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KEYLA CRISTINA TIKKA SOBRAL
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Viajante K Notes on a journey invented
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Data: 22/12/2023
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Viajante K - Notes on a journey invented is a research on the relationship of the word, image and literature in contemporary art, where it is proposed, in an artistic process, the blurring of the borders that separate these languages from each other, thus generating the construction of a book of self-fictional artist constituted in a work from a trip in an invented territory. It is an experience in visual arts where there is a fine limit with literature, or, better said, it is a writing by a visual artist who introduces the word as a form, its imagery element.
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LEONARDO CORRÊA BOTTA PEREIRA
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CANTO COLETIVO: UMA HISTÓRIA DE PRÁTICAS E IDENTIDADES MUSICAIS NO MARANHÃO (1880-1915)
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Data: 18/12/2023
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This research aimed to investigate collective vocal practices that were constituted in the artistic scene of Maranhão, between the years 1880 and 1915, seeking to understand the relationships between agents, institutions, and society. Based on the theoretical-methodological approach centered on the fields of Cultural History and Historical Musicology, based on the hypothesis that cultural hybridism constitutes the basis that defines vocal manifestations in Maranhão - here understood as “GROUP SINGING” - we elaborate a description of the attributes related to the development of musicalities, productive mechanisms, transits and circularities in order to characterize, based on localized historical documentation, representations as musical identities reflected in them. Consequently, we outline an overview of collective singing, revealing concepts, terminologies, definitions used and their consequences, in order to establish what we consider relevant to identify in practices, in representations of the object. We present some historical data about the researched region, based on preliminary classifications between political and social issues with impacts on local artistic life. We reveal some readings of the corpus selected in the research object. In this plot, we address the peculiar dynamics triggered by religious manifestations, when we come into contact with different cultural groups. We deal with the diffusion of opera in the social fabric, where we narrate the relationships between the immigrant community – Lyric Companies and local society, giving importance to the impacts on the emblematic use of opera, operatic repertoires and their representation and influences. We analyze the role of education in the formation of a representative framework of the values that local authorities sought to consolidate through the identification of different educational contexts, pedagogical practices, and artistic incidences. We mention the important presence of Canto Coletivo in the traditions of then marginalized populations, originating from cultures of African origin, represented here in festive manifestations, games and festivities such as the Festa do Divino Espírito Santo, Bumba-meu-Boi and Tambor de Crioula as well as the mission relegated to the musical culture of the original peoples and its representative value, throughout the period in question, in a visible process of obliteration.
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CLAUDIA DO SOCORRO GOMES DA SILVA
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Estado de bonequice: entre a menina que engole lágrimas pelos olhos e a mulher em fuga do hospital de bonecas.
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Data: 11/12/2023
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O “projétil” da pesquisa é o encontro-confronto entre uma menina que engole lágrimas pelos olhos e uma mulher em fuga do hospital de bonecas, elas representam minha existência de vida-morte-ressureição. A tese é acompanhada por conceitos-chave: dramaturgia pessoal, violência contra mulher, arte feminismo, teatro movente e estado de bonequice. Os dois últimos são conceitos criados no processo. Os outros três são dialogados com algumas mulheres, como: Ana Flávia Mendes (2008), Anna Marieta (2018), Chimamanda Adichie (2017), Bell Hooks (2021, 2020a, 2020b, 2019), Louise Beaugeois (1998), Ingrid Gomes (2023), Márcia Kambemba (2020, Thalia Santos (2020), Tarsila Maquiavel (2023), Suzi Lacerda (2023), Wald Lima (2004) e outras. Recorro ao método cartográfico e acredito, assim como (Sandra Rey, 1996) que o “objeto” é um projétil, ou seja, é um alvo carregado de incertezas e movências. Por conseguinte, parto da escrivivência (Conceição Evaristo, 2015), mergulhada em esquizoescritura Deleuze e Guatarri (2011), fractacionalizada e remendada com interstícios de lembranças da “realidade” Annie Ernaux (2007) - autoficção de Doubrovksy (1977) e Sequeira (2020). A tese é estruturada primeiramente em três sessões, divididas em dois ensaios, quais sejam: a menina que engole lágrimas pelos olhos e a mulher em fuga do hospital de bonecas. Os 2 ensaios possuem uma narradora: Charlotte Gomes Berbié, ma petite que virou carcaça-cadáver, antes de nascer, em terra estrangeira. A terceira sessão é uma constelação de aparições de 7 personagens baseadas nas “mortas” e nas “vivas” da minha ancestralidade e agregam-ajuntam também trabalhos de artistas que me carregam em mãos de nuvens cuidadosas. Acredito que a pesquisa, sobre ancestralidade e violência contra mulheres, possui densa dimensão artística-política (arte feminismo), além de cooperativa, dialógica e pedagógica Paulo Freire (1987, 1989).
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MELISSA BARBERY LIMA
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EXPERIENCE OF EXISTING IN ARTS RESEARCH AS A POETIC ACT: The Folding Point and artistic activation, Lick the city
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Data: 27/11/2023
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Abstract:
This artistic-critical memorial is in the Research Line dedicated to the Artist-Researcher and addresses the experience of existing in arts research as a poetic act. The journey undertaken by this experiment unfolds through the concept of Fold Point and the artistic activation of Licking the City. In the initial experiments, this videographic urban intervention was directly influenced by Vicente Cecim's text "Caught in the Act Against the Night / Cural Manifest" (1983) and the book/catalog "Uprisings" (Didi-Huberman, 2017). As a result of the path taken by the artist, it is believed that the presence of the artist-researcher in the university is a fundamental practice for a unique perspective on the relationship between art and society.
Keywords: Art research; Visual poetics; Contemporary art; Licking the city; Folding point.
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ANDREZA BARROSO DA SILVA
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Data: 13/11/2023
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ABSTRACT
The artistic-cultural paths and paths along the Icoaraci-Belém and Belém-Icoaraci transit, provided the Afro-Amazonian female body, immersed in relationships with dance and capoeira, with the construction of the Dancaeira epistemological praxis. In these paths, memories were triggered from childhood in backyards, streets, schools, artistic-cultural experiences with dance and capoeira, following a trajectory of girl-woman-mother-educator-teacher-researcher, revealing then, the “living ancestry” that is present through the ancestral women who live within me. I summon three sisters who wield the berimbau, alongside me, and decolonize power in dance in the Amazon with their poetics of “RE-existences”. I present possibilities of decolonial theoretical-methodological paths in contemporary dance, following an autoethnographic flow, by Fortin, supported by NOS-NÓS in which the “knots tied” with the world around, with the doings, knowledge and powers are realized from the perspective of trickery. Capoeira songs, poems and authorial song-poetry, photo images and video prints of
immersions during the research, authorial drawings emanate reflections of the process and the striking presence of the berimbau, which drives the voice of the female body with its sounds and touches , endorse the methodological approach of the research. The interplay of dançaeirantes dialogues welcomed contributions from Freire, Pedagogical Praxis; Santos and Menezes, the Epistemologies of the South and; Costa, Torres and Grosfoguel, Decoloniality, which embody the non-hierarchical methodology, which reveals symbolisms and meanings of the seven elements of Dançaeira to awaken it in you, from the Amazon to the world.
