Dissertações em Artes (Mestrado) - PPGARTES/ICA

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6806

O Mestrado em Artes, em 2008 foi autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) com funcionamento no Programa de Pós-Graduação em Artes (PPGARTES) do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA).

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Animação Audiovisual Paraense: formação do campo e narrativas quadro a quadro
(Universidade Federal do Pará, 2018-11-14) DUARTE, Andrei Miralha Padilha; AZEVEDO, Ana Lucia Lobato de; http://lattes.cnpq.br/9182752708471137
The word animation comes from the latin term "anima," which means "soul" in the sense of "breath of life." According to Perisic (1979), animation is a way of creating an illusion, giving "life" to inanimate objects – real / virtual objects or simply freehand or computer drawings. Born of the mix between art and technology, the animation films come in the late nineteenth century, and developed throughout the twentieth century in numerous productions around the world. However, it is only at the beginning of the 21st century that the first animated short films were produced in brazilian State of Pará. This research includes the formation of the State of Pará's field of animation, according to Pierre Bourdieu. It gathers narratives about the production of animations carried out until 2018, considering the networks of personal relationships, the formation of groups, as well as the techniques and methodologies used to carry out each work. I carry out this study through participatory field research, interviews, bibliographical and film research, observing sociocultural events, characters, productions, policies and institutions that contributed to the development of the animation in the State of Pará.
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Arte da voz e do corpo: poéticas de narradores urbanos (Melgaço-PA)
(Universidade Federal do Pará, 2015-05-28) VIEGAS, Jurema do Socorro Pacheco; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778
In this research we aimed to analyse oral poetics in voices of residents who live in the city of Melgaço, in Forests' Marajó - PA. Taking as base the interlacement between rural-urban in the Amazon and considering that a lot of research about oral narratives focused on rural areas, we interpret these narratives as ways of life, creation, artistic and cultural existence produced in the poetic of the voice, performances and aesthetics by urban dwellers of Melgaço; We mapped creative movements to apprehend ways that the narrators socialize these histories that are invented, recreated, suffer adaptations or enter in disuses in urban lives. Following theoretical orientations of Semiotic Studies, Literary, Psychological, Anthropological and Cultural in connection with the Art field, using the methodology of Oral History, we strive to enter in the oral poeticity of a city of the Marajoara Amazon, capturing the imagination aesthetic that is elaborated in the everyday know-create, gestated in the art of telling and listening by residents of Melgaço. In our perception, the urban oral narratives recover, on its content, afroindígenous memories, historical heritages, practical knowledge, artistic, symbolic, psychological, philosophical and religious transmitted from generation to generation in form of counseling and human conduct. Dipped in this universe, we discovered, by the morphology of oral art, that Melgaço, in the voice of each deponente, is the place of reception, work, friends meetings and fight for life. By performantized voices, the storytellers-poets externalize feelings of dedication, affection and love for the city. The voice’s poetic makes visible the local imaginary aesthetics where the art of narrating has a unique value in the life of each poet because it shares happiness, delight for the soul, therapy for the body, moment of encounter and dialogue with one another, intertwining different times, spaces and generations.
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Arte, Educação, Cultura no interior do Pará: Um estudo de caso na E.E.E.M. Dr. Inácio Koury Gabriel Neto, Castanhal - PA
(Universidade Federal do Pará, 2023-11-24) SETÚBAL, Mylena Monteiro; COUSTON JUNIOR, John Fletcher; http://lattes.cnpq.br/7793272958380509; BRITO, Márcia Mariana Bittencourt; http://lattes.cnpq.br/3710898379776654
This study aims to analyze and demonstrate, based on a case study, the neglect in the systematization of its art spaces in the city of Castanhal – PA, due to the lack of investment in the different forms of contact with culture, whether formal or non- formal and/or informal. Under a magnifying glass is the reality, history and formation of this city in the interior of northeast Pará, Castanhal, or as it is known, the “Model City”, and a formal education apparatus, the public high school Dr. Inácio Koury Gabriel Neto, and its importance for the locality and the occurrence of art education in this educational space. Through observation, interview and project at the school mentioned above, it is noted that a strengthened relationship between formal education (in this case the school) with the artistic and cultural scene of the “model city” and a better dialogue with its students can be a way and way to expand and value the teaching/learning of art and the production of arts and culture within these locations that suffer from the abandonment of investments in the artistic segment.
