Agora exibindo 1 - 5 de 33
- ItemAfro rizomas: corpo, noção de pessoa e identidade no Candomblé(Universidade Federal de Goiás, 2016-06-03) Rezende, Marcos Vinícius Buiati; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Nascimento, Wanderson Flor do; Dias, Luciana de Oliveira; Silva, Renata de LimaThe body in Candomble, in its scenic and ritual performances, is asked to dwell friction zones that destabilize and confuse certain aesthetic-ethical-political normative standards. The aim of this study is to map part of this conjuncture of destabilization and displacements from the liturgical - teaching aspects in which the body is inserted in Candomble, in dialogue with some of the conceptual axes, such as aesthetics, composition, person, gender and identity. It seeks to elucidate in which ways the scenic and ritual performances of body in Candomble are only possible if there´s a destabilization of these normative categories, therefore creating an aesthetic - ethics of being in community through social and liturgical means that displaces and unsettles this body. The general theoretical scope rests on the rhizome perspective, epistemological system proposed by Deleuze and Guattari (1995), where there are no pre-established hierarchies or closed dichotomies. The approach so of the body in Candomblé is from a multi conceptual and hybrid reference. It also relies in Deleuze and Guattari (2010), Guattari (1992), Maffesoli (1996) and Santos (2012) to consider aesthetics in Candomble; Segato (2000), Goldman (1984) Butler (2012) and Hall (2011) for identity and notion of person. Theory and method are therefore interdisciplinary, thought from multiplicity and plurality conceptual and analytical, guided by cultural performances perspective. It is expected to show that body in Candomble´s performance builds a scenic act in itself, unique and inventive, as well as is in itself an event. So here, it can be said that in its plurality, body in Candomble affirms itself as revolutionary and subversive. It is a body that resists the present, questioning it from its margins and cracks.
- ItemAutoimagem, 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 LimaDigital 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.
- ItemMemória, corpo e performances: a dança negra de Mercedes Baptista(Universidade Federal de Goiás, 2016-04-20) Pereira, Dayana Gomes; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; http://lattes.cnpq.br/1801687030702050; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Oliveira, Vânia Dolores Estevam de; Correia, Paulo Petronilio; Ratts, Alecsandro José Prudêncio; Veloso, Sainy Coelho BorgesThis study proposes reflections, analyzes and discussions for the female black body in dance, having as a study the course and the performances of dancer Mercedes Baptista (1921-2014). In order to get perceptions of this body, are emphasized choices, pathways, spaces, Afro Brazilian Dance in Mercedes Baptista, events and people that have gone through and marked her life story. From the reconstruction of its trajectory, it is possible to think the problems that still demarcate this body. This reinterpretation grounded in biographical work "Mercedes Baptista: the creation of black identity in dance" Paul Melgaço (2007) are marked educational spaces and meeting that will contribute to the formation of ballerina, considered this work as a rhizome. To broaden perspectives on aspects that cut across its history, they are discussed concepts related to the memory, forgetfulness and invisibility, in dialogue with the review and analysis of the content of three books dealing with the history of dance in Brazil. At understanding the printed demarcations that body, are discussed aspects that make up the social imaginarywith a focus on one of the representations attributed to the female black body dance, present in the trajectory of Mercedes Baptista, the personification of "mulatto". In this context of thinking training, the female black body and its representations, is taken up the "body afrodiaspórico" while confrontation way these symbolic impositions. For better understanding the variances of which this body created and recreated, although the omissions and representations, through the lens of Cultural Performances are discussed the notion of the body as "liminal body" being considered the documentary "standing Ballet on the ground" of Marianna Monteiro and Lily Solá (2005). This work aims at weaving a dance writing, that emphasis an important aspects, that is expected to contribute to the reflections on the formation of the female black body dance nowadays.
- ItemAs performances do circo na rua: escolhas, expectativas e aprendizado do saltimbanco contemporâneo(Universidade Federal de Goiás, 2017-05-04) Barreto, Mônica Alves; Oliveira, Vânia Dolores Estevam de; http://lattes.cnpq.br/1883361659918132; Bortoleto, Marco Antônio Coelho; Real, Márcio Penna Corte; Oliveira, Vânia Dolores Estevam deThis research seeks to see street circus artists, here called contemporary saltimbancos, through the eyes of Cultural Performances. For two years the street artist from Goiânia was observed in his rituals, in order to understand the choices he makes in his daily life. Street art is often undervalued, however it can be seen that the influx of artists from different states and countries has grown in the streets of the capital of Goiás in the last decade. The present research was to search in the own artists' speeches a way to better understand this growth through semi-structured interviews. The street circus artist's learning style has been observed since local weekly meetings to Festivals and Conventions that bring together artists from all over Brazil and Latin America, bringing to the forefront a network of organization and relationships. By following the events of the street performers it was revealed a collective movement, mentioned by many as an aggregating factor and, in large part, responsible for the dissemination of circus art in the state. This research brings indicative of how this movement developed and what it brought to the circus art of the Midwest. The research also revealed tensions experienced by circus street artists. Internal relations, the relations between the street artist and society and between the various segments of the area are full of conflicts, inevitably revealed by the coexistence. The conclusions point to the urgency of a discussion about legislation concerning street art and the relevance of circus schools in the development of the circus artist who perform on the street.
- ItemOnde é o after? Modo de vida, multidões queer e masculinidades no pedaço gay em Goiânia(Universidade Federal de Goiás, 2017-04-07) Rodrigues, Roberto; Correia, Paulo Petronilio; http://lattes.cnpq.br/1801687030702050; Correia, Paulo Petronilio; Lima, Fátima; Braz, Camilo Albuquerque de; Marques Filho, AdairThe present study aims to map the lifestyles in the gay part of Goiânia. These lifestyles are created and devised from the politics of the queer crowds, outlined by the following issues: the being together, relationships between men and friendships as lifestyles that can give rise to a gay culture, ethics and aesthetics. In so far as they point to the contestation of logocentrism, they highlight the traits, flows, changes and desires that intersect and affirm themselves in the festive homosocialitiesand in the assemblages of masculinities that territorialize, deterritorialize and reterritorialize processes of subjectivation of the minorities, the abject beings. From the party planners' meetings we can reflect on the constitution of ways of life that pass between gender issues and the flows and overflows of the party itself. The festive territories are made up of multiple and Dionysian landscapes where joy is constituted as a superior way of life. However, the tragic aspect of the party makes the risks, instabilities and dangers also present in the composition of its landscapes.