Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-08-05Bitstream added on 2014-06-13T18:49:06Z : No. of bitstreams: 1 cravo_csr_me_ia.pdf: 1366265 bytes, checksum: 22e847ed778c5487b098791c7aec604e (MD5) / Universidade Estadual Paulista (UNESP) / A pesquisa proporcionoua crianças do ensino fundamental da rede pública municipal de São Paulo vivências em Dança por meio de um Programa de atividades artísticas que integroua linguagem da Dança coma Música,o Teatroe as Artes Visuais.O programa, denominado “Vivências do Corpo”, buscou sensibilizar as crianças paraa relação delas com seu corpo, como “outro”e como ambiente em que vivem.O objetivo da pesquisa foi analisar como um Programa dedicadoa vivências em Dança no ambiente escolar pode potencializaro processo de interação entre as crianças do ponto de vista da sociabilidade. A idealização desta pesquisa partiu da observação de duas experiências pessoais:a primeira,a maneira desrespeitosa e, por vezes, agressiva de as crianças se relacionarem no ambiente escolar;a segunda, atreladaa um projeto de ação cultural envolvendoa linguagem da Dança, com outra comunidade escolar, que também se encontra inserida em uma infraestrutura urbana sociocultural, que incitaa um contexto de vulnerabilidade. Esse projeto, realizado em uma escola localizada na periferia da zona oeste de São Paulo foi desenvolvido no ano de 2008 pelo Grupo de Pesquisa Dança: Estética Educação (GPDEE) do Instituto de Artes da Unesp,e destacouo escasso contato dessa comunidade coma Arte. O GPDEE deu continuidade ao trabalho nessa comunidade escolar com outro projeto de ação cultural, ao qual esta pesquisa esteve vinculada. Com abordagem qualitativa,a pesquisa apresentou como estratégiao estudo de caso que foi dinamizado coma efetivação do Programaa crianças do terceiro ano da referida escola. Foram realizadas entrevistas semiestruturadas com essas crianças, antese depois da aplicação do Programa, registradas em vídeo,e que serviram como fonte de dados... / The research provided to children from basic education of municipal public school of São Paulo, experiences in dance through a program of artistic activities that integrated the language of the Dance with the Music, Theatre and Visual Arts. The program called “Vivências do Corpo” it was tried to make children aware of their body with others next to them and the environment which they live. The purpose of the research was to analyze how a program can be devoted to experiences in Dance in the school environment can enhance the interaction between the children in the view of sociability. The meaning of this research came from the observation of two personal experiences: the first was the disrespectful and aggressive relationship children to each other in the school environment; the second was linked to a cultural action project involving dance language with other school community, which is also introduced into a socio-cultural urban infrastructure that encourages a context of vulnerability. This project was done in a school located on the West outskirts of São Paulo it was developed in 2008 by the Research Group Dance: Aesthetic Education (GPDEE) of the Art Institute of Unesp and pointed the little contact that community hás with art. The GPDEE continued the work in this school community with another cultural action project to which this research was linked. With a qualitative approach, the research presented as strategy a case study that was dynamized with the program for children of the third year of that school. Semi-structured interviews were made with these children before and after program aplication, recorded by videofilm, which served as a source of data for analysis of this research. As a result it was possible to see the enhance of social relations among children in the act of teaching... (Complete abstract click electronic access below).

Este trabalho visa examinar, a partir dos artigos, textos e correspondências de Mário Pedrosa, os conceitos de arte, história e crítica. É objetivo dessa dissertação discutir o interesse de Pedrosa pelas experiências do Centro Psiquiátrico do Engenho de Dentro, pela Arte Indígena e a relação dialética existente entre Arte e Política em sua trajetória crítica como estratégia para definir seu interesse interdisciplinar e contemporaneidade / This study aims to examine, from the articles and texts and letters by Mario Pedrosa, the concepts of art, history and criticism. Goal of this dissertation is to discuss the interest of Pedrosa by the experiences of the Psychiatric Center Engenho de Dentro, the Indigenous Art and the dialectic between art and politics in his career as a critical strategy to define its interests interdisciplinary and contemporary

CAN YOU PLEASE LOOK AT THIS / VOITKO KATTOO is my master essay. It consists of 6 chapters in which I write about my artistic practise and my work around a series of works titled 52 WEEKS AND WORKS and my examination exhibition SELF-PORTRAITS / FOR FAT GIRLS / PORTRAITS.

