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Teses em Artes (Doutorado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380

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Agora exibindo 1 - 20 de 69

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O camelo, o leão e a criança que brinca: transmutações da busca de si em três atos-poéticos
(Universidade Federal do Pará, 2019-04-05) MIRANDA, Michele Campos de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
Acesso aberto (Open Access)
Minha viola é de buriti: uma etnomusicologia aplicada-participativa-engajada sobre a musicalidade no quilombo Mumbuca, no Jalapão (TO)
(Universidade Federal do Pará, 2019-06-25) BONILLA, Marcus Facchin; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Acesso aberto (Open Access)
Sons, textos e visualidades: arte e ativismo político na história de artistas ligados ao cenário do Rock paraense
(Universidade Federal do Pará, 2019-10-10) SILVA, Jaddson Luiz Sousa; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In the present work, the rock scene in Belém do Pará is approached from its social, cultural, artistic and economic characteristics, in order to investigate how three Pará artists were formed culturally, politically and artistically by it, as well as to also understand how these artists made this scenario, from their experiences, the stage of their artistic performances. The artists are: Alexandre Washington, Cosme Luiz and Marcos Moraes. The first artist, who also attends the pseudonym Joker Indian, developed a strong connection between his participation in the Anarco Punk Movement and his production in the areas of poetry, fanzines, performance and video poem. The second artist, in turn, acted as a singer and songwriter for a punk rock and hardcore band called Sem Deus Nem Pátria, and also worked with street theater, puppet theater and performance. Regarding the artist Marcos Moraes, it is noteworthy that he also acted as a musician and composer in many rock bands in Belém, besides having a fruitful trajectory in the production of zines, thus working with the Anarchist Movement, the Movement Anarco Punk and his inclination to the field of arts. Thus, current research develops an interdisciplinary analysis in the field of art history, articulating the history, anthropology and philosophy of art in order to trace the contribution of these artists to the social history of art in Belém do Pará. Historiographic sources, the basis for these reflections were: oral accounts, the fanzines and pamphlets made mainly by the artists studied here, as well as the productions of these artists, from writing poems to video performances. In this sense, the sources were understood as a monument document and served as the basis for the historical reflections presented here. Already as the main basis for the theoretical reflections, the social history of art and the relationship between history and biography gave important contributions to the understanding of the strong connection between art and life in the development of an art historiography that extended beyond the established artistic canons. by the elitist academies and circuits of art
Acesso aberto (Open Access)
Mestres que criam: a produção do conhecimento no Mestrado Profissional em Artes no Estado do Pará
(Universidade Federal do Pará, 2020-02-13) MENEZES, Joaquim Augusto Souza de; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
The thesis analyzes, through subjectivity and in a narrative way, the production of knowledge in the Professional Master in Arts, aiming at the development of a theoretical framework that supports the strengthening of Educational Policy for the improvement of Basic Education. Therefore, it was necessary to study and reflect, respectively, on the twenty-five textual productions and essay products; in addition to identifying a minimum set of guidelines. The research was of a qualitative approach in the analysis of the twenty-five productions generated by the master's students of the 2014 and 2016 classes. The theoretical references are based on the Systematization of Brazilian Education. The results of the studies emphasize that the State of Pará, through Public Universities, can and should strengthen Postgraduate Programs focused on Basic Education. And it recommends the need for future studies, such as: identifying which professional training courses are necessary to promote the development of the municipalities and mesoregions studied, both at undergraduate and graduate levels; analyze the impacts arising from the participation of teachers in the Professional Master's Course in Arts; as well as to evaluate the capacity of the Public Universities of the State of Pará to install the Professional Master's Course in Arts, and other Professional Master's Courses in the various mesoregions of the State of Pará.
