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Dança na Liturgia: Expressão corporal, decoro, idolatria e sensualidade em foco
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A prática expressiva da dança na celebração eucarística em Kawanga liga o corpo e o espírito de quem dança, e cria tensão entre os participantes a vários níveis no contexto litúrgico da missa católica de rito latino. Nesta tese discuto esta tensão numa perspetiva etnomusicológica de etnografia da performação musical. O espaço performativo, em observação participante entre 2017 e 2018, situa-se na comunidade católica de Kawanga, na Diocese de Benguela, na qual nasci e, na qual, após formação sacerdotal local, musical, em composição, em Roma, e etnomusicológica em Lisboa, estou incardinado. Problematizo e caraterizo a prática expressiva da dança, desenvolvendo estratégias analíticas de significados idiossincráticos de expressões comportamentais verbais e não verbais, nela praticados para comunicar em diversos níveis: (1) sonoro e cinético, incluindo manifestações de som e corpo na dança, gestos e movimentos, sinais e posturas; (2) ornamental, focando vestes feriais e festivas, objetos, artefactos como instrumentos musicais e outros; (3) pericorporal e proxémico, lidando com paralinguagem, contacto visual, e tacésico; e (4) ambiental, na confluência dos vários elementos elencados, considerando relacionamento sinestésico de cor/luz, som, olfato e tacésica em condições climatológicas e sociais diversas. O estudo, marcadamente autoetnográfico, envolve prática colaborativa com diferentes agentes no terreno, compreendendo observação participante, entrevistas, telefonemas locais e internacionais, conversas informais, chats no WhatsApp e outras redes sociais, gravações e registos audiovisuais em celebrações eucarísticas e outros momentos performativos na área em estudo. Questiono a hegemonia da expressão verbal sobre as outras na análise do ohutu y’olupandu, o rito sacrificial de ação de graças e de aplauso específico da missa em Kawanga. A análise do comportamento expressivo no ato performativo busca significado sinestésico neste estudo etnomusicológico.
The expressive practice of dance in the eucharistic celebration in Kawanga links the body and the spirit of those who dance, has been the focus of intension among the participants at various levels. In this thesis I discuss this intention in an ethnomusicological perspective of the ethnography of musical performance. The performative space, in participant observation between 2017 and 2018, is located in the Catholic community of Kawanga, in the Diocese of Benguela, where I was born and, after local priestly formation, studies of musical composition in Rome, and ethnomusicology in Lisbon, I am incardinated. I problematize and characterize the expressive practice of dance, developing analytical strategies of idiosyncratic meanings of verbal and non-verbal behavioural expressions, practiced in it to communicate at different levels: (1) sonorous and kinetic, including manifestations of sound and body in dance, gestures and movements, signs, postures; (2) ornamental focusing festive and festive clothes, objects, artefacts such as musical instruments and others; (3) pericorporal and proxemic dealing with paralanguage, eye and tacetic contact; and (4) environmental, at the confluence of the various elements listed, considering synesthetic relationship of colour / light, sound, smell and tacetic in various climatological and social conditions. The study, markedly autoetnographic in nature, involves collaborative practice with different agents in the field, comprising participant observation, interviews, local and international phone calls, informal conversations, chats on WhatsApp and other social networks, audio-visual recordings and records in liturgical celebrations and other performative moments in the study area. I question the hegemony of verbal expression over others in the analysis of ohutu y’olupandu, the sacrificial rite of thanksgiving and applause specific to the mass in Kawanga. The ethnography of musical performance seeks synesthetic meaning in the analysis of expressive behaviours in the ritual observed.
The expressive practice of dance in the eucharistic celebration in Kawanga links the body and the spirit of those who dance, has been the focus of intension among the participants at various levels. In this thesis I discuss this intention in an ethnomusicological perspective of the ethnography of musical performance. The performative space, in participant observation between 2017 and 2018, is located in the Catholic community of Kawanga, in the Diocese of Benguela, where I was born and, after local priestly formation, studies of musical composition in Rome, and ethnomusicology in Lisbon, I am incardinated. I problematize and characterize the expressive practice of dance, developing analytical strategies of idiosyncratic meanings of verbal and non-verbal behavioural expressions, practiced in it to communicate at different levels: (1) sonorous and kinetic, including manifestations of sound and body in dance, gestures and movements, signs, postures; (2) ornamental focusing festive and festive clothes, objects, artefacts such as musical instruments and others; (3) pericorporal and proxemic dealing with paralanguage, eye and tacetic contact; and (4) environmental, at the confluence of the various elements listed, considering synesthetic relationship of colour / light, sound, smell and tacetic in various climatological and social conditions. The study, markedly autoetnographic in nature, involves collaborative practice with different agents in the field, comprising participant observation, interviews, local and international phone calls, informal conversations, chats on WhatsApp and other social networks, audio-visual recordings and records in liturgical celebrations and other performative moments in the study area. I question the hegemony of verbal expression over others in the analysis of ohutu y’olupandu, the sacrificial rite of thanksgiving and applause specific to the mass in Kawanga. The ethnography of musical performance seeks synesthetic meaning in the analysis of expressive behaviours in the ritual observed.
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Palavras-chave
Dança Inculturação Linguagem Corporal Liturgia Kawanga Mass dance in Angola Body expression in the liturgy Inculturation in Kawanga Benguela Ethnomusicology Dança na missa em Angola Expressão corporal na liturgia Inculturação em Kawanga Etnomusicologia