http://hdl.handle.net/11422/61 Fri, 24 Jul 2026 22:45:55 GMT 2026-07-24T22:45:55Z http://hdl.handle.net/11422/29793 Title: Traduzindo Políticas: Lideranças, associações e a representação política entre os Yanomae do rio Demini (AM) Author(s)/Inventor(s): Silva, Marcelo Moura Advisor: Vilaça, Aparecida Abstract: Through an ethnography of Yanomami (Yanomae) political representation, this thesis aims to describe the relationships between kinship groups, leaders, and communities along the Demini River, in their engagement within the horizon of relations with nonindigenous people (napëpë) and the Brazilian State. I seek to reflect on the creative articulation between the politics of multiplicity – its codes, characters, and relationships – and the politics of representation and the demands for identity and univocity that create the conditions for indigenous people to act before the napë and within the State. To this end, we will follow the forces of convergence and disputes in the negotiations between communities, leaders, representatives, and associations at different scales of relationship: in the transmission of the words of the communities and their elder leaders through written documents and young bilingual emissaries; in the fabrication and projection of representatives; and in the organization and institutionalization of collective action around indigenous associations and elected directors. As mediating figures in the Yanomami-napë interface of relations, the position of the representatives is constructed related to different perspectives: of those represented and those of the interlocutors to whom they direct their representation. Thus, different images of the representatives are produced, and these vary according to the conceptions of politics being translated. An analysis of practices of political representation in the context of the Demini River region, anchored in the conceptual translation procedures carried out by the Yanomami to act in the passage between these two registers of thought and political practice, reveals the central terms and relationships for the processes of production and projection of subjects and collectives and, between associations and leaderships, the modes of legitimation and evaluation of the effectiveness of the representatives. Publisher: Universidade Federal do Rio de Janeiro Type: Tese Tue, 10 Feb 2026 00:00:00 GMT http://hdl.handle.net/11422/29793 2026-02-10T00:00:00Z http://hdl.handle.net/11422/29792 Title: Ardem as imagens: dispositivos Yanomami de retorno e retomada no (contra-) arquivo fotográfico de Bruce Albert Author(s)/Inventor(s): Vega, Valeria Alejandra Pérez Advisor: Fausto, Carlos Abstract: This thesis examines the process of visual return to the Yanomami people of the images taken by anthropologist Bruce Albert. These photographs were produced in the Yanomami Indigenous Land (TIY) between 1975 and 1984. The return took place mainly among the Yanomami of the Kawani community, located in the Novo Demini region, Barcelos (Amazonas), as well as in Boa Vista (Roraima), and was grounded in an ethnographic research involving: the Yanomami notion of photographic images and their restrictive practices concerning photographic capture and erasure; Indigenous participation in decision-making processes and in reclaiming photographs from the archive; narratives of both Indigenous people and the ethnologist-photographer that emerged through encounters and misencounters with the photographs in past and present historical contexts. The process of visual return highlights how Yanomami photographic and filmic images (utupë) activate kinship relations between the living and the dead, territorial connections, conceptions of the body, health and illness, and negotiations with the non-Indigenous world. It follows that, the research emphasizes the contribution of Yanomami dispositifs – oriented by the erasure of images – to the formulation of a photographic (counter-)archive. Publisher: Universidade Federal do Rio de Janeiro Type: Tese Tue, 24 Feb 2026 00:00:00 GMT http://hdl.handle.net/11422/29792 2026-02-24T00:00:00Z http://hdl.handle.net/11422/29783 Title: Etnicidade e disputas simbólicas: o oeste do Paraná no contexto da colonização interna brasileira Author(s)/Inventor(s): Lini, Priscila Advisor: Lima, Antonio Carlos de Souza Abstract: This thesis examines the roots of the notion of ethno-cultural superiority and the work ethos that shape ethnicity in Western Paraná, interrogating the process of alienation and the lack of class consciousness among settlers, as well as their paradoxical relationship with the natural environment, understood as an obstacle to be overcome by mechanized monoculture. The central objective was to analyze the sociocultural formation of Western Paraná, starting from the geographical area corresponding to the former Iguassú Territory (1943-1946), in order to decipher the genesis of mentalities, customs, and practices that underpin a claim of superiority in relation to other regions of the country, linked to European ancestry, evident in language, the production of material life, and local forms of sociability. The methodological approach was based on ethnographic work, including immersive fieldwork conducted between 2022 and 2025, with participant observation in everyday contexts, rituals, and agricultural workspaces, in addition to semi-structured interviews and life histories with settlers, descendants of immigrants, and local agents. The corpus also included documentary analysis of colonial archives, official records, and period iconography. The results show that the settlers' supposed autonomy was, in reality, methodically steered by an articulation between the State and agents of private capital, within the framework of the conservative modernization of the Vargas era and the "March to the West." This intervention pacified land disputes and channeled descendants of Italian, German, and Polish immigrants, employing family morality and whiteness as implicit criteria of trust and efficacy. It is concluded that the territory in question emerged from an articulated rural and urban real estate speculative dynamic, in which land, transformed into a commodity by the combined action of State and capital, produced surplus value and limited material and symbolic circulation. Colonization proved to be a project for marshalling the immigrant mass, historically internalized into a