How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time. The research presents the case that Belly Dance in England has an identifiable past and present practice, one that continually wrestles with ownership of what is apparently a Middle Eastern cultural export. Drawing from a literature based case study of two pioneering artists in the early 1980s, Hilal and Buonaventura, the research describes a distinctive English Belly Dance tradition and identities. There is an explanation of how the English Belly Dance form has since competed on the global stage. The research also describes how current inheritors of that tradition −Anne White, Caroline Afifi and Siouxsie Cooper are taken as case studies− appropriate and signal Egyptian Belly Dance as the dominant reference point from which to authenticate their dancing practice; whilst at the same time subverting the Orientalist paradigm underpinning the Belly Dance trope. Identifying “narratives of authenticity” enable the current generations of English Belly Dancers to form distinctive Belly Dancing identities-in-practice. Drawing from both social theories of education and identity formation and reflexive ethnographic modes of inquiry, Walk like an Egyptian examines Belly Dance in England as a translocated dance form, and the mechanisms which allow its authenticity are analysed. In answer to the research question it is possible for an English practitioner of Belly Dance to produce an authentic Belly Dance performance through the production of various narratives of authenticity, narratives which both borrow from and resist pre-existing narratives of authenticity.

Submitted by Diana Alves (ppgdancaufba.adm@gmail.com) on 2013-01-25T11:23:38Z No. of bitstreams: 4 versão pos defesa 10.11.09.pdf: 1946018 bytes, checksum: 6f73fc05a9e0f8894b70bbda87a70bae (MD5) pr-etextuais_10.11 última.pdf: 28502 bytes, checksum: a8e2b2bb14c865995caef4f3bc1fbc29 (MD5) ficha catalografica.pdf: 5216 bytes, checksum: 18cd3f24b58079a1f9cb0b26744b2326 (MD5) capa+cínt..[1].pdf: 32548 bytes, checksum: 9933215329e97b9d252ba8b70c5cc1d7 (MD5) / Made available in DSpace on 2013-01-25T11:23:38Z (GMT). No. of bitstreams: 4 versão pos defesa 10.11.09.pdf: 1946018 bytes, checksum: 6f73fc05a9e0f8894b70bbda87a70bae (MD5) pr-etextuais_10.11 última.pdf: 28502 bytes, checksum: a8e2b2bb14c865995caef4f3bc1fbc29 (MD5) ficha catalografica.pdf: 5216 bytes, checksum: 18cd3f24b58079a1f9cb0b26744b2326 (MD5) capa+cínt..[1].pdf: 32548 bytes, checksum: 9933215329e97b9d252ba8b70c5cc1d7 (MD5) / CAPES / Tendo em vista a importância cultural do samba de roda da Bahia, esta dissertação analisa questões referentes à sua configuração e sua dinâmica, com foco nas relações materiais que interligam o samba a outras práticas do cotidiano dos sambadores, e que se refletem na sua estrutura. Para isto, realiza um estudo de caso sobre a ocorrência do samba de roda na Ilha de Itaparica (BA), região metropolitana de Salvador. O estudo mostra encaixes estruturais entre o samba de roda e a pesca da baleia e os cultos às entidades mestiças do candomblé, como caboclos, marujos e boiadeiros. Esses encaixes se evidenciam nas performances corporais dos sambadores, desde qualidades de movimento até a geração de novos códigos para a dança. A análise sugere a intercomunicação entre as formas de ocorrência do samba de roda na Ilha, que incluem festejos religiosos, festas familiares, apresentações organizadas e serestas. Ao contrário de estudos anteriores que defendem uma origem africana do samba de roda, este estudo reforça a importância das demais contribuições culturais, como a ibero-mourisca e as indígenas, bem como a importância das relações atuais do samba com outros textos da cultura. Reafirmam, ainda, o papel das situações informais para a continuidade do samba. Os aspectos observados podem contribuir para o entendimento das culturas híbridas, bem como, mais especificamente, para a compreensão dos hibridismos na dança.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:36:37Z No. of bitstreams: 1 DISS_2012_Tania Aparecida de Oliveira Fontes.pdf: 2492874 bytes, checksum: d4a550e964d9a1d7486be6801d4e913b (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T14:15:59Z (GMT) No. of bitstreams: 1 DISS_2012_Tania Aparecida de Oliveira Fontes.pdf: 2492874 bytes, checksum: d4a550e964d9a1d7486be6801d4e913b (MD5) / Made available in DSpace on 2017-12-15T14:15:59Z (GMT). No. of bitstreams: 1 DISS_2012_Tania Aparecida de Oliveira Fontes.pdf: 2492874 bytes, checksum: d4a550e964d9a1d7486be6801d4e913b (MD5) Previous issue date: 2012-08-31 / O ritmo lambadão, em sua representação dançante, foi eleito como objeto de pesquisa deste estudo. O problema levantado por esta pesquisa sugere que o lambadão, enquanto manifestação popular dançante, não pode mais ser considerada como uma mera “febre” popular, como aconteceu com sua homônima Lambada. Este ritmo surgido há aproximadamente 20 anos, na atualidade, demonstra que cada vez mais conquista espaços de prática, adeptos e uma representativa comunidade consumidora dos “produtos e serviços” ligados ao ritmo. A metodologia escolhida foi a pesquisa do tipo Etnográfica que buscou fundamentação diversos conceitos e autores, como: Conceito de Cultura e Trabalho de Campo Etnográfico, nos estudos de Geertz, Laraia, Malinowski, Magnani , Cardoso, Lévi-Strauss, Canevacci; Cultura Popular: entendidos por Hall, Brandão, Silva, Gabriel; Cultura Matogrossense: representada por Loureiro , Grando, Arruda; Dança enquanto pensamento, defendido por Katz, entre outros. Como hipótese apresentou que o Lambadão, em seus primórdios, recebeu influências de outros ritmos populares, dentre eles os regionais Rasqueado e o Siriri, unidos a outros ritmos do norte brasileiro, como o Carimbó. Buscamos lançar um olhar diferenciado sobre o ritmo, aqui compreendido como uma forma de pensamento corporal, repleto de elementos peculiares próprios e que vem sendo construído ao longo das duas últimas décadas. Deste modo, acreditamos que o nosso objeto de pesquisa possui um repertório próprio, que é constituído de inúmeras práticas intra e extra dança, adicionado a elementos corporais específicos. Todos estes componentes somados identifica-o no cenário cultural regional e potencializa ainda mais a difusão desta manifestação popular da baixada cuiabana e adjacências. O estudo pretendeu observar, analisar e codificar este vocabulário e peculiaridades tão originais quanto instigantes. / The pace lambadão, in his dancing representation, he was elected as a research object of this study. The problem raised by this research suggests that the lambadão, while popular manifestation, can no longer be considered as a mere "foot" popular, as happened with his namesake lambada. This rate appeared approximately 20 years, today, shows that increasingly the practice space conquest, supporters and a community representative of the consumer "products and services" linked to the rhythm. The methodology chosen was the Ethnographic research that sought various reasons and authors, such as concepts: concept of culture and ethnographic fieldwork in the studies of Geertz, Laraia, Malinowski, Magnani, Cardoso, Lévi-Strauss, Canevacci; Popular culture: understood by Hall, Brandão, Silva, Gabriel; Mato Grosso culture: represented by Loureiro, Grando, Arruda; Dance while thought, defended by Katz, among others. As chance presented the lambadão, in its early days, has received influences from other popular rhythms, among them the Rasqueado regional and the Siriri, joined to other northern Brazilian rhythms, as the Carimbó. We seek to launch a different look on the rhythm, here understood as a way of thinking, filled with quirky elements themselves and that has been built over the last two decades. In this way, we believe that our research has a directory object itself, which is made up of numerous practices intra and extra dance, added the specific body elements. All of these components together identifies it in regional cultural scenario and further enhances the diffusion of this popular manifestation of downloaded cuiabana and adjacencies. The study was to observe, analyse and codify this vocabulary and peculiarities as unique as thought-provoking.