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ANDRE LUIS PEREIRA DE FREITAS
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Casa de boneca e senzala : Arte e Decolonialidade
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Orientador : MARIA DOS REMEDIOS DE BRITO
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Data: 06/11/2023
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O trabalho parte do brinquedo/objeto casa de boneca, referindo-se tanto a um brinquedo europeu quanto as casas senhorias da cidade de Belém, para discutir os conceitos de epistemicídio e colonialidade do poder como plano de uma colonização violenta pautada sob o mito da modernidade, culminando com uma urbanização que ainda hoje é exaltada, mas que custou a destruição de povos e saberes. No primeiro capítulo falo sobre as primeiras motivações de se trabalhar um tema relacionado a uma casa de boneca. As minhas brincadeiras com Maria, desde a sua tenra idade, e abordo a importância da brincadeira para a criança. No segundo capítulo trato de uma questão metodológica, a necessidade de construir uma pesquisa pautada em um pensamento decolonial. Para isso, tento esclarecer conceitos como colonialidade, colonialismo, descolonização e decolonialidade. No terceiro capítulo trato mais especificamente sobre as casas de bonecas que serão construídas: a primeira é uma replica da igreja de santo Alexandre, representando o papel da igreja e do cristianismo no esquema de colonização; a segunda casa é uma réplica do Palacete Bolonha, símbolo do período gomífero e da Belle Epoque; a terceira casa é uma replicado casarão onde funciona o PPGarte; e trato, posteriormente, mais especificamente, sobre a experiencia de ser negro na universidade que teve como formação a relligião cristã, arte europeia, conhecimento europeu, mas agora corpo negro artista em resistência quando se deu a tomada de consciência de sua cultura e identidade. Nas considerações finais, quem sabe, para a perspectiva de uma pesquisa futura ou agenda de estudo, tratarei sobre a descolonização dos currículos, principalmente em arte. Inserindo as casas de boneca numa proposta didática e funcionalidade prática. Refletindo sobre a possibilidade se trabalhar as casas em escolas tendo com base a lei 10.639/2003 e a lei 11.645/08. como forma de conduzir para arte-educação contra hegemonica.
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MÁRCIO LINS DE CARVALHO
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DATUM: Electronic interface as a means of expressing experience
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Data: 27/10/2023
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These writings and their annexes address three different and complementary perspectives: the first on reflections on method and artistic creation in the academy; the second on the theoretical conceptions derived from the artistic creation of electronic games; the third on the sub-processes and hazards of game development; in addition to these, the thesis is also composed of the game itself. Taking these perspectives, the thesis proposes to experiment with the image, in the abstract sense, using a dynamic of building constellations to incite the projection of images by connecting stars; and the virtual with its interactive possibilities within a three-dimensional space.
Keywords: Game; experience; creation; virtual; constellation.
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MYLENA MONTEIRO SETUBAL
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ARTE, EDUCAÇÃO, CULTURA NO INTERIOR DO PARÁ: UM ESTUDO DE CASO NA ESCOLA E.E.E.M. DR. INÁCIO KOURY GABRIEL NETO, CASTANHAL - PA.
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Data: 24/10/2023
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SETÚBAL, Mylena Monteiro. Arte-educação no interior: a relação da arte com o cenário da E.E.E.M. Dr. Inácio Koury Gabriel Neto. Qualificação (Mestrado em Artes) – Programa de Pós-Graduação em Artes, UFPA, Belém.
Esse estudo objetiva analisar e demonstrar como a realidade de cidades do interior paraense acabam sendo negligenciadas na sua sistematização da arte, por acabar não ocorrendo investimentos para a população ter acesso a diversas formas de contato com a cultura, seja de formal formal, não-formal e informal. Para esta demosntração, se utiliza a realidade, história e formação de uma cidade do interior do nordeste paraense, Castanhal, ou como é conhecida, a “Cidade Modelo”, e um aparelho da educação formal, a escola pública de ensino médio Dr. Inácio Koury Gabriel Neto, e a importância da mesma para a localidade e a ocorrência da arte-educação neste espaço educacional. Para assim mostrar como uma relação fortificada entre o ensino formal (no caso a escola citada) com o cenário artístico e cultural da “cidade modelo” pode ser uma forma e saída de ampliar e valorizar o ensino/aprendizagem de arte e a produção de artes e cultural no interior nessas localidades que sofrem com o abandono de investimentos no segmento artístico.
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JORGE LUCAS FARIAS BARROS
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DIGESTIVO: PROCEDIMENTOS CRIATIVOS DE UM CORPO EM FLUXO
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Data: 10/09/2023
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Esta pesquisa pretende investigar o corpo em fluxo e seus procedimentos criativos realizados sob uma materialidade chamada “espumas siliconadas”. Este corpo foi responsável por desenvolver procedimentos criativos que fomentou explosões de formas e não formas de se experimentar a materialidade em processos criativos nas artes. Um corpo em fluxo, mas também um corpo experimentador, que provocou a imersão de um experimentos com a materialidade (espumas) se multiplicando nas diversas formas de se experimentar em processos criativos. Objetivo da pesquisa propõe, experimentar os limites criativos que se pode haver nas experimentações para criar formas e não formas de procedimentos criativos com a matéria e construir um repertório de possibilidades experimentais. Em vista aos experimentos desenvolvidos, o projeto Mofo, um álbum música/visual que reproduziu experimentos, cujo as tentativas em materializá-lo acidentou em novos experimentações que reverberam em outros projetos, como Fragilizada, Casulo, Proliferação, Casamento e entre outro, assim montando uma cartografia que fábulou-se em produções para esta pesquisa.
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LEONEL RODRIGUES FERREIRA
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PARA TER ONDE IR: Performatividades madalênicas ou um mergulho no abismo do meu desejo profundo
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Data: 30/08/2023
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“Para ter onde ir: Performatividades madalênicas ou um mergulho no abismo do meu desejo profundo” é um memorial de mestrado em artes, em que apresento os procedimentos artísticos de dois espetáculos performativos da Cia de Teatro Madalenas, de Belém do Pará, encenados nos anos de 2003 e 2015, resultando, assim, um novo espetáculo performativo. Tal ato poético articulou os procedimentos artísticos utilizados pelas “Madalenas”, com outros que fazem parte da minha trajetória como artista da cena, principalmente fazendo uso dos Viewpoints, a ressignificação do espaço urbano como dramaturgia, além das minhas memórias pessoais. Para a concepção do espetáculo performativo, estabeleço um diálogo entre Viewpoints e Composição a partir dos estudos de Anne Bogart e Tina Landau; os estudos a respeito do Teatro de Invasão, de André Carreira; as poesias de Max Martins, da obra Para ter onde ir e experimentações em vídeo arte.
