Academic literature on the topic 'Brazilian dance'
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Journal articles on the topic "Brazilian dance"
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Chasteen, John Charles. "The Prehistory of Samba: Carnival Dancing in Rio de Janeiro, 1840–1917." Journal of Latin American Studies 28, no. 1 (February 1996): 29–47. http://dx.doi.org/10.1017/s0022216x00012621.
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AbstractRio's pre-Lenten carnival and its Afro-Brazilian dance, samba, have been symbols of Brazilian identity since the 1930s. This article explores the choreographical antecedents of samba, before the crystallisation of the modern dance genre with that name, highlighting the importance of earlier social dances in the evolution of the twentieth-century symbol. It traces the development of carnival dancing in Rio de Janeiro from the time when few danced, through the long reign of the polka, to the emergence of generalised carnival street dancing around 1889. A modified view of the roots of samba has interesting implications for on-going debates on the social meaning of Brazilian carnival.
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Costa, Elisa, and Graziela Rodrigues. "Creative Process in the Dancer–Researcher–Performer Method: The Relationship Between the Director and Performer." Congress on Research in Dance Conference Proceedings 2016 (2016): 81–85. http://dx.doi.org/10.1017/cor.2016.13.
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This work presents a previous analysis of the specificities of the relationship between director and performer that exists when using the dancer–researcher–performer method (BPI in Portuguese). BPI is a Brazilian dance creation method in which the performer lives an otherness experience through fieldwork in Brazilian cultural manifestations. In this method, the director acts as a midwife, facilitating the “birth” of a dance that already exists in the performer's body, generated from its encounter with the field.
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Höfling, Ana Paula. "Dancing Mestiçagem, Embodying Whiteness: Eros Volúsia's Bailado Brasileiro." Dance Research Journal 52, no. 2 (August 2020): 59–74. http://dx.doi.org/10.1017/s0149767720000170.
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This article analyzes the processes of branqueamento (whitening) contained within the ideology of mestiçagem (racial miscegenation) through the work of Brazilian dancer, choreographer, and dance pedagogue Eros Volúsia (1914–2004) in the context of the establishment of the myth of racial democracy in early twentieth-century Brazil. I argue that Eros Volúsia not only embodied Brazil's allegedly harmonious racial mixture through her stylized “folk” dances, but her bailado brasileiro (Brazilian ballet) in fact choreographed Brazil's modernity and aspirations of whiteness. I compare Volúsia's prominent career as a performer and pedagogue in Brazil with her brief film career in the United States, where Volúsia had the opportunity to follow in Carmen Miranda's footsteps and become the next “Brazilian bombshell,” but instead chose to return to Brazil, where she was able to maintain her white privilege and her status as author and artist.
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Damon, Jessica. "Vai Sambar! American Meaning Making in Afro-Brazilian Dance." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 49–58. http://dx.doi.org/10.1017/s2049125500000509.
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This paper describes the interaction between an American community of dancers and the wave of Afro-Brazilian influence that entered that community. Through personal experience, academic research, community observation, and conversations, the author examines the role of samba and the religious dances of the orixds within a suburban white community, highlighting how meaning is changed and constructed based on cultural context. The author emphasizes how women in this community responded to the political, social, and sexual implications of a non-native dance form, and how their resulting self-identification as a community was transformed. The essay questions how Americans can locate themselves within the greater cultural context of samba and other Afro-Brazilian dance forms, not simply as cultural outsiders but as women deeply connected to the unique American reality of these practices.
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Dantas, Mônica, Sandra Meyer, and Suzane Weber. "Dance at Graduate Universities in the South of Brazil: Experiences and Perspectives." Congress on Research in Dance Conference Proceedings 2016 (2016): 127–35. http://dx.doi.org/10.1017/cor.2016.18.
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This round table presents an overview of activities developed at higher education institutions with graduate and postgraduate studies in dance in Brazil, especially southern Brazil. Oddly enough, amid the global crisis in early 2008, the Brazilian government launched an educational program that allowed the expansion of courses at the graduate level, including dance, in several public and free universities. As an example of this scenario, we present our experiences in two public universities, UFRGS and UDESC. These dance courses have seen increasing interest and confrontation the presence of artists and researchers seeking to investigate their own work or the work of others. How can we contemplate structuring contents and methods to teach dance in the university context? How does a dance artist associate the experience of dancing to academic research? How does teaching dance force universities to think about embodied knowledge? The situation of teaching dance in Brazilian universities shows that there is still a lot to be done, considering that the creation of these courses is rather new and that dance, in this context, is an area of ongoing consolidation. The struggle to create a greater number of dance courses in universities is part of the discussion of this session. The practice of teaching dance in universities seeks to articulate repertoires of knowledges that belong to different traditions and artistic experiences transversed by reflections about contemporary dance, and to qualify the teacher, the dancer, and the researcher.
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Greiner, Christine. "Researching Dance in the Wild: Brazilian Experiences." TDR/The Drama Review 51, no. 3 (September 2007): 140–55. http://dx.doi.org/10.1162/dram.2007.51.3.140.
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The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle, Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.
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Cálipo, Nara, and Graziela Rodrigues. "Dancer–Researcher–Performer: A Brazilian Method." Congress on Research in Dance Conference Proceedings 2016 (2016): 38–40. http://dx.doi.org/10.1017/cor.2016.6.
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Brazil, a country of miscegenation, saw its culture being built considerably rich from the shock of the differences that were presented here throughout the history: indigenous people (first inhabitants), Europeans (coming from our colonizers), and Africans (through slave labor arising from Africa). The Brazilian method dancer–researcher–performer (BPI, or Bailarino–Pesquisador–Intérprete, in Portuguese) proposes the development of the dancer framed in popular manifestations in Brazil, where the subject first contacts its own origin and then performs field research in some popular manifestation. The experience is unfolded in directed practical labs, where the emotional records of this encounter, between the interpreter and the individuals in the field, are elaborated and developed reaching a very unique and expressive movement quality, coming from the subject in process.In the artistic product created in the BPI, the dancer does not interpret a character: the character is embodied; it lives what emerged from the body; it is a real interlacing and elaboration of the relationship of its country culture with artistic creation.The BPI leads the interpreter in an integrative way, going against the current trend in dance, in which the dancer must leave his or her body at the disposal of idealizations. We will describe a process of a BPI whose fieldwork took place with the Terecô agrarian religious manifestation, rural women who work as breakers of the babaçu coconut. The product of this process, which occurred with the author, was presented in the communities within the Amazon forest in Brazil.
