Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFPB |
Texto Completo: | https://repositorio.ufpb.br/jspui/handle/123456789/27113 |
Resumo: | Carnival is a national celebration that involves all Brazilian society, spontaneously or not. There is another structural order in which diverse popular manifestations appear; among them, the Ursa Wing. It is a performance show found notably in Paraíba and Pernambuco (Brazil), which takes place during the carnival and pre-carnival period. The Ursa Wing (or La Ursa) bears the main figure of one or more young people dressed in clothing and mask representing a Bear. Their companions carry a bowl to collect gifts, form a percussion musical group (batucada) and continue walking and dancing through the streets and public spaces, interacting with those they meet along the way. Through a qualitative approach of the ethnographic type, with free interviews, oral reports, audiovisual records and direct and participant observations on the preparation and performance of Ala Ursa Sem Lenço, Sem Document for the carnival of 2019, this research seeks to understand the relationship of the members of this group with the neighborhood of Roger (headquarters of the group) and with the city of João Pessoa. In addition to contributing to understanding the relationship of the groups of Ala Ursas maintain with the city from the Carnival Tradition of João Pessoa, seek to understand the symbols of the SLSD Bears and highlight the organization and production of the 2019 Carnival group. The theoretical references are based on the studies of carnival, ritual and the Ala Ursa manifestation itself, in addition to the city as a festive territory. We realized that the group reinforced markers of ethnicity and social class in its aesthetics and language, and the liveliness of the revelry revealed in the presentations on the beaches, main avenues, streets and squares of the city, strengthens the popular cultural resistance of Roger, neighborhood of origin of the city. group. Thus, Ala Ursa Sem Lenço, Sem Documento also reaffirmed its presence in the city's festive scene, contributing significantly to the socio-educational processes, artistic languages, and selfesteem of its members. It was noticed that the bears (adults and children) of the fun occupy an important space in the local collective imagination, they act as a symbol of cycle renewal associated with the public's fun and fear; being that the Little Bears are more connected to “dancing the Bear” and positive affections of the children of the public, while the Adults to virility and prestige accompanied by responsibility and alcoholic drink. The group is also a powerful political and social instrument in the neighborhood, a space for the construction and re-signification of black individual and group identities; challenging the dominant social structure every year, denying that it is the only form of organization. |
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Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João PessoaCarnaval - FestaAla UrsaCultura popularFesta popularCarnival - PartyBear WingPopular culturePopular partyCNPQ::CIENCIAS HUMANAS::ANTROPOLOGIACarnival is a national celebration that involves all Brazilian society, spontaneously or not. There is another structural order in which diverse popular manifestations appear; among them, the Ursa Wing. It is a performance show found notably in Paraíba and Pernambuco (Brazil), which takes place during the carnival and pre-carnival period. The Ursa Wing (or La Ursa) bears the main figure of one or more young people dressed in clothing and mask representing a Bear. Their companions carry a bowl to collect gifts, form a percussion musical group (batucada) and continue walking and dancing through the streets and public spaces, interacting with those they meet along the way. Through a qualitative approach of the ethnographic type, with free interviews, oral reports, audiovisual records and direct and participant observations on the preparation and performance of Ala Ursa Sem Lenço, Sem Document for the carnival of 2019, this research seeks to understand the relationship of the members of this group with the neighborhood of Roger (headquarters of the group) and with the city of João Pessoa. In addition to contributing to understanding the relationship of the groups of Ala Ursas maintain with the city from the Carnival Tradition of João Pessoa, seek to understand the symbols of the SLSD Bears and highlight the organization and production of the 2019 Carnival group. The theoretical references are based on the studies of carnival, ritual and the Ala Ursa manifestation itself, in addition to the city as a festive territory. We realized that the group reinforced markers of ethnicity and social class in its aesthetics and language, and