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Teses em Artes (Doutorado) - PPGARTES/ICA

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

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Agora exibindo 1 - 20 de 24

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Ânima trama: dança e artes mágicas como processo de autocriação.
(Universidade Federal do Pará, 2021-02-01) LAVAND, Ana Rosangela Colares; SAPUCAHY, Ana Flávia Mendes; http://lattes.cnpq.br/6144243746546776
Se trata de una tesis memorial que tiene como espacio de investigación el proceso de creación de la obra de danza contemporánea Ânima Trama, adoptando como lema la dimensión femenina familiar de la investigadora y su relación con la poética femenina, prácticas artesanales que utilizan tejido, línea y aguja. La investigadora dice ser una araña tejedora y asume como cuerpo de investigación sus ocho patas, que son dimensiones de percepción y análisis de la obra, espacios donde se difunde el proceso de creación. La metodología de la investigación se entiende como una red laberíntica, una metáfora de la producción de conocimiento en el arte, una red porque el material que la compone es orgánico, visceral y de carácter sutil, ya que proviene del cuerpo de la investigadora, y un laberinto por sus múltiples posibilidades de recorrido. , donde perderse es siempre una posibilidad. El hilo conductor de la investigación es el hilo de la vida aquí representado por el cordón umbilical y a partir de esta idea del linaje femenino, su dimensión mágico-religiosa y sus fabricaciones, la investigadora presenta la noción de autocreación, pues afirma que al crear la obra experimenta una serie de interrogantes y ajustes de coherencia frente al mundo y a sí misma, comenzando a crearse a sí misma, siendo así un proceso de creación de la obra y de auto-creación
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O camelo, o leão e a criança que brinca: transmutações da busca de si em três atos-poéticos
(Universidade Federal do Pará, 2019-04-05) MIRANDA, Michele Campos de; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
Acesso aberto (Open Access)
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)
Caminho Sonoro: O corpo em escuta performativa
(Universidade Federal do Pará, 2024-12-01) AMÉRICO, Waléria.; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761; https://orcid.org/0000-0001-8917-1348
The Sound Path deals with the relationship between body and landscape, using displacement as a space for artistic creation. The body in front of the river-forest horizon aimed to develop sonorities over the duration of the path. Procedures of listening to the soundscape, drawing scores and collaborating with people and natural beings make up the performances or sound transmissions. The reflection starts with the writing of experimental between places and the practice of listening to the soundscape in the north of Brazil, in the capital Belém, located in the state of Pará. The experience of the body in the Amazonian territory blossomed into art actions in resonance with the Samaúma tree species.
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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)
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)
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)
Ecologia de um Sukiya Sonoro: discurso poético polifônico na música tradicional japonesa.
(Universidade Federal do Pará, 2021-06-29) CANTO, Ednésio Teixeira Pimentel; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784
The research aims to understand musical discourse in the repertoire of traditional Japanese music. This objective is developed through an idea of polyphonic poetic discourse, observed through the interrelationships between elements from various Japanese sociocultural domains representatively transversalized in the two repertoires in vogue: the tsugaru shamisen repertoire and the sōkyoku repertoire, for Koto. These aspects are organically constituted as elements of multiplicity and diversity that inhabit various Japanese cultural domains (ethical- aesthetic principles present in the tea ceremony, in Japanese literature, in music, in literature, etc.). Thus, the research perspective aims to understand elemental notions and modes of organization understood and observed from a perspective in which the interrelationships can be observed in the various domains of Japanese culture. The methodological construction developed in the research is similar to (or even acts as) the methodological construction in artistic creative processes, pre-establishing the Musecological one, which is defined as the research concept that is built by the search for an understanding beyond knowledge as objectivity and starting from an organicity built in the process and in the relationship with the research object, establishing as a guiding element the knowledge of the object from the exercise, submersion, insertion and non-distant learning of the studied musical practices. The research operates through a principle constituted by multiple elements, bringing this explicitly in the format that ends, deriving in notebooks. This idea is based on Gumbrecht's (2016) notions about the relationship between art and the production of knowledge, and achieves maximum strength within the research by being used as a skeletal structure for the organization of the other elements of this research. It can then be explained by saying that in this research, more than building systematically rationalized knowledge, the aim is to produce sensitive knowledge.
