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Journal articles on the topic 'Capoeira (Danse)'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 March 2023

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1

Albright, Ann Cooper. "À corps ouverts. Changement et échange d’identités dans la Capoeira et le contact improvisation." Protée 29, no. 2 (2005): 39–49. http://dx.doi.org/10.7202/030624ar.

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Cet article tente de montrer comment deux formes particulières de la danse contemporaine, la Capoeira et le contact improvisation peuvent fournir des modèles – et même des technologies physiques – à partir desquels théoriser une altérité incarnée. Il montre comment ces formes de danse proviennent de cultures et d’histoires spécifiques mais aussi comment, dans leurs manifestations contemporaines, elles possèdent leur propre logique qui nous force à repenser notre compréhension des corps et des cultures.

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2

Meziani, Martial. "La capoeira : ni lutte, ni danse. Proposition de définition." Staps 89, no. 3 (2010): 43. http://dx.doi.org/10.3917/sta.089.0043.

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3

Holmes, Diana. "Dancing in the Dark: Immersion and Self-Reflexivity in Nancy Huston's Danse noire." Nottingham French Studies 57, no. 3 (2018): 298–310. http://dx.doi.org/10.3366/nfs.2018.0226.

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Nancy Huston's Danse noire (2014) is a formidably complex novel: multilingual, composed throughout of three connected but separately told stories, highly self-reflexive in its intra-diegetic presentation of the narrative as film scenario and its use of capoeira as framing device and analogy. Some critics and readers have found this intricate structure excessive and confusing. This article, on the other hand, situates the novel within Huston's distinctive project as a contemporary French novelist who is as committed to immersive story-telling as she is to self-aware celebration of narrative for

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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.

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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 effici

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5

Majumdar, Ananda. "“CAPOEIRA - A COMBINATION OF MUSIC, MARTIAL ART AND DANCE”." EPH - International Journal of Humanities and Social Science 2, no. 4 (2017): 37–42. http://dx.doi.org/10.53555/eijhss.v2i4.27.

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Purpose of this article to know about a culture, which had ups and down, a culture of struggle and freedom for a community. Capoeira is the glimpse of Brazilian mixed culture transformed from local to global culture. It was a hidden weapon of slave society of Portuguese Brazil against of their masters that escaped them many times. It is a movement, a game, a song, and a dance. It is a motto for generations. It is a vast knowledge for audience worldwide. It is a history, a culture of civilization, a martial art, and a game of global development physically and mentally. This game works everywher

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Oliveira, André Luis. "Do Capoeira para a Capoeira: reflexões etimológicas e existenciais." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 5, no. 3 (2021): 355–63. http://dx.doi.org/10.29181/2594-6463-2021-v5-n3-p355-363.

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ResumoA prática social capoeira é permeada por diferentes histórias e interpretações de seu surgimento, incluindo a própria etimologia da palavra capoeira, que pode ter sua origem na língua portuguesa, bem como na língua indígena tupi. Outra comum recorrência é da capoeira ser tratada como algo que tem existência em si, separada de seu sujeito, o capoeirista ou o Capoeira. Esse ensaio tem como objetivo recuperar na literatura a origem do nome capoeira, possíveis significados e sua relação com o jogador-lutador-dançador do que denominamos jogo-de-luta-dançada, assim destacar o/a praticante, pro

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7

Fernandes, Fabio Araujo. "“BE CAREFUL WITH THE GERMAN!”: transnationalization process of capoeira, identity, cultural negotiation, and subjectivity." Brasiliana: Journal for Brazilian Studies 6, no. 2 (2018): 182–206. http://dx.doi.org/10.25160/bjbs.v6i2.99495.