the liveliness of the revelry revealed in the presentations on the beaches, main avenues, streets and squares of the city, strengthens the popular cultural resistance of Roger, neighborhood of origin of the city. group. Thus, Ala Ursa Sem Lenço, Sem Documento also reaffirmed its presence in the city's festive scene, contributing significantly to the socio-educational processes, artistic languages, and selfesteem of its members. It was noticed that the bears (adults and children) of the fun occupy an important space in the local collective imagination, they act as a symbol of cycle renewal associated with the public's fun and fear; being that the Little Bears are more connected to “dancing the Bear” and positive affections of the children of the public, while the Adults to virility and prestige accompanied by responsibility and alcoholic drink. The group is also a powerful political and social instrument in the neighborhood, a space for the construction and re-signification of black individual and group identities; challenging the dominant social structure every year, denying that it is the only form of organization.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESO carnaval é uma celebração nacional que envolve toda sociedade brasileira, espontaneamente ou não. Nele atua outra ordem estrutural na qual surgem diversas manifestações populares; dentre elas, o Ala Ursa. Tratase de um espetáculo performático encontrado notadamente na Paraíba e Pernambuco (Brasil), que acontece no período de carnaval e pré-carnavalesco. O Ala Ursa (ou La Ursa) traz a figura principal de um ou mais jovens paramentados de vestimenta e máscara representando um Urso. Seus acompanhantes trazem na mão uma vasilha para coletar dons, formam um conjunto musical de percussão (batucada) e seguem caminhando e dançando pelas ruas e espaços públicos, interagindo com quem encontram no caminho. Por meio de uma abordagem qualitativa do tipo etnográfica, com entrevistas livres, relatos orais, registros audiovisuais e observações diretas e participante sobre a preparação e a atuação do Ala Ursa Sem Lenço, Sem Documento para o carnaval de 2019, esta pesquisa busca compreender a relação dos integrantes deste grupo com o bairro do Roger (sede do grupo) e com a cidade de João Pessoa. Além de contribuir para compreender a relação dos grupos de Ala Ursas mantêm com a cidade a partir do Carnaval Tradição de João Pessoa, buscar compreender os símbolos dos Ursos do SLSD e evidenciar a organização e produção do grupo do Carnaval de 2019. Os referenciais teóricos baseiam-se nos estudos de carnaval, ritual e da própria manifestação Ala Ursa, além da cidade enquanto território festivo. Percebemos que o grupo reforçou marcadores de etnia e classe social em sua estética e linguagem, sendo que a vivacidade do folguedo revelada nas apresentações nas praias, avenidas principais, ruas e praças da cidade, fortalecem a resistência cultural popular do Roger, bairro de origem do grupo. Assim, o Ala Ursa Sem Lenço, Sem Documento também reafirmou sua presença no cenário festivo da cidade contribuindo significativamente nos processos socioeducativos, linguagens artísticas, e autoestima dos seus integrantes. Percebeu-se que os Ursos (Adultos e Mirins) do folguedo ocupam um espaço importante no imaginário coletivo local, atuam como um símbolo de renovação de ciclo associado a diversão e ao medo do público; sendo que os Ursos Mirins estão mais ligados ao “dançar o Urso” e afetos positivos das crianças do público, já os Adultos à virilidade e prestígio acompanhados de responsabilidade e bebida alcóolica. O grupo também é um instrumento poderoso político e social do bairro, um espaço de construção e ressignificação das identidades negras individuais e grupais; desafiando todos os anos a estrutura social dominante negando que esta seja a única forma de organização.Universidade Federal da ParaíbaBrasilAntropologiaPrograma de Pós-Graduação em AntropologiaUFPBChianca, Luciana de Oliveirahttp://lattes.cnpq.br/4264064005369443Macedo, Lívia Alves dos Santos2023-06-14T11:44:29Z2020-10-102023-06-14T11:44:29Z2020-08-28info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesishttps://repositorio.ufpb.br/jspui/handle/123456789/27113porAttribution-NoDerivs 3.0 Brazilhttp://creativecommons.org/licenses/by-nd/3.0/br/info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2023-08-23T13:06:35Zoai:repositorio.ufpb.br:123456789/27113Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2023-08-23T13:06:35Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
title |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
spellingShingle |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa Macedo, Lívia Alves dos Santos Carnaval - Festa Ala Ursa Cultura popular Festa popular Carnival - Party Bear Wing Popular culture Popular party CNPQ::CIENCIAS HUMANAS::ANTROPOLOGIA |