Acesso aberto (Open Access)
MOVE: um facilitador da pesquisa em música para estudantes com privações sensoriais, intelectuais e motoras
(Universidade Federal do Pará, 2020-06-22) RODRIGUES, Jessika Castro; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Contemporaneity indicates the need to promote innovative and relevant technological support to improve conditions of autonomy and independence of students with sensory, intellectual and motor deprivations. Therefore, the researcher aims to investigate how assistive technology can facilitate the research process of music students with sensory, intellectual and motor deprivations. This objective unfolds specifically in two, which are: a) Create a prototype as a strategic visualization tool of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of a research project; b) Test and evaluate the strategic visualization technology of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of research project. In order to achieve the proposed objectives, the Bibliographical Research and the Experimental Research were adopted. The Experimental are the procedures for the creation, testing and evaluations of the prototype device. A pilot project was carried out - with students of the Specialization Course in High School of Music of the Federal University of Pará, as well as there was an intervention with undergraduate students in Full Degree in Music at the State University of Pará and the Federal University of Pará. The participants were students with sensory, intellectual and/or motor deprivation and without deprivation. The application of the Tests focused on the use of the strategic visualization tool of the MOVE research movement for the construction of the research project by the participants. The tests took place in six meetings and the evaluation proceeded in two ways: (a) the first was by the participating students who answered a questionnaire using the 10-point likert scale, presenting three justifications and suggestions to evaluate the functionality of the device; (b) and the second was the evaluation of peer-reviewed research projects by independent judges who followed the scale for evaluation of academic projects, notably on the scale from 0 to 10 for each item evaluated. The collected data were quantitatively analyzed, and their representations were expressed by tables and graphs, which were compared with documentary analysis and served as visual support to project the results and raise reflections and contributions. In general, it can be seen from the answers that more than 85% of the participants totally agree with the music research facilitator for students with sensory, intellectual and/or motor deprivations. The study revealed the fundamental importance of the multidisciplinary team to obtain efficient results. It was observed that the facilitation promoted by the MOVE tool was usually related to the difficulty presented in the profile of each student. The research confirmed that the MOVE tool does not exclude the need for a counselor, but offers autonomy and independence for the student to organize their ideas in order to maintain coherence and not escape the theme.
Acesso aberto (Open Access)
Como Estrela és David: um Miguel da cor de breu
(Universidade Federal do Pará, 2020-07-10) PUGET, Dayse Maria Pamplona; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
David Miguel dos Santos, a composer from Pará born in the Jurunas neighborhood, in Belém do Pará, on December 29, 1926, and died in this same city, on February 19, 2000, is the object of this research. Investigating the factors that affect your creative process from an ethnomusicological perspective was the general objective of this research. The specific objectives were: to provide contextualized information about this composer, to provide a commented catalogue of his works, to describe his creative process and analyze the sambasplot of this composer. To achieve the proposed objectives, I conducted a bibliographic, discographic, imagery and audiovisual in various collections; launched assumptions of oral history (semi-structured interviews, testimonials and narratives), interpretation and analysis of the collected and recorded data, including: historical, contextual, cognitive, structural, textual and musical, with the theoretical support of authors of Ethnomusicology and Anthropology, among others, Béhague (1992), Blacking (2000), Merriam (1964), Nettl (2005) and Durand (2012). David Miguel, due to the importance of his work, is inserted in the place that is rightfully his: the Popular Music Of Pará.
Acesso aberto (Open Access)
Poéticas Nômades: pesquisa-criação do espetáculo tentativa.doc 2.0 a partir de elementos da cena expandida e intermedial
(Universidade Federal do Pará, 2020-07-27) FONSECA, José Flávio Gonçalves da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This thesis brings about as a key issue the accomplishment of a scenic criation process, whose the investigative drive includes considerations about the use of elements actualised both in the expanded and in the intermedial scenes. Those elements work as triggers to grasp of what we call the technopoetic. The research understand the notion of technopoetics according to its conceptual definition, derived from a creative faculty obtained by what we assume as the machinery sensibility materialization. Such ideas proceed from the proposition of techesthetic developed by Gilbert Siomondon and his discussants. The concepts are also based on ontologic aspects of technical/technological pieces of work occurred after the historical Industrial Revolution. Following the inquiries, the work contextualizes itself into the field of contemporay scenes studies, specifically concerning the types of research based on practice as Brad Hanseman’s “performative research”, Robin Nelson’s “practice as research”, Sylvie Fortin and Pierre Gosselin’s “thesis on practice-basis”, and Mireille LoscoLena’s “reserche-création”. Therefore, this research aims to develop procedures and protocols around the practice done, by means of a technopoetic materialisness and correspondent analysis. For that purpose, we put forward the perspecive at the poetics presente in the techincal object itself, here understood beyond its mere definition as an apparatus, but going further as its identity of a work of art itself. As a result of the creation inquiry, it is devised the performance tentativa.doc 2.0, a practical artistic inquiry intended to fill out hybrid territories of expanded and intermedial scenes. The research technopoetics take into account the notion of nomadism as a compositional setting off per se. Such kind of epistemological trigger brings about different senses of the nomadism, by means of its features as geographic, aethetical, and poetical, through which the performers establish a sort of game among themselves, between them and the techincal objects, and amid techincal objects and spectators. By achieving the game, the performers also compose a experience where each individual mold yourself and the other. In doing so, the circumstances become what Josette Fèral nominates performativity of technology. The undertaking come to conclude at the hability of the artist when dealing with digital devices far beyond of their digital peculiarity, by going toward the activation, development, and interchanges of perceptions within a compound exceedingly present, yet, or even because, virtual.present, yet, or even because, virtual.
