Thesis (MEd.) -- Stellenbosch University, 1995. / ENGLISH ABSTRACT: South African education is facing a big dilemma. Teachers, curriculators and students are confronted with the issue of multiculturalism because of the establishment of one education department. Equality in education has to oe offered to all citizens and implemented by all teachers. In moving from a monocultural to a multicultural approach, all teaching spheres would necessarily be affected. Re-evaluation, change and an improvementclre required and these reconstructive measures be geared towards breaking down isolation, fragmentation and mistrust within the diverse South African society. Through a literature study, some perspectives on the problematic nature of the current teaching program will be addressed. Various perspectives on multiculturalism serves as a framework for argumentation about the viability of such an approach. The contribution of the school subject, Physical Education, towards harmony and solidarity, will be established. The focus will be on one of the dance components, Folk Dancing, and in what way it can assist the process of socialization for the creation of a sense of national unity. The orientation to this study will be done in chapter one. In chapter two the current problematic conditions within education serve as a background for the total dilemma in which the South African teaching profession are outlined. The different problems surrounding the school sUbject, Physical Education, are discussed, which were a direct result of the fragmentation of the previous education system. The needs of the multicultural community are not met entirely in the current Physical Education syllabi. In chapter three the different perspectives on multicultural education are given and the experiences that countries like Australia, Britain, the United States of America and Namibia had with the implementation of multicultural education to serve their multicultural societies. The school needs to serve the community. That is why the process of planning the total educational practice needs to be reviewed as to the relevancy of the school curriculum in order to serve the needs of the community. In chapter four the place of Physical Education in the school curriculum is established and the role that Folk Dancing has to play in order to serve as means to foster social harmony, respect and tolerance. In chapter five a cultural composition needs to be done in order to establish what the multicultural community in South Africa consists of, what the different majority cultural groups are and what research already has been attempted in the documentation of the different South African cultural folkdances. The need is then to develop a program which will cover the twelve years of schooling in order to, serve as an interim program to create a bettfJr understanding between the differ']nt cultural groups of the country. In the final chapter conclusions and recommendations will be put forward to enable future study. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse onderwys staan voor 'n groot dilemma. As gevolg van die daarstelling van 'n enkele departement van onderwys word kurrikuleerders, leerlinge sowel as die onderwysers gekonfiOnteer met die kwessie van multikulturalisme. Gelyke onderwys word i10U aan aile landsburgers verskaf en moet deur aile onderwysers ge"implementeer word. Die oorskakeling vanaf 'n monokulturele na 'n multikulturele benadering in die onderwys sal aile vlakke van die onderwys noodwendig affekteer. Herevaluering, verandering en verbetering is tans aan die orde van die d~g, omdat rekonstruktiewe optrades die isolasie, fragmentering en wantroue van die verskillende gemeenskappe in Suid-Afrika kan aanspreek. Hierdie studie is hoofsaaklik daarop gemik om, deur middel van Iiteratuurstudie, orientering te verskaf rondom die huidige onderwysproblematiek. Die verskillende perspektiewe van multikulturele onderwys dien as raamwerk waarbinne daar oor die werkbaarheid van so In benadering geargumenteer word. Verder word daar ondersoek ingestel na die bydrae van die skoolvak, Liggaamlike Opvoeding, in die herstel van harmonie en eenheid. Die fokus val veral op een van die danskomponente, Volksdans en in watter mate laasgenoemde deur middel van die proses van sosialisering In sin vir nasionale eenheid kan bewerkstellig. Die orientering ten opsigte van die studie geskied in hoofstuk een waarin die probleme random die skoolvak Liggaamlike Opvoeding beskryf word wat veraorsaak is as gevolg van die fragmentasie in die onderwys. In hoofstuk twee word die huidige onderwysproblematiek uiteengesit wat dien as agtergrond vir die totala dilemma waarin die Suid-Afrikaanse onderwys hom tans bevind. Die behoeftes van die multikulturele gemeenskap word nie voldoende verreken in die huidige sillabusse nie omdat die gemeenskappe toenemend aan die verander is. Hoofstuk drie ondersoek die verskillende perspektiewe rondom multikulturele onderwys en die ondervinding van enkele lande 5005 Australia, Die Verenigde State van Amerika, Brittanje en Namibia ten opsigte van multikuiturele onderwys en die multikulturele samestelling van hul gemeenskappe. Die skool gee uitvoering aan die behoeftes van die gemeenskap. Dit is daarom dat die kurrikuleringsproses van die totale onderwyspraktyk onder die loep geneem word asook die relevansie van die skoolkurrikulum ten opsigte van die genoemde behoeftes. In hoofstuk vier word die plek van Liggaamlike Opvoeding en die Volksdansafdeling binne die totale opvoedingsprogram beskryf am aan te dui watter rol gespeel word am sosiale harmonie, respek en verdraagsaamheid te verstewig. In hoofstuk vyf word die multikulturele aard van die Suid-Afrikaanse gemeenskap deur middel van In kulturele samestelling blootgelA. In Volksdans-program verskaf moontlike variasies om voorsiening te maak vir multikulturalisme en kultuuruitruiling. In die slothoofstuk word gevolgtrekkings en acmbevelings ten opsigte van die studie gemaak.

