Journal articles: 'Brazilian dance'

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Vieira, Alba Pedreira. "A Brazilian Hoe: Education in and through Dance—Unlocking Children's Potential for Dance Appreciation." Congress on Research in Dance Conference Proceedings 41, S1 (2009): 284–92. http://dx.doi.org/10.1017/s2049125500001230.

Full text

Abstract:

This paper discusses an action research project conducted for three semesters at two Brazilian cities: Vicosa and Paula Candido. It describes meanings, elements, and processes of education in dance appreciation experienced by K-12 public school students. The pedagogical method assured participants' attendance of ninety-minute dance classes once a week. The research method included qualitative analysis of more than two hundred written and oral answers from children and adolescents to questionnaires about dance appreciation, of their videotaped classes and performances, and of systematic on-site observations. The paper concludes with reflections on the future of dance appreciation in education.

APA, Harvard, Vancouver, ISO, and other styles

12

Vieira, Alba Pedreira. "Creative Process and Transformative Dance in Brazil." Congress on Research in Dance Conference Proceedings 2014 (2014): 145–55. http://dx.doi.org/10.1017/cor.2014.21.

Full text

Abstract:

This paper explores dance issues focusing on the creative process as it relates to transformative dance, embodiment, and power relations from an embodied perspective. I will illustrate the complexity of the Brazilian dance context in relation to similar as well as diverse aspects in a globalized society. The focus is on transformative dance as intimately related to values from an embodied perspective that defies contemporary thoughts on power relations between choreographers and dancers. This way of thinking and acting poses implications and challenges that might lead toward transformative dance through new ways of approaching self, world, body, power, and knowledge. Emphasizing the multiple dimensions of dance composition and research on dance in Brazil, the presentation is also intended to enrich, exchange, and mutually comment on ideas and issues raised.

APA, Harvard, Vancouver, ISO, and other styles

13

Braga, Paola Secchin. "Hidden Creators, Silent Authors." Congress on Research in Dance Conference Proceedings 2016 (2016): 379–85. http://dx.doi.org/10.1017/cor.2016.50.

Full text

Abstract:

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

APA, Harvard, Vancouver, ISO, and other styles

14

Bahia, Joana. "Dancing with the Orixás." African Diaspora 9, no. 1-2 (2016): 15–38. http://dx.doi.org/10.1163/18725465-00901005.

Full text

Abstract:

This article explores how the body and dance play a central role in the transnationalization of Candomblé among Afro-descendant people and increasingly for white Europeans by creating a platform for negotiating a transatlantic black heritage. It examines how an Afro-Brazilian artist and Candomblé priest in Berlin disseminate religious practices and worldviews through the transnational Afro-Brazilian dance and music scene, such as during the annual presence of Afoxé – also known as ‘Candomblé performed on the streets’ – during the Carnival of Cultures in Berlin. It is an example of how an Afro-Brazilian religion has become a central element in re-creating an idea of “Africa” in Europe that is part of a longer history of the circulation of black artists and practitioners of Candomblé between West Africa, Europe and Latin America, and the resulting creation of transnational artistic-religious networks.

APA, Harvard, Vancouver, ISO, and other styles

15

Spanos, Kathleen A. "A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo." Dance Research Journal 51, no. 3 (December 2019): 28–46. http://dx.doi.org/10.1017/s0149767719000305.

Full text

Abstract:

Frevo is an energetic dance from Recife, the capital of Brazil's northeastern state of Pernambuco. Frevo is a dance of resistance because it narrates complex notions of identity that contribute to social empowerment through strategic processes of liberation for marginalized groups. The dance originates from the Brazilian martial art of capoeira and it is carnivalesque because it is performed in crowded, often violent streets during carnival, when power hierarchies are disrupted. Through this ethnographic research, I consider how frevo practitioners engage in cultural resistance using a practice that I call “carnivalesque improvisation.”

APA, Harvard, Vancouver, ISO, and other styles

16

Roble, Odilon José, Jéssica Bonvino e Silva, and Maisa Amstalden. "Capoeira as an Emerging Possibility to Decentering Contemporary Dance Experiences (Workshop)." Congress on Research in Dance Conference Proceedings 2014 (2014): 136–39. http://dx.doi.org/10.1017/cor.2014.19.

Full text

Abstract:

Capoeira is a Brazilian art, expressed by game, fight, and dance. Its movements comprise a wide range of possibilities, alternating planes, turns, balances, supports, and floor-work, pointing to its relevance for technical processes in dance. However, capoeira is also deeply marked by an aesthetic that goes beyond the movement itself. Values, beliefs, habits, and Brazilian customs are rooted in its practice. Authors such as Frigerio show characteristics such as theatricality and malice, noting that a certain ritual role of capoeira seems to be more important in practice than a combative efficiency. In the Unicamp Physical Education Faculty, a survey is being developed in which capoeira serves as contribution to the dancer's work. Besides the physical skills, we are identifying the formation of an aesthetic expression corresponding to this identity in the process of capoeira, which sent us to the concepts of “kinesthetic transit” and “resonance.” Our proposal for this conference is to present our practical research that understands capoeira, including its rituals, theatricality, and values, as an emerging possibility to decentering dance experiences, due to this traditional phenomenon as not being exclusively a local practice anymore, but also a possible source to contemporary dance in the current cultural interchange.

APA, Harvard, Vancouver, ISO, and other styles

17

Duin, Renzo. "Historical complexity of myth: in search of the genesis of the whip-dance whereby Wayana dance in imitation of Tamok (Eastern Guiana Highlands)." Boletim do Museu Paraense Emílio Goeldi. Ciências Humanas 9, no. 3 (December 2014): 741–72. http://dx.doi.org/10.1590/1981-81222014000300013.

