O lado surpreendente da queda: minha experiência com o contato improvisação
Ano de defesa: | 2020 |
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Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | , , , |
Tipo de documento: | Dissertação |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal de Goiás
|
Programa de Pós-Graduação: |
Programa de Pós-graduação em Performances Culturais (FCS)
|
Departamento: |
Faculdade de Ciências Sociais - FCS (RG)
|
País: |
Brasil
|
Palavras-chave em Português: | |
Palavras-chave em Inglês: | |
Área do conhecimento CNPq: | |
Link de acesso: | http://repositorio.bc.ufg.br/tede/handle/tede/10699 |
Resumo: | Contact Improvisation is analyzed from the perspective of cultural performances as a unique form of contemporary dance that emphasizes the surprising side of falling, inspired in the words of writer, anthropologist and dancer Cynthia Jean Novack (1947-1996) for whom contact improvisation “emphasizes the wildness and awkwardness of falling ”(NOVACK, 1990, p.151). The ethnographic description of this dance and its dialogical essence are presented as forms of social self-reflexivity, through the narrative, in a funneling movement of participant observation, from macro to microcosm, starting from what is given in the world to the person who writes this analysis, in search for the understanding of the relationship between the experiences provided by this performance and the multiplicity of meanings that refer to it that make it cultural performances. From what is given in the world, two testimonies available online in audiovisuals with the creator of this performance (1972), Steve Paxton, one from Juniata College, USA, in the 36th anniversary of contact improvisation, and another from the Dancing Museum, France. These two narratives are taken as sources of the ethnographic description which highlight essential performance characteristics and motivational issues which generated this dance movement. In the second chapter, the narratives which underpin the funneling of the ethnographic description are some of the writings of Steve Paxton, published by Contact Quarterly’s Contact Improvisation Sourcebook (1997), a special historical collection of this dance journal launched in 1975 as a space for reflection, debate and circulation of movement studies and experiences resulting from the performance. Along with these writings, aspects of the history of contact improvisation and the Small Dance, presented as a preparation technique for the movement, as the warming up of the perception for the dance of contact improvisation. The third chapter presents the contact improvisation class as a performance and focuses on participant observation, including my experience as a dancer, contactor, dance and contact improvisation teacher as an object of reflection on the performance load of possible transformation and transportation (Schechner, 2011) available in the classroom and at the jam sessions. |
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Abdala Junior, Robertohttp://lattes.cnpq.br/7014946989727038Vilela, Ana LuciaReinato, Eduardo JoséCamargo, Robson Corrêa deAbdala Junior, Robertohttp://lattes.cnpq.br/7474201516994122Itavo, Camila Vinhas2020-09-15T11:27:37Z2020-09-15T11:27:37Z2020-02-17ITAVO, C. V. O lado surpreendente da queda: minha experiência com o contato improvisação. 2020. 180 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2020.http://repositorio.bc.ufg.br/tede/handle/tede/10699Contact Improvisation is analyzed from the perspective of cultural performances as a unique form of contemporary dance that emphasizes the surprising side of falling, inspired in the words of writer, anthropologist and dancer Cynthia Jean Novack (1947-1996) for whom contact improvisation “emphasizes the wildness and awkwardness of falling ”(NOVACK, 1990, p.151). The ethnographic description of this dance and its dialogical essence are presented as forms of social self-reflexivity, through the narrative, in a funneling movement of participant observation, from macro to microcosm, starting from what is given in the world to the person who writes this analysis, in search for the understanding of the relationship between the experiences provided by this performance and the multiplicity of meanings that refer to it that make it cultural performances. From what is given in the world, two testimonies available online in audiovisuals with the creator of this performance (1972), Steve Paxton, one from Juniata College, USA, in the 36th anniversary of contact improvisation, and another from the Dancing Museum, France. These two narratives are taken as sources of the ethnographic description which highlight essential performance characteristics and motivational issues which generated this dance movement. In the second chapter, the narratives which underpin the funneling of the ethnographic description are some of the writings of Steve Paxton, published by Contact Quarterly’s Contact Improvisation Sourcebook (1997), a special historical collection of this dance journal launched in 1975 as a space for reflection, debate and circulation of movement studies and experiences resulting from the performance. Along with these writings, aspects of the history of contact improvisation and the Small Dance, presented as a preparation technique for the movement, as the warming up of the perception for the dance of contact improvisation. The third chapter presents the contact improvisation class as a performance and focuses on participant observation, including my experience as a