https://repositorio.ufu.br/handle/123456789/20637 2026-08-07T03:32:37Z 2026-08-07T03:32:37Z https://repositorio.ufu.br/handle/123456789/48961 2026-07-23T06:21:44Z 2025-04-29T00:00:00Z

Title: Viver da dança: ferramentas de design estratégico (de) para posicionamento de pequenas companhias no mercado cutural Abstract: The structural dynamics of the dance market reveal a persistent disconnection between artistic production and financial returns, thereby posing significant challenges to the sector's economic sustainability. In response to this issue, methodologies such as coolhunting and strategic planning, alongside tools for conceptual development, are proposed as mechanisms to systematize the organizational processes of dance companies. A marked integration of digital technologies in contemporary dance practices is evident, and their incorporation into strategic frameworks for small groups is deemed indispensable. This study hypothesizes that Strategic Design can be collectively applied throughout all phases of a company’s development—from structural organization to the creation of new artistic proposals—in order to inform and guide production within the dance field. The objective of this research is to examine the applicability of strategic design tools in supporting small dance companies in securing financial resources, ensuring organizational continuity, and preserving the core artistic values of their work. The dance collective *Provisório Corpo* was selected as a case study for the development of a strategic design prototype. The simulation was conducted using data obtained from document analysis, particularly of projects submitted to and approved by the cultural incentive program of the municipality of Uberlândia, Minas Gerais, Brazil. The project comprised a scope analysis, strategic definition, and scenario construction. The outcomes were synthesized into a strategic panel, which underwent heuristic evaluation to validate the proposed strategies. The final considerations underscore the practical relevance of the tools developed and emphasize the potential for their application in future research within the dance field. While the need to optimize organizational strategies is critical for the cultural market integration of dance companies, such efforts do not diminish the essential role of public funding and state support. It is proposed that the methodologies and materials developed herein can be revised, tested, and replicated by researchers and artists alike, contributing to the refinement and expansion of strategic practices in the performing arts.

2025-04-29T00:00:00Z https://repositorio.ufu.br/handle/123456789/48901 2026-07-18T06:18:24Z 2021-03-30T00:00:00Z

Title: Da roda de capoeira Angola à sala de aula: um corpo em manifesto Abstract: This thesis proposes some considerations about the experience as a cultural category, as a path that defies the order of temporalities and sees it as susceptible to one's relationships. Past, present and future coexist only that ancestry can reveal fundamental aspects of the memory. As a living entity, always open to the dialectics of remembering and forgetting, the memory is the everlasting present because it is affective and vulnerable. While considering the reinventions of the traditions in Capoeira, memory emerges as a paramount element for the understanding of the body as the subject that performs a meeting of knowledge and exists as an unstoppable flow of learning, the dynamic creations that don't return, never close, only expand in a spiral. It was proposed a registering exercise trought experiences report, using the researcher's experience as a member of the Angola Capoeira's group Galo Cantô and a teacher in a teaching internship that culminated in the creation of a spectacle, where this experience became a documentary source.

2021-03-30T00:00:00Z https://repositorio.ufu.br/handle/123456789/48865 2026-07-16T06:27:09Z 2024-11-27T00:00:00Z

Title: Corpo-viado e(m) performance: tessituras mnemônicas, autobiografia e suas performatividades Abstract: This research was configured as a VIADO crossing. It was a process that investigated, in the body and in the writing process, the various forms of silencing, oppression and violence, especially the affective ones, that plague CORPO-VIADO on a daily basis. The central objective was to UNVEIL the performative-pedagogical process through which the possibility of identity construction and affirmation became concrete, and WEAVE a network that intended to transcreate, politically and artistically, the experiences of CORPO-VIADO through mneumonic, autobiographical and performative fabrics which questioned the aspects of the hegemonic references that violently constitute such bodies. In a disobedient movement in response to these imposed dynamics, a series of five performative actions was created entitled “Precarious Rebellions of a CORPO-VIADO E(M) Performance”, micropolitics that attempted to create spaces of resistance, reception and reflection, in addition to opening fields of dialogue with other artists from the Brazilian performance scene. This performative movement highlights how attempts to erase queered bodies are still a present reality, while also contributing to the expansion of multiple modes of resistance against such erasures.

2024-11-27T00:00:00Z https://repositorio.ufu.br/handle/123456789/48566 2026-03-24T06:26:50Z 2026-02-23T00:00:00Z

Title: Epistemologias do axé: corpo, memória e de(s)colonialidade na dança afro-brasileira Abstract: “Exú killed a bird yesterday with the stone he will only throw tomorrow.” This Yoruba maxim announces a conception of time that disrupts linearity and causality, returning to experience the power to produce meaning. It is within this fold of spiral time that this research is situated. This dissertation investigates Orixá dance as a language of resistance, self-writing, and a legitimate field of knowledge production, understanding the Afro-diasporic body as a territory of memory, creation, and crossing, sustained by axé and ancestral cosmoperceptions that precede Western modern logic. Grounded in autoethnography and performative writing, the research articulates ritual, autobiography, fiction, and critical reflection, assuming the body as a living archive and an epistemological operator. The writing unfolds as a spiral experience, breaking with temporal and methodological linearity in order to affirm the crossroads as a procedure for creation and thought. The fictional narratives, experiences in the terreiro, and the artistic processes developed within the project “Um Quê de Negritude” and the Collective Boca 07 constitute the empirical corpus, articulating scene, ritual, and memory as inseparable fields of knowledge production. In dialogue with authors such as Martins (2021), Rufino (2019; 2023), Santos (2002; 2023), Silva (2016; 2021), Moura (2019), Prandi (2001), Bento (2022), Césaire (2021), Schucman (2014), Nogueira (2020), Lima (2023), Côrtes, Santos and Andraus (2020), Ferreira (2008; 2011), and Fernandes (2013), the study challenges the structures of coloniality and whiteness that continue to regulate modes of aesthetic, pedagogical, and epistemological legitimation in Brazilian performing arts. Orixá dance is affirmed not as a technical repertoire or folkloric expression, but as a contracolonial practice of invention, thought, and existence. Recognizing Afro-Brazilian dances as complex systems of knowledge allows dance to be repositioned as a living language of ancestry, in which the body becomes archive, crossroads, and a gesture of temporal reconfiguration.

2026-02-23T00:00:00Z