Full text

Abstract:

This article discusses the conditions of the genesis of the nineteenth century Wayana whip-dance, aiming for what Terence Turner coined "ethno-ethnohistory", through the method of Neil Whitehead's "ethnography of historical consciousness". This study outlines an indigenous historical consciousness of the social present in Guiana as related to events from the past, by means of the entanglement of things, places, and people related to this whip-dance ritual. The article discusses the Eastern Guiana whip-dance as a social field of interaction in three regions and three time periods: (1) the Upper Maroni Basin (French Guiana and Suriname) in the early twenty-first century; (2) the Franco-Brazilian Contested area (today's Brazilian Amapá) in the nineteenth century; and (3) a posited origin of this 'mythstory' at the Lower Amazon in the sixteenth century. Rather than conducting a study of a 'lost tradition', these three case-studies will provide insight into the process of how Wayana indigenous people have managed their histories of first contact in Guiana through ritual performance and the materialization of the evil spirit Tamok.

APA, Harvard, Vancouver, ISO, and other styles

18

Pinheiro, Cezar Augusto Brito, Cid André Fidelis-de-Paula-Gomes, Vinício dos Santos Barros, Josane Soares Pinto Melo, Daniela Bassi-Dibai, and Almir Vieira Dibai-Filho. "Self-Estimated Functional Inability because of Pain questionnaire for Brazilian workers with musculoskeletal pain: face and content validity." Fisioterapia e Pesquisa 27, no. 3 (July 2020): 299–305. http://dx.doi.org/10.1590/1809-2950/19031027032020.

Full text

Abstract:

ABSTRACT Our study aimed to perform the face and content validity of Self-Estimated Functional Inability because of Pain (SEFIP) for workers, here called the SEFIP-work questionnaire. This is a questionnaire validity study. Our group previously translated and adapted the original version of the SEFIP, which was developed to investigate musculoskeletal pain and dysfunction to be applied to dancers (SEFIP-dance). However, due to the broad scope of the SEFIP-dance, we made changes and adaptations in the Brazilian Portuguese version of the SEFIP-dance to allow its use in workers. Therefore, face and content validity were performed for the development of the SEFIP-work based on opinions of committee of occupational disease and rehabilitation experts. After face and content validity, this SEFIP-work version was applied to 30 working individuals with musculoskeletal pain. The participants were native Brazilian Portuguese speakers aged 18 years and older. Thus, three changes were made to the questionnaire. All participants understood the SEFIP-work items and alternatives. The average total SEFIP-work score was 6.59 (SD=3.66), with the item “parte inferior das costas” (lower back) being the most marked (n=28; 93.33%), with an average score of 1.18 (SD=0.73). In conclusion, the Brazilian Portuguese version of SEFIP-work presents an acceptable level of understanding by workers in the investigation of musculoskeletal pain or discomfort.

APA, Harvard, Vancouver, ISO, and other styles

19

Höfling, Ana Paula. "Pedagogy of the Possessed: re-thinking the Dancer-Researcher-Performer (BPI) method in dance curricula in Brazil." Revista Brasileira de Estudos da Presença 6, no. 2 (August 2016): 287–308. http://dx.doi.org/10.1590/2237-266058130.

Full text

Abstract:

Abstract: This paper calls into question the central tenets of the Dancer-Researcher-Performer (BPI) method taught at the Universidade Estadual de Campinas (Unicamp) in Brazil. The analysis problematizes the underlying assumption that students lack an awareness of their own Brazilianness, which they must find through BPI, and questions a choreographic methodology where students are coached to be possessed by the dance. The paper draws attention to the power imbalances inherent in BPI's co-habitation experience, where students research marginal others who are understood as the source of authentic Brazilian culture. The paper invites BPI students and teachers to reconsider the ethics of this research methodology, and to consider the possibility of choreographic research that engages both mind and body critically and consciously.

APA, Harvard, Vancouver, ISO, and other styles

20

MacDonald, Scott. "A Sudden Passion." Film Quarterly 69, no. 1 (2015): 45–51. http://dx.doi.org/10.1525/fq.2015.69.1.45.

Full text

Abstract:

How can we account for the fact that, out of the blue, a short, seemingly simple video can move us so deeply that for a time we cannot not look at it? In the case of Brazilian filmmaker Carlos Adriano’s short video Sem Titulo #1:Dance of Leitfossil (“Untitled #1: Dance of Leitfossil,” 2014) it’s the fact that the considerable pleasure of Adriano’s combination of his reworking of an Astaire-Rogers dance routine with Ana Moura’s popular song, “Desfado,” is only the invitation to this “dance.” Several subtle details make clear that the video is a celebration of Bernardo Vorobow, who until his death in 2009 was the Amos Vogel of Brazil—as well as Adriano’s long-time partner in filmmaking and in life. Sem Titulo #1 is an exhilarating tribute to their 27-year relationship and to the revival of Adriano’s creative passion after a period of mourning.

APA, Harvard, Vancouver, ISO, and other styles

21

Marani, Vitor Hugo, Leticia Furlan de Lima Prates, and Silvia Pavesi Sborquia. "A produção do conhecimento em dança contemporânea em periódicos da educação física brasileira." Caderno de Educação Física e Esporte 16, no. 2 (December 4, 2018): 101–12. http://dx.doi.org/10.36453/2318-5104.2018.v16.n2.p101.