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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada." Per Musi, no. 40 (June 22, 2021): 1–20. http://dx.doi.org/10.35699/2317-6377.2020.26151.
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This paper presents the development process of TumTá, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and Pisada, a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco, Brazil. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. We analyze the process of designing digital technology inspired by Brazilian traditions, present the lessons learned, and discuss future works.
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Almeida, Doris Dornelles de, and Peter Bent Hansen. "Strategic Management Practices in Brazilian Dance Companies: Between Art and Cultural Industry." Revista Ibero-Americana de Estratégia 12, no. 3 (September 1, 2013): 125–50. http://dx.doi.org/10.5585/ijsm.v12i3.1863.
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This paper highlights trough theoretical and empirical research the main practices of dance companies‟ strategic management in Brazil. The theoretical investigation deepens themes as sponsorship, strategic planning, creation and implementation of creative strategies and economic sustainability in dance companies. The empirical research evolves qualitative method, exploratory and interviews with seven Brazilian dance companies managers from: Goiânia (1), Rio Grande do Sul (3), Paraná (1), Rio de Janeiro (1) e São Paulo (1). The analysis of the main practices of dance companies‟ strategic management is: few practice and considerable concern about strategic management planning; resistance to apply management techniques enforcement; audience and sponsors should have limited influence in dance companies‟ management; difficulty to accept itself inside the competitive cultural industry market. This study contributes for the development and state of art of Management science and Dance studies.
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Campos, Flávio, and Graziela Rodrigues. "Dance, Originality, and Otherness: The BPI Method and the Brazilian Cultural Manifestations." Congress on Research in Dance Conference Proceedings 2016 (2016): 41–45. http://dx.doi.org/10.1017/cor.2016.7.
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The purpose of this article is to investigate dancer-researcher-performer (BPI), the Brazilian method of dance composition that was created by professor Graziela Rodrigues in the 1980s. The article aims at showing how such practices are developed from the experience of a performer in relation to some popular manifestation such as a festivity or another cultural event. It also enables one to work directly with popular knowledge that is passed from “generation to generation.” The investigation offers a brief view of my doctoral studies in which I aim at analyzing the aesthetic specificities of this method.
Dissertations / Theses on the topic "Brazilian dance"
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Cunha, Fredyson Hilton Figueiredo. "Koborireboe : uma experiencia em dança com os indios Bororo da aldeia de Meruri em Mato Grosso." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285138.
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Orientador: Graziela Estela Fonseca RodriguesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho de dissertação apresenta a experiência entre os índios Bororo da aldeia de Meruri, no estado de Mato Grosso, utilizando aspectos do Método Bailarino-Pesquisador- Intérprete (BPI), criado pela professora doutora Graziela Rodrigues. O BPI é um método de criação em dança, composto por três eixos fundamentais: o Inventário no Corpo, o Co- Habitar com a Fonte e a Estruturação da Personagem. No eixo do Co-Habitar com a Fonte foram realizadas cinco visitas à aldeia de Meruri, num processo de interação entre o pesquisador e os pesquisados. Concomitantemente às pesquisas de campo e os laboratórios, houve o aprofundamento dos sentidos e significados desta experiência. Possibilitou a experiência de uma dança viva em que as imagens, sensações, sentimentos e movimentos foram trabalhados no corpo do pesquisador. O BPI, como um método que não tem a dança centrada num corpo idealizado, mas que respeita as particularidades, proporcionou ao pesquisador mais que uma investigação em dança, uma experiência transformadora de vida; abrindo caminhos para refletir sobre a dança feita por um corpo real, penetrando nas várias camadas do corpo. No contato do pesquisador com os índios Bororo e o estudo do Método BPI, consolidou-se uma criação em dança.
Abstract: This paper presents an experience among the Bororo, a Brazilian indigenous people settled at the village of Meruri, in the Brazilian state of Mato Grosso, which made use of some aspects from the BPI Method (Dancer-Researcher-Interpreter Method) developed by professor Dr. Graziela Rodrigues. BPI is a method for creation in dance constituted by three fundamental axis: Inventory in the Body, Cohabiting with the Sources and Character Formation. In the Cohabiting with the Sources axis, five visits were made to the village of Meruri, in a process of interaction between the researcher and the researched people. As field research and laboratories took place, the senses and meanings of this experience were analysed to be seen from a deeper perspective. This led to a lively dance in which images, sensations and movements were kneaded in the body of the researcher. BPI, as a method that does not project a dance for an idealized body, but respects the particularities instead, has offered the researcher more than an investigation into dance. It has offered an opportunity for a transforming life experience and opened ways for a reflection into a dance that is done by a real body, and that penetrates all layers of the body. In the contact of the researcher with the Bororo and in the study of the BPI method, a creative process in dance has been consolidated.
Mestrado
Mestre em Artes
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Vieira, Elisa Martins Belém 1982. "Práticas para a plenitude do corpo : aproximações entre performance, autoria e cura." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285278.
