Thesis Abstract The aim of this thesis is to compare the production history and reception of Brian Friel's Dancing at Lughnasa, arguably one of his most famous and successful plays, in Irish and Czech contexts. Following its triumphant premiere at the Abbey Theatre in 1990 directed by Patrick Mason, the production transferred to London and Broadway, where it garnered further critical acclaim and several prestigious awards. The first Czech production, directed by Jan Burian, opened at Divadlo na Vinohradech in Prague in 1993, and over the course of the next twenty years it was staged another eight times on Czech professional - mostly regional stages. The opening chapter of the thesis focuses on the analysis of Dancing at Lughnasa using the method of close reading, as well as consulting secondary literature. The following chapter is divided into two parts, the first of them attempting to outline the background of the play by focusing on the events of the 1930s in Ireland. The second part is concerned with the context of writing Dancing at Lughnasa. Chapters four and five comprise the main body of the thesis and deal with the description of the five most significant productions in Ireland and the Czech Republic. These chapters focus on the context, the directors' concept, the acting and the critical acclaim....

Thesis deals with the theme of ballroom dancing in Prague bourgeoisie society in the 2nd half of the 19th century. The theme is situated in social and historical context and contemporary political situation. The second part is dedicated to prague associations, Sokol of Prague and sokol festivities. That part of the text proceeds from analysis of the articles and contributions of the journal Sokol (from years 1871-1895). The following chapter about ballroom dancing tries to focus on the types of free time activities which are connected with dancing in the milieu of Prague Czech-speaking society in the 2nd half of the 19th century. It also characterises favourite ballroom dances at that time in the context of social and cultural life. One of the last chapters is dedicated to the relationship of a significant public figure of that time, Jan Neruda, with ballroom dancing. These passages are based on selected examples of Neruda's texts, adopted mostly from Národní Listy. The main intention of the extracts is to complete the picture of ballroom dancing with personal reflection of Neruda as a great dancer, expert on literature and artist. Key words: 2nd half of the 19th century, Prague, czech society, ballroom dancing, associations, national festivities, thematic carnival ("šibřinky").

Esta pesquisa teve por objetivo compreender os sentidos e valores para a existência atribuídos por portadores de transtornos mentais em um CAPS a partir de um processo musicoterapêutico centrado nas vivências do canto e das danças circulares à luz da análise existencial-humanista de Viktor Frankl. Foi montado um grupo de estudo com 10 usuários do CAPS semi-internação de Ribeirão Preto ao longo de 4 meses de atuação e intervenção. O trabalho de campo contou com a participação de dois musicoterapeutas, sendo um observador e outro assistente. Enquanto procedimento realizamos entrevistas individuais iniciais com os sujeitos da pesquisa, levantamento do histórico sonoro-musical dos participantes e registro dos depoimentos dos mesmos ao longo dos 4 meses de intervenção e atuação. As produções de sentidos dos portadores a partir deste processo revelaram a importância da experiência de ser e conviver em grupo como parte dos valores de saúde mais significativos e urgentes na vida dos usuários. Os valores e sentidos de vida compartilhados e mencionados pelos portadores como necessários para o resgate da saúde mental foram: a) existir e ser reconhecido, em seu valor e vida, por outro ser humano; b) relações humanas solidárias como possibilidade concreta de acesso à uma dimensão real de saúde; c) o sentido de saúde mencionado é entendido como vivência e partilha de amizade, amor e encontro genuíno entre dois seres humanos; d) a busca das relações e do outro como o desejo mais profundo dos portadores no resgate da sua saúde mental e, finalmente e) a vivência do canto e das danças circulares como importantes veículos da saúde existencial e de valores noéticos na vida dos portadores. / This research aimed to understand the meanings and values attributed to the existence by patients with mental disorders in a CAPS (Psychosocial Support Center) from a music therapeutic process focused on the experiences of singing and circular dancing based on the existential-humanist analysis of Viktor Frankl. A group of study with ten users in semi hospitalization in a CAPS in Ribeirão Preto was composed along the four months of acting and intervention. Two music therapists, one observer and an assistant participated in the field work. Initial individual interviews were performed; the participants sonorous-musical history was evaluated and the discourses reported during the four months of intervention and acting were recorded. The production of the patients meanings from this process revealed the importance of the experience of being and living in a group as part of the most significant and vital health values in the users lives. The values and life meanings shared and reported by the patients as necessary for the recovery of mental health were: a) existing and being recognized, in one\'s value and life, by other human being; b) reciprocal human relations as concrete possibility of accessing a real dimension of health; c) the meaning of health mentioned is understood as experiencing and sharing friendship, love and genuine encounter between two human beings; d) the search for relationships and for the other as the patients profound desire in the recovery of mental health and finally, e) the experience of the singing and the circular dances as important vehicles of the existential health and of noetic values in the patient\'s lives.

