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“Arte em movimento dialógico”: uma experiência criativa em dança a partir de diálogo entre ballet clássico e danças regionais paraenses
(Universidade Federal do Pará, 2014-06-10) COUTINHO, Lucienne Ellem Martins; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research aims to dialogism as a way of building a theoretical-practical, as space relation between the techniques of Classical Ballet and Dance Regional Paraenses in a scenic experimentation in dance experienced in the classroom with teenagers Project "Art in Motion "Home of the Institution of Mary, in Belém do Pará, in the second half of 2013. The research question was: How to conduct a dialogue between techniques from Classical Ballet and other arising Regional Dances, a playful and creative way with teenagers, resulting in a diverse and innovative scenic experimentation Dance? The playful in pleasurable sense, able to create a climate of enthusiasm. It is this aspect that emotionally involves the individual, making the activity of large content of motivation, a great generator of euphoria and vibration. And the joy of creative discovery of the body, movement, space, dialogue, interaction. As a general goal, I wanted to investigate the dialogical process of the technical elements of classical ballet with the Regional Dances in building a scenic experimentation in dance in a playful and creative way. To carry out this study, I conducted an action research. Here, I investigated: the relation between theory and practice regarding the technical elements of classical ballet and Regional Dances; elements that resemble each such techniques; the contribution they can make to future work addressing the ethical and aesthetic dialogue between the techniques of Classical Ballet and Dance Regional. The development of this research involved both goals present in the project "Art in Motion" - eg social inclusion through dance - as the goals that I build on my own teaching, including planning stimulating creativity, knowledge and respect the culture, art, and especially the dancing. The results of the research show, the relationship between theory and practice regarding the technical elements of classical ballet and Dance Regional: both in ballet and in regional dances trajectory of jumps, spins, wheel offsets, lateral, vertical; regional dances in the shed formed by the theatricality "micro-events of everyday life," and in the classic ballet spectacle formed by "macro events which go beyond routine are extracotidianos"; ethical and aesthetic dialogue between the techniques of Classical Ballet and Dance Regional, in the same scene; demonstration of creative processes involving regional dances in trials and discussions through dialogism between different techniques considered; and rectification of obsolete ideas in regard to classical ballet, seen by "common sense" only as a form of closed dance - on the contrary, emphasize it as an ethnic dance, linked to the society in which it arose.
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A caminhada como modo de existir na Festa de São Marçal: poéticas moventes, espetacularidades e geração de outros mundos possíveis em São Luís/MA
(Universidade Federal do Pará, 2022-01-31) FONSÊCA, Danielle de Jesus de Souza; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
This writing explores the modes of existence experienced by the playful bodies that walk at the Festa de São Marçal, in São Luís, capital of Maranhão. The party, also known as Encontro de Bois de Matraca, takes place annually on June 30, São Marçal day, in the neighborhood of João Paulo. Based on this festive and walking context, the research looks for other ways of making and saying epistemic ones attentive to the wisdom of the streets (SIMAS, 2019) amidst the inventions produced by the groups of Bumba meu boi. In this context, I elaborated turns, whirls, crosses and ruminations, generating the methodological proposition of ethnowalk, a notion that has epistemic and affective proximity to the motive of thought in ethnocenology (SANTA BRÍGIDA, 2016, 2015; BIÃO, 2009, 2007). It is through the ethnowalk that I perceive the strength of the aesthetic, devotional, ritualistic, poetic and political processes nurtured in the Festa de São Marçal, mainly of the playing body in its movements and gestures settled in spiral time (MARTINS, 2021). In addition, the ethnowalk made emerge, as a methodological event, my status as a walker-ethno-researcher, which is when I walk in a festive immersion with the intense desire for the crossroads, folds, crevices and edges of the spectacular phenomenon and for the encounters generated from the to be together collectively (MAFFESOLI, 2014; 1998). The study also seeks to know the tactics elaborated (DE CERTEAU, 1994) by the slow men (SANTOS, 1996) and their bodies generated (JACQUES E BRITTO, 2006) in the urban and walking environment of São Marçal as a festive experience that generates microresistance. The pandemic context and the new typologies of partying also moved this investigation, which is about the inventiveness employed and the expansion of the festive model, deeply affecting by the pandemic. Therefore, the research aims to understand how walking activates inventive ways of existing, transforming the festive landscape of São Marçal into a space - physical and virtual - of emotional exchanges, nomadic creation and generation of other possible worlds (KRENAK, 2019; ROLNIK, 2019).