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Orientador: Suzi Frankl SperberTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Defende-se uma possível relação entre performance, autoria e cura. Para tanto, apresenta-se a trajetória e a análise de algumas obras dos criadores, respectivamente, das artes visuais, da dança, do teatro: Lygia Clark (BH, MG), Dudude Herrmann (BH, MG) e Enrique Diaz (RJ, RJ). A pesquisa mostrou que os trabalhos desses artistas apresentam um pensamento sobre a transformação da imagem corporal. A recriação de si, por meio da ação criativa, pode ser considerada em sua dimensão curativa. O conceito pulsão de ficção, de Sperber, pode auxiliar na verificação da hipótese. Sperber defende a existência dos chamados "universais" ou "saberes básicos": "Simbolização, efabulação e imaginário pertenceriam ao elemento comum ao ser humano de todas as culturas, em todos os tempos" (SPERBER, 2009, p. 98). Aquilo que está à "disposição de todo e qualquer ser humano"(SPERBER, 2009, p. 98) deve também ser despertado. Pois, como a autora mostra, desde tenra idade a criança tem necessidade de criar, a fim de elaborar emoções profundas e eventos vividos. A criação se dá por meio dos recursos que a criança tem, sejam a linguagem falada ou a encenação corporal. Essa inclinação ou necessidade de elaborar o evento vivido, por meio de uma criação ficcional, se repete em todas as idades do ser humano. Como uma ação de resistência e de procura pela transformação, seria preciso estimular, de forma irrestrita, a pulsão de ficção, por meio da autoria. Os trabalhos de Herrmann, Diaz e Clark, apresentam nas diferentes linguagens artísticas, aspectos autorais, além da valorização do potencial individual para a criação. Por meio das análises, são mostrados os aspectos singulares nas obras desses criadores e em seus trabalhos como pedagogos ou diretores. Mostram-se relações de similaridade e influência entre as obras daqueles artistas brasileiros com os princípios de trabalho do grupo Judson Dance Theater, da década de 1960, em Nova York, bem como seus desdobramentos como o sistema Viewpoints e Six Viewpoints
Abstract: I point out a possible relationship among performance, authorship and healing. For such a reason, I present the career and the analyses of works of art selected from creators of the art fields, respectively, from the visual arts, dance and theatre: Lygia Clark (BH, MG), Dudude Herrmann (BH, MG) e Enrique Diaz (RJ, RJ). The research showed that the works of those artists concerns about a transformation in the body¿s image. The act of recreating yourself, by the creative action, can be considered in its healing dimension. The concept pulse of fiction, by Sperber, can help to verify the hypothesis. Sperber points out the existence of the "universals" or the "basic knowledges": simbolization, efabulation and imagination. Those aspects that are "available to all and any human being" (SPERBER, 2009, p. 98) should be also awakened. As Sperber shows, since an early age the child feels that is necessary to create, in order to elaborate deep emotions and events experienced.The child evocates his or her own resources, such as the spoken language or body's performance, in the process of creation.This aptitude or necessity to elaborate the event experienced, by means of the fictional creation, is repeated in all ages of the human being. As an action to resist and looking for transformation, it would be necessary to stimulate, in an unrestricted way, the pulse of fiction, practicing authorship. The works of Herrmann, Diaz and Clark, shows in different artistic languages, authorial aspects, and also the value of the individual potential to creation. By means of analyses, some singular aspects of the works of those creators and theirs practices as teachers or directors are shown. The thesis shows relations of similarity and influence among the works of those Brazilian artists with some principles of work from the group Judson Dance Theater, of the 1960¿s, in New York, as well as other practices stimulated by this group such as Viewpoints and Six Viewpoints
Doutorado
Artes da Cena
Doutora em Artes da Cena
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Reis, Cacilda Ferreira dos 1968. "Sonhos, incertezas e realizações : as trajetórias de músicos e dançarinos afro-brasileiros no Brasil e na França." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280522.
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Orientador: Liliana Rolfsen Petrilli SegniniTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Résumé: Cette thèse a pour but de réfléchir sur l'activité artistique, son identification spécifique qui la distingue des autres formes de travail. À cette fin, nous aurons à analyser la trajectoire des musiciens et des danseurs qui exercent dans le marché du travail artistique au Brésil et en France. Pour étudier les conditions sociales et historiques qui ont poussé certains jeunes moins nantis du Brésil, principalement ceux de Bahia, à choisir la musique et la danse, liées à la culture afro-brésilienne comme moyen de subversion de leur statut socio-économique, bien comme leurs performances dans le domaine artistique dans les deux pays nous ont amené à construire une problématisation, du point de vue sociologique. Nous avons cherché à comprendre les stratégies individuelles et collectives mises en place par ces sujets en vue de la recherche d'une formation et d'insertion professionnelle dans le domaine du travail artistique, mettent l'accent sur le rôle des réseaux sociaux dans les contextes en étude. L'analyse des trajectoires de ces sujets (recueillies par entretiens semi-structurés, observation participante et les notes quotidiennes prises sur le terrain) nous a permis de prendre en considération les différentes dimensions: l'éducation, la famille, la sociabilité, l'association, la communauté religieuse, le genre ethnique et raciale, les générations, les migrations internationales, le rôle de l'état et la configuration des politiques publiques brésilienne et française. Au Regard de la singularité des trajectoires des sujets à l'étude, les aspects importants qui rendent compte de l'organisation du travail artistique au Brésil, ont contribué au processus de migration. Nous avons constaté que le marché du travail de ces professionnels au Brésil et en France, ont des configurations différentes, en raison de politiques sociales, culturelles, économiques et publics qui marque profondément les deux contextes étudiés
Resumo: Esta tese teve como objetivo refletir sobre a atividade artística, identificando suas especificidades, distinguindo-a das outras formas de trabalho. Com tal propósito, analisamos a trajetória de músicos e dançarinos atuantes no mercado de trabalho artístico no Brasil e na França. Para investigar as condições sociais e históricas que impulsionaram alguns jovens pobres do Brasil, em particular na Bahia, a escolherem a música e a dança, vinculadas à cultura afro-brasileira, como meio de subversão da sua condição socioeconômica, assim como sua atuação nos mercados de trabalho no campo artístico nos dois países, fomos instigados a construir uma problematização, a partir da perspectiva sociológica. Buscamos, assim, compreender as estratégias individuais e coletivas acionadas por esses sujeitos, na busca de uma formação profissional e inserção no campo de trabalho artístico, enfatizando o papel das redes sociais acionadas nos contextos em estudo. A análise das trajetórias destes sujeitos (coletadas por meio da entrevista semiestruturada, da observação participante e das anotações em diário de campo) nos possibilitou considerar diferentes dimensões: educacionais, familiares, sociabilidades, associativas, comunitárias, religiosas, de gênero, étnico-raciais, geracional, migração internacional e do papel do Estado e da configuração das políticas públicas brasileiras e francesas. Observarmos, por meio da singularidade das trajetórias dos sujeitos em estudo, aspectos importantes que conformam a organização do trabalho artístico no Brasil e que contribuíram para o processo migratório. Verificamos que o mercado de trabalho para esses profissionais no, Brasil e na França, apresenta configurações distintas, em decorrência de questões sociais, culturais, econômicas e de políticas públicas que marcam, profundamente, os dois contextos pesquisados
