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Made available in DSpace on 2014-07-29T15:14:24Z (GMT). No. of bitstreams: 1 TESE_LUCIANA RIBEIRO 1.pdf: 7347372 bytes, checksum: f98245fb7193050cf6fc192712f2329b (MD5) Previous issue date: 2010-11-10 / This thesis investigated theoretical and methodological possibilities on the field of study of the Arts, in order to build a history of dance in the city of Goiânia. The body in dance was considered as the place in which this history happens, while different and interconnected concepts of the body, art and dance, and their historiographies, support this statement. Understanding the unique configuration of the dance phenomenon and its attention/tension as history, a more critical and conceptual approach was chosen using theories on the field of conceptual history, and history of oblivion, and from that point to invention, uncertainty and unpredictability. This pathway proved to be a key factor on the identification of the dance events being held in Goiânia between the years of 1982 and 1986. Therefore, to better understand these events, the dance history between 1973 and 1988 was investigated. This period of time was marked by the creation of the first institutions for the practice of dance in Goiânia and the outbreak of a new dance scene on the city. It was also a time of great invention and creation on this area in Goiânia, which prompted the city to an exclusive and active dialogue with the dance scenario in Brazil and internationally. The sources and documents studied pointed out interesting occurrences on the dance aesthetics of that time, highlighting its insertions and hierarchies. Some of the people and artwork of that time were prominent and produced other significant developments, very distinct from what was admitted by them, or even expected from them. Local postures and dance movements bearing traces of audacity and singularity were being created at that time, showing that a new kind of dance was emerging. The association made with this whole new dance scene is that of a production beyond Nietzsche, that does not necessarily is a dichotomy or an act of overcoming tradition, but an explosion. Dance on the void, created via its process-operation of existence. Artistic temporality, where history exists. / A presente tese investigou possibilidades teórico-metodológicas para abarcar a especificidade do campo da arte a fim de constituir uma história artística da dança em Goiânia. Elegeu-se a matriz fundante corpo-dança que se configurou como lugar específico da produção desta história, a partir do cruzamento de conceitos referentes ao corpo, arte e dança, e no enfrentamento de suas historiografias. Compreendendo a configuração singular do fenômeno dança e sua atenção/tensão na produção de história(s), caminhou-se para uma orientação mais crítica e conceitual, partindo de considerações teóricas do campo da história dos conceitos, da história dos esquecimentos e desta como invenção, incerteza e imprevisibilidade. Esta postura foi fundamental para a identificação e apresentação de acontecimentos de dança na cidade de Goiânia, especificamente entre 1982 e 1986. E, para compreendê-los, o estudo se dilatou entre 1973 a 1988, período de institucionalização da prática artística da dança na cidade com o surgimento de espaços de formação e disseminação da dança , e também um período de curiosa efervescência criativa nesta área, colocando a cidade em diálogo ativo com o cenário nacional e internacional da dança, mas por um outro viés. As fontes e documentos apontaram para outros referenciais e desdobramentos no campo das estéticas de dança e, igualmente, de suas inserções e hierarquias. Algumas pessoas e obras se destacaram e até mesmo se descolaram da cena produzindo acontecimentos outros, muito distintos do campo das experiências admitidas e das expectativas produzidas. Posturas e movimentos de dança, locais com traços de ousadia e ineditismo em suas experiências, similares aos movimentos inauguradores de novos modos de existir da dança. Ao deparar-se com estes, a associação que se fez foi com a produção de um além nietzschiano, que não se localiza necessariamente como dicotomia e ou superação frente à tradição, e sim como explosão. Dança localizada no vão, pensada a partir do seu processo-operação de existência. Temporalização artística, onde o olhar histórico existe.

