O texto aborda o corpo em relação ao tempo
cotidiano, o contexto e o tempo espetacular,
reflexão ... more O texto aborda o corpo em relação ao tempo cotidiano, o contexto e o tempo espetacular, reflexão ancorada nas teorias de autores como Katz & Greiner (2002), Rodrigues (1975), Mauss (2002), Foucalt (1987), Gil (2004) e outros. É possível considerar que a materializa- ção corporal produz uma asserção dos princí- pios e valores coletivamente instituídos pelas esferas sociais, assim como alimenta a criação de novos paradigmas e, com isso, demonstra a importância ímpar que o corpo assume para o entendimento das diferentes sociedades. O contexto da criação artística nas artes da cena mostra-se como terreno fértil para a expressividade dos sujeitos, para a projeção de novas ideias e mesmo para a invenção de novos modos comportamentais corporais, o que não diminui a relação corporal-contextual, pelo contrário, potencializa a ideia de que antes de existirem de determinado modo, estão, corpo e contexto, em constante movimento, seja no tempo cotidiano ou no tempo espetacular, retroalimentando-se e significando novos modos de ser e estar em sociedade.
This paper proposed approaches between neuroesthetics
and dance, in order to describe possible re... more This paper proposed approaches between neuroesthetics and dance, in order to describe possible relationships between dancer and spectator in the aesthetic experience of dance and to point crosses linking neuroesthetics and the artistic and pedagogical process of dance. Literature search provided insights about the sensorimotor mechanisms underlying aesthetic experience that contribute to the idea that watching dance is a creative process that takes place in each viewer. This understanding can help in the configuration of proposals for the dance teaching, legitimizing the aesthetic experience also as a teaching and learning strategy.
"The present paper aims at investigating body language during carnivalesque rituals in Brazil, co... more "The present paper aims at investigating body language during carnivalesque rituals in Brazil, considering carnival an important national popular manifestation. Thus, this paper aims at describing carnival as a contemporary Brazilian ritual, analyzing its context and how people who take part in it perceive the party, paying close attention to the body during this ritual.
This study focused on how body is celebrated during carnival concerning possible relations of inversion and how important body is in carnival parades. The present paper is an exploratoryparticipative research with descriptive and analytical character, using an anthropological method of investigation, based on limited study field – the cities of Uruguaiana and Pelotas, in the state of Rio Grande do Sul, which were visited during carnival in 2008. It was concluded that body language used in Carnival tends to provoke different reaction in the people involved, and that body is adored and desired during carnival parades in such a way that resembles devotion to images and saints. It was also possible to conclude that there is a big movement of inversion on Carnival, which motivates the people involved to take part on the ritual, specially to effectuate some swapping of positions, status, gender and authority. Summing up body is considered a symbol of Brazilian Carnival.
O texto aborda o corpo em relação ao tempo
cotidiano, o contexto e o tempo espetacular,
reflexão ... more O texto aborda o corpo em relação ao tempo cotidiano, o contexto e o tempo espetacular, reflexão ancorada nas teorias de autores como Katz & Greiner (2002), Rodrigues (1975), Mauss (2002), Foucalt (1987), Gil (2004) e outros. É possível considerar que a materializa- ção corporal produz uma asserção dos princí- pios e valores coletivamente instituídos pelas esferas sociais, assim como alimenta a criação de novos paradigmas e, com isso, demonstra a importância ímpar que o corpo assume para o entendimento das diferentes sociedades. O contexto da criação artística nas artes da cena mostra-se como terreno fértil para a expressividade dos sujeitos, para a projeção de novas ideias e mesmo para a invenção de novos modos comportamentais corporais, o que não diminui a relação corporal-contextual, pelo contrário, potencializa a ideia de que antes de existirem de determinado modo, estão, corpo e contexto, em constante movimento, seja no tempo cotidiano ou no tempo espetacular, retroalimentando-se e significando novos modos de ser e estar em sociedade.
This paper proposed approaches between neuroesthetics
and dance, in order to describe possible re... more This paper proposed approaches between neuroesthetics and dance, in order to describe possible relationships between dancer and spectator in the aesthetic experience of dance and to point crosses linking neuroesthetics and the artistic and pedagogical process of dance. Literature search provided insights about the sensorimotor mechanisms underlying aesthetic experience that contribute to the idea that watching dance is a creative process that takes place in each viewer. This understanding can help in the configuration of proposals for the dance teaching, legitimizing the aesthetic experience also as a teaching and learning strategy.
"The present paper aims at investigating body language during carnivalesque rituals in Brazil, co... more "The present paper aims at investigating body language during carnivalesque rituals in Brazil, considering carnival an important national popular manifestation. Thus, this paper aims at describing carnival as a contemporary Brazilian ritual, analyzing its context and how people who take part in it perceive the party, paying close attention to the body during this ritual.
