The essay analyses the changes of the Opet festival procession between the regents Hatshepsut and Tutankhamun, as some changes of the procession occur during this period. The purpose of this study is to fill in some of the knowledge gaps that exist and to combine different areas that have been researched with areas ​​where little research has been done. The purpose is to provide an insight into how the environment and politics played a role in the religious contexts of the Opet festival. The approach uses the reliefs of the Opet festival found in Luxor Temple and in Karnak Temple to see how the festival changed. By examining how the festival procession evolved and analysing what the changes were due to, one can answer the main question: Why did the processions in the Opet festival change? The focus will be to analyse Hatshepsut (1479–1457 B.C.), Amenhotep III (1388–1351 B.C.) and Tutankhamun's (1341–1323 B.C.) political and religious position, and to investigate whether it affected the development of the procession of the Opet Festival and if so, how it affected the change. Furthermore, by analysing the landscape through the study of the movement of the Nile and the annual cycle of the river and using the concepts of "constructed landscapes" and "ideational landscapes" as a starting point for analysing the temples and processional ways. This study also provides something for future projects to build on, as there are currently not many studies on the processions of the Opet Festival, more research is needed in this area. Since this is an approach that has not been done before, by looking at the political and historical aspects as well as the environmental aspects and how they affect the processions of the Opet festival, will this fill some of the knowledge gaps currently present. / Uppsatsen analyserar förändringarna i Opet festivalens processioner mellan regenterna Hatshepsut och Tutankhamun, då många förändringar i processionen skedde under denna period. Syftet med denna studie är att fylla några av de kunskapsluckor som finns genom att kombinera olika områden som det har forskats mycket om för att analysera ett område som det inte har forskats lika mycket om. Syftet är att ge en inblick i hur miljön och politiken spela en roll i de religiösa sammanhangen som fanns i forntida Egypten. Tillvägagångsättet kommer vara att använda relieferna av Opet festivalen som finna i Luxortemplet och i Karnaktemplet för att se hur festivalen förändrades. Genom att undersöka och redovisa hur processionen under festivalen utvecklades och analysera vad de förändringarna berodde på, kan studien besvara huvudfrågan: Varför förändrades processionerna i Opet festivalen? Fokuset kommer vara att analysera Hatshepsut (1479–1457 f.v.t.), Amenhotep III (1388–1351 f.v.t.) och Tutankhamuns (1341–1323 f.v.t.) politiska och religiösa ståndpunkt, samt undersöka om det påverkade utvecklingen av Opet festivalens procession och i så fall hur det påverka förändringen. Samt analysera landskapet genom att studera Nilens rörelse och översvämning och även använda begreppen konstruerat -och idémässigt landskap som startpunkt för att analysera templen och processionsvägarna. Denna studie kan också ge något för framtida projekt att bygga på, då det i nuläget inte finns många undersökningar om Opet festivalens processioner, behövs det mer forskning inom detta område. Då det här är en infallsvinkel som inte gjorts tidigare, genom att kolla på de politiska och historiska aspekterna samt miljöaspekterna och hur de påverka processionerna av Opet festivalen, kommer detta fylla några av de kunskapsluckor som finns i nuläget.

This thesis deals with Czechoslovak Beat Festivals which were held in the years 1967, 1968 and 1971. The work presents a musical atmosphere which prevailed in Czechoslovakia in the days of their birth and depicts the conditions in which our musicians built their first bands and started with their own music production. Emphasis is placed on Western musical models whose influence on Czechoslovak artists and authors is undeniable. The paper is processed using oral history on the basis of which interviews with co- organizers, journalists, musicians and spectators were recorded. Their findings and impressions are integrated into the information drawn from historical materials and literature. Therefore, they serve as a supplement to known information and bring a new and sometimes unexpected view of events nearly fifty years ago. Key words Czechoslovak Beat Festival, beat and "big beat", Anglo-American music, The Beatles, rhythm & blues, oral history.

