Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O principal objetivo deste trabalho é investigar o ponto de vista nativo do conceito de sonoridades que constituem os rituais de Umbanda em Corumbá, município situado no Estado de Mato Grosso do Sul, Centro-Oeste brasileiro, pouco presente na literatura sobre o tema. Para a execução da pesquisa, foi utilizada a concepção de Seeger, na qual é preciso observar todo o contexto em que a manifestação musical ocorre, ou seja, o fato social musical total, com o intuito de compreender mais profundamente seus significados. Como metodologia, a pesquisa lançou mão da observação participante e entrevistas em profundidade com alguns dos importantes personagens inseridos no contexto umbandista local. O campo foi, igualmente, registrado por meio de fotografias, vídeos e gravações em áudio, a fim de viabilizar a criação de um acervo e, ainda, facilitar a transcrição e análise do material coletado e quiçá, viabilizar desdobramentos deste trabalho. Concluiu-se que a sua matéria-prima, as frequências sonoras, representam um instrumento ideal para a Umbanda, pelas seguintes razões: em primeiro lugar, as sonoridades, por sua natureza etérea, podem, assim como os orixás e as entidades espirituais, constituir vibrações invisíveis aos olhos dos leigos, mas não dos fiéis, que penetram os corpos e podem ser percebidos tanto no mundo espiritual quanto no mundo físico; em segundo lugar e, em decorrência do primeiro aspecto, é um perfeito meio para a comunicação tanto partindo do mundo espiritual em direção aos seus adeptos quanto vice-versa. É por meio das curimbas ou pontos que os orixás cantam as suas dijinas, ou seja, os seus nomes, realizando a continuidade de uma tradição ancestral. A pulsação promovida pelas vibrações sonoras traz consigo toda a simbologia cosmológica presente na Umbanda, revestida por um complexo e belo universo de narrativas, vestimentas, cores, cheiros, coreografias, afetos, intenções, realizações e afirmações identitárias dos componentes dos rituais vivenciados. Chegou-se, ainda, à conclusão de que podemos considerar o que os umbandistas da Tenda Nossa Senhora da Guia, principal grupo estudado, entendem por sonoridade, um fato social total, clássico conceito cunhado por Mauss. Estrategicamente e borrando as fronteiras entre resistência e comunhão com a comunidade maior em que está inserida na cidade, a Tenda aprofunda a cada dia as suas raízes, fincadas por Maria Theodora Gonçalves de Paula nos idos de 1920, ainda escrava. Apesar de ter findado oficialmente em 1888, a escravidão permaneceu nos rincões do País que resistia às mudanças sociais, econômicas e políticas que ocorriam em território nacional. A Tenda, hoje, é uma instituição que estabelece importantes trocas simbólicas, econômicas, políticas, sociais, culturais e espirituais, a partir de um território quilombola reconhecido pela Fundação Palmares e na esfera religiosa, pela a Federação dos Cultos Afro-Brasileiros e Ameríndios de Mato Grosso do Sul (FECAMS) / The main objective of this work is to investigate the native point of view of the concept of sonority that is within the rituals of Umbanda in Corumbá, a city located in the State of Mato Grosso do Sul, Brazilian Midwest, underexplored in the literature on the subject. To conduct this research it was used Seegers concept, in which one must observe the entire context wherein the musical manifestation occurs, in other words, the "music as total social fact", in order to more deeply understand their meanings. Participant observation was the methodology and also in-depth interviews with some of the major characters within the context umbandista site. The field was also recorded through photographs, videos and audio recordings in order to enable the establishment of a collection, and also facilitate the transcription and analysis of the material collected and perhaps, allow developments of this work. As a conclusion, was found that its raw material, the sound frequencies, represent an ideal instrument for Umbanda, for the following reasons: first, the sounds, for its ethereal nature, may, like the orishas and spiritual entities constitute vibrations invisible to laymen, but not of the faithful, that penetrate bodies and can be seen in the spiritual world as in the physical world, and secondly, due to the first aspect, it is a perfect medium for the communication of both starting spiritual world toward its adherents as vice versa. It is through curimbas or points that the orishas sing their dijinas, in other words, their names, making continuity of an ancestral tradition. The pulse promoted by sound vibrations brings all the cosmological symbolism present in Umbanda, coated by a complex and beautiful universe of narratives, clothing, colors, smells, choreography, affections, intentions, accomplishments and claims identity component of the rituals experienced. Another conclusion was what umbandistas of Tenda Nossa Senhora da Guia, the main study group, mean by sounding a "total social fact", classic concept coined by Mauss. Strategically and blurring the boundaries between strength and communion with the larger community in which it operates in the city, the Tent deepens every day its roots, nailed by Theodora Maria Paula Gonçalves in the 1920s, still a slave. Although officially has elapsed in 1888, slavery remained in the corners of the country that resisted the social, economic and political changes occurring in the country. The Tent today is an institution which provides important symbolic exchanges, economic, political, social, cultural and spiritual, from a territory recognized by Quilombo Palmares Foundation and the religious sphere by the Federation of Afro-Brazilian cults and American Indians of Mato Grosso do Sul (FECAMS)