This study focused on how body is celebrated during carnival concerning possible relations of inversion and how important body is in carnival parades. The present paper is an exploratoryparticipative research with descriptive and analytical character, using an anthropological method of investigation, based on limited study field – the cities of Uruguaiana and Pelotas, in the state of Rio Grande do Sul, which were visited during carnival in 2008. It was concluded that body language used in Carnival tends to provoke different reaction in the people involved, and that body is adored and desired during carnival parades in such a way that resembles devotion to images and saints. It was also possible to conclude that there is a big movement of inversion on Carnival, which motivates the people involved to take part on the ritual, specially to effectuate some swapping of positions, status, gender and authority. Summing up body is considered a symbol of Brazilian Carnival.
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cotidiano, o contexto e o tempo espetacular,
reflexão ancorada nas teorias de autores
como Katz & Greiner (2002), Rodrigues (1975),
Mauss (2002), Foucalt (1987), Gil (2004) e outros.
É possível considerar que a materializa-
ção corporal produz uma asserção dos princí-
pios e valores coletivamente instituídos pelas
esferas sociais, assim como alimenta a criação
de novos paradigmas e, com isso, demonstra
a importância ímpar que o corpo assume para
o entendimento das diferentes sociedades.
O contexto da criação artística nas artes da
cena mostra-se como terreno fértil para a expressividade
dos sujeitos, para a projeção de
novas ideias e mesmo para a invenção de novos
modos comportamentais corporais, o que
não diminui a relação corporal-contextual, pelo
contrário, potencializa a ideia de que antes de
existirem de determinado modo, estão, corpo
e contexto, em constante movimento, seja no
tempo cotidiano ou no tempo espetacular, retroalimentando-se
e significando novos modos
de ser e estar em sociedade.
and dance, in order to describe possible relationships
between dancer and spectator in the aesthetic
experience of dance and to point crosses linking
neuroesthetics and the artistic and pedagogical process
of dance. Literature search provided insights about the
sensorimotor mechanisms underlying aesthetic experience
that contribute to the idea that watching dance is
a creative process that takes place in each viewer. This
understanding can help in the configuration of proposals
for the dance teaching, legitimizing the aesthetic
experience also as a teaching and learning strategy.
This study focused on how body is celebrated during carnival concerning possible relations of inversion and how important body is in carnival parades. The present paper is an exploratoryparticipative research with descriptive and analytical character, using an anthropological method of investigation, based on limited study field – the cities of Uruguaiana and Pelotas, in the state of Rio Grande do Sul, which were visited during carnival in 2008. It was concluded that body language used in Carnival tends to provoke different reaction in the people involved, and that body is adored and desired during carnival parades in such a way that resembles devotion to images and saints. It was also possible to conclude that there is a big movement of inversion on Carnival, which motivates the people involved to take part on the ritual, specially to effectuate some swapping of positions, status, gender and authority. Summing up body is considered a symbol of Brazilian Carnival.
Keywords: Language. Body. Carnival"
cotidiano, o contexto e o tempo espetacular,
reflexão ancorada nas teorias de autores
como Katz & Greiner (2002), Rodrigues (1975),
Mauss (2002), Foucalt (1987), Gil (2004) e outros.
É possível considerar que a materializa-
ção corporal produz uma asserção dos princí-
pios e valores coletivamente instituídos pelas
esferas sociais, assim como alimenta a criação
de novos paradigmas e, com isso, demonstra
a importância ímpar que o corpo assume para
o entendimento das diferentes sociedades.
O contexto da criação artística nas artes da
cena mostra-se como terreno fértil para a expressividade
dos sujeitos, para a projeção de
novas ideias e mesmo para a invenção de novos
modos comportamentais corporais, o que
não diminui a relação corporal-contextual, pelo
contrário, potencializa a ideia de que antes de
existirem de determinado modo, estão, corpo
e contexto, em constante movimento, seja no
tempo cotidiano ou no tempo espetacular, retroalimentando-se
e significando novos modos
de ser e estar em sociedade.
and dance, in order to describe possible relationships
between dancer and spectator in the aesthetic
experience of dance and to point crosses linking
neuroesthetics and the artistic and pedagogical process
of dance. Literature search provided insights about the
sensorimotor mechanisms underlying aesthetic experience
that contribute to the idea that watching dance is
a creative process that takes place in each viewer. This
understanding can help in the configuration of proposals
for the dance teaching, legitimizing the aesthetic
experience also as a teaching and learning strategy.
This study focused on how body is celebrated during carnival concerning possible relations of inversion and how important body is in carnival parades. The present paper is an exploratoryparticipative research with descriptive and analytical character, using an anthropological method of investigation, based on limited study field – the cities of Uruguaiana and Pelotas, in the state of Rio Grande do Sul, which were visited during carnival in 2008. It was concluded that body language used in Carnival tends to provoke different reaction in the people involved, and that body is adored and desired during carnival parades in such a way that resembles devotion to images and saints. It was also possible to conclude that there is a big movement of inversion on Carnival, which motivates the people involved to take part on the ritual, specially to effectuate some swapping of positions, status, gender and authority. Summing up body is considered a symbol of Brazilian Carnival.
Keywords: Language. Body. Carnival"