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ALLAN PINHEIRO DE CARVALHO
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MARGEM 5
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Data: 24/08/2023
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A confluência entre dois estudos que venho adensando dentro do universo musical popular brasileiro, um sobre os pregões de rua e outro sobre a vida e obra de Ary Lobo (artista paraense que teve sucesso nacional entres as décadas de 50 e 70), possibilitou a experimentação de mais um passo criativo em meu trajeto acadêmico, enquanto artista e pesquisador. Desta vez, começo narrando um memorial poético, onde acompanho, em meio ao universo dos anúncios de venda e de paisagens sonoras, a visita sui generis deste nosso saudoso intérprete, que volta de uma margem suspensa no tempo para rever a sua terra natal, Belém do Pará. Um território de memórias e afetos atemporais é acionado para que andarilho Ary Lobo repise, finalmente, as ruas de sua cidade, ou passeie na cidade que forjei para este momento. Pelo caminho, as vozes de seu povo, os pregões de ruas que tanto habitaram sua discografia, os relatos de familiares, as minhas lembranças cruzadas às suas. Assim, as minhas duas pesquisas se cruzam e fazem surgir, em uma esquina que mora na minha saudade, o encontro da Rua dos Pregões com a Rua Ary Lobo, revelando neste enquadramento de cidades, real e memorial, a fresta de uma quinta margem, um portal que pode ter cada um de nós, em nossas profundas lembranças, do lugar que nos inaugura e nos identifica. Como resultado deste devaneio, uma instalação artística multilinguagem, projetada a partir de um tabuleiro de pamonha, reverbera as vozes e as luzes de um cinema que nos transcende e restaura as imagens de nossas vidas.
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AMANDA DE MENDONCA LINHARES
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CADÊ A OUTRA?! cantos cênicos de um corpo duplo.
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Data: 06/08/2023
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Este memorial tem como tema “CADÊ A OUTRA?!” cantos cênicos de um corpo duplo. Neste é narrada a trajetória em memória e invenção da saga de devoradora e uma devorada, sendo este mapa uma redescoberta das vivências de um corpo duplo. É experimentado em mim, a vivência de duas em memória, prática e desenvolvimento criativo da proposta trabalhada: Amanda engoliu Alícia. Tão quanto fatos entrelaçados (embora interconectados), em um rizoma, persisto, a cada capítulo, no intuito de explorar instalações. Tem, por fim, um espetáculo resultando esse processo o qual compõe-se em onze partidas, sendo dez pares e uma ímpar. Para esta pesquisa, uso como meus autores de base: Lewis Carroll, Gilles Deleuze e Félix Guattari.
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RAFAELA ALCANTARA BARATA
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The teaching-learning of the cello in public musical institutions in Belém do Pará
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Data: 31/07/2023
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Investigating the teaching-learning of the cello in public music institutions can be important to understand the formation of an instrumental tradition established by generations of cellists. The aim of this paper is to investigate the teaching-learning process of cello in public music institutions in Belém do Pará. The research was developed through a qualitative, descriptive and exploratory approach. There was a bibliographic and documentary survey, followed by semi-structured interviews. We used theoretical reference on the historical context of public musical institutions in Belém do Pará (SALLES, 1995; VIEIRA, 2001; BARROS; GOMES, 2015), aspects of musical learning in formal public education (LOPES, 1981; SILVA, 1999; LIBÂNEO, 2010) and about research on teaching-learning of the musical instrument cello (FRANÇA, 2000; MACIENTE, 2008; SUETHOLZ, 2011). The research results in a description of the historical context of cello teaching in Belém do Pará, in the identification of the programmatic content used at each level of education in public music institutions in Belém and its relationship with cello learning, and in the analysis of cello teaching-learning in public music institutions in Belém today, pointing out relevant aspects for the development of students. The conclusion is the importance of stimulating the democratization of instrument learning and counteracting stigmas about public institutions with new pedagogical perspectives, in order to establish a qualified reference for teachers, researchers and artists, guiding the construction of curricula and other documents related to the institutional sphere.
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ADRIANO BARROSO DOS SANTOS
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Rastros. Riscos. Marcas – A trajetória de Henrique da Paz e o sorriso banguela da Vila de Icoaraci.
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Data: 10/07/2023
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O presente trabalho apresenta-se como um estudo da trajetória do ator e diretor Henrique da Paz no Distrito de Icoaraci – Belém/Pará, quando da fundação do Grupo Gruta de Teatro e a instauração de um teatro de grupo na chamada Vila Sorriso, abordando sua produção artística, atividade cultural e sua inserção no panorama do teatro paraense. A pesquisa objetivou entender os desafios do fazer teatral na periferia de Belém e a fundação do grupo de maior longevidade do Pará, (5/11/1969) - Em 2023 o grupo completa cinquenta e quatro anos de atuação na cena paraense. As produções de Henrique da Paz têm como referência principal as teorias do dramaturgo alemão Bertolt Brecht, do Russo Constantin Stanislavski e do brasileiro Augusto Boal, no intuito de produzir um teatro popular e político. Utilizou-se como fonte de pesquisa, material do próprio artista, como: programas de teatro, anotações em cadernos pessoais, recortes de jornal, fotografias, críticas teatrais, vídeos, textos, roteiros e depoimentos dos parceiros de cena e dos fundadores do grupo.
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RAPHAEL ANDRADE ROCHA
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DISSIDENT DYNAMITES: CONSTRUCTION (RE)PERFORMATIQUE D'UNE AUTOETNOGRAPHIE
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Data: 07/07/2023
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Cette thèse cherche à comprendre le processus créatif d'une autoethnographie performative dissidente, appelée “Fleurs pour Pietá”, basée sur l'analyse de schémas symboliques/réels, afin de côtoyer les territoires que le corps homosexuel expérimente. Pour cela, l'approche donnée part de deux biais d'analyse, à savoir: la sexualité et la religion, même si l'étude imprègne d'autres territoires, tels que le territoire intra-familial (le domicile), le territoire subjectif (le corps) et le territoire (l'urbain). Une telle discussion découle de la question-problème suivante: à quels territoires appartiennent les corps homosexuels ? Afin d'atteindre l'objectif général, je fais appel aux auteurs/auteurs suivants pour valider les propositions de cette étude: pour le débat autoethnographique j'utilise les préceptes de RAIMONDI; MOREIRA; BRILLANT; BARROS, (2020) et DENZIN (2015), concernant les discussions sur l'Identité, je recourt à ALMEIDA (2010) et CASTELLS (2001), se référant aux discussions des études gay, j'analyse les concepts de PRECIADO (2003), FOUCAULT (1999, 2012, 2013, 2018) et BUTLER (2000, 2011). En ce qui concerne le corps dévot, j'adopte la vision de JANSEN (2004), concernant l'histoire de la sexualité et le concept de biopouvoir, j'analyse les études de FOUCAULT (1985), en association avec le concept de nécropolitique, de MBEMBE (2018). En ce qui concerne le concept d'art de la (re)performance, je considère les discussions d'ABRAMOVIC (2010, 2018) et de PHELAN (2013). Et sur le concept de territoire je me réfère à CAIAFA (20020), ROSENDAHL (2002), entre autres. Je choisis l'autoethnographie (re)performative comme démarche méthodologique, partant de mes souvenirs, de mon devenir, en tant qu'artiste-chercheur-enseignant, pour guider un cheminement réflexif sur et à partir des corporéités, pour comprendre le corps et ses (re)performances en tant que territoire puissant pour la production de l'épistémologie. Pour la construction de ce travail, il était stratégique d'explorer les approches dissidentes liées aux questions de sexualité et de religiosité. De cette manière, cet écrit indique que le discours religieux a une grande influence sur le tissu des relations sociales, de plus, l'État et la société prennent ce qui se dit et se fait dans les domaines des églises comme un paramètre pour justifier les attitudes et les décisions préjudiciables contre les homosexuels. corps. Par conséquent, le processus de réflexion provoqué dans cet écrit signale que la désapprobation et la coercition au corps LGBTQIAP+ est récurrente entre et dans les territoires religieux et que le corps gay marginalisé, dans cette perspective, tente de trouver un territoire possible pour (re)signifier ces maux historiquement imposés.