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Conexões em movimento: o ensino da técnica do ballet a partir dos princípios do método Gyrokinesis
(Universidade Federal do Pará, 2013-06-20) ROSÁRIO, Rosana Lobo; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
The goal of this thesis is to develop a theoretical and practical study focusing in the connections between the exercises of the ballet and the principals of the GYROKINESIS® method. The authors approached as theoretical background for the ballet are Bertoni (1992), Caminada & Aragão (2006), Minden (2005) and Vaganova (1969); for the GYROKINESIS® method are Campbell & Milles (2006) and Renha (2010); for body awareness is Vianna (2005); and for Somatic Education are Feldenkrais (1977), Fortin (1998 and 1999), Hanna (1986) and Strazzacappa (2009 and 2012). The methodological approach used in this study and was applied to members of the extension project Connections: the fundamentals of Ballet and the principles of the method GYROKINESIS®. The participants of this study were students and former students of the dance program of the technical and teaching training degrees at the Escola de Teatro e Dança – ETDUFPA. The class met twice a week for 90 minutes. Photos, videos, testimony and reports of the participants documented the learning process for the research. Through the analysis of these materials, it was evident the connections experienced on the group’s development, what allows to clearly perceive the possibility of teaching the ballet technique in a more integrated fashion connected with the potential and limits of each student, opposing the rigid, exhausting and old school teaching.
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Corpo(Coreo)Grafia urbana: uma poética nomadista com artistas entreruas
(Universidade Federal do Pará, 2017-06-20) CASTELO, Caroline de Cássia Sousa; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This research is about a process of creation in dance that had as main focus of study the street artists who work in the city center of Belém – PA. Based on the concept of corpography by Jacques, understands the close relationship between body and street as an urban design. Just as the dance draws the street in the scenic proposal titled: Nomadista. The semaphorized methodology created from this work divides the research into three fields: the ephemeral field, the scheduled field and the training field. The Floriano Peixoto Square (Belém – PA) serves as stage to the interviews, laboratories, rehearsals and the scenic result itself. The writing of the memorial dialogues with the concept of Coreopolitics by André Lepecki, street theater authors in Brazil, such as Turcler and Trindade. Thereza Rocha, Juliana Moraes and Líria Morais about contemporary dance and its poetic, aesthetic and conceptual possibilities. The encounters with the street performers were primordial for the texture of the poetics and for the scenic choices. I discovered creative powers from the gestural of the jugglers, from the stories of the artists, from the relationship with the spectator pedestrians, from the scene, from the sensations, the curses and the repressions, the ugliness and the beauties of the street.
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Corpo-Raiz: O processo de criação do bolero Interamor
(Universidade Federal do Pará, 2025-06-25) ALCANTARA, Wallesson Amaral; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This research addresses the notion of Root Body, which is a way of thinking about ballroom dance intertwined with the life and artistic trajectory of an artist-teacher-researcher. This trajectory is permeated by different artistic experiences in ballroom dance, especially bolero, and constitutes experiences informed by Neuroscience (Marçal, 2019), with theoretical and practical foundations in Movement Ecology (Bolsanello, 2016) and Immanent Dance (Mendes, 2008), in addition to the notion of "dance as a politics of appearance" (Castelo, 2022). As a result, the poetics of Interamor are presented, along with its methodological developments, applicable both to the creation and teaching of ballroom dancing, and the social discussion triggered by the work of art
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Da casa de contato à dramaturgia do contato: experimentações e reflexões na casa Ribalta
(Universidade Federal do Pará, 2012-03-01) FERREIRA, Mayrla Andrade; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The research points to a path of artistic experimentation, unveiled in the very first my space contact with the dance: the "house of contact," object investigation of this research that establishes connections multiple and heterogeneous of performer-creator with life stories, which are raw material smain articulate for the recognition of principles and recurrences of a drama specific particular and local, the "dramaturgy of contact." to buy the basics of such a proposition, I use theoretical and methodological rhizome of Deleuze and Guattari (1995), in their percepts and affects (1992), brokered by the triad image-time-motion of Deleuze (1992), as a strategy of theoretical and practical cut across writing. Based on the notion of body subject of Merleau-Ponty (1999) and the dramaturgy of Eugenio Barba (2010) in fabric with the phenomenology of perception and contact-improvisation were the demonstrators elements that support the principles of dramaturgy Contact aroused by the life stories of those who practice, responding to the main objective of this Research Essay. We used the following methods of data collection: survey bibliographic documents that permeated the nature of the subject studied here and their interfaces with different areas knowledge, participant observation, interviews open and collecting individual and collective sense through letters, photographs, videos, songs, drawingsand relational objects that allowed reflection and analysis constructed by mapping a timeline of the School Ribalta dance, the dance company Ribalta and triad Marlene-Beth-Mayrla, lives that exist in the House Ribalta and give any sense of this writing. Aspects conclusive resulting from this research are involved directly with the degree of impairment o frese archer with the poetry of a life project, "The Home Contact and Dramaturgy of Contact ", marks singular trans-formations of paths in a plural human diversity.