This thesis investigates traumatic affectivity and a complex mesh of artistic strategies in contemporary live art and performance that allow a certain material renegotiation and transformation of social and personal traumatic histories. These strategies are analysed not as means of interpersonal transmission of experience through narrative capture and consolation, but of a transmission of affect, where the sense of affective sharing, of ‘wit(h)nessing’ and ‘transmissibility’ of (traumatic) affect is distinguished from the idea of identification, of mirroring, of emotional identification that in fact subsumes the other to the same, to a life as we can readily articulate and regulate it without needing to acknowledge the violence inherent in such articulations. The thesis also explores how the notion of dramaturgy changes when observed from the perspective of trauma. Dramaturgy is here understood as ‘the text (the weave) of the performance’, where performance is seen to encompass a wide range of artistic practices which involve some element of live or recorded performed action. Such definition of dramaturgy becomes especially significant when this text/weave is marked by a traumatic occurrence, which by definition damages, tears down its integrating fabric. How can we address the difficulty, physically and philosophically, of accessing a destructive event through a creative act? As one possible answer, the thesis proposes the notion of ‘dramaturgies of loss’, of a certain ‘melancholy’ or ‘traumatic’ text as a creative answer to the forces of violence. It argues that an awkward, uncomfortable presence of certain misplaced, ‘emptied’ mimetic forms of contemporary dance and performance can be seen to create a parallel topography that can retroact on accepted notions of culture and render what belongs inside or outside of the cultural sphere indeterminate and thus potentially open to change.

This thesis explores somatic practices as a social movement by focusing on the relationship between embodiment, somatics and contemporary dance practices. It looks specifically to Body-Mind Centering® (BMC®) and traces an ethnographic history of the practice examining it as a post-modern western somatic method forming part of an international social movement. The research is grounded on post-structuralist dance anthropology and analyses BMC® as a “socially constructed movement system” (Grau 1993). Through experimentation, the somatic movement cultivates bodily awareness and an embodied sense of self. The thesis points to the ways in which the emphasis on embodiment may form a key component in this social movement and its relation to British somatic-informed dance. While providing the conceptual and historic context for experimentation in contemporary dance in Britain since the 70s, the thesis illustrates that New, and later, Independent Dance artists drew from BMC® as well as other somatic practices. It argues that the exploration of embodiment as a human attribute and lived phenomenon from a somatic perspective gave rise to a culturally distinct discourse of practice, known today as somatic-informed dance. It works to illustrate the nature of the new pedagogical approach that emerged and, specifically, the way this aspect of contemporary dance evolved as a result of the emphasis on embodiment and the somatic influence. To do so, the thesis identifies and analyses distinct principles and pedagogic tools employed through an anthropological perspective and ethnographic, historical and practice-led research methods. Further illustrating the way the concept of embodiment is understood in somatic informed dance pedagogy, it critically examines the claim that embodiment processes may re-educate dualist perceptions. It, thereby, argues that it is only in the experience of integration in the lived moment that the problem of dualism might be challenged. Through an investigation of lineage, the thesis situates BMC® and somaticinformed contemporary dance practice within the socio-cultural, artistic, conceptual and philosophical context in which they developed. Pointing to the parallel expansion of scholarly and artistic interest in embodiment over the past five decades, it demonstrates a permeability of bodies, places, ideas and culturally constructed movement systems. Overall, the thesis is underpinned by a critical engagement with the position that embodiment and experience form the existential ground for culture and self (distilled in Csordas’ 1994a), offering an analysis of BMC® informed dance practice as another source of data shedding new light to this insight. Capturing a moment in dance history with a synchronic investigation (Sahlins 1998), this research works to further contribute towards an understanding of a diachronic property of the formation of cultures. In line with Csordas’ position, it suggests that given their distinct approach to experientially gained corporeal knowledge and awareness, the emergence of ‘culturally constructed movement systems’ such as BMC® and somatic informed contemporary dance form a potential illustration of the way culture is existentially grounded on embodiment and experience.