title_short |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
title_full |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
title_fullStr |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
title_full_unstemmed |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
title_sort |
Viva o urso sem lenço, sem documento! brincando de ala ursa no carnaval de João Pessoa |
author |
Macedo, Lívia Alves dos Santos |
author_facet |
Macedo, Lívia Alves dos Santos |
author_role |
author |
dc.contributor.none.fl_str_mv |
Chianca, Luciana de Oliveira http://lattes.cnpq.br/4264064005369443 |
dc.contributor.author.fl_str_mv |
Macedo, Lívia Alves dos Santos |
dc.subject.por.fl_str_mv |
Carnaval - Festa Ala Ursa Cultura popular Festa popular Carnival - Party Bear Wing Popular culture Popular party CNPQ::CIENCIAS HUMANAS::ANTROPOLOGIA |
topic |
Carnaval - Festa Ala Ursa Cultura popular Festa popular Carnival - Party Bear Wing Popular culture Popular party CNPQ::CIENCIAS HUMANAS::ANTROPOLOGIA |
description |
Carnival is a national celebration that involves all Brazilian society, spontaneously or not. There is another structural order in which diverse popular manifestations appear; among them, the Ursa Wing. It is a performance show found notably in Paraíba and Pernambuco (Brazil), which takes place during the carnival and pre-carnival period. The Ursa Wing (or La Ursa) bears the main figure of one or more young people dressed in clothing and mask representing a Bear. Their companions carry a bowl to collect gifts, form a percussion musical group (batucada) and continue walking and dancing through the streets and public spaces, interacting with those they meet along the way. Through a qualitative approach of the ethnographic type, with free interviews, oral reports, audiovisual records and direct and participant observations on the preparation and performance of Ala Ursa Sem Lenço, Sem Document for the carnival of 2019, this research seeks to understand the relationship of the members of this group with the neighborhood of Roger (headquarters of the group) and with the city of João Pessoa. In addition to contributing to understanding the relationship of the groups of Ala Ursas maintain with the city from the Carnival Tradition of João Pessoa, seek to understand the symbols of the SLSD Bears and highlight the organization and production of the 2019 Carnival group. The theoretical references are based on the studies of carnival, ritual and the Ala Ursa manifestation itself, in addition to the city as a festive territory. We realized that the group reinforced markers of ethnicity and social class in its aesthetics and language, and the liveliness of the revelry revealed in the presentations on the beaches, main avenues, streets and squares of the city, strengthens the popular cultural resistance of Roger, neighborhood of origin of the city. group. Thus, Ala Ursa Sem Lenço, Sem Documento also reaffirmed its presence in the city's festive scene, contributing significantly to the socio-educational processes, artistic languages, and selfesteem of its members. It was noticed that the bears (adults and children) of the fun occupy an important space in the local collective imagination, they act as a symbol of cycle renewal associated with the public's fun and fear; being that the Little Bears are more connected to “dancing the Bear” and positive affections of the children of the public, while the Adults to virility and prestige accompanied by responsibility and alcoholic drink. The group is also a powerful political and social instrument in the neighborhood, a space for the construction and re-signification of black individual and group identities; challenging the dominant social structure every year, denying that it is the only form of organization. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-10-10 2020-08-28 2023-06-14T11:44:29Z 2023-06-14T11:44:29Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufpb.br/jspui/handle/123456789/27113 |
url |
https://repositorio.ufpb.br/jspui/handle/123456789/27113 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Antropologia Programa de Pós-Graduação em Antropologia UFPB |
publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Antropologia Programa de Pós-Graduação em Antropologia UFPB |
dc.source.none.fl_str_mv |
reponame:Biblioteca Digital de Teses e Dissertações da UFPB instname:Universidade Federal da Paraíba (UFPB) instacron:UFPB |
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Universidade Federal da Paraíba (UFPB) |
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UFPB |
institution |
UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
repository.mail.fl_str_mv |
diretoria@ufpb.br|| diretoria@ufpb.br |
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1801843011096674304 |