Banca de DEFESA: PEDRO HENRIQUE SOARES RIBEIRO
Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.STUDENT : PEDRO HENRIQUE SOARES RIBEIRO
DATE: 31/08/2022
TIME: 17:00
LOCAL: Online
TITLE:
KEY WORDS:
PAGES: 85
BIG AREA: Ciências Humanas
AREA: Educação
SUMMARY:
This research aims to understand which educational practices emerge from the adolescents who dance "passinho" in the Neighborhood Ibura-Recife. The proposal is born from the need to understand how the social context influences the production and diffusion of the passinho. To comply with the objectives of this study, the methodology used in its study will use as a methodological theoretical contribution the contributions of studies on youth and youth cultures, favoring the approximation with these fields in a post-structuralist perspective. Thus, the present investigation has the qualitative approach (MINAYO, 2016), from which, to understand the experiences and educational practices of adolescents, I will make use of the ethnographic research method (LEININGER, 1985), focusing on the experiences of 20 (twenty) adolescents who dance stepi. For data construction, I made use of the focus group (BARBOUR, 2004; GASKEL, 2003) and participant observation (GONDIN, 2003). As a procedure for analyzing the data constructed in the research, I made use of Content Analysis (BARDIN, 1977). In the state of the art I used the BDTD database and analyzed research related to the "tacky" recifense, being a thesis (FONTENELLA, 2005) and a dissertation (GOMES, 2013). The researches have a time of difference in the production of 08 years, a fact that makes the tacky and the analyzed context very different, even analyzing the same cultural production in the same territory. The studies observed in relation to the passinho had their territorial section delimited the city of Rio de Janeiro, even though it was possible to make several connections (NASCIMENTO, 2017), (OLIVEIRA, 2017), (BRAGANÇA, 2002), (CORREIA, 2015), (LOUSADA, 2014). The work dealing with youth and youth cultures was also the target of this investigation, where it was possible to verify the diversity of youth productions and experiences and the various ways of experiencing them, as in the studies of (GADELHA, 2007), (MELUCI, 2001), (DIOGENES, 2003), (PAIS & BLASS, 2004), (GATANI & GILIOLI, 2008). To understand the production process and the life dynamics of these adolescent-young adolescents, it is necessary to understand the territory they inhabit, since possibly these cultural productions are filled by this place (SCOOT; TABLES, 2008). The "Brega-funk" appears, in Recife, from the fusion of the tacky recifense with the carioca funk (ALBUQUERQUE, 2018), as an eminently young and peripheral production that displaces bodies of historically imposed stereotypes (SOARES & BENTO, 2020). Finally, I fight the pedagogical potential (TAVARES & MESQUITA, 2019) of this dance, which finds in the body its educational tool (BRANDÃO, 1996) and social transformation.
BANKING MEMBERS:
Presidente - 2922319 - HUMBERTO DA SILVA MIRANDA
Externa ao Programa - 2581163 - JULIANA ALVES DE ANDRADE - nullInterno - ***.230.558-** - MAURÍCIO ANTUNES TAVARES - FJN