Este estudo aborda como o corpo é enunciado na escrita dos participantes de um curso de graduação em Letras, Licenciatura em Inglês e Literaturas de Língua Inglesa, totalmente a distância, ocorrido entre os anos de 2011 e 2015. Trata-se de um curso da Universidade Aberta do Brasil que foi ofertado por uma universidade pública da região sudeste do Brasil e que foi criado para atender a uma demanda de formação de professores já em exercício na Educação Básica Pública, e que também contemplou alunos de demanda social. Para a maioria dos alunos, esse foi o primeiro curso de nível superior cursado, a primeira experiência com educação a distância e também a primeira vez estudando a língua inglesa depois das disciplinas atendidas na educação regular básica. No curso analisado, como em outros do mesmo formato, grande parte das atividades ocorreu por meio da escrita. Na posição de tutora do referido curso, esta pesquisadora observou que alguns alunos pareciam ter dificuldade para a aprendizagem da língua inglesa e justificavam tal dificuldade pela modalidade do curso, exprimindo um sentimento de falta e de necessidade de ver os corpos físicos, dos professores e tutores, como acontece na situação de cursos presenciais. Ao observarmos os textos desses alunos e também dos tutores, foi possível perceber que a escrita trazia um pouco dos corpos de seus enunciadores, como marcas na superfície linguística. Assim, esse estudo objetivou: (1) analisar como o corpo se fez visível no ambiente virtual, a partir de dizeres e produções escritas de alunos e tutores, e (2) investigar como a ausência do corpo materialmente visível foi significada no curso para o aprendizado da língua inglesa. Partimos do pressuposto de que, tal como na sala de aula presencial tradicional, os participantes do curso enfocado necessitaram se fazer visíveis como corpos para que houvesse a interação e a aprendizagem ocorresse. Nosso corpus de análise se constituiu de textos escritos de alunos em atividades de disciplinas do curso e de respostas de alunos e tutores a questionários. A fundamentação teórica se ancorou em teóricos da Análise do Discurso francesa como praticada no Brasil e da Linguística Aplicada. Buscamos responder as seguintes perguntas de pesquisa: como os sujeitos ocuparam o espaço de aula virtual pela escrita, constituindo-se como corpos virtuais no curso? Em que medida a falta do corpo visível e presencialmente acessível dos professores, na sala de aula, se constituiu como um fator que dificultou a aprendizagem da língua estrangeira no dizer dos sujeitos? Trata-se de uma pesquisa qualitativa de enfoque descritivointerpretativista que faz visíveis as regularidades discursivas no corpus analisado, buscando compreender os funcionamentos discursivos em jogo. Como resultados, concluímos que os sujeitos ocuparam o espaço como corporalidades (HASHIGUTI, 2015a), como corpos materializados pela escrita, mais especificamente, como corpos de afeto. Essa prática discursiva funcionou como uma maneira fundamental para a constituição dos sentidos de colaboração, companhia e engajamento que possibilitaram a permanência de alunos no curso e o enfrentamento das dificuldades. Concluímos que a dificuldade de oralidade não foi um efeito da modalidade, mas da própria língua inglesa como língua estrangeira. A dificuldade maior dos alunos foi a de se ajustar à modalidade do curso. Concluímos que corpo como afeto, e corpo e afeto como escrita se constituíram materialidades e condições fundamentais de inter-relação humana no Ambiente Virtual de Aprendizagem para superar essa dificuldade. / This study addresses how the body is stated in the writings of the participants in an undergraduate course of English Language and English Literature, at a distance, offered by a public university from the Southeast region of Brazil, between the years of 2011 to 2015. It is a course of the Open University of Brazil. The course was created as a response to the demand of university formation of teachers already in service in the Public Elementary Education, but it also attended students from social demand. For the majority of the students, this was the first University-level course taken, the first experience with distance learning and the first time studying English as a foreign language after mid an higher education. In the course, like in others of the same format, a great part of the activities happened thru writing. From the position of tutor in the course, this researcher observed that the students seemed to have difficulties to learn English, as they expressed it could be caused by the modality of the course and by the absence of presential bodies of the tutors and professors in the space of the virtual classroom, as it happens in the situation of face-to-face courses. When we observed the texts of these students and also of the tutors, it was possible to understand that the writing materialized a little of the bodies of its enunciators, like marks in the linguistic surface. Thus the objective of this study is to: (1) analyze how the body makes itself visible in the virtual environment