Doutorado em Artes, Culturas e Tecnologias (PRPI)
URI Permanente para esta coleçãohttp://repositorio.bc.ufg.br/tede/handle/tede/14388
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Item type: Item , Trajetória(s) da dança jazz cênica no Brasil: ensino, história e performance(Universidade Federal de Goiás, 2026-04-10) Araújo, Marcos Paulo Gomes de; Oliveira, Victor Hugo Neves de; http://lattes.cnpq.br/0747191487082208; Oliveira, Victor Hugo Neves de; Santos, Rafael Guarato dos; Almeida Neto, Arthur Marques de; Matsuo, Renata Frazão; Silva, Renata de LimaThis thesis investigates the historical trajectory(ies) of the teaching of theatrical jazz dance in Brazil, analyzing processes of transmission, adaptation, and transculturation from its introduction in the country up to 2026. The research understands jazz dance as a performance that operates through embodied behaviors and repertoires transmitted across generations. In the light of performance studies and drawing on a performative ethnography methodology, the researcher, who is also a co-participant in the investigated community, collected data through interviews with individuals who currently teach or have taught jazz dance in Brazil, organized into three chronological groups, as well as through consultation of bibliographic collections, documentaries, videos on social media, and personal archival materials of interlocutors. The study identifies that jazz teaching in Brazil has been constituted primarily through exchanges with the United States and short-term courses, with a predominant focus on technical transmission to the detriment of historical contextualization and the Afro-diasporic origins of the dance. It shows that North American methodologies have been selectively assimilated, giving rise to local teaching modes such as choreographed warm-ups, which are configured as Brazilianized transmission technologies. Dancers/teachers such as Lennie Dale, Vilma Vernon, Marly Tavares, Carlota Portella, Joyce Kermann, and Roseli Rodrigues stand out as key agents in the consolidation and dissemination of jazz dance throughout the country, fostering its adaptation to Brazilian musicality and corporeality. The analysis reveals that, although there is widespread recognition of the Afro-diasporic roots of jazz, this knowledge is rarely translated into explicit pedagogical practices, producing historical erasures and tensions between the preservation of Afro-diasporic elements and the influence of Eurocentric aesthetics derived from ballet and modern dance. The study problematizes the notion of a “Brazilian jazz,” arguing that, rather than a new style, what emerges is a singular way of dancing, marked by the “accents” and “swings” of Brazilian bodies, and it contributes to filling an academic gap in the historiography of jazz dance teaching in Brazil at the doctoral level, offering support to rethink pedagogical practices that integrate technique, history, and critical awareness while valuing Afro-diasporic contributions to this artistic language.Item type: Item , A música coral de Goiás em cena: performance, composição e representatividade cultural(Universidade Federal de Goiás, 2026-03-12) Oliveira , Raimundo Vagner Leite de; Amaral, Roberto Antônio Penedo do; http://lattes.cnpq.br/7662501395554138; Amaral, Roberto Antônio Penedo do; Oliveira, Heitor Martins; Bernardes, Sueli Teresinha Abreu; Déa, Vanessa Helena Santana Dalla; Nascimento, Hugo Alexandre Dantas doEsta pesquisa doutoral tem por objetivo investigar como as características intrínsecas de Goiás influenciam as composições da literatura coral goiana e contribuem para sua constituição e representatividade cultural. O percurso investigativo estrutura-se a partir da problemática central: Como a música coral goiana, em sua dimensão composicional e enquanto prática no campo das performances culturais, expressa e constitui a representatividade cultural do Estado de Goiás? Ancorada no paradigma qualitativo e nas perspectivas teóricas de Bortoni-Ricardo (2008), a análise é conduzida de forma analíticodescritiva e sistemática (na revisão e no levantamento do repertório), culminando na aplicação da abordagem da semiótica tensiva de Claude Zilberberg (2011). Na revisão teórica (centrada em performances culturais, música e canto coral), Richard Schechner (2003) e outros autores definem a performance como um ato relacional e contextual, influenciado por tradições e convenções culturais. Ela é vista como um meio de comunicar, revelar identidades e transformar sujeitos por meio de experiências sensoriais e do significado emergente. No campo da música, Nicholas Cook (2006) argumenta que a performance musical deve ser abordada como um fenômeno social, em crítica à musicologia tradicional. A análise sistemática revela a escassez de estudos sobre a literatura coral de Goiás, embora os existentes destaquem a importância do canto coral para a identidade cultural e histórica do estado. Essa literatura, composta por música clássica, folclórica e popular, abrange elementos e tradições que permeiam o imaginário goiano. A presença da música coral é atestada ao longo da história de Goiás, desde os seus primórdios em Vila Boa (antiga capital) até Goiânia. As vozes harmoniosas ecoaram em missas, escolas e outras instituições da época. Um marco significativo é