Dissertations / Theses on the topic 'Dance costume'

Thesis (Ph. D.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed November 17, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 238-253).

This paper's objective is to document the research and developmental processes of creating East Tennessee State University's Spring Dance Concert 2012 costume designs and renderings. This thesis describes design creation from research stage to idea formulation to the conception of costumes using inspirational images, illustrations, and performance photos and videos. The show was a challenging undertaking because it involved the collaboration of many in a compressed timeframe: 1 artistic director, 9 choreographers, 20 dances, 46 performers, 10 lighting designers, 1 costume designer, and 3 weeks to put it all together. Incorporating digital technology into the rendering process saved time, expenses, and helped clarify the designer's choices. This paper reflects the 2-year study of incorporating digital technology into the rendering process, culminating in the costume design for the Spring Dance Concert 2012.

Cette thèse cherche à comprendre et à analyser les fondements historiques, sociaux, culturels et genrés d’une méconnaissance et d’une sous-valorisation actuelles des costumiers et des costumières, en accordant un primat à leur parole propre. Traitant des origines théoriques de l’art costumier à partir de l’apparition de l’appellation professionnelle consacrée, la première partie retrace le parcours et les luttes multiples de Pierre-Nicolas Sarrazin, en cherchant à identifier les motifs de l’échec de la valorisation professionnelle entreprise par ce dernier au XVIIIe siècle. La deuxième partie présente, à partir de l’analyse d’un recueil d’entretiens de costumiers d’aujourd’hui, les notions de métiers de service et de rapport de commande, de genre et de « souci de l’autre » comme étant les caractéristiques de cette activité professionnelle, et autant de leviers potentiels d’oppression. Enfin, la troisième partie étudie la carrière de Dominique Fabrègue – spécialiste de la coupe en un morceau – en tant que « fabrique » d’une œuvre dont la portée est esthétique et critique, de manière à défendre l’idée que l’art costumier constitue un art à part entière, qui pour être second dans l’élaboration d’un spectacle, n’est pas pour autant secondaire
This work aims at analyzing the historical, social, cultural and gender factors responsible for the current undermining of the costume designers and makers profession. The first part consists in a historical research onthe theoretical origins of the Art of Costume starting with the appearance of the professional vocable - Costumier - invented by Pierre-Nicolas Sarrazin, as well as a study of the means this latter used to promote his field of work during the 18th century and how he came to fail. The second part is an interview-collection (2013 to 2016) - based reflection on the order nature of the work, the gender characterization of the workers and « care » as a creative motivation. It demonstrates how these specifics are potential ways to oppress the costume designers and makers and to deny them the appreciation and salary they deserve. The third part is an a esthetic critique of Costume Designer Dominique Fabrègue’s career, and the « Cut in one piece » Artwork she specialized in. This section argues that the discipline of designing costumes is an Art in full, and as it may come second in the process of putting on a play, is not for all that secondary and shouldn’t be considered assuch

This thesis attempts to better understand gender roles portrayed in the media. By using Stuart Hall's theory of audience reception (Hall, 1980) the researcher looks into dance and gender in the media to indicate whether or not LDS participants believe stereotypical gender roles are portrayed on Dancing with the Stars." Through four focus groups containing a total of 30 participants, the researcher analyzed costuming, choreography, and judges' comments through the viewer's eyes. From participant responses, the conclusion was made that audience members do perceive stereotypical gender roles on "Dancing with the Stars." Participants felt that costuming was the biggest indicator of gender roles on the show, and that choreography and judges' comments also contributed to the perception of gender roles.