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SAULO CHRIST CARAVEO DA SILVA
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Guitarrar Local – a musical practice beyond the Pará Amazon.
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Data: 07/07/2023
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The practice of Guitarrada is investigated here considering the configuration of social, political, cultural structures and its establishment as a founding musical genre of memory and identity in Pará. The broad transformations resulting from the modernization and globalization processes that occurred between the advent of Lambada and the consolidation of Guitarrada, submerged in a capitalist Entertainment Industry, reconfigured spaces and social dynamics, as well as the way of consuming, making and producing music, promoting the historiographic resizing, in memory and in the way in which cultural identities are constituted in the Paraense Amazon. Thus, such sociocultural manifestations that took place in these scenarios had an impact on the creation and dissemination of the Guitarrada genre, which is the result of paradigmatic transformations that represent the identities of this musical genre. Considering culture (GEERTZ, 2017; HALL, 2011; CANCLINI, 2017), memory (HALBWACKS, 2006; CANDAU, 2011), and music (CARAVEO, 2019a, 2019b, 2019c; CHADA, 2007; MENDÍVIL 2013, 2015 and 2022; MUKUNA, 2008; NETTL, 2005; SEEGER, 2008; SMALL, 1998) as related systems, I envisage the thesis that will deal with the changes and new musical identities in the Amazon, focusing mainly on the Guitarradas of Pará. The Amazon Region, with its space-time multiculturalism of diverse musical practices, needs in-depth musical investigations that point to historical cultural fusion, considering, however, developments, perspectives and particular looks that present new diagnoses in the face of contexts that present themselves in a different way. indissoluble today. Investigating the musical practices of the guitarists in Pará, observing from what perspectives social changes, globally and locally, affected musical production, altering symbolic cultural processes and determining the constitution of identities was the main objective of this proposal. The specific objectives were to describe the ethnographic procedures carried out throughout the research, identifying the broad and particular social transformations that allow descriptions and interpretations of musical phenomena that point to guitar playing as a contemporary musical practice in Pará – the Local Guitarrar. To analyze Mestre Vieira's discography and propose a dense description that reveals the behavior and directions imposed by the Entertainment Industry and its impact on Mestre Vieira's work throughout his production. Point out aspects inherent to the processes of modernization and globalization that point to similar scenarios and dynamics that share with the constitution of identities and, therefore, under the aspects of musical changes and cultural transformations, point out cases of hand-over. In addition to reviewing the existing literature on the subject and bibliographical studies referring to historical and cultural subjects, under the light of ethnomusicology, an ethnographic description of the current contexts in which the practice of Guitarrada is dynamic was made, semi-structured interviews that made possible the foundation of analytical arguments and musical analyzes of Mestre Vieira's phonographic production. The period covered by this research comprises the 1950s, an important post-war period in the world, and 2023, the year of completion of the thesis. Considering the analyzes carried out so far, the thesis was confirmed that Guitarrada, when emancipated from Lambada through Hand-over, configures itself in a modern, independent musical practice, with its own aesthetic identity, which determines musical changes, cultures and new perspectives for memory, culture, politics and music in the Brazilian Amazon.
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ANA CAROLINA ARAUJO ABREU
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*Studio Som Jolie*: Immersion and poetic encounter of a sound collection.
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Data: 06/07/2023
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The memorial presents the poetic creation process of the audiovisual installation "Studio Som Jolie", where I investigate the sound collection, photographs, writings and childhood memories found in the studio of my father, Aldemário Abreu, in memory. The research-collection is divided into two chapter-blocks: Side A and Side B, combining a repertoire of striking and authorial songs that dance through time, the 70s and 80s. Voices of Raul Seixas, Caetano Veloso, Fafá de Belém, Chico Buarque, compose dialogues with Bergson, Hélio Oiticica, Cecília Salles, José Cirillo, which reverberate beyond the last chord of an experience in the field of art.
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LUCIENNE ELLEM MARTINS COUTINHO
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Altered Bodies:
gesture, performance and passion
among Paysandu fans
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Data: 03/07/2023
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The present Thesis has as its central theme the performance of the Paysandu’s passionate supporters. In the path I took, I worked with the notion of “restored behavior”, by Richard Schechner (2003); and with the idea of “fans as a community”, by anthropologist Roberto da Matta. I begin by making a historical retrospective of football, showing its evolution, from ancient times to the present day, when it becomes governed by rules and characterized as a sport. Historical data about the arrival of football in Belém, state of Pará, were collected in the works of Gaudêncio (2007) and Costa (2007). Aquino (2002) presents the first signs of a practice similar to what is known today as 'soccer'; Zainaghi (1998) puts us in touch with the beginnings of football in Brazil; Leal (2000) tells us about the practice of Tsuchu (2nd century), considered the oldest form of game in China; Grisard (2003) talks about handling the ball in games; Brustolin (2008) looks at football as one of the most important social and cultural phenomena of the 20th century; Carioba (2017) reflects on the dark side of football as an elitist practice in the 19th century. The heart of the work – the ethnographic description of the Paysandu’s passionate fans’ performances – is found in the chapter entitled ‘Sunday of the Passion’ [‘Domingo da Payxão’]. In it, I hypothesize how the “passion” of “the biggest and the best” football team in the North Region – Paysandu – was born.
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ALBERTO VALTER VINAGRE MENDES
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O declinio da cena cabocla em narrativas de artistas da cena em abaetetuba
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Data: 30/06/2023
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A temática explorada neste texto, incide em encontrar nas narrativas de artistas de Abaetetuba, referências de gerações diferentes, mostrando como a arte em seu movimento de mudanças e incorporações, apresenta uma relação com o tempo e o lugar. Sobre o tempo há diferentes ritmos e acentos marcando a dinâmica da “vida abaeteuara”, assim como em outros lugares na Amazônia. Nas paragens ribeirinhas quando ainda ouviam-se os “tiradores” das fofoias, a passagem do tempo era marcada pela maré enchendo e abaixando, na lançante e vazante; tempo no qual a oportunidade era marcada pela canoa indo de proa. Tempo sentido qualitativamente em tempo bom e tempo ruim. Era o tempo da natureza com seus ciclos, e do trabalho coletivo e artesanal de fazedoras de cuias, dos paneiros e das panacaricas.