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Da lamparina aos refletores: memórias e (in) performatividades em dança de salão de uma artista da Amazônia
(Universidade Federal do Pará, 2019-09-10) ROSA, Edilene do Socorro Silva; BEZERRA, José Denis de Oliveira; http://lattes.cnpq.br/9404514273838260
This master's thesis proposes to study the inter-relations surrounding knowledge, cultural manifestations and artistic productions in the Amazonian sociocultural context, from intrafamily and scenic bodily memories through research and experiences with ballroom dancing. The theoretical-methodological route allows one to expand and substantiate analyses based on the field of Performance studies, with Schechner (2003) and Ligiéro (2011); In acts/actions that permeates the concepts of performance and performativity with Galucci (2010) and Lopes (2010); And of the studies of memory, with Le Goff (2003), Asman (2016), Pollak (1992), among others, reflecting on the social, cultural and communicative functions of memory. Thus, this work seeks to discuss the artistic experience with and from the ballroom dance, in dialogue with personal and collective experiences triggered by reminiscing about and observing performances that have presented themselves during the course of our research. In this way, experimentations and experiences derived from investigation have provided diverse practices proferring new possibilities of creation, of art/dance teaching from the context of thought to performing a dance or two, snuggle in a Brazilian embrace, from Invitation made by an artist-researcher in the Amazon.
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A dança no palco do imaginário Matinta e Medéia: um entrecruzar poético de fazeres artisticos
(Universidade Federal do Pará, 2014) SILVA, Ludmila Mello da; LOUREIRO, João de Jesus Paes; http://lattes.cnpq.br/2018214713424265; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/nt
This research , attentive primarily to an offshoot of my completion of course work , assured me that the title of full degree in dance from the Federal University of Pará This work ( TCC ) provided an opportunity to study dance me under three approaches : the dance in my body , in the body of the other and the possibilities that present the mythical studies suffer redefinition for a dance . The current study aims , in addition to wage interplay of dance, culture , myth and imagination also enables my analytical perspective on the trigger which provides a theory to another , and investigate them separately. The first theory to be studied concerns the poetic myths etnodramaturgia ( Loureiro , 2009) and expounds on how each person particularize the myth that reads . Through reading the individual imagines the myth , cenarizando it . This particularization arises according to the specific culture that is intrinsic to him , so the universality of myth is revealed when the consonant interpret our path by culture. This theory also reflects the process that will trigger another theory, semiotics conversion ( Loureiro , 2007) , which also is present in my analysis regarding the relationships established between dance , myth and imagination . The principle of semiotics conversion assumes the reordering of some of the features found in the reflection about art . These maintains a hierarchical relationship , and may thus be a dominant depending on the movement of passing objects from one cultural context to another . Then the functions are reorganized and may change the dominance . Through reflective analysis of the theory of poetic etnodramaturgia myths , inside a universe that seeks to rely on two myths : Medea ( Greek ) and Matinta ( Amazon ) to demonstrate the possibility of building the imagination grounded in a scenic area that creates simultaneously to read a mythic narrative , allowing , effectively , the acting of another theory, semiotics conversion, which provides for the redefinition of these myths in dance performances or theater within the theater arts achievement. However, you can extend to other works of art , as this research concerns the way how the myth takes shape in the imagination of each. The way that every photographer should stage in the imagination according to its artistic design . Moreover , the two myths chosen for this study are suppliers of equivalent symbolic meanings although they originated in cultures as far away , try then show these equivalences taking as prime examples my own reflection on the subject , to act in a dance whose resulted essence of reframing the myth of Matinta and analyze the performance of the artist who experienced the two myths reinterpreted in choreographic works , Jaime Amaral . For that, my main goal is to analyze how conversion happens semiotics of myth in dance through the poetic myth etnodramaturgia process basing myself in the identification and investigation of binding , in the production process , a formant shape ( Pareyson , 1993 ) between the individuating points , but each converging myth studied , taking into consideration the crops belonging to each. In view of this part apply to this study , interviews , library research about the topic , as well as documentary research ( footage and photos ) of the artist in question already staged the myths upon which outline the referent study as well as my notes contained in the logbook manufactured in the lab creating the show Matintas.
