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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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O brega cibermórfico de Wanderley Andrade: pontos de inflexão no mercado musical contemporâneo
(Universidade Federal do Pará, 2023-01-30) SAGICA, Frank de Lima.; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
This thesis proposes to investigate how the production, circulation and consumption of music developed during and after facing the pandemic caused by the SARS-CoV-2 virus, having as an ethnographic cut the singer Wanderley Andrade, approaching his production with an interpretative look , its adaptability and its articulations on the main digital platforms, which were profitable tools for the artist to maintain himself in the period of social isolation imposed as a way of containing the contagion and proliferation of COVID-19. I propose to focus on the point of inflection that demarcated the significant changes in the marketing and positional meaning of digital stops in the years 2020/2021 , focusing on the emergence and application of emergency public notices and cultural festivals created by the Government of the State of Pará, which were: Lei Aldir Blanc, Te Quieta em Casa and Minha Banda na Cultura . For this, an interview was conducted with the music artist, composer, researcher, music producer and director of the music department of the State Secretariat of Culture of Pará (SECULT) – Allan Carvalho. All of these measures were essential for the survival of many professionals, including not only artists, but also other music professionals, such as roadies, illuminators, sound technicians, DJs, among others. Through the transformations promoted by technological advances, this thesis proposed a new conceptual-analytical model, defined by me as neopersona cybermorphic , used for a better theoretical framework on the phenomenon of the new identity profile that transits in cyberspace, which has affective individuality , virtual nomadism and identity metamorphosis , particularities that support the construction of a mentality that constantly metamorphoses, as a result of technological advances in constant flux, a representative pattern of contemporary societies. It can be inferred that brega, in addition to its grounded conception as a rhythm, also comprises a series of conflicts, social and power relations; opposition to the dominant classes; of adaptations that were made in contrast to the new musical trends that emerged throughout history. In this sense, Wanderley Andrade is the perfect stereotype of this cybermorphic mutation, evidenced throughout his journey as a tacky artist, whether in the eclecticism of his musical repertoire, in his peculiar clothing or in the fusion of local and global aesthetics. This intellectual proposition also intends to launch material that can serve as a bibliographic base for future research that may relate to aspects related to a supposed cybernetic post-modernity. Virtual ethnography was used as a methodological tool, given the difficulty in collecting data in person, as a result of the isolation measures of the pandemic period. The use of new technologies and media, the adaptability of the music market, as well as the analysis of the everyday particularities of a society in transition are themes dear to this study, with ethnomusicology as an elementary key to elucidate the intermedium in which confluences and disruptions occur , among which: music market, glocalization , tribalism, tradition and technology, themes that can , consequently, bring contributions not only to the theoretical field but also to the cultural scope.
Acesso aberto (Open Access)
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).
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)
CORPO OCUPANTE AUTOCRIADOR: Diálogos possíveis entre fazer artístico e diversidade sexual e de gênero
(Universidade Federal do Pará, 2023-12-28) SILVA, Juanielson Alves; BRITO, Maria dos Remédios de; http://lattes.cnpq.br/6896268801860211
This thesis is born from the desire to understand artistic practice, especially those that engage in direct dialogue with sexual and gender diversity, as processes that take place in the realm of Art & Life and, therefore, through insurgencies and insubordinations, generate possible paths for the tensioning of the device of violence and surveillance of gender and sexuality, that is, LGBTfobia/homophobia. To this end, I explore the notion of artistic self-creation (LAVAND 2021) as a research trajectory, focusing on a series of artistic experiences that transit between creative processes and community experiences, which can be read as LGBTQIAPN+ artistic practices, experienced by me between 2019 and 2023. As theoretical support, I dialogue with three main artist-researchers from the Pará Amazon and some key concepts of their theories practices: Ana Flávia