La presente investigación aborda el proceso y desarrollo de los festivales musicales en el Perú que presentan propuestas del género tropical en su programación. Dentro de estas propuestas tropicales, se busca dar mayor énfasis a la inclusión de nuevas agrupaciones provenientes de la fusión de cumbia con rock, que son agrupaciones de una escena formada desde fines del 2000 y que actualmente están trabajando en el constante crecimiento de su marca, público, puesta en escena, marketing, entre otros aspectos. El objetivo general de esta investigación es averiguar el nivel de difusión que genera la participación de estas nuevas agrupaciones en festivales nacionales. Para ello, se mostrará un marco teórico y conceptual del festival de música y el desarrollo de conciertos en Perú de 2007 hasta 2019, mostrando que existe un aumento en la oferta de festivales musicales entre 2014 y 2019. Asimismo, se realizará un breve repaso del desarrollo de las agrupaciones del género tropical en el Perú hasta llegar a las agrupaciones consideradas en esta investigación como las nuevas propuestas musicales del género tropical; es importante mencionar que se abordará su formación, comunicación, estrategias de marketing, análisis musical, puesta en escena y su participación en festivales nacionales. Posterior a esto, se realiza un acercamiento a la relación entre festivales y agrupaciones proponiendo, por un lado, conocer qué cosas están buscando los programadores de festivales para decidir que agrupaciones convocarán y, por otro lado, saber si las agrupaciones están dispuestas o pueden acercarse a cumplir estos requisitos; para darle mayor profundidad a este tema se presenta el caso de cuatro agrupaciones tropicales. Finalmente, se presenta un análisis del resultado de una encuesta realizada a personas que asisten a festivales de música para conocer su percepción como público respecto a los festivales y a las nuevas propuestas del género tropical. / The present investigation addresses the process and development of music festivals in Peru that present proposals of the tropical genre in their programming. Within these musical proposals, it seeks to give greater emphasis to the inclusion of new groups from the fusion of cumbia with rock, which are groups from a scene formed in late 2000 and which are currently working on the constant growth of their brand, audience, staging, marketing, among other aspects. The general objective of this investigation is to find out the level of diffusion generated by the participation of these new groups in national festivals. To do this, a theoretical and conceptual framework of music festival and the development of concerts in Peru from 2007 to 2019 will be shown, showing that there is an increase in the offer of musical festivals between 2014 and 2019. Also, a brief revision will be made, from the development of tropical genre groups in Peru until reaching the groups considered in this investigation as the new musical proposals of the tropical genre; it is important to mention that their formation, communication, marketing strategies, musical analysis, staging and their participation in national festivals will be addressed. After this, an approach to the relationship between festivals and groups is made, proposing, in one hand, to know what things festivals programmers are looking for to decide which groups will call and, on the other hand, to know if the groups are willing or able to approach compliance these requirements; to give more depth to this topic, the case of four tropical groups is presented. Finally, an analysis of the results of a survey to people who attends music festivals is presented to find out their perception as a public regarding festivals and new proposals of the tropical genre. / Tesis

Teaching Artists are an important component of the Utah Shakespearean Festival's Education Department's outreach touring program that visits K-12 schools throughout Utah each year. However, the Education Department could be using Teaching Artists in different and better ways to help K-12 teachers infuse theatre into their curriculum. This work looks carefully at the outreach offered by the Utah Shakespearean Festival's Education Department and then compares it to the outreach work being done by the Oregon Shakespeare Festival and Shakespeare Santa Cruz. Based on the analysis of the three festivals, assessment benchmarks are identified to aid the Education Department in evaluating their use of Teaching Artists and suggestions are made to help them strengthen their outreach programs through the creation of a Teaching Artist training program that would allow more Teaching Artists to work in Utah K-12 schools. The work concludes with ideas for lesson and unit plans for Teaching Artists of various levels to use in the K-12 classroom that align with the State Common Core Standards for Language Arts that were adopted by Utah in August, 2010.

No description available.