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The goal of this article is to contribute to the debate about identity and subjectivity constructions in contemporary migrations and the cultural flows resulting from them, by focusing on the process of transnationalization in the practice of capoeira in Europe. The process began in the 1970s and influenced the development of capoeira, thus engendering changes wherever this dance-fight was established. The paper centers on the capoeiristas’ life experiences, through which they reconstructed their own identities, as well as discourses about capoeira, while at the same time considering the hegem

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8

Acuña, Mauricio. "THE BERIMBAU'S SOCIAL GINGA: NOTES TOWARDS A COMPREHENSION OF AGENCY IN CAPOEIRA." Sociologia & Antropologia 6, no. 2 (2016): 383–406. http://dx.doi.org/10.1590/2238-38752016v624.

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Abstract Although the berimbau is widely acknowledged today as part of capoeira - in Brazil and around the world - only a 'minimal' history of this instrument exists concerning its evolution over the twentieth century. The sounds, songs and notes of the berimbau, as well as its circulation among capoeiristas, artists, athletes and intellectuals, played an important role in the historical shift from a 'poisonous' capoeira to the 'non-poisonous' styles. The latter were the same styles that became national with enough of a violent edge to maintain the ambivalence between martial art, game and dan

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9

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

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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 practic

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10

Scott, Susie, and Neil Stephens. "Acts of omission and commission in the embodied learning of diasporic capoeira and swimming." Qualitative Research 18, no. 5 (2018): 565–79. http://dx.doi.org/10.1177/1468794118778614.

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This article compares ethnographic experiences of two settings characterised by embodied learning: the African-Brazilian dance/martial-art/game capoeira, and swimming for fitness and leisure, both as practiced in the UK. We consider the ways in which participants in these scenes stage-manage the display of their learning environments, focusing on the rituals and routines of instruction and practice. Applying Scott’s (2018) sociology of nothing as an analytical framework, we identify an inverse relationship between two forms of social action. In capoeira, we notice primarily acts of commission

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11

Assunção, Matthias Röhrig. "Engolo and Capoeira. From Ethnic to Diasporic Combat Games in the Southern Atlantic." Martial Arts Studies 13 (February 1, 2023): 6–26. http://dx.doi.org/10.18573/mas.148.

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This article provides a re-examination of the main Afrocentric narrative of capoeira origins, the engolo or ‘Zebra Dance’, in light of historical primary sources and new ethnographic evidence gathered during fieldwork in south-west Angola. By examining engolo’s bodily techniques, its socio-historical context and cultural meanings, the piece emphasises its insertion into a pastoral lifestyle and highlights the relatively narrow ethnic character of the practice in Angola. This analysis and the comparison with capoeira helps us to develop certain hypotheses about the formation, migration, and re-

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12

Ribeiro, Juliana Terra, Luis Felipe Milano Teixeira, and Fabrício Teixeira Garramona. "A prática da capoeira no ambiente escolar para a formação integral do aluno: uma revisão sistemática." Caderno de Educação Física e Esporte 19, no. 3 (2021): 1–8. http://dx.doi.org/10.36453/cefe.2021.n3.27189.

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INTRODUÇÃO: A capoeira é considerada um dos maiores símbolos da cultura brasileira que mistura a arte marcial, o esporte, a cultura popular, a música e a dança. Por sua prática globalizada, a capoeira é um conteúdo a ser trabalhado no ambiente escolar visando a educação integral dos alunos, que por sua vez, está incluída na Base Nacional Comum Curricular. OBJETIVO: Avaliar por meio de uma revisão sistemática se a prática da capoeira na escola pode contribuir para o desenvolvimento da educação integral dos alunos. MÉTODOS: Uma busca sistemática utilizados termos relacionados a “Capoeira”, “Educ

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13

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

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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 l

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14

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 (2012): 33–40. http://dx.doi.org/10.2478/v10141-012-0021-4.

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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 hist

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15

Martins, Mary. "Capoeira: An exploration of animism and the representation of the spirit through ethnographic animation." Animation Practice, Process & Production 9, no. 1 (2020): 37–56. http://dx.doi.org/10.1386/ap3_000016_1.

