Teses em Artes (Doutorado) - PPGARTES/ICA
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Tese Acesso aberto (Open Access) O teatro precisa de teatro? territorialização, (des)territorialização e (re)territorialização do movimento teatral em Belém do Pará nas conexões e trânsitos periferia-centro-periferia (1980 a 2000)(Universidade Federal do Pará, 2023-06-29) FURTADO, Paulo Roberto Santana; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414; https://orcid.org/0000-0001-8277-5210This thesis investigates processes of (de)territorialization and (re)territorialization of the contemporary theater movement in Belém do Pará, from the periphery-center-periphery connection and transits of artists and groups. Critical reflection on space-time and theatrical movement in the city of Belém – does theater need theater? – from the point of view of geography, using as references the theorists who guide the understanding of theater making, Milton Santos, Marcos Aurélio Saquet, Valdir Roque Dallabrida, Rogério Haesbaert, Yi-Fu Tuan, where the theme was investigated from the perspective that the nature of the theatrical place is important to reflect the theatrical making. As an artist and founder of the PALHA Theater Group, I metamorphosed into an amphibious snake, between water and land, changing skin and submerging to address the trajectory of artists and groups, their scenic experimentation, and their relationship with the place of action, periphery-center-periphery and subjectivity of doing, time, and place. However, I needed to return to the surface and remain irate for a long time to understand the price of depth and try to specify certain principles of cohesion that unified the superficial images of this trajectory lived by the time of making theater and its reordering, from the maturation of a phenomenon still defined in a “groping” way, as globalization, whose main objective in making the comparison is to try to understand a contemporary phenomenon that has captured everyone: the acceleration of historical time, because to speak of the questions of time and modernity would then be to reflect about how this process influenced and influences the artistic making of these artists and groups, resistant and survivors. Dialoguing with theatrical philosophy, the history of theater and theatrical studies, in line with theories and epistemic interfaces, in inter and transdisciplinary connections with other areas of knowledge.Tese 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/6144243746546776This 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.Tese Acesso aberto (Open Access) ONDE ESTÁ AQUELE POVO BARULHENTO? Uma etnografia musical para compreender os corinhos pentecostais da Assembleia de Deus em Maracanã-PA.(Universidade Federal do Pará, 2024-01-31) LUZ, Jefferson Aloysio de Melo; COHEN, Líliam Cristina Barros; http://lattes.cnpq.br/0286644614789784In this work, of ethnomusicological nature, the author casts a look at his memories with the aim of understanding the nature, meanings, liturgical function, and musical structures of Pentecostal choruses in worship. Through a cartography of memory mixed with an autoethnographic approach, the paths taken traversed the notions of acoustemology, by Feld (2015, 2020) combined with the doctrine of musical Ethos (SILVA, 2019; GROUT and PALISCA, 2007), connected to the notion of founding myth (SALDANHA, 2018), taking into account the trajectory of the Pentecostal movement and the Assembly of God Church in history (FRESTON, 1994; MATOS, 2006; OLIVEIRA 2013), in addition to seeking to understand the iconic dynamics of ritual elements in Pentecostal liturgy that leads the believer to the experience of religious enthusiasm (STEPHENSON, 2019; ALBRECHT, 1999). His conclusion is that Pentecostal choruses are structuring elements of Pentecostal liturgy arranged among fixed liturgical elements in order to dynamize the path to religious enthusiasm or ecstasy, which is the main goal of Pentecostal spirituality; and that the simplicity of the structure, musical contours, and lyrics configures a strategy of symbolic conversion that transmutes the fundamental values and beliefs of Pentecostal faith into ritual sound icons to perform a function analogous to that of medieval icons.Tese 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.Tese Acesso aberto (Open Access) Políticas públicas educacionais para o ensino de música na educação básica: Múltiplas vozes sobre o ensino de música na rede municipal de educação de Belém do Pará.(Universidade Federal do Pará, 2025-06-16) SILVA, Társilla Castro Rodrigues da; SILVA, Jessika Rodrigues da; http://lattes.cnpq.br/7731127373088878; FREITAS JÚNIOR, Áureo Déo de; http://lattes.cnpq.br/9902320223569217Public educational policies, responsible for ensuring that more people have access to education and promoting measures to correct social distortions, can ensure quality education in a country with continental dimensions, but this is no easy task. Music teaching in regular public schools has been on a path of discovery in the face of new realities that arise in the ongoing educational scenario. In view of the above, there is still an effervescence of thoughts about how to tread a “new” path of music education, what directions are being taken in music education at school and how we, researchers, intend to contribute to the direction of this teaching. The thesis defended is that there are multiple interpretations about the teaching of music in school, which affect the practice and hinder possibilities of public policies to make the rights to music teaching a reality, specifically in Belém do Pará. Therefore, the general objective of this research is to analyze the insertion of