Os terreiros de candomblé têm papel fundamental na manutenção e difusão de tradições ancestrais: idiomas, arte, a preparação dos alimentos, as vestimentas, cânticos, danças, batuques e toda sorte de símbolos materiais e imateriais, mantidos, repassados e transpassados pela tradição e memória de várias gerações. Para a observação e análise de parte deste complexo cultural, a presente dissertação analisará algumas ações culturais e educativas desenvolvidas no Ilé Omiojuaró, terreiro de Candomblé da Baixada Fluminense, região metropolitana do Rio de Janeiro, liderado por Mãe Beata de Iyémonjá, yalorixá, ativista e referência na luta pela liberdade religiosa e pelos direitos humanos na América Latina. Por ser uma temática extensa, pois se trata de um complexo cultural com um imenso e diverso volume de informações, saberes e fazeres, onde o terreiro terá sua própria dinâmica e especificidade, escolhi observar os processos educativos através de duas ações culturais desenvolvidas nos cotidianos do terreiro pesquisado: o projeto cultural OriRe e a participação do terreiro no projeto A Cor da Cultura, por intermédio de sua associação cultural sem fins lucrativos, o INDEC (Instituto de Desenvolvimento Cultural do Ilé Omiojuaró). Para tanto, utilizaremos entrevistas, relatórios de trabalhos, conversas, imagens fotográficas e imagens da web. A conclusão da pesquisa ocorre justamente no ano em que o terreiro pesquisado comemora seus 30 anos de existência / The Candomblé play a fundamental role in the maintenance and dissemination of ancestral traditions: languages, art, food preparation, the costumes, singing, dancing, drumming and all sorts of material and immaterial symbols, held, transferred and passed through the tradition and memory several generations. For observation and analysis part of this cultural complex, this thesis will examine some cultural and educational activities developed in Ilé Omiojuaró, Candomblé yard of Baixada Fluminense, the metropolitan area of Rio de Janeiro, led by Mãe Beata Iyémonjá, yalorixá, activist and reference in the struggle for religious freedom and human rights in Latin America. Being an extensive theme, because it is a cultural complex with a vast and diverse amount of information, knowledge and practices, where the yard will have its own dynamic and specificity, chose to observe the educational processes through two cultural activities developed in the everyday researched yard: the cultural project OriRe and the yard participation in the project A Cor da Cultura, through its cultural non-profit association, the INDEC (Instituto de Desenvolvimento Cultural do Ilé Omiojuaró). For so much, interviews, work reports, conversations, images and web images. The conclusion of the research occurs precisely in the year in which the yard researched celebrates its 30 years of existence

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-09-26T13:39:50Z No. of bitstreams: 1 DISS_2015_Ivoneides Maria Batista do Amaral.pdf: 2527620 bytes, checksum: 83c1280d7dd22ffa7f32a7d8a8e797ce (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-09-26T15:02:53Z (GMT) No. of bitstreams: 1 DISS_2015_Ivoneides Maria Batista do Amaral.pdf: 2527620 bytes, checksum: 83c1280d7dd22ffa7f32a7d8a8e797ce (MD5) / Made available in DSpace on 2016-09-26T15:02:53Z (GMT). No. of bitstreams: 1 DISS_2015_Ivoneides Maria Batista do Amaral.pdf: 2527620 bytes, checksum: 83c1280d7dd22ffa7f32a7d8a8e797ce (MD5) Previous issue date: 2015-11-05 / O conceito de performance cultural, enquanto proposta dramatúrgica foi articulada através da junção dos estudos de Schechner e Turner, da concepção de que todo comportamento restaurado é uma performance, procurando revelar o caráter dinâmico, vivo e transformador próprio da comunidade (DAWSEY, 2013). A performance cultural ocorre em diferentes contextos sociais, em cada performance, criam-se novas configurações, novos espaços e espectadores. Neste trabalho, observamos a Dança dos Mascarados de Poconé composta por 28 homens que se vestem com máscaras e roupas coloridas para a realização do ritual coletivo, desempenhando uma conexão entre os dançantes e a comunidade. Pensando na Dança dos Mascarados como Performance cultural, é possível pensar na dança como uma ação extra cotidiana, uma arte da presença e uma ação coletiva. A dança interrompe as experiências rotineiras e se inscreve numa nova temporalidade. / The concept of the cultural performance, as dramaturgical proposal was articulated through Schechner and Turner’s studies, of conception that all restored behavior is a performance trying to reveal the dynamic character, living and community own transformer (DAWSEY, 2013). The cultural performance occurs in different social contexts, each performance, creates new configurations, new spaces and spectators. In this study, we observed the Dança dos Mascarados of Poconé, composed by 28 men who dress up with masks and colorful clothes, for the realization of collective ritual, playing a connection between the dancers and the community. Thinking in the Dança dos Mascarados as a cultural performance, it is possible to think in the dance as a daily extra action, an art of presence and a collective action. The dance interrupts the routine experiences and is part of a new temporality.