of the course, in the written material of students and tutors, and (2) investigate how the absence of the body as materially visible was signified for the learning of the English language. We start from the assumption that, as in the traditional presential classroom, the participants need to make themselves visible and accessible so there is interaction for the teaching and the learning of the foreign language to take place. Our corpus of analysis comprises written texts from students in activities of different subjects in the course and responses to a questionnaire. The theoretical foundation is based in the French Discourse Analysis as practiced in Brazil and in Applied Linguistics. We try to answer the following questions of research: How did the participants occupy the space in the virtual classroom as written materials? How did they become visible? Did the lack of the visible, presential body of the tutors and professors constitute a difficulty to learn English? This is a qualitative research with an interpretative-descriptive focus. It aims to make visible the discursive regularities in the corpus of analysis for an understanding of the discursive webs at play. As a result, we found out that the participants occupied the virtual space as corporality (HASHIGUTI, 2015a), that is, as bodies materialized in their writing, more specifically, as bodies of affection. This discursive practice functioned as a fundamental way for the constitution of the meanings of collaboration, companionship and engagement that enabled the students to stay in the course and to face the difficulties. We concluded that the orality difficulty was not an effect of the modality, but of the English Language itself as a foreign language. The main difficulty of the students was to adjust to the modality of the course. We concluded that body as affection, and body and affection as written text have constituted fundamental materialities and conditions of human interrelation in the virtual learning environment to help overcome this difficulty. / Dissertação (Mestrado)

Appréhender l’oeuvre de Luchino Visconti à partir de la notion d’espace, alors même que l’homme et le corps de l’acteur semblent être au centre de l’art du metteur en scène, permet de dégager aussi bien les correspondances existant entre théâtre, cinéma et opéra et les spécificités de chacun de ces arts que le dialogue qui s’établit entre les éléments et les influences de chaque création. La polysémie du terme “espace” autorisera en outre à l’envisager tant d’un point de vue matériel (espace scénique, espace(s) cinématographique(s))que temporel (inscription dans un espace-temps caractérisable d’un point de vue historique et/ou social, imbrications de temporalités multiples), tant sous l’angle philosophique(spatialité relative à la perception et à l’idée de finitude, espace mental) qu’artistique(influences littéraires, picturales, musicales notamment). L’espace apparaît ainsi comme une donnée sensible à partir et à l’intérieur de laquelle naît la représentation : il permet alors non seulement de contextualiser l’intrigue à travers des lieux réels se référant à un espace-temps déterminé mais encore de poser une atmosphère propice à l’apparition du personnage et au surgissement d’un monde imaginaire dont l’intensité favorise l’explosion de “vérité”. De cet ensemble se dégagera une esthétique faite de jeux de reflets et d’interpénétration visant à l’établissement d’un spectacle total, en un dialogue des arts toujours renouvelé. / The apprehension of the oeuvre of Luchino Visconti from the perspective of the concept of space –when the actor as man and his corporal presence would seem to lie at the very heart of the director’sart – throws light on both the relations which obtain between theater, cinema and opera and the factors specific to each of these arts, as well as the dialogue which is established between the elements and the influences of each creation. The polysemic nature of the term “space” moreover justifies an approach considering it from both a material point of view (stage space, cinematographic space(s)) and a temporal perspective (as an component part of a space-time identifiable from an historical and/orsocial point of view, the interweaving of multiple temporalities), from both a philosophic angle (a spaciality relative to perception and to the idea of finiteness, mental space) and an artistic perspective(notably literary, pictorial and musical influences). Space thus appears as a perceptible factor ordonnée out of which, and inside which, the performance is born: it allows not only the contextualization of the plot through the real settings referring to a given space-time, but equally thecreation of an atmosphere conducive to the appearance of the character and to the bringing intoexistence of an imaginary world whose intensity furthers the explosion of “truth”. Out of this composite whole emerges an esthetic vision composed of the play of reflections and interpenetrationaspiring to the creation of a total spectacle, in a constantly renewed dialogue of the arts.

