Navegando por Assunto "Cultura Popular"

Agora exibindo 1 - 2 de 2

Acesso aberto (Open Access)
Marcadores de quadrilhas juninas em Belém do Pará: uma rasgação de afetos, trajetos e espetacularidades
(Universidade Federal do Pará, 2019-12-19) ESTEVAM, Romulo Sousa; SANTA BRÍGIDA JÚNIOR, Miguel de; http://lattes.cnpq.br/6889411521648199
The researches of Junines Dances in Belém do Pará: a trait of affection, trajectory and spectacular objective aims the investigation of three markers of Juninas dances: Edson Neves of the group Rosa Vermelha; Anderson do Rosário from the Kingdom of São João and Rai of the Roceiros da Barão group. For that, I set myself up as an artist-researcher-participant methodologically based in the field of Ethnocenology, which focuses on studying Organized Spectacular Practices and Human Behavior – PCHEO (BIÃO, 2007). In the pursuit of this understanding we take a dip in popular Junin culture and invite authors to dance with us: Clifford Geertz (1989) and Canclini (1982) in the great circle of issues such as identity and culture; in the creative processes Sonia Rangel (2009), in the modern choreographies Eleonora Leal (2011); in the ethnocenological balance the aesthetic and cultural matrices of Armindo Bião (2007), the emotional communities of Maffesoli (1998) and the Spectacularity of Dumas (2010). As a methodological procedure, we immerse ourselves in this Junino universe, accompanying enamored the creative processes of the spectacular practices of the chosen markers, experiencing the essays, contests and moments of relaxation and affection. This study seeks to contribute to the production of knowledge originating from the culture of the June block of Belém do Pará, dissociating popular knowledge and scientific knowledge as an ethnocenological premise.
Acesso aberto (Open Access)
Rainhas Transformistas de Abaetetuba: con(cu)rsos, performances e performatividades
(Universidade Federal do Pará, 2021-07-30) LOBATO, Heberton dos Santos; CAMARGO, Giselle Guilhon Antunes; http://lattes.cnpq.br/2551648142775344
The present research in art aims to create a bricolage between ethnography and autoethnography, linking the memories of this researcher-transformist to those of the transformist artists of Abaetetuba. In the light of the theories of performance, memory and gender performativity, what is sought to understand are the creative processes, gender transitions and political postures of the artists from their participation in gay contests in the city of Abaetetuba (locus of research). The base theorists are Richard Schechner (2003; 2013; 2012); Judith Butler (2018;2019); Paul Preciado (2017; 2018) and Pierre Nora (1993), from which a fruitful dialogue is created with other authors and concepts giving life to the dissertation body. In order to achieve the proposed objective, in the collection of ethnographic data, semi-structured interviews, in loco observations, visual text collections and bibliographic research were used. As a result, the study points out: a- the decolonial existence of the transformist aesthetic and its difference in relation to the Drag aesthetic (Queen/King); b- the existence, in gay contests, of a micropolitics of desire capable of mobilizing territories (social space) and territorialities (subjects' relationships with their internal and external space); c- the real interference of Amazonian culture in the transformist creative imagination; d- existence of common categories between performance art and cultural performance in gay contests (ephemerality, transgression, political character, life/art approximation); and, e-increased visibility, respect and recognition of gay artists, through dance/parade contests in Abaetetuba. The dissertation is divided as follows: in the first chapter, the Baixo Tocantins micro-region is contextualized in its multiple dimensions (social, aesthetic, political), focusing on the city of Abaetetuba. In the second, the artistic category transformism is considered, seeking to justify the choice of such aesthetics, in addition to presenting some elements that make up the gay contests. In the third, the categories performance and performativity are evoked, intuiting to reflect on the restored/performative memories of the Transformist Queens who, when emerging from the sociocultural context of Abaetetubense, (re)construct artistic, identity, micropolitical, spatial, visual, educational and historical. Finally, in the conclusion, the metaphorical calculation of votes is carried out, crowning, amidst the difficulties and acquired knowledge, the old and new Transformist Queens of Abaetetuba