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Artes indígenas no sistema das artes visuais: modos de exibição na Argentina e no Brasil
(Universidade Federal do Pará, 2025-08-12) MELI, Marlene Binder; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
Acesso aberto (Open Access)
Artivismo ambientalista no Brasil: A luta pela conservação e distribuição da água nas ações do Movimento Artistas Pela Natureza coordenadas por Bené Fonteles
(Universidade Federal do Pará, 2024-06-07) COSTA, Dóris Karoline Rocha da Costa; STOCO, Sávio Luís; http://lattes.cnpq.br/3206903170798612
This research addresses the artistic interventions of the Movimento Artistas Pela Natureza (MAPN), founded and led by Bené Fonteles, investigating its uniqueness in the Brazilian scene, having as its starting point the theme of environmental artivism. The contributions of this research include expanding the understanding of the Art History involving the Pará born artist Bené Fonteles and the Movimento Artistas Pela Natureza in the scope of artivism in Brazil. This research objectives focus on understanding the particular characteristics of MAPN's artivism, exploring specific actions aimed at the conservation and distribution of water in Brazil, such as Encontro das Águas I and II. Specific objectives include the definition of the concepts and modes of operation of activist art, the examination of the context of the artist's and MAPN's trajectory concerning the selected interventions, the collection of visual and descriptive data from the interventions, and the textual and contextual analysis of them. To achieve these objectives, this research adopts a hybrid methodology that combines the Cultural History of Art with Visual Culture. This involves bibliographical review, contextual analysis, documentary research in collections and newspaper libraries, as well as analysis of events from a visual culture perspective.
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Artivismo sapatão amazônida na cultura digital como dispositivo de afeto
(Universidade Federal do Pará, 2024-12-10) SALIMOS, Nícia Coelho; MELO, Ana Cláudia da Cruz; http://lattes.cnpq.br/4777116947247545
The research investigates the lesbofeminist artivism of amazonian collectives from the state of Pará, which I term sapativistas, focusing on the visual expressions, digitally available, that constitute an "artified device of sapatão1 affection." The concept of device is grounded in Michel Foucault (1979) and directed towards the intersections of gender, race, and class, as explored particularly by bell hooks (1995; 2019) and Sueli Carneiro (2005; 2019). It is understood as a cultural practice that articulates affection, identity, and LBTQ+ resistance in the context of digital culture. The research seeks to understand how the visual and poetic productions of collectives such as Sapato Preto Amazônida and Rede ALAMP, on Instagram and in physical spaces, express and construct an imaginary of resistance and affect, highlighting symbols and narratives of belonging. The identification of these images as forms of art is based on concepts of artivism, drawing from Lucy Lippard (2024), and on the hypothesis of artification, primarily introduced by Ellen Dissanayake (2009). The analysis methodology combines feminist approaches with sapatão and queer epistemologies, drawing from authors such as Adrienne Rich (2012), Audre Lorde (2019), Glória Anzaldúa (2000; 2005), Ann Cvetkovich (2021), and Sara Ahmed (2006; 2010). These perspectives help to understand dissident poetic production through the lens of lesbian existence and continuum, unveiling the aesthetic and affective codes present in the images and collective actions, as well as the impact of these productions in expanding lesbian visibility and fostering public policies. Among the findings, the research identifies contemporary lesbofeminist artivism in the Amazon region, which operates on digital social networks and appropriates these spaces to create existence and, above all, to expand, make visible, and resignify images while bringing people together in physical or non-physical spaces through encounters of political and cultural resistance. From the perspectives of activist poetics and artification, the sapativistas emerge not only as activist subjects and social protagonists across all analyzed groups but also as creative artivists who reframe images, turning them into powerful forms of affection and emotional impact. With this study, we aim to highlight historically dissident artistic expressions and contribute to the debate on the role of digital culture in the expansion and reconfiguration of lesbian and feminist discourses by Amazonian collectives. This is a challenging endeavor in the face of social media algorithms shaped by a concept of compulsory heteronormativity, while simultaneously promoting new forms of political articulation for the local sapphic community.