particular habitus: the condition of "settler" as an attribute implies adherence to a shared moral imaginary, a normative structure that organizes existence and naturalizes asymmetries. The investigation contributes to denaturalizing the ideology of regional development, exposing its foundations in national political projects, processes of racialization, and the logic of the domination of nature.; Esta tesis examina las raíces de la noción de superioridad etnocultural y del ethos laboral que configura la etnicidad en el Oeste de Paraná, interrogando el proceso de alienación y la falta de conciencia de clase entre los colonos, así como su relación paradójica con el entorno natural, entendido como un obstáculo a superar mediante el monocultivo mecanizado. El objetivo central fue analizar la formación sociocultural del Oeste de Paraná, partiendo del recorte geográfico correspondiente al antiguo Territorio del Iguazú (1943-1946), con el fin de descifrar la génesis de mentalidades, costumbres y prácticas que fundamentan una pretensión de superioridad, relación a las otras partes del país, vinculada a la ascendencia europea, perceptible en el lenguaje, en la producción de la vida material y en las formas de sociabilidad locales. El enfoque metodológico se basó en un trabajo etnográfico que incluyó trabajo de campo inmersivo realizado entre 2022 y 2025, con observación participante en contextos cotidianos, rituales y espacios de trabajo agrícolas, además de entrevistas semiestructuradas y relatos de vida con colonos, descendientes de inmigrantes y agentes locales. El corpus también incluyó análisis documental de archivos coloniales, registros oficiales e iconografía de la época. Los resultados evidencian que la supuesta autonomía de los colonos fue, en realidad, metódicamente dirigida por una articulación entre el Estado y agentes del capital privado, en el marco de la modernización conservadora del varguismo y de la Marcha hacia el Oeste. Esta intervención pacificó disputas por la tierra y canalizó a descendientes de inmigrantes italianos, alemanes y polacos, empleando la moral familiar y la blanquitud como criterios implícitos de confianza y eficacia. Se concluye que el territorio en cuestión surgió de una dinámica especulativa inmobiliaria rural y urbana articulada, en la cual la tierra, transformada en mercancía por la actuación combinada del Estado y el capital, produjo sobrevalor y limitó la circulación material y simbólica. La colonización se reveló como un proyecto de regimentación de la masa inmigrante, internalizado históricamente en un habitus particular: la condición de "colono" como atributo implica la adhesión a un imaginario moral compartido, una estructura normativa que organiza la existencia y naturaliza asimetrías. La investigación contribuye a desnaturalizar la ideología del desarrollo regional, exponiendo sus fundamentos en proyectos políticos nacionales, procesos de racialización y en la lógica de dominación de la naturaleza. Publisher: Universidade Federal do Rio de Janeiro Type: Tese Fri, 27 Mar 2026 00:00:00 GMT http://hdl.handle.net/11422/29783 2026-03-27T00:00:00Z http://hdl.handle.net/11422/29781 Title: Pique favela: as montagens do funk carioca Author(s)/Inventor(s): Rosa, Daniela Moreira de Faria de Oliveira Advisor: Facina, Adriana Abstract: Funk Carioca is the first Brazilian genre of electronic dance music. It is produced by DJs at funk parties—Sound System events where the music is created through a DJ’s live performance and amplified by walls of stacked speakers—which have been held in the outskirts of Rio de Janeiro since the 1970s. Produced using electronic drum machines, computers, and, today, even cell phones, funk is constructed through montage techniques, in which DJs combine samples from the funk repertoire with sound materials from various sources. Since the 1990s, however, DJs at funk parties (bailes funk) have been creating tracks called “montagem,” in which sampling techniques are taken to the extreme, producing fragmented, pulsating sounds that embody the funk DJ’s virtuosity, the genre’s archives, and the party’s rhythm—its “pique”. Because they are created by collaging parts of preexisting songs, their production costs are low, which has allowed new artists to enter the scene since its inception. Furthermore, montagens have served as a vehicle for artists to experiment with and spread Funk Carioca and are directly linked to the emergence of new aesthetics within the genre. These and other characteristics make montages complex objects of analysis, but also valuable tools for observing the creative and preservation processes of Funk Carioca.To this end, I describe the types of montages—“old-school” montages, Proibidão montages, and Putaria montages—within their historical context, paying close attention to the ways in which funk DJs articulate notions of territory and memory through sound and the manipulation of samples. As a methodology, I conducted a literature review of studies on funk (1988–2020) to map shifts in perspective and the so-called “technical turn,” understanding how these mixes are present in academic writings on the circuit and the genre; I conducted a survey and analysis of albums released by sound crews and DJs in the 1980s and 1990s to understand the emergence of montages and their role in the process of nationalizing Rio de Janeiro funk. The research also includes a musical analysis of montages available on digital platforms and in Carlos Palombini’s montage collection. At the same time, I have been conducting multisited ethnography since 2018 through participant observation at bailes funk in communities in the North, West, South, and Central zones of Rio de Janeiro, and, since 2022, in music studios dedicated to funk and located in Rio de Janeiro’s favelas, where I also work as an audiovisualprofessional. The research also includes interviews with DJs, MCs, studio owners, and funk entrepreneurs. Ultimately, it is concluded that these montages serve as vehicles for experimentation for DJs, through which one can learn about the history of the bailes funk via their sound archives and, consequently, about the sensations of the past shared by a community, which are continually updated in the music to meet the demands of the present. Publisher: Universidade Federal do Rio de Janeiro Type: Tese Tue, 02 Dec 2025 00:00:00 GMT http://hdl.handle.net/11422/29781 2025-12-02T00:00:00Z