Den här masteruppsatsen är en vetenskaplig essä i den praktiska kunskapens teori. Den är ett försök till en fenomenologisk inspirerad studie i högskolelärares kroppslighet i undervisning på lärarutbildning. Mina forskningsfrågor är: På vilka sätt erfar högskoleläraren sin egen kropp och dess rörelser i undervisningssituationer? Vilken roll spelar den egna erfarenheten om sin kroppslighet i förståelsen av sin presentation? I vilken relation står undervisningens innehåll, det som ska undervisas, till högskolelärarens kroppslighet? På vilka sätt skapar högskolelärarens kroppslighet relationer i undervisningen?Undersökningen består av berättelser från min erfarenhet som lärare i dans samt filmade observationer och intervjuer av fyra andra högskolelärare på lärarutbildningen. Studiens metod och teoretiska bakgrund är fenomenologisk och baseras på den franska filosofen Maurice Merleau-Pontys arbete om levd kropp och intersubjektivitet samt dans och rörelse teorier om kropp, rum, tid och kraft av Rudolf Laban.I analysen av det empiriska materialet lyfter jag fram tre dimensioner av kroppslighet, presentation, gestaltning och relation som jag diskuterar i relation till mina valda teorier. Som en fenomenologisk studie beskriver jag först de fyra lärarnas erfarenhet av sin kroppslighet för att sedan reflektera på det som har visat sig. Undersökningens ändamål är inte ett snabbt svar på bästa sättet att undervisa. Istället är mitt intresse att verkligen försöka förstå hur kroppen och dess rörelser kan få en större betydelse inom lärarutbildning. / This master thesis has the form of a scientific essay within the theories of practical knowledge. It is an attempt to a phenomenological survey of higher education teacher´s relationship to their own corporality in teaching in a teacher education program. I investigate following question; In what ways do university teachers experience their own body and its movements in teaching? How does the teacher´s own experience of its corporality influence the understanding of the own presentation? What is the relationship between teacher´s corporality and the content of the teaching? In what way does the teacher´s corporality create relationships within the teaching?My investigation contains of narratives from my experience as a teacher in dance. It will also contain filmed observations and interviews with four other teachers in higher education at the teacher education program at the Södertörn university. The methodological and theoretical background of my study is phenomenological, based on the French philosopher Maurice Merleau-Ponty´ s work on lived body and intersubjectivity and movement and dance theories of Rudolf Laban about body, time, space and effort.Within the analysis of my empirical material I have high lightened three dimension of corporality; presentation, formation (creation) and relation, which I have discussed further in relationship to my theories. As a phenomenological study I have first tried to describe the four teacher´s experience of their own corporality and then reflect on the outcome. It is not my goal to present a quick fix answer to the best way to teach in relationship to the corporality. Instead my interest is to really try to understand how body and it´s movements can be a greater part of the interest and the curriculum of a teacher education program.

