Distributed corporeality: Anatomy, knowledge and the technological reconfiguration of bodies in ballet.

Various specialist cultures configure bodies as complex technological devices. We know little about how exactly this is done. I focus on one of these cultures, classical ballet, to praxeologically reconstruct the conceptual, situational and material configuration of bodies as particular instruments. The technologization of the body is closely intertwined with the scientification of the practice - its ladenness with scientific knowledge about the body and an elaborate apparatus for the production of bodies. When anatomical knowledge and didactics intertwine in ballet class, this facilitates an opening of the black box 'body' for technical improvement. 'A body' becomes a plurality of (in this case, anatomically distinguished) actants. This distributed corporeality suggests that 'the body' is an assemblage that becomes apparent as such in moments of its modification. The empirical case as well as the analytical approach here give reason to reconsider the distinction between humans and non-humans that still prevails in actor-network theory and elsewhere.

The "sick dancers": The construction of medical knowledge about the "epidemic of dance" in Itapagipe, Salvador, Bahia (1882-1901).

The goal of this paper is to analyze a little-known set of documents referring to a "Dancing Epidemic" that took place in Itapagipe, a suburb of Salvador, capital of the province of Bahia, Brazil, in 1882. Through the studies of a group of physicians, especially Raimundo Nina Rodrigues (1862-1906), a psychiatrist and anthropologist from the Bahia School of Medicine, the medical knowledge built on this unique phenomenon in Brazilian history is examined. The case in particular involved a crowd that spread through the streets of Itapagipe, attracting the interest of the medical classes, who were intrigued by the symptoms of motor incoordination the patients manifested. Inspired by foreign literature, but developing their own theories, Rodrigues and colleagues created a unique body of knowledge about the infirmity.

A dança afro-brasileira em Londrina ­ Paraná / The african-brazilian dance in Londrina ­ Paraná / La danza afrobrasileña en Londrina ­ Paraná

Com base em um contexto problemático pautado pela necessidade de estudos que permitam explorar e conhecer a diversidade étnico-racial presente nas mais diversas localidades do país, esta pesquisa teve como objetivo geral analisar o significado das manifestações dançantes da cultura afro-brasileira presente nas produções do Grupo de Dança Cristal em Londrina, no Paraná. Esta foi uma investigação exploratória de caráter qualitativo, que teve como procedi-mento de coleta de dados a entrevista semiestruturada. Concluiu-se que as ações promovidas pelo Grupo de Dança Cristal possibilitam uma permanente reconstrução da cultura afro-brasileira, em uma postura de resistência e de valorização da diferença que se apoia em um projeto de sociedade plural e democrática.

Based in a problematic context punctuated by the need for studies to explore and know eth-nic-racial diversity present in throughout the country, this research aimed to analyze the sig-nificance of dance manifestations of Afro-Brazilian culture present in the Grupo de Dança Cristal [Cristal Dance Group], from Londrina ­ Paraná. This was an exploratory investigation with a qualitative character, which applied semi-structured interviews as a procedure to col-lect the data. The research concluded that the activities promoted by the Grupo de Dança Cris-tal [Cristal Dance Group] enable a permanent reconstruction of the Afro-Brazilian culture, in a resistance posture and appreciation of the difference based in a pluralistic and democratic society project

Con base en un contexto problemático, pautado por la necesidad de estudios que permitan explorar y conocer la diversidad étnico racial presente en las más diversas localidades del país, esta investigación tuvo como objetivo general analizar el significado de las manifesta-ciones danzantes de la cultura afrobrasileña presente en las producciones del Grupo de Danza Cristal en Londrina ­ Paraná. Esta fue una investigación exploratoria, de carácter cualitativo que tuvo como procedimiento para la de recogida de datos la entrevista semiestructurada. Se concluyó que las acciones promovidas por el Grupo de Danza Cristal abren la posibilidad de la permanente reconstrucción de la cultura afrobrasileña, en una postura de resistencia y valo-rización de la diferencia que se apoya en un proyecto de sociedad plural y democrática.

Dança para educar e entreter, o curso Natália Lessa em Belo Horizonte (1928-1960) / Dance to educate and entertain the Natália Lessa course in Belo Horizonte (1928-1960)

Natália Lessa cria em 1934, o primeiro espaço privado e especializado no ensino da dança para meninas em Belo Horizonte ? MG. Ela ministra aulas e realiza apresentações coreográficas com suas alunas em espaços públicos num período marcado por inovações nos modos de ser e de viver na cidade, um conjunto de alterações para a educação feminina no período. A partir das análises de fontes diversificadas pudemos identificar a intencionalidade pedagógica do Curso em educar, através da dança, a feminilidade seguindo ideários em circulação e promovendo uma alternativa de entretenimento na cidade. Uma prática que fomentou a formação de plateias seja nos teatros ou em outros espaços de apresentação, e a apreciação da dança através da divulgação nas revistas e jornais.

