Programa de Pós-graduação em Performances Culturais
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Item Museus para o esquecimento: seletividade e memórias silenciadas nas performances museais(Universidade Federal de Goiás, 2017-06-30) Bulhões, Girlene Chagas; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Camargo, Robson Corrêa de; Chagas, Mario de SouzaAmidst its multiple tensions and meanings, museums are considered institutions in which our memories are kept and communicated so that we don’t lose sight of them. However, some of the museums, with a conscious intention or not, doing just the opposite: they silence the memories of certain subjects and social groups systematically and deliberately. Hence, they turn into Cultural Performances for the oblivion. Based, mainly, on studies of Cultural Performances, Social and Affective Museologies, Social Cartography, Queer Studies and on post-structuralist authors, in this dissertation, considerations will be made about this fact, which I consider to be a museum controversy, starting, mainly, from passages of greek and yoruba mythologies, concepts of Museum Pact, Social Drama, Mask, Façade, Scenario, Museum Selectivity, Museums/Museums Performances Arboreal and Rhizomatic, Affection, Rhizome and Art Brut.Item Teatro e cidadania: experiência de formação integral de jovens e adolescentes e o teatro/educação na Casa da Juventude Pe. Burnier entre 2011-2014(Universidade Federal de Goiás, 2020-02-27) Carneiro, Luiz Eduardo Souza; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Abdala Junior, Roberto; Quadros, Eduardo Gusmão deThe analytical perspective of this research is that of participatory and qualitative investigation-action. This research was carried out through a focus group case-study that emphasizes the development process and the formative character of adolescents/young people, and the understanding of the importance of the revelation of theatrical art professional vocation, in contrast to the educational value of Theater as a tool for integral training. The empirical experience of the researcher, as an educator in Theater/education and Citizenship, at Casa da Juventude Fr. Burnier (CAJU), in Goiânia-GO, from 2011 to 2014, was instrumental for this research. CAJU was a non-profit civil organization aimed for public utility, created by Cia de Jesus and operated since its inauguration by Jesuits and lay collaborators. CAJU was founded in 1984 and ceased to exist in 2015. It operated in Goiânia-GO and offered specialized services to adolescents and young people in social vulnerability, providing support to community groups and youth organizations, enabling socio-educational activities, with a view to secure basic rights, seeking “youth leadership” with a commitment to building citizenship through integral and procedural training.Item A mulher na dança da catira: reminiscências e transformações(Universidade Federal de Goiás, 2018-06-15) Conrado, Oscélia Domingues Bonifácio; Abdala Júnior, Roberto; http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4735832D5; Abdala Júnior, Roberto; Camargo, Robson Corrêa de; Fernandes, AdrianaThe dissertational work The woman in the dance of the catira: reminiscences and transformations consists of introduction presenting the object of study and the initial routes that circumscribed; three chapters and the closing remarks. The work consists of a study on the presence and women's role in the dance catira in which we seek to see if the woman's role in dance catira is real or imagery and whether it acts with her femininity or incorporates a gestural and male cosmetic for being the dance traditionally attributed to the male gender. This time to answer these questions we develop a field research with two groups of catireiras, a city of Jesúpolis and other city Itaguari, both in the interior of Goiás and catireiros group of the city of Annapolis also inside of Goiás. In the process of the research, we identify the performance acts through two strands, that is, the performance in its individual and collective scope.Item Sarau: um ritual da voz(Universidade Federal de Goiás, 2018-12-17) Cruz Filha, Fernanda; Brandão, Carlos Rodrigues; http://lattes.cnpq.br/7721657000564411; Miranda, Elderson Melo de; http://lattes.cnpq.br/7743250278945993; Miranda, Elderson Melo de; Favilla, Andréa Maria; Borges, Sainy CoelhoThis work is the result of a study of the soirée as a ritual performance and as an aggregator space your sociocultural perspective. Part of the approach of this dissertation, the construction of a brief history of your occurrence in Brazil and your consolidation as democratic space of exchanges and strengthening of social groups. The presente work chooses the Soirée of “Minas” (slang for women in Brazil), from Goiânia- GO, which takes place since of the year 2016, organized by women as a itinerante soirée, for an analysis of content on the social representation of this cultural manifestation. We tried to discuss here the space of speech, poetry, listening and welcoming women. It is hoped that with the realization of this research, the space for so many voices that have