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Avaliação do aprendizado musical de crianças com transtorno do espectro do autismo em aulas de percussão
(Universidade Federal do Pará, 2015-06-23) OLIVEIRA, Glaucia Freire de; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
It is known that music education makes possible the development of several skills, such as perception, rhythm and improvisation. With regard to music education for children with disabilities or disorders, especially in this research, Autism Spectrum Disorder (ASD), music education goes beyond the formal content. This work aimed to analyze the musical learning of children with ASD in percussion lessons. To reach the released purpose, there was a theoretical and practical training course for graduate students in order to introduce them to scientific research and to enable them to act as monitors. It was passed on the structure of the intervention and the form of management with children. Participated in this intervention 20 children aged six and nine years and eight with autism and 12 typical (without the disorder). Each parent or guardian signed a free informed consent form, which contained the objectives of this research and filled out the report that outlined the behavioral profile of each child. Data collection was carried out at the School of Music of the Federal University of Pará. Each intervention lasted one hour and took place once a week for three months, with ten musical exercises grounded in the methods of Carl Orff and Zoltán Kodály. In order to evaluate the musical learning of these students, we used the Learning Assessment Scale-Musical Percussion, organized by Oliveira, Pantoja, DeFreitas Jr., Espírito Santo and Nascimento (2011), from the adaptation of Learning Verification Scale Music in Cello Instrument (DeFreitas Jr., 2007), which is composed of instructions and illustrations for better understanding of the evaluator. We observed with this research the development of musical skills of students with ASD and meaningful improvements in their behavior and learning.
Acesso aberto (Open Access)
As bandas de música na construção de saberes de formação e a atuação de um professor de música em Santarém-PA
(Universidade Federal do Pará, 2015-06-05) NINA, Leonice Maria Bentes; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
This research has the purpose to understand how a music teacher articulates their experiences in music band in Santarém-PA to the training degree in music in his performance in basic education. I opted for a qualitative approach, using the interview from the perspective of oral history. The survey results indicate diverse knowledge in dialogue throughout the professional development of teacher interviewed music, and the place that each occupies in its operations. Among these knowledge, there was the strong contribution of experiential knowledge, experienced in family, school, academic knowledge and tradition of knowledge. Through this study aims to contribute to the understanding of music teacher training process in the early twenty-first century, in Santarem, in order to support decision-making to increase the teaching of music in basic education school in Santarém -PA.
Acesso aberto (Open Access)
Butoh: o artesão de si mesmo
(Universidade Federal do Pará, 2018-06-19) ROCHA, Diego Augusto Pereira da; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
The present article deals with a critical analysis of the creative process of Tatsumi Hijikata, when in his butoh production. From the verified observations, I seek finding parameters that allow identifying within the procedure said as dead body, relations with the characteristics of non-places proposed by Marc Augé, for through this body reading to propose a conception regarding the work of the scenic actor entitled of "no body".
Acesso aberto (Open Access)
Clube musical 31 de Agosto: perfil de uma banda de música paraense a partir de seus contextos histórico, sociocultural e educacional
(Universidade Federal do Pará, 2017-12-15) PALHETA, Bruno Daniel Monteiro; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
The present research has as general objective to outline the profile of Band 31 of August from its historical, sociocultural and educational contexts. The methodological course has a qualitative, bibliographic, documentary and field character. Specifically the research is characterized as a case study, with emphasis on an ethnomethodological approach, and the use of ethnographic research techniques. It was also decided to conduct field research through data collection in semi-structured and open interviews. The research subjects were: students, teachers, teachers and members of the board of the searched band. The results of the research present the profile of a band from the city of Vigia as a type of institution of socio-cultural value that has been built historically besides playing an important educational role. It is hoped, through this study, to contribute to the construction of knowledge in the field of Art in interface with Musicology in the scope of studies on music in Pará.
Acesso aberto (Open Access)
Contradispositivos-mapas de uma rede de espaços artísticos autopoiéticos em Belém do Pará
(Universidade Federal do Pará, 2017-06-30) TAVARES, Roseane Moraes; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research action cartographs, through the performative inscription of maps, the poetic and management contradicts of a network of autopoietic artistic spaces of Belém do Pará, understood as autonomous units by the sui generis totality of its poetic-political composition, whose capacity to self-manage, as a strategy of resistance, survival and maturation of its doing within a cultural context of the city, dialogues with the sense that it created for itself. Independent spaces, autonomous, self-managed and intentional, are other terminologies given to what is defined here as an autopoietic art space, this being the place managed by artists who establish a poetic production with political power by promoting, autonomously, intervention practices, training And artistic experimentation that constitute as micropolitics for the city. The term autopoietic is a decline of the concept of autopoiesis, of the Chilean biologists Humberto Maturana and Francisco Varela, triggered to support a research in the difference, to the extent that the spaces are autogerem like poiese of an artist or collective in cognitive interaction with its means, producing an ecology of knowledge that singularly to machine the extent and format of its activities, creative processes, ideological discourses, ways of defining, organizing, and constituting territorialities in the city. This poiese that results in a work of art as a phenomenon of the place, makes a displacement of its strictly material sense, amplifying this doing for the relations of production and experience of space as a work. The network of autopoietic artistic spaces, in this sense, is heterogeneous, polyphonic, and communicates in a collaborative way as a systemic organism pulsed by the insurrection of bodies that find in the circuit of affections the conductive flow of their potency of life.