Mendes (2010) and the "Immanent Body", Mayrla Andrade Ferreira and the "Creator Inhabitant" and Rosangela Colares Lavand (2021), with the aforementioned "Artistic Self-Creation", as well as authors from the field of gender and sexuality studies such as Daniel Borrillo (2016), Regina Facchini(2003), among others, to materialize lines of force between this research and its social function as an artivist for human rights, specifically the right to existence of the LGBTQIAPN+ community with its folds and intersections. Thus, as a thesis, I argue that the act of thinking-through-art is capable of tensing the cis-heteropatriarchy by inventing other modes of existence through the artistic self-creation present in LGBTQIAPN+ artistic practices, in which there is a body that occupies and incessantly creates itself, being a process in which the artist is implicated in and with the poetic act in which, at the same time that it transforms itself, transforms the world. A body that, in its artistic creations and feats, is also in the process of creating itself. A Self-Creating Occupying Body
Acesso aberto (Open Access)
Corpos alterados: gesto, performance e paixão entre torcedores do Paysandu
(Universidade Federal do Pará, 2023-07-03) COUTINHO, Lucienne Ellem Martins; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344; https://orcid.org/0000-0003-2662-8704
The present Thesis has as its central theme the performance of the Paysandu’s passionate supporters. In the path I took, I worked with the notion of “restored behavior”, by Richard Schechner (2003); and with the idea of “fans as a community”, by anthropologist Roberto da Matta. I begin by making a historical retrospective of football, showing its evolution, from ancient times to the present day, when it becomes governed by rules and characterized as a sport. Historical data about the arrival of football in Belém, state of Pará, were collected in the works of Gaudêncio (2007) and Costa (2007). Aquino (2002) presents the first signs of a practice similar to what is known today as 'soccer'; Zainaghi (1998) puts us in touch with the beginnings of football in Brazil; Leal (2000) tells us about the practice of Tsuchu (2nd century), considered the oldest form of game in China; Grisard (2003) talks about handling the ball in games; Brustolin (2008) looks at football as one of the most important social and cultural phenomena of the 20th century; Carioba (2017) reflects on the dark side of football as an elitist practice in the 19th century. The heart of the work – the ethnographic description of the Paysandu’s passionate fans’ performances – is found in the chapter entitled ‘Sunday of the Passion’ [‘Domingo da Payxão’]. In it, I hypothesize how the passion of “the biggest and the best” football team in the North Region – Paysandu – was born.
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)
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
Acesso aberto (Open Access)
Dançaeira : O Corpo Feminino Afro-amazônico nas Malandragens e Vadiagens da Capoeira para a decolonização em Dança Contemporânea
(Universidade Federal do Pará, 2023-11-13) SILVA, Andreza Barroso da.; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
The artistic-cultural paths and journeys along the Icoaraci-Belém and Belém-Icoaraci transits enabled the Afro-Amazonian female body, immersed in relationships with dance and capoeira, to build the epistemological praxis Dançaeira. On these paths, memories were triggered from childhood in backyards, streets, schools, artistic-cultural experiences with dance and capoeira, following a trajectory of girl-woman-mother-educator-teacher-researcher, revealing the “living ancestry” that is present from the ancestral women who live in me. I call on three sisters who wield the berimbau together with me and decolonize power in dance in the Amazon with their poetics of “RE-existence”. I present possibilities for decolonial theoretical-methodological paths in contemporary dance, following na autoethnographic flux, by Fortin, sustained by the NOS-NÓS in which the “ties bind” with the world around us, with the doings, knowledges and powers are realized from the perspective of malandragem. Capoeira songs, poetry and authorial poetry-songs, photo images and video prints of immersions during the research, authorial drawings emanate reflections of the process and the striking presence of the berimbau, which impels the voice of the female body with its sounds and touches, endorse the methodological path of the research. The interplay of the dançaeirantes dialogues took in contributions from Freire, the pedagogical Praxis; Santos and Menezes, the Epistemologies of the South and; Costa, Torres and Grosfoguel, Decoloniality, which substantiate the non-hierarchical methodology that reveals the symbolism and meanings of the seven elements of the Dançaeira in order to awaken them in you, from the Amazon to the world.