music in the public schools of the municipal education network in Belém do Pará, from the conceptions of the multiple voices, agents of music teaching. The theoretical framework used to support the discussions in this research covered: a) The analysis of educational policies in the light of the Policy Cycle Approach of Bowe et al. (1992) and Ball (1994) proposed by Mainardes (2006); and b) The educational policies of current Brazilian legislation on music teaching in basic education schools. This is an exploratory study with a quantitative-qualitative approach, using a case study research procedure. As for the place of performance, it was a field research in which data was collected and documentary analysis, semi-structured interview and questionnaire. As a data analysis technique, content analysis and Exploratory Data Analysis statistics, also known as Basic Descriptive, were applied. The results addressed the conceptions of the Municipal Department of Education, NACE and the Art Teachers of the Belém Municipal Education Network, which were analyzed together with the cycle of educational policies. The analysis of music teaching in Belém do Pará's public schools revealed both advances and challenges. SEMEC's Curriculum Guidelines seek to qualify and diversify music education, with effective teachers from the network and musical projects in the after-hours, in addition to workshops with traditional teachers. However, the lack of adequate infrastructure, material resources and more teachers, limit the full implementation of the subject. The creation of the Municipal School of Arts of Belém (EMAB) faces political difficulties, and many teachers act in a multipurpose way, which goes against the curricular guidelines. Therefore, it is considered that the lack of institutional appreciation and the discontinuity of public policies hinder the consolidation of music teaching in schools. The research suggests that to overcome these challenges, it is necessary to ensure robust initial and continuing training, value local cultural traditions, and adapt the curriculum to the regional context. The teaching of music must be treated as an essential tool for the critical and cultural development of students, besides the urgency of regularizing public exams and promoting more consistent public educational policies.Tese Acesso aberto (Open Access) Travessia: Do íntimo ao político: A memória como agente de resistência na produção de livro de artista(Universidade Federal do Pará, 2025-03-21) GIUSTI, DESIREE COSTA; MANESCHY, ORLANDO FRANCO; http://lattes.cnpq.br/6198572031091761Tese Acesso aberto (Open Access) Mercado do artesanato brasileiro: Aspectos socioeconômicos em um paralelo com as artes e seus sistemas(Universidade Federal do Pará, 2024-01-26) GOMES, Paulo Henrique de Oliveira; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156Brazilian handicraft market is still a neglected segment among the questions of our academic field, especially in Arts studies. Usually, scholars relate handicraft to Economics and Development approaches. The Ph. D thesis, a product of this research, seeks for broadening this point of view, dealing with the necessary interdisciplinary nature involved in both production and circulation of handcrafted oeuvres in current national context, to stimulate a framework where Arts, market, development and public policies meet. The research was conducted by means of phenomenological inquiry face to the theme ́s very own complexity. There is a nexus between production and circulation of artwork and the impacts of its chain on social life and the creative process of the artists. Thus, the research presents and analyzes public policies designed to foster, organize, and strengthen the sector. Additionally, the thesis aims to point the differences between a Contemporary Art Market and the particularities of a Handcraft Art Market, as well as its eventual similarities. Finally, the research works with present data and facts related to the theme, through actual experiences, the scenario of this Art genre, its agents and applied cases acting directly into its market.Tese Acesso aberto (Open Access) 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/3313460196086035Tese Acesso aberto (Open Access) Práticas educativas em artes visuais e as questões ambientais na Escola Bosque(Universidade Federal do Pará, 2024-10-30) FONSECA, Nelia Lucia; MAGALHÃES, Ana Del Tabor Vasconcelos; http://lattes.cnpq.br/0310909316607481; BRITTO, Rosangela Marques de; http://lattes.cnpq.br/3188863381591509; https://orcid.org/0000-0001-9458-3515This thesis explores the theme of teaching/learning in Art in dialogue with the environment, with the research object on educational practices in Visual Arts articulated around the environmental axis. The main objective is to analyze how students from the Youth, Adult, and Elderly Education Program (EJAI) at Escola Bosque, in Outeiro (Belém-PA), express the theme of the environment and its ramifications through their artistic creation processes. The research is based on regional and national sociopolitical contexts, which are also influenced by the growing global concern regarding climate change, Amazon deforestation, the significant production of solid waste in urban centers, and ocean pollution caused by microplastics. Considering this scenario, the study proposes pathways grounded in Freirean pedagogy and the transversality of environmental issues, with an emphasis on the United Nations (UN) 2030 Agenda. The adopted methodology has a qualitative and descriptive approach. The data collection instruments included logbook, questionnaires applied via Google Forms, a blog, teaching and lesson plans with artistic, aesthetic, and cultural