Academic literature on the topic 'Capoeira (Danse)'
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Journal articles on the topic "Capoeira (Danse)"
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Albright, Ann Cooper. "À corps ouverts. Changement et échange d’identités dans la Capoeira et le contact improvisation." Protée 29, no. 2 (April 12, 2005): 39–49. http://dx.doi.org/10.7202/030624ar.
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Cet article tente de montrer comment deux formes particulières de la danse contemporaine, la Capoeira et le contact improvisation peuvent fournir des modèles – et même des technologies physiques – à partir desquels théoriser une altérité incarnée. Il montre comment ces formes de danse proviennent de cultures et d’histoires spécifiques mais aussi comment, dans leurs manifestations contemporaines, elles possèdent leur propre logique qui nous force à repenser notre compréhension des corps et des cultures.
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Meziani, Martial. "La capoeira : ni lutte, ni danse. Proposition de définition." Staps 89, no. 3 (2010): 43. http://dx.doi.org/10.3917/sta.089.0043.
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Holmes, Diana. "Dancing in the Dark: Immersion and Self-Reflexivity in Nancy Huston's Danse noire." Nottingham French Studies 57, no. 3 (December 2018): 298–310. http://dx.doi.org/10.3366/nfs.2018.0226.
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Nancy Huston's Danse noire (2014) is a formidably complex novel: multilingual, composed throughout of three connected but separately told stories, highly self-reflexive in its intra-diegetic presentation of the narrative as film scenario and its use of capoeira as framing device and analogy. Some critics and readers have found this intricate structure excessive and confusing. This article, on the other hand, situates the novel within Huston's distinctive project as a contemporary French novelist who is as committed to immersive story-telling as she is to self-aware celebration of narrative form. It argues that Danse noire demonstrates fiction's power to carry us in imagination through space and time and into the subjective worlds of others, even as it invites awareness of narrative form itself. Moreover, this combination of entrancing story-telling and self-reflexivity is central to what Huston convincingly maintains is the ethical function of the novel.
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Roble, Odilon José, Jéssica Bonvino e Silva, and Maisa Amstalden. "Capoeira as an Emerging Possibility to Decentering Contemporary Dance Experiences (Workshop)." Congress on Research in Dance Conference Proceedings 2014 (2014): 136–39. http://dx.doi.org/10.1017/cor.2014.19.
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Capoeira is a Brazilian art, expressed by game, fight, and dance. Its movements comprise a wide range of possibilities, alternating planes, turns, balances, supports, and floor-work, pointing to its relevance for technical processes in dance. However, capoeira is also deeply marked by an aesthetic that goes beyond the movement itself. Values, beliefs, habits, and Brazilian customs are rooted in its practice. Authors such as Frigerio show characteristics such as theatricality and malice, noting that a certain ritual role of capoeira seems to be more important in practice than a combative efficiency. In the Unicamp Physical Education Faculty, a survey is being developed in which capoeira serves as contribution to the dancer's work. Besides the physical skills, we are identifying the formation of an aesthetic expression corresponding to this identity in the process of capoeira, which sent us to the concepts of “kinesthetic transit” and “resonance.” Our proposal for this conference is to present our practical research that understands capoeira, including its rituals, theatricality, and values, as an emerging possibility to decentering dance experiences, due to this traditional phenomenon as not being exclusively a local practice anymore, but also a possible source to contemporary dance in the current cultural interchange.
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Majumdar, Ananda. "“CAPOEIRA - A COMBINATION OF MUSIC, MARTIAL ART AND DANCE”." EPH - International Journal of Humanities and Social Science 2, no. 4 (November 5, 2017): 37–42. http://dx.doi.org/10.53555/eijhss.v2i4.27.
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Purpose of this article to know about a culture, which had ups and down, a culture of struggle and freedom for a community. Capoeira is the glimpse of Brazilian mixed culture transformed from local to global culture. It was a hidden weapon of slave society of Portuguese Brazil against of their masters that escaped them many times. It is a movement, a game, a song, and a dance. It is a motto for generations. It is a vast knowledge for audience worldwide. It is a history, a culture of civilization, a martial art, and a game of global development physically and mentally. This game works everywhere whether a peaceful area or a war devastated area, it brings peace to every community, youth and for their developmental activities, makes a developmental approach, a developmental thought. It is an art and a project literature. It is a festival for youth and generation. Capoeira can help development of education worldwide by accepting capoeira as a global cultural and educational lesson. Therefore, I write about capoeira.
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Oliveira, André Luis. "Do Capoeira para a Capoeira: reflexões etimológicas e existenciais." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 5, no. 3 (December 31, 2021): 355–63. http://dx.doi.org/10.29181/2594-6463-2021-v5-n3-p355-363.
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ResumoA prática social capoeira é permeada por diferentes histórias e interpretações de seu surgimento, incluindo a própria etimologia da palavra capoeira, que pode ter sua origem na língua portuguesa, bem como na língua indígena tupi. Outra comum recorrência é da capoeira ser tratada como algo que tem existência em si, separada de seu sujeito, o capoeirista ou o Capoeira. Esse ensaio tem como objetivo recuperar na literatura a origem do nome capoeira, possíveis significados e sua relação com o jogador-lutador-dançador do que denominamos jogo-de-luta-dançada, assim destacar o/a praticante, professor/a, mestre/a, ou seja, o Capoeira, ser que dá existência a capoeira.Palavras-chave: Capoeira. Capoeirista. Etimologia. From Capoeira player to Capoeira fight: etymological and existential reflections AbstractCapoeira social practice is permeated by different histories and interpretations of its emergence, including the etymology of the word capoeira, which can have its origins in the Portuguese language, as well as in the Tupi indigenous language. Another common recurrence is that capoeira is treated as something that has an existence in itself, separate from its subject, the capoeira player or the Capoeira. This essay aims to recover in the literature the origin of the name capoeira, possible meanings and its relationship with the player-fighter-dancer of what we call game-of-fight-dance, thus highlighting the practitioner, teacher, master, that is, the Capoeira, being that gives existence to capoeira.Keywords: Capoeira. Capoeira Player. Etymology. Del Capoeira para la Capoeira: reflexiones etimológicas e existenciales ResumenLa práctica social de la capoeira está impregnada de diferentes historias e interpretaciones de su surgimiento, incluida la etimología de la palabra capoeira, que puede tener sus orígenes en la lengua portuguesa, así como en la lengua indígena tupí. Otra recurrencia común es que la capoeira es tratada como algo que tiene una existencia en sí misma, separada de su sujeto, el jugador de capoeira el Capoeira. Este ensayo tiene como objetivo recuperar en la literatura el origen del nombre capoeira, los posibles significados y su relación con el jugador-luchador-danzador de lo que llamamos juego-de-lucha-danzada, destacando así al practicante, profesor, maestro, es decir, el Capoeira, ser que da existencia a la capoeira.Palabras clave: Capoeira. Jugador de Capoeira. Etimología.
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Fernandes, Fabio Araujo. "“BE CAREFUL WITH THE GERMAN!”: transnationalization process of capoeira, identity, cultural negotiation, and subjectivity." Brasiliana: Journal for Brazilian Studies 6, no. 2 (October 13, 2018): 182–206. http://dx.doi.org/10.25160/bjbs.v6i2.99495.
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The goal of this article is to contribute to the debate about identity and subjectivity constructions in contemporary migrations and the cultural flows resulting from them, by focusing on the process of transnationalization in the practice of capoeira in Europe. The process began in the 1970s and influenced the development of capoeira, thus engendering changes wherever this dance-fight was established. The paper centers on the capoeiristas’ life experiences, through which they reconstructed their own identities, as well as discourses about capoeira, while at the same time considering the hegemonic powers that impose “game rules”. For this purpose, the capoeira universe is understood as an interstitial space in-between local negotiations and global tendencies. Therefore, habits, customs, and practices from different contexts are put into friction, henceforth potentially creating conditions for a multiplicity of new forms of subjectivity.
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Acuña, Mauricio. "THE BERIMBAU'S SOCIAL GINGA: NOTES TOWARDS A COMPREHENSION OF AGENCY IN CAPOEIRA." Sociologia & Antropologia 6, no. 2 (August 2016): 383–406. http://dx.doi.org/10.1590/2238-38752016v624.
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Abstract Although the berimbau is widely acknowledged today as part of capoeira - in Brazil and around the world - only a 'minimal' history of this instrument exists concerning its evolution over the twentieth century. The sounds, songs and notes of the berimbau, as well as its circulation among capoeiristas, artists, athletes and intellectuals, played an important role in the historical shift from a 'poisonous' capoeira to the 'non-poisonous' styles. The latter were the same styles that became national with enough of a violent edge to maintain the ambivalence between martial art, game and dance, as exemplified and echoed by the capoeira movement between 1930 and 1960. This article approaches the berimbau as an object embodied with a specific kind of agency, useful to the national imagination, to the control of the body and to the promotion of hierarchies among its practitioners.
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Spanos, Kathleen A. "A Dance of Resistance from Recife, Brazil: Carnivalesque Improvisation in Frevo." Dance Research Journal 51, no. 3 (December 2019): 28–46. http://dx.doi.org/10.1017/s0149767719000305.
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Frevo is an energetic dance from Recife, the capital of Brazil's northeastern state of Pernambuco. Frevo is a dance of resistance because it narrates complex notions of identity that contribute to social empowerment through strategic processes of liberation for marginalized groups. The dance originates from the Brazilian martial art of capoeira and it is carnivalesque because it is performed in crowded, often violent streets during carnival, when power hierarchies are disrupted. Through this ethnographic research, I consider how frevo practitioners engage in cultural resistance using a practice that I call “carnivalesque improvisation.”
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Scott, Susie, and Neil Stephens. "Acts of omission and commission in the embodied learning of diasporic capoeira and swimming." Qualitative Research 18, no. 5 (September 20, 2018): 565–79. http://dx.doi.org/10.1177/1468794118778614.
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This article compares ethnographic experiences of two settings characterised by embodied learning: the African-Brazilian dance/martial-art/game capoeira, and swimming for fitness and leisure, both as practiced in the UK. We consider the ways in which participants in these scenes stage-manage the display of their learning environments, focusing on the rituals and routines of instruction and practice. Applying Scott’s (2018) sociology of nothing as an analytical framework, we identify an inverse relationship between two forms of social action. In capoeira, we notice primarily acts of commission (somebodies enacting somethingness), whereas in swimming, we observe more acts of omission (nobodies enacting nothingness), although the distinction is not absolute. In both contexts, we explore the role of space, community, and the body in the negotiation of omissive and commissive socially meaningful action. This relates to Delamont’s interests in capoeira, ethnography and learning physical practices outside the classroom.
Dissertations / Theses on the topic "Capoeira (Danse)"
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Brocardi, Agnès. "Africanité et brasilianité de la capoeira : vers une pratique transversale." Paris 8, 2001. http://www.theses.fr/2001PA082647.
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Granada, Da Silva Ferreira Daniel. "Les mestres, les groupes et les « lieux dynamiques » : identité et relocalisation de la pratique de la capoeira à Paris et à Londres." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100150/document.
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La présente thèse analyse les processus de transnationalisation de la pratique de la capoeira, un art martial d’origine « afro-brésilienne », en France et au Royaume-Uni. Son expansion accompagne l’émigration de Brésiliens en quête de meilleures conditions de vie et de travail à l’étranger, mais repose de manière importante dès ses débuts sur l’appropriation et l’adaptation opérées par les pratiquants locaux. À travers la recherche ethnographique au sein des groupes de capoeira en France et au Royaume-Uni et les entretiens avec les leaders des groupes et leurs élèves sont dévoilés, au long de la thèse, les rapports de pouvoir qui organisent ce marché et les mécanismes employés par les capoeiristas pour garantir leur légitimité face aux concurrents. Les résultats démontrent que les groupes de capoeira sont devenus des vecteurs de nouvelles formes de sociabilité, source d’identités liées à un style de vie qui est revendiqué comme « alternatif » par ses pratiquants, les nouvelles identités des groupes de capoeira n’ayant pas comme référence centrale le monde du travail ou l’État-nation. Dans un contexte de circulation intense des individus, les groupes de capoeira dans de grandes métropoles, telles que Paris et Londres, s’affirment comme des espaces d’appartenance actuels, ils se constituent dans de nouveaux « lieux dynamiques », auxquels leurs membres s’associent et s’identifient. À partir de l’analyse des activités des groupes de capoeira, sont révélés les mécanismes de contrôle de l’expansion de la pratique mis en oeuvre par les capoeiristas eux-mêmesThis thesis analyses the process of transnationalisation of the practice of capoeira, an Afro-Brazilian martial art form, in France and in the United Kingdom. The expansion of capoeira accompanied Brazilian emigration in search of better living and working conditions abroad, but also resulted from the adaptation and appropriation by local practitioners. Through ethnographic research among capoeira groups in France and in the UK, in particular interviews with group leaders and their students, the thesis unveils the power relations that organise the market and the mechanisms employed by the capoeiristas to ensure their legitimacy against their competitors. The results show that capoeira groups became vectors of new forms of sociability, and the source of identities related to lifestyle claimed as "alternative" by its practitioners. These of new identities capoeira groups do not have as their main reference the working world or the state. In a context of intense circulation of individuals, capoeira groups in big cities like Paris and London are emerging as new location strategies; they are located in new "dynamic places," to which its members are perceived to be connected. The analysis reveals the mechanisms controlling the expansion of the practice, which is implemented by the capoeiristas themselves
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Corneau, Marianne. "Capoeira Angola : mémoire, réparations et travail identitaire chez les afro-brésiliens de Salvador de Bahia." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25579/25579.pdf.
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Langaro, Becker Angela. "La danse en tant qu'image du corps : expressions de la voix et du regard." Paris 13, 2010. http://www.theses.fr/2010PA131034.
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Ce travail analyse la danse adolescente du point de vue de ses expressions dans le champ des pulsions scopique et invocante. Le corps dansant est examiné sur deux versants : le premier met l’accent sur les nouvelles inscriptions de la voix et du regard à partir de la transformation corporelle de la puberté, avec des conséquences sur la relation entre le corps et la dimension spatio-temporelle. Cette danse est le mouvement même d’aller et venue de toute pulsion en direction de l’invocation de l’Autre ; un mouvement qui produit le champ de l’équivoque, qui introduit l’altérité, qui laisse passer la signification d’un nouveau sujet. Elle ne se réfère pas seulement à la manière dont chaque adolescent s’essaie à la resignification de son image vers une sexuation, mais concerne aussi son rapport aux espaces urbains. Le deuxième versant envisage la danse comme une chorégraphie développée à l’intérieur d’un texte musical. Parce qu’il lui faut s’approprier sa nouvelle image corporelle, l’adolescent fait l’exercice d’une maîtrise de son corps. Une maîtrise du champ pulsionnel, du débordement du Réel vécu avec la puberté. Pour illustrer ces propos, nous prenons comme exemple la capoeira, une danse/lutte typiquement brésilienne qui permet d’appréhender le phénomène de la transitionnalité dans ce passage de l’adolescent vers son inscription dans le monde adulte.
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Brough, Edward Luna. "Jogo de mandinga - game of sorcery - : a preliminary investigation of history, tradition, and bodily practice in capoeira angola /." Connect to resource, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195592448.
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Polido, Pepita Saloti 1979. "Capoeira na escola : política, ética e estética na roda /." São Paulo, 2018. http://hdl.handle.net/11449/154836.
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Orientador(a): João Cardoso Palma FilhoBanca: Marianna Francisca Martins Monteiro
Banca: Adriano Rogério Celante
Resumo: Este estudo possui por orientação filosófica o materialismo histórico e dialético. Objetivou analisar o potencial emancipador da capoeira enquanto um conhecimento a ser transformado em conteúdo escolar, a fim de ser transmitido aos alunos das séries iniciais do ensino fundamental. Entende-se que o potencial emancipador dos conteúdos escolares está relacionado à possibilidade de contribuírem para que os alunos superem o senso comum, em direção à construção de uma consciência filosófica; em outras palavras, relaciona-se à contribuição para a formação nos alunos de uma concepção de mundo materialista histórica e dialética. Para realizar tal análise essa investigação materializou, com alunos das séries iniciais da rede pública de ensino de Jundiaí, um processo de ensino da capoeira, nas aulas de Educação Física e Artes, orientado pela unidade teórico-metodológica da pedagogia histórico-crítica. Esse trabalho educativo, na busca pela transmissão do conhecimento objetivo por meio da historicidade da capoeira, conjugou duas demandas, a transmissão do pensamento conceitual (de origem científica social), e a possibilidade de despertar os sentidos através da representação evocativa (sensibilização artística). A problematização central foi tratar a capoeira em sua historicidade, justamente por ser a apreensão da capoeira como processo de luta contra a exploração do trabalho humano o que confere a ela objetividade e universalidade. Há de se considerar ainda que essa problematização, diante... (Resumo completo, clicar acesso eletrônico abaixo)
Resumen: Este estudio tiene como dirección filosófica el materialismo histórico y dialéctico. Tuvo como objetivo el análisis del potencial emanc ipatorio de la capoeira como conocimiento a ser trans formado en contenido esco lar, para transmitírselo a los alumnos de los niveles básicos de educación . Se e ntiende que el potencial emancipatorio de los con tenidos escolares se relaciona con la po sibilidad de que estos conocimientos se suman para que los alumnos logren un sentido común hacia la construcció n de una consciencia filosófica; en o tras palabras, está relacionada a la contribución para la formación, en los alumnos, de una concepción de mundo materialista histórica y dialéctica. Para lograr tal análisis esta investigación materializó con los alumnos de los niveles básicos de la educación pública de Jundiaí un proceso de enseñanza de la capoeira, en las clases de Educación Física y Artes, orientada por la unidad teórico - metodológica de la pedago gía histórico - crítica. E ste trabajo educativo, en l a búsqueda por la transmisión del conocimiento objetivo por medio de la his toricidad de la capoeira, conjugó dos demandas, la transmisión del pensamiento conceptual (originada científica y socialmente ) y la po sibilidad de despertar los sentidos según la representación evocativa (sensibilidad artística) . Trabajo que tuvo como problematización central abarcar la capoeira en su historicidad, justo por ser la aprehensión de la capoeira como proceso de lucha que se opone a la... (Resumen completo clicar acceso eletrônico abajo)
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Cressoni, Franz Eric de Goes [UNESP]. "Capoeira contemporânea: compreensões decorrentes de mestres autodeclarados." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/108759.
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000767661.pdf: 1730432 bytes, checksum: 58cc7cebfa8382ba63226227ba32836d (MD5)O presente estudo objetivou analisar a capoeira na atualidade no que diz respeito às rupturas e disputas de poder que se deram com as escolas tradicionais, angola e regional, tal qual preconizadas por seus criadores, para o surgimento das novas manifestações que hoje se apresentam no espaço social da capoeira. Neste sentido, fizemos um recorte no qual demos enfoque ao fenômeno denominado capoeira contemporânea, abordando-o, e à capoeira, de forma geral como manifestações pautadas por um modelo artesanal, e analisando-os a partir da teoria social de Pierre Bourdieu. Assim, os objetivos deste estudo foram compreender o fenômeno reconhecido pelo termo capoeira contemporânea, analisando: a) o contexto histórico e a estrutura social que levaram à ruptura com as escolas tradicionais; b) a relação entre a capoeira, tal qual praticada na atualidade, com educação física e o esporte; c) a existência, ou não, de uma nova escola de capoeira que se some às tradicionais. Optou-se pela pesquisa qualitativa, tendo como técnica a entrevista semi-estruturada com oito mestres que se auto declararam praticantes de capoeira contemporânea. As entrevistas demonstraram que, de forma geral, os mestres de capoeira contemporânea tendem a não considerá-la uma escola de capoeira, tais quais o são as capoeiras angola e regional, pois ela carece de fundamentações universalisadas entre seus praticantes, denominadas por Eric Hobsbawm de tradições inventadas. No entanto, ela redimencionou ambas as escolas tradicionais como os pilares fundamentais da prática, rompendo assim com a separação angola/regional existente até então. Além disso, a capoeira contemporânea tende a dar liberdade para reestruturar-se a prática da capoeira criando novos fundamentos ou acoplando a eles características de outras práticas, como lutas ou acrobacias. Concluímos que a capoeira contemporânea constitui-se, não numa escola, mas num modelo de prática pautado...
This study had the objective of analyzing capoeira in present days, giving attention to the ruptures and disputes of power with the traditional schools, angola and regional, as professed by their creators, which originated new manifestations that are nowadays present in the social space of capoeira. In this sense, we focused on the phenomenon called capoeira contemporânea, treating both it and capoeira in general as manifestations based on an artisan model and analyzing them through the social theory of Pierre Bourdieu. Therefore, the objectives of this study were to comprehend the phenomenon known by the name of capoeira contemporânea, analyzing: a) the historical context and the social structure which led to a rupture with the traditional schools; b) the relationship between capoeira as it is practiced nowadays with physical education and sports; c) whether or not there is a new school of capoeira which add to the traditional ones. A choice was made for a qualitative research, using a semi structured interview with eight masters who declared themselves to be practitioners of capoeira contemporânea. The interviews showed that, in general, the masters of capoeira contemporânea tend not to consider it to be a school of capoeira, as are the capoeiras angola and regional, since it lacks universal groundings among its practitioners, which Eric Hobsbawm named invented traditions. Still, it has redimensioned both traditional schools as its fundamental pillars, and thus breaking with the existing separation angola/regional. Furthermore, capoeira contemporânea tends to give a freedom to the restructuring of the exercise of capoeira, creating new groundings or adding new characteristics of other practices to the existing ones. We have concluded that capoeira contemporânea constitutes, not a school, but a model of practice based on a movement of transformation in the capoeira medium which breaks with the traditional models of practice, but...
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Cressoni, Franz Eric de Goes. "Capoeira contemporânea : compreensões decorrentes de mestres autodeclarados /." Rio Claro, 2013. http://hdl.handle.net/11449/108759.
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Orientador: Alexandre Janotta DrigoBanca: Luiz Gonçalves Junior
Banca: Samuel de Souza Neto
Resumo: O presente estudo objetivou analisar a capoeira na atualidade no que diz respeito às rupturas e disputas de poder que se deram com as escolas tradicionais, angola e regional, tal qual preconizadas por seus criadores, para o surgimento das novas manifestações que hoje se apresentam no espaço social da capoeira. Neste sentido, fizemos um recorte no qual demos enfoque ao fenômeno denominado capoeira contemporânea, abordando-o, e à capoeira, de forma geral como manifestações pautadas por um modelo artesanal, e analisando-os a partir da teoria social de Pierre Bourdieu. Assim, os objetivos deste estudo foram compreender o fenômeno reconhecido pelo termo capoeira contemporânea, analisando: a) o contexto histórico e a estrutura social que levaram à ruptura com as escolas tradicionais; b) a relação entre a capoeira, tal qual praticada na atualidade, com educação física e o esporte; c) a existência, ou não, de uma nova escola de capoeira que se some às tradicionais. Optou-se pela pesquisa qualitativa, tendo como técnica a entrevista semi-estruturada com oito mestres que se auto declararam praticantes de capoeira contemporânea. As entrevistas demonstraram que, de forma geral, os mestres de capoeira contemporânea tendem a não considerá-la uma escola de capoeira, tais quais o são as capoeiras angola e regional, pois ela carece de fundamentações universalisadas entre seus praticantes, denominadas por Eric Hobsbawm de tradições inventadas. No entanto, ela redimencionou ambas as escolas tradicionais como os pilares fundamentais da prática, rompendo assim com a separação angola/regional existente até então. Além disso, a capoeira contemporânea tende a dar liberdade para reestruturar-se a prática da capoeira criando novos fundamentos ou acoplando a eles características de outras práticas, como lutas ou acrobacias. Concluímos que a capoeira contemporânea constitui-se, não numa escola, mas num modelo de prática pautado...
Abstract: This study had the objective of analyzing capoeira in present days, giving attention to the ruptures and disputes of power with the traditional schools, angola and regional, as professed by their creators, which originated new manifestations that are nowadays present in the social space of capoeira. In this sense, we focused on the phenomenon called capoeira contemporânea, treating both it and capoeira in general as manifestations based on an artisan model and analyzing them through the social theory of Pierre Bourdieu. Therefore, the objectives of this study were to comprehend the phenomenon known by the name of capoeira contemporânea, analyzing: a) the historical context and the social structure which led to a rupture with the traditional schools; b) the relationship between capoeira as it is practiced nowadays with physical education and sports; c) whether or not there is a new school of capoeira which add to the traditional ones. A choice was made for a qualitative research, using a semi structured interview with eight masters who declared themselves to be practitioners of capoeira contemporânea. The interviews showed that, in general, the masters of capoeira contemporânea tend not to consider it to be a school of capoeira, as are the capoeiras angola and regional, since it lacks universal groundings among its practitioners, which Eric Hobsbawm named invented traditions. Still, it has redimensioned both traditional schools as its fundamental pillars, and thus breaking with the existing separation angola/regional. Furthermore, capoeira contemporânea tends to give a freedom to the restructuring of the exercise of capoeira, creating new groundings or adding new characteristics of other practices to the existing ones. We have concluded that capoeira contemporânea constitutes, not a school, but a model of practice based on a movement of transformation in the capoeira medium which breaks with the traditional models of practice, but...
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Lefkaditou, Theodora. "The Social and Cultural Effects of Capoeira’s Transnational Circulation in Salvador da Bahia and Barcelona." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/275942.
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The thesis is an inquiry into the social and cultural implications of the Bahian Capoeira teachers’ transnational mobilities and consequent immobilities. Following the trajectories of young male teachers -in different instances and places- their transactions and encounters with various ‘others’, the study analyzes how the meanings given to their practices and the particularities of their socialities, are constantly transformed. Capoeira becomes the lenses to understand a fluctuating society with its historical and social particularities as Bahians, foreigners, researchers, Capoeira apprentices, young teachers and older mestres evaluate the possible outcomes of their actions, interests and identifications. Mobility and movement are examined both inside and outside Capoeira’s ring (roda). They include Capoeira’s game (jogo), tourist and migratory practices and everyday economies. From crossing national boundaries, the focus shifts on how people in the field define, affirm and challenge boundaries in different social and geographic scales that eventually implicate the boundaries of the self and its definition. The study illuminates processes of boundary negotiation, of opening up and at the same time, of closure as mobility brings into forth questions of relatedness and processes of becoming. The challenges and conflicts that both older mestres and younger teachers face are connected to deeper issues of belonging and affective relationships; of how gender, ethnicity, desires, human value and worth are experienced in today’s changing world. Finally, the thesis is a reflection on methodological and theoretical uncertainties regarding the anthropological study of the ‘Other’.La tesis analiza los efectos sociales y culturales relacionados con las movilidades trasnacionales e las inmovilidades de los jóvenes profesores de Capoeira del estado de Bahia. Siguiendo las trayectorias de los practicantes de un colectivo específico –en distintos momentos y lugares- sus encuentros y transacciones con varios ‘otros’, el estudio propone explorar la constante transformación de los significados atribuidos a sus prácticas como también de sus propias sociabilidades (socialities). La Capoeira se torna en una especie de lentes a través de los que podemos observar una sociedad Bahiana cambiante mientras investigadores, Bahianos, aprendices de Capoeira, extranjeros, viejos maestros y profesores jóvenes evalúan el potencial y los futuros resultados de sus acciones; sus intereses e identificaciones. La movilidad y el movimiento se analizan dentro como también fuera de la rueda de la Capoeira (roda). Se refieren al propio juego, a rutas migratorias y turísticas y economías del cotidiano. El interés se centra en cómo las personas definen, cruzan y negocian fronteras en diferentes escalas geográficas y sociales que, más allá de lo nacional, envuelven la definición del propio ‘yo’ (self) y su relación con el colectivo y la comunidad. Por lo tanto, la tesis propone examinar procesos de inclusión donde las fronteras se abren y al mismo tiempo, la fijación de dichas u otras fronteras, ya que la movilidad se refiere a formas de relacionar y se transformar. Los dilemas y conflictos que, sobre todo los viejos maestros y los profesores jóvenes tienen que resolver, implican cuestiones de pertenencia y la constitución de relaciones afectivas; cuestiones de etnicidad, de género, del valor humano y de los deseos tal como están siendo vividos en el mundo de hoy. Por último, la tesis incorpora reflexiones sobre incertezas teóricas y metodológicas respecto al estudio antropológico del ‘Otro’.
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Sabino, Thércio Fábio Pontes [UNESP]. "Sentindo-se saudável com a capoeira: uma visão fenomenológica a partir de pessoas com deficiência." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/108760.
