Mamulengo e brincantes: diversão, arte e cultura

Detalhes bibliográficos
Autor(a) principal: Schneider, Cynthia Campelo
Data de Publicação: 2020
Tipo de documento: Tese
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
Texto Completo: http://dspace.mackenzie.br/handle/10899/26622
Resumo: The research looked into the mamulengo fun and some of its participants in the State of Pernambuco, taking into consideration the creativity, the dialogues between reality and artistic production, enhancing musical art as the main objective of study. To complete this study a bibliographic revision was made visiting the cities of Atlanta, GA, USA, Recife, Lagoa de Itaenga, Glória do Goitá, as well as interviews with masters of mamulengo and the transcription of guidelines of songs created for fun translating the soul of the puppet. .Authors like Luís da Câmara Cascudo, Néstor Garcia Canclini, Michel de Certeau Certeau, Aaron Copland and Cecília Almeida Salles endorsed the thoughts of the research its main object being to investigate how the masters and mamulengueiros create or even recreate the musical participation in this fun. For some, the word mamulengo refers to suttle or soft hands, that is the necessary ability to give live moments to the puppets. Built with mulungu wood, the puppets "come alive" at the moment of the performances, for people of all ages. It is an art that requires from its performer different abilities highlighting improvisation, so that there is no repeated fun even if the same puppets are used. With joyous songs and much good humour, the master of the fun needs much expertise to develop conversations, conduct the fun from inside a tent and sing loudly the old fashion songs as old as the fun itself. In the universe of myths and legends the spot where the fun takes place is called São Saruê, a land that allows for all variety of magic and feelings. Between conflicts and conquests the mamulengo fun follows its course surviving the most varied scourges, launching new performers and the music as one of its main components, because " it is the music that beckons the spirits of the puppets" and makes them come alive.
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spelling http://lattes.cnpq.br/6330995631263989Schneider, Cynthia CampeloAmbrogi, Ingrid Höttehttp://lattes.cnpq.br/28504574969876972020-11-05T14:12:48Z2020-12-07T15:09:49Z2020-12-07T15:09:49Z2020-08-31The research looked into the mamulengo fun and some of its participants in the State of Pernambuco, taking into consideration the creativity, the dialogues between reality and artistic production, enhancing musical art as the main objective of study. To complete this study a bibliographic revision was made visiting the cities of Atlanta, GA, USA, Recife, Lagoa de Itaenga, Glória do Goitá, as well as interviews with masters of mamulengo and the transcription of guidelines of songs created for fun translating the soul of the puppet. .Authors like Luís da Câmara Cascudo, Néstor Garcia Canclini, Michel de Certeau Certeau, Aaron Copland and Cecília Almeida Salles endorsed the thoughts of the research its main object being to investigate how the masters and mamulengueiros create or even recreate the musical participation in this fun. For some, the word mamulengo refers to suttle or soft hands, that is the necessary ability to give live moments to the puppets. Built with mulungu wood, the puppets "come alive" at the moment of the performances, for people of all ages. It is an art that requires from its performer different abilities highlighting improvisation, so that there is no repeated fun even if the same puppets are used. With joyous songs and much good humour, the master of the fun needs much expertise to develop conversations, conduct the fun from inside a tent and sing loudly the old fashion songs as old as the fun itself. In the universe of myths and legends the spot where the fun takes place is called São Saruê, a land that allows for all variety of magic and feelings. Between conflicts and conquests the mamulengo fun follows its course surviving the most varied scourges, launching new performers and the music as one of its main components, because " it is the music that beckons the spirits of the puppets" and makes them come alive.A pesquisa investigou a brincadeira do mamulengo e alguns de seus reconhecidos brincantes, no Estado de Pernambuco, tendo em vista o processo de criação, os diálogos entre a realidade e a produção artística, apontando a arte musical como o objeto maior de estudo. Para sua realização foi feita uma revisão bibliográfica, visitas as cidades de Atlanta – GA - USA, Recife, Lagoa do Itaenga, Glória do Goitá, entrevistas com mestres do mamulengo e a transcrição em pauta das canções criadas para a brincadeira que traduzem a alma do boneco. Autores como Luís da Câmara Cascudo, Néstor García Canclini, Michel de Certeau Certeau, Aaron Copland e Cecília almeida Salles apoiaram as reflexões da pesquisa, cujo objetivo central foi investigar como os mestres