Significações culturais e simbólicas do corpo do Balé Folclórico da Bahia: uma herança sagrada para a Educação Física
In this dissertation research we seek to investigate the symbolism of the dances of the Afro-Brazilian culture presented in the show Sacred Heritage of the Folkloric Ballet of Bahia, from the perspective of the phenomenological body of Merleau-ponty (1945, 1964), guiding perception as a subjective s...
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| Formato: | Dissertação |
| Idioma: | por |
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| Endereço do item: | https://repositorio.ufrn.br/jspui/handle/123456789/25186 |
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| Resumo: | In this dissertation research we seek to investigate the symbolism of the dances of the Afro-Brazilian culture presented in the show Sacred Heritage of the Folkloric Ballet of Bahia, from the perspective of the phenomenological body of Merleau-ponty (1945, 1964), guiding perception as a subjective source of knowledge, made possible by the art of dance, more specifically the popular dances seen here as corporeal texts that transcribe the marks of culture. It is, therefore, in the reading of some choreographies of the main work of the group that we are dealing with, which have been amplified and re-signified by being transmuted from the “terreiros” and “senzalas” to the stage, attributing new cultural and symbolic senses, besides those already constructed since it’s creation. We propose to expand not only the concepts of culture and symbol, but also fill gaps still existing in the area with regard to works that investigate the body under a sensitive ontological view. In pursuit of this objective, we use the phenomenological method of Maurice Merleau-Ponty, because we understand that the knowledge we seek to achieve is not only due to the rationalization of a distant look at the object, but by what we hear, see and feel the phenomenon gives us to think, from it’s appreciation enhanced by the phenomenological reduction, that suspends our certainties in the world. To carry out this understanding, we use the tools and instruments proposed in the book The Analysis of the Spectacles, from the description of the scenes and gestures of the dancers, to the elements like music, light, costumes, makeup, among others, that simultaneously and united with the interviews with the Ballet members, give the sense of the spectacle, within a dynamic that connects the different signs, building a network of meanings that gave rise to knowledge that was reflected as they were announced. At the end, we perceive the body of the Ballet as a body in constant construction, an open and unfinished body that is constituted and deconstituted according to its relations. We understand that the reflections made are of great value for Physical Education, because they provide a sensitive and open knowledge, free of simplifications that make it incompetent, besides ratifying the body as an exemplary sensitive, without determinism or reductionism that simply sees it as machine. This view can help break with the body stereotypes present in this area of knowledge, releasing it from instrumentalization by understanding it as a subject that relates to the world, perceiving and expressing itself, guided primarily by desire and need to fill meaningfully. |
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