o registro do Padre Manoel de Andrade Verneck, vigário de Vila Boa e regente coral em 1757, como precursor da prática musical profissional goiana, segundo a historiografia (Mendonça, 1981). A literatura coral goiana, ao exemplificar essa interseção entre performance e identidade cultural, incorpora elementos locais que ressoam com a identidade regional. Seu repertório, por meio de arranjos e composições originais, expressa traços identitários de Goiás, refletindo a memória coletiva e as tradições culturais. Em última instância, no capítulo 7, examina a peça Coral nº 2, de Estércio Marquez Cunha, buscando evidenciar como a música coral contemporânea de Goiás ressoa suas tradições históricas e afetivas. A investigação aborda a partitura como um texto poético-musical vivo, em que as dimensões sonoras e simbólicas se entrelaçam. Após um exame panorâmico, a análise aprofunda-se em três níveis complementares da semiótica tensiva (Zilberberg, 2011), com apoio em Tatit (2019) e Lemos (2022): (1) direções tensivas, (2) modulações aspectuais e (3) operações perceptíveis. O percurso sensível da obra revela uma tensividade marcada pela lentidão, pelo silêncio e pela densidade harmônica, elementos que evocam paisagens afetivas, ancestralidade e memória coletiva, atualizando o imaginário cultural goiano. Ao destacar a articulação entre o plano de expressão e o plano de conteúdo, este estudo: (a) demonstra como a Coral nº 2 configura um “cântico da terra”; (b) ressalta que a tradição coral de Goiás se reafirma como acontecimento sensível e se consolida como expressão artística de relevância patrimonial, legitimando-a como bem cultural de natureza imaterial; (c) e faz ecoar a música coral de Goiás como canto-linguagem do Cerrado.Item type: Item , Processos criativos em Performance Negra Narrativa: a poética griô dos arcos musicais em África e na diáspora(Universidade Federal de Goiás, 2025-12-15) Peixoto, Jordana Dolores; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Silva, Renata de Lima; http://lattes.cnpq.br/9684039080990993; Oliveira, Victor Hugo Neves de; https://lattes.cnpq.br/0747191487082208; Oliveira, Joana Abreu Pereira de; https://lattes.cnpq.br/1396198930054185; Brito, Deise Santos de; https://lattes.cnpq.br/2253068665613700; Manjate, Teresa Maria Alfredo; https://lattes.cnpq.br/8478935122588705This thesis is the result of a doctoral research project carried out within the Graduate Program in Arts, Cultures, and Technologies at the Federal University of Goiás. This investigation sought to problematize and create theatre from an Afro-centered paradigm. The research aimed to examine methodological procedures for creative processes in Black Performances within the field of the Performing Arts, drawing on the uses and symbolisms of the berimbau and other African musical bows—especially the xitende and the makhoyane—as well as the performance of their players, their practices, and their artistic creations. To this end, the theoretical foundation was built upon the concepts of performance, Black Performance, Traditional Black Performance, Black Theater, ancestry, and crossroads, resulting in a theoretical-conceptual elaboration of the notion of Narrative Black Performance. The methodology guiding this research is grounded in the notions of poetnography and lived fieldwork, which together form a methodological approach to creative work in the Performing Arts. Thus, drawing on bibliographic research, fieldwork, and practical laboratories of scenic creation conducted in collaboration with the Swati artist Thobile Makhoyane, the thesis defended in this study is that Narrative Black Performance is situated at a crossroads between Narrative Theater, storytelling or story narration, Black Theater, and Traditional Black Performances. As such, it encompasses artistic productions within the Performing Arts that draw from the poetics and knowledge present in the performance of orality and the oral textuality of African and Afro-diasporic expressive manifestations forged at crossroads, with the intention of creating narratives, musicalities, and body dramaturgies through a griot-inspired poetics that tells, sings, plays, and dances stories from an Afro-centered and counter-colonial paradigmItem type: Item , Persistências e insistências: reflexões sobre a diversidade corporal nas Artes da Cena(Universidade Federal de Goiás, 2025-12-12) Curado, Renata Valério Póvoa; Déa, Vanessa Helena Santana Dalla; http://lattes.cnpq.br/4747115499551611; Déa, Vanessa Helena Santana Dalla; http://lattes.cnpq.br/4747115499551611; Costa, Vanderley Balbino da; http://lattes.cnpq.br/9675106511430204; Teixeira, Ana Carolina Bezerra; http://lattes.cnpq.br/8162704460803212; Oliveira, Joana Abreu Pereira de; http://lattes.cnpq.br/1396198930054185; Lima, Marlini Dorneles de; http://lattes.cnpq.br/4182775556812377This work reflects on situations of inclusion and accessibility in the Performing Arts. In light of the small number and even the absence of artists with disabilities in the fields of Theater and Dance in Goiânia-Go, a debate is held regarding the reasons for these facts, while also proposing other ways to work and create with both artists with and without disabilities concurrently. The aim is to understand the reasons behind these types of exclusion to intend and challenge