been in this territory for a long time cultivated, which is the soirée, will be even more open. The poetry of the voices echo in the corners wide your aggregating and transformative force.Item Cinema e performances: a encenação de Eduardo Coutinho(Universidade Federal de Goiás, 2019-03-19) Faleiro, Wertem Nunes; Nogueira, Lisandro; http://lattes.cnpq.br/6994570742767643; Christino, Daniel; Bezerra, Cláudio Roberto de AraújoThis research carried out a study of Cinema relating it to the interdisciplinary field of Cultural Performances. To this end, he hypothesized that mise-en-scene (staging) is the locus where we can find performances in the cinema. A mapping of the various conceptual and methodological paths possible from the performances was made. We did a resumption of the concept of staging from its origins in the theater, to the contemporary cinema, more precisely the device films. From the work of the filmmaker Eduardo Coutinho, we present his method, and we chose his film Jogo de Cena (2007) as object of analysis. In this, we verify the extreme problematization of the definitions linked to the performance / representation dichotomy, truth / mimesis, based on a device that allows the manifestation of performances of its participants, be they anonymous women, actresses known or not, and even the filmmaker himself.Item Amigos e guildas: performance, mídia e agência em MMORPGs(Universidade Federal de Goiás, 2018-08-27) Firmino, José Guilherme Abrão; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Moraes, Ângela Teixeira de; Oliveira, Rodrigo Cássio deThe present study aims to explore the relationship between digital games, game communities and the agency for creating social bonds and emerging behaviors in interactive digital media: video games. To do so, we rely on Victor Turner’s concepts of liminality and communitas, as well as Richard Schechner's concepts of transport/transformation and I-not-I, and link them to Janet Murray's and Brenda Laurel’s definitions of games and video games, among others and recent publications about media working on such concepts as Ian Bogost's procedural rhetoric and Henry Jenkins' narrative architecture. We argue that through agency, video games allow players to create lasting and real bonds with each other, and to create and interpret meanings about the world around them and about themselves. For this, we are based on the play concepts of Johan Huizinga and Eugen Fink. To do so, we conducted a field survey in the MMORPG The Elder Scrolls Online accompanying a group of five players in their online activities over three months. We had as methodological base the digital ethnography of Robert Kozinets, the mechanism of Jon Elster and the study of behavior and facades of Erving Goffman. In this way, we were able to trace the profile and analyze the actions of our subjects and it was possible to conclude that they have in fact developed significant and lasting affective ties in the digital space without face-to-face contact with the other players. This study also allowed us to look at the social challenges a novice player undergoes in embarking on a massive online game as well as better delineate what motivates veteran players to continue playing. Thus, we argue that this study demonstrates the relevance of cultural performance studies as a theoretical-methodological framework for the study of the field of video games specifically and of social media in general. In addition, we believe that the results and data obtained in this research open windows to new issues in the field of digital media and especially for social studies and discourse analysis focused on video games in general and online video games in particular.Item Performances e personagens em imagens da revista Veja: um estudo no ensino de arte em duas escolas públicas em Goiânia(Universidade Federal de Goiás, 2019-12-13) Fontana, Aglaê Dias Moreira Munhoz; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Camargo, Robson Corrêa de; Pereira, Marcelo de Andrade; Oliveira, Vânia Dolores Estevam de; Barroso, EloísaLa presente investigación se centró en estudios de performances y personajes en imágenes de la revista Veja, en la enseñanza del arte, en dos escuelas públicas en Goiânia. El objetivo de esta investigación fue investigar las performances culturales presentes en las imágenes mediáticas, que constituyen el universo visual de los estudiantes de secundaria de la ciudad de Goiânia. Con este fin, realizamos una intervención pedagógica em el anõ 2018. La acción buscó preguntar a los estudiantes de 8º grado sobre cómo perciben estas imágenes, cómo influyen en ellas y qué personajes y performances los seducen más. La investigación fue seguida por el método cartográfico, que es un método participativo de investigación-intervención. Tal método era más apropiado para la investigación, por su flexibilidad, por comenzar en la práctica, por la posibilidad de interrelación con la teoría, por la participación de los sujetos y por mi participación directa en la experiencia procesal escolar. La investigación también presentó los siguientes instrumentos: observación participante, cuaderno de campo, imágenes de revistas, dibujos y cuestionarios.