Made available in DSpace on 2014-07-29T16:17:41Z (GMT). No. of bitstreams: 1 Dissertacao parte1 Rejane Bonomi Schifino.pdf: 4337221 bytes, checksum: 26d7678447c9511757876631c9a2a726 (MD5) Previous issue date: 2012-03-30 / This paper aims to establish the relationship between Dancing and History, trying to understand how this practice integrates with Goiânia s cultural lifestyle. Starting from the apparent contradiction between an imported art and a culture closely tied to the regional universe of Midwestern, we tried to demonstrate how this activity flourished in the capital of Goiás, through the systematization of its education, the training of local professionals, the artistic production in the area and the opening of specific spaces for its experience over time. According to this objective, we used different sources: the collections of documents linked to the dancing universe in the city, documents made available by the goianienses public files, interviews with local professionals and selected bibliography on Goiás historiography and history of dance. The analysis of these sources and the selected bibliographic references demonstrate that if the dance has spread from the activity of teachers from other States and countries from late 1940 did not originate in the territory of Goias, it was absorbed as part of local culture due to the nature of its Constitution: integrative, hybrid, possessor of both rural and urban elements. This peculiarity has allowed, between 1940 and 1990, that many teachers settled in the city and establish their way of teaching permanently, by introducing different teaching methodologies, forming dancers with recognized excellence, producing and participating in performances and events related to this activity and promoting this practice under various approaches such as acquisition of culture, physical exercise, as a profession, therapy, a hobby. At the same time, it contributed to the formation of a local habitus, forming a sociable network that has unique forms of relationship and reaches not only the direct public of local private tutors and their living spaces, but also the public spaces, such as schools and dance companies. / Este trabalho procura estabelecer as relações entre Dança e História buscando compreender como esta prática se integra à vida cultural de Goiânia. Partindo da aparente contradição entre uma arte importada e uma cultura intimamente ligada ao universo regional do Centro-Oeste, procurou-se demonstrar como se deu o florescimento desta atividade na capital goiana, através da sistematização de seu ensino, da formação de profissionais locais, da produção artística na área e da abertura de espaços específicos para a sua vivência ao longo do tempo. Com este intento, utilizou-se como fontes de pesquisa os acervos de documentos de estabelecimentos vinculados ao universo da dança na cidade, documentos disponibilizados pelos arquivos públicos goianienses, entrevistas com profissionais locais da área e bibliografia selecionada sobre historiografia de Goiás e de história da dança. A análise destas fontes e das referências bibliográficas selecionadas demonstra que, se a dança que se propagou a partir da atividade de professores provenientes de outros Estados e países a partir do final dos anos 1940 não se originou em território goiano, esta foi absorvida como elemento constituinte da cultura local devido à natureza de sua constituição: integradora, híbrida, possuidora tanto de elementos estritamente rurais quanto marcadamente urbanos. Esta peculiaridade permitiu que, entre as décadas de 1940 e 1990, cada vez mais professores se fixassem na cidade e estabelecessem seu ensino de forma permanente, introduzindo metodologias de ensino diferenciadas, formando bailarinos com excelência reconhecida, produzindo e participando de apresentações e eventos relacionados a esta atividade e promovendo esta prática sob diversos enfoques como aquisição de cultura, como exercício físico, como profissão, como terapia, como hobby. Ao mesmo tempo, contribuiu para a constituição de um habitus local, com a formação de uma rede de sociabilidades que possui formas de relacionamento únicas e que atinge não só o público direto dos professores particulares locais e de seus espaços de vivência, mas também espaços públicos, como escolas e companhias de dança.

À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements. / Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing.

This dissertation covers with exploring the meaning of dance in human life in the history and today. It specialises on dance in the leisure time field and its therapeutic use and describes the evolution of dance since it´s ever been mentioned and its importance to human life at that time. The first part of the dissertation is concentrating on the history of dance in Bohemia and abroad. The chapters chart the time horizon of dance since antics till nowadays. In the highlighted periods of time it tries to elevate the meaning of dance form, which was characteristic for the actual period. The second part of the dissertation focuses on the meaning of dance as a free time activity and concentrates on recent trend {--} belly dance. The last part of the dissertation covers the meaning of dance as a therapeutic instrument in dance movement therapy.