The Authors reflect on "interests" and "investments" directed at cultural forms defined folkloristic, starting from the analysis of agent constraints with the Maranhense subcommittee of folklore. They seek to understand the genesis of the motivation of the "intellectuals" maranhenses for folklore, for the conceptions and problems associated with the folklore as they expressed in some of their textual productions.
The Author identifies some cultural, social and political dynamics of the indigenous pankararé urbanization from the State of Bahia to the State of São Paulo (Brazil). Considers in particular the dynamics of struggle, dialogue and articulation of the indigenous spaces in the city for the maintenance of identity in a circular mobility between the land of origin and urbanization.
The performance is a recurring theme to discuss the contemporaneity and its implications in the academic theater arts scenario. The Author bring us to reflect on this artistic language and immerses us in the scenic space, also passing through the space of “non places”, as Marc Augé defined the places of passage, without identity or memory. The queen of solitude is a performative artistic experiment which lead us to reflect on the “non places” where the Author intends to establish a dialogue with the passers-by, discussing on supermodernity, on the era of excesses, thus widening the dialogue between art and contemporaneity, starting from a poetic project in the urban scene.
As contemporary community relationships have become fragile and theatrical experience has developed into many forms, some performative practices have consciously taken on the aim of creating social relationships and the fabric of civil society. Both are heading in this direction, whereas the Brazilian community theatre, shared performative experience acts as a diagnosis social problems through performance; and the Italian social theatre, which is moving towards a tangibly changing action.
The city of Belo Horizonte emerges and develops with the iconoclastic brand, guided by continuous urban and architectural modernization. In this context, the history of the domestic architecture offers important contributions for the interpretation of these transformations and for their reflections on the city image. The Author analyzes the iconoclastic character of the city of Belo Horizonte through the single-family dwelling from its founding to the present.
Primitively traditional canons distinguish Brazil's image. After the pomp of Cinema novo and the long years of difficulty, from the nineties of the last century the image of Brazil is reproposing internationally with its infinite and often sore stories, the past of military dictatorship and the present of violence and marginalization. Spectacularization and fashion have replaced the question and reflection in the challenge of telling Brazil in its protein-like reality.
The Author starts with research carried out in the Brazilian State of Santa Catarina from 2011 to 2015, together with the Peasant women movement (Mmc), seeking to understand, through collaborative ethnography, the politico-pedagogical practices of the movement. In particular it focuses on the link between agroecology and feminism in the practices of the movement.
Starting from an anthropological perspective, the Author deals with the relationship between football and religion in Brazil. In particular, he aims to understand a practice adopted by Brazilian soccer players, called fechamento. This term refers to the set of verbal and bodily expressions that soccer players systematically display before competitions, which differs from similar practices used for the collective recitation of the Lord’s Prayer.
'O lampião da esquina' had been the first newspaper openly homosexual not pornographic published in Brasil from 1978 to 1981. It was oriented to defend the all-inclusive homosexual category. It is possible to perceive the discourse as influenced by sets of invisible powers that highlight possible contradictions. 'O lampião da esquina'represented the voice of a minority acting like the subject of the discourse.
Brazil is a country rich of natural and cultural resources that makes it attractive for the world tourism. The Authors analyze the ecotourism in Brazil and also to give a framework of the consequences of traditional tourism in this Latin-American country. Finally, they analyze Italian tourism in Brazil.
The opportunity to rethink a personal experience of "round trip", which dates back several decades, was too tempting to avoid being caught. The author tells how, having arrived at the Museu de belas artes of Rio de Janeiro, she started interdisciplinary research on European urban models in Latin America and designed the inaugural exhibition of the Solar Grandjean de Montigny, the home of the architect member of the French artistic mission in 1816, thus becoming the Cultural center of the Pontifical universidade católica do Rio de Janeiro.
During the 'Esposizione delle missioni cattoliche americane' in 1892, part of the ethnographic collection by Count Ermanno Stradelli, which can be found today in the museum of castello di Rivalta, reached the city of Genoa. The Author examines how this collection was put together in Amazonia in between the years 1881 and 1891 and describes the man Stradelli as an accurate researcher of the indigenous cultures, exposing the reasons behind his collection of material assets related to the culture of the Uaupés ethnicity.
The Author examines the role of diasporic media in Italy and their impact on the dynamics of integration of migrants, with the objective of offering a complementary perspective to the existent research which has been mainly focused on the mainstream media. It thus explores the proneness of both mainstream and diasporic media towards the propagation of the notion of (intercultural) integration. The Author aims at interpreting the implications of “both” mainstream and diasporic media production and consumption in the integration process of Latin-American communities in Italy.
The Author reflects on the practical exercise of creating a space that moves between the scenic dimension and the art installation, starting from the account of the Brazilian writer Murilo Rubião, O ex-magician from tabhota Minhota. During the reading of the text the Author produces drawings, découpages, search of images and croques/project, analyzing the contents. The methodology is the same used by a scenographer in creating a scenic space, as effective as creating and executing exercise, as the future installation for performance performance is explicit.
The Author, starts with two poems, 'Kakfa 1' written by Roberto Correa dos Santos and 'The witness' by Alberto Pucheu Neto, analyzes the Brazilian political situation. He discusses, referring to Giorgio Agamben's thought, about the creation of the state of exception as a precondition for the impeachment of President Dilma Rousseff and the persecution of his supporters. It highlights how poetry can become a denunciation of absurdity, loss of freedom and the institutionalization of violence as a norm.
The Author wants to compare and find convergence points between Brazilian and Italian music. For Italy a more detailed look will be directed to the production of Fabrizio De André and particularly to the song Princesa, a sad story of marginalization, poverty and violence, in which a part quite considerable is written in portuguese. In De André lyrics there are often rhythms and references to latin-americans musical sounds.
The Author intends to show, after almost thirty years of expansion, the current dynamics between the terreiros of candomblé keto existing in Italy. The emergence of several centers of worship has led to a situation that sees first the competition as leit motiv of their existence and, second, the construction of a privileged relationship with the brazilian and portuguese priests who attend them, in order to become in Italy the most important religious centers.