Mestrado em Performances Culturais (FCS)
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Item 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 BonsantoThis 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.Item 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, LucianaIt 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.Item 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 SilvaCultural 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 democratizationItem 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 BerardoThis 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.Item 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 BrandãoPartiendo 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 capacitistaItem 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 OliveiraThis 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.Item Udigrudi recifense e suas performances(Universidade Federal de Goiás, 2023-11-29) Patury, Fernando Fagner; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Correa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Correa Júnior, Sebastião Rios; Amorim, Lara Santos de; Christino, DanielThe purpose of this dissertation is to analyze the Udigrudi Recifense counterculture movement, which emerged at the beginning of the 1970s. A movement initiated through cultural hybridism and reaction to the social and political context of the Military Dictatorship. Thus, we are willing to discuss counterculture and movements prior to Udigrudi and the situation of Brazilian culture and artists during a period of political change and tension. Through the perspective of cultural performances, the work is dedicated to exposing the main aesthetic elements of this movement, from its emergence, environments, productions and impacts on Brazilian culture and arts. Methodologically, we will use the review of bibliographies on the topic and analysis of Udigrudi's diverse artistic productions. We will rely on the influence of history, sociology, geography and other areas of human sciences to expose existing contrasts between the Udigrudi Movement and the historical context in which it was inserted. The stabilization of ideals and ideologies is built in culture through various mechanisms. Within each social, historical and political context, there is a construction of practices, knowledge and living that are rooted through practices and disseminated through communication and cultural vehicles. Likewise, ideas, movements and manifestations arise that oppose this mass culture.Item 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 dosCitizenship 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.Item Interfaces, dados e algoritmos performativos como formas culturais na Netflix(Universidade Federal de Goiás, 2023-09-18) Oliveira, Thiago Moreira de; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Melo, Marcilon Almeida de; Marchi, Leonardo Gabriel deThis dissertation aimed to understand how interfaces, data and performative algorithms represent a new way of perceiving ourselves and the world, therefore, it would be cultural forms; and in what way they impact, particularly, the categories in which the audiovisual of the Netflix device in its desktop version is enunciated. It is with this objective that we look, in this research, at the triggers, the action, the performance from what humans and non-humans establish as articulation. For this, we use the methodology of frames as an epistemology of analysis and synthesis as a standard for problematizing and discussing results, direct observation of the Netflix platform, accessed mainly from a private window of the Internet browser Firefox version 110.0.1 (64-bit), such as data collection techniques. As a theoretical reference, we used the assumptions of authors who approach Anthropology, Data Science, Media and Cultural Performances from a technocultural perspective, such as Bauman, Baudrillard, Di Felice, Feenberg, Frey, Dubois, Kerckhove, Murray, Manovich, MerleauPonty, Rocha, Santaella and Williams, evidencing the transdisciplinary nature of the topic addressed. As a result, we found that Netflix's recommendation system increasingly raises the user's algorithmic challenge for the most diverse actions. This is characterized by measurability, submitting attributes, activities and interactions to different categories of metrics; by recursion, continuously refining and recalibrating it based on information about itself supplied in some way by the user; by profiling, defining profiles from the contingent articulation of vestiges, data and digital traces obtained from each one; and by nichification, grouping profiles into consumption-oriented niches. These are consolidated by their assumption by the user, which corresponds to performativity, and this also refers to performance in the sense of performance. Finding out what this recommendation system shows, how it shows itself, what the user sees and how he sees it has impacts on individual and collective subjectivity and experience, making it necessary to investigate the performative reordering of Netflix based on these media crossings.Item Performance do feminino e do masculino no aparelho solo da ginástica artística(Universidade Federal de Goiás, 2020-04-17) Oliveira, Antonio Dias de; Santos, Rafael Guarato do; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato do; Dias, Luciene de Oliveira; Iwamoto, Thiago CamargoThis work aims at investigating and understanding in a more assertive way the male and female performances in Artistic Gymnastics, emphasizing this observation in the Solo apparatus. To develop this research, readings of texts that approach discussions about Artistic Gymnastics, gender, sexuality and sport in general have been made, relating the collected observations with the modality in question. Associated to these readings, analyses