Natalia Lessa create 1934, the first private space specializing in dance education for girls in Belo Horizonte - MG. She teaches classes and performs choreographic performances with his students in public spaces in a period marked by innovations in the ways of being and living in the city, a number of changes for female education in the period. From the analysis of different sources we can identify the pedagogical intention of the course to educate through dance, the femininity following ideals in circulation and promoting an alternative entertainment in the city. A practice that encouraged the formation of audiences whether in theaters or other areas of presentation and appreciation of dance through the dissemination in magazines and newspapers.

A Case in Pointe: Romance and Regimentation at the New York City Ballet.

This article analyzes the ballet dancer's pointe shoe as a technology of artistic production and bodily discipline. Drawing on oral histories, memoirs, dance journals, advertisements, and other archival materials, it demonstrates that the shoe utilized by dancers at George Balanchine's New York City Ballet was not the quintessentially Romantic entity it is so often presumed to be. Instead, it emerged from uniquely twentieth-century systems of labor and production, and it was used to alter dancers' bodies and professional lives in particularly modern ways. The article explores not only the substance of these changes but also the ways in which Balanchine's artistic oeuvre was inextricably intertwined with the material technologies he employed and, more broadly, how the history of technology and the history of dance can productively inform one another. Fundamentally, this article recasts Balanchine, seeing him not as a disconnected artist but as an eager participant in the twentieth-century national romance with American technology.

Autohypnosis and Trance Dance in Bali.

A masterpiece of historical importance, this paper recounts Jay and Madeleine Haley's trip to Bali nearly 50 years after Gregory Bateson and Margaret Mead first went there. The Haleys met several of the same individuals who greeted Bateson and Mead and made a film they entitled "Dance and Trance of Balinese Children." This is a fascinating document of a culture and society so different from our own and the technique of dance and trance used to regulate emotion and violence.

Neurological implications and neuropsychological considerations on folk music and dance.

Neurological and neuropsychological aspects of folk music and traditional dance have been poorly investigated by historical and scientific literature. Some of these performances could be indeed the manifestation of latent pathological conditions or the expression of liberation rituals. This chapter aimed at analyzing the relationships between traditional dance, folk music, and neurological and psychiatric disorders. Since ancient times, dance has been used in the individual or collective as treatment of some diseases, including epilepsy and movement disorders (dyskinesia, chorea, etc.). Dionysia in Ancient Greece, St. Vitus dance in the Middle Age, tarantism and other traditional dances of southern Italy and of non-Western countries might be credited as curative rituals of these neurological and psychiatric conditions. During the nineteenth century, dance was also used for the treatment of psychiatric patients; the relationship between dance and insanity could also be reflected in classical ballets and music of that period. Nowadays, neuropsychiatric manifestations could also be evidenced in modern dances (mass fainting at rock concerts, flash mobs); some ballroom dances are commonly used for the rehabilitation of patients suffering from neurodegenerative and psychiatric conditions. Interdisciplinary research on these subjects (ethnomusicology and cultural anthropology, clinical neurology and dynamic psychology, neuroradiology and neurophysiology, and socioneurology and neuromusicology) should be increased.

As fronteiras psicológicas entre violência, luta e brincadeira: as transições fenomenológicas na prática da capoeira / Fronteras psicológicas entre juego, lucha y la violencia: las transiciones fenomenologicas en la práctica de la capoeira / Psychological barriers between violence, fight and game: phenomenological transitions in the practice of capoeira

Por meio de relatos de capoeiristas entrevistados, visou-se compreender como se dão as experiências vividas nesta prática corporal no trânsito psicológico entre brincadeira, luta e briga. A arqueologia fenomenológica das culturas foi o referencial metodológico utilizado. Três categorias descrevem essencialmente como brincadeira, luta e briga ocorrem propriamente na capoeira: alegria de jogar; jogo da cumplicidade; a negação do jogo. Já os elementos essenciais das transições aparecem em duas categorias: jogo de prudências e jogo duro – orientadas afetivamente pela dinâmica entre abrandamento e intensificação combativa. Confere-se que a intensificação combativa pode tanto acarretar em violência como ocasionar o cultivo do espírito de luta, possibilitando condições existenciais para o autocontrole dos capoeiristas.