As transformações históricas trouxeram a devastação e a paisagem, no início sutilmente, para em seguida, drasticamente, se modificar, e um outro tempo vai sendo sentido, o tempo líquido da modernidade, o avesso gerando uma trama, na qual o elo estético existente entre homem e natureza vai, progressivamente, sendo rompido. E o declínio da cena cabocla é percebida, paralelamente, ao aparecimento de um cenário social com graves problemas. Se a modernidade vai apagando gradualmente, pelas forças desestabilizadoras, certos traços daquela cultura cujos contornos eram refletidos na cena cabocla, há por outro lado, um movimento de resistências e enfrentamento, protagonizado por vários artistas, e é neste sentido que, um recuo, o ato de revisitar suas práticas, abre possibilidades de uma oposição a essa tendência em curso, divergindo do discurso do progresso e da deformação dos modos de vida construídos coletivamente na história dos povos amazônidas.
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PAULO ROBERTO SANTANA FURTADO
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O TEATRO PRECISA DE TEATRO?
territorialização, (des)territorialização e (re)territorialização do movimento teatral em Belém do Pará nas conexões e trânsitos periferia-centro-periferia (1980 a 2000)
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Data: 29/06/2023
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Esta tese apresenta um estudo sobre territorialização, (des)territorialização e (re)territorialização do movimento teatral contemporâneo de Belém do Pará, a partir da conexão e trânsitos periferia-centro-periferia de artistas e grupos. A reflexão crítica sobre o espaço e o movimento teatral na cidade de Belém – o teatro precisa do teatro? – pelo viés da geografia, utilizando como referências os teóricos Anne Ubersfeld e Milton Santos, Valdir Roque Dallabrida, Rogério Haesbaert, onde o tema foi investigado a partir da problemática de que a natureza do lugar teatral é importante para se refletir o fazer teatral. Por ser artista e fundador do Grupo de Teatro PALHA, me metamorfosearei em cobra anfíbia, entre a água e a terra, trocando de pele e submergindo para tratar da trajetória dos artistas e Grupos, suas experimentações cênicas e sua relação com o lugar da ação, periferia-centro-periferia e subjetividade do fazer, tempo e lugar. Mas, precisarei retornar a superfície e permanecer bastante tempo iriado para compreender o preço da profundidade e tentar especificar certos princípios de coesão que unificaram as imagens superficiais dessa trajetória vivida pelo tempo de fazer teatro e de seu reordenamento do seu fazer, a partir do amadurecimento de um fenômeno ainda definido de forma “tateante”, como globalização, cujo objetivo maior ao fazer a comparação, é o de procurar compreender um fenômeno contemporâneo que capturou a todos: o da aceleração do tempo histórico, pois falar das questões do tempo e da modernidade seria então refletir sobre como este processo influenciou e influencia o fazer artístico desses artistas e grupos, resistentes e sobreviventes. Dialogando com a filosofia teatral, a história do teatro e dos estudos teatrais, na linha das teorias e interfaces epistêmicas, em conexões inter e transdisciplinares com outras áreas de conhecimento.
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FREDERICO DE CARVALHO FERREIRA
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O CINETEATRO TERRITORIAL DE MACAPÁ E A CRIAÇÃO DE UMA POLÍTICA CULTURAL JANARISTA
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Data: 26/06/2023
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A presente pesquisa de doutorado, desenvolvida no Programa de Pós-Graduação em Artes da Universidade Federal do Pará, sob a orientação da Profa. Dra. Bene Martins, realizou estudo sobre contextos sócio-político-culturais engendrados a partir da instauração do Território Federal do Amapá (TFA), com foco no Cineteatro Territorial de Macapá, entre os anos de 1944 e 1949. A pesquisa, intitulada: O Cineteatro Territorial de Macapá e a Criação de uma Política Cultural Janarista. Os objetivos são os de evidenciar, e refletir sobre a criação de uma política cultural, disseminada pelo Governador Capitão Janary Gentil Nunes e suas possíveis influências no processo de formação identitária amapaense. Esta pesquisa justifica-se pela insuficiência de trabalhos que contemplem o tema e a necessidade de abordagens mais aprofundadas sobre a memória artística, cultural e teatral amapaense e seus contextos sociais e políticos, que podem ter influenciado na sua formação identitária e cultural, além de contribuir, como aporte teórico e crítico para pesquisas futuras, possibilitando condições para o crescimento do Teatro no/do Norte e no/do Brasil. O ponto central do estudo é o movimento artístico e cultural oportunizado (ou não) pelo Cineteatro Territorial de Macapá, espaço oficial de difusão política e cultural do TFA. No processo de construção desta pesquisa, conforme objetivos propostos, é investigada a formação do TFA, desde sua fragmentação do estado do Pará (1943), a escolha da capital territorial e o Jornal Amapá, como fonte documental, a inauguração do Cineteatro Territorial de Macapá (1944) e suas atividades político-culturais, a criação de uma política cultural janarista e o possível diálogo com o movimento cultural amapaense. O estudo alia-se à linha de pesquisa: Memórias, histórias e educação em artes, do Programa de pós-graduação em artes (PPGARTES-UFPA). As metodologias de apoio são as do campo artístico-cultural, estudos culturais, em diálogo com outras referências, a partir de uma análise qualitativa das fontes. Inicialmente, com leitura sistemática das bibliografias sobre política cultural, contextos teatral e audiovisual estabelecidos entre 1944 e 1949. Os materiais consultados são de filmes, espetáculos, artistas e companhias teatrais registrados em Macapá-AP. Caracteriza-se como pesquisa documental, por priorizar o levantamento e análise das fontes que possibilitem a interpretação dos órgãos e documentos oficiais, como o Jornal Amapá e Relatório de Atividades do Governo do Território Federal do Amapá.