were also made on the gestures displayed on photos taken from the web and official documents from agencies responsible for inspection/control. Those regard the presentations of Solo in Artistic Gymnastics, in order to understand more broadly how these gestures and their approach by the media contribute to the construction of the existing duality between men andwomen in Artistic Gymnastics, in sport and in the social field. It is understood that the gestural demands presented by gymnasts at the time of their performances are determined by official documents (scoring codes), which define in which formats these presentations should be based and, thus, reaffirm normative patterns of heterosexuality and binary sexual conception.Keywords: Gymnastics, Gender, Sexuality, Sport, Binary Sexual Conception.Item 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 NunesDiscusses 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.Item 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 SalesThis 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.Item 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 WeberThis 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.Item Um estudo de recepção e identidade social por meio dosmemes goianos(Universidade Federal de Goiás, 2022-07-04) Fragoso, Julyana Aleixo; Girardi Júnior, Liráucio; http://lattes.cnpq.br/9324283862222562; Satler, Lara Lima; http://lattes.cnpq.br/7575445484262991; Satler, Lara Lima; Girardi Júnior, Liráucio; Pavan, Ricardo; Amaral, Adriana da RosaConsidering the cultural meaning that memes have reached, due to their ability to circulate and recombine different types of representations about the world we live in, this research analyzes the process of reception and propagation of memes capable of representing “regional” elements of the “ goianity”. In this study, a bibliographic survey will be carried out on the notions of identity and regionality, in addition to the definitions of meme, its typologies and categorizations. In dialogue with the theoretical framework, the Instagram profile, Meanwhile in Goiás, and the memes that circulate around the characters Jacques Vanier and Serjão Berranteiro will be analyzed, two profiles that represent the stereotype of the Goiás, circulating, respectively, at the local and at the national level. As cultural productions circulate through processes of appropriation and recombination, the study will investigate the ways that the person from Goiás recognizes or not in these “regional” elements the identification with memes because they are perceived as “goiano”. This investigation will be carried out through semistructured interviews and virtual and face-to-face group discussion meetings. The research has theoretical bases of memetic culture, cultural studies of communication and reception, in addition to identity studies, based on authors such as Richard Dawkins (1976), Susan Blackmore (2020), Limor Shifman (2014), Raquel Recuero (2007; 2009), Marcelo Peruzzo (2015) and Rosaria Conte (2001), Martín-Barbero (2001) and Paula Sibilia (2016). It is expected with this research to identify the elements that influence sharing, and to observe the reception of regional memes from Goiás, specifically, from the public that identifies itself as Goiás. From the research carried out with the discussion groups, results were obtained that humor is an essential factor for the production of successful memes, as well as the inserted context of who receives the communication. Cultural experiences can be a trigger for sharing memes, as long as they are based on an updated narrative. Resistance to the traditional identity of Goiás was identified, possibly due to generational factors of the collaborators of the research group.Item Narrativas de bixas e travestis pretas: teorias e a cultura de baile na grande Goiânia(Universidade Federal de Goiás, 2022-05-19) Silva, Icaro Ribeiro da; Jesus, Jaqueline Gomes de; http://lattes.cnpq.br/0121194567584126; Dias, Luciene de Oliveira; http://lattes.cnpq.br/7270892768281076; Dias, Luciene de Oliveira; Correia, Paulo Petronílio; Piva, Carolina Brandão; Jesus, Jaqueline Gomes deThe dissertation was designed to demonstrate the existence of the body and the subjectivity of the black fag. We thought of a bixa with x as a way to subvert linguistic patterns and reference Linn da Quebrada's song. Through the construction of a dialogue between gender performativity and Cultural Performances, we seek to theoretically elaborate the constitution of this body, the power relations in which it is inserted and the performance of this bixa in culture. In this way, in addition to a theoretical debate, some experiences of fags, fagots and transvestites will be reported from the Ballroom Cultura of Goiânia. The Ballroom Culture, which originated in Harlem, New York City in the 20th century and expanded around the world, was founded by these bodies. Active bodies to transgress the understanding of gender and sexuality, exalting singularities and power. We reflect on the construction of a Ballroom Culture, focused on the local aspects of their bodies and we point out specificities of the experience of bixas and transvestites in Goiás. Despite the struggles being constant and shared by bixas and transvestites from several different places, regionality crosses the experience of building these bodies.Item Etnografia audiovisual: reafricanização e reexistência na religião de matriz africana(Universidade Federal de Goiás, 2022-04-28) Filene, Bruno Karasiaki; Alvarez, Gabriel Omar; http://lattes.cnpq.br/1246783304706348; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Dias, Luciana de Oliveira; Souza, Geórgia Cynara Coelho de; Alvarez, Gabriel Omar; Oliveira, Rodrigo CássioEtnografía Audiovisual: Reafricanizaciones y Reexistencias en Religiones de Matriz Africana trae un compendio con