Acesso aberto (Open Access)
O lugar da arte na TV: caminhos possíveis e experimentações no programa circuito
(Universidade Federal do Pará, 2020-09-04) ANDRADE, Ana Paula Dias; SILVA, Joel Cardoso da; http://lattes.cnpq.br/4443040797308636
Art, a fundamental cultural element for human societies, functions as an indicator of their degree of development. Thinking about new ways to strengthen this field and make it more accessible to the public are big challenges, which find voice in this research whose objective is, among others, to associate theories of the field of Art with Communication to propose new ways of approach and spaces for the art on the open television. The application of the concepts is tested in the program Circuito, from TV Cultura do Pará, in order to demonstrate how this theoretical-practical relationship can be established in television products. Initially, a survey is conducted on the productions dedicated to the field of Art on Brazilian TV, contributing with a drawing of the history of these formats at national and state level (Pará). It follows for the study and association of theories: Art Criticism, Cultural Journalism, Edutainment, Arts Education, Mediation in Arts, television and audiovisual language. Among the essencial references for this research are: Américo (2010), Argan (2010), Aumont (2012), Ballerini (2015), Barbosa (1999), Bourdieu (1996), Bucci (2000), Cauquelin (2005), Leal Filho (1998), Machado (2012), Moraes (2014), Nunes (2003), Piza (2003), Salles (2006), Venturi (2007), Walldén (2004). From the theories emerge the pillars for the content support that, posteriorly are studied in the Circuito program, as well as for the development of the television artedutainment. The research also brings a photo biography of the Circuit, as well as provides a small overview of Pará artistic productions in the last five years.
Acesso aberto (Open Access)
O Auto do Santo Preto e a bênção das três fomes: a carnavalização-afeto das festividades jurunenses de São Benedito em Belém do Pará
(Universidade Federal do Pará, 2020-11-06) CHAGAS, Eduardo Wagner Nunes; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
This work reflects the immersion of the last ten years of my life in the steps of the many processions, parties, litanies, dawns that are part of the complex of events that make up the festivities dedicated to São Benedito, held annually in the Jurunas neighborhood, in Belém do Pará, between the end of July and the beginning of August. Immersion lived in the flesh of a carnival-ethno-devotee, through which I perceive these festivities as spectacular cultural practices, possessing an exquisite symbolic vocabulary having the function of a line that borders and unites memories, belonging, identities, identifications, singularities, in a single banner, circumventing social tensions; actions supported by what I call carnavalizationaffection, a concept formulated in the light of understandings of carnivalization, party and affections, from Mikhail Bakhtin, Émile Durkheim, Michel Maffesoli and Davi Le Breton. In its epistemological horizon, the work is built on the glimpse of the world as a text, through the vision of Paul Ricouer, of interpretive anthropology, of Clifford Geertz, of the comprehensive and orgiastic sociologies, of Michel Maffesoli, and of the anthropology of emotions, of Davi Le Breton. In its methodological perspective, added to its epistemological horizon, the work is an ethnocenological product, bringing the experience of the researcher as a tool of the gaze, from which emerges the concept of spectacularity and the glimpse of these parties as Spectacular Organized Human Practices and Behaviors. Finally, the work translates into the burlesque reading of the samba schools' carnival, guiding the research of Benedictine processions through the spectacular look of a samba school plot, bringing together, in the same embroidery, research, artistic life and affects that emanate from me and me.