Cette étude explore la transformation des critères normatifs qui donnent accès au statut de femmes respectables à travers le concept de nouveau sujet féminin discuté par Radner (1999), Gill (2008; 2012) et McRobbie (1993; 2009) où l’idée de recherche active de « sexiness » chez les femmes à l’époque contemporaine est centrale. Le post-féminisme, une formation discursive qui émerge dans les années 1980, est identifié comme étant à l’origine de ces transformations. Cette position identitaire permettrait aux femmes de résister aux stigmates attachés à celles qui se posent comme sujet sexuel actif plutôt que comme objet sexuel passif et conduirait ainsi à l’« empowerment » sexuel. Or, cette vision du nouveau sujet féminin est contestée puisqu’elle ne représenterait qu’une seule possibilité d’émancipation à travers le corps et deviendrait par sa force normative un nouveau régime disciplinaire du genre féminin. L’interprétation valable à donner au nouveau sujet féminin représente un débat polarisé dans les milieux féministes et ce mémoire cherche à y apporter des éléments de discussion par l’étude des motivations des femmes à s’inscrire à des cours de pole-fitness et des significations qu’elles donnent à leur pratique. Ce mémoire apporte des éléments à la compréhension de l’impact de cette recherche de « sexiness » sur la subjectivité des femmes à travers les concepts de pratiques disciplinaires et stratégies de résistance. / This study explores the new female subject of postfeminism centred on the idea of ‘classy’ sexiness that represents a transformation from the traditional bourgeois femininity focused on passive sexuality. The possibility for women to represent themselves as active sexual subjects is understood by postfeminism writers as a way to transgress the stigmata attached to those who do not behave as mute and passive sexual objects. This transformation in normative femininity have been criticised due to the fact that it may represents only one form of power given to women which is limited to the sexualised body and thus supports heteronormative relations. In this vision, the new female subject operates as a disciplinary discourse by the injunction to constitute oneself through sexiness. The interpretation of this new female subject causes divergent opinions within feminist circles. The need to obtain an interpretation of this new female subject that will take in consideration both the possibilities of resistance to patriarchy and heteronormativity as well as the regulative aspects of this limited version of femininity based on sexiness represents a tense fray in the feminist communities. This study aims to enrich this debate by gaining a deeper understanding of what drives women to enroll in pole dancing classes and what meanings they attach to this activity. The main objective is to shed new light on the impact of this search for sexiness on female subjectivities based on the tense relation between disciplinary practices and strategies of resistance.

Submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2014. / Background: Classical ballet is an art form that seems graceful on the surface. However, beneath the disguise of beauty and ease lies an extremely physically demanding activity that calls for dedication, strength and perseverance. Ballet requires a specific body type and precise techniques, which predispose the dancer to musculoskeletal injury. Although a few studies have been conducted to investigate biomechanical factors as risk factors for injury in ballet dancers, few have included amateur ballet dancers and a range of biomechanical factors. Objectives: This study aimed to determine characteristics of ballet-related injury in amateur ballet dancers in the greater Durban area; to measure and record lower limb biomechanical measurements of these dancers; and to identify associations between the biomechanical measurements and characteristics of injury in the population. Method: A quantitative, questionnaire-based survey with biomechanical measurements was conducted on 21 amateur ballet dancers in the greater Durban area. Statistical analysis included the description of categorical variables using frequency and percentages in tables and bar charts. Continuous variables were summarised using mean, standard deviation and range, or median and range as appropriate. Independent Sample T-tests were used to compare biomechanical measurements between two independent groups. A p value <0.05 was considered as statistically significant. Pearson’s correlations and ANOVA testing were also used. Results: The period prevalence of ballet-related injury over the last 2 years was found to be 62% and the point prevalence 38%. There were 37 total previous injuries, most of which occurred in the hamstring (24%). Most of the worst previous injuries were reported to have occurred in the low back (31%). Most of the worst previous (70%) and current (93%) injuries occurred over time. The worst previous injuries reported ranged from mild to severe in severity, while the worst current injuries reported ranged from mild to moderate. Significant associations were found between right weight-bearing ankle dorsiflexion and previous injury; right weight-bearing ankle dorsiflexion and current injury; ‘functional turnout’ and onset of injury; right non weight-bearing ankle dorsiflexion and onset of injury; and ‘compensated turnout’ and onset of injury. Conclusion: The results suggest a significant association between musculoskeletal ballet-related injury and reduced weight-bearing ankle dorsiflexion; between injuries that occur over time (overuse injuries) and decreased ‘functional turnout’; and between overuse injuries and decreased non weight-bearing ankle dorsiflexion. These findings may help identify risk factors for injury in ballet dancers and contribute towards preventing ballet-related injury. / M

Submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2014. / Background: Classical ballet is an art form that seems graceful on the surface. However, beneath the disguise of beauty and ease lies an extremely physically demanding activity that calls for dedication, strength and perseverance. Ballet requires a specific body type and precise techniques, which predispose the dancer to musculoskeletal injury. Although a few studies have been conducted to investigate biomechanical factors as risk factors for injury in ballet dancers, few have included amateur ballet dancers and a range of biomechanical factors. Objectives: This study aimed to determine characteristics of ballet-related injury in amateur ballet dancers in the greater Durban area; to measure and record lower limb biomechanical measurements of these dancers; and to identify associations between the biomechanical measurements and characteristics of injury in the population. Method: A quantitative, questionnaire-based survey with biomechanical measurements was conducted on 21 amateur ballet dancers in the greater Durban area. Statistical analysis included the description of categorical variables using frequency and percentages in tables and bar charts. Continuous variables were summarised using mean, standard deviation and range, or median and range as appropriate. Independent Sample T-tests were used to compare biomechanical measurements between two independent groups. A p value <0.05 was considered as statistically significant. Pearson’s correlations and ANOVA testing were also used. Results: The period prevalence of ballet-related injury over the last 2 years was found to be 62% and the point prevalence 38%. There were 37 total previous injuries, most of which occurred in the hamstring (24%). Most of the worst previous injuries were reported to have occurred in the low back (31%). Most of the worst previous (70%) and current (93%) injuries occurred over time. The worst previous injuries reported ranged from mild to severe in severity, while the worst current injuries reported ranged from mild to moderate. Significant associations were found between right weight-bearing ankle dorsiflexion and previous injury; right weight-bearing ankle dorsiflexion and current injury; ‘functional turnout’ and onset of injury; right non weight-bearing ankle dorsiflexion and onset of injury; and ‘compensated turnout’ and onset of injury. Conclusion: The results suggest a significant association between musculoskeletal ballet-related injury and reduced weight-bearing ankle dorsiflexion; between injuries that occur over time (overuse injuries) and decreased ‘functional turnout’; and between overuse injuries and decreased non weight-bearing ankle dorsiflexion. These findings may help identify risk factors for injury in ballet dancers and contribute towards preventing ballet-related injury. / M