other ways of making theater and dance with artists with disabilities, in pursuit of a non-hegemonic art that is as powerful and creative as any other. Through the methodology of Practice as Research, the entire study was experienced by the author in regular, technical, and artistic education spaces. Initially, the text will address experiences of inclusion in schools in Goiânia and Cultural-Historical Psychology as an epistemological foundation. In a second moment, it will address experiences with theater classes from the perspective of Accessible Playwriting in the Diversus Dance Group (GDD) linked to the Federal University of Goiás, as an Extension Project. In a third moment, it will discuss the staging and presentations of an artistically and poetically accessible Theater-Dance show, featuring a cast of artists with and without disabilities: 'The Boxes of Jéssica,' conceived and directed by the author of this thesis along with the GDD collective. The result is a consistent artistic elaboration and a diverse audience of over 600 people who were able to witness the strength of inventive work with artists with disabilities in the Performing Arts, transitioning from a general place of invisibility, violence, and silence of people with disabilities to a place of quality, fertility, aesthetics, the production of socio-political confrontations, and 'seismic shocks' in the ableist social structure.Item type: Item , Interfaces de acesso a museus digitais voltadas a pessoas com deficiência visual(Universidade Federal de Goiás, 2025-10-02) Carvalho, Leonardo Eloi Soares de; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Nascimento, Hugo Alexandre Dantas do; http://lattes.cnpq.br/2920005922426876; Nascimento, Hugo Alexandre Dantas do; http://lattes.cnpq.br/2920005922426876; Martins, Dalton Lopes; http://lattes.cnpq.br/3774617443225038; Lisboa, Pablo Fabião; http://lattes.cnpq.br/7346609434086727; Melo, Marcilon Almeida de; http://lattes.cnpq.br/0896204552326611; Dalla Déa, Vanessa Helena Santana; http://lattes.cnpq.br/4747115499551611Access to digital museums by people with visual impairments faces physical, attitudinal, communicational, and aesthetic barriers, impacting their experience of interacting with digital exhibitions. In light of this challenge, this study seeks to answer fundamental questions about accessibility: How do museums engage with this audience in digital environments? What resources are made available? What is the current landscape of accessibility in digital museums in Brazil? What interfaces are specifically designed for these users? And finally, what is the experience of a visually impaired person in these spaces? To address these questions, the research has the general objective of investigating the existing interactions between digital museums and people with visual impairments. Specifically, it aims to identify the norms and legislation that address the topic; to identify national and international museum initiatives and how they approach accessibility in digital environments for people with visual impairments; to understand the accessibility requirements for blind individuals that should be met during visits to digital museum environments; and to propose a system that enhances their experience by expanding the forms of interaction with the digital content offered by institutions. This would make navigation and understanding of museum pieces more accessible, thereby reducing the barriers imposed by social and technological contexts, as provided for in the Inclusion Law (No. 13.146/2015), and minimizing the impact of visual impairment on users’ cultural and social experiences. The methodology used is qualitative bibliographic research, employing the concept of cultural performance studies as an interdisciplinary path of investigation. It is validated that only through discussions about care, interdependence, and the potential of the bodies of people with disabilities can accessibility—in any form—be considered a tool for inclusion in museums and cultural spaces. Disability can be seen as another way of seeing the world—a different style, condition of life, identity—that requires a (re)arrangement to exist. Historically, this audience has been excluded from essentially visual artistic spaces. When fully considered, accessibility expands the presence and recognition of these individuals in museums, making visible what was previously rendered invisible. This way of perceiving visually impaired individuals and accessibility offers a path for museum institutions to assume a transformative role, rejecting hegemonic standards of normality that reinforce exclusion and create inequalities. It also enables learning from the multiple meanings and places of experience, respecting individual and unique life stories, and making museums and society more open to understanding these experiences in their full diversity.Item type: Item , Lagolândia em festa: gênero, performances, memórias e identidades nas folias de Santa Dica(Universidade Federal de Goiás, 2025-08-14) Luz, Vinícius Machado; Corrêa Júnior, Sebastião Rios; http://lattes.cnpq.br/7078983629857043; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Guimarães, Leda Maria de Barros; Curado, João Guilherme da Trindade; Santos, Nádia Maria Weber; Pires, Ema Cláudia Ribeiro