Acesso aberto (Open Access)
Educação Musical e Autismo : Análise da Educação Musical como recurso de inclusão social presente no programa Violino em Grupo em Belém do Pará
(Universidade Federal do Pará, 2021-09-03) BATISTA, Antônio de Pádua Araújo; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Working with music education in an inclusive perspective means making commitments to people, their families and the society in which they live, where making music becomes a social act, whose action can influence and provoke transformations. The “inclusion” theme has occupied a privileged place of debate on the agenda of major national and international conferences, with regard to the democratization of access for people with disabilities (PCDs) to education, leading to the creation of laws aimed at their specificities. With this, strengthened by the demands and pressures of various social groups that defend the recognition of this equality of access, important legal documents have been prepared, the Declaration of the Rights of Persons with Disabilities (1975), the World Action Program for Persons with Disabilities ( 1982), the Declaration of Cartagena (1992), the Declaration of Salamanca (1994), the Charter for the Third Millennium (1999), Law No. 12764 (2012), which determines that people with Autistic Spectrum Disorder (ASD) are considered people with disabilities, the Diagnostic and Statistical Manual of Mental Disorders - DSM-5 (2014) and Law No. 13,146 (2015), which institutes Social Inclusion and Citizenship of Persons with Disabilities (Statute of Persons with Disabilities). This study is justified by addressing a recurrent theme at national and international level, as the access of students with ASD to educational spaces is evident as an undeniable right, whether in regular education institutions, arts education or in the sporting environment, in character formal or informal. The study aimed to investigate Music Education, as a resource for social inclusion of children with ASD, present in the program "Violin in Group: interdisciplinarity and language innovation in children with Autistic Spectrum Disorder", developed in the Graduate Program in Arts of UFPA – PPGARTES. Its deployment takes place in three specific objectives: 1) Describe, based on previous works, audiovisual recordings and reports, the pedagogical actions, strategies and teaching resources applied in the Violin Group Extension Program laboratory; 2) Verify the musical learning of students with Autistic Spectrum Disorder (ASD), program participants, based on the collected data and, 3) Analyze the contributions of Music Education, as a resource for the social inclusion of children with ASD, through the Violin Group Program. To carry out this study, a bibliographic research was carried out, through a review of national and international literature, with a Quantitative approach and a Quasi-Experimental design, having as source the data collected through audiovisual and photographic records, reports, interviews and production academic, originated from the pedagogical practices developed in the program. The research revealed that students with ASD, when placed in a common teaching environment, can learn to play a musical instrument at a level similar to typical Neuro. It also revealed that the Music Education proposed by the Program fulfilled its role of social inclusion for PCD's students. It is expected that, through the registration of pedagogical resources and teaching material collected through this research, it will add to the professionals and institutions that promote Inclusive Music Education.
Acesso aberto (Open Access)
A encruzilhada de Zé Pelintra com três Mestres-Salas paraenses: por uma ancestralidade artística
(Universidade Federal do Pará, 2024-02-26) GONÇALVES, Arianne Roberta Pimentel; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
This research deals with the poetic establishment of the notion of Ancestralidade Artística based on the crossed dimensions between Zé Pelintra – the great streetwise ancestor of Umbanda – and the Mestre-sala, an emblematic artist of the Brazilian carnival of the samba school, in the mythical, sacred and artistic relationship of the ancestral spectacularity of samba. It is a crossroads-research of Afrocentric epistemological construction and decolonial guerrilla that proposes deconstructions of framed and hierarchical perspectives established to the body. Exu is the great epistemological ancestor, a transgressive and moving force, the crossroads as a motive power for the crossings and the streetwiseness as a philosophy and poetics of the researched streetwise-men. Zé Pelintra and Mestre-sala are enchanted bodies, men of the street, from the terreiro and samba, so called by the observation of the diverse and deep relationships of these spaces-territories in their poetics. The research presents its own iconography, with specific symbols and meanings linked to the fundamentals of Umbanda's Sacred Writing, the riscado signs, and the danced riscado of the mestres-salas Nando Elegância, Bené Brito and Fábio de Cássio, three “entities”, black, afro-religious, famous masters of the carnival of Pará, subjects protagonists of the research that evidence the spectacularity of the riscado in the Amazon. The Ethno-Crossed-Methodology is an authorial creation of the research, based on the process of sensitive listening to the phenomenon, supported by Ethnocenology as the main theoretical-methodological basis and by the ancestral immersions and artistic creations of the exuistic researcher as a woman, mother-artist-flag bearer.
