A performatividade da jazz afro-estadunidense e sua reinvenção em Jazz Roots

• Autor(a) principal: Nogueira, Lenise Cardoso Lima
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000009000
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/11317
• topic: Jazz afro-estadunidense; Jazz Roots; Vídeo; Paris Jazz Roots Dance Festival; Performatividade; Afro-American jazz; Jazz roots; Video; Paris Jazz Roots Dance Festival; Performativity; CIENCIAS HUMANAS

The main objective of this research was guided by the intention of investigating the Paris Jazz Roots Dance Festival event, held in France in 2019. In this section, we seek to relate the existing practices as a claim in the plot of this current jazz dance, which requires for itself, a link with an aphrodiasporic jazz tradition, as well as understanding of this interaction and sharing that assumes dances of Afro-American jazz and cultural knowledge of black communities of the beginning of the 20th century, more specifically between 1920 and 1940. For this endeavor, we will use the audiovisual record of the event as a source analysis of components and culturally transmitted meanings. Despite its historically hybrid aspect, jazz dance is often approached from the same "origin", conglomerating different practices that were and are constructed through different mediations, which interconnect hegemonic models and norms. Considering the transformations inherent to jazz dance, this survey seeks to organize implicit and explicit clashes that the term jazz dance entails and its historical contextualization. Thus, based on the classical literature that deals with jazz dance, this study develops in three moments, namely: a) problems of information that bother Brazilian researchers and artists, since the written materials have an incipient character of critical debates and reflections; b) a study on the ideas and categories institutionalized by Marshall Stearns and Jean Stearns (1994); c) analysis of a jazz roots video, choosing the authentic category and, consequently, the traditional characteristics such as theoretical affiliation, proposed by Stearns and Patricia Cohen (2014). In addition to the presentation and relationship of traditional elements in contemporary times, this part seeks to give visibility to the performances of artists who dance with different aesthetic forms called jazz and that are not widely disseminated or recognized in Brazil, but that already have an international aspect. By examining jazz dance through the roots lens, this dissertation provides a narrative of the intersection between African American jazz and its reinventive manifestation in the 21st century.