Cette thèse montre comment le travail thérapeutique, en psychodrame existentiel de groupe, permet un accès direct à « l’être-du-patient », sans sacrifier du temps au démêlage des représentations. Dans ce cadre, la motion individuelle sollicitée se transforme, via l’intersubjectivité, pour se loger « entre » (aida) les membres du groupe. Elle y prend une forme transubjective qui s’amplifie par résonnance, pour délivrer une tonalité climatique singulière au groupe. J’ai nommé cette nouvelle dynamique : motion transubjective. Fonctionnant rythmiquement sur les pôles « ouverture-fermeture », la motion transubjective ouvre à l’espace corporel du Sentir, du « sens commun », et favorise un ajustement apaisé des patients au monde qui les entoure.Pour servir la thèse et modéliser ce concept, trois recherches-actions sont présentées (menées auprès de différentes populations : travailleurs sociaux, personnes atteintes de V.I.H. et personnes souffrant de psychose). Elles révèlent la valeur opératoire de la motion transubjective, au cœur même de l’intersubjectivité humaine, que cette dernière soit celle des foules, celle qui tient en contact les membres d’un groupe ou l’aida que créent ensemble le thérapeute et son patient. Enfin, ces trois recherches-actions concourent, en psychologie clinique, à la modélisation d’un processus émergent d’autoréalisation de soi, dans la rencontre avec le monde, qui se déploie dans la sphère de la corporalité.Outre la proposition d’un outil groupal -le psychodrame existentiel- cette thèse en discute les conditions de mise en œuvre (en termes de dispositif d’intervention clinique) afin d’en comprendre les leviers thérapeutiques. / This thesis shows how therapeutic work, in an existential psychodrama group, enables the therapist to access directly to “the-patients’-being”, without spending some time unravelling representations. In this context, the individual motion is triggered. Then, it transforms, via intersubjectivity, to place itself “between” (aida) the members of the group. There, it turns into a transubjective form which expands through resonance to deliver a peculiar climatic tone to the group. I have named that new dynamism: transubjective motion. As it functions dynamically according to the “opening-closing” poles, the transubjective motion permits the opening to the Feeling body space to the “common sense” space, enabling the patient to have a pacified relationship to the world around.In order to demonstrate our thesis and to model the concept, three researches-actions are presented (they were conducted among different populations: social workers, persons suffering from H.I.V and psychotic patients.) They reveal the operational value of the transubjective motion, situated at the heart of human intersubjectivity, whether it reveals itself in a crowd, between the members of a group, or the aida created by the therapist and his/her patient. Finally, those three researches-actions contribute, in clinical psychology, to the modelling of an emergent process of one’s being selfrealization through the relationship to the world around, expressing itself in the area of corporality.Beyond proposing a group therapy method -the existential psychodrama- this thesis analyses the conditions for its implementation (in terms of clinical intervention experience) in order to understand its therapeutic efficiency.

Mémoire en recherche-création / Ce mémoire de maîtrise synthétise la démarche de recherche qui a mené à la création des œuvres audiovisuelles Interférences (String Network), DATANOISE et Pharmacologie, ainsi qu’à deux études de musique fixée. Ce texte propose une réflexion sur les possibilités d’utilisation des technologies numériques en temps réel, dans un contexte de performance électroacoustique. Il vise à développer des stratégies afin de pouvoir interpréter et incarner physiquement les musiques numériques. Les notions de risque, de collaboration et de symbolique en musique sont abordées. Ce mémoire défend la création de dispositifs audiovisuels spécifiques comme élément constituant de l’œuvre artistique. Il tend vers une corporalité de l’œuvre électroacoustique, par la recherche d’adéquation entre la nature des outils utilisés, l’attitude corporelle de l’interprète, la symbolique des éléments visibles, et le contenu de la composition musicale. / This Master’s thesis summarizes the the research process that led to the creation of audiovisual works Interférences (String Network), DATANOISE and Pharmacologie, as well as two studies of fixed music. This text proposes a reflection on the possibilities of using digital technologies in real time, in a context of electroacoustic performance. It aims to develop strategies to perform and embody digital music. The notions of risk, collaboration and symbolism in music are discussed. This thesis defends the creation of specific audiovisual devices as constituent element of the artistic work. It tends towards a corporality of the electroacoustic work, by the search of adequacy between the nature of the tools used, the bodily attitude of the interpreter, the symbolism of the visible elements, and the content of the musical composition.

Theoretical part is focused on the philosophical and historical solutions which led to poststtructural and feministic approach to the gender identity. The art reflexive part seeks the visual parallel to above mentioned approach in art, respectively in the art depicting mother identity. Didactic part of the work provides possible option on how to get the gender identity theme over to the high school students. The work itself is a personal reflection of the maternity corporality topic.