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This study investigates the relationships between ethnographic study and animation practice, focusing on the Brazilian martial art, capoeira, often referred to as a dance, fight and game. This approach was adopted to explore the ways animation can be placed in relation to both historical and more recent critical theory. A local capoeira community group based in South East London participated in the study for a period of twelve months. The respondents were a combination of teachers and learners, and semi-structured interviews in the form of a conversational style were conducted with several par

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16

Mom, Shakeh, Mariano Coello, Emma Pittaway, Russell Downham, and Jorge Aroche. "Capoeira Angola: An alternative intervention program for traumatized adolescent refugees from war-torn countries." Torture Journal 29, no. 1 (2019): 85–96. http://dx.doi.org/10.7146/torture.v29i1.112897.

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Background: Following resettlement in Australia, young traumatized refugees often face social challenges, including language and cultural barriers and social adjustment, which can lead to behavioral difficulties. Providing support at this vulnerable stage is therefore vital for reducing future setbacks.Objective: The STARTTS Capoeira Angola program was developed to help traumatized adolescents successfully integrate into their school environments. As an Afro-Brazilian martial art that incorporates dance, Capoeira appeared an appropriate intervention for adolescent refugees due to its unique et

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17

Stephens, Neil, and Sara Delamont. "‘I Can See it in the Nightclub’: Dance, Capoeira and Male Bodies." Sociological Review 62, no. 1 (2014): 149–66. http://dx.doi.org/10.1111/1467-954x.12062.

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18

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

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19

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

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20

Joseph, Janelle, and Ellyn Kerr. "Assemblages and Co-emergent Corpomaterialities in Postsecondary Education: Pedagogical Lessons from Somatic Psychology and Physical Cultures." Somatechnics 11, no. 3 (2021): 413–31. http://dx.doi.org/10.3366/soma.2021.0368.

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Building on a new materialist ontology, this article explores the significance of viewing the postsecondary institution and learner as assemblages co-emerging in material relationality. Bodies of thought from social cognitive neuroscience, somatic psychotherapy, and physical cultural studies inform an analysis of the evaluation culture predominant in Western postsecondary education. These disciplines are used to interrogate representational performativity and point to new possibilities for material-inclusive learning. A new materialist pedagogy holds possibilities to reconfigure learning archi

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21

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 (2008): 925–26. http://dx.doi.org/10.1111/j.1467-9655.2008.00537_34.x.

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22

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 (2010): 259–61. http://dx.doi.org/10.1111/j.1470-9856.2010.00369.x.

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23

McCann, B., and A. P. Hofling. "Talmon-Chvaicer, Maya. The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. Austin: U of Texas P, 2008. 237 pp." Luso-Brazilian Review 48, no. 1 (2011): 174–75. http://dx.doi.org/10.1353/lbr.2011.0027.

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24

DA SILVA FERREIRA, DANIEL GRANADA. "Maya Talmon-Chvaicer, The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance (Austin, TX: University of Texas Press, 2008), pp. xi+237, $ 24.95, pb." Journal of Latin American Studies 41, no. 2 (2009): 379–80. http://dx.doi.org/10.1017/s0022216x09005653.

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25

Obi, T. J. D. "MAYA TALMON-CHVAICER. The Hidden History of Capoeira: A Collision of Cultures in the Brazilian Battle Dance. Austin: University of Texas Press. 2008. Pp. xi, 237. Cloth $60.00, paper $24.95." American Historical Review 114, no. 3 (2009): 808–9. http://dx.doi.org/10.1086/ahr.114.3.808-a.

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26

Lussac, Ricardo Martins Porto. "A CULTURA MATERIAL DA CAPOEIRA NO RIO DE JANEIRO NO PRIMEIRO QUARTEL DO SÉCULO XIX: UMA ANÁLISE A PARTIR DA LITOGRAFIA JOGAR CAPOËRA OU DANSE DE LA GUERRE, DE RUGENDAS." Textos Escolhidos de Cultura e Arte Populares 10, no. 1 (2013). http://dx.doi.org/10.12957/tecap.2013.10179.

