abstract: Collective self-esteem is defined as the aspect of identity that relates to how one evaluates the value or worth of the social group to which they belong (Luttanen and Croker, 1992). For African American youth, little research has been conducted to understand how they assess the value or worth they place on their ethnic social grouping as opposed to their racial identity (Hecht, Jackson, & Ribeau, 2003). Moreover, African American scholars for decades have theorized about the importance of applying African centered frameworks to ground community solutions for these youth. Drawing from both the African centered and collective self-esteem literature, the purpose of the present study is to develop a measure of collective self-esteem derived from an African framework to examine its relationship with African American youths’ ethnic identity perceptions. The first phase of the study consisted of a content analysis to generate a pool of items derived from Bantu philosophical text. The second phase consisted of cognitive interviewing to understand the mental processing of African American youth answering the developed items. In the final phase, an exploratory factor analysis was conducted to identify the factor structure of the tested items. A single factor was identified, which was strongly correlated with African American youth perceptions of ethnic belonging further supporting that self-perceptions amongst African American youth is associated with how they positively or negatively perceive their ethnic identity. / Dissertation/Thesis / Doctoral Dissertation Social Work 2019

A pesquisa tem como eixo de reflexão a produção de performatividades deflagradas a partir das potências dos cantos de Tradição do Candomblé angolano e os impactos deles na corporeidade: percepção, sentimento, espontaneidade e criatividade do ator/performer e a relação destes com o Teatro. Ela parte de um material cultural incorporado, no caso, os cantos de tradição do Candomblé angolano, que é intrinsecamente vivo e dinâmico, que poderão nos ajudar a configurar novas relações entre corpo, corpos, percepção, percepções, conhecimento, conhecimentos com as qualidades / divindades inerentes nos cantos, possibilitando que a experiência do sensível ocorra, abrindo potências de corporeidades que se ampliarão, desdobrarão e expandirão para o ato criativo. Esta investigação relaciona-se com o trabalho dos cantos de Tradição do Vodu da Maud Robart e do Workcenter of Jerzy Grotowski and Thomas Richards, está localizada no contexto da Performance, Antropologia e Filosofia Bantu, e as suas referências mapeiam um panorama de bibliografia brasileira e africana, aludindo à noção de performance, especialmente no que se refere às \'práticas incorporadas\' como campo de pesquisa. / The research has as its axis of reflection the production of performativities triggered from the powers of the songs of Tradition of the Angolan Candomblé and their impacts on the corporeity: perception, feeling, spontaneity and creativity of the actor / performer and their relationship with the Theater. It is part of a cultural material incorporated, in this case, the tradition songs of the Angolan Candomble, which is intrinsically alive and dynamic, that can help us to form new relations between body, bodies, perception, perceptions, knowledge, knowledge with the qualities / divinities inherent in the chants, enabling the experience of the sensitive to occur, opening up powers of corporeities that will expand, unfold and expand into the creative act. This research is related to the work of the Maud Robart Voodoo Tradition songs and the Workcenter of Jerzy Grotowski and Thomas Richards. It is located in the context of Performance, Anthropology and Bantu Philosophy, and its references map a panorama of Brazilian bibliography and African, alluding to the notion of performance, especially with regard to \'embodied practices\' as a field of research.