Abstract:No decorrer do programa, as perguntas formuladas pelos entrevistadores tiveram por objeto, sobretudo, a natureza da profissão de carnavalesco, ressaltando a cumplicidade, nela estabelecida, entre "inovação" e "criatividade". Não por coincidência, tal aproximação faz eco com proposições de sociologia&antropologia | rio de janeiro, v.05.01: 207 -243, abril, 2015 http://dx
“…This approach allows a better comprehension of the balance between luxury and the scarcity of resources, because, since every practice is composed by the dimensions of activity and organization (SCHATZKI, 2003), the organization's understanding (know-how) of the social practices becomes a relevant aspect so that a certain activity is carried out. In order to deal with the aesthetic aspects demanded in the parades (FARIAS, 2015), based on a limitation of resources, which happens in many samba schools (ARAÚJO, 2009), we assumed that the notion of "understanding" has to cover the material dimension of a practice, possibly causing the actors' creative capacity to emerge. The materiality is present in creative work, that is accomplished through affective, social and material connections (DUFF; SUMARTOJO, 2017); it also has centrality in the creation of something new (ISLAM; ENDRISSAT; NOPPENEY, 2016).…”
This paper analyzes the organization of the carnival production of a samba school. Specifically, we investigate the effort to balance the demand for luxury and the scarcity of resources. To understand these phenomena, we use Schatzki's epistemology of practice. This is a qualitative research that resorts to participant observation, in-depth interviews and documentary research. The findings revealed that the practice of material reuse is incorporated in the carnival production. We show evidence that the balance between luxury and the scarcity of resources occurs through what we call material understandings, a central element in the creative process. These understandings are produced from the interaction of the actors with a set of material arrangements, through which the creative process takes place. We also emphasize that they can be transformed throughout carnival production, as practitioners seek solutions to emerging problems.
“…This approach allows a better comprehension of the balance between luxury and the scarcity of resources, because, since every practice is composed by the dimensions of activity and organization (SCHATZKI, 2003), the organization's understanding (know-how) of the social practices becomes a relevant aspect so that a certain activity is carried out. In order to deal with the aesthetic aspects demanded in the parades (FARIAS, 2015), based on a limitation of resources, which happens in many samba schools (ARAÚJO, 2009), we assumed that the notion of "understanding" has to cover the material dimension of a practice, possibly causing the actors' creative capacity to emerge. The materiality is present in creative work, that is accomplished through affective, social and material connections (DUFF; SUMARTOJO, 2017); it also has centrality in the creation of something new (ISLAM; ENDRISSAT; NOPPENEY, 2016).…”
This paper analyzes the organization of the carnival production of a samba school. Specifically, we investigate the effort to balance the demand for luxury and the scarcity of resources. To understand these phenomena, we use Schatzki's epistemology of practice. This is a qualitative research that resorts to participant observation, in-depth interviews and documentary research. The findings revealed that the practice of material reuse is incorporated in the carnival production. We show evidence that the balance between luxury and the scarcity of resources occurs through what we call material understandings, a central element in the creative process. These understandings are produced from the interaction of the actors with a set of material arrangements, through which the creative process takes place. We also emphasize that they can be transformed throughout carnival production, as practitioners seek solutions to emerging problems.
“…A função diversional do gênero se realiza, por sua vez, no elo estabelecido entre a evasão espacial e a reversão dos tempos, na duração atemporal do deleite, mediante a promoção de sucessivas imagens audiovisuais mesclando sugestões do belo palpável no imediato da percepção (FARIAS, 2015).…”
Section: Sonhos Festivos Nas Molduras Do Gênerounclassified
A argumentação atenta para a disjunção estrutural estabelecida entre as ideias-valores autenticidade e criatividade, no campo das culturas populares. Examina as linhas sócio-históricas que deixam ver o desenho de uma dinâmica na qual os efeitos da diáspora negro-africana no Brasil, relativa ao regime da escravidão, informam a composição do campo das culturas populares, sendo este último definido pela maneira como a forma estética do popular se constitui a partir do drama ontológico e estrutural relativo à tensão entre a permanênciada autoridade comunal e a interferência intencionada das agências individuais.Focaliza o gênero “Desfile das Escolas de Samba” inscrito nesse campo social. Observa como contracenam os apelos continuados às matrizes afro-brasileiras do samba, que confeririam autenticidade aos fazeres lúdico-artísticos do evento-concurso festivo Desfile das Escolas de Samba do Rio de Janeiro, e as ênfases postas nos conceitos de criatividade e inovação como núcleos semânticos do aprimoramento da gramática técnico-estética dessa festa-espetáculo.
“…Cancian 1995;Brandes 1988). Reencontra-se na pesquisa de Maria Laura Cavalcanti (1994) sobre os bastidores do carnaval carioca e, de forma mais pontual, está presente em autores como Tamara Hareven (1992), Reginaldo Gonçalves e Márcia Contins (2008) ou Edson Farias (2015). Mas talvez o tema não tenha sido ainda tratado de forma suficientemente autônoma.…”
Resumo O presente artigo baseia-se numa pesquisa sobre festas do Divino Espírito Santo que incluiu os Açores, a diáspora açoriana na América do Norte e o Brasil (São Luís - MA). O seu objetivo é olhar para o modo como a festa depende de um conjunto de pessoas que trabalham para a sua realização: desde os seus organizadores até os especialistas rituais, passando por muitas outras pessoas que ajudam na festa. Sublinho que este trabalho é caracterizado por três aspectos principais: é coletivo; é tendencialmente voluntário; e é um trabalho festivo. Na seção final sublinho os contributos que a análise do “trabalho da festa” pode trazer a discussões antropológicas sobre a festa: em particular, sobre a distinção entre backstage e frontstage e a oposição entre festa e trabalho. Sublinho, por fim, a importância de serem tomadas em consideração as múltiplas agencialidades de que a festa depende.
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