Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Barreto, Claudia Cardoso
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| Orientador(a): |
Lima, Marlini Dorneles de
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| Banca de defesa: |
Lima, Marlini Dorneles de,
Silva, Renata de Lima,
Hartmann, Luciana |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
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| Programa de Pós-Graduação: |
Programa de Pós-graduação em Artes da Cena (EMAC)
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| Departamento: |
Escola de Música e Artes Cênicas - EMAC (RMG)
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://repositorio.bc.ufg.br/tede/handle/tede/13693
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Resumo: |
This dissertation aimed to investigate the practices of the artistic company Núcleo Coletivo 22 as a support for learning and creating dance with children in a collective from a decolonial perspective. The Company originated by the meeting of musicians, actresses and dancers who currently sum up 11(eleven) artists interested in producing art committes to popular and afro-amerindian poetics. In order to identify the Company’s artistic practices, it was was carried out an arteiro state on proposals for notices approved and executed by the artistic company during the years from 2011 until 2022. The Company’s artistic practices were also identified by based on academic works carried out by members of Núcleo Coletivo 22. Poetnography and lived field are methological notions that support this study and that justify procedures such as semifictional narrative; places-moments and creative studio. Five children and the researcher artist experienced together 8 (eight) meetings which were called Cria(D)anças. During the meetings, inspired by the artistic practices of the investigated company, they collectively (de)constructed possibilities of producing knowledge in dance. Thus, when tensioning the art/dance-education relationship, they also made it for the action of poetnographing. |