Acesso aberto (Open Access)
Corpos Gordos em Cena: encontros embriagados na construção de uma personagem Rodriguiana
(Universidade Federal do Pará, 2015-06-30) OLIVEIRA, Marluce Souza de; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
This Master’s Thesis presents fragments of two stage actresses life story. This encounter happens in crucial moments of our lives, Wlad Lima, veteran actress as a reference, and myself, Marluce Oliveira, a learner in art. On the first act, I do record my memories and translate them into artistic and everyday life scenes. On the second act, I do describe the encounter between two fat women, with similar experiences; I highlight the poetry of the veteran actress, her professional involvement, the local where both used to work, share and built (or destroy) their dreams, the similarities identified on love, familiar and professional affairs throughout the years. This encounter was crucial for the emerging poetry of the researcher, as beginner actress - the present study, entitled “Drunk Encounter”. On the third act, I do develop a study of the play “The man who cry for only one eye”, adapted from novel “The seven kitten”, of the dramatist Nelson Rodrigues. This work had a strong effect in our lives, one as stage director and the other as actress. The study also aims the understanding of specificities and correlations of this poetic encounter between us. Encounters and convergences on family, love life, work recorded in fragments of life story of each one of them. Methodologically speaking, the research was accomplished focusing the ethnomethodology, considering opening interviews, paper analysis, individual memory and referential as needed. Supported by some referential authors like: François Dosse, Michel Maffesoli, Ecléa Bosi, and one title of “the” stage director: Actor’s Personal Dramaturgy, Master’s Thesis. In the research, I revisited memories and records of a relevant play in our lives.
Acesso aberto (Open Access)
Cotidiano no ensino da música na educação básica: uma revisão do tema em artigos da revista da associação brasileira de educação musical − 1992 a 2014
(Universidade Federal do Pará, 2015-06-09) ALMEIDA, Shirlene Pereira; VIEIRA, Lia Braga; http://lattes.cnpq.br/8247703330856310
ABEM's magazine is a publication of unprecedented articles in musical education, resulting from theoretical researches and critical reflections on pedagogical experiences. Among the topics researched, we can find the everyday music. In this research, I had as general objective to investigate how the students’ extracurricular everyday music has been discussed in articles on musical education in basic education in ABEM’s magazine during the period from 1992 to 2014, as well as the underlying relations with pedagogical trends of school education. It was carried out bibliographical research with the following steps: collection of articles from the ABEM Magazine on students' extracurricular everyday music education in the school of basic education, held on the site of the entity; recognition reading; exploratory reading; reflective reading; and interpretive reading (LIMA & MIOTO, 2007) of the collected articles aiming the selection, critical analysis and cataloguing the articles. The works we found were analyzed in the light of the theoretical foundation of this research, around the themes: quotidian and pedagogical education trends. The research results indicate that in the period from 1992 to 2014 ABEM's magazine has published 25 articles that deal with students' extracurricular everyday music education in the school of basic education. Among other aspects, the articles bring reflections and underlying modes of working the quotidian in music class. Consider the students’ musical experiences of their everyday life in order to be inserted in Basic education. It is not only about listening to their favorite music. The authors conducted their research seeking to understand the musical universe of students and how their informal educational processes occurred. They presented in their discussions the importance of contributing to the expansion of this universe of listening without imposing the classical repertory in superior quality or redeemer towards social integration to a standard established, but in the form of challenge to music educators to create strategies for the production of knowledge through the exercise of exchanging information as a mediator between the knowledge and the student in a horizontal relationship without labelling the repertoire familiar to the students. The pedagogical trends that predominate in the texts underlying manner are those that advocate the consideration of student’s culture, the horizontal relationship between teacher and student, the valuation of the students’ everyday experiences and cognitive development and critical thinking. These premises are in the progressist liberating trend, liberal and libertarian New School critical-historical also known as social critic of the contents.
