Submitted by Edson Renato Nardi (filosofia.ead@claretiano.edu.br) on 2016-11-04T17:12:48Z No. of bitstreams: 1 Tese Edson Renato Nardi.pdf: 1471048 bytes, checksum: f9b394d87adab528f14a79056a41c2b4 (MD5) / Rejected by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: No campo “Versão a ser disponibilizada online imediatamente” foi informado que seria disponibilizado o texto completo porém no campo “Data para a disponibilização do texto completo” foi informado que o texto completo deverá ser disponibilizado apenas 6 meses após a defesa. Caso opte pela disponibilização do texto completo apenas 6 meses após a defesa selecione no campo “Versão a ser disponibilizada online imediatamente” a opção “Texto parcial”. Esta opção é utilizada caso você tenha planos de publicar seu trabalho em periódicos científicos ou em formato de livro, por exemplo e fará com que apenas as páginas pré-textuais, introdução, considerações e referências sejam disponibilizadas. Se optar por disponibilizar o texto completo de seu trabalho imediatamente selecione no campo “Data para a disponibilização do texto completo” a opção “Não se aplica (texto completo)”. Isso fará com que seu trabalho seja disponibilizado na íntegra no Repositório Institucional UNESP. Por favor, corrija esta informação realizando uma nova submissão. Agradecemos a compreensão. on 2016-11-08T18:16:31Z (GMT) / Submitted by Edson Renato Nardi (filosofia.ead@claretiano.edu.br) on 2016-11-09T11:40:26Z No. of bitstreams: 1 Tese Edson Renato Nardi.pdf: 1471048 bytes, checksum: f9b394d87adab528f14a79056a41c2b4 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-09T13:36:10Z (GMT) No. of bitstreams: 1 nardi_er_dr_araflcl.pdf: 1471048 bytes, checksum: f9b394d87adab528f14a79056a41c2b4 (MD5) / Made available in DSpace on 2016-11-09T13:36:10Z (GMT). No. of bitstreams: 1 nardi_er_dr_araflcl.pdf: 1471048 bytes, checksum: f9b394d87adab528f14a79056a41c2b4 (MD5) Previous issue date: 2016-07-27 / Essa tese buscou investigar a eventual presença de rituais de passagem em uma escola pública do interior de São Paulo e, mais especificamente, no processo de construção e produção das vestimentas intituladas: camisetas de formatura. Para tanto, foi utilizado como fundamento epistemológico, as considerações e investigações sobre rituais de passagem emitidas pelos antropólogos Arnold Van Gennep e Victor Turner. O método utilizado foi eminentemente qualitativo e que se concretizou pela aplicação das técnicas de observação participante e pela aplicação de entrevistas semi-estruturadas. Da coleta e análise dos dados obtidos, concluiu-se que existem elementos envolvidos no processo de produção e construção dessas camisetas que nos autorizam a categorizá-los como liminares e que, nesse contexto, acontecem episódios esporádicos de communitas. No entanto, para que esses episódios ocorram, constatou-se que há a necessidade de uma conjuntura grupal, que crie condições favoráveis para seu surgimento. / This thesis aimed to investigate the possible presence of rites of passage in a public school in the State of São Paulo and, more specifically, in the construction and production process of entitled garments: t-shirts graduation. Thus, it was used as an epistemological foundation, considerations and investigations of passage rituals issued by anthropologists Arnold Van Gennep and Victor Turner. The method used was eminently qualitative and that was achieved by applying participant observation techniques and the application of semi-structured interviews. The collection and analysis of data, it was concluded that there are elements involved in the production process and construction of these shirts that allow us to categorize them as liminality and that in this context happen sporadic communitas. However, for these episodes occur, it was found that there is a need for a group situation, to create favorable conditions for these episodes effectively occur..

The aim of this thesis is to provide a social anthropological analysis and interpretation of the freetekno party phenomenon in the Czech Republic from synchronic and diachronic perspective. The author bases his argument on both his own field research and professional literature on the topic. An extended case method serves as a basic methodological Framework. After introduction of selected theoretical concepts (music scene, neotribes, youth subculture, rites de passage, liminality and liminoidity, spontaneous communitas and rhizom) as well as outline of the current state of research in the area of study of the freetekno party phenomenon, there is an empirical part of the thesis which consists of two main parts: the historical-ethnographic and the analytical-interpretative. The first part describes the first rave party in Great Britain, expansion of this phenomenon in continental Europe, its adoption in the Czech Republic and its gradual evolution up to the present. The following part serves as an analytical-interpretation of the above-outlined situation and a subsequent socio-anthropological interpretation. Freetekno scene is described as neotribal rhizom and freetekno events are subsequently conceptualized as unique ritual processes. The transformation of the freetekno phenomenon is then...