Abstract: The object of this thesis is to reflect on the artistic activity, identifying its specificities, distinguishing it from other work forms. For this purpose, we have analyzed the trajectory of musicians and dancers active in the artistic scene in Brazil and France. In order to investigate the social and historical conditions that drove some of the young poor in Brazil, particularly in Bahia, to choose music and dance linked to Afro-Brazilian culture as a means of subverting their socioeconomic situation, as well as their position in the artistic labor market in both countries, we were instigated to apply a sociological approach. To this end, we endeavored to understand the individual and collective strategies adopted by these subjects in their search for a professional education, and insertion in the artistic work force, emphasizing the role of social networks in the contexts under study. The analysis of their trajectory (collected through semi-structured interviews, participatory observations and notes in field diaries) enabled us to consider different aspects: educational, family, sociability, associative, communitarian, religious, gender, ethnic-racial, generational, and international migration, as well as the role of the State and the configuration of public policies both in Brazil and France. Through the singularity of the trajectories of these subjects, we observed important aspects that shape the organization of artistic work in Brazil, which contributed to the migratory process. We ascertained that the labor market for these professionals in Brazil and France has distinct features, resulting from social, cultural and economic issues, as well as public policies that have a deep impact on the two contexts researcheD
Doutorado
Ciencias Sociais
Doutora em Ciências Sociais
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Macedo, Eliene Nunes. "A dança dos congos da cidade de Goiás: performances de um grupo afro-brasileiro." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5307.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This master thesis introduces the Congo dance, which has been performed in Goiás City (Goiás/Brazil) since the first half of the 18th century. In this ritual, we are able to watch the fight between Moors and Christians. The routine is divided into street parades and representations of an embassy mission, performed by poor Afro-Brazilian men, usually at the city’s Historical Centre (held as a UNESCO world cultural heritage). The performances generally take place during the Divine Holy Ghost and the Our Lady of the Rosary festivals. This is an ethnographic research project, which aims at interpreting the performances of the Congo dance ritual and its complex meaning relations. Therefore, a detailed description of the Congo dance structure was done, by highlighting its gestures, orality, music, clothing and dramatization. Also, as an analytical category, the theoretical background to such cultural performances was reviewed, aiming at analysing the dance and dancers’ embodied knowledge. Furthermore, some questions on the congos’ cultural social historical were raised, bringing some comparison among the thoughts on ethnographic studies on the Congo dance and the possibility of an interlocution between Brandão’s ethnography (1977) and the one presented in this paper. Eventually, the representation and appropriation of this way of expression towards the whole Goiás City’s cultural heritage and how safeguard policy is done were deeply observed. As a conclusion, the study states that the Congo dance from Goiás City is the materialisation of the iconography of people who live, fight, resist and remain.
Esta dissertação apresenta a Dança dos Congos que se realiza na cidade de Goiás (Goiás/Brasil) desde a primeira metade do século XVIII. Nesse ritual, é realizada a luta entre mouros e cristãos e constitui-se em uma performance dividida em marchas de rua e embaixadas, executadas por homens afro-brasileiros, possuidores de poucos recursos financeiros, sendo realizada, sobretudo, no Centro Histórico da cidade (reconhecida como patrimônio mundial pela UNESCO), por ocasião das festas do Divino Espírito Santo e de Nossa Senhora do Rosário. Trata-se de uma pesquisa etnográfica, cujo principal objetivo é interpretar as performances do ritual da Dança dos Congos e as complexas relações de significados naquele sistema cultural. Por isso, primeiramente foi realizada uma descrição pormenorizada da estrutura da Dança dos Congos, destacando gestos, oralidade, músicas, indumentárias, dramatizações. Também foram acionados os referenciais teóricos das performances culturais, enquanto categoria analítica, para analisar o conhecimento encorporado na dança e nos dançantes dos congos. Logo em seguida, levantaram-se algumas questões sobre o contexto sócio-histórico e cultural dos congos, trançando reflexões sobre os estudos etnográficos da Dança dos Congos, explorando a possibilidade de uma interlocução entre a etnografia realizada por Brandão (1977) e a que realizei. E por fim, observaram-se as representações e apropriação dessa forma de expressão em relação ao conjunto de bens patrimoniais da cidade de Goiás e as políticas de salvaguardas executadas por seus detentores. Este estudo permitiu identificar que a performance da Dança dos Congos, da cidade de Goiás é a materialização da iconografia de um povo que vive, luta, resiste e permanece.
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Paixão, Paulo. "Por uma política cidadã do corpo: a função comunicativa do nacionalismo na dança no Brasil." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/5181.
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Previous issue date: 2009-03-30Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The aim of this thesis is to consider some of the key communication strategies tested in different historical periods in Brazil since the 1920s, to construct images of what is identified as a "national body". The signs of this supposed Brazilianness, understood as a set of elements arbitrarily chosen to illustrate the typical Brazilian, have been used on a recurrent practice in the dance in Brazil since its professionalization. The thesis proposes as one of the background elements to this phenomenon, the process of colonization of the country, as some of the most striking images and signs have been built and preserved since then. To analyze the various versions of the "national body", the author has made a review of works that tell the story of this kind of representation of dance (PEREIRA, 2003; KATZ, 1994; NAVAS, 1999), of studies that propose a Brazilian Social Theory (CHAUÍ, 2007; ORTIZ, 2006; SCHWARTZ, 2000) and of the Theory of Bodymedia (GREINER; KATZ, 2005) that moves the discussion of the scope of art history and sociology to the field of communication. The corpus of the thesis was composed by documents (videos, DVDs and photos), by choreographies, articles of newspapers and specialized press and shows. The most significant result was the epistemological displacement of the notions of identity, of national body and of Brazilianness to the context of contemporary discussions which examine the body and culture from a systemic and procedural approach, rather than reduce them to products according to stereotyped parameters and pre-designed models for export
O objetivo desta Tese de Doutorado é analisar algumas das principais estratégias comunicativas testadas em diferentes períodos históricos do Brasil, desde a década de 1920, para construir imagens do que se identifica como um corpo nacional . Os signos desta suposta brasilidade, compreendida como um conjunto de elementos arbitrariamente eleitos para ilustrar o brasileiro típico, foram usados de maneira recorrente na prática da dança cênica no Brasil, desde a sua profissionalização. A Tese propõe como um dos antecedentes deste fenômeno o processo de colonização do país, uma vez que alguns dos signos e imagens representativos da brasilidade foram sendo construídos e preservados desde então. Para analisar as versões históricas do corpo nacional , foi realizado um levantamento bibliográfico sobre a história desse tipo de representação na dança (PEREIRA, 2003; KATZ, 1994; NAVAS, 1999), de estudos que propõem uma Teoria Social Brasileira (CHAUI, 2007; ORTIZ, 2006; SCHWARTZ, 2000) e da Teoria do Corpomídia (GREINER; KATZ, 2005) que desloca a discussão do âmbito da História da Arte e da Sociologia para o da Comunicação. O corpus da Tese foi composto por documentos (vídeos, DVDs e fotografias), de coreografias, artigos de jornais diários e da imprensa especializada e registros de espetáculos. O resultado mais significativo foi o deslocamento epistemológico das noções de identidade, de corpo nacional e brasilidade para o âmbito de discussões contemporâneas que analisam o corpo e a cultura do ponto de vista sistêmico e processual, ao invés de reduzi-los a produtos estereotipados, de acordo com parâmetros preconcebidos e modelos para exportação
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Teixeira, Ana Cristina Echevenguá. "Companhias oficiais brasileiras e seus desdobramentos: o caso das companhias 2 na mídia." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5111.