Full text

Abstract:

Este estudo investigou a produção do conhecimento em dança contemporânea em periódicos da educação física brasileira com o intuito de problematizar como essa linguagem corporal é tratada na referida área de conhecimento. O estudo apresenta uma pesquisa de caráter bibliográfico e abordagem quati-qualitativa, com recorte para a disseminação cientifica do referido assunto junto a doze revistas brasileiras de educação física, classificadas no WebQualis (2017), entre os estratos A2 e B2. A partir da investigação, foram encontrados treze artigos, dentre eles sete publicados em revistas de estrato A2, e seis de estrato B2. Da análise temática, foram identificadas três categorias: fundamentos criativo-pedagógicos; análise de espetáculos; e, estudos de gênero; o que contribuiu para o entendimento da produção de conhecimento em dança contemporânea a partir do recorte realizado.ABSTRACT. The production of knowledge in contemporary dance in periodics of brazilian physical education. This study investigated the production of knowledge in contemporary dance in Brazilian physical education journals in order to problematize how this body language is treated in this area of knowledge. The study presents a research of a bibliographic character and a quati-qualitative approach, with a cut-off for the scientific dissemination of this subject together with twelve Brazilian physical education journals, classified in WebQualis (2017), between strata A2 and B2. From the investigation, thirteen articles were found, among them seven published in stratum A2, and six stratum B2. From the thematic analysis, three categories were identified: creative-pedagogical foundations; spectacle analysis; and, gender studies; which contributed to the understanding of the production of knowledge in contemporary dance from the cut made.

APA, Harvard, Vancouver, ISO, and other styles

22

Weber da Silva, Suzane, Mônica Fagundes Dantas, Eva Schul, Eduardo Severino, Robson Lima Duarte, and Luísa Beatriz Trevisan Teixeira. "I am/we are: Contemporary dance, somatics and new older bodies." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 141–53. http://dx.doi.org/10.1386/jdsp_00018_3.

Full text

Abstract:

In this photographic article, we gather five Brazilian choreographers and dancers who are over 50 years old: Eva Schul (72), Robson Duarte (57), Eduardo Severino (57), Suzi Weber (55) and Mônica Dantas (52). Movement and dance photos support a narrative about age, longevity and fragility in contemporary dance. We try to answer some questions: how old is too old to dance? How do we embody time? How do we integrate damage and fragility to our dance? We have been collaborating with Eva Schul since the 1990s, and in parallel, we have been developing our own work. Since the 1980s, Eva Schul has been working with contemporary dance integrating somatic practices. So, this visual essay addresses topics related to the history of somatic practices and contemporary dance in southern Brazil and somatic perspectives on the ageing issue. We intend to give voice and image to those dancers and choreographers that are challenging the perspective of body image in dance, and highlight their older bodies, which can display vulnerability and fragility and, at the same time, strength and desire, ready to fight the battles of art and life. Our vision is that to give voice and image to those dancing bodies matured by the passage of time constitutes a political act.

APA, Harvard, Vancouver, ISO, and other styles

23

Bittar, Adriano Jabur, Valéria M. Chaves Figueiredo, and Alexandre Donizete Ferreira. "Brazil-United Kingdom Dance Medicine and Science Network as a Place for Poetic Preparation Research." International Journal of Art, Culture and Design Technologies 7, no. 1 (January 2018): 1–16. http://dx.doi.org/10.4018/ijacdt.2018010101.

Full text

Abstract:

This article presents the Brazil-United Kingdom (BR-UK) Dance Medicine and Science (DMS) Network as a potent place for poetic-creative research. Through the BR-UK DMS Network, institutions such as the University of Wolverhampton, a leader in the DMS field, the National Institute of Dance Medicine and Science, formed by this University and Birmingham Royal Ballet, One Dance UK, Trinity Laban and University of Birmingham, started, in 2016, a broad dialogue with the Brazilian State Universities of Goiás and Campinas, Federal Universities of Goiás, São Paulo and Rio Grande do Sul, Federal Institutes of Goiás and Brasília and Salgado de Oliveira University, as well as with other stakeholders from the private sector and individuals, in order to create an international cooperation. The main objective is to develop research and collaborative services during a 15-year period, establishing transdisciplinary ways for the advancement of the partnership between Dance, Science and Health.

APA, Harvard, Vancouver, ISO, and other styles

24

De Araujo Aguiar, Luciana. "Festivities as Spaces of Identity Construction." Journal of Festive Studies 1, no. 1 (May 13, 2019): 128–48. http://dx.doi.org/10.33823/jfs.2019.1.1.33.

Full text

Abstract:

Jongo is a cultural practice specific to the cities located in the Paraíba do Sul river valley, in the south-eastern region of Brazil. It is a form of expression rooted in the knowledge, rituals and beliefs of the African populations of Bantu language and which incorporates drum percussion, collective dance, and magic-religious, poetic elements. The roda, literally meaning “round,” is the performance space of the jongo. The quest for an “authentic jongo dance” at the time of the rodas often leads to disputes among various groups claiming the greater “purity” of their group, or the greater “truth” of their personal history. Indeed, during the rodas, the quest for the “afro authenticity” of the jongo becomes the ground for identity construction and for the recognition and legitimization of African origins. This paper focuses on the jongo rodas as a festive event that exhibits the African ancestral past of Brazilian blacks as well as the signs and symbols of a Brazilian black identity.

APA, Harvard, Vancouver, ISO, and other styles

25

Monteiro, Camila de Paula, Mariana Luciano de Almeida, and Carlos Roberto Bueno Júnior. "DANCE IN THE TREATMENT OF CHILDHOOD OBESITY: A PROPOSED PROTOCOL." Revista Brasileira de Medicina do Esporte 26, no. 1 (February 2020): 43–47. http://dx.doi.org/10.1590/1517-869220202601219015.