[pt] Em análises contemporâneas de Relações Internacionais e Política Internacional, o corpo é constantemente articulado, seja como interface sobre as quais se sobrepõem categorias analíticas caras a disciplina, seja enquanto instrumento de verificação dos efeitos de fenômenos internacionais e ordenamentos políticos. Entretanto é possível verificar, de maneira interna ao campo, a ausência de uma gramática que considere o corpo enquanto categoria política em si, excedendo suas delimitações qualitativas e suas dinâmicas particulares. Assim o presente trabalho intenta estabelecer a investigação do que se denominaria enquanto a presença ausente do corpo. Com isso objetiva-se tanto a sinalização da forma pela qual o corpo é classicamente articulado em teoria política como também seus possíveis desdobramentos em teorizações contemporâneas. A partir de ferramentas analíticas como os conceitos de corporificação e corporeidade, esta pesquisa promove um percurso sobre as problemáticas do corpo enquanto veículo político. Através ainda de um conjunto de literaturas que engaja com a multiplicidade de abordagens sobre o corpo, esse trabalho almeja contribuir com uma gramática corpórea que admita as potencialidades políticas de sua reorganização. Nesse sentido, através da conjunção de obras como as de Judith Butler, N. Katherine Hayles e Donna Haraway, por um lado e Gloria Anzaldúa, por outro, objetiva-se a sobreposição de um corpo que se admita em sua porosidade e relacionalidade, que atualize suas experiências de maneira a dar sentido e produzir política corporificada. / [en] In contemporary analyzes of International Relations and International Politics, the body is constantly articulated, either as an interface over which central analytical categories to the discipline overlap, or as an instrument for verifying the effects of international phenomena and political order. However, it is possible to verify, internally in the field, the absence of a grammar that considers the body as a political category, exceeding its qualitative boundaries and its particular dynamics. Thus, the present work tries to establish the investigation of what would be called as the absent presence of the body. This aims to signal both the way in which the body is classically articulated in political theory as well as its possible consequences in contemporary theorizations. Based on analytical tools such as the concepts of embodiment and corporeality, this research promotes a journey on the problems of the body as a political vehicle. Through a set of literature that engages with the multiplicity of approaches to the body, this work aims to contribute with a corporeal grammar that admits the political potential of its reorganization. In this sense, through the conjunction of works such as those by Judith Butler, N. Katherine Hayles and Donna Haraway, on the one hand and Gloria Anzaldúa, on the other, the objective is to overlap a body that is admitted in its porosity and relationality, which update its experiences in a way that makes sense and produces corporeal politics.

[pt] A presente pesquisa tem como tema as perspectivas docentes sobre o corpo como estrutura de significação em processos de construção de sentidos em situações de ensino-aprendizagem do ensino superior em Design da Pontifícia Universidade Católica do Rio de Janeiro. Entendendo o Design como fenômeno de comunicação e linguagem, de cunho multimodal e multissensorial; como práxis contextualmente situada de produção de sentidos, partimos do pressuposto que os processos formativos em Design demandam a estruturação de práticas pedagógicas com ênfase na percepção, análise e reflexão sobre os sentidos implicados em sua produção em abordagem incorporada - o conhecimento corporificado e territorializado (Merleau-Ponty, 1999; Maturana, 2002[1998]). Contrapõe-se a isto a problemática do corpo enquanto construtor de sentidos em contextos da educação formal, caracterizado pela natureza marginal e acessória de sua presença nos processos de aprendizagem (Rufino, 2013; Kastrup, 2001; Freire, 2018; hooks, 2013). Somam-se a este complexo os efeitos do confinamento e virtualização da vida e educação nos anos da Pandemia Covid-19. Diante deste quadro, o objetivo desta pesquisa é investigar os sentidos negociados sobre o corpo por sujeitos implicados nas práticas formativas do ensino superior em Design. Assumindo a cartografia (Deleuze; Guattari, 1997; Passos; Kastrup; Escóssia, 2009) como postura epistemológica e abordagem teórico-metodológica, o presente trabalho se desenvolve pelo fazer-emergir das perspectivas e gestos pedagógicos sobre o corpo no contexto de pesquisa, a partir de observação participante e entrevistas com docentes de instituições de ensino superior em Design. Tomamos como objetos as práticas de sala de aula e discursos docentes. A partir destes, buscamos explicitar posições e leituras de mundo