Debruçado sobre dez anos de anotações etnográficas em festas raves, esse trabalho foca brechas e rasuras: no universo extraordinário da festa irrompem questões não-resolvidas da vida cotidiana. Neste sentido, parte da desconfiança sobre a instauração de uma fantástica realidade absoluta e paralela pela festa, e trata de sua fragilidade e de seu inacabamento. Observa experiência rave atento a ruídos e esquecimentos, explorando pontos de contato entre a antropologia, os estudos da performance e o pensamento de Walter Benjamin. Esta pesquisa é disparada por fragmentos residuais de meu trabalho de campo em festivais raves de trance music realizados em cenários de natureza exuberante, praias idílicas, no entorno de cachoeiras, locais geralmente bastante distantes das atividades da vida cotidiana urbana. Nesses lugares tão próximos ao paraíso imaginado por muitas pessoas, outra imagem de sonho emerge: a Tribo Global. Agrupamento de uma cultura transnacional, a tribo global rave é construída através dos encontros das festas de música eletrônica e uma intensa troca pela Internet. Pela dinâmica social da festa irrompem utopias, esperanças e tensões. / Reading the ten years of ethnographic notes of rave parties, this work focuses on the lapses of the fantastic universe created by the party where some unresolved questions of everyday life comes to light. It comes from question of establishment of an absolute and a parallel reality of the party and deals with its own fragility and incompleteness. It proposes to attend to the experience of rave focusing on the noise and the forgotten elements in the performance that creates the party exploring points of contact between anthropology, performing arts and the Walter Benjamins thought. This research starts from residual fragments of the notes of my fieldwork in the Brazilians festivals - parties of trance music - that characteristically take place in wild nature scenarios, idyllic beaches, belong falls and forests, territories far way of day-by-day activities of urban way of life. Those are places very closed of an image of heaven, where other dreams image emerges: the Global Tribe. This global tribe is a grouping of a transnational culture, building in the encounters of electronic music parties around the world and an intensive exchange by the internet. Through the very especial social dynamic of the party emerge utopias, hopes and tensions.

Abstract Mixed media, as artful assemblages of digital objects and physical artefacts, provide distinctive opportunities for experiential, presentational and representational interaction. In project-based learning of architecture design, participants staged spatial narratives with multiple projections, performed mixed objects and artefacts, and exploited bodily movements in mixed representations. These cases show how physical interfaces in mixed media acquire a spatial dimension, integrate physical artefacts and bodily movements and propose configurability as a central feature. A perspective based on anthropological concepts of performance makes it possible to address these aspects in a coherent way, pointing to sense experience, the individuality and collective emergence of expression and its diachronic and event-like character. From this perspective, interaction is part of expressive events aimed at generating new insights for participants (interchangeable performers and spectators) privileging sense experience. Events are the outcome of configurations of space, artefacts and digital media, and are characterised by a simultaneousness of doing and undergoing, of bodily presence and representation. More importantly, the performance perspective suggests a particular temporal view of interaction, based on the concept of event, addressing a neglected granularity of analysis between the moment-by-moment unfolding of interaction and the longer term co-evolution of technology and practice. Implications of interaction as performance contribute to a wider program of interaction design, thereby providing alternatives to established human-computer interaction tenets: the notion of event is an alternative to the notion of task; perception in Dewey's terms replaces recognition proposing expression as an alternative to accountability and usability. Implications include looking at how space can be configured and staged instead of measured or simulated, and how situations can be staged instead of sensed and recognised, privileging the sensing human over the sensing system.