e mamulengueiros criam ou mesmo recriam as participações musicais nessa brincadeira. Para alguns a palavra mamulengo tem origem em “mão molenga”, que é a habilidade necessária para manipular o boneco. Confeccionados com madeira de mulungu, os bonecos chegam a “criar vida” no momento da performance envolvendo pessoas das mais variadas idades. É uma arte que requer de seu executante diferentes habilidades destacando o improviso, que faz com que não haja brincadeira repetida ainda que se utilize os mesmos bonecos. Com canções, loas e muito bom o humor, o mestre da brincadeira precisa de muita expertise para desenvolver conversas, conduzir a brincadeira de dentro de uma barraca e cantar a plenos pulmões o repertório de canções tão antigas como a própria brincadeira. No universo de mitos e lendas, o lugar em que a brincadeira existe é chamado de São Saruê, terra que permite toda variedade de mágica e sentimento. Entre lutas e conquistas, a brincadeira do mamulengo segue seu caminho sobrevivendo aos mais variados açoites, lançando novos brincantes e aponta a música como um dos elementos de maior importância, pois “é a música que chama os espíritos dos bonecos” e faz com que eles criem vida.Instituto Presbiteriano Mackenzieapplication/pdfSCHNEIDER, Cynthia Campelo. Mamulengo e brincantes: diversão, arte e cultura. 2020. 237 f. 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dc.title.por.fl_str_mv Mamulengo e brincantes: diversão, arte e cultura
title Mamulengo e brincantes: diversão, arte e cultura
spellingShingle Mamulengo e brincantes: diversão, arte e cultura
Schneider, Cynthia Campelo
mamulengo
boneco
música
brincante e brincadeira
CNPQ::CIENCIAS HUMANAS::EDUCACAO
title_short Mamulengo e brincantes: diversão, arte e cultura
title_full Mamulengo e brincantes: diversão, arte e cultura
title_fullStr Mamulengo e brincantes: diversão, arte e cultura
title_full_unstemmed Mamulengo e brincantes: diversão, arte e cultura
title_sort Mamulengo e brincantes: diversão, arte e cultura
author Schneider, Cynthia Campelo
author_facet Schneider, Cynthia Campelo
author_role author
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/6330995631263989
dc.contributor.author.fl_str_mv Schneider, Cynthia Campelo
dc.contributor.advisor1.fl_str_mv Ambrogi, Ingrid Hötte
dc.contributor.authorLattes.fl_str_mv http://lattes.cnpq.br/2850457496987697
contributor_str_mv Ambrogi, Ingrid Hötte
dc.subject.por.fl_str_mv mamulengo
boneco
música
brincante e brincadeira
topic mamulengo
boneco
música
brincante e brincadeira
CNPQ::CIENCIAS HUMANAS::EDUCACAO
dc.subject.cnpq.fl_str_mv CNPQ::CIENCIAS HUMANAS::EDUCACAO
description The research looked into the mamulengo fun and some of its participants in the State of Pernambuco, taking into consideration the creativity, the dialogues between reality and artistic production, enhancing musical art as the main objective of study. To complete this study a bibliographic revision was made visiting the cities of Atlanta, GA, USA, Recife, Lagoa de Itaenga, Glória do Goitá, as well as interviews with masters of mamulengo and the transcription of guidelines of songs created for fun translating the soul of the puppet. .Authors like Luís da Câmara Cascudo, Néstor Garcia Canclini, Michel de Certeau Certeau, Aaron Copland and Cecília Almeida Salles endorsed the thoughts of the research its main object being to investigate how the masters and mamulengueiros create or even recreate the musical participation in this fun. For some, the word mamulengo refers to suttle or soft hands, that is the necessary ability to give live moments to the puppets. Built with mulungu wood, the puppets "come alive" at the moment of the performances, for people of all ages. It is an art that requires from its performer different abilities highlighting improvisation, so that there is no repeated fun even if the same puppets are used. With joyous songs and much good humour, the master of the fun needs much expertise to develop conversations, conduct the fun from inside a tent and sing loudly the old fashion songs as old as the fun itself. In the universe of myths and legends the spot where the fun takes place is called São Saruê, a land that allows for all variety of magic and feelings. Between conflicts and conquests the mamulengo fun follows its course surviving the most varied scourges, launching new performers and the music as one of its main components, because " it is the music that beckons the spirits of the puppets" and makes them come alive.
publishDate 2020
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2020-12-07T15:09:49Z
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dc.date.issued.fl_str_mv 2020-08-31
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dc.identifier.uri.fl_str_mv http://dspace.mackenzie.br/handle/10899/26622
identifier_str_mv SCHNEIDER, Cynthia Campelo. Mamulengo e brincantes: diversão, arte e cultura. 2020. 237 f. Tese (Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo.
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