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Dança Sensorial: metodologias de ensino e aprendizagem e sua aplicação em um processo de criação em dança para pessoa com deficiência visual
(Universidade Federal do Pará, 2022-02-08) MOTA, Alves Mota; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This paper aim to create teaching and learning sensorial methodologies applied to a dance project developed with visually impaired dancers. The concepts that support this research are: the háptico from Ingold (2015) e Deleuze e Guattari (1977) and the Phénoménologie de la Perception from Merleau-Ponty (2011). The poetical process of creation happened in the Dance-theater School of the Federal University of Pará (ETDUFPA). The experimentation laboratories were executed considering two major areas: 1. The háptica dance and 2. The sonorous body, both based on the dance experience of the subjects of this research and the exploitation of their remaining senses, as well as the application of the resulting methodologies from experimentation laboratories in the spectacle Corpus Sensorialis. The analysis has two subjects, a blind dancer (man) and a low vision dancer (woman). The approach used is the hermeneutical-phenomenological. The field research is grounded by the study case. For data collection it was used audiovisual recordings, photographs; semi structured interviews and recorded statements, collected during the laboratories and spectacle. The poetical and theoretical research, the basis of this study, brought as a possibility planning and performing dance from an háptica and sonorous perception. The creation laboratories highlighted the urgency in considering the real necessities of the visually impaired dancers. From these experiences, emerged some sensorial methodologies when planning and performing dance with visually impaired dancers. These methodologies are based on their bodily experiences. The methodological propositions, tested in the creation laboratory, were applied in the spectacle Corpus Senrorialis and it demonstrated a way of planning and performing dance that contemplate the reminiscence senses of visually impaired dancers. In addition, it fostered a more autonomous performance form the dancers that developed significantly sensorial perceptions.
