Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study is the result of an ethnographic research realized with the women dancers, all of them black people, of the Afro Dance Company Euwá-Dandaras , in Santa Maria city of Rio Grande do Sul - Brazil. The study have with mainly aimed to show how the participation of young black women in this group, that is dedicated to the exaltation and appreciation of the African-Brazilian culture through an artistic-cultural expression, in other words, the african dance influences in the process of identity and ethnical (re)signification among these young women. Through this research was possible to understand that this process is very dynamic and, in this universe mediated by a several number of factors, as the friendship and/or kinship relations are very present in the group, and the strong influence of the religion of African roots and the carnival, because they represent a space of much sociability in the lives of the ballerinas and their families. This participation also enables the Dandaras new experiences and learning enabled by interaction of the group, a process that can be understood as an initiation rite, since that this young women, when they leave the group, leave different than when they entered, showing a transformation particularly related to her self-esteem and sense of blackness, to understanding of what is be a women black. In other words, these young women perceive themselves as black and are position themselves as black, leaving to see the ethnic and racial issues as negative, seeing this issue as a reason of pride. / Este estudo é resultado de uma pesquisa etnográfica realizada com as bailarinas, todas negras, da Cia de Dança Afro Euwá-Dandaras, da cidade de Santa Maria/RS. O trabalho tem como objetivo central mostrar como a participação de jovens negras neste grupo, voltado para a exaltação e valorização da cultura afro-brasileira, através de uma manifestação artístico-cultural, ou seja, a dança afro, influencia no processo de (re)significação identitária e étnica dessas jovens. Por meio dessa pesquisa, percebeu-se que esse processo é bastante dinâmico e, no universo em questão, mediado por uma série de fatores, como as relações de amizade e/ou parentesco presentes no grupo, e a forte influência da religião de matriz africana e do carnaval, visto que o espaço de sociabilidade muito presente na vida das bailarinas e de suas famílias. Tal participação também possibilita as Dandaras novas vivências e aprendizados possibilitados pela interação no grupo, processo este que pode ser entendido como um rito de iniciação, uma vez que estas jovens, quando deixam de fazer parte dele, saem diferentes de quando entraram, apresentando uma transformação significativa no que tange principalmente a autoestima e ao sentimento de negritude, ao entendimento do que é ser negra. Em outras palavras, estas jovens percebem-se como negras e se posicionam como tal, deixando de ver a questão étnica e racial como negativa, passando a enxergá-la como um motivo de orgulho.

Les films d’animation de Hayao Miyazaki sont parsemés de ma, des moments de silence, de mouvement gratuit qui célèbrent des instants en apparence anodins du quotidien. Ce mémoire discute l’importance de ce concept dans la construction identitaire des personnages au sein du rite initiatique à travers une analyse du ma dans Le Voyage de Chihiro et Le Château Ambulant. Le ma soutient la vision d’un bien-grandir typiquement miyazakien : percevoir le ma devient une capacité essentielle pour sortir de l’aliénation de la vie moderne, envisageant la restauration d’une mémoire collective disparue des centres urbains. Ce mémoire est structuré selon chacune des trois phases du rite de passage telles que définies par Victor Turner et Arnold Van Gennep. Dans la phase de séparation, le ma est lié à un être-dans-le-monde dont la perception permet une reconnexion au monde sensible. Dans la phase liminaire, il est un être-ensemble proche du concept de communitas et permet la création de communautés authentiques dans la troisième phase, la phase de réintégration dans la collectivité. L'omniprésence du ma tout au long du rite de passage supporte les convictions du réalisateur, exprimant son espoir que les jeunes générations puissent s’épanouir dans des sociétés modernes aliénantes. / Hayao Miyazaki's animated films are sprinkled with ma, moments of silence and gratuitous movement that celebrate seemingly insignificant moments of daily life. This thesis explores the significance of ma in the construction of characters' identities within the initiation rite through an analysis of Spirited Away and Howl's Moving Castle. Ma supports Miyazaki's vision of the rite of passage into adulthood: the ability to perceive ma becomes an essential skill to break free from the alienation of modern life, envisioning the restoration of a collective memory lost in urban spaces. The thesis is structured according to the three phases of the initiation rite defined by Victor Turner and Arnold Van Gennep, each associated with a specific definition of ma. In the separation phase, ma is a feeling of being-in-the-world, whose perception allows a reconnection with the sensory world. In the liminal phase, it is a being-together close to the concept of communitas, fostering the creation of authentic communities in the third phase, the phase of reintegration into society. The omnipresence of ma throughout the rite of passage reinforces Miyazaki's convictions, expressing his hope that younger generations can thrive in modern alienating societies.