En danse contemporaine, le champs du costume recouvre un large domaine, allant du nu à une quasi accessoirisation du corps, en passant par la fripe ou des tenues diversement élaborées. Réelle interface entre le corps du danseur et le regard du spectateur, le costume reste trop souvent du domaine de l'évidence, ne bénéficiant que rarement d'une attention dans les discours relatifs à la danse. C'est la relation entre les costumiers et les chorégraphes que nous nous proposons de regarder ici de plus près, au-delà des relations trop souvent obscures qui lient costume et danse. Après un retour dans l'histoire, (Noverre, le ballet romantique, Loie Füller, Isadora Duncan, les ballets russes, parade, Marie Wigman, le Bauhaus, Martha Graham, Merce Cunningham, Alvin Nikolais, Pina Bausch), nous nous penchons plus précisément sur la définition, l'analyse du costume, avant d'en proposer une typologie en danse contemporaine. Les chorégraphes Daniel Larrieu, Maguy Marin, Karine Saporta, Hervé Robbe, Régine Chopinot, Philippe Découfle, et Jean-Claude Gallotta ont été interrogés. Pour Dominique Bagouet, disparu au moment de l'étude, nous avons écouté ce qu'en disaient ceux qui avaient travaillé avec lui. Pour certains, un costumier « majeur » c'est le cas de Dominique Fabrègue pour Bagouet, de Philippe Guillotel pour Decoufle ou de Jean-Yves Langlais pour Gallotta. Pour d'autres, de fréquents changements. Autant d'orientations esthétiques et de solutions pratiques pour intégrer le costume dans le projet chorégraphique, qui en viennent à nous préciser les instants et instances de création. Le choix du costume est-il finalement le résultat d'une stratégie de la part du chorégraphe, ou bien résulte-t-il d'un ensemble de conjonctions et de faits empiriquement établis ? Cette dernière analyse nous mène, en forme de conclusion, à nous demander si l'on peut réellement parler en termes de stratégie lorsqu'il s'agit des démarches des chorégraphes pour mener à bien leur projet. Nous avons tenté de cerner la possibilité de suivre et d'analyser la venue du costume dans la chorégraphie, avec ce que nous ont livré les uns et les autres, aides de traces, photos, schémas, empreintes, afin de soutenir le propos et d'essayer d'aller à la rencontre de ce dont nous supposons l'existence, à savoir une stratégie de définition visuelle des corps sur scène.

Orientador: Ernesto Giovanni Boccara
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa tem como objetivo fazer uma homenagem à forma. A forma que forma e deforma, que reforma e transforma, que transcende e que tem vida. Que faz e desfaz, que nasce e morre. A forma que desenha o espaço, o corpo e o movimento. A forma pesquisada é a forma da saia na dança flamenca e seu movimento helicoidal. Movimento semelhante ao das galáxias, ao da cadeia de DNA, semelhante também à anatomia humana, o desenho dos ossos e músculos. Na capacidade de ser efêmera e jamais apreendida é que reside seu encanto. Também há uma forte razão em pesquisar a saia e a Espanha, terra dos meus precedentes, cultura em que cresci, além da paixão pelo vestuário, especialmente os de Andaluzia. O percurso nos mistérios e representatividade da vestimenta espanhola permitiu-me mergulhar nas mais incríveis histórias, desde as reais até as mitificadas no tempo. Conhecer a construção do país e entender como ele se formou permitiram-me desdobramentos de possíveis intersecções no resultado dos trajes. O mosaico de culturas trouxe descobertas incríveis na representação da mulher espanhola principalmente através de registros dos pintores dos séculos XVIII e XIX. Há uma natureza histórica na busca de identificar a formação da composição da roupa feminina espanhola, que, desde publicações vindas da Espanha, bibliografias de história da dança e do traje, até a profunda observação do corpo em movimento esculpindo formas delirantes que parecem um ciclone a desenhar os desenhos da dança. Palavras-chave: Corpo Feminino, História da Arte, História da Moda, Dança, Artes Plásticas, Espanha
Abstract: The present research aims to pay tribute to the shape. The shape that forms and becomes deformed, that reforms and transforms, that transcends and which has life. That does and undoes, that is born and dies. The shape that draws the space, the body and the movement. The shape of the present study is the shape of the skirt in the flamenco dance and its helicoidal movement. This movement is similar of those of the galaxies, the DNA chains, also similar to the human anatomy, the design of bones and muscles. It's in the capacity of being ephemeral and never understood that lies its charm. There's also a strong reason to research the skirt and Spain, home of my ancestors, culture in which I grew up, as well as the passion for the costume, especially from Andaluzia. The route in the mysteries and representativity of the Spanish costume, allowed me to immerse in the most incredible histories, from the real to the mythical ones of time. Knowing the construction of the country and understand how it was formed, enabled me to see the developments of possible intersections in the result of the costumes. The mosaic of cultures brought amazing discoveries in the Spanish woman's representation mainly through the records of the painters in the 18th and 19th centuries. There's a historical nature in the search of identifying the formation of composition of the Spanish woman's clothes, that from publications came from Spain, bibliographies of the history of dance and of the costume, to the profound observation of the body in movement sculpting delirious shapes that look like a cyclone drawing the designs of dance. Key Words - Female body; History of Art ; History of Costume ; Dance ; Fine art ; Spain
Doutorado
Artes
Doutor em Artes