Made available in DSpace on 2016-04-26T18:15:24Z (GMT). No. of bitstreams: 1 Joubert de Albuquerque Arrais.pdf: 2237400 bytes, checksum: 182f77b81e7c7ce0175d25c992267080 (MD5) Previous issue date: 2015-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the 21st century, dance has been conveyed in reality television shows for new talents. The images displayed configure a discourse which celebrates a neoliberal competence. According to such discourse, competitions and entertainment transform the dancing body in a midiatic product, which strongly bonds with the so-called selective auditions. We problematize this kind of presence of the dance on TV with the theoretical proposal of Competent Discourse (CHAUÍ, 2014, 1981) and we read it from the Theory Bodymedia (KATZ & GREINER, 2015, 2005). Our hypothesis is that the programs that compose such televisual segment transform themselves into the bodymedia of the fundamental values of neoliberalism. The titles of many of them already show the mediatic relations and communication ties with the neoliberal values, engineered as competent discourses on competence which formulate, biopolitically, the competent body that needs to show their competencies publicly. We emphasize the program and North American franchise So You Think You Can Dance (Fox 2005-2015), known by the acronym SYTYCD, which also composes our research object. This program produced some authorized replications by spreading throughout the world a "so-you-think" way of making the body dance. One of them is a franchisee program in Portuguese, Achas Que Sabes Dançar?(SIC, 2010, 2015). In Brazil, it is broadcast as a non-franchised and controversial version called Se Ela Dança, Eu Danço (SBT, 2011, 2011) .The research suggests that publicly showing 'selective auditions', which were before situations relegated to backstage, made them become biopolitical dispositives (FOUCAULT, M.; AGAMBEN, G.; ESPOSITO, R.; FREIRE FILHO, J.; PRADO, J. L.A.) of the model of the competent body to dance , in which competence is associated with competition. The association between competent and winner becomes an abyssal line (SANTOS, B. S.) of invisibility production for all the bodies which do not fit in the logic of new capitalism (SENNETT, R.) and artist capitalism (LIPOVETSKY, G. & SERROY, J.). The objective is to critically reflect upom the reach of the discourse of the dancing body, that mediatizes itself and it engenders in society / Na televisão do século XXI, a dança tem sido veiculada em programas competitivos do gênero Reality Show para novos talentos. Suas imagens estruturam um discurso que celebra a competência neoliberal. Nele, competição e entretenimento transformam o corpo que dança em um produto midiático de forte vínculo comunicacional com as chamadas audições seletivas. Problematizamos esse tipo de presença da dança na TV com a proposta teórica do Discurso Competente (CHAUÍ, 2014, 1981) e a lemos a partir da Teoria Corpomídia (KATZ & GREINER, 2015, 2005). Nossa hipótese é que os programas que constituem esse segmento televisual transformam-se, eles mesmos, em Corpomídias dos valores fundamentais do neoliberalismo. Os títulos de muitos deles já evidenciam relações midiáticas com os valores neoliberais, engenhados como discursos competentes sobre a competência, quando formulam, biopoliticamente, o corpo competente que precisa mostrar suas competências publicamente. Destaca-se o programa/franquia norteamericano So You Think You Can Dance (Fox, 2005-2015), cuja sigla é SYTYCD e que compõe nosso objeto de pesquisa. Ele produziu replicações autorizadas, difundindo pelo mundo um jeito so-you-think do corpo dançar. Uma delas é um programa franqueado em língua portuguesa, o Achas Que Sabes Dançar? (SIC, 2010, 2015). No Brasil, ele se divulga em uma versão não franqueada e polêmica, o programa Se Ela Dança, Eu Danço (SBT, 2011, 2011). A pesquisa propõe que a publicização das audições seletivas, antes relegadas aos bastidores, fez delas Dispositivos Biopolíticos (FOUCAULT, M.; AGAMBEN, G.; ESPOSITO, R.; FREIRE FILHO, J.; PRADO, J.L.A.) do modelo de corpo competente para dançar , no qual a competência se associa à competição. A associação entre competente e vencedor torna-se uma Linha Abissal (SANTOS, B. S.) de produção de invisibilidade para todos os corpos que nela não se encaixam na lógica do Novo Capitalismo (SENNETT, R.) e do Capitalismo Artista (LIPOVETSKY, G. & SERROY, J.). O objetivo é o refletir criticamente sobre o alcance do discurso sobre o corpo que dança que se midiatiza e de que ele engendra na sociedade