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 A formação do artista circense goiano: olhares e deslocamentos entre o circo Basileu França e o circo Laheto(Universidade Federal de Goiás, 2018-11-06) Leles, Marilia Teodoro de; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Duprat, Rodrigo Mallet; Silva, ErminiaThe aim of the current research was to investigate the knowledge transmission process at institutionalized centers of circus schooling. Two institutions from the city of Goiania were chosen to compose the field of research, namely Circo Laheto and Circo Basileu França. Laheto is a private institution opened in the year 2000 and functions as a social circus. Basileu is part of the Instituto Tecnológico de Goiás em Artes Basileu França (Technologic Institute of Goiás in Arts Basileu França), originally set up as Escolinha de Artes Veiga Valle (School of Arts Veiga Valle) in 1967 as the first public school destined to the teaching of the arts in the state of Goiás. The former, besides teaching children and youngsters, offered a Professional Course in Circus in the years 2016-2017 while the latter has been offering, on intermittent basis, 3-year length certificate programs in circus since 2002. The research seeks to comprehend, by analyzing the individuals and their practices, the experiences they went through in this artistic formation set. As methodology, interviews were conducted with teachers, students and coordinators; classes and student-developed performances were watched, and the author herself took part in the researched formation processes. Therefore, the process by which new artists are formed and its pedagogical elements were investigated in the Brazilian Midwest context in order to identify and discuss the proceedings employed by the use of propositions which may contribute to the formation of circus artists.Item O entre-lugar das performances culturais nas sessões de cinema na cidade de Goyaz de 1909 a 1937(Universidade Federal de Goiás, 2019-09-09) Lima, Lázaro Ribeiro de; Camargo, Goiandira de Fátima Ortiz de; http://lattes.cnpq.br/3029764057965151; Camargo, Goiandira de Fátima Ortiz de; Abdala Junior, Roberto; Silva, Neemias Oliveira da; Siqueira, Ebe Maria de Lima; Tamaso, Isabela MariaThe present research aims to safeguard the memories of the first cinemas of the State of Goiás, inaugurated in the then capital city of Goyaz, between 1909 and 1937. During this period the capital counted on the following Cinema Theaters: São Joaquim, Goyano, Luzo Brasileiro, Iris, Ideal and Progress. We emphasize among the numerous cultural performances brought to the stages of these amusement houses the orchestras that made the live sounding below the screen of projection. In addition to these moments during the exhibitions, the audience still had performances by several artists between one projection and another, among which we highlight the young singer Santinha Marques who from the transfer of the capital went to the great centers of the country in search of visibility and performance. We seek to establish a dialogue between history, cinema and cultural performances for the development of this research. We will use documents from the collections of the Frei Simão Dorvi Foundation, Lyceu de Goyaz, Culture Point Image of Memory, among others. The methodology to be used is analytical, theoretical, critical and interpretive. This study also covers the reading and analysis of catalogs of films exhibited at the time, the records that the local and national press left about this period and photographs of the historical and personal collection of Vilabian families. He will be supported by the theoreticians: Richard Shechner (2012), Zeca Ligiéro (2006), Jorge Glusberg (2011), Jörn Rüsen (2015), Ecléa Bosi (2003), Belkiss Spencière Carneiro de Mendonça (1981) and others.Item Histórias ressignificadas entre Glorinha Fulustreka e mulheres Kalunga do Riachão(Universidade Federal de Goiás, 2019-03-25) Neves, Vanusa Nogueira; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Hartmann, Luciana; Lima, Marlini Dorneles deFrom the meeting with Kalunga women from the communities of Engenho II, Vão de Almas and Riachão, the enchantment for their "personal narratives" arises. From the enchantment to the awareness that these narratives relate to the performance of these women in their communities, the master project in Cultural Performances was structured, with the objective of investigating the art of storytelling based on the experiences of quilombola women, observing in this process their social strategies in the construction of ways of life and identity from their memories. Perceiving and letting itself be affected by this context is discussed in this work as the storytelling process of the performance of Glorinha Fulustreka, a character created in 2000 with the purpose of divulging the culture of the Cerrado of Goiás.Item Performances sonoras: uma escuta do cotidiano goianiense(Universidade Federal de Goiás, 2019-09-03) Oliveira, Thais Rodrigues; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Silva, Rubens