Ce travail vise à rendre compte des relations entre création musicale, politiques de la diversité et mondialisation dans l’Allemagne d’aujourd’hui en partant d’un cas : creole, un cycle de compétitions organisé selon un principe fédéral, qui donne lieu à des festivals dans différentes villes et débouche tous les deux ans sur un prix récompensant trois ensembles de « musiques du monde d’Allemagne ». Selon les textes des programmes, cette manifestation est censée illustrer la créolisation du monde et les connexions émergeant entre différentes cultures et genres musicaux présents en Allemagne. Lorsque l’on se penche sur le processus d’émergence de ce projet et les dynamiques de mobilisation des participants, il s’avère cependant que le spectre des attentes est plus complexe et que ces événements, plutôt qu’illustrer une réalité univoque, fabriquent en des versions plurielles tout un monde de musiques d’Allemagne. L’étude de ce cas n’est pas une fin en soi mais un moyen pour appréhender divers aspects de l’Allemagne contemporaine. Les débats qui ont cours dans l’intimité du secteur des « musiques du monde » manifestent plus largement des tensions traversant la société allemande d’aujourd’hui : en tant que terre d’immigration partagée entre l’idéalisation du métissage et la mise en avant de cultures distinctes, en tant que « pays de musique » connu pour la richesse de son patrimoine savant et en même temps désireux de promouvoir des artistes « populaires » ou « modernes », en tant que système politique fédéral devant composer avec les diverses instances locales et les cadres mondialisés du marché et de la politique culturelle. Autant l’arrière-plan considéré dans ce travail est large, autant l’attention portée aux situations d’interaction se veut précise : pour rendre compte du processus de fabrique des festivals et des environnements différenciés dans lesquels ils s’inscrivent, des logiques de sélection et des dynamiques de délibérations des jurys, des cadres organisant chaque épreuve ainsi que des débats qui surgissent parmi les spectateurs sur « l’esprit » des festivals creole. / Diese Arbeit untersucht das Beziehungsgeflecht zwischen musikalischen kreativen Prozessen, Identitätspolitik und Globalisierung im heutigen Deutschland anhand eines bestimmten Falls: dem Musikwettbewerb "Creole", der seit 2006 in unterschiedlichen Orten von Deutschland stattfindet. Laut Programmtext soll diese Veranstaltung die Kreolisierung der Musikwelt und die Vernetzungen zwischen unterschiedlichen Kulturen und Musikgattungen widerspiegeln. Bei einer genauen Untersuchung des Entstehungs- und Durchführungsprozess erweisen sich aber der Erwartungshorizont und die Erfahrungen der Teilnehmer als komplex und vielschichtig. Statt eine klar gewichtete Realität wiederzugeben, produzieren diese Festivals eine « Weltmusik aus Deutschland » (aus Berlin, aus Nordrhein-Westphalen, Bayern usw.), deren Formen die bestehenden musikalischen Kategorien und Erfahrungsmuster auf der Probe stellen. Die ethnologische Untersuchung dieses Falls ist hier ein Mittel, um im Sinne der histoire croisée (Werner/Zimmermann 2003) einen Einblick in unterschiedliche Aspekte der deutschen Gesellschaft zu gewinnen : als "Einwanderungsland", das zwischen dem Ideal einer pluralistischen Gesellschaft und der Akzentuierung von ethnischen Grenzen hin-und hergerissen wird; als "Musikland", das für sein reiches, klassisches Erbe bekannt ist aber sich auch zu anderen Formen von populärer oder "globaler" Musik öffnet ; als Bundesrepublik, die heute sowohl mit den differenzierten Realitäten in den Ländern als auch mit internationalen Steuerungsinstanzen der Kulturpolitik umgehen muss. So breit der Hintergrund ist, so genau ist hier der Blick auf die konkreten Interaktionsprozesse, um im Sinne einer « dichten Beschreibung » den Enstehungs- und Durchführungsprozess der Festivals in ihren jeweiligen Kontexten zu analysieren, die aufeinander folgenden Auswahletappen von der Ausschreibung bis hin zu den ritualisierten Preisverleihungen zu verfolgen und die Debatten zum „Wert“ der Musik sowie zum Sinn und Zweck der Veranstaltung analysieren zu können. / This work aims to show the relations between musical creation, identity politics and globalization in Germany today taken from one case: the creole competitions, a cycle of festivals leading every two years to a prize for “world music from Germany” (since 2010 “Global Music”). According to its accompanying text, this festival is intended to illustrate the “creolization” of music in Germany. When one investigates the genesis of the project and the mobilization of candidates, partners and experts, it turns out that the expectations are more complex and that these events, rather than illustrating an established reality, create plural versions of a “world music from Germany”. The crux of this work is to explain the tensions between the values which have currency within the intimacy of this professional sector (“die Nische Weltmusik”) and the public perception of the genre, tarnished with suspicion and controversy. This world of music cuts across questions that mark more generally German society today : as an “country of immigrants” (Einwanderungsland) torn between the idealization of cross-fertilization and the fear of diversity, as a “music country” (Musikland) known for the richness of its intellectual heritage, but desirous to promote examples of contemporary music and as a political system divided between local structures and globalized frameworks which define public culture. Just as the background of this work is large, so too the attention given to specific situations has to be precise : to show the organizing frameworks of the contests, the various criteria taken into account by the juries in their deliberations and the debates which emerge among the spectators on the “spirit” of this manifestation.