Acesso aberto (Open Access)
Diálogo e tradução na obra de Sebastião Tapajós: traços de um percurso e encontro criativo
(Universidade Federal do Pará, 2021-11-05) BEZERRA, José Maria Carvalho; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This doctorate research aims to understand how the translation of rhythmic patterns of the musical culture of Pará into the guitar is carried out in the work of composer and guitarist Sebastião Tapajós, through the study of his authorial work registered in phonograms from 1962 and how this understanding and daily study were translated, resulting in the creation of a new work, the “Rio Surubiú Suite”, composed by me, based on the study and understanding of musical characteristics found in the researched work. It shows how much research contributes to the insertion of the artist's name and work to the academy. In this musical universe, I try to show the compositional facets of Sebastião Tapajós, which I name as: The Concertist Performer, the Brazilian Composer and the Amazônida. The Amazônida is the place where I seek to highlight aspects of musical creation, performance, use of techniques guitar and style in the artist's work. The authors who helped me in understanding and writing are: Castro (2011), Copland (2011), Ferraz (2007), Ferreira (2016), Freitas, Garcia (2007), Loureiro (2000), Padovani and Ferraz (2011), Ribeiro (2006), Nascimento (2013), Oliveira (2000), Rezende (2007), Salles (2005), Saraiva (2018), Sena (2014), Sebastião Tapajós (2019), Silva and Rolkouski and Thompson (2004). The methodology used in the research was the fieldwork, with meetings and interviews with the artist, musicians, friends, and producers who are, somehow, connected to Sebastião Tapajós and his work; listening to the work, and reading scores of part of this work. Along with the thesis, a YouTube channel was launched with interviews, performances, rehearsals, which took place during the field research, with the composer himself and other artists.
Acesso aberto (Open Access)
Diálogos Atemporais de Música e Imagem: Ressignificando a obra de Clemente Ferreira Júnior (1864-1917)
(Universidade Federal do Pará, 2023-01-26) VENTURIERI, Leonardo Vieira; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
In the present thesis, ‘Timeless dialogues between music and image: resignifying Clemente Ferreira Júnior’s work (1864-1917)’, the author aims to promote a dialogue between Clemente Ferreira Júnior’s work (his great grandfather), composer, pianist and conductor, with his own work, considering epistemologies in the study of music and image. The author presents a historical summary, presenting an overview of the composer’s sociocultural surroundings, subsequently making an analysis of his pianistic work, utilizing an semiologic and semiotic perspective (musical and visual), aiming do unveil creative (poietic) and perceptive (estesic) aspects, considering its covers, the musical object and a few historical aspects. Develops, therefore, a musical product as a result of the epistemological and phenomenological dialogue, the Imaginary landscapes catalog, throughout artistic and compositional processes (“transmelodies” e “pictoscores”), transforming and resignifying Clemente’s work, to be released in parallel as this thesis. The author aimed to establish, therefore, a transdisciplinary artistic and epistemological dialogue, combining musical semiology and semiotics, proposing an outline for a kinesthetic sign, grounded in different notions from various authors: Nattiez (1990), Molino (1990), Tarasti (1994).
Acesso aberto (Open Access)
DIVINA CASA: Arte, ancestralidade e pertencimento nos espaços sagrados da Festa do Divino de Dona Benedita no Quilombo Urbano Liberdade
(Universidade Federal do Pará, 2025-04-04) SILVA, Adriana Tobias; LEAO, Ana Claudia do Amaral; http://lattes.cnpq.br/3091200390689592
“DIVINE HOUSE: Art, Ancestry, and Belonging in the Sacred Spaces of Dona Benedita’s Festa do Divino in the Quilombo Urbano Liberdade”, this research explores the possibilities of interpreting the images of the Festa do Divino Espírito Santo by analyzing its spaces and their hierarchies according to the rituals performed there. In this sense, I seek to go beyond a mere analysis of images; this is an act of self-writing—of myself and my great-aunt—from the place where these rites take place. It is a writing that emerges from an absence, one that I have been filling with images I did not experience while my grandmother was alive, and that I now live through my gaze, shaped by the experience of a pandemic. I write for my ancestors, especially for my great-aunt, a caixeira of the Festa, for myself, and for other women who could not continue their crafts and traditions due to religious racism. In this work, I draw from the concept of escrevivência developed by writer Conceição Evaristo and establish a dialogue between my great-aunt and me through my photographs—capturing imaginary and physical spaces, as well as those reshaped with ritualistic purposes. This dissertation is a study of ancestry and belonging, exalting the history of a Black woman, a mineira, and a grandmother to all. Through a photographic essay, I rewrite voices that were silenced, based on my own perspective and the testimonies of participants and organizers of the Festa do Divino in the Liberdade neighborhood, the largest urban quilombo in Brazil.
