Mestrado em Performances Culturais (FCS)

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O fantástico como performance cultural
(Universidade Federal de Goiás, 2024-11-14) Tibery , Pedro Henrique Saad; Silva, Valéria Cristina Pereira da; http://lattes.cnpq.br/5755146027054522; Silva, Valéria Cristina Pereira da; Estevam , Vânia Dolores; Machado, Marcia
Fantastic literature is recognized for thematizing in different ways the encounter of the human being with the inconceivable. After generations of writers in the genre, the fantastic effect of fear and/or radical restlessness has passed through exotic settings like those of H. P. Lovecraft and more mundane, everyday scenarios like those of Murilo Rubião, a Brazilian twentieth century writer from Minas Gerais. In these transformations, David Roas, a Catalan literary critic, realizes that the thematization of the fantastic reveals real socio-cultural phenomena, because the fantastic encounter depends on contextual sociocultural variables to happen, such as circulating knowledge, the power relations and, above all, the explanatory capability of subject or society. After all the radical restlessness coming from the encounter with the inexplicable will depend beforehand and fundamentally on the existence of something inexplicable. Thus, assuming that in social life, outside the literary book, there will always be the inexplicable, because it is pragmatically impossible for anyone, individual or group, to know everything, the fantastic is placed as a potential circumstance in various contexts: it is enough that a subject comes across something that, although directly affecting his/her life, is incomprehensible, challenges his/her logic, his/her explanatory ability, that is, make this subject deeply desire the unreality of this something. Therefore, to affirm this possible understanding of the fantastic as an extratextual, sociocultural phenomenon, this research seeks to understand it as a cultural performance. The path to achieve this purpose stems from three versions of the fictional universe created by the Brazilian storyteller, synthesizing them in the notion of absurd-fantastic, which will then be articulated to that of cultural performances. From this, it is hoped to suggest investigative courses on potential encounters between human beings and the inconceivable in different societies, revealing precious information in each context often hidden from an inattentive eye. With this proposal, it is hoped to broaden the field of intersectional studies between literature and performance, because it is still young, but very promising; and contribute to people who want to keep the bewilderment up to date, to bring about the necessary estrangement in front of the quirks that are made daily by the force of propaganda, coercion, ignorance, unfortunately. In this perspective, to realize the fantastic in living is to refuse to accept the inconceivable just because it is explainable, so theorizing about the fantastic as a cultural performance can make it useful as a discursive and conceptual tool – a utility that will be exemplified through a dialogue with the analysis that Luciene Dias and Ralyanara Freire make of Luana Barbosa dos Reis' lesbicide as an urban performance of horror –.
Performances urbanas no cinema de Spike Lee
(Universidade Federal de Goiás, 2024-07-19) Silva, Wadson Vinicius; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Sousa, Georgia Cynara Coelho de; Silva, Joanise Levy da
This work originates from my particular interest in the work of director Spike Lee. From this, we associate here his cinematic trajectory focusing on the intersection of urban nuances with performance theory. Spike Lee stands out for his ability to portray the historical social conflicts faced by the black community in the United States, which arises from conflicts in various urban areas such as the regions of Brooklyn, Harlem in New York, Boston in Massachusetts, and Atlanta, Georgia. Lee offers us in his films a reflection on the social and cultural dynamics presents in urban communities. Thus, the objective here is to point out in an interdisciplinary manner the particularities of Spike Lee's cinema and his audiovisual language, to trace discussions on performance theories, and to show how these two aspects come together to perceive urban performances. The analysis of Lee's films in this text does not extend to all of his works, which are indeed quite extensive both in film direction and in music videos. Therefore, here we focus on his productions throughout the first 9 years of his career, marked by 7 films, namely: Joe's Bed-Stuy Barbershop: We Cut Heads; She's Gotta Have It; School Daze; Do the Right Thing; Mo' Better Blues; Jungle Fever; and Malcolm X. These films, predominantly urban and often set in New York, often bring racism to the forefront as a central theme. However, since the purpose of this work is not to delve deeply into this discussion, we delve into other issues that elevate the city/performance discourse.