Os terreiros de candomblé têm papel fundamental na manutenção e difusão de tradições ancestrais: idiomas, arte, a preparação dos alimentos, as vestimentas, cânticos, danças, batuques e toda sorte de símbolos materiais e imateriais, mantidos, repassados e transpassados pela tradição e memória de várias gerações. Para a observação e análise de parte deste complexo cultural, a presente dissertação analisará algumas ações culturais e educativas desenvolvidas no Ilé Omiojuaró, terreiro de Candomblé da Baixada Fluminense, região metropolitana do Rio de Janeiro, liderado por Mãe Beata de Iyémonjá, yalorixá, ativista e referência na luta pela liberdade religiosa e pelos direitos humanos na América Latina. Por ser uma temática extensa, pois se trata de um complexo cultural com um imenso e diverso volume de informações, saberes e fazeres, onde o terreiro terá sua própria dinâmica e especificidade, escolhi observar os processos educativos através de duas ações culturais desenvolvidas nos cotidianos do terreiro pesquisado: o projeto cultural OriRe e a participação do terreiro no projeto A Cor da Cultura, por intermédio de sua associação cultural sem fins lucrativos, o INDEC (Instituto de Desenvolvimento Cultural do Ilé Omiojuaró). Para tanto, utilizaremos entrevistas, relatórios de trabalhos, conversas, imagens fotográficas e imagens da web. A conclusão da pesquisa ocorre justamente no ano em que o terreiro pesquisado comemora seus 30 anos de existência / The Candomblé play a fundamental role in the maintenance and dissemination of ancestral traditions: languages, art, food preparation, the costumes, singing, dancing, drumming and all sorts of material and immaterial symbols, held, transferred and passed through the tradition and memory several generations. For observation and analysis part of this cultural complex, this thesis will examine some cultural and educational activities developed in Ilé Omiojuaró, Candomblé yard of Baixada Fluminense, the metropolitan area of Rio de Janeiro, led by Mãe Beata Iyémonjá, yalorixá, activist and reference in the struggle for religious freedom and human rights in Latin America. Being an extensive theme, because it is a cultural complex with a vast and diverse amount of information, knowledge and practices, where the yard will have its own dynamic and specificity, chose to observe the educational processes through two cultural activities developed in the everyday researched yard: the cultural project OriRe and the yard participation in the project A Cor da Cultura, through its cultural non-profit association, the INDEC (Instituto de Desenvolvimento Cultural do Ilé Omiojuaró). For so much, interviews, work reports, conversations, images and web images. The conclusion of the research occurs precisely in the year in which the yard researched celebrates its 30 years of existence

During New Zealand’s comparatively short history as a nation, its cuisine has undergone great development. The culinary traditions brought by the early settlers, from both Eastern Polynesia and then Britain, offered a relatively limited variety, however, since the late 20th century New Zealand’s foodways have undergone a revolution; today a smorgasbord of international cuisines awaits our selection. This gastronomic range is the result of a number of factors which include the influx of diverse immigrants, increased air travel by New Zealanders, the return of military personnel from overseas and globalisation. To conduct this investigation of the relationships between people, identity, food and place I approach the topic from three perspectives. Firstly, I examine how exotic foods are used to link immigrants to New Zealand with loved ones in their homelands, and also how the same foods act as a bridge between those immigrants and other New Zealanders. Secondly, I look at how exotic foods serve to connect New Zealanders with, generally, far-away places, as through its evocative powers food has the ability to transport ordinary people to places where they may rather be. Lastly, I explore how some New Zealanders are making exotic foods ‘ours’ by combining them with the abundance of fresh local produce. Appropriating the exotic and combining it with the indigenous to make it ours is the story of New Zealand; our society has developed through the arrival of many people and cultures, and food is a lens through which to observe this process today. This work differs from many ethnographic accounts in that it does not focus on a coherent group of people, but rather is based around the theme of food and eating in the New Zealand context. The thesis is the culmination of approximately twelve months of data gathering for which a multi-method approach was used. This process included: a review of both academic and popular literature; visits to food-related places such as cultural festivals, wine and food festivals, Agricultural and Pastoral Shows, Home Shows, community markets, farmers’ markets, various Auckland supermarkets, ethnic food stores, specialty food shops; mainstream and ethnic cafés and restaurants, shopping centre food courts and various other miscellaneous places; attending different ethnic cooking courses and a series of semi-structured interviews. The interview process used different interviewee configurations: individuals, married couples and pairs, in an attempt to generate various perspectives and so enhance the data. The thesis concludes that, firstly, exotic foods represent a means by which immigrants are able to connect with both loved ones remaining in the old home, and also to form new relationships with other New Zealanders in their new home. Secondly, exotic foods, through either their consumption or through people’s memories of consumption, provide a bridge between New Zealanders and other places. Lastly, New Zealanders are increasingly taking exotic foods, combining them with the nation’s abundant local and unique indigenous foodstuffs and making it ours

This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.