"Depuis les turqueries du Bourgeois gentilhomme jusqu'aux aventures de Marôuf, le savetier du Caire, la référence à l'Orient s'exerce de manière constante à travers l'art de la scène. L'intérêt de l'Occident, en l'occurrence la France, pour l'Orient durant le XIXe et le début du XXe siècle, s'explique par une série d'événements politiques, littéraires et artistiques. Les voyageurs, peintres et écrivains l'avaient exploré au cours du XIXe siècle, les spectacles exotiques l'avaient révélé au cœur de la capitale française et les Ballets Russes en firent découvrir la magnificence durant les années qui précèdent la guerre de 1914. L'étude que nous proposons, analyse cet attrait pour l'Orient à travers le costume de scène, cet élément décisif à l'époque, mis au service de l'expression scénique, tout en s'appuyant sur une importante recherche iconographique : lithographies, peintures, photographies ou maquettes de costumes. Une recherche qui vise à souligner la puissance iconique du costume oriental, ses éléments et ses caractéristiques. Ces allures orientales vues par des occidentaux sont donc restituées sur scène grâce aux créations de peintres et dessinateurs tels que Paul Lormier, Alfred Albert, Eugène Lacoste, Charles Bianchini, Eugène Lacoste, Léon Bakst ou Paul Poiret. Des créations qui ont permis aux interprètes, hommes et femmes, de se métamorphoser en sultan, caïd ou eunuque; en odalisque, almée ou " Péri "; en Salomé, Cléopâtre ou Salammbô. Une infinité d'images qui se meuvent sur scène est alors créée, emportant ainsi l'interprète aussi bien que le spectateur vers d'autres lieux et d'autres temps. "
Since the turqueries of the Bourgeois gentilhomme until the adventures of Marôuf, le savetier du Caire, the reference to the Orient appears consistently throughout the scenic art. The interest of the Occident, that is to say France, to the Orient during the 19th century and the beginning of the 20th century, is explained by a sequence of political, literary and artistic events. The voyagers, painters and writers explored this interest throughout the nineteenth century and the exotic theatres echoed it in the heart of the French capital. In addition, the Russian Ballet revealed the magnificence of the Orient during the years that preceded the war of 1914. The study we are proposing, analyses this attraction to the Orient through the stage costume. This decisive element, disposed to the scenic expression, is based on an important iconographic research: lithography, painting, photography or costume drawings. The research emphasizes the iconic power of oriental costume, its elements and it's characteristics. This oriental attire as perceived by the Occidentals, is reproduced on stage thanks to the works of painters and dress designers like Paul Lormier, Alfred Albert, Eugène Lacoste, Charles Bianchini, Léon Bakst or Paul Poiret. Their creations allow the actors, both men and women, to metamorphose into sultan, caïd or eunuch, odalisque, almée, " Péri ", Salomé, Cleopatra or Salammbô. An infinity of moving images takes place on stage, transporting the performer and the audience into other places and other times