Acesso aberto (Open Access)
Arte-Educação em psicologia: a educação musical no tratamento de depressão e/ou ansiedade
(Universidade Federal do Pará, 2020-11-20) SOUSA, Maria Jucilene Silva Guida de; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
The purpose of this work starts from the idea-strength that Art-education and Psychology can be combined in the psychotherapeutic process of certain phenomena related to human behavior. It has the assertive that when they are used, both do not lose their importance front to the object of study, that is, without either being mischaracterized, subjugated or objectified in function of the other, nor subjected to a mere functionality. The general objective of the research is to analyze how Music Education can help in the quality of life of patients with depression and / or anxiety. Therefore, the problem that guided the research is described as follows: how can Music Education help in the treatment of people with Depression and / or Anxiety Disorders? Facing this problem, it is possible to understand that the exercise of Art Education by Music Education is not only a task of Music Educators, inside the classrooms, but it can also be of Psychopedagogues and Psychologists, who work in the Health area and who seek to qualify in the area of Music Education, to apply it in psychopedagogical and psychotherapeutic contexts, through clear and defined objectives in the promotion of individual and collective health. The study demonstrates how it is possible to apply Art-education in Psychology, in an interdependent and dialogical process, without losing its essence, since they all prioritize the subject in its differences. To such achievement, it uses the Phenomenological method that seeks to understand a phenomenon and not necessarily explain it. As a type of research, this thesis is qualitative and carried out theoretical-applied research, through Participatory Observation in an experimentation laboratory at the Psychology and Psychopedagogy Service of the State University of Maranhão, in São Luís-MA for two groups of patients with depression and or anxiety disorder: one for intervention with activities in Music Education and another for comparative testing of results. As a result, it was found that the group of patients who had Musical Education activities in the process of psychological and psycho-pedagogical intervention achieved 100% behavioral improvement, according to the tests and retest applied and the opinion of the multidisciplinary monitoring team , while the group of patients who did not have activities in Music Education achieved only 20% improvement. It concludes, therefore, that the initial hypothesis that music education contributes to minimizing depressive and / or anxiety disorders has been confirmed
Acesso aberto (Open Access)
Saburo (三郎)
(Universidade Federal do Pará, 2020-12-16) ONO, Ricardo Harada; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
The present work is the result of a research in the line of Poetics and Processes of Performance in Arts, thus intending to be an artistic work. Substantiation of a creative act, it presents its genesis based on the intersection of different reference layers: history, memories, emotions and affections, technical and empirical knowledge, in short, different components of my cognitive universe. The result is divided into two volumes, the art-object itself, which is revealed through comics, and this memorial, which presents the mode of operation and concepts generated by the intersections of these plans / layers. The work, the result of the creative process, narrates a period of my grandfather’s life, from the years leading up to his arrival in the Amazon to his last days, having, as a background, the history of Japanese immigration, and the group to which he belonged. It narrates his motivations and the challenges faced in the face of adaptation in Brazil and, in parallel, what are the consequences on the history of his descendants.
Acesso aberto (Open Access)
Entre marujas e marujos: recortes sobre o vestir no culto a São Benedito em Bragança (PA)
(Universidade Federal do Pará, 2021-01-07) BAENA, Graziela Ribeiro; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
The work is about the ways of dressing in the cult of Saint Benedict in the city of Bragança, Pará, Brazil. In 220 years of existence the cult was set up by conflicts with the official catholic church, but mainly by the effort of the members of the Brotherhood of the Glorious Saint Benedict of Bragança, founded in 1798. In this study the history of the city, the brotherhood and the cult are the background for a research on clothing and the importance of the dressing aspect in different moments in which the saint is honored, since the period of pilgrimage, to rehearsals, masses, processions and official dance performances.The discussion stages begin with a bibliographic survey of academic studies that have been published as books, theses or dissertations on the topic. Then, the work goes deeper in the study of the clothes used in different events of the cult of the saint. In addition, the experience inside the workplaces/houses of an artisan and a seamstress from Bragança, who manufacture clothes and acessories for the people called « marujas » and « marujas », is an important factor in the research. The workplaces, seen as a space of poetic construction, moves a writting process inspired by the act of sewing and investigated by the ethnomethodology. The climax of the research is the moment of practical experimentation described by the author, who makes her own clothes and hat, using the techniques learned from these hardworking and devout women from São Benedito. The filmed material made during the first research stages resulted in the documentary entitled "Among Marujas and Marujos", produced in the immersion held in December 2017 and which integrates part of the work in the search for a hybrid final presentation format. Having the audiovisual material as support for the development of theoretical and ethnographic thinking.