Orientador: Regina Aparecida Polo Muller / Acompanha 1 DVD / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T12:52:03Z (GMT). No. of bitstreams: 1 Villela_Alice_M.pdf: 3145749 bytes, checksum: 7cc7a1b36a2e2addc2b9024eeed8dbe8 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação aborda processos e transformações. De um lado, o grupo indígena Asuriní do Xingu (PA) em contexto marcado por mudanças decorrentes das relações com diferentes interlocutores akaraí (não-indígenas) e, de outro, uma pesquisadora em metamorfose durante um processo de investigação sobre o grupo indígena. A performance no ritual xamanístico Apykwara, momento liminar e subjuntivo, no qual os Asuriní expressam a experiência social em curso, é o lugar do encontro etnográfico, objeto de análise e de criação artística. Da pesquisa realizada resultaram dois produtos, uma etnografia a partir do recorte teóricometodológico da Antropologia da Performance, e o audiovisual Acontecências, produto artístico que tematiza as reflexões suscitadas durante o processo de trabalho com as filmagens realizadas em campo. Diante das imagens, a pesquisador a descobre um olhar sensível que deflagra sua percepção subjetiva na convivência com os Asuriní e que é lançado enquanto busca caminhos possíveis para uma investigação que se pretende na fronteira interdisciplinar entre a Arte e a Antropologia. O vídeo expressa a experiência da pesquisadora em campo na relação com o grupo indígena. Nesta dissertação, a pesquisadora e os Asuriní expressam experiências vividas por intermédio de uma forma estética. / Abstract: This dissertation is about processes and transformations. On one side, the indigenous group Asuriní from Xingu (PA) in a context of changes resulting from relationships with different akaraí (non-indigenous) interlocutors and, on the other side, a researcher in metamorphosis during the process of investigation about the indigenous group. The performance in the shamanistic ritual Apykwara, a moment of threshold and subjunctive experience, in which the Asuriní express the socialexperience in course, is the scenery for the ethnographic encounter, object of analysis and artistic creation. The research generated two products, an ethnography made from the theoretical-methodological point of view of the Anthropology of Performance, and the video Acontecências, artistic product which discusses reflections that arose during the film-making process in the field. In face of the images, the researcher finds a sensitive view that reveals her subjective perception in the living with the Asuriní and which is given birth to as she looks for possible ways for an investigation that intends to be in the frontier between Art and Anthropology. The video expresses the experience of the researcher in field, in her relation with the indigenous group. In this dissertation, the researcher and the Asurini express experiences they have lived by means of an aesthetical form. / Mestrado / Mestre em Artes

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-08-29T19:35:09Z No. of bitstreams: 1 arquivototal.pdf: 3131239 bytes, checksum: da4328bfc524eb41f8f877d352bd261a (MD5) / Made available in DSpace on 2016-08-29T19:35:09Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3131239 bytes, checksum: da4328bfc524eb41f8f877d352bd261a (MD5) Previous issue date: 2015-06-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims to present manifestos ritual relationship modes in the contexts of therapeutic agencies of afflictions, with the popular religiosity backdrop, and the specific focus of benzeção in popular Catholicism and religions of African origin. The construction of argumentative process tries to sketch a performative way of afflictions from flows of the surveyed interlocutors and inserting ways in the religious field specified above, the ritual plan for healing and solving everyday problems. The prospect of performance driven agency to analyze the afflictions have as reference the schema on the ritual function of transformation and transport system, prepared by Richard Schechner, which speaks to the formulation of Victor Turner about the corpus Ritual Ndembu - Affliction ritual / Initiation ritual. The discursive regimes or ritual experience called fetish ("feito") and eyed ("olhado") translate an elementary differentiation as to i) notion of body and person, ii) nature and etiology of affliction (etiological model) and iii) procedures for the treatment of affliction (therapeutic model). The transportation-transforming Richard Schechner system gives opportunity to identify two fundamental analysis tracks for engagement modes of subjects addressed in the context of therapeutic agency: i) A differentiation of conscious ways of relating with the action a "concentration gradient [in ] and control, ritual context of domain "and II) that experts healers, considered here, offer experiential rearrangement proposals from the reorganization or reclassification of experienced by subjects in