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Previous issue date: 2008-08-26The following essay intends to conduct a critical study of the dance companies born from public institutions and official Brazilian foundations with the objective of harboring senior artists. These national companies, in their totality, are born from the division of another, already existing one and establish themselves through the dislocation from the main office towards the newly created division of performers around the age of 40. In Brazil, there are 3 dance companies belonging to public domain which fit that profile: Co. 2 of BCSP (São Paulo City Ballet) 1999 (SP), Guaíra 2 Dance Co. (G2) of the Guaíra Theatre Ballet 1999 (PR) and Balé Teatro Castro Alves 2 (BTCA 2) of the Castro Alves Theatre Ballet 2004 (BA). The lever for this research was the project Um Diálogo Possível? , produced in the year 2005, which brought together the cast of Co. 2, independent creators/interpreters, researchers, theoreticians and other invited professionals. The intent was to harbor debates on the established relationships and the creative process being generated from the meeting of professionals with distinct bodily and intellectual experiences. The problems and achievements generated by this proposal incited this research. The interest is in discussing and analyzing new forms of acting and to promote means of accumulating efforts and multiplying action in the understanding of dance in public spaces, especially in Co. 2 of BCSP. The printed and digital media were also research resources utilized for this essay, for it is in them that we find the largest amount of information on this project. As a theoretical basis, this research is supported by the studies of the processes of creation with peircean semiotic basis, specifically the critique of creative processes (SALLES, 2006), and by the thinking of Morin (2005) on the complexity, discussing it, from his analyses, cultural determinisms and effervescences of the culture: imprinting↔breach. To render problematic/put in doubt the formation of the public companies, the work of Santos (2006), which discusses translation and application of general theories in the culture, will give bibliographic support
A presente dissertação pretende fazer um estudo crítico sobre as companhias de dança que nascem nas instituições públicas e fundações oficiais brasileiras com intuito de abrigar artistas seniores. Essas companhias nacionais, na sua totalidade, surgem da divisão de outra já existente e se constituem através do deslocamento, da matriz para a nova divisão criada, de intérpretes que atingem idade em torno de 40 anos. No Brasil, são três as companhias de dança pertencentes ao poder público que apresentam esse perfil, a saber: Companhia 2 (Cia. 2) do Balé da Cidade de São Paulo 1999 (SP), Guaíra 2 Cia. de Dança (G2) do Balé Teatro Guaíra 1999 (PR) e Balé Teatro Castro Alves 2 (BTCA 2) do Balé Teatro Castro Alves 2004 (BA). A alavanca para esta pesquisa foi o projeto Um Diálogo Possível?, realizado no ano de 2005, que reuniu o elenco da Cia. 2 do Balé da Cidade, criadores-intérpretes independentes, pesquisadores, teóricos e outros profissionais convidados. A intenção foi abrigar debates sobre as relações estabelecidas e sobre o processo criativo que estava sendo gerado a partir do encontro de profissionais com distintas experiências corporais e intelectuais. Os problemas e as conquistas gerados por essa proposta suscitaram esta pesquisa. O interesse está em discutir e analisar novas formas de atuar e promover meios de aglutinar esforços e multiplicar ações no entendimento de dança nos espaços públicos, em especial na Cia. 2 do Balé da Cidade de São Paulo. A mídia impressa e a mídia digital também foram recursos de pesquisa utilizados para esta dissertação, pois são nelas que se encontram o maior conjunto de informação sobre esse objeto. Como fundamentação teórica, a pesquisa está sustentada pelos estudos sobre os processos de criação de base semiótica peirceana, mais especificamente a crítica dos processos criativos (SALLES, 2006), e pelo pensamento de Morin (2005) sobre a complexidade, discutindo-se, a partir de suas análises, determinismos culturais e efervescências da cultura: imprinting↔brecha. Para problematizar a formação das companhias públicas oficiais, a obra de Souza Santos (2006), que discute sobre tradução e aplicação de teorias gerais na cultura, dará apoio bibliográfico
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Ferreira, Junior Antonio Marcos. "A dança dos orixás de Augusto Omolu e suas confluências com a antropologia teatral." Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/12287.
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Fundação de Amparo a Pesquisa do Estado de Minas GeraisThe focus on this work is based on the Orixá´s Dance developed by Augusto Omolu in a transcultural perspective that combines the principles of formation that belongs to Eugenio Barba´s Theatrical Anthropology and utilized by actors and dancers. Here, I present the results of this Field research that occurred on Salvador (Bahia´s State Capital) on the first semester of 2010. It is divided in four parts: The First part begins ―Through me‖; Experiences; living (among others); tensions; I present those impressions, sensations of a personal process with a large amount of subjectivity. I also made an analysis and presented in the process of my artistic development and social-psicophysical. It goes from body weirdness (strangeness of body´s behavior) and methods, to the creation (incorporated) of my own way to participate and execute the gestures and methods normally used on physical preparation. On second part of this research, I present the master´s speach using transcriptions of his classroom allowing to observe and understand the way he absorved and reorganized the theatrical antropology and how he applies it on body´s principles that were absorved from candomblé´s dance. In the third part "Orixá´s dance; Theatrical Anthropology; Actor/ Dancer - Triangulo love" I present the theatrical Anthropology´s concept over the Eugenio Barba´s Speach (teachings) such as some of his followers regarding to energy, dilatation, body issues, resistance and training. On fourth part I present a brief historiography of cultural formation on Brazilian´s Candomblé, and pinpoint their nations natural providers as responsable for an authentic Brazilian religious and artistic culture. At the end of this work I defend the legitimacy and consistence of Master Augusto Omolu´s proposal, that elaborated a Dance technique that offers social - psicophysics and artistic conditions to researchers and artists to analyse and develop several works through a Brazilian Dance with an Africa Essence and begining.