This dissertation conceptualizes a Palestinian archipelago based on Mikhail Bakhtin’s theory of the chronotope, and uses the archipelago model to illustrate the situation and development of Palestinian consciousness in diaspora. To gain insight into the personal lives of Palestinians in diaspora, This project highlights several islands of Palestinian identities as represented in the novels: Dancing Arabs, A Compass for the Sunflower, and The Inheritance. The identities of the characters in these works are organized according to the archipelago model, which illustrates how the characters rediscover, repress, or change their identities in order to accommodate life in diaspora. Analysis reveals that a major goal of Palestinian existence in diaspora is the maintenance of an authentic Palestinian identity. Therefore, my description of the characters’ identities and locations in the archipelago model are informed by various scholars and theories of nationalism. Moreover, this dissertation illustrates how different Palestinian identities coalesce into a single national consciousness that has been created and sustained by a collective experience of suffering and thirst for sense of belonging and community among Palestinians. Foremost in the memories of all Palestinians is the memory of the land of Palestine and the dream of national restoration; these are the main uniting factors between Palestinians revealed in my analysis. Furthermore, this project presents an argument that developing a Palestinian exceptionalism as both a response and a solution to the problems Palestine faced in the 20th century has already occurred among diasporic Palestinians as well as those settled in the West Bank. In addition, a significant finding of this dissertation is the generation clash in regarding to the methods of modernization of the West Bank society between the settled Palestinian and those returning from diaspora. Nevertheless, a Palestinian homecoming will require a renegotiation of Palestinian identities in which generation gaps and other disagreements will be resolved and transcended in favor of nation-state building.

Cette étude explore la transformation des critères normatifs qui donnent accès au statut de femmes respectables à travers le concept de nouveau sujet féminin discuté par Radner (1999), Gill (2008; 2012) et McRobbie (1993; 2009) où l’idée de recherche active de « sexiness » chez les femmes à l’époque contemporaine est centrale. Le post-féminisme, une formation discursive qui émerge dans les années 1980, est identifié comme étant à l’origine de ces transformations. Cette position identitaire permettrait aux femmes de résister aux stigmates attachés à celles qui se posent comme sujet sexuel actif plutôt que comme objet sexuel passif et conduirait ainsi à l’« empowerment » sexuel. Or, cette vision du nouveau sujet féminin est contestée puisqu’elle ne représenterait qu’une seule possibilité d’émancipation à travers le corps et deviendrait par sa force normative un nouveau régime disciplinaire du genre féminin. L’interprétation valable à donner au nouveau sujet féminin représente un débat polarisé dans les milieux féministes et ce mémoire cherche à y apporter des éléments de discussion par l’étude des motivations des femmes à s’inscrire à des cours de pole-fitness et des significations qu’elles donnent à leur pratique. Ce mémoire apporte des éléments à la compréhension de l’impact de cette recherche de « sexiness » sur la subjectivité des femmes à travers les concepts de pratiques disciplinaires et stratégies de résistance. / This study explores the new female subject of postfeminism centred on the idea of ‘classy’ sexiness that represents a transformation from the traditional bourgeois femininity focused on passive sexuality. The possibility for women to represent themselves as active sexual subjects is understood by postfeminism writers as a way to transgress the stigmata attached to those who do not behave as mute and passive sexual objects. This transformation in normative femininity have been criticised due to the fact that it may represents only one form of power given to women which is limited to the sexualised body and thus supports heteronormative relations. In this vision, the new female subject operates as a disciplinary discourse by the injunction to constitute oneself through sexiness. The interpretation of this new female subject causes divergent opinions within feminist circles. The need to obtain an interpretation of this new female subject that will take in consideration both the possibilities of resistance to patriarchy and heteronormativity as well as the regulative aspects of this limited version of femininity based on sexiness represents a tense fray in the feminist communities. This study aims to enrich this debate by gaining a deeper understanding of what drives women to enroll in pole dancing classes and what meanings they attach to this activity. The main objective is to shed new light on the impact of this search for sexiness on female subjectivities based on the tense relation between disciplinary practices and strategies of resistance.