cuatro etnografías en video, dos trailers y una mesa de lanzamiento. El texto de la disertación utiliza los conceptos Reafricanizaciones y Reexistencias para reflexionar sobre las poblaciones del terreiro. Con base en la discusión teórica, se adaptan diferentes metodologías para el estudio de los pueblos de terreiros. Se señalan cuestiones epistemológicas en el tratamiento de las poblaciones por el censo oficial, y sus limitaciones predictivas. Hay un capítulo dedicado a cada visita de campo realizada y al proceso de elaboración de productos culturales audiovisuales. Los cortometrajes Obrigações de Axé, Encantaria na Jurema, Reexistências Nagô Ep.1 – Casa de Ajagunã y Reexistências Nagô Ep.2 – Linaje del Patriarca, fueron realizados en terreiros de Goiânia y Salvador. Los primeros dos videos están subtitulados y están dirigidos a audiencias internacionales de religiones latinoamericanas anticoloniales. Cuestiones teóricas, lenguaje cinematográfico, técnicas y metodologías, así como confrontaciones se presentan dentro de la colección.Item Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível(Universidade Federal de Goiás, 2021-12-15) Chibanga, Vitor Abílio; Manjate, Teresa Maria Alfredo; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Manjate, Teresa Maria Alfredo; Correa Júnior, Sebastião Rios; Menezes, Marcos Antonio de; Morais, Sara SantosThis dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way.Item Deuses que dançam - a orixalidade no ensino da dança(Universidade Federal de Goiás, 2022-03-04) Silva, Wellington Campos da; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Dias, Luciene de Oliveira; Lima, Marlini Dorneles de; Silva, Renata de Lima“Gods that dance” is a dance praxis, that explores the potential energy of òrìṣà in the body of each individual, in search of vivacity in the corporeity of the divinity, in direct relationship with the imaginary, the myths and the music of the candomblé kétu tradition. Over a few years of experience with the workshop “Gods that dance”, some method discoveries were made and the desire to transform this in academic research to discuss the dance education from elements of orixality was born. This research is based in symbolical elements, esthetic and social of candomblé culture – that are passed by the eldest women and man; in the methodology of body preparation named “Body Installation”; on the discussion about body relation and ancestry and, finally in self-experience. For the development of this research, were executed two method procedures, thought from experience in candomblé dance, they are “Blessing” and “Act”.Item Performando para existir: nuances históricas da profissionalização das danças de salão em Goiânia - 1990-2020(Universidade Federal de Goiás, 2021-12-17) Muniz, Andrea Palmerston; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Buarque, Isabela Maria Azevedo Gama; Veiga, Felipe Berocan; Duque, Ana Maria TamayoThis study is dedicated to the history of ballroom dancing in the city of Goiânia (Brazil) between 1990 and 2020. Its main objective is to understand the transformations and processes of constitution of a specific work area and sociability through ballroom dance in Goiânia, seeking to understand how the practice of this dance marked profound social and cultural changes in the sensibilities and performances of dancers from Goiás; as well as the role that ballroom dancing and the imaginary of the city of Rio de Janeiro perceived as a synonymous of a place that emits knowledge, obtained among ballroom dancing professionals in the city of Goiânia throughout this time. Here, ballroom dancing had its first contours through etiquette and gained cultural rearrangements with the advent of lambada in the 1990s. This study also concerns how this scenario is redrawn, contributing to the emergence of a ballroom dancing market and its products dedicated to the middle and upper classes, rising the teacher training specialized for this market. The sources used in the research were photographs, journalistic material, official documents about the dance cooperatives and oral interviews. It also used studies in cultural history, dance and anthropology studies, in an interdisciplinary perspective to understand cultural performances.Item “Meu destino é cantar” as performances e memórias do grupo raízes do museu da Associação dos Idosos do Brasil(Universidade Federal de Goiás, 2021-12-10) Matteucci, Janice de Almeida; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Fonseca, Edilberto José de Macedo; Corrêa Júnior, Sebastião RiosThe present of the past is memory, the present of the present is perception, the present of the future is expectation. This phrase by Saint Augustine points out the paths taken in my research, the memories of the past today in the present in the Performances of Coral Raízes and the Spinners of the Museum of the Association of the Elderly of Brazil in urban spaces. The perceptions about the transformations that they have taken along their trajectory up to the present day and the expectations of the future in times of pandemic. In the drawers of your memories, discover the repertoire of your songs, some composed by members of the group and the different places where these performances took place. How, where and with whom they learned to sing and play musical instruments. The Museum of the Association, reference address in the work with the elderly person in Goiania and the social museology developed there that comes with the function of opening doors to the community where it participates in the development and presence of popular culture present in its Knowledge, Doing and Living, intangible heritage of the Museum. The studies it is wall carried out through field, documentary and literature research on the topics covered, such as old age, social assistance, memory, museums and cultural performances