"Segura essa pose para mim": enquadramentos dos dispositivos interacionais da cultura Ballroom em Belo Horizonte

• Ano de defesa: 2023
• Autor(a) principal: Samuel Rubens Barbosa de Oliveira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; Brasil; FAF - DEPARTAMENTO DE COMUNICAÇÃO SOCIAL; Programa de Pós-Graduação em Comunicação Social; UFMG
• Palavras-chave em Português: Cultura Ballroom; Comunicação; Dispositivos Interacionais; Quadros de Sentido; Interseccionalidade; Comunicação - Teses; Interseccionalidade (Sociologia) - Teses
• Link de acesso: http://hdl.handle.net/1843/58350

The Ballroom culture is an LGBTQIAPN+ resistance movement characterized by a set of performance practices, balls, the creation of affective bonds and practices that subvert the norm of compulsory cisheterosexuality. Brazil is the Latin American exponent of the culture and Belo Horizonte has a consolidated scene divided between a popular (mainstream) and local (kiki) scene. This work aims to understand the meanings of Ballroom culture in contemporaneity - in its intersectional complexities of gender, sexuality, race and social class - from the dynamics of interactional dispositifs (BRAGA, 2017) and frames of meanings (GOFFMAN, 2012) of the interactions in the balls of the kiki scene in Belo Horizonte. For this, it is based on authors from the interactional perspective (GOFFMAN, 2011, 2012, 2013 and 2014; BRAGA, 2017; FRANÇA, 2016); on gender and sexuality studies (BUTLER, 2017 and 2019; PRECIADO, 2020) and intersectionality (CORRÊA, 2020; COLLINS, BILGE, 2021; ANZALDÚA, 1987). The methodological proceedings were divided in two stages. In the data collection, observations were made guided by Goffman's theatrical representation perspective, with six events composing the corpus, being three balls of the kiki scene, a ball of the mainstream scene, a show ball and a night of DJ presentation of a collective of artists of the Ballroom culture. In the analysis stage, it was made a frame analysis from Goffman's perspective of frames of meaning, using as analytical operators the author's concepts of stage, set, backstage, footing and face, guided by the perspectives of intersectional thinking. It was found that the Ballroom culture has its own frames of meaning that manifest and materialize from the interactions in the balls, framing itself as an interactional dispositif. The ball is also an interactional dispositif used by the people of the culture, and its meanings are crossed by dynamics of gender, sexuality, race, and class.