Made available in DSpace on 2016-04-26T18:15:53Z (GMT). No. of bitstreams: 1 Gislaine Sacchet.pdf: 35183188 bytes, checksum: 59173d00adee3f567afc43c29f558c8f (MD5) Previous issue date: 2006-10-16 / The aim of this study is to realize the importance of the newspapers and of the cultural journalism in medium-sized cities in the construction of the necessary links between the population and culture, being dancing the object of study in the city of Caxias do Sul. Bauman, Barbero and Sodré are the reference authors to delimit the proposed theme. If the Caxias do Sul´s newspapers report events that occurred in the city and do not publish articles leading to reflection and to criticism, they do not help their readers to think about dancing as an art that produces knowledge .The present study proposes the existence of a relationship between what the two daily newspapers in circulation in the city of Caxias do Sul publish about dancing, the role they play in the cultural mediation and the cultural role that dancing plays in the city .The aim is to highlight whether the visibility, invisibility or displacement of art news in the society depends on the specific contexts of each newspaper company since they are responsible for selecting the news. Guareschi, Oliveira and Piza, among other authors, are my bibliographic references. The research object came from a time span selection which comprises everything that was published about dancing during the last ten years in both newspapers in Caxias do Sul. The time period was chosen due to the hypothesis that in that time the beginning of a cultural change was noticed both in the city and in the cultural journalism itself, when the Cia Municipal de Dança de Caxias do Sul The Caxias do Sul City Dance Company was created in 1997. The two chief-editors of the newspapers were interviewed to identify the criteria adopted by the press, to understand what they consider news, how they treat the forms of representing the news and what they think about the mediation process that is established with the printed news. Through this research we realize that the cultural journalism in medium-sized cities tends to be bound to specific interests or also to lack of critical knowledge of the art being transmitted. Even with some significant changes regarding the approach of journalism towards dancing, the present moment demands a reflection on cultural mediation, a responsibility of the cultural journalism / O propósito da dissertação é perceber a importância dos jornais impressos e do jornalismo cultural em cidades de médio porte na construção dos vínculos necessários entre população e cultura, tendo com objeto de estudo a dança na cidade de Caxias do Sul.Bauman, Barbero e Sodré são autores de referência para as delimitações do tema proposto. Se os jornais de Caxias do Sul eventualmente reportam acontecimentos ocorridos na cidade e não publicam artigos capazes de promover a reflexão e a crítica, não ajudam seus leitores a pensar a dança como uma arte que produz conhecimento.A presente dissertação propõe a existência de uma relação entre o que os dois jornais diários em circulação na cidade de Caxias do Sul publicam sobre a dança, seu papel na mediação cultural e o papel cultural que a dança ocupa na cidade. O objetivo é o de sublinhar se a visibilidade, a invisibilidade ou o deslocamento da notícia de arte na sociedade depende dos contextos específicos de cada empresa jornalística sendo eles os responsáveis pelas escolhas da notícia. Como referência bibliográfica utilizo vários autores, dentre eles Guareschi, Oliveira e Piza. O objeto de pesquisa nasceu de um recorte que abrange o que foi publicado sobre a dança nos últimos dez anos nos dois jornais de Caxias do Sul. A escolha desse