The code and message of Carnival: ‘Escolas-de-Samba’. Teil 1

Rector, Mónica; Sebeok, Thomas A.

doi:10.1515/9783110848717.37

Cited by 1 publication

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“…We intend to show how samba can provide us with an understanding of the possibility of a corporeal intelligence: thinking with/through the entire body. As we are not dance scholars, we have chosen Rector (1984) and Browning (1995) as our guides into the world of samba, both because of their impressive knowledge of it and because of their personal experience dancing and teaching Brazilian dance.…”

Section: Subject-body and Object-bodymentioning

confidence: 99%

“…Samba became a mix of Angolan samba, European polka, African batuques, with touches of Cuban habanera and other styles. Over time a number of organizational principles got introduced in the dance (Rector, 1984):…”

Section: Subject-body and Object-bodymentioning

confidence: 99%

“…Samba movements are not choreographed, their nature is habitual: simple forward and backward steps and tilting, rocking body movements. Dancers unroll the thread linearly in a progressive series of steps (Rector, 1984) but samba is not just comprised of the steps. The wholeness and expressiveness of the dance come from postures, gestures and facial expressions.…”

Section: Stability and Change In Carnival Dancementioning

confidence: 99%

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The Body Dances: Carnival Dance and Organization

Slutskaya

Cock

2008

Organization

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Abstract. Building on the work of Pierre Bourdieu and Maurice MerleauPonty we seek to open up traditional categories of thought surrounding the relation ‗body-organization' and elicit a thought experiment: What happens if we move the body from the periphery to the centre? We pass the interlocking theoretical concepts of object-body/subject-body and habitus through the theoretically constructed empirical case of ‗carnival dance' in order to re-evaluate such key organizational concepts as knowledge and learning. In doing so, we connect with an emerging body of literature on ‗sensible knowledge'; knowledge that is produced and preserved within bodily practices. The investigation of habitual appropriation in carnival dance also allows us to make links between repetition and experimentation, and reflect on the mechanism through which the principles of social organization, whilst internalized and experienced as natural, are embodied so that humans are capable of spontaneously generating an infinite array of appropriate actions. This perspective on social and organizational life, where change and permanence are intricately interwoven, contrasts sharply with the dominant view in organization studies which juxtaposes change/ creativity and stability.

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Section: Subject-body and Object-bodymentioning

confidence: 99%

Section: Subject-body and Object-bodymentioning

confidence: 99%

Section: Stability and Change In Carnival Dancementioning

confidence: 99%

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