Évoquer l'iconographie des fêtes à la Renaissance revient à travailler sur les humanistes et les courants de la pensée néoplatonicienne qui influencèrent les artistes de cette époque et aboutirent au syncrétisme des arts dans les divertissements royaux. Dans l'art éphémère de la fête - entrées, mascarades, bals et ballets - les costumes des figures mythologiques, antiques et bibliques remis au goût du jour sur un mode ludique, actualisés par les nouveaux thèmes issus des voyages d'exploration - exotisme américain et tradition du vieux monde - sont transposés dans le contexte du XVIe siècle. Pour accompagner ce langage, tout un decorum est déployé qui fait évoluer la notion de spectacle et de ses lieux de représentation, aidé par l'actualité socio-politique faite tantôt de paix et d'alliances tantôt de guerres (de religions). La fête est un moyen idéalisé d'affirmer le pouvoir royal. En cela, elle devient un vecteur de communication, voire de communion. Somptueuses et novatrices, elles sont les prémisses de la magnificence des fêtes des siècles suivants
Dealing with the iconography of fetes in the Renaissance means investigating into humanism and the neo Platonist currents of thought which influenced the artists of the time and led to the syncretism of arts in court celebrations.In the ephemeral art of revels -entries, masquerades, balls and ballets- the costumes of mythical figures from the Bible or the Antiquity were then brought back to the fashion of the sixteenth century with a playful twist and updated through the new themes inspired by the Great Explorations, such as the contrast between the exoticism of the New World and the traditions of the Old World. Along with those codes, the establishment of a new decorum allowed the evolution of the notion of performance and of the places best suited for theatricals. Social and political issues of a time fraught with religious wars, alliances and peace, also contributed in paving the way for such changes.Celebrations thus proved the quintessential instrument of the assertion of royal power, which turned them into vectors of communication, not to say communion. Both sumptuous and innovative, they foreshadowed the magnificent fetes of the following centuries

Cette étude complète, la première dans l'étude du folklore chypriote, rassemble, décrit, analyse et interprète les danses traditionnelles de ce pays et propose des chorégraphies pour quelques unes d'elles. Pour mener à bien cette recherche, il a fallu examiner toute la bibliographie relative au sujet, réaliser des entretiens avec des personnes compétentes et des personnes âgées qui avaient des expériences personnelles à partager. Il a, également, fallu étudier dans les archives du Centre de Recherches Scientifiques de Chypre les informations sur la tradition, depuis la fin du 19ème siècle à nos jours, et écouter les centaines de CD du Centre, analyser aussi les diverses cassettes vidéos des archives de la chaîne nationale chypriote (R.I.K.). En somme, il a fallu examiner et analyser tous les éléments relatifs au sujet.Dans un premier temps nous procédons à une brève étude diachronique de l'histoire de Chypre. Ensuite nous étudions et analysons les raisons pour lesquelles les Chypriotes dansent, les rapports entre les hommes et les femmes dans la société de l'île du 19e siècle, les moeurs et coutumes et leurs influences sur les danses. Ensuite on présente toutes les danses traditionnelles chypriotes pour hommes, pour femmes et mixtes, leur origine, leur thématique et leur histoire, leur symbolisme et continue avec une description détaillée des pas. Dans certains cas, une chorégraphie proposée est incluse pour que le lecteur puisse mieux comprendre la façon d'exécuter la danse ainsi que la façon de lier les pas. Les chorégraphies servent à la réalisation des recherches ainsi qu'à la préservation de l'authenticité de ces danses chypriotes. L'intérêt de cette étude est de présenter l'ensemble des danses traditionnelles chypriotes avec leurs pas, leurs variantes, leurs symbolismes et les moeurs et coutumes qui s'y rattachent. Notre recherche et analyse se limitent aux danses traditionnelles de Chypre. Nous ne procédons à aucune étude comparative avec les danses de Grèce ou d'autres pays de l'espace géographique environnant. Cela sera l'objet d'une étude comparative plus exhaustive dans un avenir proche
This study is the first complete research of the Cypriote traditional dances. It collects, describes, analyzes and interprets the traditional dances of this country and proposes choreographies for some of them. To conduct this research, it was necessary to examine all the literature on the subject, conduct interviews with knowledgeable individuals and elderly persons who had personal experience to share. It has also been studied in the archives of the centre of scientific research of Cyprus, information on the tradition since the late 19th century to today, and hundreds CDs of the centre have been listened. Also they have been analyzed and studied various video archives of the National Cypriot television (R.I.K.). Finally, it was necessary to examine, analyze and study all the related elements to the subject.Initially we conduct a brief diachronic study of the history of Cyprus. Then, we study and analyze the reasons why Cypriots dance, the relations between men and women in the society of the island on the 19th century, morals and customs and their influence on the dances. It presents all the Cypriot traditional dances for men, women and mixed (combination), their background, origin, subject and their history. Their symbolism, interpretation and a detailed analysis of their steps. In some cases, a proposed choreography is included so that the reader can understand better how to use the different steps and how to perform the dance. The choreographies serve for the investigation, the research and also for the preservation of the authenticity of the Cypriot dances.The interest of this study is to present all the Cypriot traditional dances with their steps, their variants, their symbolism and the morals and customs associated with them. Our research and analysis is limited to the traditional dances of Cyprus. We will not provide any comparative study with the dances of Greece or other countries of the surrounding geographical area. This research will serve as a comprehensive and comparative case study in the near future

