A abordagem de Zélia Monteiro no ensino do balé

Este artigo discorre sobre o trabalho pedagógico de Zélia Monteiro, principalmente no âmbito do balé clássico. Criadora, bailarina e professora de dança, Zélia coordena o Centro de Estudos do Balé (CEB), organização da qual faço parte desde sua concepção, que tem como um de seus objetivos de manter uma discussão acerca da pertinência do ensino do balé nos dias de hoje. Por ser resultado do cruzamento entre uma formação clássica no método Cecchetti e compartilhar a pesquisa de Klauss Vianna, o trabalho pedagógico de Zélia Monteiro apresenta especificidades que permite refletir sobre o impacto da Educação Somática na formação do indivíduo sensível e atuante na sociedade

A abordagem singular de Zélia Monteiro

O artigo pretende apresentar o modo como a artista Zélia Monteiro vem desenvolvendo seu trabalho com dança, apontando que sua abordagem se configura a partir de um pensamento estético que se desdobra nos ambientes de criação, cena e pedagogia de forma codependente e coimplicada.Este artículo tiene como objetivo presentar la forma en que la artis- ta Zélia Monteiro ha estado desarrollando su trabajo con la danza, señalando que su enfoque se configura a partir de un pensamiento estético que se desdobla en la creación de entornos, en la escena y en la pedagogía de manera codependiente y coimplicada. This paper aims to present how the artist Zélia Monteiro has been developing her work with dance, pointing out that her approach is con- figured from an aesthetic thought that unfolds in creation, scene and pedagogy environments co-dependently and co-implicatedly.

Um Diálogo Possível: Paralelo Entre Infância e História: Destruição da Experiência e Origem da História, de Giorgio Agamben, e o Processo de Criação de Peças Curtas para Desesquecer, da Companhia Perdida

Este artículo es el resultado de una investigación realizada en el Programa de Pós-Graduação em Artes Cênicas de ECA-USP (Programa de Postgrado en Artes Escénicas de ECA-USP)  y se refiere al texto Infancia e historia. Destrucción de la experiencia y origen de la historia, de Giorgio Agamben (2008), y el proceso de creación de la obra Peças curtas para desesquecer (Piezas breves para no olvidar), da Companhia Perdida (Compañía de Danza Perdió), con dirección de Juliana Moraes (2012). En el supuesto que el arte es una forma de conocimiento que se comunica através de la materialidad del cuerpo (VIEIRA, 2006, 2008), el estudio considera la creación de la danza como lenguaje producción y llegando a momentos experimentados por los intérpretes de la compañía a los conceptos desarrollados por el autor antes citado. This article is the result of research conducted in the Programa de Pós-Graduação em Artes Cênicas da ECA-USP (Posgraduate Program in Performing Arts of ECA-USP), and relates the text Infancy and History: Essays on the Destruction of Experience, by Giorgio Agamben (2008), to the process of dance creation of Peças curtas para desesquecer (Short pieces to unforget), of Companhia Perdida (Perdida Dance Company), directed by Juliana Moraes (2012). Assuming that art is a form of knowledge that communicates through the materiality of the body (VIEIRA, 2006, 2008), the study considers the creation of dance as language production and close moments experienced by interpreters of the company to the concepts developed by the author above.  Este artigo é resultado de pesquisa realizada no Programa de Pós-Graduação em Artes Cênicas (ECA-USP) e relaciona o texto Infância e História: Destruição da Experiência e Origem da História, de Giorgio Agamben (2008), ao processo de criação da obra Peças curtas para desesquecer, da Companhia Perdida, com direção de Juliana Moraes (2012). Partindo do pressuposto de que arte é forma de conhecimento que comunica por meio da materialidade do corpo (VIEIRA, 2006, 2008), o estudo considera a criação em dança como produção de linguagem e aproxima momentos vividos pelas intérpretes da companhia aos conceitos elaborados pelo autor acima citado.

Military business and the business of the military

Contrary to dominant approaches that locate the causes for military entrepreneurialism in eastern Democratic Republic of the Congo predominantly in criminal military elites, this article highlights the importance of the Congolese military’s (FARDC) civilian context for understanding military revenue-generation. It analyses how the latter is shaped by structures of domination, signification and legitimisation that drive and are driven by the FARDC’s governance, private protection and security practices. It argues that these practices contribute to bestowing a degree of legitimacy on both the FARDC’s position of power and some of its revenue-generation activities. Furthermore, by emphasising that the FARDC’s regulatory and protection practices are partly the product of popular demands and the routine actions of civilians, the article contends that the causes of military revenue-generation are co-located in the military’s civilian environment. In this manner, it offers a more nuanced conceptualisation of military entrepreneurialism, thus opening up new perspectives on policy interventions in this area

Introduction: Hybrid Security Governance in Africa

Security Sector Reform (SSR) programmes have not sufficiently acknowledged the fact that in Africa, security governance is based on a complex amalgam of statutory and non?statutory actors and institutions which do form the security sector. SSR processes are more often than not focused on structural and formal institutional arrangements of the state and are generally seen as a purely technico?institutional reform, based on techniques of organisational engineering and principles of institutional design. Consequently, security reform processes, most of the time promoted or supported by external donors, tend to be driven by an administrative view of the state which emphasises its legal structure whilst glossing over its political and social character. Today, there is a dire need to take a critical stance on the relationships between the various systems, actors and beneficiaries involved in the security sector on the African continent. This introductive article proposes to refer to the analytic model of ‘hybridity’ to grasp the current realities and the prospects of the security sector in African countries

"Here is your mission, now own it!" The rhetoric and practice of local ownership in EU interventions

One of the core principles of EU interventions under the Common Security and Defence Policy (CSDP) has been local ownership. While the EU takes pride in fully respecting this principle, the existing research suggests that the implementation has been far from smooth. However, we still know very little how this principle is conceptualised and operationalised, let alone why its implementation has been so difficult. Drawing on document analysis and 27 in-depth interviews, the article makes 3 arguments. First, ownership is increasingly construed in the EU policy rhetoric as a middle ground between imposition and restraint. Second, in practice, ownership is operationalised as an externally driven, top-down endeavour, resulting in the low degree of local participation. Third, in addition to the obstacles normally faced by other peace-builders, the EU's efforts to implement ownership are constrained by the politics and policy-making of CSDP. The arguments are illustrated in a case study of the European Union Mission on Regional Maritime Capacity Building in the Horn of Africa (EUCAP Nestor)