dancer, contactor, dance and contact improvisation teacher as an object of reflection on the performance load of possible transformation and transportation (Schechner, 2011) available in the classroom and at the jam sessions.O contato improvisação é analisado pela perspectiva das performances culturais como forma de dança contemporânea que enfatiza o lado surpreendente da queda, inspirado nas palavras da escritora, antropóloga e bailarina Cynthia Jean Novack (1947-1996), para quem o contato improvisação “enfatiza a natureza selvagem e desajeitada da queda” (NOVACK, 1990, p.151). A descrição etnográfica dessa dança e sua essência dialógica são apresentadas como formas de autorreflexividade social, por meio da narrativa, num movimento de afunilamento da observação participante, do macro para o microcosmos, partindo do que está dado no mundo para a pessoa que escreve esta análise, em busca da compreensão da relação entre as experiências proporcionadas por essa performance e a multiplicidade de significações remetidas a ela que a tornam performances culturais. Do que está dado no mundo, dois depoimentos disponíveis online em audiovisuais com o criador da performance (1972), Steve Paxton, um do Juniata College, EUA, nos 36 anos do contato improvisação, e, outro do Museu da Dança, na França. Essas duas narrativas são tomadas como fontes da descrição etnográfica que evidenciam características performáticas essenciais e questões motivacionais que geraram esse movimento de dança. No segundo capítulo, as narrativas que embasam o afunilamento da descrição etnográfica são alguns dos escritos de Steve Paxton, publicados pela Contact Quarterly´s Contact Improvisation Sourcebook (1997), uma coleção especial histórica desse periódico de dança lançado em 1975 como espaço de reflexão, debate e circulação dos estudos de movimento e das experiências decorrentes da performance. Junto com esses escritos, aspectos da história do contato improvisação e da Small Dance, apresentada como técnica de preparação para o movimento, como aquecimento da percepção para a dança do contato improvisação. O terceiro capítulo apresenta a aula de contato improvisação e concentra a observação participante, incluindo minha experiência como bailarina, contatista, professora de dança e de contato improvisação como objeto de reflexão sobre a carga performática de possíveis transformações e de transporte (Schechner, 2011) disponíveis em sala de aula e nas jam sessions.Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2020-09-14T13:48:36Z No. of bitstreams: 2 Dissertação - Camila Vinhas Itavo - 2020.pdf: 5558627 bytes, checksum: 37a31b9de46054066a04734239baa5f9 (MD5) license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2020-09-15T11:27:36Z (GMT) No. of bitstreams: 2 Dissertação - Camila Vinhas Itavo - 2020.pdf: 5558627 bytes, checksum: 37a31b9de46054066a04734239baa5f9 (MD5) license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5)Made available in DSpace on 2020-09-15T11:27:37Z (GMT). No. of bitstreams: 2 Dissertação - Camila Vinhas Itavo - 2020.pdf: 5558627 bytes, checksum: 37a31b9de46054066a04734239baa5f9 (MD5) license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Previous issue date: 2020-02-17Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESporUniversidade Federal de GoiásPrograma de Pós-graduação em Performances Culturais (FCS)UFGBrasilFaculdade de Ciências Sociais - FCS (RG)Attribution-NonCommercial-NoDerivs 3.0 Brazilhttp://creativecommons.org/licenses/by-nc-nd/3.0/br/info:eu-repo/semantics/openAccessSteve PaxtonQuedaContato improvisaçãoPerformances culturaisNova DançaSteve PaxtonFallingContact improvisationCultural performancesNew danceLINGUISTICA, LETRAS E ARTES::ARTES::DANCAO lado surpreendente da queda: minha experiência com o contato improvisaçãoThe surprising side of falling: my experience with contact improvisationinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis7650050050050010741reponame:Biblioteca Digital de Teses e Dissertações da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGORIGINALDissertação - Camila Vinhas Itavo - 2020.pdfDissertação - Camila Vinhas Itavo - 2020.pdfapplication/pdf5558627http://repositorio.bc.ufg.br/tede/bitstreams/f7b23e7c-d8f2-4ded-bc5d-77030f0f213f/download37a31b9de46054066a04734239baa5f9MD53LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.bc.ufg.br/tede/bitstreams/85ebc5b9-ed15-4339-86e2-93dc3ab510e9/download8a4605be74aa9ea9d79846c1fba20a33MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8811http://repositorio.bc.ufg.br/tede/bitstreams/e64550d9-697e-497f-9c2e-b17a3c19c79e/downloade39d27027a6cc9cb039ad269a5db8e34MD52tede/106992020-09-15 08:27:37.334http://creativecommons.org/licenses/by-nc-nd/3.0/br/Attribution-NonCommercial-NoDerivs 3.0 Brazilopen.accessoai:repositorio.bc.ufg.br:tede/10699http://repositorio.bc.ufg.br/tedeBiblioteca Digital de Teses e Dissertaçõeshttp://repositorio.bc.ufg.br/PUBhttps://repositorio.bc.ufg.br/tede_oai/requesttesesdissertacoes.bc@ufg.br ||tesesdissertacoes.bc@ufg.bropendoar:32082020-09-15T11:27:37Biblioteca Digital de Teses e Dissertações da UFG - Universidade Federal de Goiás (UFG)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 |
dc.title.pt_BR.fl_str_mv |
O lado surpreendente da queda: minha experiência com o contato improvisação |
dc.title.alternative.eng.fl_str_mv |
The surprising side of falling: my experience with contact improvisation |
title |
O lado surpreendente da queda: minha experiência com o contato improvisação |
spellingShingle |