The purpose of this thesis is to examine how the turbulent changes within the Irish society affected the face of modern Irish drama. Ireland, originally a rural country bound by religious dogmas and its own colonial past, underwent a considerable amount of development in the latter half of the 20th century; it was predominantly manifested through an increased Celtic Tiger economic prosperity and decreasing influence of the Catholic Church. The central interest of Irish culture has always been the effort to define a unifying national metanarrative and identity. In the beginning of the 20th century this desire was motivated by a struggle to establish a vital opposition between Ireland and Great Britain and definitely renounce its depreciating status of a former colony. However, in the second half of the 20th century the discrepancy between the nationalist ideology driven idea of Irish identity (whose value has always been questionable to say the least) and its modern reality became unbridgeable. The introduction of this thesis is dedicated to summarizing the changes within the Irish society in the course of the 20th century. A brief characterization of this turbulent development should justify the urge of more recent artists to re-formulate the Irish national metanarrative to suit the 20th century...

INTRODUÇÃO: A discriminação e a violência de gênero são problemas reconhecidos nas últimas décadas e alvo de políticas públicas, porém seguem presentes de forma muito relevante na nossa sociedade. Como uma das formas de efetivar as políticas públicas voltadas à equidade de gênero, a Secretaria de Políticas para as Mulheres de São Paulo (SMPM) criou os Centros de Cidadania da Mulher (CCM). Nestes espaços são desenvolvidas atividades como a dança do ventre, além de outras práticas corporais, cursos de formação e oficinas de geração de renda. O uso de recursos artísticos e culturais para promover o empoderamento e a redução da vulnerabilidade de gênero é recente e pouco estudado. OBJETIVO: Analisar como vem sendo utilizada a atividade de dança do ventre como recurso para o empoderamento das mulheres, a partir das representações dos profissionais e das usuárias do Centro da Cidadania da Mulher Santo Amaro (CCM-SA) em São Paulo. METODOLOGIA: Investigação qualitativa de caráter etnográfico com triangulação de técnicas. Observação de um grupo de 48 participantes entre iniciantes e avançadas na prática de dança do ventre durante 8 meses. Acompanhamento das apresentações em diferentes lugares públicos de São Paulo, com registro fotográfico, de vídeo e de caderno de campo. Foram realizadas 16 entrevistas semi estruturadas (11 com as dançarinas e 5 com as profissionais do serviço). Foi executada análise de conteúdo do tipo temática acerca das representações sociais das participantes sobre corpo, dança, promoção da saúde e relações de gênero. RESULTADOS: Identificamos dois elementos fundamentais relacionados ao corpo, no processo de transformação na vida das mulheres participantes deste estudo: a ressignificação e a aceitação do corpo. A interação com outras mulheres na prática de dança do ventre foi importante neste processo, na medida em que elas se reconhecem diferentes entre si e distantes do modelo ideal de corpo propagado pela mídia, sem que isto impeça o domínio dos seus limites individuais. Ao mesmo tempo, as atividades de arte e cultura fomentam a criação de vínculos sociais, ampliando a rede social das participantes. A possibilidade de fruição do lazer e a saída do espaço doméstico, limitado ao cuidado da casa e da família, são representadas como transgressores, propiciando uma maior igualdade dos direitos e autonomia para as mulheres. Da perspectiva da promoção da saúde, as mulheres e profissionais compreendem que a dança do ventre gerou benefícios físicos e mentais para as participantes, diminuindo alguns sintomas que as mulheres relataram, melhorando sua qualidade de vida e permitindo estabelecer uma abordagem integral do cuidado. Foi possível observar o incremento da participação das mulheres no espaço público, com a entrada no mercado de trabalho e a volta ao ensino formal estimulado pelas atividades do CCM-SA. Todos estes elementos também propiciaram uma maior organização no grupo para manter as atividades de dança do ventre, inclusive propondo trabalho em cooperativa para financiá-las. CONCLUSÕES: A incorporação das práticas corporais, neste caso da dança do ventre, em um serviço público para o