Orientador: Matteo Bonfitto Júnior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O Mapiko é manifestação cultural do povo Maconde, originário da província de Cabo Delgado, norte de Moçambique. Mapiko é o nome dado à manifestação cultural tradicional e à máscara utilizada por ela. Tal manifestação mistura música, dança e cena. Rodeado de mistérios e segredos; ao som de batuques e cantos tradicionais, o mascarado realiza sua dança. A manifestação, tendo como base o imaginário do povo Maconde, apropria-se do mundo espiritual e cria a convicção da existência de ligação lógica entre o dançarino mascarado e as suas crenças. O Mapiko possibilita, através da arte, a representação dos diferentes modos de estar na vida espiritual, usando a força da sua história e do seu cotidiano, transmitindo em cada dança as suas convicções. Este trabalho aborda aspectos do Mapiko tais como sua origem, tradição, cantos, batuques, máscaras e especificidades da dança realizada pelo mascarado. A pesquisa também reflete sobre questões acerca dos segredos, mistérios e limites da pesquisa acadêmica sobre tal tradição. A tese inicia-se com a descrição do trabalho de campo realizado em Moçambique em 2014 e explora as descobertas e dificuldades encontradas. O trabalho propõe, portanto, ao leitor, um mergulho no universo do Mapiko, passeando entre mistérios, cores, aromas, imagens e sabores do povo Maconde. A tese é acompanhada por um DVD que contém um documentário sobre o Mapiko e o processo de aprendizagem vivenciado pela atriz-pesquisadora em Moçambique
Abstract: Mapiko is a cultural expression of Maconde¿s people original from Cabo Delgado¿s province on the north of Mozambique. Mapiko is the traditional cultural expression and the mask used on it. This expression brings together music, dance and scene. Surrounded by mystery and secrecy; to the sound of drums and traditional song, the masquerade holds his dance. The expression has its base on the imaginary of Maconde¿s people who appropriates the spiritual world, creating the belief of the existence of a logical link between the masquerade dancer and his beliefs. Trough art, Mapiko makes possible the representation of different ways of being in the spiritual life. It uses the power of its stories and its everyday aspects conveying in each dance its beliefs. The present work addresses the aspects of Mapiko such as its origins, tradition, songs, drumming, masks and particularities in the dance performed by the masquerade. The research also reflects on issues about the secrets, mystery and limits of the academic research about the theme. The dissertation begins with the description of the fieldwork in 2014 in Mozambique and explores its discoveries and difficulties. The work propose the reader to dive into Mapiko¿s universe, along with its mysteries, colours, aromas, images and flavours of Maconde¿s people. A DVD accompanies the dissertation which contains a documentary about Mapiko and the learning process experienced by the actress-researcher in Mozambique
Mestrado
Teatro, Dança e Performance
Mestra em Artes Visuais