Full text

Abstract:

ABSTRACT Introduction: Low levels of daily physical activity is considered to be one of the causes of the exorbitant increase in overweight and obese children, and associated comorbidities. Therefore, it is vital to develop strategies that will be implemented consistently, to improve this situation. Studies have used dance as a resource for training overweight and obese children, but the lack of information about the creation process and its respective stages reduce the possibility of these proposals being effectively applied. Objectives: To describe the steps in the creation of a dance protocol as a training resource, and its effectiveness in improving the health parameters of overweight and obese children. Methods: 30 children (9 ± 1.1 years) underwent training sessions consisting of a five-minute warm-up at 60% HRmax., and four 10-minute sessions at 70% to 80% at HRmax. interspersed with five 2-minute active recovery periods at 60% HRmax. The sessions were carried out three times a week, and lasted 60 minutes each, over a 13-week period. Before and after the training, the body composition, body mass index (BMI), BMI z-score, waist circumference (WC), waist-to-height ratio (WHtR), systolic (SBP) and diastolic (DBP) blood pressure and blood variables were measured. Statistical analysis was performed using a mixed effects regression model. Results: After training with Afro-Brazilian dance, there was a significant reduction (p<0.05) in the BMI z-score and waist-to-height ratio. Conclusion: Afro-Brazilian dance training was a strategy with a positive effect on BMI z-score and waist-to-height ratio in overweight and obese children. Level of evidence IV; Case series.

APA, Harvard, Vancouver, ISO, and other styles

26

Silva Grebler, Maria Albertina, and Diego Pizarro. "A reflection on Somatics, its relationship with dance and its development in Brazil." Journal of Dance & Somatic Practices 12, no. 1 (August 1, 2020): 13–28. http://dx.doi.org/10.1386/jdsp_00010_1.

Full text

Abstract:

This article introduces reflections on Somatics and its emergence at the turn of the twentieth century among the Body Culture movement in association with modern dance, in opposition to the scientific dualism that separates mind and body. We also reflect upon the blooming of Somatics following the paradigm shift brought about by phenomenology and neurophenomenology. They all produced an extensive scope of research and arrived to the conclusion that the mind is corporealized. Somatics in Brazil gained notoriety from the 1960s on, mainly if we consider the seminal work of Brazilian dancers Klauss and Angel Vianna. Mostly connected to dance, Somatics in Brazil entered private dance schools, dance festivals and later on it penetrated universities, in both undergraduate and postgraduate levels. Initiated by Thomas Hanna in the 1970s, the scholarly new paradigm brought by Somatics broadens the use of the term and allows this movement to be recognized as a field of study. To conclude, we articulate Somatics’ new developments towards the new social and political agendas within contemporary culture.

APA, Harvard, Vancouver, ISO, and other styles

27

Matos, Lúcia. "The Current State of Dance Micro and Macro Policies in Brazil." Congress on Research in Dance Conference Proceedings 2014 (2014): 114–20. http://dx.doi.org/10.1017/cor.2014.16.

Full text

Abstract:

Cultural policies, understood as acts of intervention, not only from the State, but also from social groups and institutions, trigger devices that highlight the complexity of the cultural system and power relationships. These acts, developed in a participatory manner, can contribute to the global re-politicization of collective life.Regarding Brazil, we can assert the search for common spaces has grown in importance under president Luiz Inácio Lula da Silva's administration (2003–2010), when cultural policies suffered a significant change with the implementation of an inclusive and participatory model. This led to sectorial policies and the creation of public spaces for the representation of civil society. The field of dance took an active role in this process through its associations and regional forums, leading to the creation of a Dance Sectorial Collegiate and a Dance Federal Plan.Despite some progress that has been made, cultural policies in Brazil are still under the strong influence of a neoliberal approach, which centers its efforts in economic development with a focus on public funding to culture and the creation of funding laws. A participative construction of public policy for dance would be based on agreements between civil society and government, going beyond the financing of arts through grants. The area of dance in Brazil needs structuring programs and actions that would collaborate with the organizational and productive modes of people and groups that are working to develop the area. Thus, this paper discusses cultural policies of dance by pointing out the consequences of “fast-cult” dance production and identifies spaces of resistance and micro-politics, generated by Brazilian artists who are seeking sustainable development and collaborative modes of production in dance.

APA, Harvard, Vancouver, ISO, and other styles

28

DeMarinis, Valerie. "With Dance and Drum. A Psychocultural Investigation of the Ritual Meaning-Making System of an Afro-Brazilian, Macumba Community in Salvador, Brazil." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 59–74. http://dx.doi.org/10.30674/scripta.67223.

Full text

Abstract:

This paper focuses on the Macumba community's way of making meaning in its Afro-Brazilian cultural context. The community's meaning-making system is analyzed through five central points relating psychosocial function to religious ritual experience. In this Macumba community context ritual, through dance and drum, serves as the basic multi-dimensional vehicle for psychosocial and spiritual development in the community.

APA, Harvard, Vancouver, ISO, and other styles

29

Sanches, S. B., G. M. Oliveira, F. L. Osório, J. A. S. Crippa, and R. Martín-Santos. "Hypermobility and joint hypermobility syndrome in Brazilian students and teachers of ballet dance." Rheumatology International 35, no. 4 (September 14, 2014): 741–47. http://dx.doi.org/10.1007/s00296-014-3127-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Santos, Rafaela Noleto dos, Adriano Jabur Bittar, Tânia Cristina Dias da Silva Hamu, and Andreja Paley Picon. "Brazilian girls who practice classical ballet develop different motor strategies regarding postural stability." Journal of Human Growth and Development 30, no. 1 (March 27, 2020): 84–93. http://dx.doi.org/10.7322/jhgd.v30.9973.