Francis POULENC (1899-1963) a été particulièrement influencé par la musique populaire de son époque. Pour étudier cet aspect de son œuvre, notre recherche s’appuiera sur la production musicale du compositeur, sur ses nombreux témoignages (correspondances, émissions radiophoniques et divers écrits) et sur tous les documents liés à la création et à la réception de ses œuvres. Le compositeur du Bal masqué n’imitait pas la musique populaire mais en empruntait quelques éléments : tel un peintre, il réalisait des « portraits de music-hall ». Afin d’apprécier cette imprégnation, nos analyses portent sur différents paramètres musicaux : la mélodie, le rythme, l’harmonie, les structures, l’orchestration et la vocalité. La finalité de notre travail s’inscrivant dans des perspectives socioculturelles, l’analyse de ces aspects techniques ne se dissocie pas du contexte historique lié au compositeur et plus largement au Groupe des Six. / The composer Francis Poulenc (1899-1963) was particularly influenced by the popular music of his time. In order to study this very specific aspect of his works, our research will take into account the musical production of the composer, his personal testimonies (such as correspondence, radio programs and various pieces of writing) and all documents related to the creation and reception of his works.When composing Bal Masqué (The Masked Ball) the composer’s aim was not to copy popular music but just to make use of some of its characteristics. Just like a painter he created what he would call ‘portraits de music-hall’ (‘Music-hall portraits’). For this impregnation to be fully appreciated, our analyses will tackle different musical parameters such as melody, rhythm, harmony, structures, orchestration and vocal effects. The purpose of our research involving socio-cultural perspectives, the analysis of those technical aspects cannot be dissociated from the historical context relative to the composer and, to a wider extent, to the ‘Groupe des Six’.

No description available.