experiences, as well as official documents such as the Statute and the Pedagogical Political Project of the Fundação Centro de Referência em Educação Ambiental Escola Bosque Professor Eidorfe Moreira (Funbosque), along with guidelines from the Ministry of Education (MEC) and the Municipal Department of Education of Belém (Semec). During the research, artistic materials produced by EJAI students and the teacher, including photographs, paintings, drawings, and videos, were analyzed to understand how technical devices are used to record and express the territorial marks of the environment in which they live. The study investigates whether these creations suggest lines of flight from prevailing forms and formats or merely reflect visual clichés. It is important to highlight that the classes took place in the context of the Covid-19 pandemic in 2021, which required a revision of the ways of teaching and learning Art, considering the challenges imposed by the pandemic scenario. These challenges demanded resilience and creativity to overcome the didactic-pedagogical, socioeconomic, and health-related difficulties of the period.Tese 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/0000-0001-8917-1348The 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.Tese Acesso aberto (Open Access) COM QUANTOS NARIZES SE FAZ UMA PALHAÇA BEIJA FLOR? O desvelar dos modos de ser e de existir de Aurora Augusta.(Universidade Federal do Pará, 2024-09-17) CORRÊA, Suani Trindade; ALMEIDA, Ivone Maria Xavier de Amorim; http://lattes.cnpq.br/5012937201849414Tese Acesso aberto (Open Access) Memórias das Artes Circenses de Rua em Belém-Pará(Universidade Federal do Pará, 2024-02-29) MARTINS, Yure Lee Almeida; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971This thesis proposed to think of current street circus artists in the metropolitan region of Belém as historical subjects, subjects of memory. People and artists with an origin and trajectories catapulted by artists trained in the first groups of circus schools in Brazil and Latin America (“travelers”). Street circus artists who are constantly made invisible because they choose the street as their main stage. The writing follows as a study on memory, adopting the description of the structure of a street circus show. In the first chapter, we intend to discuss memory and places of circus memory in the city of Belém, such as the Circo Mano Silva School. Highlight the peculiarities of recent circus arts in the city. Provide a contextualization of how the traveling circus takes on a new look through street circus artists in Brazil and specifically in Belém. In a second chapter I will try to present in general terms the permeability of artists, groups and troupes in the city of Belém. Highlight unique aspects of working with circus languages in the region, such as the existence of non-travelling troupes and circuses. I mainly highlight the analysis of memories and life trajectories of the subjects involved with the circus cultural movement in the city. Like the “Weekly Juggling and Circus Meeting”, a boost for the many local circus artists. As well as the “Open Stage”, a form of audience formation for the street circus in Belém, self-managed and community-based, very important for the development of street art movements, groups and collectives involved with the circus (such as Circopaíba and Circo Nós Tantos) . And finally, I present in more detail my relationship with the circus, my memories complemented by other memories, our poetics and dramaturgies.Tese Acesso aberto (Open Access) 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/1004865944722134This 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.Tese Acesso aberto (Open Access) DATUM - Interface eletrônica como meio de expressão da experiência(Universidade Federal do Pará, 2023-10-27) CARVALHO, Márcio Lins de; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522This thesis addresses the experience of creating an experimental electronic game (game, for mobile devices, cell phones) called “DATUM” (work in process) developed from and during the doctorate period. These writings and their annexes address three different and complementary perspectives: the first on reflections on method and artistic creation in the academy; the second on the theoretical conceptions derived from the artistic creation of electronic games; the third on the sub-processes and hazards of game development; in addition to these, the thesis is also composed of the game itself. Taking these perspectives, the thesis proposes to experiment with the image, in the abstract sense, using a dynamic of building constellations to incite the projection of images by connecting stars; and the virtual with its interactive possibilities within a three-dimensional space.Tese 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/3091200390689592This 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.Tese 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/6889411521648199This 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.Tese Acesso aberto (Open Access) Memórias da Educação Museal em Belém : Uma Cartografia de Experiências Plurais(Universidade Federal do Pará, 2024-01-31) LIMA, Janice Shirley Souza; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156Tese Acesso aberto (Open Access) 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/0000-0003-2662-8704The 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.Tese 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/6896268801860211This 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 BodyTese 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/1004865944722134The 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.