a specific scenario proposed to them, for liturgies or public services dressings; ie, there is a strong link between liturgy and drama (-turgy), as predicted Victor Turner. / O presente trabalho tem como objetivo apresentar modos de relacionamento ritual manifestos nos contextos de agenciamentos terapêuticos das aflições, tendo como pano de fundo a religiosidade popular, no recorte específico da benzeção no catolicismo popular e as religiões de matriz africana. A construção do processo dissertativo tenta esboçar um percurso performativo das aflições, tendo em vista os fluxos e maneiras de inserção no plano ritual relativo à cura e resolução dos problemas cotidianos, a partir do campo religioso especificado acima. A perspectiva da performance acionada para analisar o agenciamento das aflições tem como o referência o esquema sobre a função ritual do sistema Transformação e Transporte, elaborado por Richard Schechner, o qual dialoga com a formulação de Victor Turner sobre o corpus Ritual Ndembu - Ritual de Aflição/Ritual de Iniciação. Os regimes discursivos ou de experiência ritual feito e olhado traduzem uma diferenciação elementar quanto à i) noção de corpo e pessoa, ii) natureza e etiologia da aflição (modelo etiológico) e iii) aos procedimentos relativos ao tratamento da aflição (modelo terapêutico). O sistema transportação-transformação de Richard Schechner oportuniza identificar duas pistas de análise fundamentais para os modos de engajamento dos sujeitos abordados, no contexto dos agenciamentos terapêuticos: I) Uma diferenciação dos modos de relacionamento consciente com a ação, um ―gradiente de concentração [no] e controle, domínio do contexto ritual‖ e II) que os agentes especialistas da cura, considerados aqui, oferecem propostas de rearranjo experiencial a partir da reorganização ou reenquadramento do vivido pelos sujeitos num cenário específico que lhes é proposto, por liturgias ou serviços públicos curativos; ou seja, há um vínculo sólido entre liturgia e drama(turgia), como já previra Victor Turner.

Cette recherche vise à mettre en lumière comment, par une chaîne de performances, des individus effectuent une communication culturelle qui permet de tracer de façon dynamique les frontières entre groupes communautaires. La communauté se révèle alors ne pas être une réalité préexistante, s’imposant aux individus passifs, mais une construction performative dont l’identification s’effectue par la participation à la conga. Pour ce faire je mobiliserai une approche générative et processuelle et la notion de performance sera conçue, non pas comme une catégorie phénoménologique étanche mais comme une notion susceptible d’inclure plusieurs modes de participation (spectacle, jeu, théâtralisation, interactions quotidiennes) liés à différents registres d’attention exercés par l’individu dans l’action. Au sein de l’espace global de la ville de Santiago de Cuba, Los Hoyos est un « quartier » souvent cité par des individus comme leur lieu de résidence. La fréquence des contacts, l’importance des services réciproques, la dépendance interindividuelle liée aux risques de dénonciation, mais également l’intensité émotionnelle et le degré d'intimité des échanges, constituent un espace social aux mailles très serrées et habité par un sentiment revendiqué de communauté. La première partie de ce travail, le « Faire Monde », part à la recherche de cette communauté.Dans le chapitre 1 j’ai considéré le groupe Los Hoyos distinct dans le sens où il constitue une catégorie spécifique attribuée et identifiée par ses acteurs. Néanmoins cette catégorie ascriptive ne correspond à aucune zone administrative officielle liée à la planification socialiste. De plus, la circonscription de l’espace n’entre non seulement jamais en correspondance d’un individu à l’autre, mais présente également des variations d’une ampleur considérable. Los Hoyos est représenté (opérations de bornage) et figuré (sketch maps) comme un espace allant de 5 blocs sur 4 à 15 blocs sur 13 et associant d’1 à 7 zones de planification socialiste. Ni les réseaux collaboratifs, ni les liens de parenté, ni les représentations individuelles de l’espace ne permettent de reconstruire l’attachement à un ensemble territorial conçu comme identitaire. L'analyse fait apparaître à l'intérieur de Los Hoyos une pluralité d'ensembles qui sont en conflit de définition et simultanément les informateurs s'accordent pour reconnaître des totalités symboliques qui les unissent. Il ne s'agit pas alors d'endosser l'essentialisme spontané des informateurs qui s’inscrivent dans une communauté présentée comme une entité immuable, traditionnelle etc., mais réussir à rendre ces catégories opératoires pour l'analyse. Je n'ai alors pas envisagé le symbolisme sous l'angle de son contenu, mais pour la forme distinctive du style sur lequel il se construit. Style conçu comme la mise en relation spécifique par laquelle la conga construit une production symbolique dont le contenu est interprété comme particulier