This work is a study about the youth and the June square-dance of Aracaju, in Sergipe, and it aims to understand how the social construction of the idea of youth in the cultural event of the square-dance is built, through the analyses of identity processes, of lifestyles, of sociabilities among the members of the June square-dance in a context of cultural consumption. Within such context, it is necessary to analyze, by means of interviews, questionnaire and direct observation, the identity processes, how people consume and produce the local culture, how they give meaning to their expressiveness and sociability. It is also intended to check if the generational issue has importance in this social construction and to identify how gender issue and its relation to the notion of youth and its own generation are treated. And, as a result, knowing the universe of the square-dance members and their motivations to organize and participate in competitions of the June square-dance in Aracaju, Sergipe.
O presente trabalho é um estudo sobre as juventudes e as quadrilhas juninas de Aracaju/SE e tem por objetivo compreender como ocorre a construção social da ideia de juventude no seio da manifestação cultural quadrilha junina a partir da análise dos processos identitários, dos estilos de vida, das sociabilidades existentes entre os quadrilheiros incluídos em um contexto de consumo cultural. Dentro deste contexto, torna-se necessário analisar, a partir de entrevistas, questionário e observação direta, quais são os processos de identificação aí presentes, como eles consomem e produzem a cultura local, como dão sentido às suas expressividades e sociabilidades. Pretende-se ainda verificar se a questão geracional tem importância nessa construção social e identificar como são tratadas as questões sobre o gênero e sua relação com a noção de juventude e com a própria geração. E, desta forma, conhecer o universo do quadrilheiro e quais as motivações que mobilizam os participantes a se organizarem e se articularem dentro do processo de competições das quadrilhas juninas em Aracaju/SE.

碩士
國立臺灣體育運動大學
舞蹈學系碩士班
106
This thesis focuses on the importance of costume in folk dance learning. A case study was conducted integrating qualitative and quantitative methods,, interview, observation and questionnaire were employed, and folk dance classes of two universities in Taiwan and in Shanghai were selected for analyses. The purpose of this study is to explore how classroom dressing of the ethnic costume on the students’ learning process and outcomes. In literature reviews, it discusses the relationship between the cultural character of national costume and the characteristic of folk dance movement. Through the classroom observation, It compares and analyzes the students’ movements qualities and styles before and after dressing. Using the Dance Imagery Questionnaire in Folk Dance Dressing that the researcher transformed and designed, this study analyzes dressing and students’ constructions of dance imageries in folk dance learning. It also explores the change of the students’ inner emotions and the interpretation of expressions. This study finds that the classroom dressing in the folk dance learning can enhance the students’ dance movements of the pose, posture of cognition, improve the quality of movements. Dressing also helps students to construct their dance imageries and enhances their interpretations in cultural contexts, perception, role, movement and emotion. Also, dressing can promote the establishment of attitude towards learning emotions and the emotional interpretation of dance. In conclusion, this study argues that classroom dressing is very important for folk dance learning. Teachers should well integrate dressing into folk dance learning and training. In doing so, the students could quickly find the "taste" of folk dance that embodies the special uniqueness of the folk dance training.

Cultural authentication is a concept that was developed by Erekosima (1979), Erekosima and Eicher (1981), and Eicher and Erekosima (1980, 1995) to aid in the description of the transfer of artifacts from one culture to another. The purpose of this study was to investigate whether the development of belly dance costume in the United States is an example of cultural authentication and, in so doing, further test and refine the concept of cultural authentication. Contemporary belly dance costume in the United States was described after conducting field research of the belly dance community over a period of ten months. The history of belly dance and its associated costume in America was explored through the review of previous historical research. Belly dance and its associated costume in the United States was then analyzed in terms of cultural authentication by addressing a series of seven questions. These seven questions were formulated to determine whether the four levels of cultural authentication (selection, characterization, incorporation, and transformation) occurred, and whether they occurred in that order. Contemporary belly dance costume in the United States was classified into two categories: replicated and creatively interpreted. The dancer who wears replicated costumes believes that he/she is imitating, to the best of his/her ability, a documented style of dress worn by a specific ethnic group, at a specific time, within the areas of the Near and Middle East. The dancer who wears creatively interpreted costumes believes that while he/she has been inspired by documented styles of dress worn by ethnic groups within the areas of the Near and Middle East, his/her costume is particularly reflective of his/her unique personality and aesthetic preferences. It was concluded that the concept of cultural authentication is exceedingly vague. As currently defined, the concept and its four levels are inadequate to describe how Americans have acquired and used belly dance and its associated costume, what kinds of meanings Americans have attached to belly dance and its associated costume, and how market forces, advanced communication and transportation technologies, and individual and cultural identity issues are continually prompting and facilitating innovations to belly dance and its associated costume.
Graduation date: 1999

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73.
Art History, Visual Arts & Musicology
M.Mus.