Acesso aberto (Open Access)
Entre marujas e marujos: recortes sobre o vestir no culto a São Benedito em Bragança (PA)
(Universidade Federal do Pará, 2021-01-07) BAENA, Graziela Ribeiro; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074
The work is about the ways of dressing in the cult of Saint Benedict in the city of Bragança, Pará, Brazil. In 220 years of existence the cult was set up by conflicts with the official catholic church, but mainly by the effort of the members of the Brotherhood of the Glorious Saint Benedict of Bragança, founded in 1798. In this study the history of the city, the brotherhood and the cult are the background for a research on clothing and the importance of the dressing aspect in different moments in which the saint is honored, since the period of pilgrimage, to rehearsals, masses, processions and official dance performances.The discussion stages begin with a bibliographic survey of academic studies that have been published as books, theses or dissertations on the topic. Then, the work goes deeper in the study of the clothes used in different events of the cult of the saint. In addition, the experience inside the workplaces/houses of an artisan and a seamstress from Bragança, who manufacture clothes and acessories for the people called « marujas » and « marujas », is an important factor in the research. The workplaces, seen as a space of poetic construction, moves a writting process inspired by the act of sewing and investigated by the ethnomethodology. The climax of the research is the moment of practical experimentation described by the author, who makes her own clothes and hat, using the techniques learned from these hardworking and devout women from São Benedito. The filmed material made during the first research stages resulted in the documentary entitled "Among Marujas and Marujos", produced in the immersion held in December 2017 and which integrates part of the work in the search for a hybrid final presentation format. Having the audiovisual material as support for the development of theoretical and ethnographic thinking.
Acesso aberto (Open Access)
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 lugar da arte na TV: caminhos possíveis e experimentações no programa circuito
(Universidade Federal do Pará, 2020-09-04) ANDRADE, Ana Paula Dias; SILVA, Joel Cardoso da; http://lattes.cnpq.br/4443040797308636
Art, a fundamental cultural element for human societies, functions as an indicator of their degree of development. Thinking about new ways to strengthen this field and make it more accessible to the public are big challenges, which find voice in this research whose objective is, among others, to associate theories of the field of Art with Communication to propose new ways of approach and spaces for the art on the open television. The application of the concepts is tested in the program Circuito, from TV Cultura do Pará, in order to demonstrate how this theoretical-practical relationship can be established in television products. Initially, a survey is conducted on the productions dedicated to the field of Art on Brazilian TV, contributing with a drawing of the history of these formats at national and state level (Pará). It follows for the study and association of theories: Art Criticism, Cultural Journalism, Edutainment, Arts Education, Mediation in Arts, television and audiovisual language. Among the essencial references for this research are: Américo (2010), Argan (2010), Aumont (2012), Ballerini (2015), Barbosa (1999), Bourdieu (1996), Bucci (2000), Cauquelin (2005), Leal Filho (1998), Machado (2012), Moraes (2014), Nunes (2003), Piza (2003), Salles (2006), Venturi (2007), Walldén (2004). From the theories emerge the pillars for the content support that, posteriorly are studied in the Circuito program, as well as for the development of the television artedutainment. The research also brings a photo biography of the Circuit, as well as provides a small overview of Pará artistic productions in the last five years.
Acesso aberto (Open Access)
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/6045766440369156
Brazilian 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.