período se deve à hipótese de que é nessa época que se verifica o início de uma mudança cultural na cidade e do próprio jornalismo cultural, que pode ser verificada a partir da criação, em 1997, da Cia Municipal de Dança de Caxias do Sul.Para identificar os critérios praticados pela imprensa, foram entrevistados os dois editores-chefe que atuam nesses jornais para entender o que consideram notícia, como trabalham as formas de representação da informação, e o que pensam sobre o processo de mediação que se estabelece com a notícia impressa. Através desta pesquisa podemos perceber que o jornalismo cultural, em cidades de médio porte tende a estar atrelado a interesses específicos ou ainda a falta de conhecimento crítico da arte que veicula. Mesmo com algumas mudanças significativas do enfoque do jornalismo na dança, o momento pede reflexão para o foco de mediação cultural, responsabilidade do jornalismo cultural

Il existe des associations entre les bars de danse érotique et les activités illicites, dans les écrits journalistiques et scientifiques. Nous avons vérifié ces associations en menant une description des crimes et déviances associés aux bars de danse érotique. Puis, nous avons tenté d’expliquer l’organisation et la structure de ces crimes, en nous appuyant sur l’approche du crime organisant et la théorie de l’écosystème du crime, de Felson (2006). Des entretiens semi-dirigés ont été conduits avec dix femmes danseuses, une femme shooter girl, un propriétaire, un portier et deux clients. Une analyse thématique à deux niveaux a montré que les délits se rapportent aux stupéfiants, à la prostitution, au proxénétisme, aux déviances, et à divers actes de violence. Des distinctions importantes, quant au contrôle selon les établissements sont notées. La structure et l’organisation des crimes peuvent s’expliquer par une logique propre aux relations symbiotiques et interdépendantes, tel que le suggère la théorie de l’écosystème du crime de Felson. Ainsi, la structure des délits peut prendre une forme mutualiste ou parasitaire. L’interrelation propre au neutralisme explique l’organisation générale de ces délits. Le milieu criminogène de la danse érotique offre de multiples opportunités, qui seront saisies par les acteurs motivés, en vue de réaliser un bénéfice personnel. Deux constats étonnants : les données suggèrent que l’implication des organisations criminelles est relativement limitée; et les conséquences occasionnées par les activités du milieu présentent un caractère inquiétant, particulièrement pour les femmes. Des efforts en matière de prévention situationnelle seraient appropriés pour réduire les opportunités. / Erotic dance clubs are perceived as being linked to numerous illegal activities. In this study, we describe crimes associated with erotic dance bars in Quebec, focusing on criminal and deviant acts, and aiming to establish their level of organization and structure. This analysis is guided by two theoretical frameworks: the organizing crime approach and Felson’s (2006) crime ecosystem theory. Fieldwork was undertaken by conducting guided interviews with ten female dancers, a shooter girl, a club owner, a doorman and two patrons. A thematic analysis was conducted at two levels. Findings illustrate that crime in such settings are generally linked to the consumption and sale of narcotics, prostitution and pimping, deviances, and various crimes of violence. The analysis also revealed that control mechanisms and management varied greatly across clubs. The structure and organization of crime could be understood, in Felson’s (2006) crime ecosystem terms, as symbiotic and interdependent relationships between mutualistic and parasitic parties. Overall, the criminogenic environment of erotic dance clubs, offers many opportunities to be seized by individuals motivated to make personal gain. Additional findings suggest that the involvement of criminal group is relatively limited; and the consequences caused by various legitimate and unlawful activities pose a great deal of concerns, in particular for women. In such contexts, situational prevention measures would be adequate to reduce opportunities.