à la communauté de Los Hoyos. Cela fait apparaître deux relations cruciales :-Ces totalités se construisent par une mise en relation sous forme de renvois réciproques entre les domaines quartier et conga. La conga de los Hoyos, un ensemble de percussion musical dont le foyer se trouve à l’épicentre des représentations du quartier, constitue un paradigme significatif de l’organisation d’un répertoire symbolique signifiant pour le groupe. Les traits symboliques deviennent des véhicules autoréférentiels pour désigner un système de relations construit lors des performances. Le sentiment d’appartenance à la communauté de Los Hoyos se construit alors par la forme du contrepoint qui conjugue le sentiment unitaire et la variabilité individuelle. - La réalisation de plusieurs cartographies (sketch maps et développement spatiotemporel des performances) mises en relation, révèlent une correspondance directe entre les polarisations des représentations de l’espace communautaire et les parcours de la conga. Si les analyses... / This research aims to highlight how, through a chain of performances, individuals perform a cultural communication which allows to dynamically draw the boundaries between community groups. Community reveals itself not be a pre-existing reality imposing liability on individuals, but a performative construction whose identification is achieved by the participation to the conga. I will mobilize a generative and processual approach, and the notion of performance will be considered, not as an hermetic phenomenological class, but as a notion which may include several modes of participation (shows, games, drama, dramatization, daily interactions) associated with different registers of attention mobilised by the individual in the action.Within the global space of the city of Santiago de Cuba, Los Hoyos is a "neighborhood" often cited by individuals as their place of residence. The frequency of contacts, the importance of reciprocal services, inter-dependence related to the risk of denunciation, but also the emotional intensity and intimacy of trade and interactions create a very tight social space, inhabited by a strong sense of community. The first part of this work, "Faire Monde" goes to the quest of this claimed community.In Chapter 1 I considered the group Los Hoyos distinct in the sense that it is a specific category assigned and identified by its actors. However, this ascriptive category does not match any official administrative area linked to socialist planning. In addition, the division of space not only doesn’t match from one individual to another, but also presents variations of considerable magnitude. Los Hoyos is represented ( operations de bornage ) and figurated (sketch maps) as a space that goes from 5 blocks over 4, to 15 blocks over 13, and associating 1 to 7 areas of socialist planning. Neither collaborative networks nor kinship ties, nor individual representations of space allow reconstructing the attachment claimed as a territorial identity. The analysis reveals inside of Los Hoyos a plurality of settings that are in conflict of definitions and simultaneously informants agreed to recognize symbolic totalities between them. It is not then to endorse the spontaneous essentialism of my informants who represent themselves into a community presented as an unchanging entity, traditional etc., but to succeed in making these categories operational for analysis. I did not consider the symbolism in terms of its content, but for the distinctive shape of the style on which it is built. Style must then be understood as the specific relationship setting on which the conga build a symbolic production which content is interpreted as particular to the community of Los Hoyos. This reveals two crucial relationships:-These totalities are constructed by linking in the form of cross-references the domains” neighbourhood” and “conga”. The Conga of los Hoyos, a group of musical percussion whose house is the epicentre of the representations of the neighbourhood, is a significant paradigm in organizing a symbolic repertory meaningful for the group. Symbolic features become self-referential vehicles to designate a system of relationships built during the performances. Sense of belonging to the community of Los Hoyos is then constructed by the form of the counterpoint which combines the sense of unity and the individual variability. - The realization of several maps (sketch maps and maps of the spatiotemporal development of performances), once juxtaposed, reveals a direct correlation between the polarizations of the representations of the community’s space and the conga’s journeys. If the analyze of networks of sociability, economic activity and representations of space highlighted a valuation of "side by side", it is the conga, then both emblem and vector of the community which seems to allow, by the performance, to be "linked to".Chapter 2 goes in search of the sense of group identity through specific relationships to...