Full text

Abstract:

Introduction: The growth and development of children is a product of the interaction of biological andenvironmental factors. Dance practice can optimize various aspects of motor control, coordination andbalance in childhood and adolescence. Objective: The objective of the present study was to verify how the practice of classical ballet, at a professional level, can influence the plantar pressures and balance of children and adolescents, as well as to verify if subjects’ vision and posture of the upper limbs can interfere in this result. Methods: Cross-sectional study performed with 111 girls aged 10 to 15 years who practice classical ballet (n = 56) and non-dancers (n = 55). Anthropometry (BMI), plantar pressures and postural stability (baropodometry platform) were assessed. Three different conditions: eyes open (EO), eyes closed (EC) and arms outstretched (AO) were observed. Data analysis performed by using group comparison and correlation tests. Results: Those who practiced classical ballet placed less weight onto the left forefoot, presented lower values of maximum pressure and plantar surface area in all the evaluated conditions and moved less in the stabilometry analysis. It also observed that ballet dancers were more influenced by vision and positioning of the upper limbs than the group of non-dancers. Length of time as a dancer influenced the results found. Conclusions: Girls who practice classical ballet have specific characteristics of plantar pressure and develop different postural control strategies when compared to typical girls of similar age, especially in the arms outstretch position.

APA, Harvard, Vancouver, ISO, and other styles

31

Repertório, Teatro &. Dança. ""Modos de fazer" na dança do Brasil: quatro traçados [Cássia Navas]." REPERTÓRIO, no. 14 (November 3, 2010): 133. http://dx.doi.org/10.9771/r.v0i14.4674.

Full text

Abstract:

Fruto de encontro do GT Pesquisa de Dança no Brasil: processos e investigações, da Abrace - Associação Brasileira de Pesquisa e Pós-Graduação em Artes Cênicas, realizado em São Paulo em 2004, o presente texto reúne quatro depoimentos de artistas-pesquisadores-professores da dança do Brasil sobre arte e metodologias de criação e ensino ancoradas em trajetórias individuais. Result of a meeting of the work group Survey of Dance in Brazil: processes and investigations, as a part of Abrace - Brazilian Association for Research and Graduate Studies in Performing Arts, held in São Paulo in 2004, that brings together four testimonials from artists-researchersteachers of dance in Brazil, about art and creating and teaching methodologies anchored in individual trajectories.

APA, Harvard, Vancouver, ISO, and other styles

32

WOOD, MARCUS. "Slavery and Syncretic Performance in the Noite do Tambores Silenciosos: Or How Batuque and the Calunga Dance around with the Memory of Slavery." Journal of American Studies 49, no. 2 (May 2015): 383–403. http://dx.doi.org/10.1017/s0021875815000079.

Full text

Abstract:

How does slavery's memory work its way out in Afro-Brazilian syncretic culture (and particularly carnival) today? How does this African interculturation react with white Brazilian culture? I shall begin an answer to these questions by paying methodological homage to Raymond Williams and by turning to the contemplation of some “key words” which I believe provide “a vocabulary of [Afro Brazilian syncretic] culture and society.” Batuque and calunga are at the heart of the ceremony performed by Recife's Afro-Brazilian afoxés during the Noite do Tambores Silenciosos (“Night of the Silent Drums”). They are key words which encapsulate music and ritual focussed upon a remarkably charged engagement with Brazil's African inheritance, and its positive cultural manifestations both within and beyond slavery. They are also conceptually multivalent terms that finally emphasize their resistance to, and untranslatability within, the modes of white Euro-American academic thought.

APA, Harvard, Vancouver, ISO, and other styles

33

Berselli, Marcia, and Sergio A. Lulkin. "Theatre and dance with deaf students: researching performance practices in a Brazilian school context." Research in Drama Education: The Journal of Applied Theatre and Performance 22, no. 3 (June 26, 2017): 413–19. http://dx.doi.org/10.1080/13569783.2017.1327805.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Obi, T. J. Desch. ":The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance." American Historical Review 114, no. 3 (June 2009): 808–9. http://dx.doi.org/10.1086/ahr.114.3.808a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Rosenthal, Joshua M. "The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance." Hispanic American Historical Review 88, no. 4 (November 1, 2008): 727–28. http://dx.doi.org/10.1215/00182168-2008-035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Padeski Ferreira, Ana Leticia, and Marchi Júnior Wanderley. "Concerning Abolitionism, Black People, and Capoeira in the History of Brazil: Social and Moral (Im)Balances." Physical Culture and Sport. Studies and Research 56, no. 1 (December 1, 2012): 33–40. http://dx.doi.org/10.2478/v10141-012-0021-4.

Full text

Abstract:

Abstract The purpose of this article is to discuss the changes that took place in relation to the peculiarities of Capoeira within Brazilian society. This popular practice, which is considered a martial art, a dance and a game, developed during the 19th century, where it was practiced by individuals from the lower walks of life. Practicing Capoeira was a felony, as it posed a threat to public safety, order, and morality. Presently, it has been upgraded to a Brazilian cultural asset, which shows how the perception of its practice has changed. These changes follow the different views of the historical processes related to abolitionism and the perverse incorporation of blacks into society at that time, which have continued until present time, having undergone significant changes and grown as a valued physical expression

APA, Harvard, Vancouver, ISO, and other styles

37

TILLMANN, Ana Cristina, Alessandra SWAROWSKY, Clynton Lourenço CORRÊA, Alexandro ANDRADE, Jéssica MORATELLI, Leonessa BOING, Melissa de Carvalho Souza VIEIRA, Camila da Cruz Ramos de ARAUJO, and Adriana Coutinho de Azevedo GUIMARÃES. "Feasibility of a Brazilian samba protocol for patients with Parkinson's disease: a clinical non-randomized study." Arquivos de Neuro-Psiquiatria 78, no. 1 (January 2020): 13–20. http://dx.doi.org/10.1590/0004-282x20190140.