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TAINA MARIA MAGALHAES FACANHA
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UMA ESCOLA A CÉU ABERTO: a transmissão musical no Instituto Arraial do Pavulagem
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Data: 19/06/2023
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In this research, I focused my attention on the musical transmission practices in the context of the Arraial do Pavulagem Institute - IAPav. In the formative experiences for preparing the arrastões (street parades), which flow like a river into the streets of Belém, it is possible to highlight the way people interact, transmitting their knowledge and building processes of musical transmission. The general objective of this research consists in investigating the transmission of musical knowledge at the Arraial do Pavulagem Institute, considering its influence on the development of a contemporary musical performance. Specifically, my goals were understanding the musical practice of the Arraial do Pavulagem Institute from life narratives; describing the musical practice of the Arraial do Pavulagem Institute and the ways in which musical transmission is multiplied in the workshops, rehearsals and arrastões; and, finally, discussing the ways of learning and teaching music at the Arraial do Pavulagem Institute, pointing out which influences constitute the "pedagogical" aspects of musical transmission. The thesis is built up from a research conducted in three moments: in 2018 and 2019, with an extensive field research that resulted in a vast collection of audiovisual material; in 2020 and 2021, the field research was carried out virtually from the engagement of the community in the social media of IAPav and in the livestreams of Arraial do Futuro that adapted the street parades to the virtual world due to the social distancing required during the Covid-19 pandemic; and after the face-to-face return, in 2022, of the group's activities, which enabled a very unique experience of return to "normality" and the conducting of interviews that are part of the heart of this work. In this regard, this thesis succinctly made it possible to understand that musical transmission in the Arraial do Pavulagem occurs in a systematic manner in the workshops, primarily through orality. From dimensions linked to the daily experiences inside the Institute, whether in conversations with the masters, in the sharing of experiences with colleagues from the Batalhão da Estrela, or in the coexistence of the articulations of the makers of culture that are formed there, whether in political and/or artistic actions. Still, the transmission happens in the performance itself during the arrastões, in the sound fruition in the shows, and in the experience of the audition of the songs.
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GILDA HELENA GOMES MAIA
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UIRAPURUS PARAENSES: The historical legacy and artistic-musical practice of lyric singers from Pará Helena Nobre (1888/1965) and Ulysses Nobre (1887/1953).
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Data: 16/06/2023
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The doctoral thesis Musician Wrens: the historical legacy and the artistic-musical practice of the opera singers from Pará Helena Nobre (1888-1965) and Ulysses Nobre (1887-1953) proposes to reflect on the historical legacy of these artists, identifying their artistic-musical practice from the public and private collections of Belém. As public collectins there are: Museum of The State of Pará, Arthur Vianna Library (Sections of Rare Works, Microfilms and Newspapers); Museum of Federal University of Pará (Vicente Salles Collection); Theater of Peace; Carlos Gomes State Institute; Santa Izabel Cemetery and Music Academy of Pará. And, as private collections, the ones of: Maria do Céo Nobre Gomes; Helena Maia; Maria Gilda Nobre; Maria Helena Nobre; Jorge Nobre de Brito; Vicente Salles; Gilda Maia; Lenora Brito; e Urubatam Castro. The thesis still proposes: 1) check the status of these files and the curent accessibility to the historical and artistic of Helena Nobre and Ulysses Nobre; 2) investigate who Helena and Ulysses were, their trajectory, their artistic-musical activity and performance Spaces; 3) highlight the compositions, the interpretative repertoire of Helena and Ulysses and the network of relationships – the Society of their era – that kept them active, helped them to spread their artistic-musical work and enabled their artistic trajectory, despite theis social and health disavantages; 4) propose the mapping, the virtual meeting and the dissemination of this legacy, contributing to the accessibility, the rememorization and to the appropriation of this history by the actual Society: by living memory. The search references authors such as: V. Borges (2006) and K. Oliveto (2007), in the field of biographical genre in music, through the collection and interpretation of historical documentary, bibliographicand oral sources; S. Freitas (1983) and E. Bosi (1994), in Oral History; R. Laraia (2001), C. Geertz (1975) and J. Blacking (2006. 2021), in the field of Music as Culture; P. Castagna (2004, 2006, 2008, 2016), L. Oliveira (2012) and L. Heymann (1997, 2012), in the field of Music Archival Science; E. Santos (2004), J. Santos (1996), J. Ferreira (1983), D. Silva (2009) and C. Batista (2005), in the field of Cultural Heritage, Memory and Identity; P. Nora (1993), in the field of Place of Memory; M. Sant’Anna (2006), L. Lévi-Strauss (2006) and F. Maia (2003), in the field of Living Memory; P. Bourdieu (1974, 1996, 1998, 2007), in the field of Cultural and Social Capital. It’s concluded that giving accessibility to what is kept in a museu, or in a library – place of memory – is to reach the actual Society, showing – from the artistic-musical work of Helena Nobre and Ulysses Nobre – part of cultural production of the first Half of twentieth century in Belém, contributing to future academic investigations.
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JULIANO CASSIO DA SILVA CONCEICAO
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O ENSINO DE MÚSICA NAS ESCOLAS PÚBLICAS DO MUNICÍPIO DE SOURE: Um estudo de caso do Instituto Stella Maris.
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Data: 28/04/2023
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This research was developed in the research line of Epistemic Theories and Interfaces in Arts and it aims to analyze how the music teaching is being developed in public schools of basic education in the county of Soure-Marajó-Pa, in a instance study of Stella Maris Institute, taking into account some features such as the implementation of the legislation, the use of regional musicality aspects in teaching as well as interdisciplinary way and the elaboration and implementation of public policy about the music teaching. From an ethnomusicological perspective, it is intended to observe whether regional musical expressions, although the musical experiences of students, are taking in consideration during the process of music teaching. It was used in the theoretical framework authors in the field of ethnomusicology such as Blacking (1981; 1995), Netll (1983), Lühning; Tugny (2016) and Queiroz (2004; 2020). The experimentation is descriptive and exploratory in nature and it uses both primary data, through fieldwork activities and conducting interview, and secondary data, through bibliographic and documentary research. It is expected that the research results can offer a diagnosis of music teaching in schools in the countryside of Soure from this case study and can lead to reflection and evaluation of public policies aimed at music education in this county.
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CARMEM PRICILA VIRGOLINO TEIXEIRA
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Mukuiu: an experience in Black Dance-Theater in Amazon
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Data: 20/04/2023
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Located at the intersection between the Performing Arts and theoretical fields from Anthropology, the Mukuiu Thesis, eminently interdisciplinar, is based on narratives that consider the encounter of my own trajectory – as an artist, researcher and educator – with masters, comrades in militancy and art. In it, I describe the experience of building the black theater-dance performance Mukuiu, created and presented between 2018 and 2019 in the city of Belém, state of Pará. In dialogue with the theoretical-methodological fields of Anthropology of Dance, Anthropology of Performance and Theater Anthropology, Mukuiu's research was primarily inspired by the corporeity of women from the universe of Capoeira Angola and Candomblé Angola, women of angoleira tradition, borrowing from these two universes, its cosmogonic core. The research denounces the religious racism present in the city, destabilizing it, as well as announcing the practices of black theaters and dances as territories where Africas are established in the Amazon. In this way, I arrive at the core of the work, by forging the notion of the “poetics of the crossroads”, which synthesizes the various influences and encounters that characterized the process of this research. On the one hand, by bringing approaches related to the universe of theater and dance, I systematize reflections inherent to the studies of the Performing Arts in their particularities of dialogue with corporal techniques of African motives in the eastern Amazon and, on the other hand, I approach conflicts that permeate gender and racial relations, in which I was also inspired for the elaboration of this work.
Keywords: Poetics of the Crossroads. Womanities. Performance. Black Theater-Dance.