La réappropriation de l’eschatologie judéo-chrétienne par les doctrinaires politiques du XIXe siècle est un topos de l’histoire des idées ; le soubassement religieux de l’idéologie démocratique du XXe siècle, quoique moins éclatant, est tout aussi réel. Quant à l’art, ouvrant dans un monde ultra-territorialisé le champ de l’extraterritorialité par excellence, il constitue peut-être la dernière altérité du discours rationnel positiviste. La théorie spéculative de l’Art a montré en quoi la littérature se rapproche plus d’un logos que d’une tekhnè, et l’écrivain de la figure du messager plutôt que de celle de l’artisan. En outre, dans sa tentation des origines, l’inspiration artistique appelle la surenchère : de mot en mot, on en vient au Verbe, et d’idée en idée au Saint-Esprit. Qu’il le transpose ou le critique, l’illustre ou le rejette, le livre a toujours entretenu des rapports étroits au Livre — et il y a là plus qu’une simple homothétie médiologique, où tout incipit vaudrait genèse. Parmi les pratiques actuelles de transplantation de l’héritage chrétien dans le roman, rares sont les ambitions architectoniques, les prolongements majestueux ; plus fréquents sont les greffons ou les scories. Fragments d’ensembles qui n’existent plus. Il s’agira donc ici de mettre en lumière ces nouvelles insertions du sacré dans l’univers profane de la littérature et d’en étudier la nature singulière en lien avec l’actuelle société française. Et de démontrer qu’entre modèle descriptif, recours spéculatif et détour narratif, le christianisme, plus qu’un simple référent parmi d’autres, demeure, en dépit d'une sécularisation de la société, l’un des horizons privilégiés de la création romanesque française d’aujourd’hui. / The taking back of the Judeo-Christian eschatology by political theorists of the nineteenth century is a topos of the history of ideas. Though it is less obvious, the religious foundation of the democratic ideology of the twentieth century is just as real. As for art, since it is perhaps the last otherness of positivist rational discourse, it leads, in an overterritorialized world, to the extraterritorial field par excellence. The speculative theory of Art showed how literature is much more a logos than a tekhnè, and how the writer is closer to the figure of the messenger than to that of the craftsman. Moreover, in its temptation of origins, artistic inspiration calls for upmanship: word by word, we come to the Word, and from idea to idea to the Holy Spirit. Shall it transpose or criticize it, illustrate or reject it, the book has always had close relations to the Bible – and those relations are much deeper than an simple mediological homothety, where every beginning would count as a genesis. Among the current practices of transplantation of the Christian heritage in the novel, few are architectural ambitions or big extensions; most common are grafts or slags. Fragments of bigger schemes that no longer exist. Our aim is to highlight the new insertions of the sacred in the profane world of literature and to study its unique nature in connection with the current French society. And to demonstrate that between descriptive models, speculative crutches and narrative detours, Christianity, more than a mere referent among others, remains, in spite of society’s secularization, one of the privileged backgrounds of French fictional creation today.

Traumatic triggers come in many forms: the smell of a rose, the taste of a warm pie, the sound of music, the gaze of a loved one, and the touch of soft soil. What appears ordinary to one may repel another, but the tension between these two opposing reactions is what entices me as an artist. Every trigger is tied to a specific memory which causes me, as a survivor, to question my reality and what I believe to be true. Is this love or is this abuse? What happens when I succumb to the memory that haunts me? My work addresses themes of domesticity, trauma, and sentimentality through the creation of sculpture and video works. Asunder is a minefield of such works that are my response to personal trauma while offering a space for outside connection.