« Le carnaval de Rio: les mises en scène du corps» est une étude de cas réalisée dans une des grandes écoles de samba de Rio de Janeiro, l'École de Samba Porto da Pedra. Ce travail est structuré à partir de deux grands axes thématiques, le défilé et le corps. Le premier vise la compréhension de l'importance du défilé dans la société brésilienne. Le carnaval a toujours joué un rôle important dans la vie culturelle des Brésiliens. Son insertion sociale est si profonde, que même actuellement, la période du carnaval constitue un congé national, mobilisant un nombre significatif de personnes. Du point de vue historique, le carnaval a suivi et reflète toujours les transformations sociales survenues au Brésil. Il se présente comme un processus riche et dynamique, où les manifestations carnavalesques surgissent, disparaissent ou se transforment, donnant naissance à de nouvelles. Le défilé des écoles de samba a ses racines historiques dans cette dynamique de transformation, changeant son caractère essentiellement hédoniste en activité artistique, au cours des cinquante dernières années. Il se caractérise comme une expression artistique populaire, élaborée collectivement, avec un degré élevé de structuration et de complexité. Divers éléments indissociables et indispensables composent ce spectacle: les danseurs, la samba (musique et paroles), la batterie, la danse, le chant, les chars allégoriques et les costumes. Mais le défilé intègre plus que ces éléments: il s'organise dans un univers de relations sociales, artistiques et culturelles imprégnées des plus divers sentiments, d'intérêts financiers, de solidarité, d'abnégation, de plaisir et de passion qui le transforment en un art collectif, monumental et complexe. La seule analyse de ces caractéristiques ne ferait pas de cette étude quelque chose de distinct des autres travaux traitant ce sujet. Ce qui rend singulier ce travail est l'hypothèse: le défilé est une nouvelle forme d'art scénique collectif, un genre d'art total. Le défilé résulte d'un processus d'anthropophagie de différentes manifestations d'origine africaine et européenne sur une structure esthétique notamment brésilienne, de couleurs et de fête. La configuration formelle des éléments du défilé révèle une réalité virtuelle et symbolique de la culture et du sentiment populaire brésilien et, en particulier, de celui de Rio de Janeiro. Elle établit une réalité propre avec ses codes et ses transgressions. Une esthétique brésilienne y devient la caractéristique dominante. Le deuxième axe de ce travail concerne le corps. Malgré l'abondante littérature produite sur le défilé, l'absence d'études sur le corps qui s'y révèle est remarquable. Pourtant, celui-ci est le centre de l'univers carnavalesque: le corps s'y exhibe nu ou vêtu, danse, chante, se présente sur les chars allégoriques, au sol, isolé ou en grands groupes! À partir de cette constatation, l'hypothèse centrale qui a guidé ce travail considère le corps comme point nodal du spectacle. Comprendre le corps signifie en premier lieu comprendre le spectacle, comme deux réalités tout à fait reliées: le défilé et le corps y sont en constante symbiose. Ils se trouvent tellement imbriqués qu'il devient impossible d'étudier le corps en dehors du contexte du spectacle. Ainsi, les premiers chapitres caractérisent le défilé et montrent comment le rôle du corps y est inséré. Dans ce contexte de profonde interaction, une modification quelconque d'un de ces éléments a des effets sur l'autre. Si le défilé change, les modalités du corps changent ainsi que tous les éléments qu'il intègre. Le défilé impose principalement aux femmes une reconstruction du corps qui peut avoir lieu de deux manières, soit dans sa forme symbolique comme chez les baianas par l'utilisation du costume, soit de manière concrète par une intervention directe sur le corps, comme chez les marraines des batteries. Ainsi le défilé y apparaît avant tout comme l'espace par excellence du corps et concilie tant le corps nu que le corps vêtu. La marraine de la batterie est l'exemple du premier et les baianas, vieilles dames qui représentent la tradition des écoles de samba, du deuxième. D'un extrême à l'autre, c'est toute la diversité et la gradation des représentations du corps qu'abrite le défilé. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Corps nu, Corps vêtu, Défilé de l'école de samba, Espace théâtral.