雲南及其鄰近地區的面具文化豐富，但卻鮮少有學者以整體性的研究視野論述該地區的文化特質，因此本文以文化區的學理檢視雲南及其鄰近地區的面具文化，並視其為一文化特質，提出「面具文化圈」的論點。同時從文獻分析得知，現有研究大多集中於儺、藏面具研究，這與現存多地區的面具文化現象有極大落差，換言之，在面具文化圈中還有許多尚未被研究與記錄的面具文化。 面具文化圈與其內部的地區面具文化在族群、文化、歷史與生態環境上形成複雜關聯，本文一方面以丹塞鬼面節為例，說明面具文化圈中文化型式的差異，另一方面視鬼面節為文化展演，紀錄並分析鬼面節儀式，從宗教、國族意識、觀光經濟與地方教育等觀察面向，說明在地文化情境如何建構鬼面節，並與寮國佬族面具文化形成差別，最後再由文化變遷的現象，進一步探討伊森地區族群認同的議題。 透過面具文化圈與鬼面節的論述過程，本研究得出三大結論：（一）雲南及其鄰近地區可視為一「面具文化圈」，（二）從面具文化原型與變形辯證中，可說明在地情境是主導文化產生變遷的重要因素，以及（三）當伊森特性促成文化變遷的同時，也可能會對族群認同產生影響。在泰、寮的文化脈絡裡，丹塞鬼面節案例呈現出文化變遷和族群認同兩大意義，本文希望透過鬼面節的實證研究，增加面具文化的區域研究案例，使其既能在大區域的面具文化圈中呈現出文化意義，又能深入顯示出文化情境對區域文化所產生的結構性影響。 / This dissertation regards Yunnan Province and neighboring areas as the "mask culture circle" from the theory of culture area, and explores its forming reasons, such as ethnic migration, mask-culture trait and archetype of mask-ritual and so on. The author finds the most mask studies to focus on the researches of Nuo-mask and Tibet-mask through analysis data , so it means that there are many mask cultures have not been studied and recorded yet within "mask culture circle". “Mask culture circle” and its regional mask culture form complex relationship in terms of ethnic, culture, history and environment. This dissertation takes Phi Ta Khon Festival in Dansai as a case and illustrates it how to make different with the cultural model of “mask culture circle”. Meanwhile, the author thinks Phi Ta Khon Festival as a cultural performance and records, analyzes Phi Ta Khon Festival in terms of religion, national consciousness, tourism economy and local education in Dansai, for understanding local environment how to construct Phi Ta Khon Festival. Because local environment makes regional mask culture form cultural changes, so we can have a further discussion about the issue of ethnic identity in Isan. Generally, there are three conclusions in this dissertation: (a).Yunnan Province and neighboring areas can be regarded as the "mask-culture circle". (b).Through discussing with the relationship of archetype and variety of mask culture, it can help us to know that local environment is an important factor to cultural changes. (c).When Isan-ness makes cultural changes, at the same time, it maybe also exert an influence on ethnic identity. Phi Ta Khon Festival shows the meanings of two things, one is cultural changes, and another is ethnic identity. This dissertation hopes Phi Ta Khon Festival can increase case studies of mask culture, and lets it not only present the cultural meaning to” mask culture circle” , but also show the impact of local environment on regional mask culture.

This thesis investigates volunteering as performance. In exploring this topic I discuss a dynamic between self-interest and selflessness in the observable performance of service through the social mechanisms of volunteerism. I argue that self-interest is a prominent motivation for volunteering, but its overt performance is kept in check by norms that emphasize selflessness. My argument centers on addressing this lack of acknowledgement toward self-interest within vernacular culture. My research draws examples from an individual, organizational, and global volunteer perspective. Ethnographic research was conducted for this study with a student group that organizes one of the American Cancer Society’s Relay For Life fundraisers. Within this organization, I conceptualize volunteering as a performance that requires a social actor to not just “do” service, but also “show do” and/or “explain show do” their behavior in front of an audience. This presentation culminates in a cultural performance where participants at Relay For Life perform a narrative of selflessness. Expanding my discussion of volunteering to a global perspective, my last chapter addresses volunteer tourism. I argue that the self-interest of both volunteers and volunteer travel companies reduces the recipients of volunteer tourism to essentialized and exociticized cultural "Others." I advocate for the overt acknowledgement of self-interest not only because self-interest is present, but also because it is a central dynamic that constructs volunteerism as performance.