Corpo, cultura e poder: as várias representações da cunhã poranga do festival folclórico de Parintins

Abstract

This dissertation focuses on the study of the various representations of the body of the cunhã-poranga of the Parintins festival, expanding studies on the body through historical images and the study of the representation of the female body in addition to the analysis of women's speech participants. It is intended to reveal the place of these lines, the reasons for the changes that occurred in their bodies for the creation of the character, also seeking to analyze the condition of women's empowerment. Methodologically, we base ourselves on phenomenology, discourse mediated by the analysis of experience in the episodes of this sociocultural phenomenon. O scenario is the Festival Folclórico de Parintins, an event that aroused the interest of many researchers who theorized about the festive phenomenon called boi-bumbá. In our study, we seek to encompass the categories body, culture and power, unfolding it to the imbrications of power in the body of the girl/woman who interprets through dance the character Cunhã-Poranga. We refer to the body category in Le Breton (2007, p.7), where “The body is a semantic vector shaped by the social and cultural context”, given by the effect of the result of complexity also discussed by Edgar Morin (2015), whose theory allows revealing the relationship between the world and the subject through their social and cultural interaction. In conclusion, we realized that there is a trajectory revealed by them in the interviews, when they say they need to belong to a dance group, accept invitations to dance in presentations open to tourists, exposing the female body in exotic dance, that they believe to be important and that in this way demonstrate competence to be invited to defend item 09, that is, to live the character Cunhã-Poranga at the Festival.In this sense, we perceive that they accept the disciplining of their body in the name of admiration and predilection of the ox, and assume the corporal transformations to better compose the character, thereby submitting to the demands of the festival's organization. we conclude also, that there is between the lines of the regulation, a socio-political relationship of power invisible, which for Bourdieu is symbolic power, that which is lived by those who accept to be dominated, a form of power that generates symbolic violence as it permeates various feelings belonging to human complexity. This work led us to reach the objectives proposed, as we mapped the trajectory of the female body of Cunhã-Poranga historically. We reveal through their speeches their doing as a culture, their place at the party and the gears of power that move and maintain the festival of the oxen.