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Educação musical e o ensino de violino para crianças autistas: Uma vivência com o método de Edgar Willems.
(Universidade Federal do Pará, 2024-07-10) PINHO, Vivian Ferreira.; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
In the legislative sphere, Law No. 12,764, of December 27, 2012, is in force, which establishes the National Policy for the Protection of the Rights of Persons with Autism Spectrum Disorder (ASD) and in its article 3 establishes that access to education and vocational training are its rights. From this perspective, teachers need to be prepared to take on the challenges of teaching to this audience. This study aims to contribute to this issue by addressing methodological strategies for music education and violin teaching to autistic children, inspired by the pedagogical-musical proposal of Edgar Willems and consequently provides guidelines for teachers who intend to specialize in the field of music education for inclusive classes with autistic children. The general objective of this research is to investigate the contributions of the Edgar Willems method to the process of musicalization and teaching of the violin in inclusive classes with autistic children. This objective unfolds specifically in two, which are: to propose musical activities, through literature review, based on the Willems method; and to verify the musical learning of autistic students achieved through an evaluation scale. To this end, a literature review was carried out in articles, dissertations, theses and books in Portuguese and Spanish, available on online platforms, to identify what the literature deals with music education, from the perspective of inclusive education directed to people with ASD, involving themes such as inclusive legislation, inclusive music education, autism, relations between music education and psychomotricity in the inclusive perspective, music education and violin teaching and music education for Edgar Willems. This is action research, with a qualitative approach and has an exploratory character. The participants of this research come from the Research Group on Developmental Disorders and Learning Disabilities (GP-TDDA), in activity at the Federal University of Pará (UFPA), as a collection technique the participant observation was carried out and an evaluative scale was structured based on the pillars of the pedagogical musical proposal of Edgar Willems, they are: the song, the rhythm, the sound movement (pitch of the sound) and the hearing. There were 11 classes and 3 evaluations, the classes were previously planned and based on the pillars of the method revealed in the literature review. The learning results of the autistic children collected in the evaluations were expressed in graphs and the description was carried out through the participatory research of the musical advances and the behavior of all the participants. The study revealed that the class, both autistic and typical students, evolved. The autistic children demonstrated resourcefulness and understanding of musical practices, experimented with musical elements and autonomously transferred this knowledge to the study of the violin.
Acesso aberto (Open Access)
Escola de Teatro e Dança da Universidade Federal Pará: memória e história do ensino do teatro em Belém do Pará (1962-1970)
(Universidade Federal do Pará, 2019-09-26) SANTOS, Ana Maria da Gama; BEZERRA, José Denis de Oliveira; http://lattes.cnpq.br/9404514273838260
Analyzing about the socio-cultural meanings of performing arts teaching at the School of Theater and Dance of the Federal University of Pará (ETDUFPA) is the fundamental point of this research. The study aims to understand the process of actor qualification and the practice of theater teaching in the Paraense Amazon and its historical meanings, through documentary analysis, considering the influences and transformations of theater teaching in the Paraense capital, through ETDUFPA, since its foundation in 1962 until the year 1970, bringing the historical continuity of teaching to the present day. Methodological support involves documentary research, through the survey of official documents produced by the school; and periodicals, photographs and interviews with Carlos Eugênio Marcondes de Moura and Cláudio de Souza Barradas, teacher and former student / founder who participated in the implementation of the Actor Training course, and the trajectory of the School of Theater in the period mentioned above. The theoretical dialogues are made with the studies of memory, based on the reflections proposed by Halbwachs (2013), Nora (1993) and Pollak (1992); with the brazilian / paraense theatrical studies of Bezerra (2013), Faria (2012), Jacobbi (2012), Magaldi (2004), Prado (2008) and Salles (1994). Thus, the current investigation arises from the need to tell this story, because these memories are on the fringes of the studies already done, and the urgency to debate the historical meanings of the establishment of a drama school in Belém, created to qualify actors and actresses of the city. Therefore, this master's research will contribute to the historiography of Brazilian and Pará theater, in dialogue with the field of arts education.