The aim of this research is to understand experiences of Capoeira practitioners in the psychological transit between game, fight and quarrels, based on their own accounts. The methodological framework used was the phenomenological archeology of cultures. Three categories essentially describe how game, fight and quarrels really happen in Capoeira: the joy of playing; the game of complicity, and the denial of game. Moreover, the essential elements of transitions appear in two groups: game of prudences and tough game – emotionally guided by the dynamics between slowdown and combative intensification. Combative intensification is found to result either in violence or in the development of the fighting spirit, providing existential conditions for capoeira practitioners’ self-control.

A través de relatos de capoeiristas entrevistados, buscamos comprender cómo transcurren las experiencias vividas en esta práctica corporal en el tránsito psicológico entre juego, lucha y pelea. La arqueología fenomenológica de las culturas fue el referente metodológico utilizado. Tres categorías describen esencialmente cómo ocurren el juego, la lucha y la pelea en la capoeira: alegría de jugar; juego de la complicidad; la negación del juego. A su vez, los elementos esenciales de las transiciones aparecen en dos categorías –juego de prudencias; juego duro– orientadas afectivamente por la dinámica entre suavización e intensificación combativa. Se constata que la intensificación combativa puede tanto derivar en violencia como ocasionar el cultivo del espíritu de lucha, posibilitando condiciones existenciales para el autocontrol de los capoeiristas.

Ringue ou academia? A emergência dos estilos modernos da capoeira e seu contexto global / Capoeira circle or sports academy? The emergence of modern styles of capoeira and their global context

A emergência dos estilos modernos de capoeira deve ser considerada no contexto global da modernização de artes marciais em curso na Europa e na Ásia, por um lado, e, por outro, da nova fase da modernidade negra. O confronto, no ringue, da capoeira com o jiu-jítsu e outras lutas levou mestre Bimba a desenvolver sua luta regional baiana. A revitalização da capoeira tradicional como capoeira de Angola, liderada por mestre Pastinha, insere-se no movimento mais amplo de afirmação da cultura afro-baiana em Salvador e da crescente visibilidade do corpo negro no mundo atlântico.

The emergence of the modern styles of capoeira should be considered in the global context of the modernization of martial arts currently in progress in Europe and Asia on the one hand, and the new phase of Afro-descendant modernity on the other. The confrontation between the capoeira, jiu-jitsu and other martial arts circles led mestre Bimba to develop his regional Bahian fighting style. The revival of traditional capoeira as Angolan capoeira led by mestre Pastinha is part of the broader movement of affirmation of Afro-Bahian culture in Salvador and the growing visibility of the Afro-descendant body in the Atlantic world.

[Capoeira circle or sports academy? The emergence of modern styles of capoeira and their global context]. / Ringue ou academia? A emergência dos estilos modernos da capoeira e seu contexto global.

The emergence of the modern styles of capoeira should be considered in the global context of the modernization of martial arts currently in progress in Europe and Asia on the one hand, and the new phase of Afro-descendant modernity on the other. The confrontation between the capoeira, jiu-jitsu and other martial arts circles led mestre Bimba to develop his regional Bahian fighting style. The revival of traditional capoeira as Angolan capoeira led by mestre Pastinha is part of the broader movement of affirmation of Afro-Bahian culture in Salvador and the growing visibility of the Afro-descendant body in the Atlantic world.

Dança contemporânea: percepção, contradição e aproximação / Contemporary dance: perception, contradiction and approach / Danza contemporánea: percepción, enfoque e contradicción

O presente artigo tem como objetivo evidenciar qual a compreensão acerca da Dança Contemporânea que pessoas que estilo envolvidas em processo de formação na área das Artes possuem. Ele apresenta uma análise a partir de uma investigação de campo, descritiva e de cunho qualitativo. Os sujeitos pesquisados foram alunos de um curso técnico em Dança Contemporânea da cidade de Goiânia. Ainda que as discussões acerca do que seja um movimento contemporâneo de dança sejam bastante amplas, tentamos a partir da analise de uma realidade, desvelar quais seriam os aspectos e características que pessoas envolvidas no processo de formação artística possuem a respeito de tal manifestação de dança. Alguns aspectos que foram encontrados se referem à multiplicidade, liberdade de criação, improvisação, pesquisa de movimento, compreensão critica da realidade e rompimento com padrões estéticos.

