A Dança dos Orixás e suas Representações Sociais nos Candomblés Nagô

• Autor(a) principal: Oliveira, Lucia Maria Alves de
• Data de Publicação: 2015
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/15145
• topic: Social Representation; Dance; Representação social; Representações sociais; Dança; Candomblé; CNPQ::CIENCIAS HUMANAS::PSICOLOGIA::PSICOLOGIA SOCIAL

This thesis has as its central objective the identification and analysis of social representations of Orishas, from social sharing occurred in relation to the dance of the Orishas in the rites and festivals of Candomblé. Candomblé is a religion of African origin, established in Brazil since slavery and has one of its core elements of his theological framework rites and festivals where mergers or trances occur fans. In these festivals and rites, the trance manifests itself through the dances of the Orishas, where the adept of this religious practice to incorporate the Orisha dance with sung words and the sound of the orchestra atabaque. The methodology used was the systematic observation, a derivation of the classic ethnographic method applied social psychology. 10 Candomblé Ketu rite were observed in the metropolitan region of Rio de Janeiro, in a period that lasted from before the party, during the party and the rite and the after-party. Observations were categorized according to the objectives of this thesis in two major classificatory categories: aesthetics and movement. The observations to identify the existing social sharing were reduced on the dance Orishas among followers of Candomblé and who participated in the festivities and rites. The theoretical framework used was the theory of social representations, as it was developed by Moscovici and Jodelet, and anthropological studies on Brazilian Candomblé. Candomblé is a religion that has many prohibitions related to sharing and exposing the rites and religious foundations. The Dance of the Orishas constituted a privileged object for identification of social representations because they allow explicit sharing social comment on the aesthetic that fans of that religion are allowed to do. These aesthetic comments, although condensed and laconic, are central to the identification of the Orisha and the establishment of livelihoods, hermeneutic codes and interpersonal relationship in the Candomblé community. The observations were broken down and analyzed and came to the conclusion that the dance of the Orishas is a central process for the formation of social representations of Orishas because it allows social sharing that does not infringe the secret and forbidden. The representations of the Orisha are directly linked to the concept that there is a transmutation of the subject in the wake of the merger and that this phenomenon is the objective indicator that the merger there Orisha and that guy does not remain vigil