Banca de DEFESA: RAQUELI BISCAYNO VIECILI

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : RAQUELI BISCAYNO VIECILI
DATE: 04/12/2025
TIME: 15:00
LOCAL: Sala Virtual - online
TITLE:

SAMBA DANCING ON THE EDGE OF A KNIFE.

 

KEY WORDS:

Malandragem, Maria Navalha, Samba, Afro-Brazilian culture; Samborê methodology

 

PAGES: 108
BIG AREA: Lingüística, Letras e Artes
AREA: Artes
SUBÁREA: Dança
SUMMARY:

I ask for sacred permission to open the way and bring the figure of Malandra to the fore, revealing her origins, traces, and permanence in history. Between faith, struggle, body, and sound, she reveals herself not only as a character, but as an entity, archetype, and living symbol, who moves between times, spaces, and dimensions. In the rhythm of samba and life, she gracefully challenges the world that tries to imprison her, for under her skirt she keeps a razor: an emblem of power, protection, and rebellion. In the Afro-Brazilian worldview, this woman is Maria Navalha, an entity of strength, mystery, and sacred malice. This research focuses on her, with the aim of investigating the figure of the malandra, represented by Maria Navalha, as an artistic and symbolic expression of female resistance through the performing arts, recounting in an expressionist way her historical, social, and spiritual meanings, giving body and voice to a pedagogy of freedom and female ancestry. From listening, experiences, and encounters, the Samborê methodology emerges—an approach with the scent of the street, the sound of drums, and the memory of a crossroads. More than a method, Samborê is a philosophy of body, life, and scene, which unites ritual and artistic creation. It constitutes a teaching and learning practice that breaks rigid molds and recognizes the body as a territory of knowledge and experiences. As a result, three artistic creations emerge: a short film, a stage show, and a book, all aimed at valuing Afro-Brazilian expressions and breaking social, cultural, and religious paradigms. Between sambas, alleys, and terreiros, Maria Navalha teaches that resistance is also dancing. The body, traversed by axé and ancestry, becomes an instrument of liberation. Thus, Samborê asserts itself as a practice and philosophy where ritual meets art, and the malandra—master and guide—leads our steps between the sacred and the scenic.

 

 

COMMITTEE MEMBERS:
Externo à Instituição - HENRIQUE BEZERRA DE SOUZA
Presidente - 1958705 - MARCILIO DE SOUZA VIEIRA
Interno - ***.455.237-** - VICTOR HUGO NEVES DE OLIVEIRA - UFPB