence of a staging and close experience, with contact physical, within religious perspectives, makes acceptance difficult and prevents cycles from being closed and transitions made in the way expected.
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 Fernando
This 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.
Corpos dissonantes: próteses, performances e imaginário
(Universidade Federal de Goiás, 2024-02-16) Bandeira, Ana Paula Neres de Santana; Dalla Déa, Vanessa Helena Santana; http://lattes.cnpq.br/4747115499551611; Dalla Déa, Vanessa Helena Santana; Bordini, Andréia de Lima; Costa, Vanderlei Balbino da; Lima, Marilini Dorneles de; Christino, Daniel
The movement for more social inclusion has brought in creased visibility to people with disabilities in various everyday contexts. Some disabilities, such as intellectual and sensory impairments, may go unnoticed, while physical disabilities, being more visible, draw attention and challenge cultural norms about the perfect body. The presence of these dissonant bodies using prosthetics or assistive technologies often elicits reactions and questions, highlighting the complexity of perceptions regarding bodily diversity and constructing a whole repertoire that shapes the imagination of both people with and without disabilities. This thesis explores the construction of this imagination through representations of the bodies of individuals with physical disabilities in artistic, sports, and social performances. The research emphasizes technological advancements in prosthetics and assistive technologies, challenging conventional conceptions about the lives of these individuals. Inspired by a music video by artist Viktoria Modesta and a performance at the 2016 Paralympics, the thesis examines how these representations impact the collective imagination. The methodology includes studies of cultural performances, interviews with different groups (individuals with and without disabilities, artists, and athletes with disabilities), and analyses of prosthetized bodies. Cultural performance studies, based on Turner and Schechner, elucidate the construction of imagination in everyday interactions and in artistic and sports events, categorizing ethical, aesthetic, and scientific dimensions interpreted through both the canonical and dissonant perspectives on people with disabilities. Dialogue with Turner reveals the social barriers faced by these individuals, while Schechner's approach highlights the presence of performance in sports and the arts. Through a content analysis of the interviews conducted, the work examines the relationship between bodies and prosthetics, identifying them as elements that influence collective perception and the formation of stigmas and social norms. Le Breton's sociological approach highlights the body as a social, cultural, and symbolic phenomenon. Authors such as Thomson, Goffman, and Malu Fontes contribute to understanding human corporeality and its symbolic representation in society. The conclusion emphasizes the persistence of prejudiced and stigmatizing attitudes, underscoring the importance of active listening to understand the diversity of imaginaries about the body with a disability and promoting inclusive narratives to build a more just and equal society.
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 de
Everything 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.
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 Oliveira
The 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.
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 de
Cette 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.
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 Viana
This 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.
Fronteiras de gênero: performances de corpos vestidos
(Universidade Federal de Goiás, 2024-05-29) Casoni, Violeta Arvin; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Oliveira, Victor Hugo Neves de; Alvarez, Silvia Lamadrid; Piva, Carolina Brandão
Partiendo de la ropa y la práctica del vestir como ejes movilizadores del diálogo, es que esta investigación busca profundizar en el lugar que tiene la vestimenta en Performances de género desde las vivencias de mujeres trans y travestis situadas en el Estado de Goiás. En el acto de recordar lo que se vivió y se vive desde temporalidades en espiral, en una memoria viva, de un cuerpo presente, un cuerpo en performance, son compartidas historias, situaciones, estrategias y afectos involucrados en el acto de vestir que performa femineidades. Por medio de las Performances Culturales, los Feminismos Negros y Transfeministas, junto a los estudios de Memoria y los estudios Decoloniales, desmembramos está práctica del cotidiano. Una práctica que tradicionalmente es investida de frivolidad, banalidad, ceñida a la vida privada, asociada a lo femenino y, por tanto, objeto de un poder que censura, excluye y reprime creando mecanismos de marginalización y precarización de la vida. Sosteniendo que lo personal es político, es que argumentamos que se trata de una práctica compleja que atraviesa las fronteras entre lo público y lo privado, siendo insuficiente para abordar a los sujetos. Desde un encuentro entre la cisgeneridad y la transgeneridad femenina se accionan performances que dan cuenta de sensibilidades, estrategias, dolores, ambigüedades, afirmaciones, resistencias, alegrías y una serie de movimientos que atraviesan de manera compleja la dicotomía en el día a día de la vida mundana de existencias plurales, amplias y ancestrales. De este modo, las prácticas del vestir de mujeres trans y travestis provocan en el cotidiano de sus días a días una ruptura con los parámetros normativos de la categoría género, siendo parte de un régimen heteroCisnormado, blanco, burgués y capacitista
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 Santos
The 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.
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 Santos
This 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.