In this autoethnographic journey we aim to redefine sustainability by becoming aware of our current dominant thought paradigm which created the current sustainability issues in the first place. This thesis explores the nuances of growth in consciousness and a transformation in our internal capacities through transformative direct-intuitive practices and tools. We argue that the root of the current sustainability challenges can be seen as an amplification created through our dominant perception of reality. Therefore, a need for an intrinsic transformational shift is fundamental in order to fully act toward sustainability. ‘Sustainability’ is not a state of the world, nor only a pathway to a specific state. In this inquiry, sustainability is perceived as the ability to recognize the paradigmatic premises of the pathway that we are creating and to become aware of the implications of these premises in an effort that we may create more inter-relational, regenerative, fair, beautiful worlds. This includes transforming feelings of eco-anxiety, which we not only see as a symptom of the ‘external’ environmental crisis but also of our current relationship with ourselves.

The aim of this essay is to study patterns in peoples behaviour in the subway. I analyse the subway as a liminal space and a non-place. Through ethnographic observations in the subway in Stockholm, and with the use of sensory autoethnography and rhythm analysis, I have gathered my data. I argue that there are two things that make the subway a liminal space and a non-place: the physical design of the room, and the norms that the people on the subway create and maintain. By analysing the rhythms of the subway I show that people sustain a collective rhythmic order by adapting and coordinating their behaviour. It is physically a neutral room and does not provide anything to do other than to sit or stand and wait. It is an in-between-space that people only pass through. With the use of technology, such as mobile phones and headphones, passengers can mentally disengage from the subway. The norm of the subway is to be indifferent towards each other and towards the space. By complying with these rules, passengers create a specific sort of community, an anti-communitas. Sellers, beggars and can collectors break these rules by interacting with the surroundings and by not utilising the subway as a space for transit. By using it as a place, they are using it incorrectly. The subway is a peculiar space with specific norms that, when followed, create a liminal space and a non-place.

Uppsatsen studerar supporterkulturen inom svensk ishockey ur ett kulturantropologiskt perspektiv. Baserat på deltagande observationer, sensorisk etnografi och semistrukturerade intervjuer under två månaders tid, behandlar uppsatsen hur den sociala kulturen i form av gemenskap och gemenskapsbyggande i Leksands IF och Brynäs IF:s hejarklackar utformas. Den diskuterar skillnaden mellan hur människor uppträder i sin vardag jämfört med i hejarklacken, analyserar hur jämlikhet och hierarki uttrycks samt utforskar vad de har för påverkan på gemenskapsbyggande. Slutligen studerar uppsatsen centrala symboler i hejarklacken, deras betydelse samt påverkan på gemenskap. Analysen genomförs med hjälp av Victor Turners (1969) teori om friktionen mellan struktur och anti-struktur där bland annat communitas och liminalitet är två centrala begrepp som används för att analysera det empiriska materialet. När gemenskap och gemenskapsbyggande diskuteras, hänvisas det nästan uteslutande till Turners begrepp ”communitas”, vilket är en av de stora byggstenarna i uppsatsen.

Made available in DSpace on 2009-11-18T19:01:38Z (GMT). No. of bitstreams: 1 mbgomes.pdf: 1916342 bytes, checksum: d3e274b572fe37fd42cf2d47606bb34f (MD5) Previous issue date: 2008 / This work aims to explore the context and emotions related to the experience of scuba diving as hedonic consumption, as well as to understand in which conditions the benefit arising from the regular practice of this activity impact the identity construction of the practitioner. Through in-depth interviews, data were collected from scuba divers living in the city of Rio de Janeiro, during the months of January and February of 2008. In order to obtain the expected objectives, the chosen methodology of research was qualitative, with priority of the subject and the subjectivity, using an interpretative approach for the data analysis. The research results confirm some benefits of high-risk sports practice such as flow, self-evolution and communitas. Two additional benefits are presented: the condition of alterity of the ¿underwater world¿, which attributes extraordinany meaning to scuba diving and impacts identity construction, and the scuba ¿buddy¿ practice, that helps to build-up an overall sense of trust to the other. The work is concluded with some managerial recommendations aiming the development of scuba diving industry and related tourism. These above mentioned suggestions include a new industry positioning, integrated marketing communications with specific references to alterity and flow, market segmentation, the creation of gathering spaces and a gradation scale among practitioners. / Este trabalho tem como objetivo explorar o contexto e as emoções relacionadas à experiência do mergulho scuba como atividade hedônica e as condições em que os benefícios oriundos de seu consumo habitual impactam a construção de identidade do praticante. Por meio de entrevistas em profundidade, foram coletados dados junto a mergulhadores scuba residentes na cidade do Rio de Janeiro, durante os meses de janeiro e fevereiro de 2008. Para atingir os objetivos propostos, o método de pesquisa adotado foi qualitativo, com priorização do sujeito e da subjetividade, utilizando-se uma forma interpretativa para análise de dados. Os resultados confirmaram alguns benefícios da prática de esportes de alto risco já pesquisados academicamente como o fluxo, communitas e evolução pessoal. Apresentam-se dois benefícios adicionais: a condição de alteridade do mundo submarino, que atribui significância extraordinária a essa atividade esportiva e impacta a construção identitária dos envolvidos, e a prática de dupla de mergulho, que desenvolve uma confiança generalizada no próximo e serve como referência na definição do indivíduo. Conclui-se o trabalho, fazendo-se recomendações gerenciais com o intuito de beneficiar e desenvolver a indústria e o turismo relacionado a esse esporte. Essas sugestões incluem um novo posicionamento da indústria, comunicação integrada de marketing com menções específicas à alteridade e à experiência de fluxo, segmentação de mercado, criação de espaços de convivência para praticantes e por último, a criação de uma gradação relativa aos diversos níveis de mergulhadores.