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)
Uma escola a céu aberto: a transmissão de saberes no Instituto Arraial do Pavulagem
(Universidade Federal do Pará, 2023-06-19) FAÇANHA, Tainá Maria Magalhães; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
In this research, I focused my attention on the musical transmission practices in the context of the Arraial do Pavulagem Institute - IAPav. In the formative experiences for preparing the arrastões (street parades), which flow like a river into the streets of Belém, it is possible to highlight the way people interact, transmitting their knowledge and building processes of musical transmission. The general objective of this research consists in investigating the transmission of musical knowledge at the Arraial do Pavulagem Institute, considering its influence on the development of a contemporary musical performance. Specifically, my goals were understanding the musical practice of the Arraial do Pavulagem Institute from life narratives; describing the musical practice of the Arraial do Pavulagem Institute and the ways in which musical transmission is multiplied in the workshops, rehearsals and arrastões; and, finally, discussing the ways of learning and teaching music at the Arraial do Pavulagem Institute, pointing out which influences constitute the "pedagogical" aspects of musical transmission. The thesis is built up from a research conducted in three moments: in 2018 and 2019, with an extensive field research that resulted in a vast collection of audiovisual material; in 2020 and 2021, the field research was carried out virtually from the engagement of the community in the social media of IAPav and in the livestreams of Arraial do Futuro that adapted the street parades to the virtual world due to the social distancing required during the Covid-19 pandemic; and after the face-to-face return, in 2022, of the group's activities, which enabled a very unique experience of return to "normality" and the conducting of interviews that are part of the heart of this work. In this regard, this thesis succinctly made it possible to understand that musical transmission in the Arraial do Pavulagem occurs in a systematic manner in the workshops, primarily through orality. From dimensions linked to the daily experiences inside the Institute, whether in conversations with the masters, in the sharing of experiences with colleagues from the Batalhão da Estrela, or in the coexistence of the articulations of the makers of culture that are formed there, whether in political and/or artistic actions. Still, the transmission happens in the performance itself during the arrastões, in the sound fruition in the shows, and in the experience of the audition of the songs.
Acesso aberto (Open Access)
A Existência das obras performáticas de Berna Reale e Lúcia Gomes nas coleções de Jorge Alex Athias e no Fundo Z - Casa das Onze Janelas em Belém do Pará
(Universidade Federal do Pará, 2024-03-08) CABRAL, Marcela Guedes; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592
This research aims to understand how collecting occurs, specifically, the preservation of information and the poetics of performance art, through the acquisition and production of documentation of these works, which allows the existence of the work in several modes, allowing it to be included in public and private collections. Specific objectives: verify the representation of the intrinsic and extrinsic information of these artistic processes adopted by the artists and in the two collections developed; understand how the acquisition of scientific works occurred and the impact of this procedure on the preservation of information from these works, investigate how documentation, or its lack, allowed or not the preservation of artistic works of an ephemeral nature, and verify the perspectives from the collector and representatives of the institution about the presence of performances in the collection. For empirical observation, the research focuses on the work of two artists from Pará who expressively produce works of performance art and on two collections, in the city of Belém-PA, one public and the other private - where the works of the two artists were exhibited, namely, Berna Reale and Lúcia Gomes in the Fundo Z Collection of Casa das Onze Janelas, public, and in the Jorge Alex Athias Art Collection, private. Considering that contemporary works of art of a performative nature, such as performance and happenings, challenge museum professionals in their preservation actions through the documentation of information and poetics developed by artists, we understand that it is necessary to investigate the prospects for this type of preservation, with the support of art discourse enunciators and institutions that produce discourses about art. Therefore, this research is configured as an associative analysis with a qualitative approach. It adopts a theoretical-empirical and associative perspective between the process of musealization of work performance art of two artists in two collections, one public and the other private. It also involves on-site observation of the documented process of the artists in the Collections, as well as analysis of the documentation, intrinsic and extrinsic information, and the discourses about and by the artists. Semi-structured interviews are also used with the artists, the collector and the professionals at Casa das Onze Janelas.