Thesis (MDram)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained. / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.

Made available in DSpace on 2016-04-27T19:31:04Z (GMT). No. of bitstreams: 1 Renata Rendelucci Allucci.pdf: 2639406 bytes, checksum: 64951c1f6c12e6e045d3d74e333f4081 (MD5) Previous issue date: 2015-03-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is meant to understand São Luiz do Paraitinga´ s carnival, in São Paulo, restarted in 1981 as a street festival after its prohibition for 60 years (1920-1980) by the Catholic Church. Its return is linked to several factors, including reaction of luizenses to a TV report. But the dynamics of popular culture was probably its greatest propellant. This culture, auto called caipira by its actors, has determined many of the features that carnival acquired after its recovery, with particular reference to exclusive use of carnival marchinhas rhythm, all composed by luizenses and that became the main distinctive feature of this festival. The festival understood as a product of social reality, this carnival also expresses the political aspects of its accomplishment, considering that it takes place in a city which heritage, tangible and intangible, are targets for preservation agencies at municipal, state and federal levels which also give to this festival special and peculiar unique features. Contemporary questions have shown the interest of media, tourism, entertainment groups and many other social, cultural and economic organizations in popular festivals, and it was no different with the carnival of São Luiz do Paraitinga. These questions motivated conflicts that are gradually being discussed by luizenses in an attempt to reconcile the local tradition with the opening to new actors and, among them, sponsors for its realization. So, the research attempts to contribute to this discussion, bringing together various aspects of carnival realization, in search of strategies to enable a better understanding of its directions and affirmation of cultural practices in São Luiz do Paraitinga / Este trabalho busca compreender o carnaval da cidade de São Luiz do Paraitinga, em São Paulo, reiniciado nos anos 1981 como festa de rua, após sua proibição pela igreja católica por 60 anos (1920 a 1980). Sua volta está atrelada a fatores diversos, incluindo a reação dos luizenses a uma reportagem televisiva. Mas a dinâmica da cultura popular foi, provavelmente, seu maior propulsor. Essa cultura, autodenominada caipira por seus atores, determinou muitas das formas que o carnaval adquiriu após sua retomada, com especial destaque para a utilização exclusiva do ritmo das marchinhas carnavalescas, todas compostas pelos próprios luizenses e que se tornaram a principal marca distintiva dessa festa. Entendida a festa como produto da realidade social, este carnaval expressa também os aspectos políticos de sua realização, considerando que ele se realiza em uma cidade cujos patrimônios, material e imaterial, são alvos de órgãos de preservação tanto nas esferas municipal, estadual quanto federal, o que também confere a essa festa traços particulares e singulares. Questões contemporâneas revelaram o interesse de grupos midiáticos, de turismo, de entretenimento e de tantas outras organizações socais, culturais e econômicas em festas populares, e não foi diferente com o carnaval de São Luiz do Paraitinga. Essas questões motivaram conflitos que, aos poucos, estão sendo discutidos pelos luizenses, na tentativa de conciliar a tradição local com a abertura para novos atores e, entre eles, patrocinadores para sua realização. Assim, a pesquisa tenta contribuir com essa discussão, reunindo aspectos diversos da realização do carnaval, em busca de estratégias que permitam uma melhor compreensão de seus rumos e a afirmação das práticas culturais de São Luiz do Paraitinga