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LUENA CORDEIRO DE SOUZA MULLER CHAVES
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ELF: CONSTITUIÇÃO DA GALERIA DE ARTE DE 1980-1999 E SUA RESSONÂNCIA A PARTIR DE BELÉM(PA)
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Data: 31/03/2023
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Esta pesquisa se propõe a compreender os processos de constituição da Elf Galeria no sistema da Arte local e suas ressonâncias na formação de colecionadores e coleções de artes visuais, na dimensão privada, no período de 1981-1999, em Belém, Pará. Para tanto, parte-se dos registros materiais do galerista e idealizador da Elf, Gileno Müller Chaves (1943-2006), a fim de construir a sua trajetória de vida associada ao processo de constituição e atuação da Elf Galeria. A pesquisa caracteriza-se como um estudo de caso de natureza qualitativa, abordagem teórico-empírica que tem os acervos do galerista como fonte primária. No desenvolvimento da pesquisa de campo e pesquisa bibliográfica, o eixo conceitual adotado são os estudos sobre memória, com base em Maurice Halbwachs e Pierre Nora. Recorro, ainda, a Ulpiano Bezerra de Meneses, para aprofundar questões sobre patrimônio cultural na relação público e privado e a François Dosse para a abordagem Biográfica. Realizou-se entrevista semiestruturada com a viúva de Gileno Chaves. Nas considerações finais apresenta-se a trajetória da Galeria, inter-relacionada ao seu idealizador e sua contribuição ao sistema da arte local.
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KEILA MICHELLE SILVA MONTEIRO
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The Klitores Kaos and the Woman’ Scream: the punk/hc that ends into a female musical scene in Belém PA
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Data: 20/03/2023
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This research focuses on the punk/hc music scene, a subgenre of rock, in Belém do Pará, made up of women as a necessary musical practice in combating existing prejudices among people who perform or frequent environments of this genre, in which predominates , still, the male sex, because rock and its aspects, despite representing transgression and going against oppression and violence from the State and society, sometimes make female production invisible and its actors still practice machismo, misogyny, among other attitudes that offend women. In this ethnography, I approach the trajectory of punk/hc in Belém do Pará, emphasizing female/feminist musical production, making it necessary to value this production and emphasize the need to respect women in this scenario, because, according to Rosa and Nogueira, “poetry and music are born of the ruptures and the pain they transform. It is a creative process in the broadest sense where, by creating artistic paths and producing our own knowledge, we also reinvent ourselves as people” (2015, p. 27). I will analyze the trajectory, performance, aesthetics and musical compositions of the band Klitores Kaos, which works to claim rights and empower women, in a dialogue with Chada (2011), Béhague (1992, 1999), Blacking (1973) and Merriam (1964) to deal with socioeconomic factors present in the songs; O´Hara (2005) and Caiafa (1985) to address the context of the punk rock genre. In addition to the studied bibliography, I used media files and field research material before the pandemic. According to the analysis of the band's performance and aesthetics, its trajectory and mainly the musical analysis in this research, the data point to a production of protest, a 'cry' to combat femicide, sexism, misogyny and racism with women taking up spaces and the growing respect for the female gender in the punk/hc scene, which is often confused with the private lives of these women.
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DEBORA ALESSANDRA COSTA DE OLIVEIRA
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TECNOLOGÍAS DE SOBREVIVENCIA EN EL ARTE
narrativas de una ama[dor]a
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Orientador : ANA CLAUDIA DO AMARAL LEAO
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Data: 15/03/2023
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Esta investigación presenta un memorial narrativo, de acciones en/con el arte construidas en los caminos estéticos y críticos que conforman Las Tecnolo- gías de la Supervivencia en el Arte, que son, según mi propuesta argumentativa, colectividades que parten de experiencias femeninas periféricas, y principalmente de mujeres con las que dialogé durante mi trayectoria vital/artística, por lo tanto, entiendo que desde estos procesos periféricos de supervivencia que fundamentan y conducen mi creación estética en el Arte. Presento relaciones de intersecciona- lidades de género, clase, raza e identidades diaspóricas amazónicas que son el resultado de una vida/experiencia en los márgenes. Procesos que me permitieron comprender una cultura periférica de supervivencia mayoritariamente femenina. Así, compongo las narrativas personales que se comprenden en las teorías de Gon- zalés 1998, hooks 2013, Lorde 2012, Njeri 2019, Oyêwumí 2020, Costa 2013, Wa- lker 2021, Carneiro 2005, Piedade 2017, Akotirene 2019, Alvarez 2009, Nascimen- to 1994. Beatriz Nacimiento que incluso inspira algunas construcciones narrativas en la investigación. Presento una comprensión del matriarcado periférico de la relación brasileño/amazónica con la ascendencia, que pretendo fortalecernos y orientarnos en formas de existir como sujetos diaspóricos. Aquí presento caminos artísticos construidos a partir del apoyo y referencia colectiva de la necesidad, y el registro y visibilización de una red afectiva femenina.
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LUCIAN JOSÉ DE SOUZA COSTA E COSTA
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CONTINUOUS EDUCATION OF MUSIC TEACHERS: A teaching-learning proposal through research and teaching practice
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Data: 15/03/2023
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This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, consists of presenting the continuing education of Arts/Music teachers with great relevance in contemporary reality, especially in Virtual Learning Environments (VLE). It presents reflections on a Continuing Education training for teachers, which specifically contemplates professionals from the municipal network of Belém do Pará through the Municipal Secretariat of Education and Culture (SEMEC). Therefore, the researcher aims to investigate the continuing education of Arts/Music teachers in basic education in the city of Belém based on the improvement of contents and the elaboration of methodological strategies for the area of music, based on the profile of professionals and the reality of schools in which they work. This objective unfolds specifically in two, namely: (a) Compare, together with education professionals, didactic-pedagogical alternatives for music teaching, considering the training profile and the reality of the educational context in which they work; (b) Apply theoretical-practical training in the use of virtual tools for teaching music in basic education schools in the municipality of Belém. To achieve the objectives, Bibliographic Research and Experimental Research were adopted. From this context on continuing education of Arts/Music teachers, this research brings dialogues between the main authors: IMBERNÓN (2010), SAVIANI (2009), NÓVOA (1991), TANURI (2000), FUSARI (1994), COSTA (2019), COSTA; DEFREITAS JÚNIOR (2020), JARDIM (2019), LIMA (2019), PENNA (2007), among others. The first motivations for proposing the present study find shelter in my professional work at a public school in the state of Pará, which reflects the trajectory of a teacher-researcher in the area of music. Since entering the university in 2012, my journey in the field of music has been through paths of initial training and later the “continued” training of Arts/Music teachers at a professional and academic level. The research sample consisted of 15 participating Arts/Music teachers from the municipal network, being carried out in the city of Belém from May to June 2022. The study was based on an exploratory analysis, where the significance level was α = 0 .05 and the 95% confidence interval. The sample was obtained by non-parametric sampling, where the Wilcoxon test was used. In general, it is noted in the responses that before the course, 31.25% of the participants evaluated that they Totally agree that the FOCO course in Music provides an environment of continuing education even in the teaching of EaD, after the course this percentage increased to 75%, further demonstrating that the course had a positive impact so that participants consider it even more important that the FOCO course in Music provides an environment for continuing education, even in EaD teaching. The results achieved in the FOCO em Música Course reveal the learning potential that each participant acquired, allowing changes and dialogues in their exercise as an Arts/Music teacher.