Full text

Abstract:

Abstract Background: New protocols applied in the rehabilitation of Parkinson's disease enable different action strategies for health professionals, as well as a new range of activities for these individuals. However, no valid samba protocol with activity prescription for this population was found in the literature. Objective: To investigate the feasibility of a Brazilian samba protocol in individuals with Parkinson's disease. Methods: Twenty participants, mean age of 66.4±10.7 years, diagnosed with idiopathic Parkinson 's disease, divided into: experimental group that received the intervention of Brazilian samba dance classes (10 individuals); and control group that maintained their routine activities (10 individuals). For data collection, a divided questionnaire was used: General Information; Disability stages scale; Balance and Quality of Life. Results: During class implementation, there were no falls, as all dance activities adhered to the details of the protocol steps without any changes. On average, patients completed 82.7% of activities. After 12 weeks, the experimental group had improvements in the UPDRS global score, in daily activities, and on motor examination. There was also improvement in balance scores and in the mobility domain of the quality of life in the experimental group. Conclusion: The samba protocol seems to be feasible and safe for patients with PD. Moreover, it has pleasant characteristics and offers sufficient physical benefits for combination with drug treatment. There were also benefits in social relationships and as a possible rehabilitation tool in individuals with Parkinson's disease.

APA, Harvard, Vancouver, ISO, and other styles

38

Camati, Anna Stegh. "Intermedial Performance Aesthetics in Patricia Fagundes' A Midsummer Night's Dream." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 141–56. http://dx.doi.org/10.17851/2317-2096.23.3.141-156.

Full text

Abstract:

In A Midsummer Night’s Dream (1594-1595), Shakespeare introduces elements borrowed from court masques, mainly music and dance. After a brief exploration of critical arguments claiming that Shakespeare’s play is the model for musical versions produced during and after the Restoration, this essay investigates the negotiations and shifts of meaning in the homonymous Brazilian adaptation (2006), staged by Cia. Rústica and directed by Patrícia Fagundes. The intermedial processes, articulated in the transposition from page to stage, will be analyzed in the light of contemporary theoretical perspectives.

APA, Harvard, Vancouver, ISO, and other styles

39

Ferro, Simone, and Meredith W. Watts. "Traditionalism and Modernity: Choreography and Gender Portrayal in the Brazilian Popular Dance Bumba-meu-boi." Congress on Research in Dance Conference Proceedings 2012 (2012): 51–62. http://dx.doi.org/10.1017/cor.2012.6.

Full text

Abstract:

Dancers in the Brazilian folk celebration Bumba-meu-boi once performed in simple, repetitive, and predominantly circular movements. This structure promotes multigenerational participation, increases community interaction, and maintains a semi-intact historical legacy. Nevertheless, many groups are currently adopting choreographic steps and patterns familiar from popular entertainment culture and urban Carnival celebrations. This evolution is uneven, with many of the nearly 300 groups that perform in the federal state of Maranhão maintaining the older practices. Nevertheless, for groups embracing modern entertainment values, greater appeal to tourists and general audiences comes at the cost of the traditional form and content of the celebration described by field researchers only two or three decades ago. Gender presentations have been particularly affected, with the increased use of elaborate and skimpy costumes, younger and more athletic performers (mostly young women), and professionalized musical support. These changes are part of the modernization and urbanization of the festival, and they create an ambivalent dialectic in which women appear increasingly as leaders and major performing figures, but also as chorus line bodies with minimal narrative function. Our research includes visual documentation from several years of field research in Sao Luis (Maranhão), Brazil, available online at http://simoneferro.com. Albums of still photography are available at http://meredithwwatts.com.

APA, Harvard, Vancouver, ISO, and other styles

40

Tillmann, Ana Cristina, Alessandra Swarowsky, Alexandro Andrade, Jéssica Moratelli, Leonessa Boing, Melissa de Carvalho Souza Vieira, Alice Erwig Leitão, and Adriana Coutinho de Azevedo Guimarães. "THE IMPACT OF BRAZILIAN SAMBA ON PARKINSON’S DISEASE: ANALYSIS BY THE DISEASE SUBTYPES." Revista Brasileira de Medicina do Esporte 26, no. 1 (February 2020): 25–29. http://dx.doi.org/10.1590/1517-869220202601220640.