Made available in DSpace on 2016-04-26T18:12:01Z (GMT). No. of bitstreams: 1 Neide Aparecida Marinho.pdf: 5671040 bytes, checksum: 981162c8959468194eaaa9ca42015b15 (MD5) Previous issue date: 2012-06-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of this study is the Folia Estrela do Norte , from Juiz de Fora, Minas Gerais/Brazil, from 2010 to 2011. Our main objective is to place the research of Folia de Reis , a Brazilian popular festival, in the context of recent communication studies. Through the symbols constituents of the Folias , re-investigate the meanings and usages elaborated within the communities that produce and reproduce the festivals. We seek primarily to understand how this popular ritual dialogues with the mass media. To this, we investigated the communicational aspects of the rituals. Theirs "mythologies" survive through (and despite) the industrial and digital society. Our problem: how the rituals of the Folias de Reis dialogue with the mass media? The research has shown that, in mixed cultures, flexible and mobile, the popular and the massive, the oral and the written, the open and the closed, the center and the periphery they all dialogue in tension, incorporating outside elements and breaking oppositions. We analyzed the dialogue between popular and massive, a major issue in cultures such as ours, constantly reworked from the incorporation of others, forming new cultural texts, in network and mosaic. Our main theoretical basis is the communication studies of mediations between popular culture and mass culture; how the popular and folkloric manifestations are incorporated and reworked by the cultural industry that, at the same time, provides projections and recreations? Another point is the palhaços , important characters of the Folia , and their masks that, full of representativeness, disguise, frighten and hide, allowing the man to present his "being and not being" condition. In these masks are present the legendary, the sacred and the profane, in images of grotesque that appropriate themselves of a baroque which is translated into exuberant costumes, mapping the territory of the mixed culture. Thus we find the current masking that, in a symbolic appropriation, shows the daily experiences that leave "marks", or "social masks", creating opportunities for camouflage. Contribute to our theoretical basis intellectuals of mediations theories, such as Néstor García Canclini and Jesús Martín-Barbero. From the mestizaje theories, we can mention Amalio Pinheiro, Serge Gruzinski, Peter Burke, Yuri Lotman and Laplantine / O objeto de estudo dessa pesquisa é a Folia Estrela do Oriente, de Juiz de Fora, Minas Gerais, no período entre 2010 e 2011. Nosso objetivo principal é inserir o estudo das Folias de Reis no contexto das pesquisas recentes da comunicação. Por meio das simbologias constituintes das Folias, investigamos as re-significações e as readaptações, elaboradas no seio das comunidades que produzem e reproduzem as festas. Procuramos, principalmente, compreender de que forma tal ritual popular dialoga com os meios massivos. Para tal, foram investigados os aspectos comunicacionais dos rituais. Suas mitologias sobrevivem por meio (e apesar) da sociedade industrial e digital. Nossa questão-problema é: de que maneira o ritual das Folias de Reis dialoga com a comunicação de massa? A pesquisa mostrou que, em culturas mestiças, flexíveis e móbeis, o popular e o massivo, o oral e o escrito, o aberto e o fechado, o centro e a periferia dialogam em tensão, incorporando elementos alheios e rompendo com oposições. Foi analisado, portanto, o diálogo entre o popular e o massivo, questão de suma importância em nossa cultura, constantemente reelaborada a partir da incorporação do alheio, formando novos textos em rede e mosaico. Nosso suporte teórico principal está nos estudos da comunicação que investigam as mediações entre cultura popular e de massa; como as manifestações populares e folclóricas são incorporadas e reelaboradas pela indústria cultural, que propiciam projeções e recriações simultaneamente? Outro ponto do trabalho é a figura do Palhaço, personagem importante da Folia, e suas máscaras que, carregadas de representatividade, disfarçam, amedrontam e escondem, permitindo ao homem apresentar a sua condição de ser e não ser . Nestas máscaras estão presentes o lendário, o sagrado e o profano, em estampas do grotesco que se apropriam de um barroco traduzido em exuberantes fantasias, desenhando o território do mestiço. Assim encontramos os mascaramentos atuais que, numa apropriação simbólica, mostram as experiências cotidianas que deixam marcas , ou máscaras sociais , criando possibilidades de camuflagem. Contribuem, para nossa fundamentação, pensadores da teoria das mediações, como Néstor García Canclini e Jesús Martín-Barbero. Das teorias da mestiçagem, podemos citar, Amálio Pinheiro, Serge Gruzinski, Peter Burke, Iuri Lotmam, Laplantine