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 Borges
This 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.
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 Seabra
The 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.
Os tambores afro-brasileiro que repercutem na cidade de Goiânia-Goiás e suas significações
(Universidade Federal de Goiás, 2024-08-22) Damacena, Diego Amaral Loures; Corrêa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Cruvinel, Flavia Maria; Carvalho, Cleber de Sousa
Drums are a powerful symbol of African cultural heritage, resonating throughout all regions of Brazil in various contexts and occasions. From this perception arise the following questions: in which spaces in the city of Goiânia do Afro-Brazilian drums resonate? What do these drums symbolize? Who plays them? How are they played? What is played? Finally, what is the significance of this drumming for the surrounding community? Thus, this dissertation is the result of a research process on the presence of drums and Afro-Brazilian rhythms in the city of Goiânia, Goiás. For this purpose, four contexts were selected in which drums and Black music play a central and significant role, whether in a festive, educational, religious, or artistic capacity, or, in most cases, encompassing more than one of these aspects. The Cultural Association Coró de Pau, the Núcleo Coletivo 22, the Ilê Ase Alaketu Omi Osulufon, and the event Batucagê were the researched locations. This dissertation is theoretically supported by the works of Zeca Ligiéro (2011), Kabengele Mununga (2006), Kazadi wa Mukuna (2006), José Jorge de Carvalho (2003), José Ramos Tinhorão (2008), among others. The development of the investigation involved field research and musical analysis, focusingon the ways in which drums are used, the Afro-Brazilian rhythms practiced, and their purposes, with the aim of documenting, recognizing, and valuing the African contribution to the city of Goiânia, as well as broadening the perspective and understanding of Afro-Brazilian music and culture.
Viva o Zé Pereira! Viva o Carnaval! Vida e Formas expressivas na Obra de Arte de Francisco Corrêa Vasques
(Universidade Federal de Goiás, 2024-05-03) Faria, Marcelo Fecunde de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo; Camargo, Robson Corrêa de; Gonçalves, Jean Carlos; Marzano, Andrea Barbosa; Oliveira, Vânia Dolores Estevam de; Souza, Silvia Cristina Martins de
This thesis proposes to reconfigure the historical and scenic trajectory of the comic thing in O Zé Pereira Carnavalesco, written and produced by Francisco Corrêa Vasques (1839- 1992) and acted on the stage of the Teatro Fênix Dramatica in Rio de Janeiro in 1869. The documentary corpus of this research consists of Vasques’ comic scenes written from 1839 to 1892, statements produced in periodicals on the database of the Brazilian Digital Library (National Library), and the images and literary texts that reflect the context and scope of Vasques’ work beyond his lifetime. The universe of the Brazilian theater and that of Carnaval in its constant changes help the analysis aimed at this work, evincing the relation of Vasques’ scene with the carnival party and the popular manifestations that emerged in the scenes with their parodies and songs. Traits that are fundamental in building characters, scripts, and a way of staging in search of carnivalized laughter. The theoretical axis of this research is based on references in the theories of Bakhtin’s Circle and its understandings of dialogy and carnivalization, in dialogue with Nicolas Evreinov’s (1879-1953) fundamental concept of theatricality. Initially, this research addresses the cosmology of carnivalization and its essential conception of the memory of the genre, reflecting on how works of art may be able to enable different readings in its time and in several periods in view of its dialogical nature and artistic essence. This narrative focuses on the figure of Francisco Corrêa Vasques and his creations, contemplating his stylistics and enunciative choices in the Brazilian sociocultural environment. Throughout this study, the researched statements show that the aforementioned comic scene and its great technical simplicity became a success with the public and reverberated in historical time, creating a network connecting past and future and being the target of comments from chroniclers, journalists, and literary critics decades later, entering the Carnaval musical culture itself. This cosmology enables us to understand that theatrical performance becomes an evaluative and dialogical event that expands, ricochets, resonates, sings in a longer time, gathers traces and signs of its readers, and creates new waves of expressive possibilities. This inventory leads us to the comings and goings of the relation between art, context, and its processes. Carnaval, the ultimate symbol of joy and the state of opposition between the normativity of everyday life and the other life that emerges in this party, entered the Brazilian theater, transforming it and re-signifying new directions. Thus, in addition to its inventory, this research celebrates and echoes the encounter of theater with Carnaval and life and vice versa, problematizing the work of art in the ravines of its time. And long live Zé Pereira!
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, Daniel
The 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.
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 Oliveira
This 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.
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 Cássio
Etnografía 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.
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 Rosa
Considering 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.

Navegar

Navegando Programa de Pós-graduação em Performances Culturais por Por tipo de Acesso "Attribution-NonCommercial-NoDerivatives 4.0 International"

Resultados por página

Opções de Ordenação