The year 2007 is significant for Africa and African artists as “[t]his is the first time a major exhibition of contemporary African art will be held in Africa” (Clive Kellner, curator of the Johannesburg Art Gallery, Africa Remix Exhibition Catalogue 2007:9). Africa Remix, an exhibition of 85 contemporary African artists from all regions of the continent and displaying a variety of skills and styles, provides and overview of contemporary art from Africa and the African diaspora in a single exhibition. Previous exhibitions of contemporary African art, namely Africa Explores (exhibited at New York’s Museum for African Art, 1991) and Seven Stories about African Art (exhibited at London’s Whitechapel Art Gallery, 1995) were never exhibited on the continent. After having toured Düsseldorf, London, Paris, Tokyo and Stockholm, Johannesburg is the last stop for Africa Remix and the only stop in Africa. It is important that Johannesburg managed to host this exhibition, both to show that Africa has the capacity and fortitude to host exhibitions of this scale, and for bringing the art of Africa to Africa. It has taken enormous efforts in fundraising to secure this opportunity. Yet, it also points to the lack of proper exhibition spaces both to host travelling exhibitions of this size and to provide a home for permanent collections of contemporary African art. Africa has long been subject to plundering of her riches: first through outright slavery, then through the exploitation of mineral reserves (often leading to concurrent exploitation of people), and in the contemporary world through the more subtle but potentially no less devastating “harvesting” (supported by the inherently unequal nature of global trade) of intellectual resources, such as items of cultural heritage, indigenous knowledge, and the production of scientists, writers, and artists. Africa needs to take the responsibility for making the most of what we have, here, before exporting it to the rest of the globe. Therefore, for art, there needs to be a gallery to support and exhibit the numerous collections of contemporary African art currently locked in storage. This will allow our art to be housed on the continent of its birth. Furthermore, a gallery such as this will contribute to cultural creation on the continent by the fact of its existence, providing space for and stimulating debate, performance and artistic production. This dissertation will therefore serve as an investigation into the interface between art and architecture. An alternative artspace to exhibit primarily but not exclusively contemporary African art is proposed for the city of Pretoria. The full text of this thesis/dissertation is not available online. Please <a href="mailto:upetd@up.ac.za?subject=UPeTD access required">contact us</a> if you need access. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

