O CORPO COMO UM TEXTO VIVO A Festa e a Dança no Candomblé

• Ano de defesa: 2003
• Autor(a) principal: Santos, Tadeu dos
• Orientador(a): Magalhães, Antonio Carlos de Melo
• Banca de defesa: Higuet, Etienne Alfred , Souza, Sandra Duarte de , Martins, Maria Anita Viviani , Espósito, Vitória Helena Cunha
• Tipo de documento: Tese
• Tipo de acesso: Acesso embargado
• Idioma: por
• Instituição de defesa: Universidade Metodista de São Paulo
• Programa de Pós-Graduação: PÓS GRADUAÇÃO EM CIÊNCIAS DA RELIGIÃO
• Departamento: 1. Ciências Sociais e Religião 2. Literatura e Religião no Mundo Bíblico 3. Práxis Religiosa e Socie
• País: BR
• Palavras-chave em Português: Candomblé; Festas religiosas; Dança
• Área do conhecimento CNPq: CNPQ::CIENCIAS HUMANAS
• Link de acesso: http://tede.metodista.br/jspui/handle/tede/384

This study aims at discussing the role of body and its building in the public rituals (or parties) of candomblé. During the rituals, I realized that body in that unwritten culture of candomblé took up the role of a text. A text is meaningful for stories and values of that social group could be interpreted through gestures and dance. The building process is only possible because, for candomblé followers, the notion of person is thought of as a whole, or rather, a result of all parts of the body, unlike the disjunct notion we have in the Western World. All five senses (sight, hearing, smell, taste and touch) of body are considered centers of energy that are balanced in the initiation process. In the same manner a person is multiple and is built throughout the initiation process, the body manifests its multiple forces and is built aesthetically, so as to become a text to be interpreted by society. Thus, the body is built in the candomblé rituals due to learning of social, cultural and religious values. This learning is expressed by means of orality, acts, gestures and lived experience in the day-to-day of the terreiro (center of worship). It is through dance of trance in the public rituals (parties), the initiated can show his/her spiritual stage, the viewpoints his/her group has as well as his/her ethos. Data were collected at Ilé Dara Àse Osun Eyin Candomblé House headed by Pai Cido De Osun Eyin in 2001, 2002 and 2003.(AU)