Mestrado em Performances Culturais (FCS)

URI Permanente para esta coleção

http://200.137.215.59/tede/handle/tede/8786

Navegar

Agora exibindo 1 - 20 de 61

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.
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 Rosa
Considering 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.
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 de
The 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.
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 Cássio
Etnografía 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.
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 Santos
This 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.
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”.
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 Tamayo
This 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.
“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 Rios
The 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
Do canto ritual do mara´akame ao ‘el canto de lo sagrado’: a cantografia do sagrado ou perform(ando) ancestralidades
(Universidade Federal de Goiás, 2021-09-27) Ordaz Guzmán, Patricia; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Coelho, José Luiz Ligiéro; Souza, Geórgia Cynara Coelho de
La propuesta de este trabajo es describir y analizar sobre la formación de per-formances-rituales que relacionan el trabajo artístico basado en la voz y en el canto, en contacto con el canto Wixarika do Mara´akame (ZINGG, 1982; LUNA, 2004; LIRA, 2017) en su contexto ritual y sagrado. A investigación acompaño mi proceso de creación vocal y sonoro de uno de los movimientos de lo que fue titulado El canto de lo Sagrado (XO-CHTIZIN, 2020). La investigación tiene por principales referencias conceptuales, los es-tudios de performances culturales em sus relaciones de saberes de la antropología y de arte, especialmente de las nociones de ritual (TURNER, 1974, 2005) y sagrado (SCHE-CHNER, 2002, 2005, 2012). Se escribe em primera persona como una construcción de narrativas atravesando la auto etnografía (RUTTEN, 2016) y entendiendo la investigación como un proceso creativo vocal y sonoro que se construye por medio del referido canto del Mara´akame, de manera de tenerlo como una experiencia vivida, vista, senti-da/pensada (FABA e AEDO, 2017) para la creación artística vocal cantada. Describimos como el trabajo artístico constituye performances-rituales basadas en la voz y en el can-to en contacto con lo sagrado, interrelacionando creación vocal y elementos de la cultura Wixarika por medio de cartografía y rizoma conforme proponen los filósofos Deleuze y Guatarri (2011) y de la noción de escucha fluctuante y sensible de Melo (2016). Demos-tramos en el trabajo, por fin, la idea de que esa manera de concebir la creación y la in-teracción con los saberes amerindios es una forma rizomática de producción de encuen-tros, configurando un sistema sonoro que “figura contextos (PAREYON, 2020) y que se descoloniza en un cuerpo territorializado creando ‘Cantografias de lo Sagrado’.
Arte expandida decolonial: tensões entre a arte-vida, o corpo, a dramaturgia e as possibilidades de performar a si mesmo
(Universidade Federal de Goiás, 2021-06-25) Pereira, José Arnaldo; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Conrado, Amélia Vitoria de Souza; Cardoso, Thereza Cristina Rocha
I proposed to follow the connections and clues of the notion of expanded field, identifying: art-life, the body, dramaturgy and possibilities of expanded ways of performing oneself. Thus, problematizing and constituting a centered and expanding research path between the look, the reeducation, the body of the artist himself, research guided by practice, performativity, the Indigenous Paradigm, the Actor-network Theory, as well as decolonial problematizations. What derives the notion-practice of Decolonial Expanded Art and its applicability in the cultural project arroboBOI.
Aspectos da performance em Copacabana mon amour: entre o ator e a mise en scène no cinema de Rogério Sganzerla
(Universidade Federal de Goiás, 2021-06-14) Oliveira, Karine Matos de; Nogueira, Lisandro Magalhães; Oliveira, Rodrigo Cássio; http://lattes.cnpq.br/0545897116631093; Oliveira, Rodrigo Cássio; Oliveira, Sandro de; Jordão, Janaína Vieira de Paula; Nogueira, Lisandro Magalhães