Acesso aberto (Open Access)
Escritos sobre a gravura contemporânea em Belém
(Universidade Federal do Pará, 2017-08-22) SOBRAL, Armando Sampaio; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research addresses the field of historiography of art. It analyses the artistic printmaking movement in Belém in the period between the 1980s, when the first projects aimed at promoting printmaking education in the region emerged, and 2001, when the resumption of the movement began. The milestones of this resumption were the implementation of the printmaking department at Fundação Curro Velho – an initiative that brought to Belém a teaching model inspired by art collectives and printmaking public studios, and the creation of autonomous spaces, such as the Atelier do Porto and the Aparelho, which are social entities that are currently responsible for producing and including Belém printmaking in the contemporary art scene. This study examines the roles played by autonomous spaces in the establishment of new printmaking production flows in the city as well as the effectiveness of actions conducted by collectives as social organizations proposing new fields in which art experiences are shared. In this journey, a new generation of artists emerged. Their proposals, which identify with graphics, indicate trends that mark the cartography of printmaking produced in Belém today. Various artists are mentioned; however, the works of five of them were actually analyzed: Jocatos, Alexandre Sequeira, Elaine Arruda, Pablo Mufarrej, and Ronaldo Moraes Rêgo. The last chapter includes photos and critical essays on printmaking written in the period corresponding to its resurgence in Belém, between 2003 and 2016.
Acesso aberto (Open Access)
Este sim, veio para alegrar toda a gente : visualidades artísticas do cordão última hora do carnaval das águas, Cametá (PA)
(Universidade Federal do Pará, 2019-09-12) D'OLIVEIRA, Renan Souza; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
This dissertation is a research that aims to analyze the visuality and creative process of the masks, the banner and the letters on the boat of the carnival group “Última Hora”, and last but not least to describe the creative process of the “Última Hora” typography and the audiovisual documentary created to this dissertation with material recorded on video between the years 2014 and 2019. In the first path, I tell a brief history of Cametá and the TenTém Community, with the help of Raimundo Coelho's studies (2012). I use the research of Georg Simmel (2009) and João de Jesus Paes Loureiro (2015) on the Amazon landscape and visuality respectively to reflect the landscape surrounding the rivers and affluents of the TenTém river. In the second path, I use the studies of Felipe Ferreira (2004) and Miguel Santa Brígida Junior (2006) to deal with the concepts and origins of Carnival, Eric Hobsbawm (2008) on tradition and Michel Maffesoli (1986) on the feeling of collectivity of the TenTém community. Following on the third path, I use the studies by Richard Sennet (2013) on the role of Vital 2 as artificer, Martine Joly (2015) on artistic image analysis, Fayga Ostrower (2016), and again João de Jesus Paes Loureiro (2015) about the boats and their decorative lettering. In the fourth path, the memorial is begun, where I describe the creative process of the “Última Hora” typography and the audiovisual documentary with the recorded field research material during the 2014/2019 carnival period.
Acesso aberto (Open Access)
Uma experiência política na Casa-museu: as trajetórias da política cultural empreendida no espaço cultural Casa das Onze Janelas em Belém-Pará (1998-2018)
(Universidade Federal do Pará, 2018-08-31) SAMPAIO, Lívia Morbach Condurú Gurjão; BRITTO, Rosângela Marques de; http://lattes.cnpq.br/3188863381591509
Created in 1998 by the State Government of Pará, the Espaço Cultural das Casa das Onze Janelas, opened to the public in December 2002, becoming an important public museum of contemporary Brazilian art, based in the northern portion of the country, specifically in Belém, Pará. Through Decree no. 1,568 of June 17, 2016, signed by the then governor Simão Jatene (PSDB), the same political group that created the museum defenestrates it from its original historical building, Casa das Onze Janelas, thus starting a long battle between civil society and the State Government. This qualitative research constitutes a cartography capable of demonstrating a political experience of the Casa-body as Espaço Cultural Casa das Onze Janelas from its conception, first as an idea in 1998, making it possible to detail the struggle between different forces that composed its trajectory of resistance. Power clash between the State Government of Pará and the State's visual arts system for the maintenance of the Casa as a museum of Brazilian contemporary art, regarding not only the destabilization of the State's goal of transforming the Casa into one of the headquarters of the Gastronomic Pole of the Amazon; but also regarding the conditions that allowed for its diversified schedule and expansion of its collection throughout much of the Casa-museum's history, largely neglected by the absence of a state cultural policy that would support its multiple needs. In carrying out this cartography, the Schyzoanalytical methodology was applied, made possible by the agency of several intercessors, supported by semi-structured interviews with nine players of the visual arts system, directly linked to the Espaço Cultural Casa das Onze Janelas; my own trajectory as a cultural producer; the examination of official documents; the collection of interviews, conducted by local media, with Paulo Chaves Fernandes; and bibliographic review. By experiencing this cartography, it has become clear that the cultural policy undertaken for most of the artistic languages that shape the cultural capital of Pará by the PSDB since 1995, instead of contributing to the socioeconomic balance of the communities that make up the State, accentuate its inequalities. State apparatus interested only in keeping its pacts and alliances with the mercantile power fixed; and the unilateral interests of those who govern us.