heterogêneas sobre as formas de fazer e aprender no campo do Design - não para solucionar o problema-corpo no Ensino no momento em que a pesquisa se desenvolve, mas para inventar e formular problemas sobre o corpo, que permitam a comunidade pedagógica traçar estratégias de reposicionamento do corpo na práxis educativa em Design. / [en] This thesis addresses the teaching perspectives on the body as a significant structure of significance in processes of meaning-making in teaching-learning situations of Higher Design Education at the Pontifical Catholic University of Rio de Janeiro. Understanding design as a phenomenon of communication and language, multimodal and multisensory, and as a contextually situated practice of the production of senses, we start from the assumption that the formative processes in design require the structuring of pedagogical practices with emphasis on perception, analysis and reflection on the senses involved in their production in an embodied approach - the corporatized and territorialized knowledge (Merleau-Ponty, 1999; Varela, 1992; Maturana, 2002[1998]). The problem of the body as a constructor of senses in contexts of formal education, characterized by the marginal and accessory character of its presence in learning processes, is opposed to this. (Simas e Rufino, 2018; Kastrup, 2001; Freire, 2018; hooks, 2013). To this complex are added the effects of the confinement and virtualization of life and education in the years of the Covid-19 pandemic. Against this background, the aim of this study is to explore the senses negotiated in the educational practices of the design school. Drawing on cartography (Deleuze and Guattari, 1997; Passos, Kastrup and Escóssia, 2009) as an epistemological stance and theoretical-methodological approach, this paper develops from participant observation and interviews with faculty members of the institution by elaborating the perspectives and pedagogical gestures on the body in the context of research, from participating observation and interviews with faculty members of the research. We take teaching practices and teaching speeches as objects. From this we attempt to draw out heterogeneous positions and interpretations of the world about how to work and learn in design. This is not about solving the problem of the body in teaching as research develops, but about inventing and framing problems in relation to the body that enable the pedagogical community to develop strategies for repositioning the body in pedagogical practice in design.

Ce mémoire de maîtrise étudie le traitement cinématographique de la sexualité et de la corporéité féminines dans le travail de réalisatrices contemporaines. Il prend appui sur les films Anatomie de l’enfer (Catherine Breillat, 2004), Sleeping Beauty (Julia Leigh, 2011), Nuit #1 (Anne Émond, 2011), et Klip (Maja Milos, 2012). Notre hypothèse est que ces réalisatrices adoptent une posture féministe, affirmée ou non, par leur révision des stéréotypes de genre relatifs au corps et à la sexualité féminine. Dans un premier temps, nous nous intéressons à la dynamique érotique entretenue, à travers l’Histoire, entre la femme comme objet de désir et l’homme comme sujet désirant, au cinéma comme ailleurs. Puis, nous analysons la déconstruction des stéréotypes de genre féminins de pudeur et de passivité au sein du corpus choisi. Nous démontrons ainsi qu’en révisant ces stéréotypes, les réalisatrices déjouent volontairement le spectateur dans son expérience érotique. Enfin, nous examinons les stratégies d’auto-réification du corps féminin récurrentes chez les cinéastes étudiées. Nous estimons que les cinéastes s’inscrivent de la sorte dans une tendance à la subversion observable dans les pratiques artistiques féministes contemporaines. / This master’s thesis examines how female corporeality and sexuality are dealt with in the work of contemporary female film directors. It draws on the films Anatomy of Hell (Catherine Breillat, 2004), Sleeping Beauty (Julia Leigh, 2011), Nuit #1 (Anne Émond, 2011), and Clip (Maja Milos, 2012). Our hypothesis is that these directors adopt a feminist attitude, whether it is asserted or not, by reviewing gender stereotypes about the female body and sexuality. To begin with, we focus on the erotic dynamic, maintained throughout history, between the woman as an object of desire and the man as a desiring subject, in film and elsewhere. Subsequently, we analyze the deconstruction of female gender stereotypes pertaining to modesty and passivity in the chosen corpus. Thus, we demonstrate that by revising these stereotypes, the directors voluntarily thwart the spectator’s erotic experience. In conclusion, we examine the recurring self-objectification strategies of the female body employed by the filmmakers. These directors are part of a trend of subversion which can be observed in contemporary feminist artistic practices.