This research has as its theme the acting in modern Brazilian cinema, focusing on Rogério Sganzerla's cinema in the context of Cinema Marginal that emerged in the second half of the 1960s. The corpus of the research consists of the film Copacabana mon amour (1970), directed by Sganzerla when he worked at the production company Belair. The objective of the research is to apply the concept of performance in a study of cinematographic stylistics focused on the mise en scène, emphasizing the work of the actors, in order to understand to what extent Copacabana mon amour incorporated elements characteristic of the performance as an artistic language, defining, thus, its particularities as a film of modern Brazilian cinema. The hypothesis is that Rogério Sganzerla adopted forms in the film Copacabana mon amour that have aspects in common with the way of thinking and making the scene, as well as the way of being in the scene of performance art. The language of the performance is taken as a type of scenic expression that has its own ways of acting and construction of the scene and that emphasizes the event at the moment of its presentation. Therefore, the cinema made by Sganzerla in Belair goes against a way of disposing the mise en scène approached by Aumont (2008a) and Oliveira Júnior (2013), which emerged in modern cinema, which values the creation of the actor at the time of filming as a component of its composition. This is a qualitative study that uses film analysis as a methodology. The result achieved with the research is that by combining aspects of the language of performance with an approximation of reality through the scenarios typical of modern cinema, Sganzerla allowed the actors to perform similar to that performed in performance art.
A dança negra de Ismael Ivo: a antropofagia de si como recurso para fazer dança como arte
(Universidade Federal de Goiás, 2021-02-26) Ferreira, Juliana de Oliveira; Santos, Rafael Guarato dos; http://lattes.cnpq.br/3100415827387317; Santos, Rafael Guarato dos; Fernández Serratos, María de Lourdes; Paixão, Maria de Lurdes Barros da; Dias, Luciene de Oliveira
This paper dedicates itself to explore the performance of the brazilian black artist, choreographer and dancer, Ismael Ivo (1955). Born and raised in the Zona Leste, in the city of São Paulo, Ismael Ivo has an international dance career, recognized by his artwork and dance management. What makes his practice so unique, and what makes us interested in this study, is the construction of his work as an artist, presenting a black dance perspective that kept an enduring dialogue with the european and north-american cultures dance canons historically called art, and titling himself as “a good son of the anthropophagy”. Using this as a starting point, we intend to comprehend which are the aspects of a black art the does not isolate itself in imaginaries claiming of supposed “essentialized origins” by the tradition’s bias but a black art dedicated to “devour” different perspectives in the frequent construction of his poetic, presenting another way of existence of the black diaspora shaped as dance. Thereto, this analysis will use narratives over his life, images and some of his scenic spectacles, to comprehend as Ismael Ivo invented his understanding about anthropophagy as a resource to make himself exist as a black artist in the artistic dance area.
Performatividade em rede e inteligência coletiva no YouTube
(Universidade Federal de Goiás, 2021-05-14) Cavalcante, Laíse Barbosa; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Satler, Lara Lima; Araújo, Cláudia Helena dos Santos
The communicational processes in the network establish a social performative context with several consequences, among them, reverberations in the learning mechanisms. This is because the technological innovations, especially those of communication and information, affect the forms of sociability, languages and cognition, arising new ways of act. This dissertation analyzes a performative behavior that emerges today, that is the consumption of instructional and educational content, from short videos to carry out a project. For this, we checked the records of the interactions taken on four channels of the YouTube video sharing platform, named: Manual do Mundo, Paloma Cipriano, Professor Noslen and Algodão Cru. Through the phenomenological approach, we identified that this behavior is collaborative, reviews issues of time and place to learn, has applicability in the daily lives of individuals and results in new social performances that, among other things, echo in the identification of users with formal models or in person teaching. We demonstrate that this behavior adheres to concepts of learning, with articulation with the interactionist strand and that these informal and non-formal ways of learning through interactive media, go beyond educational objectives applied in formal education. We highlight the performative materiality of social media in the communicative processes established in it and how these processes continuously impact the actors who participate in them. Finally, we reflect on the recent expansion of this behavior, the need to learn networked, collaboratively, in the very exercise of sociability, as shown by the reality in the face of the Covid-19 pandemic.

Navegar

Submissões Recentes