Acesso aberto (Open Access)
Financiamento Coletivo Audiovisual Universitário : Uma reflexão a partir da realização do longa-metragem A Besta Pop
(Universidade Federal do Pará, 2021-09-29) FERNANDES, Suelen Cristina Nino; STOCO, Sávio Luís; http://lattes.cnpq.br/3206903170798612
This paper analyzes the use of crowdfunding by undergraduate students in cinema, audiovisual and related fields as a creative alternative for making projects viable, proposing a reflection based at the personal experience of making the feature film A Besta Pop (2018). At first, I present the process of building the movie from its origin to its various exhibitions, drawing a parallel between the market's production model and the adaptations made in the university environment of the film, using Aída Marques (2007), Chris Rodrigues (2007) and Jose Quesada (1996) as a theoretical framework. Then, I draw an overview of the characteristics of crowdfunding, as a financial way of the practices of collective constructions that take place in the virtual environment, known as crowdsourcing, drawing on the theoretical scope of Vanessa Valiati (2012; 2013) and Scott Steinberg and Russell DeMaria (2012), among others. To do so, I analyze the mechanisms present in the Catarse platform, presenting the data survey of projects that identified themselves as university, hosted on the platform between the years 2016 to 2018, in order to understand the profile of projects and proponents. In this sense, I try to understand the movement of crowdfunding in the context of the creative economy, proposing a reading of creativity in the performance of the audiovisual producer, based on John Howkins (2007), Richard Florida (2012), Mariana Madeira (2014), among others, as references to reflect on the challenges posed by social, economic and political issues in the audiovisual activity
Acesso aberto (Open Access)
Fluviografias cênicas: memórias e presenças de um corpo em travessias.
(Universidade Federal do Pará, 2021-01-20) FONSECA, Roseany Karimme Silva; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
The present work proposes the poetic-scenic elaboration of a body located in between, this understood as an intersection: between the city of Belém and the interior of Marajo island, between narrative and scene, between word and action, between memory and presence. Between, here, is available as a means of understanding the history of a researcher in her processes of physical crossings, written, recorded and retold. Amazonian authors such as Eidorfe Moreira and Joao de Jesus Paes Loureiro support the setting of this research, guiding reflections for a personal journey; there is the search for a poetics of space, as proposed by Gaston Bachelard (1993). In addition, the research dialogues with the concept of “Personal Dramaturgy”, defined by Wladilene Lima (2004) and the so-called Self Writings. In this context, the following issues emerge: 1) the body, as an organism, can be constituted in a landscape - approached in this work in the light of humanist geography? 2) can this body express itself scenically, in line with an environment, in which it lives its own journey through writings, travels and memories? 3) what are the relationships between the body, the text and other elements of the scene in the staging process? Based on these questions, the objective is to understand the condition reached by the acting body, when it crosses and is crossed as a subject / object of a poetics developed on the scene. As for the elaboration processes and their unfolding, this research is understood like a fluviographic immersion, in view of considering landscapes, margins and express flows of rivers and in the rivers taken. As a device of practice, body language and the possible states of scenic composition of an extra-everyday body are sought and the “Corpografia” highlighted by Juliano Jacopini (2016). As a methodological procedure, the fluviographies follow the idea of research in art proposed by Sônia Rangel (2009), appropriate to the line of research in Poetics and Processes of Performance in Arts. Therefore, the methodology will be immersed in the practice of scenic creation. Create, cross and dive are configured as the action verbs for the scenic act in progress, working a scenic state as a reality inscribed and made present in a body / space of identifications of the acting, resulting from their crossings