Alves da; Stolf, Maria Raquel da Silva; Oliveira, Vania Dolores Estevam de; Santos, Rafael Guarato dosThe research here systematized circumscribes the problem: do the sounds of daily life in the the city represent us culturally? There is a sound cultural performance of Goiânia? Therefore, our objective was to identify, collect and record sounds in four significant places of the city and, subsequently, edit them in order to make a sound installation called Windows Sounds. This installation, beyond the end in itself, also served as a mecanism to confirm or not whether there is a cultural sound performance in Goiânia, with the reception of the selected sounds. The research data were obtained through observation, listening, interview and questionnaires of the four most expressive sound territories of Goiânia, selected and considered that way by me. Data analisys was developed qualitatively, etnographic (with contributions of urban antropology) and based on theoretical discussions of these authors: Erving Goffman (1986, 2001, 2011, 2012); Richard Schechner (1985, 2002, 2003, 2006); Raymond Murray Schafer (1977, 2011); Victor Turner (1974, 1982), Sainy Veloso (2013, 2014); Roland Barthes (1990); Michael Certeau, Luce Giard and Pierre Mayol (1996); Clifford Geertz (1989); Carlos Fortuna (1998, 1999); José Guilherme Cantor Magnani (1998, 2007, 2013, 2016); Maurice Halbwachs (1980); Pierre Schaeffer (1950, 1966); Bernd Schulz (1999); Gilles Deleuze and Felix Guattari (1992), among others. We hope that this sensitive sound experience, conducted in the investigation, will contribute to the discussion of sounds as cultural sound performance and allow understanding the local culture in its diversity.Item Na caçada da onça: curraleira e sussa enquanto performances culturais quilombolas(Universidade Federal de Goiás, 2019-12-17) Rocha, Maria Madalena do Sacramento; Tamaso, Izabela Maria; http://lattes.cnpq.br/3452984712174788; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Silva, Renata de Lima; Almeida Neto, Luiz Mello de; Corrêa Júnior, Sebastião Rios; Lima, Marlini Dorneles deThis dissertation aims to reflect on the Cultural Performance Sussa and Curraleira in the remaining Quilombo communities Extrema and Levantado, located in Iaciara-GO city. In this perspective, we seek to understand the historical contextualization of the place, from Macaúbas-BA to Extreme, Iracema district, in the municipality of Posse-GO. We analyzed the religious festivities, specifically the Levantada do Mastro, the Quilombos religious conflict with the Catholic Church, in the context of territorial certification and the visits of Lapinhas de Menino Jesus. At the same time, we identified the ties of kinship linking communities since the 1930s, the receipt of the “quilombola” identity given by the government through the Palmares Cultural Foundation, the updating of the concept of “Quilombo” and the emergence of the Associations, as a result of the titling. More specifically, we seek to detect from the research the memories and reports that constitute and build the “place” of Sussa and Curraleira cultural performances before and after the certification of the mentioned communities. Thus, it is possible to understand the relationship between space and place, from the experiences of religious festivals in Extrema and Levantado.Item As ressonâncias da musicalidade afro-brasileira no espetáculo Por cima do mar eu vim(Universidade Federal de Goiás, 2019-10-09) Santos, Flávia Cristina Honorato dos; Lima, Renata de Silva; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; Monteiro, Marianna Francisca Martins; Correa Junior, Sebastião Rios; Lima, Marlini Dorneles de; Satler, Lara LimaFrom the perception of the potency of Afro-Brazilian musicality in the theatrical scene, as regard to the installation of a scenic presence, from a body state stimulated by these sounds, and as regards to the textures and ambiences that collaborate with the music dramaturgy, the interest arises in addressing the relationship between body, scene, music and Afro-Brazilian culture. In an attempt to understand the contours which this musicality delineates in the contemporary scene, giving it traces of black identities, this research analyzes the show Por cima do mar eu vim, from the Núcleo Coletivo 22. The scenic musical show deals with the story of Queen NzingaMbandi and the African Bantu influence in Brazil, it is committed to a black aesthetic composed in a textual and body dramaturgy in which Afro-Brazilian musicality appears as an important poetic resource. As researcher and interpreter-creator of Núcleo Coletivo 22, who participated in the creation process of this show, as well as its circulation in the city of Goiânia, I discuss from the perceptions, feelings and affections lived, the imbricate between act, touch, singing and dance in this scenic experience.Item Narrativas do rock and roll: sociabilidades, liminaridades e performances(Universidade Federal de Goiás, 2018-10-25) Santos, Lucas Monteiro dos; Reinato, Eduardo José; http://lattes.cnpq.br/9142540932437553; Reinato, Eduardo José; Quadros, Eduardo Gusmão de; Santos, Nádia