This thesis intends to introduce Israeli folk dance from a number of different perspectives. In the first part, based on literature review, the author presents the origins of Israeli folk dances in Israel as well as their roots and the way they further function in a current Israeli society. Special attention is given to the problematic labeling of Israeli folk dance as "folk". The second part of the thesis is based on the author's own field work and describes the ways Israeli folk dances are practiced in the Czech environment. Whereas in Israel these dances are mostly connected with demonstration of Israeli identity, they get different meanings in the Czech environment. Firstly the author attempted to reconstruct the history of spreading of Israeli folk dances in the Czech environment and to map the different groups involved in these dances. Collection of these facts can be further used as an information source for all researchers wishing to conduct studies on Israeli folk dances in the Czech Republic in the future. Secondly the author concentrated on the ways of practicing Israeli folk dances in a Prague group called Besamim. Based on participant observation and interviews with the dancers the author attempted to illustrate the significance of these dances in the lives of people, who practice them...

The relationship between performer and spectator is a constant topic in theatre since audiences are essential to any performance. Some contemporary performances strive to blur the line between the two by allowing audiences to participate during the show. Often, audience participation is despised and therefore avoided by spectators and theatre practitioners. However, Blue Man Group thrives on it due to their authentic character, adaptable narrative, and accessible space. Through my examination of the show as an audience member, I theorize that these three elements control the audience's willingness to participate in the production and in turn make the entire experience more rewarding and memorable as performer and spectator share roles in order to create this performance. Chris Wink, Matt Goldman, and Phil Stanton co-founded Blue Man Group in 1987, and received their first official venue in 1991. Blue Man Group is a ninety-minute variety show that utilizes rock music, theatrical vignettes, and experiments with science, art, and modern technology to explore the ways in which humans express and communicate. This unprecedented show performs in multiple locations daily throughout the United States, Germany, and has also captivated audiences of all ages around the world. The most popular and recognizable element to the show is the humanoid Blue Man character. He does not speak or make large facial expressions. Instead, he mainly observes intently and follows commands, much like a spectator. His original physical attributes, honest behavior and communication, and authoritative presence through three performers grant him authenticity. His unique personality draws in an audience's interest and investment in the character and the entire production. The co-founders identify the Blue Man Group adaptable narrative as “Neo-Vaudeville”, mixing many forms of science and art together. The cast, crew, and audience take part in the show through tribal training, developing communitas as they watch and learn, call and respond, to the show's commands. The pieces that contain audience participation utilize various types of invitation, coaxing audiences into participation in effective ways. Through an exploration of visual and aural perception, spatial fluidity, and technology, Blue Man Group's use of space connects its audiences to the performance and helps them consider more deeply their connections with others. Thus people often participate during the show and enjoy doing so. This level of investment and excitement is necessary for successful audience participation. Thus Blue Man Group is a blue print for how live theatre can form a powerful relationship with audiences.

This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.

The artistic research, Kehrä/ Kehrae is done together with Myrsky Rönkä, with significant ropes, places and spaces, creatures and histories. This paper is subtitled entwining possible worlds. It implies alternative possibilities for prevailing modern western ways to live and die and circus. There are three big questions in the air: What is the meaning of circus? What does it mean to be alive? And how could circus care (the existence of life within the earth)? The starting point was a concern about the troubling state of life and the world how it is today and how the modern western circus felt paradoxical and incapable of responding to the current times in sustainable ways. The initial question was, how to combine circus and other aspects of life into one sustainable, or regenerative and renewable practice. In order to seek other, latent realities this research goes beyond modern western circus history, beyond modern western worldview, and beyond “ordinary” circus practice.  The guiding idea is: life is circus, circus is life. Therefore the practice in this research is a collection of “whatever we were doing”. To mention some with great importance: whirling, meditation, becoming-with rope, making and mapping space with ropes and strings, dwelling with nature, and sauna. The other idea is to go through liminality and evoke communitas, with circus practice, bodies, ropes, and others.  This means abandoning accustomed ways to train and think about circus and life. Because of its nature, this work is also opening up what could spiritual (circus) practice mean as an alternative to a mechanistic way of thinking and making. The ontology of this research is animistic and relational, which suggests care, respect, reciprocity, and response-ability in all of our relations and takes into account the circulative nature of time and life. Animistic ontology takes materiality and skill towards the idea of becoming-with, when becoming into who and what happens in relational material-semiotic worlding. During the process, some specific features, or dwelling places for circus, emerged. Those are circus and play, circus and liminality, circus and shamanism, circus and others. In these dwelling places lies the deep powers of circus to be inversive and subversive, simultaneously transformative and sustaining: the mythical power of circus. Through the final artistic outcome Kehrä/ Kehrae, this paper is entwining the strings of the research together as a temporary gathering to be unraveled and intertwined into one again.