AFRIKAANS: Hierdie studie ondersoek die funksionering van die begrip "grens" in die Afrikaanse prosa van 1974 - 1988 teen die agtergrond van die oorlog op die grens tussen Angola en Namibië. In Hoofstuk 1 word enkele hipotetiese uitgangspunte gestel, o.a. dat die woord "grens" in sy wydste betekenis. funksioneer in die kontemporêre Afrikaanse prosa, dat dit verarmend sou wees om 'n "toets" op te stel vir "grensliteratuur" en dat die "grenswerke" veral dit gemeen het dat hulle ‘n strewe verteenwoordig om grense oor te steek of te vernietig. Die doel van die studie is nie om ‘n lys kriteria op te stel vir ‘n klassifikasie van ‘n teks as grensprosa nie, maar eerder om die kompleksiteit aan te toon van die netwerk van betekenisse wat die grens in sy vele verskyningsvorme genereer. In Hoofstuk 2 word gekyk na die begrip "oorlogsliteratuur" en na die invloed van oorlog op die literatuur. Die Britse literatuur van die Tweede Wereldoorlog word as model geneem omdat dit literatuur is wat gebore is uit 'n konvensionele oorlog wat gewen is deur die volk waarvan die skrywers volksgenote is; die oorlogsliteratuur van die Lae Lande word bygereken omdat dit ‘n voorbeeld is van literatuur van mense wat onder die oorlog gely het en die Amerikaanse literatuur oor die Vietnamese oorlog word dan daarmee vergelyk. Laasgenoemde literatuur is gebore uit 'n nie-konvensionele, teen-insurgensieoorlog wat verloor is. Uit die vergelyking word sekere tendense gedistilleer. Daar word ten slotte gekyk na die toestand in Suid-Afrika en raakpunte en verskille met albei oorloë word uitgelig. Hoofstuk 3 ondersoek tekste wat 'n aanloop vorm tot die grensprosa. Dit sluit werke in soos Op pad na die grens, en sekere verhale uit Heupvuur, Roofvis en Skrikbewind van P J Haasbroek, sowel as verhale uit Kortsluitings van Henk Wybenga. Hoofstuk 4 handel oor vyf werke wat aantoonbaar 'n militêre strekking het en sodoende die naaste aan "grensprosa" kom. Hulle is ‘n wêreld sonder grense, ‘n Basis oorkant die grens, Om te awol, Forces favourites en Wie de hel het jou vertel. Hierdie tekste gaan oor personasies wat as dienspligtige soldate, regstreeks met die oorlog te doen het. Inter- en intrapersoonlike konflikte speel hier af teen die gedurig teenwoordige agtergrond van die oorlog. Hoofstuk 5 behandel vier werke, Die laaste Sondag, Die jaar nul, Grensgeval en Jonkmanskas. Waar die grensoorlog in die tekste wat in Hoofstuk 3 bespreek word, altyd na te speur is in die handelinge van die personasies, word die oorlog hier ‘n terloopse gegewe wat aanleiding gegee het tot die meer regstreekse ondersoek van ander grense; dit sluit in interpersoonlike grense en veral die kleurgrens. In Hoofstuk 6 word 'n sintese gemaak deur die inligting wat ingewin is met die teksondersoek in Hoofstukke 3, 4 en 5 te meet aan die tendense wat volgens Hoofstuk 2 by oorlogsliteratuur in die algemeen aangetref word. In die lig hiervan word dan gekyk hoe die begrip "grens" meerduidig funksioneer. Die wye betekenis van die woord “grens” maak dit moontlik om baie tekste as “grensliteratuur” te bestempel, maar die geldigheid van die term word aangetas wanneer dit te wyd gebruik word. Aan die ander kant is dit verarmend om die term "grens" tot die landsgrens te beperk. ENGLISH: The aim of the study was to investigate the functioning of the word "grens" (border) in prose relating to the war on the border of Namibia and Angola. In the first chapter some hypothetical statements are made, among others that, in the Afrikaans literature, the word "border" is used in the widest possible sense. To try and formulate a "test" along which a text could be classified as "border literature" would be futile. What the contemporary prose has in common, is that it tends to extend across literary borders and to break down racial and other barriers. The purpose of this dissertation, therefore, is to show the complex ways in which the word "grens" functions, rather than merely to show common denominators. In Chapter two the literature of the Second World War and the Vietnamese conflict is investigated to serve as a contextual marker. This is because the British literature of the Second World War represents the work of "winners" of a conventional war. The war literature of the Low Countries tells of ordinary civilians who suffer as a result of the war while the American literature of the Vietnam war shows the literary reaction to an unconventional struggle. The South African situation is then compared to this. Afrikaans texts range from exploratory war prose, through combat literature to works which use the war simply as a backdrop for other forms of conflict. Chapter three covers the work of three authors, J C Steyn, P J Haasbroek and Henk Wybenga. These works of prose seem to form a preamble to the war literature. The texts dealt with in chapter four represent Afrikaans “combat literature” dealing primarily with the thoughts and actions of soldiers in the front line. Although the war takes place on a geographical border, other borders or barriers are also referred to. Chapter five is concerned with novels and short stories in which the war plays an incidental part, although it may have been the cause of other barriers which are investigated. Here the emphasis falls mainly on inter-personal barriers, the colour barrier in particular. In Chapter six a synthesis is made by comparing the information gleaned from chapters 3, 4 and 5 to the tendencies described in chapter 2. "Border literature" (grensliteratuur) seems a plausible term, though it may be too wide and should be augmented by "war literature" which, in itself, is not wholly satisfactory either. / Thesis (DLitt)--University of Pretoria, 2011. / Afrikaans / unrestricted

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