Maria WeberThe following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances.Item Cascando Beckett entre a luz e a sombra: um diálogo com Rembrandt Van Rijn (1606-1669) e Edward Gordon Craig (1872-1966)(Universidade Federal de Goiás, 2018-11-30) Silva, Allan Lourenço da; Camargo, Robson Corrêa de; http://lattes.cnpq.br/9964594962008164; Camargo, Robson Corrêa de; Silva Filho, Almir Ribeiro da; Santos, Nádia Maria Weber; Abdala Júnior, RobertoThe present work, realized in the Interdisciplinary Program in Cultural Performances of the Faculty of Social Sciences, aims to understand through a dialogue between the pictorial works of Rembrandt Van Rijn (1606-1669) and theatrical ones of Edward Gordon Craig (1872-1966) as it happened the creative process of enlightenment in "Cascando Beckett: An Image Like Any Other". To do so, it aims to problematize how light, shadow and darkness were used by these artists to create their performance spaces. From the thoughts of these artists to unveil a new perception of the space of Cascando Beckett by the presentification of these phenomena. Thus, this research believes that both Rembrandt and Gordon Craig sought to understand the phenomena of light, shadow, and darkness in the creation of performatic space in its symbolic, imaginative and dramatic potential. For this, this dissertation develops through a qualitative, bibliographic, iconographic and exploratory approach, together with a study of Maurice Merleau-Ponty's phenomenology of perception, Gestalt theory in Rudolf Arnheim's researches and studies of Cultural Performances. Therefore, this research is structured to understand the symbolic, imaginative and dramatic potentials of light, shadow and darkness in the creation of the performance spaces of Rembrandt Van Rijn, Edward Gordon Craig and Cascando Beckett.Item O ofício do raizeiro: saberes e práticas integrativas em comunidades tradicionais quilombolas Kalunga(Universidade Federal de Goiás, 2019-04-15) Silva, Maria Tereza Gomes da; Veloso, Sainy Coelho Borges; http://lattes.cnpq.br/8715733169225465; Veloso, Sainy Coelho Borges; Silva, Rubens Alves da; Miranda, Elderson Melo de; Oliveira, Vânia Dolores Estevam deThe presente paper gols is the study of crafts and the rituals of Healing of the masters Kalungas with cultural performances and the process of production of one poetic in art from relationship. With the ground and the natural and used, like branches, baths, teas that compose the force of the ritualistic action that is performatizes in the moment of Healing in the Kalunga culture. The teorical reference used approaches contributions of anthropology african philosophy, art, and cultural performances. The methodology Was fallowed by the cartographic method and the perfomative research in a immersion relation with the livres Field, the research instrumentos were interviews with the herbalists masters and the community, field diary, participante daservation audiovisual record and conversations circles. Se understand that importance of this study to the interdisciplinary field of cultural performances is avaliable both for the researched communities, as it results in material that corroborada and expands knowledge through exchange of experiences and joint construction of knowledge. The vernacular knowledge of traditional communities, far from reaching their disuse, have specifities that dialogue with contemporaneous academic knowledge and corroborate with studies of culture, cultural performances, and related atrás, helping to promote the democratization of knowledge.Item Metaphors we rap by: performatividade, estética e política do cotidiano(Universidade Federal de Goiás, 2019-10-21) Silva, Thiago Cazarim da; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Pinto, Joana Plaza; Garcia, Allysson Fernandes; Christino, Daniel; Corrêa Júnior, Sebastião RiosThis dissertation is a philosophical essay on an issue related to musical productions, speeches and practices that do not have rap as their raison d'être. It is what I call rap's performative claim – the idea that it is a musical genre endowed with different “powers of doing”. However, if this performativity assumes for artists, cultural actors and rap-related fans positive features – such as the power to transform reality, to become socially aware or to turn rap music an instrument of struggle – it is also through a performative claim that state officials and media speeches often harness to rap music a power to incite crime and public disorder, to uphold the structuring values of peaceful social coexistence and even the physical integrity of an individual. Thus, a formation of performative metaphorical chains seems to be central to the appreciation, acceptance, rejection and, eventually, sociocultural and ecological assimilation of such music genre. This essay tries to think over the impact, the need, and the risks encompassed in rap’s performative metaphorization as music genre, in which aesthetics and politics articulate and stress the boundaries between everyday life and fiction.Item Contar histórias com e no corpo: uma metodologia da pedagogia performativa na