"Eu quero comer a língua do boi": memórias e atravessamentos da dança em pedagogias de um corpo brincante
The article "danced" here presents a sewing of some of my memories about the game of Boi de Reis. In it, I play with the passage of time of this dance through narratives that range from the recreation of my childhood days - when I watched Mestre Jovelino's Boi de Reis dance – to the p...
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| Formato: | bachelorThesis |
| Idioma: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/46439 |
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| Resumo: | The article "danced" here presents a sewing of some of my memories about the game of Boi de Reis. In it, I play with the passage of time of this dance through narratives that range from the recreation of my childhood days - when I watched Mestre Jovelino's Boi de Reis dance – to the pedagogical-performative seams of my current wanderings as a brincante of the popular scene. The weaving of the text presented here intends to meet the need to recognize the play of the Boi de Reis, as it has occurred for over one hundred years in the city of Vera Cruz/RN, state of Rio Grande do Norte, as a cultural representation of an Amerindian people – my people. In particular, I focus on the whole play and dedicate myself to the observation of the body of Catirina – the only female presence in the ludic play of the Boi. There, my gaze wanders over it in an attempt to study in depth its motifs and pedagogies, to try to understand the dancing power of its construction and the cultural and educational knowledge that occurs in the context of this dance. The main focus of my sight is to understand how a dance, traditionally danced by men, has the need to mobilize the energy of a female body. Thus, I set up a self-referential investigative research strategy, that is, based on my memories as an actor-brincante – in performance – to try to understand the poetic-political, sensory-social and imagetic-cultural questions that cross the path in the materialization of my Catirina. With this, I intend to bring into debate some propositions about the universe of play, understanding it as a cultural representation of a given social group, a given place, a given people. The theoretical frameworks that guide this text are RUFINO (1987; 2016), with the knowledge in Pedagogias da Encruzilhadas; MUNANGA (2020), balancing on issues of Negritude: usos e sentidos; MACHADO (2017), with Jogo da Construção Poética; SANTOS (2020), dodging with Filosofia do malandro and SANTOS (2002), closing the cross with Corpo e Ancestralidade. From such play, the construction of this weaving brings back my ancestrality, specifically, when I play and access the ancestral deities of the Catirina "serestar". |
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