Nesta Dissertação exponho reflexões de mais de trinta anos de experimentação de processos de ensino e aprendizagem de ritmos populares. Utilizo o recurso da autoetnografia (Benetti 2017), e o conceito de \"participante analítico\". Ao estudar o samba como exemplo, proponho abordagens da rítmica dos seus instrumentos de percussão em sala de aula - ambiente novo para a transmissão dos conhecimentos ancestrais das expressões culturais populares. E transponho práticas dos contextos populares para o ambiente acadêmico, tais como a oralidade, a corporalidade e o entendimento das funções exercidas pelos padrões na estrutura rítmica do samba. O foco inicial do trabalho é a ludicidade (Huizinga 1938) como geradora da motivação para a abordagem de conteúdos musicais e corporais. Como estratégia de aprendizagem do samba, o texto propõe o uso de processos para a memorização dos padrões rítmicos (Kubik 1979b) e apresenta proposta de representação vocal dos instrumentos de percussão do samba. Os sons da voz e, depois, dos instrumentos de percussão, deverão gerar movimento no corpo do aprendiz, acessando assim a música-dança de modo transdisciplinar, importante para a apreensão integradora dos ritmos populares, onde o som é \"escrito\" nos corpos (Lühning 2001). Outra reflexão apresentada é de análise da estrutura de funções dos padrões rítmicos (\"levadas\") e suas influências em percepções verticais (pulsos corporais), e horizontais (fraseados). Emprego conceitos de Nketia (1975), Kubik (1979b), Pinto (2001), Sandroni (2001), Mukuna (2006), Fonseca (2017) e Leite (2017). O trabalho propõe a inclusão de visão transcultural dos ritmos populares (Ikeda 2016) em sua abordagem educacional, abrindo-se o foco para a amplitude da ocorrência do samba nos contextos. De ambientes matriciais da cultura brasileira, representados pelas religiões de matriz africana, e das versões rurais e praieiras do samba de roda, até as vertentes urbanas do samba, cujos praticantes referenciais \"beberam\" das fontes tradicionais. Para atestar as semelhanças e especificidades, inclui-se grades rítmicas desses três contextos culturais do ritmo. / By using an autoetnography resource (Benetti 2017), and the concept of \"analytic participant\", I organize reflections after more than thirty years of experimentation of the learning processes of popular rhythms. With samba music as focus, this work approaches rhythmic details from its percussion instruments in the classroom - a new environment for the transmission - transposing some fundamentals of popular culture. First comes the ludic impulse generating motivation (Huizinga 1938) and I propose mnemonic processes to vocalize sounds (Kubik 1979b) and generate movements in the body of apprentices. There is a wide meaning for a popular rhythm as music and dance, where sounds \"write\" even before accessing percussion instruments (Lühning 2001). Then, another fundamental is understanding the structure of the rhythm with patterns (\"levadas\') and their influence in vertical perceptions (body pulses), and horizontal perceptions (phrasing). I bring concepts from Nketia (1975), Kubik (1979b), Pinto (2001), Sandroni (2001), Mukuna (2006), Fonseca (2017) and Leite (2017). Finally, I work with apprentices a transcultural view for popular rhythms (Ikeda 2016), from three different samba contexts. Starting from Afro-Brazilian religious example and rural and beach Afro-Brazilian branches in samba-de-roda, up to the urban branch of samba, with participants who drank from that traditional fountain. Rhythmic grids of the three cultural contexts of the rhythm are included, to attest to the similarities and differences.