Dès la fin du XIXe siècle, la Lebensreform (« réforme de vie ») recouvre trois aspects qui sont la modernité (ère industrielle), la crise des valeurs et l'émergence de nouvelles pratiques artistiques, culturelles et sociales dans les pays de l'espace germanophone. La Lebensreform est une réponse aux ruptures de la modernité ; de nouvelles formes de vie collectives voient le jour. Les espaces d'accueil fondent leur propre mode de vie autour du programme d'une réconciliation avec la nature, en adoptant plusieurs réformes de la vie. Parallèlement, l'Inde artistique et spirituelle évolue et influence l'art moderne occidental, d'où l'apparition de passerelles transculturelles. Les artistes de la Lebensreform adoptent de nouveaux modes d'expression corporelle qui s'inspirent de l'art indien (mudrâs, rythme, etc.). Il s'agit dans notre thèse d'aborder l' « esthétique du performatif » ; l’art de la danse moderne devient un mode de communication à part entière, c'est-à-dire un langage non verbal, traité sous l'angle du concept de performatif. L'art moderne, qui se développe dans l'espace germanophone, conduit à une nouvelle quête, celle d'une recherche de sa propre identité à travers l'exploration du mouvement. / From the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-25T19:57:37Z No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-10-01T16:04:50Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Made available in DSpace on 2018-10-01T16:04:50Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO BALÉ ISABELLE.pdf: 3681697 bytes, checksum: 6d0c38e9e815710b5f44e3ef474621de (MD5) / Esta pesquisa tem como objetivo apresentar as contribuições do trabalho de Flávio Sampaio na formação dos alunos do Curso de Licenciatura em Dança, da Universidade Federal de Alagoas, a partir das orientações do Projeto Pedagógico do Curso - PPC. Trata-se de uma pesquisa qualitativa, exploratória, com observação participativa e análise de discurso. Pensar o ensino do balé sobre bases somáticas e numa perspectiva contemporânea é imprescindível para atender as orientações pedagógicas contidas no PPC. Desenvolvendo uma metodologia de aula que reconfigura alguns conceitos estabelecidos pela tradição do balé, Flávio Sampaio passa ser a principal referência para o estudo do ensino dessa técnica no referido curso. Apoiamo-nos, na obra de Boaventura de Souza Santos, Epistemologias do Sul (2010), que defende uma construção de conhecimentos menos colonizados pelo Norte Global e de novas epistemologias a partir do Sul Global, através de uma ecologia de saberes. O trabalho de Sampaio é entendido aqui como base para um balé ‘do Sul’ e que deve ser reconhecido pela Academia. Afirmamos, ainda, que sua maneira de ensinar o balé pode ser definida como contemporânea, nos moldes do pensamento de Agamben (2009). Os depoimentos dos alunos trazem à tona discursos de corpos que experimentaram a prática e corroboram, assim, para a construção de uma possível reconfiguração do ensino do balé na Universidade. / This current research aims at presenting this dance author’s work contributions in the formation of students in the above stated course, from the PPC orientations. It is an exploratory qualitative research, with participative observation and discourse analysis. Thinking the ballet teaching on the somatic bases and under a contemporary perspective is essential in order to meet the pedagogical guidelines according to the Course Pedagogical Project – PPC, of the Federal University of Alagoas Dance Graduation Degree. By developing a class methodology that reconfigures some concepts stated by the ballet tradition, Flávio Sampaio becomes the main reference for the study of such technique in the mentioned course. We have been supported by Boaventura de Souza Santos’s works, Epistemologies from the South (2010), which defends a knowledge construction less colonized by the Global North and new epistemologies from the Global South through an ecological knowledge. Sampaio’s work is here understood as the basis for a ‘Southern’ ballet and that must be recognized by the Academy. We also state that the way of teaching ballet may be defined as contemporary according to Agamben’s thoughts (2009). The students’ testimonials bring up body discourses that experienced the practice and thus endorsing the construction of a possible reconfiguration of the ballet teaching at the University.