exercício da cidadania e o desenvolvimento das mulheres, é um recurso para a promoção da saúde e o empoderamento coletivo das praticantes, tornando-as visíveis em espaços públicos e deste modo, atuando na via da redução da vulnerabilidade de gênero. É fundamental incluir nas políticas públicas para a efetiva equidade de gênero, não apenas atividades de geração de renda e trabalho, mas também ações de arte e cultura que estimulem a participação ativa, a reflexão e a convivência em igualdade de direitos entre homens e mulheres em sociedade / INTRODUCTION: Discrimination and gender violence are issues that have been recognized and became an aim in public policies in the last decades; however, these issues are still presents in our society. The Secretary of policies for women of São Paulo (Secretaria de Políticas para as Mulheres de São Paulo) (SMPM) based on different public policies that are focused on gender equality, created the Centers of woman\'s citizenship (CCM). In these centers, there are belly dance classes among other bodyworks activities, including educational courses related to financial situation improvement. The application of artistic and cultural sources to promote empowerment has been recently and shortly studied. OBJECTIVE: To analyze how belly dance has been used as a source for health promotion and women\'s empowerment, through the professionals and women\'s representations, which are involved in the Center of woman\'s citizenship Santo Amaro (Centro da Cidadania da Mulher Santo Amaro) (CCM-SA) in São Paulo. METHODOLOGY: Qualitative research of ethnographic character with triangulation techniques. The observation was based on a group of 48 women that practice belly dance from amateur and advance levels. The study included photographic, video and sketchbook register, during performances in different places de São Paulo. In addition, 16 semi-structured interviews were conducted (11 to belly dancers and 5 to professionals of CCM-SA). Finally, a content analysis through thematic type was performed, based on the participant\'s social representations, about body, dancing, health promotion and gender relationships. RESULTS: Two main elements related with body were identified, in the transformation process of the women\'s life that participated in this research: a reframing and body acceptance. The interaction with other women in belly dance practice was important in this process, in which they recognize themselves in a different way, and opposite from the ideal pattern promoted by the media without this prevents the field of their individual limits. At the same time, artistic and cultural activities promote the creation of social bonds, increasing the social network of participants. The possibility to fully enjoy the leisure time and to change the domestic routine (home and family caring), are transgressor factors that provide more gender rights equality and autonomy for women. From promotion health, women and professionals realized that belly dance practice produced physical and mental benefits to the participants decreasing some symptoms that were described by women. In addition, this practice collaborates improving their quality of life and allowing an integral care approach. It was observed the increase of women\'s participation in public space, with the entry into the labour market and educational possibilities, which were stimulated by CCM-SA activities. For instance, all these elements provided more organization to the women\'s CCM-SA in order to keep belly dance activity; also they proposed a kind of cooperative to economical support the activity. CONCLUSIONS: The addition of bodyworks like belly dance, in public centers such as the CCM-SA to citizenship practice and development of women, promote health and women\'s collective empowerment, make them visible to join public spaces, and thus working in the decreasing of gender vulnerability. To promote effective gender equality is fundamental to include into public policies, art and cultural activities to encourage the active women participation and reflection, and not only activities to enlargement their work and formative possibilities

pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma \"arquitetura\" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação? / This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque \'architecture\' in the images of the actor\'s body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?