O foco da presente dissertação é a Dança dos Orixás elaborada por Augusto Omolu na perspectiva da experiência com os princípios de formação do ator/bailarino encontradas na Antropologia Teatral de Eugênio Barba. Neste trabalho a experiência tem papel central como metodologia e também como abordagem: a pesquisa se fez em campo. O presente trabalho se divide em quatro partes. Na primeira parte através do eu; experiências; com-vivências; apreensõe apresento as impressões, sensações de um processo que foi pessoal com grande carga de subjetividade. Apresento, também, análises do meu processo de desenvolvimento artístico e sócio-psicofísico. Na segunda parte apresento as falas do mestre usando as transcrições de suas aulas que tornam possível ver e entender como ele absorveu e reorganizou os princípios da Antropologia Teatral e por outro lado como os aplica nos princípios corporais absorvidos na dança do candomblé. Na terceira parte Dança dos Orixás; Antropologia Teatral; Ator/ Bailarino Triângulo Amoroso apresento os princípios da Antropologia Teatral que se destacam nas falas de Eugênio Barba - e de alguns de seus colaboradores em especial, energia, dilatação corporal, pré-expressividade, resistência e treinamento. Na quarta parte, apresento uma breve historiografia da formação da cultura do candomblé no Brasil, e aponto as nações vindas de lá como responsáveis pela formação de uma cultura religiosa e artística eminentemente brasileiras. Ao final desta dissertação, defendo a legitimidade e consistência da proposta de Mestre Augusto Omolu elaborador de uma ―técnica‖ de dança que oferece condições sócio-psicofísicas e artísticas para pesquisadores e artistas que querem analisar e desenvolver trabalhos a partir de uma dança brasileira de matriz africana.
Mestre em Artes
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Costa, Daniel Santos 1986. "Encruzilhadas do corpo (em) processo : f(r)icção arte-vida na criação de uma dança-teatro brasileira." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285211.
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Orientador: Grácia Maria NavarroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação apresenta as encruzilhadas de um corpo em processo de criação, profanando possibilidades autorais para a produção de conhecimento nas artes da cena a partir de uma perspectiva dialógica a qual busca friccionar arte e vida. O corpo (em) processo, visto sob um prisma da autobiografia de um sujeito que fala de si, experimenta epistemologias locais advinda do universo da oralidade popular brasileira como tentativa de fuga dos processos centralizadores, além disso utiliza a autoetnografia como uma possibilidade metodológica para projetar seu ponto de vista sobre o mundo através das artes da cena. Nessa práxis, o corpo sensível percebe o mundo e dialoga com ele, destacando um peculiar modo de fazer-pensar a cena contemporânea neste entrelugar que é a encruzilhada, um espaço possível para o híbrido. De tal local, foi possível emergir um ponto de vista privilegiado no sentido da multiplicidade que o referido espaço provoca, seja na possibilidade do novo, do vir a ser, ou, mesmo, nas provocações e referenciais deste. A resultante experimental do processo em questão é apresentada na forma de uma dança-teatro brasileira a qual problematiza uma construção teórica a partir da prática. O diálogo revelou um sujeito/personagem singular que entrecruza, em seu cotidiano, devoções populares ¿ Umbandas e Folias de Reis, realidade e ficção, memória e presentificação, constituindo um personagem que apresenta comportamento cultural de "um brasileiro" dentre as tantas possibilidades de "ser brasileiro" que a pluralidade da cultura nacional promove. Elucida-se, então, a importância da instauração de processos de criação para a produção das especificidades que geram conhecimento nas artes da cena com levando em conta as possibilidades de descobrir caminhos próprios, singulares, além de questionar a inversão ou o descarte de hierarquias, problematizando suas essências e produzindo uma cena pautada na diferença, na desestabilização dos centros reguladores do pensamento dominante
Abstract: This master¿s thesis presents the crossroads of a body in a creation process, profaning authorial possibilities for the production of knowledge in the performing arts, from a dialogic perspective, which desires to friction art and life. The body (in) process, seen by the prism of an autobiographical individual that speaks of himself, experiences local epistemologies coming from the universe of Brazilian popular orality as an attempt to escape from centralizing processes. Moreover, he uses autoethnography as a methodological possibility to project his point of view about the world through the performing arts. On this praxis, the sensible body realizes the world and dialogues with it, highlighting a peculiar way of doing - and thinking over - the contemporary scene in this in-between place, the crossroads, a possible space for the hybrid. From such position, it was possible to emerge a privileged point of view in the sense of the multiplicity that the reported space provokes, either when it comes to the possibility of the new, of something that comes to become something else, or even when related to its provocations and references. The experimental process result under discussion is presented in the form of a Brazilian dance-theater, which will be capable of problematizing a theoretical construction through practice. The dialogue revealed a singular subject/character that intersects in their daily life, popular devotions - Umbanda and Folia de Reis, reality and fiction, memory and presentification, constituting a character presenting cultural aspects of a "Brazilian" among the many possibilities "be Brazilian" that the diversity of national culture promotes. Hence, it is elucidated the importance of establishing creation processes for the production of specificities that beget knowledge in the performing arts taking into account the possibilities of discovering personal, singular ways, besides questioning the inversion or the discard of hierarchies, problematizing their essences and producing a scene based on difference, on the destabilization of centers that regulate dominant thinking
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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Rodrigues, Vanúzia Almeida. "Música popular e dança de salão: o maxixe nos jornais norte-americanos do início do século XX." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-27032018-171249/.