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ALBA OLINKA HUERTA MARTÍNEZ
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FANDANTOLOGY:
migrant autoethnography of a foot percussionist
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Data: 08/02/2023
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By accepting the pandemic silence, that is, staying at home without being able to go out or travel, suspend some activities and face a tragedy, it was necessary to create new searches and other forms of research that made me travel from where I was, and with what I had, sheltering at home. These explorations, through my body, using different fandango compositions, made me travel, and even migrate, yielding to tragedy. And, even with all the vulnerability that surrounded my body because of the virus, which also traveled and migrated, I was crossed by other identities, other lands, other dances, other movements, other listening and other sounds. In this work I share this migratory experience at home and as a foreigner in Brazil. It must be said that this migratory experience did not start with the Covid-19 pandemic and it was through autoethnography that I was able to give an outlet to the incarnated knowledge (parafolkloric technologies) that constitute me, in order to consolidate my approaches to the concept of sonic-corporeal migrations through the seminar 'Del Fandango al cuerpo y de vuelta'.
Key-words: Fandango. Parafolklorisms. Improvisation. Repetition. Migration.
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ROBERTA BENTES FLORES BAYMA
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TEATRO DADIVOSO:
RITOS E ATOS POÉTICOS COMO PRÁTICAS DE CUIDADO DE SI E DE OUTRES
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Data: 06/02/2023
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This thesis-testimony is the work of experimental creation plotted by threads, lines and fibers of fragments and essays that stage poetic acts and rites of artistic creation, offered in favor of ancestral and existential healing through testimonies of life and artistic residence. Written tissue arising from affectations and memories, lived or invented, resulting from experimentation stems from experimentation and creation processes of the actress-psychologist-artist-creator with the dadivosas poetics of healing, as powers of self-care and other. We plot that part of the transformative metaphor of the life cycle of butterflies transmuted into poetic reveries, which produce meanings about the act of researching and creating artistically Braided in cocoon spaces and crossed by other voices, of those who came before and produced other plots, presented through the folds, corners and female crossroads through which the research in art passes and which constitute the confluence of methodological paths experiences between poetic devices. Witness writing that aims to contribute to the deterritorialization of the act of caring for certain fields-power of knowledge, at the same time territorializing meanings of ritualized powers of care in scenic productions of dadivosas poetics that establish lines of contact with other areas of knowledge, scientific and non-scientific, which trigger political, ethical-poetic and spiritual dimensions.
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FRANK DE LIMA SAGICA
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Wanderley Andrade’s cybermorphic brega: inflection points in the contemporary music market.
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Data: 30/01/2023
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This thesis proposes to investigate how the production, circulation and consumption of music developed during and after facing the pandemic caused by the SARS-CoV-2 virus, having as an ethnographic cut the singer Wanderley Andrade, approaching his production with an interpretative look , its adaptability and its articulations on the main digital platforms that have established themselves as the main channels of interaction in the context of social distancing imposed worldwide as a way of containing the contagion and proliferation of COVID-19. I propose to focus on the point of inflection that demarcated the significant changes in the marketing and positional meaning of digital stops in the years 2020/2021, as well as the emergence and application of emergency notices and cultural festivals that supported an entire artistic class. For this, an interview was conducted with the music artist, composer, researcher, music producer and director of the music department of the State Secretariat of Culture of Pará (SECULT) – Allan Carvalho. Through the transformations promoted by technological advances, this thesis proposed a new conceptual-analytical model, which I defined as cybermorphic neopersona, used for a better theoretical framework on the phenomenon of the new identity profile that transits in cyberspaces. This intellectual proposition also intends to launch material that can serve as a bibliographic base for future research that may relate to aspects related to a supposed cybernetic post-modernity. Virtual ethnography was used as a methodological tool, given the difficulty in collecting data in person, as a result of the isolation measures of the pandemic period. The use of new technologies and media, the adaptability of the music market, as well as the analysis of the everyday particularities of a society in transition are themes dear to this study, with ethnomusicology as an elementary key to elucidate the in between where confluences and disruptions occur, among which: music market, glocalization, tribalism, tradition and technology, themes that can, consequently, bring contributions not only to the theoretical field but also to the cultural scope.
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LEONARDO VIEIRA VENTURIERI
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Diálogos Atemporais de Música e imagem: ressignificando a obra de Clemente Ferreira Júnior (1864-1917)
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Data: 26/01/2023
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The present thesis “Timeless dialogues between Music and Image: Resignifying Clemente Ferreira Junior's work (1864-1917)” aims to establish a transdisciplinary dialogue involving musical and imagetic composition, throughout an approach amongst multi-languages in a historical musicology bias. We look for unveiling the music compositional language of the composer Clemente Ferreira júnior, through the analysis of his pianistic work, under the musical and imagetic semiology stance, objecting to comprehend creative (poietic) and perceptive (esthesic) aspects. Consequently, the study seeks to develop a musical product inspired in Clemente Ferreira’s work, to be incorporated in the “Imaginary Landscapes” work, presenting the author’s artistic processes, involving the “Pictoscore” concept, throughout a music memorial.
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SILVIA DO SOCORRO LUZ PINHEIRO
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DA ROSA SALTA GAFANHOTO: TRÂNSITOS ENTRE KATA PESSOAL E POESIA CORPÓREA
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Data: 20/01/2023
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This is a memorial thesis that was divided into five books, which has as its research space the process of creating the scenic work Da Rosa salta Gafanhoto, assuming it as poetics and research methodology. That transits through the feminine dimension of the Samurai, Geisha and Child Luz inherent to the researcher and its relations with the corporeal poetics of each one of them. The research declares to be the grasshopper that jumps from the rose and assumes as the body of the research this jump that it makes and metamorphoses into the three female figures that appear in the thesis, which are ghosts that orbit the researcher, or cracks through which the creation process spreads. The poetics and methodology used in the research permeates the process of how a straw becomes when it starts to dry, to die, becomes flexible, wraps itself in a flower and jumps in the form of a grasshopper, this was the methodology used. Something that unfolds, but first dries up and goes towards death, is that a methodology of death? Of perishing? A poetics of perishing, a poetic method of work, but what is this? A method of poetic flexibility, which contains personal Kata training, the three maskings. I present as theoretical support the concept of performative research that embraces these propositions for the practical studies carried out and for the construction of the writing that emanates from the practices of the workroom. The performative research here is understood according to the precepts of Brad Haseman (2015). The guiding thread of the research is this flexible poetic methodology - Da Rosa jumps grasshopper -, where the martial artist presents the notion of self-creation, by stating that while she generates the work she experiences a series of questions, the empty places of the martial artist and refinements of coherence with the world and with itself, starting to create itself, thus being a process of creation of the work and self-creation of itself in the face of the differences of itself.
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