Full text

Abstract:

ABSTRACT Introduction: People with Parkinson's disease constantly have low levels of physical activity. Dancing has become increasingly important for treating the disease and can help improve non-motor symptoms. Objective: To analyze the influence of Brazilian samba on the non-motor symptoms of PD according to TD and PGID subtypes. Methods: A 12-week, non-randomized clinical trial, through comparison with a control group. The 23 individuals who agreed to participate in the activities formed the experimental group (EG) and the 24 individuals who opted not to participate in the Brazilian samba classes comprised the control group (CG). A questionnaire was applied, composed of validated instruments. Mini Mental State Examination – MMSE; HY – Disability Scale; Unified Parkinson's Disease Rating Scale – UPDRS 1 and total values; Parkinson's Disease Questionnaire – PDQ-39, Parkinson's Disease Sleep Scale – PDSS; Beck Depression Inventory – BDI; Fatigue Severity Scale – FSS and Magnitude of Perceived Changes. Results: After the twelve weeks of intervention, it was observed that the EG showed improvement in the scores of all the tests. The comparison between groups, however, indicated a significant difference in the post-UPDRS1 period in which the EG presented improvement in cognitive impairment, while the CG presented a deficit in these values. The results of the division between disease subtypes show a greater change in the values between individuals of the TD group, when comparing the EG with the CG. For the EG, the greatest difference between pre- and post- intervention was fatigue. Conclusion: There was a positive trend in all the variables studied after the application of the protocol. This demonstrates that interventions such as dance may have greater effects on non-motor symptoms, depending on the expected progression of the disease. The scarcity of studies that use this approach in their analyses may explain the lack of evidence in this symptomatology related to dance. Level of evidence II; Therapeutic studies – Investigating the results of treatment.

APA, Harvard, Vancouver, ISO, and other styles

41

Fischer, Brodwyn. "The Red Menace Reconsidered: A Forgotten History of Communist Mobilization in Rio de Janeiro’s Favelas, 1945-1964." Hispanic American Historical Review 94, no. 1 (February 1, 2014): 1–33. http://dx.doi.org/10.1215/00182168-2390595.

Full text

Abstract:

Abstract This article focuses on the relationship between the political Left and Brazil’s urban poor by exploring the paradoxical role of Brazilian communists in the massive land struggles that mobilized Rio’s favelas against forced eviction in the mid-twentieth century. Without the communists’ organizational, legal, and political acumen, Rio’s iconic favelas might never have become a permanent and precious urban foothold for the migrant poor. Without the residents’ support, the Brazilian Communist Party might not have experienced electoral triumph in the late 1940s or maintained a strong political presence through the decades when it was declared illegal. And yet favela activists rarely acknowledge communist involvement in their struggles, and Communist activists and scholars grant such movements only a marginal, instrumental role in the Brazilian Communist movement. This dance of mutual forgetting reveals much about the subtle but persistent disjuncture between leftist ideology and grassroots political practice that characterized mid-twentieth-century Brazil. Analysts have long bemoaned and explored this disjuncture in the context of Brazil’s labor politics; this article argues that the gap between party doctrine and the massive, diffuse urban social movements of the mid-twentieth century was broader and more fateful still.

APA, Harvard, Vancouver, ISO, and other styles

42

Naueda, Luiz Alberto, and Marc Leman. "Gesture in Samba: a cross-modal analysis of dance and music from the Afro-Brazilian culture." Afrika Focus 24, no. 1 (February 25, 2011): 122–24. http://dx.doi.org/10.1163/2031356x-02401015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Furquim Werneck Lima, Evelyn. "Old structures for contemporary theatrical productions: a warehouse, an arena and a thrust stage." ARJ – Art Research Journal / Revista de Pesquisa em Artes 4, no. 1 (August 13, 2017): 76–95. http://dx.doi.org/10.36025/arj.v4i1.10142.

Full text

Abstract:

In this article we seek to understand the role of architecture in the theatrical process and the uses of old structures to house three contemporary productions: Zé Celso staged Os Sertões (The Hinterlands) in 2007 in a huge warehouse near the wharfs of Rio de Janeiro’s Docklands where he arranged the building as if it was his own Oficina Theatre in São Paulo; Miguel Vellinho staged Peer Gynt (2006) at the readapted SESC Copacabana Arena, and the Brazilian performance of Romeo and Juliet directed by Gabriel Villela was staged in 2000 at the reconstructed Globe Theatre not far from the real spot of the Shakespeare’s Globe. This version of the play combines circus acts, music, dance and Brazilian folk culture with the traditional story of the unlucky lovers. The perfect inner space of the playhouse and its architecture are discussed through the analysis of the many possibilities explored by Villela, who reinterpreted the spaces surprising the audience with a car on the stage.

APA, Harvard, Vancouver, ISO, and other styles

44

Schettini, Cristiana. "South American Tours: Work Relations in the Entertainment Market in South America." International Review of Social History 57, S20 (August 29, 2012): 129–60. http://dx.doi.org/10.1017/s0020859012000454.

Full text

Abstract:

SummaryThis article explores the relationships between young European women who worked in the growing entertainment market in Argentine and Brazilian cities, and the many people who from time to time came under suspicion of exploiting them for prostitution. The international travels of young women with contracts to sing or dance in music halls, theatres, and cabarets provide a unique opportunity to reflect on some of the practices of labour intermediation. Fragments of their experiences were recorded by a number of Brazilian police investigations carried out in order to expel “undesirable” foreigners under the Foreigners Expulsion Act of 1907. Such sources shed light on the work arrangements that made it possible for young women to travel overseas. The article discusses how degrees of autonomy, violence, and exploitation in the artists’ work contracts were negotiated between parties at the time, especially by travelling young women whose social experiences shaped morally ambiguous identities as artists, prostitutes, and hired workers.

APA, Harvard, Vancouver, ISO, and other styles

45

Fonseca, Líria Cruz, Ana Cristina Tillmann, Jéssica Moratelli, Alessandra Swarowsky, and Adriana Coutinho de Azevedo Guimarães. "The impact of Brazilian samba on balance and quality of life of individuals with Parkinson’s disease." Revista Brasileira de Atividade Física & Saúde 26 (May 4, 2021): 1–7. http://dx.doi.org/10.12820/rbafs.26e0194.