This article aims to highlight which the understanding about the concept and characteristics of contemporary dance that people who are involved in the process of training in the area of the arts they have. He presents an analysis from a research field, descriptive and qualitative. The studied subjects were students of a technical course in Contemporary Dance of the city of Goiania. Yet that the discussions about what is a contemporary movement of dance are pretty large, we tried from the analysis of reality, unveil what would be the aspects and characteristics that people involved in the process of artistic training have the respect of such a manifestation of dance. Some aspects that were found relate to multiplicity, freedom of creation, improvisation, movement research, critical understanding of reality and bursting with aesthetic standards.

En este artículo se pretende mostrar que la concepción de la danza contemporánea que las personas que están involucradas en el proceso de formación en las artes tienen. Se presenta un análisis de una investigación de campo, descriptivo y cualitativo. Los sujetos de estudio fueron alumnos de un curso técnico en Danza Contemporánea en Goiânia. Aunque las discusiones sobre lo que es un movimiento contemporáneo de la danza son bastante grandes, tratamos a partir del análisis de una realidad, revelando cuáles son los rasgos y características que las personas involucradas en el proceso de formación artística tenga con respecto a tales expresiones de la danza. Algunos aspectos que se han encontrado se refieren a la multiplicidad, libertad creativa, improvisación, movimiento investigación, la comprensión crítica de la realidad y romper con las normas estéticas.

Dança do ventre: evoluções e proposições de uma década / Belly dance: developments and suggestions for a decade / Danza del vientre: evolución y propuestas para una década

Esse trabalho focou a Dança do Ventre no país na última década. Para isso, aplicamos uma entrevista semi­estruturada em onze sujeitos envolvidos com a modalidade a mais de 10 anos e operamos uma Análise de Conteúdo, tal como proposto por BARDIN (2010). Os resultados obtidos atestam sensível evolução nas formas de conceber a estética da Dança do Ventre em território nacional na última década, subsidiada, em especial, pela notável disseminação da modalidade, pela facilidade de acesso à informação como a propiciada pela internet, e pela popularização alcançada a partir de novelas e filmes. Os resultados obtidos foram comparados com os de Trevisan (2000), de modo a obter mais um indicativo da evolução que investigamos.

The focus of this work is the Belly Dance. We applied an interview, consisting of two semi­structured questionnaires in eleven individuals. This initiative was intended to check whether there have been changes in the ways of thinking and acting about belly dancing ­ that is the reason which we interviewed only subjects with more than ten years of experience. We used the content analysis proposed by BARDIN (2010). We concluded there was a significant evolution in the ways of thinking and acting in the context of Belly Dance in the country over the past ten years, particularly subsidized by the spread of this type of dance, by the ease of access to information as provided by the Internet, and by the popularization reached from soap operas and movies. Support: CNPq.

Este trabajo ha enfocado la Danza del Vientre en el país durante la última década. Para ello, hemos realizado una entrevista semiestructurada a once sujetos involucrados con la modalidad desde hace más de diez años y hemos operado un Análisis de Contenido, tal como lo ha propuesto BARDIN (2010). Los resultados obtenidos demuestran una sensible evolución en las formas de concebir la estética de la Danzadel Vientre en el territorio nacional en la última década, subsidiada, en especial, por la notable diseminación de la modalidad, por la facilidad de acceso a la información como la propiciada por internet y por la popularización alcanzada gracias a telenovelas y películas. Los resultados obtenidos se los comparó a los de TREVISAN (2000), de modo a obtener un indicativo más de la evolución que investigamos. Apoyo: CNPq.

Festa, danças e representações: continuidade de tradições e plasticidades culturais / Festival, dance and representations: continuing traditions and cultural plasticity

O estudo identificou as tradições contemporâneas que são manifestadas nas danças das festas culturais naregião do município de Conceição da Barra-ES. Identificou a folia de reis, o ticumbi e o congo como as tradições maispreeminentes na região e discute as práticas e saberes tradicionais de aprendizagem. Concluiu que nas danças há elementos simbólicos os quais são, expressados individualmente e manifestados coletivamente e são comuns a todos os atores. A continuidade dessas tradições é possibilitada pela absorção e integração de atores de outras manifestações culturais, já extintas na região, onde a incorporação de novos elementos promove uma rearticulação da estrutura cultural nas expressões corporais.

