Made available in DSpace on 2014-12-17T14:20:18Z (GMT). No. of bitstreams: 1 CristianeMN_TESE.pdf: 2955816 bytes, checksum: 771eb00af667050c7d0356b84fdda857 (MD5) Previous issue date: 2005-03-21 / This work discusses the impacts of the globalization in the Brazilian northeast culture, specifically in the popular field. The background of theses reflections is the carnival festivities in Recife-PE. In this context, attempts to changes as well as resistance to them maintaining the cultural values and the popular manifestations take a new dimension, presenting different ways of being nordestino. The option for the context of the carnival festivities is due to its significance to the people of this place, particularly as it is a space in which people represent themselves. The work presents a version of the history of carnival in Recife, identifies some manifestations that comprise it, analyzes its changes and shows the process of valuing the local culture in the latest years of the 20th century. The research also reveals how the popular culture assumes a functional and dynamic character where the themes of the popular traditions are being reworked. This process allows not only the survival of the local culture, but also the resistance against the capitalist project to construct a global culture and its uniform character. Even though the carnival festivity has become a mega show, composing a market design, it is still a space to construct differences and see the other. Lastly, for the people of that region, it is a space of fighting for a place in the international panorama / Este trabalho discute os impactos da globaliza??o na cultura nordestina, especificamente no universo da cultura popular. O pano de fundo dessas reflex?es ? os festejos carnavalescos da cidade do Recife-PE, pois nesse contexto se acolhe o novo, mas tamb?m se resiste ?s mudan?as, preserva-se os valores culturais e as manifesta??es populares tomam uma nova dimens?o, consubstanciando-se em novas formas de ser nordestino. A op??o pelo contexto da festa se deu por este ser de grande signific?ncia para o povo nordestino, e primordialmente por ser um espa?o no qual o povo se representa. O trabalho traz um hist?rico da festa de carnaval da cidade do Recife, identifica as manifesta??es que a comp?em, analisa as transforma??es ocorridas na festa e mostra o intenso processo de valoriza??o da cultura local que vem ocorrendo nos ?ltimos anos do s?culo XX. Revela, como em decorr?ncia desse processo, a cultura popular assume um car?ter funcional e din?mico onde as tem?ticas das tradi??es populares est?o sendo reformuladas e reapropriadas pela popula??o, permitindo a cultura popular nordestina n?o s? permanecer, como tamb?m, se impor ao projeto capitalista de cultura global e negar seu car?ter uniformizador. Mesmo que a festa carnavalesca esteja sendo transformada em megaespet?culo com formato e padroniza??o de produto, deixando de ser um ritual e transformando-se em fonte de renda, alterando profundamente sua "fisionomia", continua sendo, para a gente daquele lugar o espa?o de edifica??o das diferen?as e da percep??o do outro, o espa?o de constitui??o da cidadania e da luta por se fazer respeitar e conquistar um "lugar" no panorama internacional

Descendants à la fois de négriers et d'anciens esclaves du Brésil « retournés » tout au long du XIXe siècle aux actuels Bénin, Togo et Nigeria, les Agudàs, connus aussi comme « les Brésiliens du Bénin », basent leur identité sur des évocations à leurs origines brésiliennes. Un des principaux marqueurs identitaires des Agudàs est la fête de la bourian (« petite ânesse » en portugais), qui réunit chrétiens et musulmans autour d'une sortie de masques très codifiée, où l'on chante – sans comprendre les textes – des airs de samba en portugais, langue qui n'est plus parlée dans cette région d'Afrique. Les divers groupes de bourian, souvent en concurrence les uns avec les autres, évoquent de façon ludique les ancêtres brésiliens, dans un contexte dynamique où chaque population locale réalise des sorties de masques liés aux vodouns. Centrée sur le Bénin méridional, cette thèse cherche à saisir le sens, les enjeux identitaires et les circulations autour de la bourian, tout en gardant une perspective historique et un regard comparatif avec le Brésil. / The Agudas, also known as "the Brazilians of Benin", are the descendants of both slave traders and former slaves who "returned" from Brazil to today's Benin, Togo and Nigeria during the 19th century. To this day, they base their identity on evocations of their Brazilian origins. One of the main identity markers of the Agudas is the festival of the Bourian (a Portuguese word meaning "little she-donkey"), which brings Christians and Muslims together around a codified masquerade, where samba tunes are sung – with no understanding of their lyrics – in Portuguese, a language that is no longer spoken in this region of Africa. The various Bourian groups, often in competition with each other, evoke in a playful way their Brazilian ancestors, in a dynamic context where each local population carries out masquerades related to the vodoun. Focusing on Southern Benin, this thesis aims to understand the meaning of the Bourian, as well as the identity issues and circulations in which the Bourian is involved, while keeping an historical and comparative perspective with Brazil.

Le Venezuela est un pays d'une grande diversité culturelle. La population a des origines indigènes, africaines et européennes. Cette diversité a longtemps été ignorée. Depuis le début des années 2000, et dans le contexte du processus politique de la Révolution Bolivarienne d'Hugo Chávez, la diversité culturelle du peuple vénézuélien est mise en valeur. En effet, l'objectif est de définir et consolider l'identité nationale à partir de cette diversité.Les Afro-vénézuéliens ont longtemps souffert d'une certaine discrimination. Au début du XXe siècle, de nombreux descendants d'esclaves africains, originaires des campagnes migrent vers Caracas. La majorité s'installe dans les quartiers populaires (barrios) et se retrouve dans une situation d'exclusion et de marginalisation. A cela il faut ajouter une certaine perte des repères. Au début des années 80, la culture populaire et les traditions afro-vénézuéliennes apparaissent comme une manière de construire une nouvelle identité. Des groupes culturels afro-vénézuéliens décident de réinterpréter une fête populaire traditionnelle dans ces barrios, la fête de la Saint Jean. A partir de l'étude de cette fête de 2006 à 2012, nous avons essayé de déterminer dans quelles mesures les actions de ces groupes culturels afro-vénézuéliens peuvent contribuer à l'affirmation et la reconnaissance de l'identité afro-vénézuélienne et permettre une meilleure cohésion sociale et intégration de la population de ces quartiers. / Venezuela is a country with an important cultural diversity. The population has Indigenous, African and European origins, though this diversity has long been ignored. Since the beginning of the 2000's, within the political process of the Bolivarian Revolution led by President Hugo Chavez, the cultural diversity of Venezuelans has begun to be recognized. The objective has been to define and reinforce national identity based on cultural diversity. Afro-Venezuelans have been victims of discrimination. At the beginning of the twentieth century, many descendants of African slaves migrated from the countryside to urban Caracas. The great majority settled in barrios and lived in a situation of exclusion and marginalization and, in addition, lost a great deal of their references. At the beginning of the eighties, popular culture and Afro-Venezuelan traditions appeared as a way to construct a new identity. Afro-Venezuelan cultural groups decided to reinterpret a traditional popular festival in these barrios, the Festival of San Juan. By the study of this festival, from 2006 to 2012, we studied how the actions of Afro-Venezuelan cultural groups can contribute to affirm and recognize Afro-Venezuelan identity and lead to an increase in social cohesion and integration of the population in these barrios.