Teses em Artes (Doutorado) - PPGARTES/ICA
URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/11380
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Tese Acesso aberto (Open Access) Cartografia do Teatro : Contexto, políticas e poéticas do teatro de grupo em Macapá(Universidade Federal do Pará, 2023-09-24) MATOS, Bruno Sérvulo da Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971This research derived the construction of a thesis divided into four parts or four acts. At first, the composition of the archive on theater groups led me to the cartographic method and, possibly, to the ethnographic one. To begin the studies, it was necessary to know and write about the panorama of Amapá's theater, with the purpose of casting a critical and sociopolitical-cultural eye on the theater scenarios in Amapá. I observed that there was a huge amount of material about theater in general, but about Amapá theater groups there were none or few references. I started with bibliographic references: Elderson, MELO. Teatro de Grupo: Trajetória e prática do teatro acriano - 1970 a 2010. 2006. Samantha Agustin, COHEN. Group Theater: Trajectory and relations. Impressions of a visitor, 2010. A specific author is constantly used by any research, regarding the Amapaense theatrical activities, the professor-researcher, Romualdo Palhano, from the Federal University of Amapá. This author served as the main bibliographic support for a research that, until then, was in its twilight stage, because, although I knew that there were theatrical works in the State of Amapá, I did not know about them. Thus, I decided to change the main focus of the work and dedicate myself to an object: the theater groups in Amapá. In other words, the research stopped being exclusively bibliographical and became in loco. Cartography is a science that, traditionally, refers to the ability to elaborate maps, charts and other forms to represent and describe, in detail, or express objects, physical and socioeconomic phenomena. It is also a demarcation, or territorialization; a determination of spaces for the purpose of orientation and knowledge about these same spatial portions. Supported by these characteristics, I let the research follow its process, exploring each part that stood out, its unfoldings, however, taking care not to lose sight of the main objective: to register, to quantify, to qualify, when necessary, without forgetting its libertarian character. I realized that my research also had an ethnographic character. Ethnography, after all, is a method of the social sciences, but not only, especially anthropology, in which the main focus is a study of the cultures and the behavior of certain social groups. In the first act, I make a brief historical overview of the theatrical activities developed in the State of Amapá. I go through a more or less faithful chronology of selected images that tell how the theater, be it with the first building or in the first theatrical activities, has been appreciated, experienced, constituted in the State. In the second act, I tread the shaky ground, so to speak, of the public policies of incentive to the performing arts. Of all the acts, this is the one to which I dedicated special care, for touching on conflicting issues, for dialoguing with themes dear to public governmental and nongovernmental institutions, and for unveiling visible but silent situations, silenced by a convenient oppression. The third act is dedicated to the theatrical spaces or the places of theater. The city of Macapá has few institutional spaces, constituted as places for theater, which leads many theater groups to seek alternatives for the development of their activities. I emphasize, with this evidence, that not only places of theater are necessarily theatrical spaces. Other territories, said here to be "alternative," have emerged. The fourth act, I consider the soul of the research project. It is in it that I dedicate and concentrate my efforts to build a kind of narrative that expresses all the anxieties, joys, and struggles of the theater groups to make art, to make themselves exist, in a place where artistic valorization is so incipient. Each conversation, each description of the groups and their activities, was the unveiling of a passionate profile. Regardless of the farces and disguises, the dissonant speeches, the masks and make-up, I sought to describe and reverberate voices that scream, cry, lament, beg to be heard, but also laugh and bring and feel happiness.Tese Acesso aberto (Open Access) O Cineteatro territorial de Macapá e a criação de uma política cultural janarista(Universidade Federal do Pará, 2023-06-26) FERREIRA, Frederico de Carvalho; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, under the guidance of Prof. Dr. Bene Martins, conducted a study on socio-politicalcultural contexts engendered from the establishment of the Federal Territory of Amapá (TFA), focusing on Cineteatro Territorial de Macapá, between the years 1944 and 1949. The research, entitled: O Cineteatro Territorial of Macapá and the Creation of a Janarist Cultural Policy. The objectives are to highlight and reflect on the creation of a cultural policy, disseminated by Governor Captain Janary Gentil Nunes and its possible influences on the process of Amapá identity formation. This research is justified by the lack of works that address the theme and the need for more in-depth approaches to the artistic, cultural and theatrical memory of Amapa and its social and political contexts, which may have influenced its identity and cultural formation, in addition to contributing to , as a theoretical and critical contribution to future research, enabling conditions for the growth of Theater in/from the North and in/from Brazil. The central point of the study is the artistic and cultural movement provided (or not) by Cineteatro Territorial de Macapá, official space for political and cultural diffusion of TFA. In the construction process of this research, according to the proposed objectives, the formation of the TFA is investigated, since its fragmentation in the state of Pará (1943), the choice of the territorial capital and the Jornal Amapá, as a documentary source, the inauguration of the Cineteatro Territorial de Macapá (1944) and its political-cultural activities, the creation of a janarist cultural policy and the possible dialogue with the cultural movement of amapa. The study joins the line of research: Memories, histories and education in the arts, of the Graduate Program in Arts (PPGARTES-UFPA). The supporting methodologies are those of the artisticcultural field, cultural studies, in dialogue with other references, based on a qualitative analysis of the sources. Initially with a systematic reading of bibliographies on cultural policy, theatrical and audiovisual contexts established between 1944 and 1949. The consulted materials are from films, shows, artists and theatrical companies registered in Macapá-AP. It is characterized as documentary research, as it prioritizes the survey and analysis of sources that allow the interpretation of official bodies and documents, such as the Jornal Amapá and the Report of Activities of the Government of the Federal Territory of Amapá.Tese Acesso aberto (Open Access) Memórias da Educação Museal em Belém : Uma Cartografia de Experiências