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Dança, Cabala, Espiritualidade: autoetnografia dançada em roda na Amazônia paraense
(Universidade Federal do Pará, 2021-10-21) COSTA, Ana Cláudia Pinto da; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The threads that weave the writing of this Thesis are intertwined with threads of experiences lived by the artist-researcher/focuser-dancer Ana Cláudia Pinto da Costa, in the context of the collective UBUNTU, a movement of Sacred Circular Dances in the city of Belém/PA. The work is the result of an ethnographic research in the field of Arts, about the twelve Corporal Prayers, inspired by Kabbalah by dancer and choreographer Frida Zalcman. Such dances correspond to the danced “translation” of the prayers sung in the synagogue. The research is part of a broader study about the so-called bodily prayers, guided, in this specific case, by the precepts of Kabbalah, the Tree of Life, taking into account its four worlds and their energetic emanations (sefirót). These bodily prayers are a way of experiencing, through dance, the liturgical rituals of Judaism, favoring the practitioner's contact with the worlds of Kabbalah, where supposedly the encounter with the Creator takes place. The study seeks to understand the sense and meaning that the precepts of Kabbalah give to dance, as it was organized and systematized by its creator, implicit in the context of the ritual performance of Corporal Prayer Mode Ani Lefanecha, based on the dancers' cosmovision. The research falls into three theoretical-methodological fields: 1. Anthropology of Dance, a field that makes it possible to observe, experience, and understand "dance" - movements, steps, rhythms, gestures, symbolism, ritual, among other elements - in their relationship with the context in which it is transmitted and practiced; 2. Merleau-Ponty's Phenomenology of Perception, with studies focused on the aesthesiology of the body; 3. Dance Therapy by Andrea Bardawil, which constitutes the experience with dance, from the dialogue with somatic education, body awareness and improvisation
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Dançaeira: a Capoeira como procedimento para a construção de um processo criativo em Dança Contemporânea
(Universidade Federal do Pará, 2012-02-29) SILVA, Andreza Barrroso da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This research aims at the survey of common aspects between Capoeira and Contemporary Dance. From the perspective of creative processes in Dance e those that occur in Capoeira, the analysis encompasses some specific objectives. They are: the scrutiny of the body during the improvisation through Capoeira; the perception of capoeirista´s body in relation to other bodies and outside space, during performing; the identification of impulses that may come from Capoeira, by considering its application of them in Contemporary Dance as well. The methodological procedures are based on autobiographic corporeal discourses, which in their turn, starts from empirical hypotheses borned of my own body as capoeirista and dancer. The theoretical perspectives sustain selected concepts such as those of Eugenio Barba, Jerzy Grotowski, Marcel Mauss and Merleau Ponty, in this order. Also, the accomplishment of this research allows connections between Capoeira and creative processes in Contemporary Dance, in a sort of artistic mode baptized as Dançaeira. Finally, such connections struggle for figuring out an expressive and personal artistic body made out of both artistic languages interwoven.
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Desdobrando a dança imanente: imanência, organicidade e técnica na construção de uma poética cênica
(Universidade Federal do Pará, 2011-02-28) SOUZA, Luíza Monteiro e; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The present research brings in its core notes referring to the continuity of the theoretical and practical aproaches concerning the work developed by Companhia Moderno de Dança (CMD). Aiming at unwinding of the matters treated on Ana Flávia Mendes’ doctorate thesis, artistic director of the group, it has been observed, then, the poetic construction of CMD from other aspects related to the research object. The focus resides on the chaining of three keyconcepts which guide the reflexions and analysis prepared during the investigation process. This triad, composed by the notions of immanence, organicity and technique, sustained the development of experimentations with the CMD dancers in order to verify the possibilities of investigation and research in dance, whose process had as a starting point the subjectivities of the dancers intertwined in it. The conceptual interrelation between these notions was the basis for the development of artistic experimentarions based on immanence as first stimulus for the application of experimentental laboratories for practical and theoretical purposes, in order to promove an activation of different states of the body, given the implications of these corporal states with the results raised in the process.
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Encantaria-corpo: processos de criação e poéticas em dança
(Universidade Federal do Pará, 2022-01-17) SOUZA, Luiza Monteiro e; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
This research-creation is affiliated with the line of research Poetics and Processes of performance in Arts of the Graduate Program in Arts at the Federal University of Pará (PPGARTES/ICA/UFPA). Its main objective is to carry out immersion and emergence experiences (EIEs) based on the encounter between immanent dance (Mendes, 2010), “encantarias” (Loureiro, 2008) and the notion of poetry (Cotê, 2015). Proposing to underline theoretical-artistic interactions emerging from the creation process, the EIEs are the research methodology from which the procedures of experimentation, creation, reflection, as well as poetics in dance, are born. The processes of artistic creation take as inspiration the magical worlds submerged in Amazonian rivers: the “encantarias’, a kind of transcendental dimension where the enchanted beings who poetize the existence of these rivers live. The idea of an enchanted depth in the river is found in this research with the immanent dance, establishing as the main theoretical-practical proposition the notion of “encantaria of the body”, which had been applied together with the Companhia Moderno de Dança collective, aiming to stimulate creative processes. The research results are the scenic work Na Beira, the videodances Poesia Submersa, Vamos falar de poesia?, Nas águas do invisível, Onde estará o além das coisas?, Dar-se em Vertigem, Ecos das Entranhas e Seres de Si and this memorial text.
