https://repositorio.ufu.br/handle/123456789/5159 2026-04-11T10:56:50Z 2026-04-11T10:56:50Z 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 https://repositorio.ufu.br/handle/123456789/48558 2026-03-21T06:26:18Z 2026-02-26T00:00:00Z

Title: A criança em cena: jogos dramáticos no desenvolvimento socioemocional na educação infantil Abstract: This dissertation investigates dramatic games as an artistic language and aesthetic experience in Early Childhood Education, emphasizing their potential for the expression and understanding of emotions. The study examines how theatrical practices can contribute to the socio-emotional development of children aged five and six, articulating the fields of experience Sounds, Colors, Shapes and Forms and Socio-Emotional Skills, in accordance with the Brazilian National Common Core Curriculum (BNCC) and the Municipal Curriculum Guidelines of Uberlândia (DCMs). The research adopts a qualitative, descriptive, and participatory approach and was conducted in a municipal early childhood education school in Uberlândia, Minas Gerais, with a second-level group. Methodological procedures included bibliographic research, document analysis, a case study, field notes, and photographic and audiovisual documentation. The pedagogical-artistic actions involved Emotion Workshops, theatrical performances, and dramatic games inspired by the book The Color Monster, children’s songs, and dramatic games developed in workshops with the Emcantar Group. The results indicate that dramatic games enabled meaningful aesthetic experiences, enhanced emotional expression, and strengthened children’s protagonism, reaffirming the power of theatre in Early Childhood Education.

2026-02-26T00:00:00Z https://repositorio.ufu.br/handle/123456789/48557 2026-03-20T06:20:12Z 2025-12-15T00:00:00Z

Title: Teatro, mito e esclarecimento - do teatro grego clássico às Bacantes do Teat(r)o Oficina Abstract: Esta disertación investiga las relaciones entre mito, teatro e iluminación, tomando como referencia la puesta en escena Las Bacantes (1995) del Teat(r)o Oficina Uzyna Uzona, dirigida por José Celso Martinez Corrêa. El estudio recorre una trayectoria histórico-conceptual que parte de la tragedia griega, donde mito y razón coexistían en equilíbrio, atraviesa el desencantamiento del mundo moderno y las críticas a la razón instrumental formuladas por la Escuela de Frankfurt, y analiza las respuestas artísticas y filosóficas de Nietzsche, Artaud, Brecht y Jung. La investigación articula perspectivas filosóficas, estéticas y simbólicas, proponiendo una lectura fenomenológico-hermenéutica del arte como forma de esclarecimiento totalizador, capaz de reconciliar los polos dionisíaco y apolíneo de la experiencia humana. El análisis histórico y teórico sustenta la interpretación de Las Bacantes del Oficina como una síntesis contemporánea de la tragedia y una actualización del mito de Dionisio en la escena brasileña, donde el teatro se revela no sólo como espectáculo, sino como un ritual de conocimiento, creación y transformación.; This dissertation investigates the relationships between myth, theatre, and enlightenment, taking as reference the production The Bacchae (1995) by Teat(r)o Oficina Uzyna Uzona, directed by José Celso Martinez Corrêa. The study traces a historical and conceptual path from Greek tragedy, where myth and reason coexisted in balance, through the modern disenchantment of the world and the critique of instrumental reason developed by the Frankfurt School, to the artistic and philosophical responses found in Nietzsche, Artaud, Brecht, and Jung. It combines philosophical, aesthetic, and symbolic perspectives, proposing a phenomenological-hermeneutic reading of art as a totalizing form of enlightenment capable of reconciling the Dionysian and Apollonian dimensions of human experience. The historical and theoretical analysis supports the interpretation of Oficina’s The Bacchae as a contemporary synthesis of tragedy and a renewal of the myth of Dionysus in Brazilian theatre, in which the stage becomes not merely a spectacle but a ritual of knowledge, creation, and transformation.

2025-12-15T00:00:00Z https://repositorio.ufu.br/handle/123456789/48529 2026-03-11T06:27:59Z 2025-12-19T00:00:00Z

Title: Kirtans de Krishna Das: Análise dos kirtans Sita Ram e Samadhi Sita Ram do álbum Live on Earth for a limited time only para a criação do kirtan Jaya Sita Ram Abstract: This research presents the analyses of the kirtans Sita Ram and Samadhi Sita Ram, from Krishna Das’ album Live on Earth: For a Limited Time Only, for the creation of the kirtan Jaya Sita Ram. For this purpose, the systemic modeling methodology was used, which enabled, on one hand, rigorous analyses of the sample and, on the other, the inclusion of the composer’s creative element to address the question: how to create a new song based on two preexisting ones? This methodology made it possible to extract the hypothetical compositional systems of each sample kirtan and to create a systemic model developed from the selection and abstraction of specific parameters. This model was then used as a starting point for musical creation. As a result, a kirtan was produced that differs in microstructure but resembles the sample only in macrostructure. This research offers one perspective on musical creation inspired by Krishna Das’s songs, which may be extended both to her extensive body of work and to that of other Western kirtaniyas.

2025-12-19T00:00:00Z