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Este trabalho trata da circulação de notícias do maxixe brasileiro nos jornais estadunidenses no começo do século XX. Os periódicos colhidos no repositório Newspaperarchive foram sistematizados nos moldes de um corpus documental. Este foi o principal objetivo do trabalho ora apresentado: produzir um instrumento de pesquisa através da construção de uma coletânea com todas as matérias a respeito do maxixe brasileiro, publicadas nos jornais dos Estados Unidos, na forma de anúncios, artigos, contos, notas, notícias e poemas, entre 1906 momento em que encontramos a primeira notícia focalizando o tema , e o final dos anos 1930, quando já vinha se desenvolvendo no Brasil uma música tipicamente nacional e os produtos da cultura brasileira já tinham circulado pelo mundo, especialmente Europa e Estados Unidos. No período estudado, música popular é música de divertimento, feita para dançar. Dançar nos salões do Brasil, nos dancings de Paris, nos ballrooms americanos, mais do que moda, era uma forma de participar da sociedade, de se inteirar das novidades, dos passos mais conhecidos, afinal a música popular e a dança coreográfica são expressões artísticas que transitam entre as diferentes classes sociais. O maxixe nasceu miscigenado, reflete a misturada de ritmos e gêneros, presentes no Brasil desde o século XVIII, como o batuque, o lundu (ambos de matriz africana). Mas, recebeu também forte influência de gêneros europeus como a modinha, e mais tarde da polca (século XIX) e do choro uma invenção brasileira. Como toda dança, causou escândalo quando surgiu, em virtude dos movimentos considerados ousados, extravagantes e lascivos. Pouco a pouco, os passos exibidos nos cabarés do Rio de Janeiro transformaram-se, adequando-se aos ambientes dignos da sociedade brasileira, e é assim que passam a ocupar os salões frequentados pelas classes mais abastadas. No eixo internacional, Paris foi a bússola que orientou e pautou os códigos de comportamento no mundo inteiro, principalmente durante a Belle Époque. As viagens de músicos, agentes, mecenas etc. e de objetos sonoros através do Atlântico são vistas pela perspectiva da transculturação. O contato entre grupos de culturas diferentes contribui para que os artistas e sua arte se transformem e isso ocorre independente do processo de dominação econômica, uma vez que todos passam por mudanças (dominados e dominantes). Por outro lado, o conceito de triangulação é apropriado para compreender o modo como circulam os objetos sonoros e dançantes, e proporciona o mapeamento dos lugares por onde transitaram tais objetos, colaborando para a percepção dos aspectos que estão em jogo na circulação deles. Nos Estados Unidos, as escolas, as universidades e a técnica, de um lado; e a família e os professores de dança, de outro, foram centrais ao processo de branqueamento que permitiu a aceitação do maxixe. Por outro lado, o teatro de caráter trovadoresco - onde se inclui o vaudeville e, mais tarde, os musicais no teatro e no cinema, colaboraram para que a música e a dança maxixe continuassem presentes naquele país, avançando além dos anos 1930. A difusão do maxixe obedeceu à lógica da indústria cultural, articulando-se aos mecanismos de reprodutibilidade próprios do mercado.This paper explores the circulation of Brazilian maxixe news in American newspapers at the beginning of the 20th century. The journals collected in the Newspaperarchive repository were systematized in the form of a documentary corpus. This was the main objective of the work presented here: to produce a research instrument through the construction of a collection of all the Brazilian maxixe materials, published in the United States newspapers, in the form of advertisements, articles, short stories, notes, news and poems, between 1906 - when we found the first news focusing on the theme - and the late 1930s, when Brazilian music was already developing in Brazil, and the products of Brazilian culture had already circulated throughout the world, especially in Europe and the United States. In the period studied, popular music is fun music, made for dancing. Dancing in the halls of Brazil, in the dancings of Paris, in the American ballrooms, more than fashion, was a way to participate in society, to find out about the news, the best known steps, after all, popular music and choreographic dance are artistic expressions which pass through the different social classes. Maxixe was born miscegenated, reflects the \"mixed\" rhythms and genres, present in Brazil since before the 18th century, such as the batuque, the lundu (both African matrix). But it was also strongly influenced by European genres such as modinha, and later by the polka (19th century) and choro - a Brazilian invention. Like all dance, it caused scandal when it arose, by virtue of the movements considered daring, extravagant and lascivious. Little by little, the steps displayed in the cabarets of Rio de Janeiro were transformed, adapting themselves to the \"dignified\" places of Brazilian society, and that is how they began to occupy the ballrooms frequented by the wealthiest classes. On the international axis, Paris was the compass that guided and led the codes of behavior throughout the world, especially during the Belle Époque. The trips of musicians, agents, patrons, etc. and sound objects across the Atlantic are seen from the perspective of transculturation. The contact between groups of different cultures contributes to the transformation of artists and their art, and this occurs independently of the process of economic domination, since all undergo changes (dominated and dominant). On the other hand, the concept of triangulation is appropriate to understand the way the sound and dance objects circulate, and it provides a mapping of the places through which these objects transited, collaborating to the perception of the aspects that are at play in their circulation. In the United States, schools, universities and technique, on the one hand; And family and dance teachers on the other, were central to the bleaching process that allowed the acceptance of the maxixe. On the other hand, theater like a vaudeville and, later, musicals in the theater and in the cinema, collaborated so that the music and the maxixe dance continued present in that country, advancing beyond the 1930s. Diffusion of the maxixe obeyed the logic of the cultural industry, articulating itself to the mechanisms of reproducibility proper to the market.
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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.
Full textBooks on the topic "Brazilian dance"
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Assunção, Matthias Röhrig. Capoeira: A history of the Afro-Brazilian martial art. New York: Routledge, 2004.
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Unknown Capoeira: Secret techniques of the original Brazilian martial art. Tel Aviv, Israel: Dekel Pub. House, 2009.
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Capoeira, a Brazilian art form: History, philosophy, and practice. 2nd ed. Berkeley, Calif: North Atlantic Books, 1986.
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Cypriano, Fabio. DAS: Um olhar contemporâneo sobre um trabalho da Cia. Terceira Dança. São Paulo, SP: Editora Annablume, 1995.
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Merrell, Floyd. Capoeira and Candomblé: Conformity and resistance through Afro-Brazilian experience. Princeton, NJ: Markus Wiener Publishers, 2005.
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Performing Brazil: Essays on culture, identity, and the performing arts. Madison, Wisconsin: The University of Wisconsin Press, 2015.
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Ring of liberation: Deceptive discourse in Brazilian capoeira. Chicago: University of Chicago Press, 1992.
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Lux, Doron. Ḳapoʼerah: Z'ingah ʻal ḥod ha-taʻar. Tel Aviv: ha-Ḳibuts ha-meʼuḥad, 2005.
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Deslocamentos armoriais: Reflexões sobre política, literatura e dança armoriais. Recife: Editora Universitária UFPE, 2012.
Find full textBook chapters on the topic "Brazilian dance"
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Rosa, Cristina F. "Brazilian Bodies and Nationalism in Dance." In Brazilian Bodies and Their Choreographies of Identification, 151–75. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137462275_7.
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Goldschmitt, K. E. "Brazilian Music as World Music in the Late 1980s." In Bossa Mundo, 106–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0005.
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This chapter traces the development of Brazilian music within a “world music” framework, through the influence of music compilations in contrast with attempts to market a short-lived world dance craze (lambada), and through the participation of Margareth Menezes in a high-profile international tour. These musical phenomena owed their heightened prominence to contact between Brazilians and enterprising outsiders in Brazil, especially in the state of Bahia. Brazil’s international musical brand would be linked either to the kinds of music that US-based rock and pop musicians tapped in their effort to revitalize their sound, or to specialist record labels compiled to meet the rising demands of the market. Through these contrasting examples, the chapter historicizes the emergence of “world music” as a marketing genre and subject of scholarly inquiry.