As representações simbólicas no espetáculo a noite dos assassinos, do grupo Máskara
(Universidade Federal de Goiás, 2024-06-13) Oliveira, Rosane Christina de; Camargo, Robson Corrêa de; Santos, Nádia Maria Weber; http://lattes.cnpq.br/3929583037339642; Santos, Nádia Maria Weber; Mari, Marcelo; Pianta, Carlo Machado; Camargo, Robson Corrêa de
This research analyzes the of the show The Night of the Assassins, text by the cuban playwright José Triana, produced and staged by Grupo Máskara – Transdisciplinary Research Nucleus in Theater, Dance, and Performance in Goiânia, Brazil, in 2018, From the interpretation of some aspects of the symbolic representations suggested by the text/production, such as cultural and individual symbols, archetypal symbols of transformation, the self, the anima, the animus, the shadow, space, and the child. The symbolic contents present in the staging are analyzed considering the creation of characters, scenes, set design, costumes, soundtrack, and lighting. The research is conducted through literature review, documentary research, data collection, study and analysis of rehearsal records, critiques, performances, notes from the involved actors, and analysis of the video content of the play. It presents the analysis of the production of the show The Night of the Assassins with the support of the theoretical framework of Analytical Psychology, addressing the concepts of symbols, archetypal dynamics, symbolic representations, psyche, collective unconscious, and individuation proposed by Carl Gustav Jung.
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.
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.
Jardins secretos e galerias abertas: os fatos, os frutos e as cores do Setor Sul em Goiânia-GO
(Universidade Federal de Goiás, 2024-05-27) Mello, Danila Laiana da Silva; Amaral, Roberto Antonio Penedo do; http://lattes.cnpq.br/7662501395554138; Amaral, Roberto Antonio Penedo do; Toledo, Wélcio Silvério de; Silva, Valéria Cristina Pereira da
This master's thesis has the main objective of studying the space of Setor Sul, as the firstneighborhood of Goiânia-GO planned for housing, paying attention to its urban design dedicated to gardens and open galleries. A historical study of the gestation/germination of this neighborhood is carried out, as well as its transformations over time, to highlight the change in the function of the spatial configuration. In the researcher's interaction withthe space, the aim is to demonstrate the importance of this neighborhood as a space for sensitive experience both in terms of culture and art, with attention to the cultural centerslocated there, and in terms of the experience made possible by the act of wandering around its squares and forests as secret zones to be discovered by the city's inhabitants. The product of this experience is images in cyanotypes, created by inspiration from the urban nature of Setor Sul, produced by the encounter of facts, fruits and colors of leavesand flowers.
As performances de proximidade da Orquestra Sinfônica de Goiânia
(Universidade Federal de Goiás, 2024-04-25) Penna, Isabella de Barros; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Marques, Márcia Gomes; Dias, André Bonsanto
This research aims to answer the question: how do audiences appropriate the Goiânia Symphony Orchestra (OSGO's) proximity performances? Thus, it aims to understand the public's appropriation of the OSGO's proximity performances and to identify these proximity performances that the Goiânia Symphony Orchestra has adopted over the years, from its foundation to the present day, relating them to the implementation of cultural public policies. By proximity performances, we mean the actions performed by the OSGO, in dialogue with municipal cultural policies, in order to diversify the public and democratize the consumption of classical/erudite music in Goiânia. To this end, culture is seen as a resource, as proposed by Yúdice (2004). To this end, a bibliographical and documentary study will be carried out, using questionnaires and interviews, to understand the trajectory of this Orchestra and its attempts to appropriate public cultural policies that are close to the population of the city of Goiânia. The bibliography will be based on the concepts of Cultural Policies by anthropologist García Canclini (1987), as well as concepts of culture as a resource and what is understood as performativity through the cultural studies of George Yúdice (2004). Understanding through the concepts of cultural performances brought up by Victor Turner (1982) and Schechner (2002), to what would be the relationship of proximity performances raised by Carrijo and Satler (2019). As a result, we identified the proximity performances that the object of study of this research, the Goiânia Symphony Orchestra, has developed over the years, and we understood who its audience is today and how it has appropriated these proximity performances.