Made available in DSpace on 2016-04-26T18:15:43Z (GMT). No. of bitstreams: 1 Viviane Menna Barreto.pdf: 8979804 bytes, checksum: af1549162d959e159317e7485af34d73 (MD5) Previous issue date: 2005-03-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This is a research within the universe of the Pictographic Cartographies and its itinerary is the cycle of folk festivals of the riparian caboclo (mestizo) population of the Amazon region in the Pará state. It intends to create a new set of images of the Amazon region and, through dissemination in the media, insert those sceneries into the rest of Brazil s imagery. There lies the differential of this dissertation: two routes converging to the same point, departing from the artist and researcher, and moving on indefinitely as a plastic representation constructed after an extended trip along the caboclos communities. The first theoretical topics of the dissertation derived from Jerusa Pires Ferreira s conceptual universe organized through the transcription of tape-recorded classes. We also based our analysis on Ana Maria de Morais Beluzzo s work on the Artistas-Viajantes (Artists-Travelers); on Darcy Ribeiro s and João de Jesus Paes Loureiro s universe on the caboclo culture and poetry; on Marlyse Meyer s books to understand the folk culture s anthropophagies; and on Bakhtin s inverted world theory to ponder on folk festivals masking. Then, we extended the festivals universe by taking them away from the localism and giving them a universal dimension under Paul Zunthor s studies. However, we did not think the theory as a static apparatus, but instead as enabling us to divert the look through our own pictorial work considered as the communication means between these two worlds. At this point, we discussed the possibility of creating and disseminating image networks through mediated artistic projects showing the minorities imagery. The corpus of the analysis deals with the changes in the festival sponsor s social roles, and gives instances of tradition updating processes through the Joaba carnival and the Boi de Máscaras (Masked Bull) in São Caetano de Odivelas. The conclusions show how the community involved in the festival creates an enchanted territory, and the artist-traveler, by mediating its voice, increases its reach / Esta pesquisa situa-se no universo das Cartografias Pictográficas e tem como carta de itinerário o ciclo de festas populares dos caboclos ribeirinhos da Amazônia Paraense.Tem como objetivo criar um novo conjunto de imagens sobre a Amazônia e, através da divulgação nos meios de comunicação, inserir estas paisagens no imaginário do resto do Brasil. Esse é o diferencial desta dissertação: são duas vias que confluem ao mesmo ponto, saem da artista e pesquisadora e vão seguindo infinitamente enquanto representação plástica construída através de uma grande viagem, pelas comunidades caboclas. O universo conceitual de Jerusa Pires Ferreira, organizado a partir da transcrição de aulas gravadas, criou os primeiros tópicos teóricos da dissertação. Utilizamos também a obra de Ana Maria de Morais Beluzzo sobre os Artistas-Viajantes; o universo de Darcy Ribeiro e João de Jesus Paes Loureiro sobre a cultura cabocla e suas poéticas; os livros de Marlyse Meyer para entender as antropofagias da cultura popular; e a teoria do mundo invertido de Bakhtin para refletir sobre os mascaramentos na festa popular. Então, ampliamos o universo do festeiro, retirando-o do localismo e redimensionando-o na universalidade a partir dos estudos de Paul Zumthor. Mas não pensamos teoricamente com aparelhos estáticos. Pensamos de modo que a teoria nos propiciasse a deslocação do olhar através da nossa própria obra pictórica, encarada como veículo de comunicação entre estes dois mundos. Nesse campo, discutimos a possibilidade de criação e difusão de redes imagéticas através de projetos artísticos midiatizados que mostram o imaginário das minorias. O corpus de análise adotado trata das mudanças dos papéis sociais do festeiro e exemplifica processos de atualizações de uma tradição, através do carnaval de Joaba em Cametá e do Boi de Máscaras de São Caetano de Odivelas. As conclusões alcançadas mostram como a comunidade festeira cria um território encantado e como a artista-viajante, midiatizando esta voz, amplia seu alcance