acase@tulane.edu / This thesis addresses the relationship between self and other within Rastafari culture in Guyana. Heirs of a tradition of resistance against the dichotomous, hierarchical approach to nature and humanity embodied by European colonialism, Rastas in Guyana have conceptualized the individual self as an integral aspect of a divine, universal whole comprising the natural world and its diverse, interdependent constituents. This has involved the transcendence of conceptual dichotomies between self and other, humanity and divinity, physical and spiritual worlds, and people of different gender and ethnic identities. The transcendence of these conceptual divisions has supported the development of socially nonviolent and ecologically sustainable communities tied to soil, charting a course for global communities seeking to mitigate social and environmental crises. The transcendence of conceptual dichotomy is symbolized in this thesis by the “desert trod”—the journey of the Israelites of the Old Testament from captivity to the promised land. I argue that by closing the conceptual distance between self and other, Rastas have moved toward a promised land defined by social nonviolence and ecological sustainability. / 1 / Erin Lierl

Made available in DSpace on 2014-12-17T14:36:26Z (GMT). No. of bitstreams: 1 MaristelaOM_DISSERT.pdf: 2808377 bytes, checksum: 8176dbd9c513c0dc571d98c929697080 (MD5) Previous issue date: 2010-07-14 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The present work concerns an auto-ethnographic study based on life experiences and reflections of an educator at Escola Viva Preschool and Elementary-Middle School, located in the city center of Natal, Rio Grande do Norte. As a cognitive model of operation, we use the metaphor of the Circle Dance. The objective of this study is to identify, interpret and describe the ludopoetics that are achieved through a Musical Education program, which we denominate, Humanescent. The data of this investigation was derived from the music making by Preschool and Elementary-Middle School students at Escola Viva during 2007, 2008 and 2009, from which 20 learners were selected to form the corpus, along with the description and interpretation of photos of their experiences and sand tray scenes. We justify the methodological systemization of the research based on our own pedagogical practice, which supports Musical Education in the schools based on the principals of Embodiment, Autopoesis and Flow. The methodological systemization was developed through an Action Research model and on the concepts of Systemic Development, with the goal of re-reading the context investigated through the structuring of categories of Ludopoesis: Self-esteem, Self-territory, Self-connectivity, Self-realization and Selfworth. We used an observant-participant research approach with regard to the perception of emergent knowledge, the surroundings, the experience lived and the contextual and vibration of the circumstances. Besides this, we used projection to interpret the experiences lived, in the form of drawings, short poems, letters or sand tray scenes as symbolic interpretations of experience. In the unfolding of the Ludopoetic Process (Selfesteem, Self-territory, Self-connectivity, Self-realization and Selfworth) we draw conclusions about the relevance of the ludic musical experience, which foments the formation of the self based on music learning, and which is demonstrated in the Embodiment of the learners. In the auto-formative process (of learners and educators) we observe the importance of pedagogical work based on Musical Humanescent Education that gives value to the music making path to the construction of music and performance in play, creativity, and sensibility. The experience of making music in a playful way allows for organization of the self and its autonomous production in the joy of living within a ludopoetic process. These findings highlight the educator as in a permanent state of selfformation, which generates moments of flow. However, in Musical Humanescent Education, music is learned collectively, doing a circle dance, experiencing love, fostering an expansion of the creative spirit, and giving recognition to playfulness as a necessary condition for education and to the value of music made with the true nature and sensibilities of the educators / Trata-se de um estudo autoetnogr?fico com base nas viv?ncias e reflex?es de uma educadora na Escola Viva, uma escola de Educa??o Infantil e Ensino Fundamental, localizada na ?rea Central do munic?pio de Natal/RN. Como operador cognitivo utilizamos a Met?fora da Ciranda. O objetivo do estudo foi identificar, interpretar e descrever os processos ludopoi?ticos que se revelam na Educa??o Musical, a que adjetivamos de Humanescente. Os registros desta investiga??o foram pautados nas viv?ncias musicalizadoras de alunos da Educa??o Infantil e do Ensino Fundamental nos anos de 2007, 2008 e 2009, sendo selecionados os registros de 20 educandos, al?m da descri??o e interpreta??o de fotos das viv?ncias e dos cen?rios trabalhados na caixa de areia. Justificamos a sistematiza??o da pesquisa a partir de nossa pr?tica pedag?gica, que defende a Educa??o Musical na escola a partir dos pressupostos da Corporeidade, da Autopoiese e do Fluxo. A sistematiza??o metodol?gica se desenvolveu a partir dos princ?pios da Pesquisa-A??o e nos pressupostos do Desenvolvimento Sist?mico, procurando fazer uma (re)leitura do contexto investigado com as categorias estruturantes da Ludopoiese: Autotelia, Autoterritorialidade, Autoconectividade, Autofrui??o e Autovalia. Utilizamos como t?cnica de pesquisa a observa??o participante, enquanto condi??o na percep??o das emerg?ncias, do entorno, do vivido e das circunst?ncias vibracionais e contextuais. Al?m disso, utilizamos a proje??o ao interpretarmos o vivido em forma de desenhos, pequenos poemas, cartas ou cen?rios na caixa de areia como interpreta??o simb?lica do vivenciado. No revelar dos Processos Ludopoi?ticos (Autotelia, Autoterritorialidade, Autoconectividade, Autofrui??o e Autovalia) conclu?mos sobre a relev?ncia da viv?ncia musical com ludicidade, proporcionado a autoforma??o do ser a partir da aprendizagem musical que se revela na Corporeidade dos educandos. Nos processos autoformativos (dos educandos e da educadora) observamos a import?ncia de um trabalho pedag?gico a partir da Educa??o Musical Humanescente, que valoriza o percurso musicalizador para a constru??o musical e a performance na ludicidade, criatividade e sensibilidade. O vivenciar a m?sica com ludicidade permitiu a autoorganiza??o do ser e sua autoprodu??o na alegria de viver enquanto processo ludopoi?tico. Neste sentido, destacamos que o educador se encontra em permanente processo autoformativo que gera momentos de fluxos. Portanto, na Educa??o Musical Humanescente se aprende m?sica na coletividade, dan?ando a ciranda, vivenciando a amorosidade, permitindo a expans?o do esp?rito criativo, o reconhecimento da ludicidade como condi??o na educa??o e a valoriza??o do fazer musical na naturalidade e sensibilidades dos educandos