Plurais(Universidade Federal do Pará, 2024-01-31) LIMA, Janice Shirley Souza; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156Tese Acesso aberto (Open Access) Memórias das Artes Circenses de Rua em Belém-Pará(Universidade Federal do Pará, 2024-02-29) MARTINS, Yure Lee Almeida; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971This thesis proposed to think of current street circus artists in the metropolitan region of Belém as historical subjects, subjects of memory. People and artists with an origin and trajectories catapulted by artists trained in the first groups of circus schools in Brazil and Latin America (“travelers”). Street circus artists who are constantly made invisible because they choose the street as their main stage. The writing follows as a study on memory, adopting the description of the structure of a street circus show. In the first chapter, we intend to discuss memory and places of circus memory in the city of Belém, such as the Circo Mano Silva School. Highlight the peculiarities of recent circus arts in the city. Provide a contextualization of how the traveling circus takes on a new look through street circus artists in Brazil and specifically in Belém. In a second chapter I will try to present in general terms the permeability of artists, groups and troupes in the city of Belém. Highlight unique aspects of working with circus languages in the region, such as the existence of non-travelling troupes and circuses. I mainly highlight the analysis of memories and life trajectories of the subjects involved with the circus cultural movement in the city. Like the “Weekly Juggling and Circus Meeting”, a boost for the many local circus artists. As well as the “Open Stage”, a form of audience formation for the street circus in Belém, self-managed and community-based, very important for the development of street art movements, groups and collectives involved with the circus (such as Circopaíba and Circo Nós Tantos) . And finally, I present in more detail my relationship with the circus, my memories complemented by other memories, our poetics and dramaturgies.Tese Acesso aberto (Open Access) Mercado do artesanato brasileiro: Aspectos socioeconômicos em um paralelo com as artes e seus sistemas(Universidade Federal do Pará, 2024-01-26) GOMES, Paulo Henrique de Oliveira; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156Brazilian handicraft market is still a neglected segment among the questions of our academic field, especially in Arts studies. Usually, scholars relate handicraft to Economics and Development approaches. The Ph. D thesis, a product of this research, seeks for broadening this point of view, dealing with the necessary interdisciplinary nature involved in both production and circulation of handcrafted oeuvres in current national context, to stimulate a framework where Arts, market, development and public policies meet. The research was conducted by means of phenomenological inquiry face to the theme ́s very own complexity. There is a nexus between production and circulation of artwork and the impacts of its chain on social life and the creative process of the artists. Thus, the research presents and analyzes public policies designed to foster, organize, and strengthen the sector. Additionally, the thesis aims to point the differences between a Contemporary Art Market and the particularities of a Handcraft Art Market, as well as its eventual similarities. Finally, the research works with present data and facts related to the theme, through actual experiences, the scenario of this Art genre, its agents and applied cases acting directly into its market.Tese Acesso aberto (Open Access) Políticas públicas educacionais para o ensino de música na educação básica: Múltiplas vozes sobre o ensino de música na rede municipal de educação de Belém do Pará.(Universidade Federal do Pará, 2025-06-16) SILVA, Társilla Castro Rodrigues da; SILVA, Jessika Rodrigues da; http://lattes.cnpq.br/7731127373088878; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217Public educational policies, responsible for ensuring that more people have access to education and promoting measures to correct social distortions, can ensure quality education in a country with continental dimensions, but this is no easy task. Music teaching in regular public schools has been on a path of discovery in the face of new realities that arise in the ongoing educational scenario. In view of the above, there is still an effervescence of thoughts about how to tread a “new” path of music education, what directions are being taken in music education at school and how we, researchers, intend to contribute to the direction of this teaching. The thesis defended is that there are multiple interpretations about the teaching of music in school, which affect the practice and hinder possibilities of public policies to make the rights to music teaching a reality, specifically in Belém do Pará. Therefore, the general objective of this research is to analyze the insertion of music in the public schools of the municipal education network in Belém do Pará, from the conceptions of the multiple voices, agents of music teaching. The theoretical framework used to support the discussions in this research covered: a) The analysis of educational policies in the light of the Policy Cycle Approach of Bowe et al. (1992) and Ball (1994) proposed by Mainardes (2006); and b) The educational policies of current Brazilian legislation on music teaching in basic education schools. This is an exploratory study with a quantitative-qualitative approach, using a case study research procedure. As for the place of performance, it was a field research in which data was collected and documentary analysis, semi-structured interview and questionnaire. As a data analysis technique, content analysis and Exploratory Data Analysis statistics, also known as Basic Descriptive, were applied. The results addressed the conceptions of the Municipal Department of Education, NACE and the Art Teachers of the Belém Municipal Education Network, which were analyzed together with the cycle of educational policies. The analysis of music teaching in Belém do Pará's public schools revealed both advances and challenges. SEMEC's Curriculum Guidelines seek to qualify and diversify music education, with effective teachers from the network and musical projects in the after-hours, in addition to workshops with traditional teachers. However, the lack of adequate infrastructure, material resources and more teachers, limit the full implementation of the subject. The creation of the Municipal School of Arts of Belém (EMAB) faces political difficulties, and many teachers act in a multipurpose way, which goes against the curricular guidelines. Therefore, it is considered that the lack of institutional appreciation and the discontinuity of public policies hinder the consolidation of music teaching in schools. The research suggests that to overcome these challenges, it is necessary to ensure robust initial and continuing training, value local cultural traditions, and adapt the curriculum to the regional context. The teaching of music must be treated as an essential tool for the critical and cultural development of students, besides the urgency of regularizing public exams and promoting more consistent public educational policies.