Made available in DSpace on 2016-04-28T20:39:33Z (GMT). No. of bitstreams: 1 Flavia Liberman.pdf: 14649085 bytes, checksum: 5e0b0c1174b02b7931ed170efe0c4673 (MD5) Previous issue date: 2007-10-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Taking cartography as its methodological trajectory, this paper aims at describing, discussing and, above all, articulating a series of experiences carried through in different clinic contexts occupational therapy clinic, graduation teaching and groups of study using body approaches to promote the meeting between bodies/ individuals. The records outlined here are meant not only to present the procedures that guide the clinic, but also to identify and question some of their conducts through the analysis of scenes, lines and statements. The referred records were reached through the assemblage of text and photographs that seek to catch snapshots of body expression. Theoretical studies on body and subjectivity not only related to occupational therapy but also to philosophy, art and education contribute to reach the concept on what was effected in the bodies as a result of the meetings between the participants and the suggested proposals. Throughout seven series of procedures warmingup,photographing, looking, touching,moving and pausing,improvising,talkingandstop talking some concepts are discussed from the experiences and wander around objective and subjective, visible and invisible, individual and collective aspects. The verbs in the infinitive used throughout the thesis, on both the naming of the series of procedures and the contours that close this paper, aim to express the dynamism of the processes. Inspired by Espinosa, Stern, G. Deleuze and F. Guattari among others, the investigations carried through here are guided by the idea that the capacity to affect and to be affected constitutes an engine for the individual to get closer to their own and other s body, to/in environments. When getting closer takes place, it sometimes creates events in different modulations of intensity, capable of mobilizing affection, thoughts, images and memories likely to be recognized and shared by the group. In this thesis I adopt as reference S. Keleman s conception of the body constructed by several vectors. It is the notion of body as pulse, open and connective, one that supports my practice, because it is in such meetings that getting closer takes place, turbulences occur, production of other existential repertoires solidify and can be expressed. Small events may resonate in other ways of functioning, living and presenting before the other, creating realities. Thus, this paper concerns a possible production of sensitivities: more closely related to the vital pulse itself, to the contacts with the individual and with other worlds, enabling deeper readings of the living, of the body and of the possibilities to construct other ways to exist, particular ones, resistant to the attacks and to the social models that restrict the power and the production of creative and vibrant realities of life / Tomando a cartografia como percurso metodológico, esta tese procura descrever, discutir e, sobretudo, articular uma série de experiências realizadas em diferentes contextos clínica da terapia ocupacional, docência em cursos de graduação e grupos de estudo em que se utiliza abordagens corporais para promover o encontro entre corpos/sujeitos. Os registros aqui delineados não têm como objetivo apenas apresentar os procedimentos que pautam a clínica, mas identificar e problematizar algumas de suas linhas através da análise de cenas, falas e depoimentos. Tal registro se faz por meio de uma composição entretexto e fotos, nas quais se procuracaptar instantâneos de expressividade. Estudos teóricos em torno do corpo e da subjetividade não só no campo da terapia ocupacional, mas também na filosofia, arte e educação contribuem para conceituar aquilo que se efetuou nos corpos como efeito dos encontros entre os participantes e as proposições sugeridas. Ao longo de sete séries de procedimentos aquecer, fotografar, olhar, tocar, moverepausar,improvisar,conversaresilenciar alguns conceitos são discutidos a partir do vivido e transitam por aspectos objetivos e subjetivos, visíveis e invisíveis, individuais e coletivos. Os verbos no infinitivo utilizados durante toda a tese, tanto na nomeação das séries de procedimentos quanto nos contornos que finalizam este trabalho, procuram expressar o dinamismo dos processos. Inspirada por Espinosa, Stern, G. Deleuze e F. Guattari, entre outros, a discussão aqui realizada está pautada pela idéia de que a capacidade de afetar e ser afetado constitui um motor para o sujeito aproximar-se do próprio corpo, do corpo do outro, dos/nos ambientes. Em tais aproximações criam-se por vezes acontecimentos, em diferentes modulações de intensidade, capazes de mobilizar afetos, pensamentos, imagens, memórias que podem ser reconhecidas e compartilhadas pelo grupo. Neste trabalho adoto como referência a concepção de corpo proposta por S. Keleman, construída por vários vetores. É a noção de corpo como pulso, aberto e conectivo, que dá sustentação a esta clínica que desenvolvo, pois é nos encontros que aproximações se fazem, turbulências acontecem, produções de outros repertórios existenciais se solidificam e podem ser expressos. Pequenos eventos podem reverberar em outros modos de funcionar, viver e se apresentar frente ao outro, criando realidades. Assim, este trabalho diz respeito a uma possível produção de sensibillidades: mais atentas ao próprio pulso vital, aos contatos com o outro e com os mundos, permitindo leituras aprofundadas do vivo, do corpo e das possibilidades de construção de outros modos de existir, mais singulares, resistentes aos ataques e modelos sociais que restringem as potências e a produção de realidades criativas e pulsantes de vida