Full text

Abstract:

This non-randomized clinical trial aimed to analyze the impact of the Brazilian samba training protocol on the balance and quality of life of people with Parkinson’s disease. Forty-seven individuals participated, with a mean age of 68 ± 9.3 years-old, 24 from the control group (CG) and 23 from the experimental group (EG). The CG was formed by those who did not participate in the intervention, and the EG by individuals who participated in the Brazilian samba dance protocol. This study was divided into pre-intervention (before 12 weeks) and post-intervention (after 12 weeks) with a questionnaire consisting of: Mini Mental State Examination (MMSE); Unified Parkinson’s Disease Rating Scale (UPDRS); Quality of life (PDQ-39); Berg’s Balance Scale; Perception of perceived changes. The results point to a significant improvement after the intervention in the UPDRS (p < 0.001) and balance (p = 0.006) of the EG; in the quality of life of the EG after intervention in the mobility (p = 0.009) and total (p = 0.034) domains; and in the post-intervention period in the cognitive (p = 0.025) and communication (p = 0.032) domains of the EG and CG. Thus, it is concluded that the Brazilian samba rhythm has been shown to be effective in improving the total UPDRS, balance and quality of life, as well as in mobility, cognition and communication.

APA, Harvard, Vancouver, ISO, and other styles

46

Ana Reily, Suzel. "The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance - by Talmon-Chvaicer, M." Bulletin of Latin American Research 29, no. 2 (April 2010): 259–61. http://dx.doi.org/10.1111/j.1470-9856.2010.00369.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Sansi, Roger. "The hidden history of Capoeira: a collision of cultures in the Brazilian battle dance - By Maya Talmon-Chvaicer." Journal of the Royal Anthropological Institute 14, no. 4 (December 2008): 925–26. http://dx.doi.org/10.1111/j.1467-9655.2008.00537_34.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

FUGGLE, SOPHIE. "Discourses of Subversion: The Ethics and Aesthetics of Capoeira and Parkour." Dance Research 26, no. 2 (October 2008): 204–22. http://dx.doi.org/10.3366/e0264287508000194.

Full text

Abstract:

This article will examine the notion of subversive discourse found in both the Brazilian dance-martial art known as capoeira and the recent urban phenomenon called parkour, looking in detail at the origins and influences of the two disciplines. With reference to capoeira, I will argue that the linguistic structure which underpins the game provides the space for each capoeirista to develop his or her own creative expression or ‘personality’ within the framework of the discipline. When looking at parkour, I will consider the ways in which it embodies both the notion of flesh in Merleau-Ponty's later writings and how through such an understanding of their bodies and the space around them, practitioners of parkour, known as traceurs, are able to engage in what Foucault refers to as ‘technologies of the self’.

APA, Harvard, Vancouver, ISO, and other styles

49

Araujo, Ana Lucia. "Slavery, Royalty, and Racism." Ethnologies 31, no. 2 (March 9, 2010): 131–67. http://dx.doi.org/10.7202/039368ar.

Full text

Abstract:

This paper examines the representations of Africa in Rio de Janeiro’s carnaval. During the second half of the twentieth century, Afro-Brazilian self-assertion movements took inspiration from the African American movement for civil rights. At the same time, public cultural assertion largely relied on recreated connections with Africa, often perceived as an idealized continent. This Africanization, first developed at the religious level, later also became visible in other cultural manifestations such as music, dance, fashion, and carnaval. The analysis of the example of theescolas de samba’s parades held during Rio de Janeiro carnaval since the 1950s demonstrates how the promotion of bonds with “Africa” is part of a reconstruction process in which the South Atlantic becomes a common zone of claims for recognition of multiple identities, in which the legacy of slavery and the slave trade is reconstructed and renewed.

APA, Harvard, Vancouver, ISO, and other styles

50

SILVA, Guilherme Diogo, Jacy Bezerra PARMERA, and Monica Santoro HADDAD. "Acute chorea: case series from the emergency room of a Brazilian tertiary-level center." Arquivos de Neuro-Psiquiatria 79, no. 3 (March 2021): 233–37. http://dx.doi.org/10.1590/0004-282x-anp-2020-0124.

Full text

Abstract:

ABSTRACT Background: Chorea is a movement disorder characterized by random, brief and migratory involuntary muscle contractions. It is defined as acute when present within hours to days. Three main causes for this scenario have emerged as most likely: vascular, toxic-metabolic and inflammatory. Objectives: To identify the prevalence of the main etiologies and major clinical findings of acute chorea in the emergency room of a tertiary-level referral center; and to suggest an approach for guiding the diagnostic workup and clinical management. Methods: We retrospectively reviewed the clinical aspects and neuroimaging data of 10 patients presenting with acute chorea at the neurological emergency room of our hospital from 2015 to 2019. Results: Stroke was the most common etiology (50% of the cases). All of them were ischemic. It was noteworthy that only one case demonstrated the classical ischemic topographic lesion at the contralateral subthalamic nuclei. Regarding nonvascular etiologies, nonketotic hyperglycemia was the major cause, followed by drug-related chorea. One patient showed inflammatory etiology, which was probably Sydenham chorea reactivation. Conclusion: Acute chorea is an uncommon and challenging problem at the emergency room, often associated with potentially treatable causes. We suggest that use of the acronym DANCE (Diagnosis of chorea, Acute stroke protocol, Normal glucose levels, Check neuroimaging, Exposure to drugs) could form a potential initial approach in the evaluation, in order to emphasize causes that require prompt proper management (e.g. thrombolysis).

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Brazilian dance'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles