RCAAP Repository

Virgílio Borges Pereira é professor associado com agregação do Departamento de Sociologia da Faculdade de Letras da Universidade do Porto (FLUP), onde leciona desde 1994, e investigador do Instituto de Sociologia da mesma instituição, unidade de investigação e desenvolvimento que integra o sistema científico nacional, o qual coordena cientificamente desde 2010. Colabora, desde 2003, com a Faculdade de Arquitetura da Universidade do Porto no curso de licenciatura/ mestrado integrado e no Programa de Doutorado em Arquitetura. Desde 2008, é investigador associado do Centro de Estudos de Arquitetura e Urbanismo da mesma Universidade.

Este artigo discute a proeminência e as especificidades das práticas multiterritoriais no estilo de vida das elites. Com base em entrevistas com membros das classes superiores paulistas, argumenta que tais mecanismos de socialização no estrangeiro contribuem para a ocupação de posições de poder e a acumulação de um capital cultural internacional. Do ponto de vista dos referenciais de boa conduta em matéria de excelência social, o texto aponta que os indivíduos de alta extração estudados são os que mais conseguem honrar as prescrições em prol da aprendizagem dos códigos sociais cosmopolitas e dos deslocamentos geográficos mais distintivos num dado momento, que mais eficazmente preservam dos espaços densamente ocupados e do contato direto com as multidões.

Este artigo discute até que ponto as posições de classe na Grã-Bretanha contemporânea foram herdadas dos pais e que tipo de escolhas em termos conjugais (e seus efeitos) homens e mulheres fazem em posições sociais diferentes. De modo inovador, o artigo investiga os diferentes ativos herdados de pais e mães por filhos e filhas, visando a um exame refinado dos efeitos de gênero, ainda não presente na literatura. Discriminam-se também as escolhas conjugais de homens e mulheres. Essas explorações se apoiam no material empírico desenvolvido para o estudo britânico Capital Cultural e Exclusão Social (CCSE, na sigla em inglês), inspirado pelo trabalho de Pierre Bourdieu sobre capitais e habitus na definição das posições dos indivíduos nas classes sociais. O artigo indica que o gênero, uma ativo mal compreendido por Bourdieu, afeta a posição de classe de formas sutis e complexas, sendo muito significativo em certos aspectos. 

In this article I intend to think the intersection between public space, political performances and media transmission from the point of view of the anthropology of performance. Through the reading of an urban riot uprising which took place in 1959 in Niterói, The Revolt of the Ferries, I proposed to the participants in a workshop at the Fluminense Federal University in November 2014, a performative installation to revisit the riot memory and, above all, to reenact it from a political point of view considering the recent conflicts associated with the Free Pass Movement in Brazil. I start by analyzing a set of imagery of recent protests in Portugal, the United States, Spain and Brazil in order to find out similar traits in the performance of those political mobilization and in the answer given by the dominant power. “Artivism” emerges as a concept to be explored in contemporary political protests. Throughout the article I will try to highlight its activist performativity, its “carnavalization” effects and its possible articulations between repertoires and archives.Translation: Barbara Theoto Lambert

O artigo desenvolve uma abordagem audiovisual para o estudo dos saberes, fazeres e interações envolvidos na prática da vigia de cardumes durante a temporada de pesca da tainha com rede de cerco, em Florianópolis. Através de fotos panorâmicas, narrativas em vídeo e montagens em hipermídia, provocamos o leitor/espectador a “ver peixe”, ampliando suas habilidades perceptuais na compreensão da formação da paisagem litorânea entre coletivos de pesca.

This article focuses on some sensory modalities – visible, material and sonic – which allow for a greater understanding of the processes through which social beings in indigenous Brazil are created and transformed. David MacDougall has suggested that the study of visible cultural expressions should be considered an aspect of visual anthropology since “the expressive systems of human society… communicate meanings partially or primarily by visual means” (MacDougall 1997, 283). However, I would argue that it is also possible to associate these visible aspects of human communication with other sensorial modalities, such as, for example, sonic effects and even breathing, both of which are essential to any reflection on the transformations taking place in human bodies. In this article, I shall aim to substantiate this argument by recasting the material presented in one of my first publications in the Revista de Antropologia and which concerned the role of certain material objects in the celebration of the Bororo funeral (Caiuby Novaes 1981). Along with birth and naming, among the Bororo death and funerals mark one of the most important social ransformations that occur over the course of a person’s lifetime and certain material objects play a crucial role in bringing these about. In this reworking of my earlier material, I turn my focus on the sensory modalities – visible, material and sonic - through which it is possible to understand the role played by the manufacture and social relations engendered by these objects in the creation and transformation of social beings among the Bororo. I hope that my analysis of the Bororo case will not only illuminate similar ritual processes elsewhere in indigenous lowland South America, but will contribute to the enrichment of anthropological understanding of these transformations more generally. It should be stressed that what is at stake here is not the understanding of these sensory modalities per se, but rather the broad variety of cultural phenomena in which they may be encoded.Translation: Elizabeth Rahman

This article describes and discusses a theatre ritual known as disassembly. We follow the presentations of Tania Farias, member of the group Ói Nóis Here Traveiz, from Porto Alegre, performed in 2014. In this ritual we see the links established by the artist between her personal history, the group’s history and the theatrical challenges that enabled her to enact her performance. In order to be able to act, she develops her own expressive vocabulary. Her disassembly shows these connections, allowing the audience to see the creative process behind the scenes. Based on this material, we discuss the issue of consciousness and the tacit in ritual.Translation: David Rogers

This article explores the romantic image of Iracema – a literary figure created by Ceará-born writer José de Alencar. The best-known character from José de Alencar’s literary output, Iracema is examined here as a symbol of Cearense-ness and indigenousness evoked in everyday discursive representations both to deny and to affirm contemporary processes of indigenous identification. Ethnographic examples drawn from research carried out with indigenous leaders of several peoples in Ceará (Pitaguary, Tapeba, Tremembé, Jenipapo-Kanindé and Potyguara) reveal that while the image of Iracema is commonly used to de-authorise those who claim specific ethnic-racial identities, it is also appropriated by these people to affirm their indigenousness.Translation: David Rogers

Nas origens da tragédia grega, no coro de sátiros do teatro dionisíaco, os gregos fitavam o horror. Nessa observação de Nietzsche se encontra o ponto de partida para uma discussão dos ritos de passagem e, particularmente, da experiência do límen. Contribuições da performance e do teatro contemporâneos realçam aspectos dessa experiência. As análises de Julia Kristeva também merecem atenção. A hipótese, inspirada no pensamento de Walter Benjamin, emerge no final: elementos vitais dos ritos de passagem e do teatro dionisíaco tem a ver com o que poderíamos chamar de “margens das margens”. Em destaque, a dupla retirada de máscaras (cotidianas e extraordinárias), os subterrâneos dos símbolos e a experiência de f(r)icção (com r entre parênteses) nas relações entre máscara e corpo. Parafraseando Pascal, o corpo tem razões que a cultura desconhece. Às margens das margens forma-se uma ótica dialética: espantoso (ou extraordinário) cotidiano, nada surpreendente no espantoso.

This article aims to discuss the author’s voice as an expression of subjectivity and reflexivity in ethnographic films. It analyzes three different ways of working with the author’s voice to establish correlations between emotional, audio-visual and theoretical-methodological levels. The voice as a special kind of performance is suggested as an object for further research and practice, although the approach presented here focuses on the ways these voices could be situated in an effort to consider problems of contemporary anthropology, which have been apparent since the 1980’s. Our major concern is to ask how ethnographic films can contribute to anthropological thinking, paying special attention to ethnographic experience, dialogue and subjectivity. The films of anthropologists such as Margaret Mead and Jean Rouch, as well as a more recent Brazilian film-maker, Edgar Cunha, are used as an analytic basis from which the author’s voice can be reevaluated. It is expected that this discussion will contribute to the critical reconsideration of already released productions as well as further projects.Translation: John Cowart Dawsey

.

No summary/description provided

O ensaio audiovisual “Era um corpo de mulher...” consiste em uma experiência de escritura etnográfica audiovisual, tendo sido a sua forma concebida sob os auspícios dessa presunção. Nessa perspectiva, desenvolvemos uma narrativa em que sonoridades, imagens, textos e falas se entrecruzam na construção de uma montagem que favoreça imbricar no mesmo suporte a evocação de uma experiência etnográfica e a produção artística que representa seus protagonistas principais. Nesse caso, enfocando as esculturas de madeira e as peças de barro que retratam as beatas de Juazeiro do Norte – CE. https://vimeo.com/175552589  

The following text was developed online as a multi-dimentional conversation between Mexican performance artist Guillermo Gómez-Peña and Brazilian choreographer Marcela Levi, in preparation for a performance in Panorama (Rio de Janeiro).

Apresentação do artigo de Steven Fled, "Etnomusicologia e Comunicação Visual".

The work by Rafael José de Menezes Bastos A Musicológica Kamayurá is about to complete its 40th anniversary. Initially presented in October1976 in the form of a master’s dissertation on the Graduate Program in Social Anthropology at the University of Brasilia, supervised by PeterSilverwood-Cope, David Price and Roque de Barros Laraia, it was first published in 1978 by the National Indian Foundation (FUNAI) in a limitedprint run that quickly sold out. As Anthony Seeger remarks, it then “circulated from hand-to-hand,” “safeguarded like treasure by those able to obtain their own copy” (Seeger 1999, p. 13). In 1999, the second edition of the book was published – according to Menezes Bastos, almost verbatim in relation to the first – by the publishing house of the Federal University of Santa Catarina, where he has been a professor since 1984.Translation: David Rogers

  https://vimeo.com/147721141 In the interview A Musicológica Kamayurá, Professor Rafael José Bastos de Menezes tells us about his formative years and his early professional experience. He comments on his main intellectual gurus and the on political context that marks his professional activity at FUNAI in the 1960s, and during his years of study for a Master’s degree at the University of Brasilia. In this interview may also be found some of the main theoretical and methodological issues that distinguish the book A Musicológica Kamayurá (1978), such as the questions of musical metalanguage and the importance of rituals in the constitution of musical systems, taken up again in his later studies. Translation:

Entendendo o xamanismo como um modo performático, este texto explora o seu papel entre os índios Siona da Colômbia como expressão de especificidade cultural perante a violência colonial e pós-colonial. A história oral reconta como o papel xamânico transformou-se no papel do poderoso cacique curaca, em resposta adaptativa às atividades missionárias. Após a quase extinção dos xamãs praticantes no século XX, suas performances surgiram nas duas últimas décadas como uma estratégia-chave na fomentação das especificidades étnicas e nas lutas contemporâneas pelos direitos indígenas. Tanto a constituição colombiana de 1991 quanto as redes urbanas neoxamânicas associam o xamanismo à preservação ecológica, à medicina tradicional, à identidade étnica e ao bem-estar da comunidade. Em Putumayo, região caracterizada como “zona de guerra”, as performances xamânicas são uma estratégia fundamental no campo complexo das negociações entre comunidades indígenas, organizações governamentais e não governamentais, indústrias extrativas e diversos grupos armados.Tradução: Elisa Nazarian

.

The photographs of this essay were made between 2010 and 2012, as part of my master's research during field work at the Institute of Blind Padre Chico, un elementary school in São Paulo, specialized in students with visual disability, either with blindness or low vision. In this essay I try to capture some gestures, incomplete movements and swings, which refer to corporal techniques instituted on the body ceremonial in everyday life. In this training, where the body itself is an instrument of technique include fingers deciphering graphics in relief, hands reading braille and jumps to the sound of a rope. In my dissertation I expose how some of these techniques are connected to nomenation categories, body signals and qualitative attributes, negotiated by actors to make performative practices of visual disability.