Acesso aberto (Open Access)
Território móvel: poéticas da criação a partir de memórias e cibermemórias
(Universidade Federal do Pará, 2021-01-13) RABELLO, Rafaelle Ribeiro; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This work linked to the Research “Poetics and Processes of Performance in Arts” presents the various movements of a poetic experimentation, through the appropriation of photographic images of my own and an old family photo album, configuring the path of my creation process. The way process, mediated by a mobile device, comprised stages contaminated by memories, desires, complexity and a journey around the multiplicity of the image and resulted in the presentation of two photographic series. Throughout the memorial, the operational layers of construction of this research will be elucidated - what had been experienced, what had been materialized and what had been conceptualized. The outcome of these three instances delineates the plot of a Poetic Project configured by crossings such as the return, the rhizome and resonances directing me to what I call mobile territory
Acesso aberto (Open Access)
Puta, Pistoleira, Dona de Cabaré: a espetacularidade do corpo-cavalo-travestido de Dona Rosinha Malandra no Templo de Rainha Bárbara Soeira e Toy Azaka. Icoaraci/Pa.
(Universidade Federal do Pará, 2021-01-19) CARVALHO, Ana Claudia Moraes de; SANTA BRIGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
Through winding lines of aerial thoughts conceived by a butterfly-writer, I write about the body-horse of Dona Rosinha Malandra, Umbandist Left Entity. Dona Rosinha incorporates in Rosa Luyara, a Saint's Mother who is a transsexual from the Belém’s periphery, which is the preponderant factor for the development of libertarians and crossroads epistemologies, of immoral nature, whose poetic crossings were experienced by the actress-researcher-bacante, in the affective crossroads of the Amazonian Umbanda. Based on the poetic image of the vulgar-butterfly, the methodology developed in this thesis was configured in a process involving sweet deaths for new transformed lives. Through an ethno-affective method. Pupas, hot vulvas, cocoons, self-estrangements in the understanding of the house-cosmos perfumed with snake perfumes, which is the central force of a body-horse-transvestite. Prostitute, Gunslinger, Cabaret Owner reveals mysteries, secrets of a malandra worldview belonging to a present time, for the social empowerment of a community. As an epistemological contribution to the academy, I develop the notion of body leaning, which is configured in an epistemo-methodological proposal of a body in the process of creation. A butterfly-thesis. This study is a feminist thesis, with transformative, transgressive and deliciously imoral content. The research aims to raise ardent butterfly flights, based on ethnocenological notions of Armindo Bião e Miguel Santa Brigida, in the images of Barchelard, in the imaginary of Durand and in the sensitive thought of Maffesoli to prepare the paths to be walked in an identity construction of gender, community and artistical epistemic freedom
Acesso aberto (Open Access)
Ânima trama: dança e artes mágicas como processo de autocriação.
