Made available in DSpace on 2014-12-17T14:00:20Z (GMT). No. of bitstreams: 1 IsabelleIFR_DISSERT.pdf: 4469749 bytes, checksum: a9b8404d44b032a93ad62617bb2e8096 (MD5) Previous issue date: 2014-02-07 / Este trabalho investigou o processo criativo do espet?culo Ethnotron-Ghetto Experiment, do Coletivo paraibano Tribo ?thnos, fundado na d?cada de 1990 e ainda em atividade. A estrat?gia metodol?gica se d? atrav?s de estudos descritivos, valendo-se da teoria e pr?tica de diversas linguagens art?sticas presentes na obra apontada: artes visuais, performance, literatura e hist?rias em quadrinho; em a??es realizadas pelo Coletivo ao longo dos anos, objetivando descrever e analisar o processo de cria??o do referido espet?culo de dan?a, atrav?s da minuciosa coleta de dados por meio de entrevistas abertas e semiestruturadas, e da pesquisa e capta??o de materiais audiovisuais. A Tribo ?thnos destaca-se na cena local na cidade de Jo?o Pessoa, e estadual, na Para?ba, visto que, nesse longo percurso de exist?ncia, al?m da preocupa??o em fundir muitas formas art?sticas, bem como os artistas da Para?ba, aglutina pessoas que fazem arte em outros pa?ses e faz das dan?as urbanas algo instigante. A Tribo ainda preocupa-se com a troca de saberes atrav?s de palestras, oficinas, cursos e interc?mbios. A disserta??o investiga o processo de cria??o dos artistas e, especificamente, dos dan?arinos, utilizando-se principalmente do conceito de work in progress, proposto por Renato Cohen, e aplicado ao espet?culo estudado. Apresentam-se descri??es dos movimentos coreogr?ficos, do espet?culo de dan?a paraibano Ethnotron-Ghetto Experiment, de Dan?a de Rua da Era Funky, especificamente, com estilos como popping, waving, animation, strobing, floatine/ slidini, tiokine, trebing, breaking, waving, sliding, entre outros, visto serem estes parte integrante do processo de cria??o. Tais estilos remetem ao ilusionismo ou ao mimetismo, sugerindo, em seus movimentos truques, c?meras lentas, flutua??es com os p?s, entre outros. Segundo Valmir Vaz, o Coletivo, atrav?s do espet?culo, busca a integra??o dos corpos, procura uma liberta??o individual e sugere uma sensa??o de querer voar nas coreografias/cenas. Abordam-se os aspectos do processo criativo: o espa?o c?nico, o trabalho corporal, a sonoplastia e a roupa/indument?ria. Trabalha-se o conceito do corpo virtual de Jos? Gil no aspecto do corpo c?nico

The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.

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Este trabalho apresenta um catálogo da produção coreográfica do Balé da Cidade de São Paulo, de 1968 até 2007, indicando quais fontes documentais podem ser encontradas no arquivo da companhia. Baseado na abordagem funcional para a classificação dos documentos, o catálogo, ainda que não exaustivo, oferece uma visão da instituição como um todo e indica quais atividades foram, ou não, documentadas no processo de encenação de espetáculos. Além de constituir um instrumento para a pesquisa, este trabalho oferece uma proposta de como preservar a memória coreográfica. / The archives of the Balé da Cidade de São Paulo offer a panoramic vision of its institutional life, since 1968 till 2007. In spite of the lacks we observe in several series of records, it is possible to describe them and elaborate a finding aid where the essential characteristics of the whole are indicated, under a functional approach. Besides its role as a guide to researchers, this work also intends to offer an example of how to preserve our choreographic memory.

Este trabalho apresenta um catálogo da produção coreográfica do Balé da Cidade de São Paulo, de 1968 até 2007, indicando quais fontes documentais podem ser encontradas no arquivo da companhia. Baseado na abordagem funcional para a classificação dos documentos, o catálogo, ainda que não exaustivo, oferece uma visão da instituição como um todo e indica quais atividades foram, ou não, documentadas no processo de encenação de espetáculos. Além de constituir um instrumento para a pesquisa, este trabalho oferece uma proposta de como preservar a memória coreográfica. / The archives of the Balé da Cidade de São Paulo offer a panoramic vision of its institutional life, since 1968 till 2007. In spite of the lacks we observe in several series of records, it is possible to describe them and elaborate a finding aid where the essential characteristics of the whole are indicated, under a functional approach. Besides its role as a guide to researchers, this work also intends to offer an example of how to preserve our choreographic memory.

No description available.

“To understand why we are doing what we do now” – a qualitative study of dance historyteaching within the course Dansteori. This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course“Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed inrelation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain fromtheir studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

This essay illustrates how teachers at upper secondary schools relate to teaching dance history within the course “Dansteori”, focusing on the aim that students should critically review different dance history writings. The study uses interviews and open-ended questionnaires, and the material have been analyzed qualitatively and discussed in relation to historical thinking and norm-critical pedagogy. The study shows that a historical-scientific perspective is important in how teachers talk about the subject, but less important when it comes to what students should gain from their studies. Instead, a general knowledge of dance history and an ability to connect ones dancing to a historical context, is at the center. The study also shows a conflict between the content and the time given as well as the student’s maturity. In relation to the theoretical perspectives, the historical-scientific perspective is prominent. By contrast, the norm-critical perspective is not as clear, and as I understand it, the critical scrutiny lies primarily within the norm rather than as a means of looking outside the Western box. The next challenge is therefore to not only review the conditions for how history is created, but also to question and change the structures that create knowledge.

Text in English / This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another. / Art History, Visual Arts and Musicology / M.Mus.