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000767716.pdf: 1474708 bytes, checksum: a178b1ec2f6c4f6803fe58133f1255dc (MD5)As indagações iniciais desta dissertação de mestrado surgiram da minha vivência de quinze anos de professorado de capoeira na cidade de Rio Claro. Utilizando a fenomenologia como instumento de investigação, busquei entender este fenômeno situado sobre a capoeira: o significado da capoeira na saúde das pessoas com deficiência. A pesquisa levou em conta a relação entre o meu mundo-vida e as experiências com a capoeira de quatro alunos com deficiência, uma estratégia metodológica alternativa para compeensão do campo da saúde. Os discursos foram coletados por entrevista aberta e individual, contendo uma interrogação norteadora, que conduziu o livre pensar dos entrevistados. As entrevistas foram analisadas pelo método fenomenológico, utilizando-se as análises ideográfica e nomotética. Resultaram quatro eixos temáticos para compreensão do fenômeno: 1) conceituando a capoeira; 2) benefícios que a capoeira oferece ao seu praticante; 3) como se sentem praticando capoeira; 4) conceituando saúde partir da capoeira. Na síntese dos resultados sobressaiu o valor de quatro pontos da capoeira como atividade física, movimento corporal, solidariedade social e atividade terapêutica, realce para estas características de significância sobre o papel da capoeira: cumpre satisfatoriamente as possibilidades de realizar uma atividade saudável na vida dos participantes, que se sentem integrados e inclusos em um grupo social e a a expressão de melhoramento na saúde das pessoas quando a capoeira adquire significado dialógico com o mundo social. Desse contexto da pesquisa revelou-se um caminho promissor para a definição de campo da saúde: a capoeira, considerada uma prática desportiva, educativa e cultural quando também perfaz a função de proteção social à grupos vulneráveis na sociedade, consequentemente contribui para uma prática positiva de saúde, viável a todos sem distinções
The initial questions of this dissertation came from my experience of fifteen years of professorship of capoeira in Rio Claro. Using phenomenology as PROCEEDING research sought to understand this phenomenon situated about capoeira : the meaning of capoeira on the health of people with disabilities . The research took into account the relationship between the life-world and my experiences with capoeira four students with mild mental retardation , a methodological strategy compeensão alternative to the health field . The speeches were collected by interview and open individual , containing a question guiding , leading free thinking of the respondents . The interviews were analyzed by the phenomenological method , using the ideographic and nomothetic analyzes . Resulted in four themes for understanding the phenomenon : 1 ) conceptualizing the roost ; 2 ) benefits that capoeira offers to its practitioner , 3) how they feel practicing capoeira ; 4 ) conceptualizing health from the farmyard . The results converged to the value of four points of capoeira as physical activity, body movement , social solidarity and therapeutic activity in highlighting the significance of capoeira satisfactorily fulfills the possibilities of making a healthy activity in the lives of participants , who feel integrated and included in a social group , and finally expresses the poultry improvement in people's health when it acquires meaning of dialogue with the social world . Context of this research proved to be a promising way to define the field of health : capoeira , considered a sporting , educational and cultural function also accounts for the social protection of vulnerable groups in society and consequently contributes to a viable health practice all distinctions
Books on the topic "Capoeira (Danse)"
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Santos, Lindemberg Monteiro dos. Capoeirando: Processo de criação em dança contemporânea. Curitiba, PR: Appris Editora, 2021.
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Oliveira, Charles Monteiro de. Identidade e memória da capoeira Angola nas ruas do Rio de Janeiro. Rio de Janeiro: LetraCapital, 2020.
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Ring of liberation: Deceptive discourse in Brazilian capoeira. Chicago: University of Chicago Press, 1992.
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Silva, Renata de Lima. Performance negra e dramaturgias do corpo na Capoeira Angola. Porto Alegre, RS: Editora Fi, 2021.
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Rob, Waring, ed. Capoeira: The fighting dance. Boston, Mass: Heinle/Cengage Learning, 2009.
Find full textBook chapters on the topic "Capoeira (Danse)"
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Lézy, Emmanuel. "La capoeira, combat rythmé ou danse martiale ?" In Danses latines, 294–313. Autrement, 2007. http://dx.doi.org/10.3917/autre.dorie.2007.01.0294.
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Hecking, Britta. "Algerian Youth on the Move. Capoeira, Street Dance and Parkour: Between Integration and Contestation." In Algeria. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940216.003.0010.
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After a long decade of political and cultural isolation due to the bloody civil war in the 1990s, processes of economic reform and ‘opening to the world’ intensified since 2000 in urban Algeria. While public space is still controlled by what is an authoritarian state, it is also a highly contested space. This chapter analyzes how young Algerians reclaim their access to the public sphere and forge new identities through the practice of global youth cultures like parkour, capoeira and street-dance. Common to each of these practices is ‘the body in motion’, the appropriation of urban spaces that has a counter hegemonic character. Young people use these activities to negotiate material constraints and in-between identities in everyday life. This is especially clear in the aesthetics and philosophy of parkour: one plays with obstacles or passes them using only the force of the body. Social media play an important role in these urban cultures for initiation, inspiration and representation: video-clips circulate via Facebook or Youtube and create new communities connecting local ‘crews’ with national federations and transnational networks. By appropriating local streets through the appropriation of global cultures, the young not only empower themselves but also contribute to stage a new image of the young Algerian nation.