O lado surpreendente da queda: minha experiência com o contato improvisação Itavo, Camila Vinhas Steve Paxton Queda Contato improvisação Performances culturais Nova Dança Steve Paxton Falling Contact improvisation Cultural performances New dance LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
title_short |
O lado surpreendente da queda: minha experiência com o contato improvisação |
title_full |
O lado surpreendente da queda: minha experiência com o contato improvisação |
title_fullStr |
O lado surpreendente da queda: minha experiência com o contato improvisação |
title_full_unstemmed |
O lado surpreendente da queda: minha experiência com o contato improvisação |
title_sort |
O lado surpreendente da queda: minha experiência com o contato improvisação |
author |
Itavo, Camila Vinhas |
author_facet |
Itavo, Camila Vinhas |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Abdala Junior, Roberto |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/7014946989727038 |
dc.contributor.referee1.fl_str_mv |
Vilela, Ana Lucia |
dc.contributor.referee2.fl_str_mv |
Reinato, Eduardo José |
dc.contributor.referee3.fl_str_mv |
Camargo, Robson Corrêa de |
dc.contributor.referee4.fl_str_mv |
Abdala Junior, Roberto |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/7474201516994122 |
dc.contributor.author.fl_str_mv |
Itavo, Camila Vinhas |
contributor_str_mv |
Abdala Junior, Roberto Vilela, Ana Lucia Reinato, Eduardo José Camargo, Robson Corrêa de Abdala Junior, Roberto |
dc.subject.por.fl_str_mv |
Steve Paxton Queda Contato improvisação Performances culturais Nova Dança |
topic |
Steve Paxton Queda Contato improvisação Performances culturais Nova Dança Steve Paxton Falling Contact improvisation Cultural performances New dance LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
dc.subject.eng.fl_str_mv |
Steve Paxton Falling Contact improvisation Cultural performances New dance |
dc.subject.cnpq.fl_str_mv |
LINGUISTICA, LETRAS E ARTES::ARTES::DANCA |
description |
Contact Improvisation is analyzed from the perspective of cultural performances as a unique form of contemporary dance that emphasizes the surprising side of falling, inspired in the words of writer, anthropologist and dancer Cynthia Jean Novack (1947-1996) for whom contact improvisation “emphasizes the wildness and awkwardness of falling ”(NOVACK, 1990, p.151). The ethnographic description of this dance and its dialogical essence are presented as forms of social self-reflexivity, through the narrative, in a funneling movement of participant observation, from macro to microcosm, starting from what is given in the world to the person who writes this analysis, in search for the understanding of the relationship between the experiences provided by this performance and the multiplicity of meanings that refer to it that make it cultural performances. From what is given in the world, two testimonies available online in audiovisuals with the creator of this performance (1972), Steve Paxton, one from Juniata College, USA, in the 36th anniversary of contact improvisation, and another from the Dancing Museum, France. These two narratives are taken as sources of the ethnographic description which highlight essential performance characteristics and motivational issues which generated this dance movement. In the second chapter, the narratives which underpin the funneling of the ethnographic description are some of the writings of Steve Paxton, published by Contact Quarterly’s Contact Improvisation Sourcebook (1997), a special historical collection of this dance journal launched in 1975 as a space for reflection, debate and circulation of movement studies and experiences resulting from the performance. Along with these writings, aspects of the history of contact improvisation and the Small Dance, presented as a preparation technique for the movement, as the warming up of the perception for the dance of contact improvisation. The third chapter presents the contact improvisation class as a performance and focuses on participant observation, including my experience as a dancer, contactor, dance and contact improvisation teacher as an object of reflection on the performance load of possible transformation and transportation (Schechner, 2011) available in the classroom and at the jam sessions. |
publishDate |
2020 |
dc.date.accessioned.fl_str_mv |
2020-09-15T11:27:37Z |
dc.date.available.fl_str_mv |
2020-09-15T11:27:37Z |
dc.date.issued.fl_str_mv |
2020-02-17 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
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masterThesis |
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dc.identifier.citation.fl_str_mv |
ITAVO, C. V. O lado surpreendente da queda: minha experiência com o contato improvisação. 2020. 180 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2020. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/10699 |
identifier_str_mv |
ITAVO, C. V. O lado surpreendente da queda: minha experiência com o contato improvisação. 2020. 180 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2020. |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/10699 |
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Attribution-NonCommercial-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nc-nd/3.0/br/ |
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openAccess |
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Universidade Federal de Goiás |
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UFG |
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Universidade Federal de Goiás |
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