formação continuada docente(Universidade Federal de Goiás, 2019-07-02) Silva, Valquíria Duarte; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Icle, Gilberto; Silva, Renata de Lima; Vieira, Terezinha Duarte; Rios, SebastiãoThis research aims to elicit a methodological possibility of telling stories with and in the body, comprehending this as an expressive whole in its gestures and voices, with teachers from the Municipal Department of Education and Sport (SME) of Goiânia. Investigating the following question: How can telling stories with and in the body can be configured in a methodology of performative pedagogy for continuing teacher education? Based on this questioning, it is hoped to investigate, experiment and register possibilities of telling stories from a scenic work with the focus on the corporal sensibilization of teachers. To do so, it has as an methodological tool an experiment in the format of a continuing training course in storytelling: Telling stories with / in the body, lasting 40 hours, offered to 25 teachers of early childhood education and cycle I of the SME of Goiânia. This course had a methodology based on the collaborative process of knowledge, which the previous knowledge, as well as the pedagogical practices of the interlocutors were significant for the contextualization of the experiment. The contents experienced during the course were: stretching, vocal warm-ups, sung toys, Viola Spolin theaters and Viewpoints. For data collection, we used: questionnaires, filming, photos and recordings of the discussions and letters written by the female students who were delivered at the last meeting. The interpretation of data in consonance with the bibliographical survey of conceptions regarding the performative pedagogy based on the studies of: Elyse Lamm Pineau, Luciana Hartmann, Gilberto Icle, João Francisco Duarte JR and Marcelo de Andrade Pereira, made possible the understanding that storytelling with and in the body was configured, in this experiment, as a methodology of performative pedagogy. Thus, I highlight some characteristics of the course that I consider to be inherent to the proposal of performative pedagogy, such as: the collaborative process of knowledge mediated by the exchange of experiences and skills; the reflective knowledge of learning by doing; the body as an essential element in the process of teaching learning. It was in, with and by the body that the female teachers performed the contents proposed in the course, and were challenged to tell stories. This methodology provided a sensitization of the participants in order to perceive their bodies as an expressive and communicative whole. This perception reverberated in her performances as storytellers and also in her performances as teachers. In this way, this research instigates practices of performative pedagogy (feel, think and act) in the continuing teacher formation.Item As performances de Odorico Paraguaçu em "O bem amado" (1973): uma sátira à política brasileira no século XX(Universidade Federal de Goiás, 2020-03-02) Vilela, Anne Araujo; Abdala Júnior, Roberto; http://lattes.cnpq.br/7014946989727038; Abdala Júnior, Roberto; Luterman, Luana Alves; Reinato, Eduardo JoséThe work aims at the representations of the fictional politician and colonel Odorico Paraguaçu of the soap opera O Bem-amado, in 1973. Designed by Dias Gomes, the soap opera challenged the political and historical period of that moment, the Brazilian military dictatorship. In the regime's view, the author was a subversive, but Dias Gomes, as a popular national playwright, did not allow himself to be intimidated and transformed Odorico into the portrait of several individuals who followed a unique, predictable and almost unchanging, even among political opponents. Odorico became a criticism that turned the real-life tragedy caused by most politicians into comedy. In order to understand the game of Odorico's representation, it was identified that the questions were transdisciplinary and could be encompassed by the studies of cultural performances, mainly as understood by Erving Goffman and Richard Bauman, thus, the communicative resources used by the author and the actor, Paulo Gracindo that interpreted Odorico, they were analyzed as cultural performances. Therefore, the character Odorico Paraguaçu performed through social frames as a moralist, colonel and populist, and during the telenovela, his actions become part of this character's personal and scenic facades, which revolve around his effort as a politician to please the population of the fictional city of Sucupira and inaugurate its campaign promise to the city hall: a cemetery, testing the efficiency of its representation. The comparison between the frames of the character Odorico and the politicians previous and contemporary to him, took place through bibliographic research mainly in digital collections of documents of the time. The performatically related data showed that Odorico's way of acting did not differ in the total forms of representations employed by politicians that existed in the Brazilian reality, most of the time with similar intentionality.