À l’île de La Réunion, la marche sur le feu est un cycle rituel hindou annuel qui dure dix-huit jours. Rythmé par des prières et des mises en scène, son acmé est la spectaculaire traversée pieds nus d’un tapis de braises ardentes. Les individus choisissent délibérément de se soumettre à l’épreuve du feu, ils se sacrifient en l’honneur de la divinité. Dans le cadre de l’anthropologie de la performance, par l’analyse du cycle rituel et des paroles des pratiquants, cette recherche propose d’appréhender les motivations qui exhortent un individu à s’engager dans cette pratique à l’intérieur de l’univers créole. Elle propose de découvrir les modalités par lesquelles l’individu abandonne l’espace sécure et fait face au risque. L’idée directrice de cette thèse est que l’implication dans le rituel n’est jamais sans réserve, elle est un choix entériné par un désir sous-jacent, plus ou moins conscient, de changement d’une situation que le pratiquant souhaite améliorer ou d’un problème qu’il entend régler. La préparation à l’épreuve demande de plonger dans l’intime, de scruter l’être au plus profond. Le rituel, dans son efficacité, a un impact sur la vie future. La marche sur le feu est, in fine, une réponse à un besoin de l’individu en quête de sens, un outil pour devenir l’artisan de sa propre vie. / In La Réunion fire-walking is an annual Hindu ritual which lasts for eighteen days. Rhythmed by prayers and representations, its acme is the spectacular barefoot walk across a pit filled with hot embers. The individuals choose deliberately to submit themselves to the trial by fire, they sacrifice themselves in honour of a divinity. Within the framework of the anthropology of the performance, by the analysis of the ritual and the words of the practitioners, this research analyses the motivations which exhort an individual to commit themselves to this practice in the Creole universe. It suggests exploring the modalities by which the individual abandons a secure space and faces risk. The leading idea of this thesis is that the implication in the rite is never without reserve, it is a choice confirmed by an underlying desire – more or less conscious – of changing a situation which the devout wishes to improve, or of a problem which the devout wants to solve. In preparation for the event, the devout dives deep into the intimate and scrutinises the inner self. The rite, in its efficacy, has an impact on the future life. Fire-walking is, in fine, an answer to a need for the individual who is in search of meaning and a tool to become the artisan of one’s own life.

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / Interpreta a campanha televisiva Lula Presidente, veiculada no HorÃrio Gratuito de Propaganda Eleitoral (HGPE) em 2002, delimitando a anÃlise sobre os momentos fortemente marcados pela presenÃa de emoÃÃes. Descreve alguns programas inteiros, assim como fragmentos de outros, buscando apreender os mecanismos de expressÃo de sentimentos. Confronta o corpus com o contexto histÃrico, relacionando as emoÃÃes presentes nos programas a estratÃgias eleitorais. Define dois modos estratÃgicos bÃsicos, que abrangem o material apreciado. Utiliza fundamentos teÃrico-metodolÃgicos da Antropologia da Performance, assim como noÃÃes de SemiÃtica. / This study interprets the broadcast campaign “Lula for President”, as shown on the Free Timetable for Electoral Propaganda in the year 2002, delimiting the analysis on the moments strongly marked by the presence of emotional contents. It describes some full programs as well some fragments of others, intending to seize the mechanisms of the expression of variable feelings. It compares the corpus with the historical context, relating the emotions inside the programs and electoral strategies. It defines two basic modes in strategy that comprehend the collected material. Utilizes theory and methodological resources of the Anthropology of Performances as well Semiotic notions.