This study identified the contemporary traditions expressed through dances and cultural festivals in the municipality of Conceição da Barra,ES, Brazil. It identified Folia de Reis, Ticumbi, and Congo as the most prominent traditions in that area, and it discusses traditional learning practice and knowledge.The study concludes that the symbolic and playful facets expressed individually and demonstrated collectively in the dances are common among all the actors. Continuity of these traditions is made possible by absorbing and integrating actors of other cultural demonstrations that are already extinct in the area in which the incorporation of new elements promotes interaction in the cultural structures of bodily expressions.

El estudio identificó las tradiciones contemporáneas que se manifiestan en las danzas de las fiestas culturales en la región del municipio de Conceição da Barra-ES. Se identificó la "folia de reis", el "ticumbi" y el "congo" como las tradiciones más preeminentes en la región y discute las prácticas y saberes tradicionales de aprendizaje. Se concluye que las faces simbólicas y lúdicas, expresadas individualmente y manifestadas colectivamente en las danzas, son comunes en todos los actores. Se posibilita la continuidad de estas tradiciones gracias a la absorción e integración de actores de otras manifestaciones culturales que están extintas en La región donde la incorporación de nuevos elementos promueve una rearticulación de la estructura cultural en las expresiones corporales.

Anatomical knowledge among medieval folk artists: osteological interpretation of two Dance of Death motifs.

Anatomy has a long history that started with dissection of animals and then expanded and flourished thanks to dissections performed on human bodies. Artists had a crucial role in uncovering the secrets of human anatomy. While most studies have focused on the influence of famous Renaissance artists on human anatomy studies, the anatomical drawings by pre-Renaissance artists and local craftsmen have remained in their shadow. One of the most popular artistic genres in which complete or parts of human skeletons appear is the Dance of Death (Danse Macabre). This article is an anthropological study of two medieval Dance of Death frescoes that are unusual in being relatively early as well as accurately datable. A comparative morphological analysis of the two late 15th century works present in Istria has been conducted. The two works were painted by two local masters and show how the artists filled the gaps in their knowledge of human anatomy mostly with insights into animal bones and imagination. Their artworks, even though only 16 years apart, demonstrate substantial differences in the representation of the skeletons. The article argues that the history of medicine and of art could make good use of osteology and physical anthropology in attempts to define and understand how anatomical knowledge developed among pre-Renaissance and post-Renaissance artists and local people.

O Instituto de Cultura Física de Porto Alegre/RS e suas práticas corporais (1928-1937) / Physical Culture Institute and its body practices

O estudo tem por objetivo analisar as práticas corporais oferecidas pelo Instituto de Cultura Física (ICF), a fim de compreender as representações culturais produzidas a partir dessas práticas. O ICF foi um espaço educacional fundado em 1928 na cidade de Porto Alegre, destinado ao ensino de práticas corporais femininas e perdurou até 1937, quando encerrou suas atividades. Foram privilegiados os dois primeiros anos de funcionamento do Instituto, pois nesse período consolidaram-se os princípios pedagógicos e artísticos do ICF, tributários tanto dos sistemas ginásticos quanto do método dalcrozeano. Nessa fase, o ICF produziu representações associadas aos campos dos sistemas ginásticos, da Educação Física e da Dança, tendo contribuído consideravelmente para a constituição do campo da Dança em Porto Alegre.

The study aims to examine body practices offered by the Physical Culture Institute (PCI), in order to understand cultural representations produced from these practices. PCI was an educational space founded in 1928 in Porto Alegre city, for the teaching of female bodily practices. The first two years of operation of the Institute were privileged, for the pedagogical and artistic principles of the PCI were consolidated in this period, both tributaries of gymnastic systems and dalcroziano method. In this phase, PCI produced representations associated to the gymnastic systems, Physical Education and dance fields, and has greatly contributed to the establishment of the dance field in Porto Alegre.

El estudio tiene por objeto analizar lãs prácticas corporales que fueron ofrecidas por el Instituto de Cultura Física (ICF), con el intuito de comprender las representaciones culturales producidas a partir de estas prácticas. El ICF fue um espacio educacional fundado en 1928 en la ciudad de Porto Alegre, destinado a la enseñanza de prácticas corporales femeninas. Los dos primeros años de funcionamiento de este Instituto fueron privilegiados, pues, en ese periodo, los principios pedagógicos y artísticos del ICF fueron consolidados, tributarios tanto de los sistemas gimnásticos como del método dalcroziano. En esta fase, ICF ha producido representaciones asociadas a los campos de lós sistemas gimnásticos, de la Educación Física y de La danza, contribuyendo en gran medida para La constitución del campo de la danza en Porto Alegre.