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27

Esatbeyoglu, Ferhat, TN Kirk, and Justin A. Haegele. "“Like I’m flying”: Capoeira dance experiences of youth with visual impairments." British Journal of Visual Impairment, November 25, 2021, 026461962110597. http://dx.doi.org/10.1177/02646196211059756.

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Participation in dance programs is associated with physical and psychosocial health among individuals with and without disabilities. However, literature centered on the dance participation experiences of youth with visual impairment remains scarce. Therefore, the purpose of this study was to explore the experiences of youth with visual impairments in a 3-week capoeira dance program. Fourteen adolescents with visual impairments (eight boys, six girls, aged 13–18 years old) were selected for participation in this qualitative inquiry. Participants engaged in a specially designed capoeira dance pr

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28

Delamont, Sara, Tiago Ribeiro Duarte, Issie Lloyd, and Neil Stephens. "Os Joelhos! Os Joelhos! Protective Embodiment and Occasional Injury in Capoeira." Frontiers in Sociology 5 (January 14, 2021). http://dx.doi.org/10.3389/fsoc.2020.584300.

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Capoeira, the African-Brazilian dance and martial art has enthusiastic devotees in Britain. Most practitioners are acutely aware of their capoeira embodiment, and have strategies to protect themselves from injury, and ways to seek treatment for any injuries they get. Drawing on data from a long-term ethnography and a set of 32 open-ended interviews with advanced students, the paper explores student strategies to prevent capoeira injuries, and their discoveries of effective remedies to recover from them, before it presents an analysis of their injury narratives using Frank's three-fold typology

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29

Eichberg, Henning. "Det olympiske og det barbariske." Forum for Idræt 4 (August 22, 1988). http://dx.doi.org/10.7146/ffi.v4i0.31896.

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Artiklen ser på spændingsfeltet mellem den olympiske sport og de mere folkelige bevægelseskulturer samt på identitetsspørgsmålet i forskellige idrætsgrene, herunder bl.a. dansen med capoeira som eksempel.

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30

Santos, Susy Silva, and Roseane Silva. "Diálogos entre a Capoeira e a Museologia Social." Cadernos de Sociomuseologia, 2018. http://dx.doi.org/10.36572/csm.2018.vol.56.04.

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This study seeks to expose and reflect the possible dialogues that can be considered between the Social Museology, or Afro-Brazilian Museology, and the Capoeira, which aims to consolidate the historical process of resistance of this art, dance, fight, game, sport and culture, adding to the struggle of several Masters of Capoeira for the recognition, appreciation and promotion of this important Afro-Brazilian Cultural Patrimony, in other words, it is a strategic positioning that has an expanded idea of the Museum, understanding that it exists from the moment the group starts the process of self

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31

"The hidden history of capoeira: a collision of cultures in the Brazilian battle dance." Choice Reviews Online 46, no. 04 (2008): 46–2261. http://dx.doi.org/10.5860/choice.46-2261.

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32

Esposito, Paola. "Thread: Somatic Lives of a Thing." M/C Journal 19, no. 1 (2016). http://dx.doi.org/10.5204/mcj.1062.

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IntroductionOn a sunny afternoon in early spring 2014, five researchers were strolling through the streets of Old Aberdeen. They had known each other for only a few days since an event had brought them together. The event was Performance Reflexivity, Intentionality and Collaboration: A Sourcing Within Worksession, convened by anthropologist Caroline Gatt and performer Gey Pin Ang, as part of the ERC Advanced Grant project “Knowing from the Inside,” at the department of Anthropology, University of Aberdeen. This workshop aimed to explore aspects of creative decision-making in performance to ass

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