Performances vestíveis – análise cênica dos personagens vivos e a influência do figurino para a construção da personagem
(Universidade Federal de Goiás, 2024-05-14) Santos , Fernanda Aline Rocha dos; Souza, Geórgia Cynara Coelho de; http://lattes.cnpq.br/4911717849806520; Souza, Geórgia Cynara Coelho de; Soares, Kárita Garcia; Hartmann, Luciana
It reflects on the importance of scenic costumes for the creation of living characters, in addition to addressing the work of these artists as performers. The problem of this research is linked to the discussion about scenic costumes being a primordial part of the conception, composition and development of live characters in events. The term living character was conceptualized as the materialization of the popular imagination about a certain fictional character, which may have its origins in animes, series, films, and which is interpreted by a performer who experiences all the experiences of this fictional character on days where he meets his fans. whether at social or corporate events. This research aimed to reflect on my character creation process as a performer in the market and artistic niche of living characters, in addition to analyzing how the scenic costume can help in the construction of the character, considering that it often works as a visual trigger for the performer and the audience. This research focused on the history of fairy tales, the Walt Disney company and how the phenomenon arrived in Goiânia. Understanding this story, one can understand how the scenic costume can have the function of creating/being the visual communication of the living character, thus contributing to a dramaturgy without speech, which helps the performer to tell his story to those who dedicate their time to appreciate it in activity – the public. We sought to understand how this process occurs, in all its layers and routines. Based on fundamental studies such as those by Nelly Novaes, Mircea Eliade, Richard Schechner and Fausto Viana, it is noteworthy that, for this research, autoethnography was chosen as the main study method, taking into account my experiences as an actress, a black woman , costume designer and researcher. The research was also based on artifacts and has the help of other artists through interviews.
Cidadania cultural e acessibilidade: a experiência no Festival de Teatro Infantil de Goiás um estudo de caso
(Universidade Federal de Goiás, 2024-08-28) Mata, Hélio Martins da; Silva, Valeria Cristina Pereira da; http://lattes.cnpq.br/5755146027054522; Silva, Valeria Cristina Pereira da; Déa, Vanessa Helena Santana Dalla; Dorneles, Patrícia Silva
Cultural accessibility is defined as a set of strategic measures focused on eliminating barriers and promoting the full participation of people with disabilities or reduced mobility in all aspects of cultural life. Recognized as a legal guarantee, it is essential for social inclusion, equal opportunities, and the cultural enrichment of all citizens, and should be incorporated into the execution of artistic and cultural projects. In this context, the present work is based on the following problem: how does the Festival de Teatro Infantil de Goiás use and develop strategies to combat the exclusion of people with disabilities through cultural accessibility? As a case study, the general objective of the research is to analyze how the production of FESTIN-GO contributes to ensuring cultural accessibility in the Goiás context, emphasizing the processes experienced during its execution and its impacts on artistic groups, actors, producers, technicians, and the audience, as well as highlighting the transformations that have occurred in the Goiás theatrical scene regarding accessibility. To this end, the following specific objectives are outlined: Identify the cultural accessibility strategies used by FESTIN-GO to promote the inclusion of people with disabilities; Analyze the specific actions and initiatives of FESTINGO aimed at combating potential physical and communicational barriers; Evaluate the impact of the strategies adopted by FESTIN-GO on promoting the active and equal participation of people with disabilities, considering aspects such as representativeness and community involvement. Regarding the methodological proposal, the research adopts a qualitative approach reflected in performative writing, using bibliographic and documentary research as foundational elements of the proposed investigation. It is observed that FESTIN-GO, created by Cia. Flor do Cerrado in collaboration with other theater companies, stands out for valuing artistic productions aimed at children and its pioneering role in promoting cultural accessibility in the Goiás performing arts. It is noted that, throughout its five editions, FESTIN-GO has excelled in implementing various strategies and actions aimed at increasing the access of people with disabilities to its activities. By providing resources such as sign language interpreters, audio description, and subtitles, the Festival ensured accessibility for different disability groups, including those with hearing, visual, and autism-related disabilities. This pioneering initiative in the State of Goiás facilitated access to culture and promoted the effective participation of this audience in theatrical productions, becoming one of FESTIN-GO’s major contributions to social inclusion and cultural democratization
A performance em jogo: o vivenciar do drama simbólico em Tomb Raider (2013)
(Universidade Federal de Goiás, 2024-04-29) Menezes, Henrique Rodrigues Pereira; Christino, Daniel; http://lattes.cnpq.br/1395742383165403; Christino, Daniel; Oliveira, Rodrigo Cássio; Bueno, Murilo Gabriel Berardo
This research investigates the player’s performance through the narrative of the video game Tomb Raider (2013) under the concept of drama (Dawsey, 2007; Reis, 2022), and more specifically under the concept of symbolic drama and its formulas (Murray, 2003). Murray (2003) states that whatever the content of the game itself, whatever our role within it, we are always the protagonists of the symbolic action that develops from narrative formulas. The player, therefore, is the protagonist of the survival action and interacts with the game world (fictional world) in order to enact the role of the protagonist Lara Croft on her journey. The player’s journey then merges with the character’s journey in a symbolic drama.
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
Guatá para retomar a terra: performance e luta
(Universidade Federal de Goiás, 2023-02-24) Pereira, Oendu de Mendonça; Pissolato, Elizabeth; Hartmann, Luciana; http://lattes.cnpq.br/8454367473690262; Hartmann, Luciana; Gonçalves, Luiz Davi Vieira; Dias, Luciene de Oliveira
This text traces my journey as a poetic performer, from my early exhibitions to my current work, rooted in autoethnography and centered on the themes of ethnocide and land issues. The poetic exploration engages with political, historical, and anthropological perspectives, exposing the coloniality in Brazil. It focuses on the reclaiming of ancestral indigenous lands, where the dreams guide the Mbya Guarani in their journey (guatá). The objective is to analyze my artistic performances from an autoethnographic perspective, anchored in Guarani ancestralities. In doing so, I draw inspiration from the writings of indigenous intellectuals to generate a decolonial critique, particularly relying on the thesis of Guarani author Almires Martins Machado for the thematization of the Mbya journey. In a performative writing style that traverses my artistic process, I describe my works and aesthetic choices. I adopt an anticolonial perspective, dismantling myths and emphasizing the role of the State in the ethnocide of indigenous peoples. In this historical moment, indigenous communities face the dismantling of their fundamental and territorial rights, as recognized by the 1988 Constitution. The text discusses the relationship between my journey as a descendant performer and the journeys of the Guarani, focusing on the reclaiming of lands, teko porã (living well), and nhandereko (cultural strengthening) movements led by the Mbya Guarani in Rio Grande do Sul. It explores how these practices resist ethnocide.
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, Daniel
The 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.
e-Cidadania como performatividade cidadã
(Universidade Federal de Goiás, 2023-09-01) Ribeiro, Eloá Augusta; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Oliveira, Vânia Dolores Estevam de; Santos, Fabiane Cristina Silva dos
Citizenship is a constantly evolving concept that permeates various approaches, meanings, and understandings. Its semantic evolution coincides with the very history of society. Scientific and technological development has established the foundations of society through systematized knowledge, step-based methods, specific metrics and processes, in the construction of a contemporary society that is hyperconnected, fragmented, and technological. In this context, this dissertation aims to investigate the new disposition of relationships that has been established in the exercise of citizenship through hyperconnection and technological mediation, which characterize contemporary society. Through a phenomenological approach, we identify ecitizenship as a phenomenon that emerges as a cultural form of exercising citizenship in the networked technological society, presenting itself as the main vector for citizenry construction in contemporaneity, due to its performative nature.
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 de
This 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.
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 Camargo
This 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.
Tecnologias digitais em rede nas performances musicais: potencialidades da composição colaborativa em meios digitais
(Universidade Federal de Goiás, 2023-04-10) Santana, Marcos Vinícius; Soares, Fabrízzio Alphonsus Alves de Melo Nunes; http://lattes.cnpq.br/7206645857721831; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Souza, Geórgia Cynara Coelho de; Melo, Marcilon Almeida de; Soares, Fabrízzio Alphonsus Alves de Melo Nunes
Discusses about collaborative composition practices carried out on platforms / social networks / music creation and production applications. It traces a historical overview of musical development, contextualizing the history of music and discussing about networked digital technologies in musical performances of collaborative composition. To do so, it discusses interactivity in collaborative composition made possible by the digital medium based on studies on mediatization and mediation. It aims to identify experiences of collaborative compositions mediated by networked digital technologies, justifying itself based on the influence of media and networked digital technologies on musical performances, observed by the frequent use of technological applications for composition, production, and musical performance at the end of the twentieth century and the beginning of the twenty-first century. In its problem, it questions the limits and potential of musical performance within a collaborative digital composition environment. When discussing the concept of collaborative composition and its use in musical performances, he explains two types of compositions made in digital media: one made in synchronous format, through the actions of the band Tin Men and the Telephone and the performance Dialtones: A Telesymphony; another, based on the use of platforms / social networks / applications for collaboration in the creation of compositions, such as BandLab. Methodologically, it is configured as a qualitative, descriptive-exploratory research in relation to its objectives, as it presents other platforms / social networks / music creation and production applications, while it inserts the author as a subject of the research, through the accomplishment of a composition in partnership with other members of BandLab. Considers that networked digital technologies can actively affect collaborative compositions, especially when observed from the mediatization theory, concomitantly with the phenomenon of globalization, which increased access to networked digital technologies by the population, influencing the way in which musical performances are seen and performed today.
O (s) nós da desrazão: performances da cultura, memórias ressentidas, trauma e a desconstrução do esquecimento na ditadura civil militar brasileira
(Universidade Federal de Goiás, 2023-04-03) Rocha, Dayse de Jesus; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Ferreira Neto , Maria Cristina Nunes; Dallago, Saulo Germano Sales
This dissertation aims to analyze the overlaps between memory, oblivion, trauma and their connections with dramas performed in Brazilian society. Therefore, it is essential to observe the behaviors of cultural agents and the ways found in their social environment to remember and mobilize affections in their historical environments. Social and artistic performance will be analysed, as a reflective space, aiming to deconstruct the dominant structures, through individual actions that culminate in the collective. To this end, it pays attention to the way in which militancy and art enable an understanding of the memory space of tortured and politically disappeared people in the civil-military dictatorship in Brazil. From this place, priority is given to the protagonism of subjects who reinterpret the history and official discourses conveyed by the power structures of their time. The work was dedicated to showing the importance of the speech performed in the updating of suffering and violence, through the social recognition of this suffering, as a mechanism that fights the process of naturalization and oblivion in society. For that, the memories about the peasant José Porfírio de Souza and the embroidery of Isaura Botelho were analyzed.
Por que palhaperformances? Performances de grupos de palhaços e palhaças que atuam em hospitais de Goiânia
(Universidade Federal de Goiás, 2021-06-26) Silva, Roberta Machado; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Oliveira, Denivaldo Camargo de; Wuo, Ana Elvira; Santos, Nádia Maria Weber
This work analyzes the volunteers’ groups, under the light of cultural performances. These groups visit Goiânia’s hospitals; and appropriate to the clown figure. The work intention is to understand who is the figure of the clown, the trickster archetype and how they act in palhaperformance. It used the cartography methodology to identify the thorough attention variety who are the groups that act in Goiás’ hospitals. The first type of attention variety is polling (tracking). The second is the sensibility and subjectivity points (touch). Third is the concentration of attention (landing), it’s in-depth monitoring of groups. At last, the path followed by clowns (deep recognition). Thus, we see: the more visited places by volunteers’ clowns and which image is associated with the places. And I call they: pain places. We have for methodological cut three groups (Trupcando em Sonhos, Semeadores da Alegria e Condutores do Riso). I followed them up in hospital performances and I had an interview. The collective movement of volunteers’ groups brings new experiences to the area and different tensions and relationships. In addition, it institutes an unprecedented and original path for the contemporary clowns.
Autoimagem, ativismo online e o corpo feminino em performance: recepção a partir de vídeos da tag “Tour pelo meu corpo” no YouTube
(Universidade Federal de Goiás, 2021-08-23) Prado, Beatriz de Almeida; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Sacramento, Igor Pinto; Silva, Renata de Lima
Digital Culture is proving to be a viable and more accessible alternative for many women, teenagers and girls to communicate and organize collectively. Pages and groups that bring reports of experiences and questions on social networks such as YouTube, Facebook and Instagram have been increasing in number and importance, easing the exchange of knowledge, sharing experiences and mutual help between women in an environment that is mainly characterized by the possibility of interactivity. Recognizing that the message shared on the internet can affect the lives and self-esteem of people inside and outside the digital environment, both positively and negatively, this research proposes to investigate the reception of the performances of Tour Pelo Meu Corpo performed by Luíza Junqueira and Ellora Haonne on YouTube to understand how these are interconnected to the body self-image of their audiences and how the processes of body acceptance can change based on these performances. The main objective of this research is to understand how the experience with these performances can modify the spectators' body self- perception and spawn reflections about aesthetic standards, as well as the relationship established by women between self-image and aesthetic standards. It is a qualitative research, which uses media ethnography for data collection and pursuit to categorize the results obtained stem from Hall's studies. As a result, it was realized that, when performing these tours over their own bodies, the YouTubers perform a kind of self-writing, using the videos as an instrument of self-knowledge and confronting an excluding beauty standard, but by publishing these videos online their reflections can become a starting point for questioning the idea of a single kind of body as an ideal, just as rethinking their relationships with their own bodies. It is still not possible to know to what extent the experience with these performances would be able to promote lasting changes regarding the body self-image of girls and women, which are the focus of this study, however, its potential in fostering the discussion can already be seen. on aesthetic standards for the female body, intending to continue the study in future research.

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