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Glowczewski, Barbara. "Cosmocolours: A Filmed Performance of Incorporation and a Conversation with the Preta Velha Vó Cirina." In Indigenising Anthropology with Guattari and Deleuze, 359–76. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0014.
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Glowczewski comments here on an experimental process of anthropological restitution. She designed the performance Cosmocouleurs for the exhibition The Beast and Adversity (Geneva, 2015) to invite the audience to share a feeling of cinema-transe. She asked Clarissa Alcantara – a Brazilian performance artist, philosopher and also squizoanalytical therapist trained in Deleuze and Guattari studies- to dance while she followed her projecting Umbanda rituals that she filmed in 2013 and 2015 (in Florianopolis, Brazil. Images made during a session of Exu where the participants dance in a state of incorporation by Orixás and other entities were moving on the dancer who in the process experimented another form of incorporation. The second part of the text is a transcription of a conversation between the anthropologist and the spirit Vó Cirina (Grandma Cirina), an old Black woman (Preta Velha) incorporated in Abílio Noé da Silveira, the babalorixá of the Tenda Espírita Vó Cirina in Florianópolis (Brazil), who accepted the process of the Geneva performance. First published in 2017.
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Dunn, Christopher. "Black Rio." In Contracultura. University of North Carolina Press, 2016. http://dx.doi.org/10.5149/northcarolina/9781469628516.003.0005.
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Chapter Four examines the specifically black urban counterculture associated with the so-called Black Rio movement. Black Rio was a cultural phenomenon that brought together predominantly black, working-class youth from Rio’s north zone for dance parties, called bailes soul featuring recorded music from the United States. The author discusses in particular the work of Dom Filó, a black activist and baile soul promoter. At the same time, local Brazilian artists, like Tim Maia and Gerson King, forged a distinctly Brazilian soul music sung in Portuguese. Largely dismissed by critics as a passing fad, the Black Rio movement can be understood as a cultural response to dominant racial discourse, which celebrated Brazil as a racially democratic mestiço nation largely free from racism. Though not overtly or stridently political, the Black Rio movement created conditions for Afro-Brazilian youth to affirm a distinct ethnic identity. This chapter places these black cultural movements in the context of countercultural discourse, seeking to explore points of dialogue and discord with other social movements.
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Rubin, Joel E. "Szpilman, Bajgelman, Barsht." In Polin: Studies in Polish Jewry Volume 32, 193–218. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0012.
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This chapter focuses on the post-war fate of the Szpilmans, Bajgelmans, and Barshts, which are an extended family of professional Jewish instrumentalists that originated from Ostrowiec Swietokrzyski in Poland. It explores how the Szpilmans, Bajgelmans, and Barshts played important roles as performers and composers in genres as diverse as instrumental klezmer, jazz, chamber, symphonic music, Yiddish theatre, vaudeville, and Brazilian dance music. It also mentions Władysław Szpilman as the most famous family member, whose memoirs formed the basis of Roman Polanski's Oscar-winning film, The Pianist. The chapter provides an ethnography of elderly living musicians that became part of salvage ethno-musicology, cultural history, and genealogy. It looks into activities of professional Jewish musicians from klezmer families, whose work and experience expanded in a number of directions, especially during the second half of the nineteenth century.
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Budasz, Rogério. "The Craft of Portuguese Opera." In Opera in the Tropics, 63–111. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0003.
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This chapter discusses the role of Brazilian playwright Antonio José da Silva in the emergence of Portuguese comic opera during the early eighteenth century and examines the rationale and mechanisms of circulation and adaptation of folhetos de cordel, pliegos, and libretti that were set to music and staged in Portugal and in Brazil. This analysis examines Silva’s appropriation and subversion of theatrical models of the time and the transformation of the concept of opera in Portugal and Brazil, taking into account local needs and tastes, performance practice, artistic autonomy, and politics. The second part of the chapter examines opera in the context of a theatrical function, considering its integration into spectacles that included a number of diverse genres, some of them with a clear ideological or pedagogical nature (loas, elogios), and others of a more entertaining character (dances, ballets).
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Eisner, Martin. "The Dream (Film)." In Dante's New Life of the Book, 45–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869634.003.0003.
Full textAbstract:
This chapter begins with a scene from the 2001 film Hannibal, where the recitation of Dante’s first poem from the Vita nuova plays a crucial part in elaborating the main character’s cannibalism, and a passage from Luciano Berio and Edoardo Sanguineri’s polyphonic setting of Dante’s dream in their musical work Laborintus II. Arguing that these popular adaptations bring into focus Dante’s distinctive mixing of horror and humor, this chapter uses the cannibalist theme to understand Dante’s relationship with his first friend Guido Cavalcanti. Drawing on the idea of cultural cannibalism developed in the Brazilian Antropófago movement, which was itself deeply informed by Dante, the chapter explores the significance of Dante’s relationship with Cavalcanti by exploring the different ways scribes and editors have presented their poems on the page. This inquiry also addresses larger transformations of Dante’s book such as the tendency to reduce it to its poetic components alone following the model of Petrarch.
Conference papers on the topic "Brazilian dance"
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Tragtenberg, João, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10426.
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This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.
Full textAbstract:
The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global reality that led to the creation of an international movement called Black Lives Matter (BLM), a movement against all types of racism towards the black people specially by the police and the state. The BLM movement also aims to connect black people of the entire world against the violence and for justice. In our work, we try to establish a link between the reality of black people in Brazil with the culture of black people around the world, connecting people and artists to perform a tribute to the black lives harved by the state force. For this, the piece uses web content, news, pictures, YouTube’s videos, and more, to create a collage of visual and musical environment merged with expressive movements of a dance, combining technology and gestures. Black culture beyond violence because we believe that black lives matter. such as the Ku Klux Klan, which bring the black population of the world into concern for possible setbacks in their rights. In Brazil, it is not different. Brazil is the non African country with the biggest afro descendant population in the world and one of the last country in the world to abolish slavery. Nowadays, a black person is 3 times more propense to be killed and most part of the murders in the country happened to afro Brazilians. Marielle Franco, a black city councillor from Rio, the only black female representative and one of seven women on the 51-seat council was killed in 2018. The killers were two former policeman. According to Human Rights Watch, the police force in the state of Rio de Janeiro, Brazil, killed more than 8,000 people between 2005 and 2015, 3/4 of them were black men. At the same time, the African culture strongly influenced the Brazilian culture and most part of the traditional Brazilian music and rhythms can be considered black music.