Acesso aberto (Open Access)
Fandantologia: autoetnografia migrante de uma percussionista de pés
(Universidade Federal do Pará, 2023-02-08) MARTÍNEZ, Alba Olinka Huerta; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
Acesso aberto (Open Access)
FENOMENOLOGIA TEATRAL: Da Crise ao Despertar de um Artista-Pesquisador
(Universidade Federal do Pará, 2025-07-04) PARAGUASSU, Renan Delmontt Souza; MENDES, Ana Flavia de Melo; http://lattes.cnpq.br/6144243746546776
This thesis investigates the articulation between phenomenological experience and poetic methodology in artistic research, from the perspective of the artist-researcher. Inspired by the narrative structure of Dante Alighieri’s Divine Comedy, the work proposes a symbolic journey through affective and conceptual territories that embody the main methodological challenges faced in artistic creation. The central question is how to develop a methodology in the arts that acknowledges and values subjectivity, poetics, and the complexity of lived experience. To this end, the thesis adopts an embodied phenomenological approach that interweaves poetic writing, critical analysis, and performative experiences. Each chapter represents the overcoming of a “sin” — metaphors for the obstacles in the creative process — and proposes conceptual displacements that culminate in the formulation of seven original concepts: Scenic Nourishment, Generous Economy of the Scene, Scenic Disarmament, Floating Dramaturgy, Creative Desire, Acting as a State of Being, and Collective Acting. The results show that integrating theatrical phenomenology with poetic writing not only produces a unique methodology but also enables the emergence of an expanded creative consciousness. It concludes that artistic research can be constituted as both an aesthetic and epistemological practice, and that the method, rather than being a fixed formula, can assume a living, relational, and open form.
Acesso aberto (Open Access)
Formação continuada de professores de música : Uma proposta de ensino-aprendizagem por intermédio da pesquisa e prática docente
(Universidade Federal do Pará, 2023-03-15) COSTA, Lucian José de Souza Costa e; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
This doctoral research, developed in the Graduate Program in Arts at the Federal University of Pará, presents the continuing education of Arts/Music teachers with great relevance in contemporary reality, especially in Virtual Learning Environments (VLE) with reflections on Continuing Education training for Arts/Music teachers, which specifically includes professionals from the municipal network of Belém do Pará through the Municipal Secretariat of Education and Culture (SEMEC). The first motivations for proposing this research find shelter in the performance of the teacher researcher in a public school in the state of Pará, which reflects his trajectory in the area of music. Since 2012, when he entered the university, the trajectory of the teacher-researcher in the field of music has been going through paths of initial training and later the “continued” training of Arts/Music teachers at a professional and academic level. Therefore, the researcher aims to investigate the continuing education of Arts/Music teachers in basic education in the city of Belém based on the improvement of contents and the elaboration of methodological strategies for the area of music, based on the profile of professionals and the reality of schools in which they work. This objective unfolds specifically in two, namely: (a) Compare, together with education professionals, didactic-pedagogical alternatives for music teaching, considering the training profile and the reality of the educational context in which they work; (b) Apply theoretical-practical training in the use of virtual tools for teaching music in basic education schools in the municipality of Belém. To achieve the objectives, Bibliographic Research and Experimental Research were adopted. From this context on continuing education of Arts/Music teachers, this research brings dialogues between the main authors: IMBERNÓN (2010), SAVIANI (2009), NÓVOA (1991), TANURI (2000), FUSARI (1994), COSTA (2019), COSTA; DEFREITAS JÚNIOR (2020), JARDIM (2019), LIMA (2019), PENNA (2007), among others. The research sample consisted of 15 participating Arts/Music teachers from the municipal network, being carried out in the city of Belém from May to June 2022. The study was based on an exploratory analysis, where the significance level was α = 0 .05 and the 95% confidence interval. The sample was obtained by non-parametric sampling, where the Wilcoxon test was used. In general, it is noted, in the responses, that before the course, 31.25% of the participants evaluated that they Totally agree that the FOCO course in Music provides an environment of continuing education, even in the teaching of EaD, after the course this percentage increased for 75%, demonstrating even more that the course had a positive impact so that participants consider it even more important that the FOCO course in Music provides an environment of continuing education, even in distance learning. The results achieved in the FOCO Course in Music reveal the learning potential that each participant acquired, allowing changes and dialogues in their exercise as an Arts/Music teacher.