(Universidade Federal do Pará, 2021-02-01) LAVAND, Ana Rosangela Colares; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
Se trata de una tesis memorial que tiene como espacio de investigación el proceso de creación de la obra de danza contemporánea Ânima Trama, adoptando como lema la dimensión femenina familiar de la investigadora y su relación con la poética femenina, prácticas artesanales que utilizan tejido, línea y aguja. La investigadora dice ser una araña tejedora y asume como cuerpo de investigación sus ocho patas, que son dimensiones de percepción y análisis de la obra, espacios donde se difunde el proceso de creación. La metodología de la investigación se entiende como una red laberíntica, una metáfora de la producción de conocimiento en el arte, una red porque el material que la compone es orgánico, visceral y de carácter sutil, ya que proviene del cuerpo de la investigadora, y un laberinto por sus múltiples posibilidades de recorrido. , donde perderse es siempre una posibilidad. El hilo conductor de la investigación es el hilo de la vida aquí representado por el cordón umbilical y a partir de esta idea del linaje femenino, su dimensión mágico-religiosa y sus fabricaciones, la investigadora presenta la noción de autocreación, pues afirma que al crear la obra experimenta una serie de interrogantes y ajustes de coherencia frente al mundo y a sí misma, comenzando a crearse a sí misma, siendo así un proceso de creación de la obra y de auto-creación
Acesso aberto (Open Access)
Crônica/Memorial sobre a produção artística na Belém do final do século XX: três coleções e alguns biografemas
(Universidade Federal do Pará, 2021-03-18) CHARONE, Neder Roberto; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research goes the way of history and memory to expose a participatory and observative experience of the cultural and artistic field in city of Belém do Pará in the last three decades of the 20th century. This chronological time space is constructed by a series of factors and attitudes that drive the productive field in the arts, mainly the visual and visual arts, caused by the earthquakes of the the 1960s, and the disruption of territorial isolation and Cultural. The way it is written has a structure of egohistory and significant understandings in a phenomenological sense; collections, collections, the relationship between owner and work, in addition to the existential space of both and complemented by commentary on the works in their composition, based on the teaching attitude of the teaching years. In the descriptive section of the decades there is a citation of the facts and their social and political inflows and their possible interference in the contents of the works contained in the collections. Ground zero of the investigation took place in a face-to-face interview about the origin of the set followed by its visual record, sequenced by the mapping of artists and techniques. The theoretical contribution is anchored mainly in Paul Rucouer, Araci Amaral, Francois Dosse, Peter Burke, Didi Huberman, Arnould Hauser, Jacques LeGoff, Philipp Blom, Terry Eagletom, Aby Warburg, Anne Cauqueliin, Walter Zanine Ulpiano Menezes, Pierre Nora, José Afonso Medeiros Souza, Mariza Mokarzel, Aldrin Moura Figueiredo in addition to the search in newspapers and periodicals that circulated in the decade studied and a source of paramount importance that were the libraries and collections of institutions such as museums and theaters to have the memory understood as college, but also understood as history of the arts in a certain period.
Acesso aberto (Open Access)
Cosmogonias amorosas: aberturas do caderno de encenadora n’A casa da atriz
(Universidade Federal do Pará, 2021-05-31) PORTO, Luciana de Andrade Moreira; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414
Cosmogonies of love: the opening of a theatrical female director’s sketchbook in the House of Actress is an affective and luminous cartography of a woman director on the process of discovery in a house-theater. Created as a dismantle, as named by Rosane Preciosa in Discreets rumours of Subjectivity, it is composed by pieces that take risks of being completely disarticulated. These writtings try to build the creative process using images and exercises stimulated by Eugênio Barba in Burning the house: the birth of a director, multiple voices wich compose and exhaust themselves. The text presentes some changes in the verb tenses, confusions, stories and dreams. Accepting Barba’s speech when he says that there is a wound in the middle of the creative process and, in addition to it, there is also Jorge Dubatti’s voice in The theater of the dead saying that we need to recognize our failures to make them better, it shows us (as science and construction of sense) a most human position and more sincere with the object written by myself: the humanity in the flesh, in the thoughts, in the wrong distances of the mistakes that many times made me just an automat of the scene. This doctoral thesis is above all, an agreément of humanity, of becoming a Doctor in a pandemic period, with all the risks that we take and of the privilege of keep thinking during this context. Even if this act is made in other ways. Eliana Bertolucci in Psychology of the sacredness and Zulma Reyo in Interior Alchemy are flames in the darkness, to take consciousness about the creative process, we shall give birth and light, illuminating unknown places, reaching out things that we don’t know how to talk. A risk conceived in three steps: Misteries of joyis about the creation through the pleasure, used as a method of writting; Cosmos came to me inspired by the people who lives with me, so it is about the interchange of presences, essays about the director’s universe in the moments of creation and Lunar conjunction is a way to constelate in the essence, as Hilda Hilst wrote in Seven songs from the poet to the angel, shows the presence of other people in the poetic, in the thoughts. Astonishment.
Acesso aberto (Open Access)
Ecologia de um Sukiya Sonoro: discurso poético polifônico na música tradicional japonesa.