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Escritos Vagalumeantes: Mo(vi)mento de Etá em processo de transcriação vagalumeante
(Universidade Federal do Pará, 2021-12-21) SOUZA, Ercy Araújo de; MENDES, Ana Flávia de Mello; http://lattes.cnpq.br/6144243746546776
A fireflying written. The following actions are my experiences-memories-creations from the childhood to present times. Read it as you look at a firefly flying in the darkness nearby the Xingu River, at Altamira, city in the state of Pará, Brazil. From this standpoint arises a trigger to think about the transcreation and interpretations of what can be light, dark, path, enchant, mystery, frustration, mo(ve)ment, imagination and (trans)creation in my artistic practice, in my dance. For this purpose, the current time cross this process because the world is researching for a cure for COVID-19 virus as long as we are all looking cure for mental diseases both individually and collectively. I believe that actions and thoughts about cure can be enabled through artistic perspectives, yet, paradoxically, we are going through a moment of even greater devaluation, socially and individually, of art. I would even say by us artists, who often do not see the artistic relevance in the healing, historically recognized in humanity. As we are blind to seeking survival by means that they put us in a state that is alien to the artistic body and trapped in a biological body, and so we seek to survive and heal ourselves by other means than making-thinking the Art of/for/in the body. Not accepting the changes, differences and collective movements in the face of a disease, sickens us as much as contamination by a virus in the blood. A fireflying written is a mo(ve)ment and an observation. This is the perception of infinite lights and darks amongst the chaos of uncertainty presented in a living process such as mine. All of this with an artistic group called Companhia Moderno de Dança, establishes itself in the embodiment of a collective practice in its making-thinking of a multiple and uniqueness body named Etá, metaphorically created for this research crossed by media and affective possibilities. The results were generated by the memorial composed of six booklets and a poetics called Vagalumear (to firefly), which consisted of four videos.
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Estratégias de improvisação em dança
(Universidade Federal do Pará, 2017-06-27) LUZ, Suzana de Sousa da; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
The present research has the objective of investigating the preparation resources for the construction of improvisation shows in dance with the members of the Research Group Coreoepistemologies, Federal University of Pará (UFPA). The concept of improvisation presented here is based on MARTINS (2003) and MUNIZ (2015) and FREITAS (2012) stand out as a relevant concept. The applied methodology makes use of scenic laboratories that use improvisation in dance as a scenic result, and the spectacle is created at the moment of its execution. Throughout the research was adopted the use of a pre-established script, in which the plot of the story is previously defined, leaving to the dancers the resolution of the scene and its movement. Resulting in an artistic experiment in which, from the use of scripts and the connections between the participating dancing bodies, the process of creation is simultaneous to the process of contemplation.
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Fame Companhia de Dança: caminhos e transformações da dança jazz na contemporaneidade em Belém do Pará
(Universidade Federal do Pará, 2015-06-19) REIS, Thays Oliveira; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This paper deals with the jazz dance in contemporary times, through a personal experience in Fame - one Belém do Pará dance company, which proposes to dance jazz and is under the direction of this researcher. In this research, jazz is understood as a dance genre in constant transformation. Know and understand jazz dance made this dance company, are the objectives of this work that makes Fame a starting point for understanding the features and changes occurring in this dance today. The research was conducted participant form. A dialogue between researcher, authors and performers of Fame Dance Company was traced in this way, revealing a dance several ways. At this dance as hybrid, flexible, full of influences and at the same time, stuck in the drive constantly changing, called Jazz dance. The speech of the performers had equal importance, given that they were instrumental in this research. I found light in contemporary thought of Ana Flavia Mendes, similarities in Jussara Miller research, inspiration in thinking by image Sonia Rangel and reflections on Etnocenologia Armindo Bião. So I consider my writing transdisciplinary character.