Acesso aberto (Open Access)
O Guitarrar Local: uma prática musical para além da Amazônia paraense
(Universidade Federal do Pará, 2023-07-07) CARAVEO, Saulo Christ; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
The practice of Guitarrada is investigated here considering the configuration of social, political, cultural structures and its establishment as a founding musical genre of memory and identity in Pará. The broad transformations resulting from the modernization and globalization processes that occurred between the advent of Lambada and the consolidation of Guitarrada, submerged in a capitalist Entertainment Industry, reconfigured spaces and social dynamics, as well as the way of consuming, making and producing music, promoting the historiographic resizing, in memory and in the way in which cultural identities are constituted in the Paraense Amazon. Thus, such sociocultural manifestations that took place in these scenarios had an impact on the creation and dissemination of the Guitarrada genre, which is the result of paradigmatic transformations that represent the identities of this musical genre. Considering culture (HALL, 2011; CANCLINI, 2015), memory (HALBWACHS, 2006; CANDAU, 2012), and music (CARAVEO, 2019a, 2019b; CHADA, 2007; MENDÍVIL 2013, 2015 and 2022; MUKUNA, 2008; NETTL, 2005; SEEGER, 2008; SMALL, 1998) as related systems, I glimpse the thesis that deals with the changes and new musical identities in the Amazon, focusing mainly on the Guitarradas of Pará. The Amazon Region, with its space time multiculturalism of diverse musical practices, needs in-depth musical investigations that point to historical cultural fusion, considering, however, developments, perspectives and particular looks that present new diagnoses in the face of contexts that present themselves indissolubly in the present. Investigating the musical practices of the guitarists in Pará, observing from what perspectives social changes, globally and locally, affected musical production, altering symbolic cultural processes and determining the constitution of identities was the main objective of this proposal. The specific objectives were to describe the ethnographic procedures carried out throughout the research, identifying the broad and particular social transformations that made possible the descriptions and interpretations of musical phenomena that pointed to the guitar playing as a contemporary musical practice in Pará – the Local Guitarrar. To analyze Mestre Vieira's discography and to propose a contextual description that reveals the behavior and directions imposed by the Entertainment Industry and its impact on Mestre Vieira's work throughout his production. Point out aspects inherent to the processes of modernization and globalization that point to similar scenarios and dynamics that share with the constitution of identities and, therefore, under the aspects of musical changes and cultural transformations, point out cases of hand-over. In addition to reviewing the existing literature on the subject and bibliographical studies referring to historical and cultural subjects, under the light of ethnomusicology, an ethnographic description of the current contexts in which the practice of Guitarrada dynamics are made, semi-structured interviews that made possible the foundation of analytical arguments and musical analyzes of Mestre Vieira's phonographic production. The period covered by this research comprises the 1950s, an important post-war period in the world, and 2023, the year of completion of the thesis. Considering the analyzes carried out so far, the thesis was confirmed that Guitarrada, when emancipated from Lambada through Hand-over, configures itself in a modern, independent musical practice, with its own aesthetic identity, which determines musical changes, cultures and new perspectives for memory, culture, politics and music in the Brazilian Amazon.
Acesso aberto (Open Access)
Klitores Kaos e o grito das mulheres: o Punk/HC desemboca numa cena musical feminista em Belém do Pará
(Universidade Federal do Pará, 2023-03-20) MONTEIRO, Keila Michelle Silva; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
This research focuses on the punk/hc music scene, a subgenre of rock, in Belém do Pará, made up of women as a necessary musical practice in combating existing prejudices among people who perform or frequent environments of this genre, in which predominates , still, the male sex, because rock and its aspects, despite representing transgression and going against oppression and violence from the State and society, sometimes make female production invisible and its actors still practice machismo, misogyny, among other attitudes that offend women. In this ethnography, I approach the trajectory of punk/hc in Belém do Pará, emphasizing female/feminist musical production, making it necessary to value this production and emphasize the need to respect women in this scenario, because, according to Rosa and Nogueira, “poetry and music are born of the ruptures and the pain they transform. It is a creative process in the broadest sense where, by creating artistic paths and producing our own knowledge, we also reinvent ourselves as people” (2015, p. 27). I will analyze the trajectory, performance, aesthetics and musical compositions of the band Klitores Kaos, which works to claim rights and empower women, in a dialogue with Chada (2011), Béhague (1992, 1999), Blacking (1973) and Merriam (1964) to deal with socioeconomic factors present in the songs; O´Hara (2005) and Caiafa (1985) to address the context of the punk rock genre. In addition to the studied bibliography, I used media files and field research material before the pandemic. According to the analysis of the band's performance and aesthetics, its trajectory and mainly the musical analysis in this research, the data point to a production of protest, a 'cry' to combat femicide, sexism, misogyny and racism with women taking up spaces and the growing respect for the female gender in the punk/hc scene, which is often confused with the private lives of these women.
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