SILVA, Sammia Castro. Campo de saberes da capoeira cearense: um estudo sobre o centro cultural capoeira água de beber (2002-2016). 2016. 170f. - Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-01-23T15:52:37Z No. of bitstreams: 1 2016_scsilva.pdf: 5538011 bytes, checksum: 8a3e8ff15c59edb75385637886be477c (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-25T16:53:44Z (GMT) No. of bitstreams: 1 2016_scsilva.pdf: 5538011 bytes, checksum: 8a3e8ff15c59edb75385637886be477c (MD5) / Made available in DSpace on 2017-01-25T16:53:44Z (GMT). No. of bitstreams: 1 2016_scsilva.pdf: 5538011 bytes, checksum: 8a3e8ff15c59edb75385637886be477c (MD5) Previous issue date: 2016 / This work sought to know pedagogical practices of capoeira from the beginning of the XXI century, capoeira period gained greater political prestige in Brazil and the world due to patrimonialist policies. The methodology used was the Case Study, that is, an intensive qualitative research in documents and oral reports of a certain group of capoeira of the city of Fortaleza, the Cultural Center Capoeira Water of Drink- CECAB. The relevance of this study is to contribute with knowledge about the Field of Knowledge that constitutes this socioeducational space in constant expansion. The data collection process developed from the historical record of aspects of the main projects undertaken by the group which, in addition to the ritualistic practice of Capoeira, also promotes qualification courses, events and shows with a view to researching cultural diversity in a general way and Capoeira. Among the results obtained, we emphasize that the Capoeira Field of Knowledge assumes relations with traditional scientific fields of formal education and with traditional popular knowledge. However, it does not refer to an eminently disciplinary field with rigid and cast structures, but rather a free field of action of charismatic educators with a leadership profile. It is a field in which some knowledges are highlighted according to the collective interests of a given period and the motivation derived from corporal practices, offering subsidies for active and critical teaching proposals. Therefore, we conclude that the projects investigated are collective pedagogical actions that, through public and private resources, perpetuate knowledge about African and indigenous cultural values and elements, from a multicultural perspective. / Este trabalho pretendeu registrar práticas educativas da capoeira cearense a partir do início do século XXI, período em que a capoeira obteve maior prestígio político no Brasil e no mundo em virtude das políticas patrimonialistas vigentes. A imersão nos saberes e modos de ensinar a capoeira foi realizada através de uma análise sobre as práticas educativas do Centro Cultural Água de Beber - CECAB, ou seja, um Estudo de Caso. Portanto, trata-se de uma pesquisa qualitativa intensiva em documentos e relatos orais, cuja relevância consistiu em responder ao seguinte questionamento: Do que é constituído o Campo de Saberes da Capoeira na atualidade? O processo de coleta de dados se desenvolveu a partir do registro histórico de aspectos dos principais projetos empreendidos pelo grupo que, além da prática ritualística da Capoeira, também promove cursos de qualificação, eventos e espetáculos, em uma perspectiva de pesquisar a diversidade cultural de um modo geral e da Capoeira. Entre os resultados obtidos, destacamos que o Campo de Saberes da Capoeira assume relações com campos científicos tradicionais da educação formal e com os saberes populares tradicionais. Contudo, não se refere a um campo eminentemente disciplinar com estruturas rígidas e imutáveis, mas sim um campo livre de atuação de educadores carismáticos e com perfil de liderança. É um campo em que alguns saberes são postos em evidência de acordo com os interesses coletivos de determinado período e pela motivação oriunda das práticas corporais, oferecendo subsídios para propostas de ensino ativo e crítico. Portanto, concluímos que os projetos investigados são ações educativas coletivas que, através de recursos públicos e privados, perpetuam conhecimentos sobre valores e elementos culturais africanos e indígenas, numa perspectiva multicultural.

Throughout the late eighteenth century, many Brazilians became inspired by the political revolutions of the French and American colonies and sought for a similar type of revolution, hoping to gain independence from the Portuguese. One nationalistic group, the "Inconfidência Mineira," probably influenced the art of the sculptor Aleijadinho (1738-1814). Aleijadinho's work has been examined as a political message previously, but never as propaganda through the representation of capoeira, an Afro-Brazilian martial art. Capoeira probably formed as a means for Afro-Brazilian slaves to fight their way out of captivity. While training to fight, slaves would disguise capoeira to look like a dance, so that slave owners would not suspect rebellion. Through the visual representation of capoeira, Aleijadinho's statues of twelve Old Testament prophets at the sanctuary Bom Jesus dos Matozinhos express a call for liberation, not only liberation for African slaves, but also for Brazilian colonists under Portuguese rule. This study examines the circumstances that may have contributed to the influence of capoeira in the Prophets. Being a mulatto, Aleijadinho's ancestral connections to the Afro-Brazilian community likely contributed to the sculptor's exposure to capoeira. In addition, the rise and fall of the rebel group, "The Inconfidência Mineira" took place in Aleijadinho's home town at this time. This study examines how Aleijadinho may have been associated with rebel sympathizers and how the execution of the rebel leader, Tiradentes, could have affected Aleijadinho's art. The argument for capoeira also includes a discussion of the martial art's origins and the history of slavery in Minas Gerais, Aleijadinho's home state. The comparative method is used to support the argument for capoeira in the Prophets' composition and gestures. By interpreting these gestures as belonging to capoeira, this argument refutes previous interpretations that the Prophets were influenced by ballet and other forms of dance. This study concludes with an exploration of how the Prophets can be interpreted as political propaganda through the signifiers and signs of capoeira. It is through these signs that the Prophets can be understood as a call for liberation, taking part in the political propaganda which permeated Minas Gerais during Aleijadinho's lifetime.