Made available in DSpace on 2016-12-08T16:52:00Z (GMT). No. of bitstreams: 1 115725-11.pdf: 31146374 bytes, checksum: 7ddfe2db79a5c05c5f5348cb1ab1610c (MD5) Previous issue date: 2014-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In this dissertation I describe my experiences in contemporary dance raising issues from the point of view of the dancer that question the place of the interpreter and the phenomenon of dancing. To do this, I bring two artistic experiences that I simultaneously experienced during my research, working as a dancer in the companies Grupo Cena 11 Cia. de Dança, Florianópolis/BR, and Peeping Tom Company, Brussels/ BE. In these companies, I participated learning their processes of specific technical/aesthetic principles which allowed me to meet their artistic universes and their research interests in body movement. My focus is to articulate those interests starting from body experiences, in other words, to raise questions about ways of thinking-making these two dance companies trough the act of dancing. I spent two years taking classes and rehearsing with the group Cena 11 following the creation of the show Carta de Amor ao Inimigo (Love Letter to the Enemy) and presenting the show Guia de Ideias Correlatas (Guide of related ideas), and two years touring with the Peeping Tom with the show 32 Rue Vandenbranden (Vandenbranden street, n.32) and the beginning of the creation of Vater (Father). With these experiences I have provided material to seek ways to practice and clarify concepts that are experiences of the body, or rather, to investigate how the body creates concepts and how both, body and concept, relate to the artistic work in a creative process in the two companies. The idea of self-ethnography, cartography and clinical provide vectors for the description of these practices, articulated with authors like Sylvie Fortin, Thereza Rocha, Francisco Varela, Humberto Maturana, Isabelle Launay, Isabelle Ginot, José Gil, Hans-Thies Lehmann, Jussara Xavier and Sandra Meyer. / Na presente dissertação descrevo algumas experiências que tive em dança contemporânea, levantando questões que, a partir do ponto de vista do intérprete, problematizam o seu lugar e a experiência do dançar. Para isso, trago duas experiências artísticas que vivenciei simultaneamente durante esta pesquisa: minha atuação como bailarina nas companhias Grupo Cena 11 Cia. de Dança, de Florianópolis/Brasil, e Peeping Tom Company, de Bruxelas/Bélgica. Nessas companhias participei de processos de aprendizagem de seus princípios técnicos/estéticos específicos, o que me possibilitou conhecer seus universos artísticos e interesses de investigação do corpo e do movimento. O foco deste trabalho é articular esses interesses partindo de vivências corporais, ou seja, levantar questões sobre modos de pensar/fazer dança nessas duas companhias a partir do ato de dançar. Foram dois anos de aulas e ensaios com o Grupo Cena 11 na criação do espetáculo Carta de Amor ao Inimigo e apresentações com o espetáculo Guia de Ideias Correlatas, bem como dois anos de turnê com o Peeping Tom apresentando o espetáculo 32 Rue Vandenbranden e o início da criação em andamento do novo espetáculo do grupo Vader, vivências que me forneceram material para buscar modos de praticar e elucidar conceitos que são experiências do corpo; ou melhor, investigar como o corpo elabora conceitos e ainda como eles, corpo e conceito, se relacionam com a obra artística num processo de criação nas duas companhias. A noção de autoetnografia, cartografia e clínica fornecem vetores para a descrição dessas práticas, articulada a autores como Sylvie Fortin, Thereza Rocha, Isabelle Launay, Isabelle Ginot, Francisco Varela, Humberto Maturana, José Gil, Hans-Thies Lehmann, Jussara Xavier e Sandra Meyer.

Orientador: Marianna Francisca Martins Monteiro / Banca: Pedro Rodolpho Jungers Abib / Banca: Alberto Tsuyoshi Ikeda / Resumo: Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi - Renascer, Batizado e Morte -, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais / Abstract: This dissertation is to introduce "Grupo de Danças Brasileiras Gracinha", and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center - "Centro de Convivência Gracinha", which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being "Bumba-Meu-Boi" the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of "Bumba-Meu-Boi" - Rebirth, Baptism, and Death -, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered "Grupo de Danças Brasileiras Gracinha"'s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects / Mestre