(Universidade Federal do Pará, 2021-06-29) CANTO, Ednésio Teixeira Pimentel; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
The research aims to understand musical discourse in the repertoire of traditional Japanese music. This objective is developed through an idea of polyphonic poetic discourse, observed through the interrelationships between elements from various Japanese sociocultural domains representatively transversalized in the two repertoires in vogue: the tsugaru shamisen repertoire and the sōkyoku repertoire, for Koto. These aspects are organically constituted as elements of multiplicity and diversity that inhabit various Japanese cultural domains (ethical- aesthetic principles present in the tea ceremony, in Japanese literature, in music, in literature, etc.). Thus, the research perspective aims to understand elemental notions and modes of organization understood and observed from a perspective in which the interrelationships can be observed in the various domains of Japanese culture. The methodological construction developed in the research is similar to (or even acts as) the methodological construction in artistic creative processes, pre-establishing the Musecological one, which is defined as the research concept that is built by the search for an understanding beyond knowledge as objectivity and starting from an organicity built in the process and in the relationship with the research object, establishing as a guiding element the knowledge of the object from the exercise, submersion, insertion and non-distant learning of the studied musical practices. The research operates through a principle constituted by multiple elements, bringing this explicitly in the format that ends, deriving in notebooks. This idea is based on Gumbrecht's (2016) notions about the relationship between art and the production of knowledge, and achieves maximum strength within the research by being used as a skeletal structure for the organization of the other elements of this research. It can then be explained by saying that in this research, more than building systematically rationalized knowledge, the aim is to produce sensitive knowledge.
Acesso aberto (Open Access)
Educação Musical e Autismo : Análise da Educação Musical como recurso de inclusão social presente no programa Violino em Grupo em Belém do Pará
(Universidade Federal do Pará, 2021-09-03) BATISTA, Antônio de Pádua Araújo; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Working with music education in an inclusive perspective means making commitments to people, their families and the society in which they live, where making music becomes a social act, whose action can influence and provoke transformations. The “inclusion” theme has occupied a privileged place of debate on the agenda of major national and international conferences, with regard to the democratization of access for people with disabilities (PCDs) to education, leading to the creation of laws aimed at their specificities. With this, strengthened by the demands and pressures of various social groups that defend the recognition of this equality of access, important legal documents have been prepared, the Declaration of the Rights of Persons with Disabilities (1975), the World Action Program for Persons with Disabilities ( 1982), the Declaration of Cartagena (1992), the Declaration of Salamanca (1994), the Charter for the Third Millennium (1999), Law No. 12764 (2012), which determines that people with Autistic Spectrum Disorder (ASD) are considered people with disabilities, the Diagnostic and Statistical Manual of Mental Disorders - DSM-5 (2014) and Law No. 13,146 (2015), which institutes Social Inclusion and Citizenship of Persons with Disabilities (Statute of Persons with Disabilities). This study is justified by addressing a recurrent theme at national and international level, as the access of students with ASD to educational spaces is evident as an undeniable right, whether in regular education institutions, arts education or in the sporting environment, in character formal or informal. The study aimed to investigate Music Education, as a resource for social inclusion of children with ASD, present in the program "Violin in Group: interdisciplinarity and language innovation in children with Autistic Spectrum Disorder", developed in the Graduate Program in Arts of UFPA – PPGARTES. Its deployment takes place in three specific objectives: 1) Describe, based on previous works, audiovisual recordings and reports, the pedagogical actions, strategies and teaching resources applied in the Violin Group Extension Program laboratory; 2) Verify the musical learning of students with Autistic Spectrum Disorder (ASD), program participants, based on the collected data and, 3) Analyze the contributions of Music Education, as a resource for the social inclusion of children with ASD, through the Violin Group Program. To carry out this study, a bibliographic research was carried out, through a review of national and international literature, with a Quantitative approach and a Quasi-Experimental design, having as source the data collected through audiovisual and photographic records, reports, interviews and production academic, originated from the pedagogical practices developed in the program. The research revealed that students with ASD, when placed in a common teaching environment, can learn to play a musical instrument at a level similar to typical Neuro. It also revealed that the Music Education proposed by the Program fulfilled its role of social inclusion for PCD's students. It is expected that, through the registration of pedagogical resources and teaching material collected through this research, it will add to the professionals and institutions that promote Inclusive Music Education.
Acesso aberto (Open Access)
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