Acesso aberto (Open Access)
Minha viola é de buriti: uma etnomusicologia aplicada-participativa-engajada sobre a musicalidade no quilombo Mumbuca, no Jalapão (TO)
(Universidade Federal do Pará, 2019-06-25) BONILLA, Marcus Facchin; CHADA, Sonia Maria Moraes; http://lattes.cnpq.br/1004865944722134
Acesso aberto (Open Access)
MOVE: um facilitador da pesquisa em música para estudantes com privações sensoriais, intelectuais e motoras
(Universidade Federal do Pará, 2020-06-22) RODRIGUES, Jessika Castro; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217
Contemporaneity indicates the need to promote innovative and relevant technological support to improve conditions of autonomy and independence of students with sensory, intellectual and motor deprivations. Therefore, the researcher aims to investigate how assistive technology can facilitate the research process of music students with sensory, intellectual and motor deprivations. This objective unfolds specifically in two, which are: a) Create a prototype as a strategic visualization tool of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of a research project; b) Test and evaluate the strategic visualization technology of the research movement to assist music students with sensory, intellectual and motor deprivations in the development of research project. In order to achieve the proposed objectives, the Bibliographical Research and the Experimental Research were adopted. The Experimental are the procedures for the creation, testing and evaluations of the prototype device. A pilot project was carried out - with students of the Specialization Course in High School of Music of the Federal University of Pará, as well as there was an intervention with undergraduate students in Full Degree in Music at the State University of Pará and the Federal University of Pará. The participants were students with sensory, intellectual and/or motor deprivation and without deprivation. The application of the Tests focused on the use of the strategic visualization tool of the MOVE research movement for the construction of the research project by the participants. The tests took place in six meetings and the evaluation proceeded in two ways: (a) the first was by the participating students who answered a questionnaire using the 10-point likert scale, presenting three justifications and suggestions to evaluate the functionality of the device; (b) and the second was the evaluation of peer-reviewed research projects by independent judges who followed the scale for evaluation of academic projects, notably on the scale from 0 to 10 for each item evaluated. The collected data were quantitatively analyzed, and their representations were expressed by tables and graphs, which were compared with documentary analysis and served as visual support to project the results and raise reflections and contributions. In general, it can be seen from the answers that more than 85% of the participants totally agree with the music research facilitator for students with sensory, intellectual and/or motor deprivations. The study revealed the fundamental importance of the multidisciplinary team to obtain efficient results. It was observed that the facilitation promoted by the MOVE tool was usually related to the difficulty presented in the profile of each student. The research confirmed that the MOVE tool does not exclude the need for a counselor, but offers autonomy and independence for the student to organize their ideas in order to maintain coherence and not escape the theme.
Acesso aberto (Open Access)
MULHER-CASA-CIDADE: A(fia)ções performáticas de uma artista fronteiriça-jurunense-afro e indígena religiosa- ‐feminista em escrituras com escritoras brasileiras em um olhar periférico a partir da Amazônia paraense
(Universidade Federal do Pará, 2022-08-29) BARROS, Ana Carolina Magno de; SARÉ, Larissa Latif Plácido; http://lattes.cnpq.br/3313460196086035
Acesso aberto (Open Access)
Poéticas Nômades: pesquisa-criação do espetáculo tentativa.doc 2.0 a partir de elementos da cena expandida e intermedial
(Universidade Federal do Pará, 2020-07-27) FONSECA, José Flávio Gonçalves da; ALENCAR, Cesário Augusto Pimentel de; http://lattes.cnpq.br/0024366223698692
This thesis brings about as a key issue the accomplishment of a scenic criation process, whose the investigative drive includes considerations about the use of elements actualised both in the expanded and in the intermedial scenes. Those elements work as triggers to grasp of what we call the technopoetic. The research understand the notion of technopoetics according to its conceptual definition, derived from a creative faculty obtained by what we assume as the machinery sensibility materialization. Such ideas proceed from the proposition of techesthetic developed by Gilbert Siomondon and his discussants. The concepts are also based on ontologic aspects of technical/technological pieces of work occurred after the historical Industrial Revolution. Following the inquiries, the work contextualizes itself into the field of contemporay scenes studies, specifically concerning the types of research based on practice as Brad Hanseman’s “performative research”, Robin Nelson’s “practice as research”, Sylvie Fortin and Pierre Gosselin’s “thesis on practice-basis”, and Mireille LoscoLena’s “reserche-création”. Therefore, this research aims to develop procedures and protocols around the practice done, by means of a technopoetic materialisness and correspondent analysis. For that purpose, we put forward the perspecive at the poetics presente in the techincal object itself, here understood beyond its mere definition as an apparatus, but going further as its identity of a work of art itself. As a result of the creation inquiry, it is devised the performance tentativa.doc 2.0, a practical artistic inquiry intended to fill out hybrid territories of expanded and intermedial scenes. The research technopoetics take into account the notion of nomadism as a compositional setting off per se. Such kind of epistemological trigger brings about different senses of the nomadism, by means of its features as geographic, aethetical, and poetical, through which the performers establish a sort of game among themselves, between them and the techincal objects, and amid techincal objects and spectators. By achieving the game, the performers also compose a experience where each individual mold yourself and the other. In doing so, the circumstances become what Josette Fèral nominates performativity of technology. The undertaking come to conclude at the hability of the artist when dealing with digital devices far beyond of their digital peculiarity, by going toward the activation, development, and interchanges of perceptions within a compound exceedingly present, yet, or even because, virtual.present, yet, or even because, virtual.