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Farinha poética: a coreocartografia familiar de um rito artístico
(Universidade Federal do Pará, 2019-06-24) SILVA, Juanielson Alves; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This research aims to present and understand the creative process of the Artistic rite Poetic Flour (Rito Artístico Farinha Poética), through theoretical and practical dialogues, as a production of artistic and academic knowledge. By artistic rite is meant the moment in which the scenic product of this research is delivered to the public. In order to construct the work of art and arrive at this moment, I used a strategy I call familiar coreocartography (Coreocartografia familiar) - a methodological proposal for dance research inspired by cartography (DELEUZE, 1995) in dialogue with the creation processes (SALLES, 2006), an experience which unveils the (re)encounters of this interpreter-creator in dance with his family, his history and his dance, thus becoming a broad network of artistic, epistemological and life connectives, a map of a family of knowledge willing to shared. In the realization of the work research, the procedures of preparing flour as metaphors for creation in dance, I observe the processes of "semiotic conversion" (LOUREIRO, 2007) of the gesture in "contemporary dance" (ROCHA, 2016) and highlight the relevance of subjectivity as the value needed for scenic creation. As a result, it is verified that the research treated in this memorial transcends the reflections on the resources and procedures of scenic construction Artistic rite Poetic Flour (Rito Artístico Farinha Poética) and advances in the sense of seeing the construction of this Rite as a process of healing and reunion that is based on life situations and of art, intimate relations with one of the social contexts of my hometown, a context that my family lives during the production of cassava flour
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Girassóis dançam: diário das sementes de um jardim
(Universidade Federal do Pará, 2021-01-21) CORRÊA, Rafaella Cristina Dias; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
This research is about artistic production in dance with disabilities people, this is, the process of creation in dance in which it’s able to develop against this peculiar body, the sunflower body. From this point of view, we can say that it’s paramount importance that the person has knowledge of his own body, asleep and untapped, sometimes. I propose to experience ways of a dance detached from technical supports or established patterns of movement, seeking, however, to experience the necessity of moving in its various daily qualities of ovement, considering the diversity of artistic expression of the person. I then launch myself into dance as a means and not as an end in itself. According to Santos and Figueiredo (2002-2003). This seeds of the Association of Parents and Friends of the Exceptional (APAE) of the municipality of Marituba. We will use several fertilizers made by specialists in the theme: Izabel Marques (2010), Klauss Vianna (2005), Cecilia Salles (2016), Jussara Miller (2010), Ana Flávia Mendes (2010). These references will be fundamental to elaborate a dance vision that aims to include, in detriment of the cast dance class, something so recurrent in our reality.
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Imagem mudança: um processo de transição em dança
(Universidade Federal do Pará, 2014-06-06) SOUZA, Ercy Araújo de; Mello, Ana Flávia de; http://lattes.cnpq.br/6144243746546776; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research analyses the transcreation course between word, image and body in the choreographic creation process, regarding to develop a reflection upon this in the Contemporary Dance scene. Thus, experimentations occurred from September 2013 through March 2014, with the Grupo de Dança Moderno em Cena – GDMEC. These experimentations are considered as a methodolofy suggestion to develop and comprehend the choreographic transcreation, metaphorically associating it to the butterfly’s life cycle. It is believed that this study may assist in the considerations upon the creation process in art and, more specifically, in the dancers creative potentiality, regarding to their observation about their bodies, their images and their words in a transcreative experience under the principles of the Immanent Dance poetics, a branch of the Contemporary Dance itself.
Acesso aberto (Open Access)
Kata pessoal: treinamento psicofísico para atores/bailarinos por meio do judô
(Universidade Federal do Pará, 2012-02-29) PINHEIRO, Silvia do Socorro Luz; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The object of this research is the judo as body practice of the actor/dancer. A hypothesis presented in this paper is that judo includes useful techniques for training the actor/dancer looking through the lens of Theatrical Anthropology. The objective is to research the judo, both technical artifice as philosophical, elements that could enrich your state pre-expressive, which is building the Personal Kata. This proposal incorporates different theoretical and practical fields: judo and theater focus on containing the principles of judo in communion with those of Theatrical Anthropology. My experience as a judo teacher was taken as reference for the study because it represents the area on the philosophical and practical foundations of judo. About methodological procedures, we chose a qualitative approach, but it has a descriptive nature, into which was conducted a bibliographic gathering. Also, the field research, involving interviews and statements; and a laboratory of training, a title of experiment. For application of this training was selected a set of techniques of judo based on criteria such as: balance, energy, contrast-stretched body, organic.