Banca de DEFESA: LETÍCIA REGIS DE ALMEIDA

THE BODY AND LANGUAGE: A PHENOMENOLOGICAL LOOK AT DANCES IN JEWISH CULTURE

Body; Culture; Symbols; Dance; Physical education

Physical Education has become an area of diverse studies of the body and its bodily practices based on the culture of movement that involves the departure of the gaze from this mechanical body to the encounter with a body-subject, integral and considered in its amplitude, not more fragmented and decontextualized. This relationship of the entire body led us to studies and research related to this dissertation, starting from the key point: body, meeting the bodily practices that involve it, we find in dance paths and trails to enter into the aspects that transform this body-object into a subject body. Dance in its bodily processes that cross culture, the symbolic, aesthetics, the aesthetics of the body and the history that involve the man who lives and experiences it with each choreography, movement and gestures. Despite the processes that involve this body, our objective was to enter into the perspective of body language in dance, specifically, the Dances of Jewish Culture, a universe rich in symbols, senses and meanings, which bring the Sacred Circular Dances to a possible meeting with Physical Education. Our objective was to find this body language from the dances immersed in the show to find these paths to diversity of experiences and body practices in the area. As a methodological support, we rely on Phenomenology through the eyes of Merleau-Ponty, through the description, reduction and interpretation of the show's scenes, where we find the body in dance from a tangle of senses and meanings. For Nóbrega (2010), using the phenomenological method is to highlight an action of involvement with the world and with the lived experience based on the stages that involve the process, as a way of understanding the meanings that are intertwined in these experiences. In chapter 1 we start from the historical view of dance, its origin, the first gestures and movements, as well as the historical origin of the dances to be studied. In chapter 2 we trace a path through the concepts and transformations of these bodies involved, subjects and themselves in an integral vision for the encounter with the dances of Jewish culture. We still look into CJD with the aim of understanding them both in their origins and today