<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1982-0305</journal-id>
<journal-title><![CDATA[Revista Teias]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Teias]]></abbrev-journal-title>
<issn>1982-0305</issn>
<publisher>
<publisher-name><![CDATA[Programa de Pós-Graduação em Educação - ProPEd/UERJ]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1982-03052020000500144</article-id>
<article-id pub-id-type="doi">10.12957/teias.%y.49498</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[DANÇAS EM TERREIROS: educação dos corpos para as giras na Quimbanda]]></article-title>
<article-title xml:lang="en"><![CDATA[DANCES IN TERRACES: education of bodies for the spinners at Quimbanda]]></article-title>
<article-title xml:lang="es"><![CDATA[DANZAS EN TERREIROS: educación de los cuerpos para los hilanderos en Quimbanda]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Soares]]></surname>
<given-names><![CDATA[Rodrigo Lemos]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Dillmann]]></surname>
<given-names><![CDATA[Mauro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Faculdade de Educação; Grupo Interdisciplinar de Pesquisa: Narrativas, Arte, Linguagem e Subjetividade (GIPNALS) e Grupo Paisagens Híbridas (UFRJ) Programa de Pós-graduação em Educação - Doutorado/ Universidade Federal de Pelotas ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<aff id="Af2">
<institution><![CDATA[,Professor Adjunto no Departamento de História e no Programa de Pós-graduação em História da Universidade Federal de Pelotas (UFPEL).  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>07</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>07</month>
<year>2020</year>
</pub-date>
<volume>21</volume>
<numero>62</numero>
<fpage>144</fpage>
<lpage>156</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S1982-03052020000500144&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S1982-03052020000500144&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S1982-03052020000500144&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo As danças, em terreiros, são elementos constituintes de caracteres específicos de expressividade, elas reiteram identidades. O artigo em questão problematiza a educação dos corpos em relação às danças de exus e pombagiras, em terreiros de Quimbanda, na cidade do Rio Grande / Rio Grande do Sul. Utilizamos, para tanto, conceitos como educação dos corpos e danças, para discutir sobre essas manifestações em terreiros de Quimbanda. As danças em terreiros, especificamente as de exus e pombagiras, estão vinculadas com noções acerca do que significa ser um sujeito religioso, que pertence a um local específico, uma expressividade religiosa. Dançar, a partir das mitologias dos exus ou das pombagiras, é aqui entendido como acontecimento sociocultural, que tem por base noções de pertencimento. O aporte teórico desse texto está centrado nos estudos culturais, na sua vertente pós-estruturalista e as narrativas foram produzidas a partir de entrevistas estruturadas, sendo os dados observados sob uma análise cultural. Consideramos, então, que as danças compõem o aparato ritualístico dos terreiros; além disso, elas não possuem caráter único e sinalizam produções de identidades. Assim, especifica-se que dançar, nesses locais, é uma manifestação simbiótica entre entidades e sujeitos, a qual resulta em uma forma de expressão da religiosidade.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Dances, in terraces, are constituent elements of specific characters of expressiveness, they reiterate identities. The article in question problematizes the education of bodies in relation to the dances of exus and pombagiras, in terraces of Quimbanda, in the city of Rio Grande / Rio Grande do Sul. We used, for this, concepts such as education of bodies and dances, to discuss these manifestations in Quimbanda terraces. Dances in terraces, specifically, exus and pombagiras, are linked with notions about what it means to be a religious subject, who belongs to a specific place, a religious expressiveness. Dancing, from the mythologies of the exus or pombagiras, is understood here as sociocultural events, which is based on notions of belonging. The theoretical contribution of this text is centered on the cultural studies, in its post-structuralist aspect and the narratives were produced from structured interviews, the data being observed under a cultural analysis. We consider, then, that the dances, make up the ritualistic apparatus of the terraces, in addition, they have no unique character and signal productions of identities. Thus, we specify that dancing in these places is a symbiotic manifestation between entities and subjects, which results in a form of expression of religiosity.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Las danzas, en terreiros, son elementos constitutivos de caracteres específicos de expresividad, reiteran identidades. El artículo en cuestión problematiza la educación de los cuerpos en relación con las danzas de exus y pombagiras, en terreiros de Quimbanda, en la ciudad de Rio Grande / Rio Grande do Sul. Usamos, para esto, conceptos como la educación de cuerpos y danzas, para discutir estas manifestaciones en terreiros de Quimbanda. Las danzas en terreiros, específicamente las de exus y pombagiras, están vinculadas con nociones sobre lo que significa ser un sujeto religioso, que pertenece a un lugar específico, una expresividad religiosa. El baile, basado en las mitologías de los exus y pombagiras, se entiende aquí como un evento sociocultural, basado en nociones de pertenencia. El aporte teórico de este texto se centra en los estudios culturales, en su vertiente postestructuralista y las narrativas fueron producidas a partir de entrevistas estructuradas, observándose los datos bajo un análisis cultural. Consideramos, entonces, que las danzas constituyen el aparato ritualista de los terreiros; además, no tienen un carácter único y señalan la producción de identidades. Así, se especifica que bailar en estos lugares es una manifestación simbiótica entre entidades y sujetos, lo que se traduce en una forma de expresión de religiosidad.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[educação dos corpos]]></kwd>
<kwd lng="pt"><![CDATA[dança]]></kwd>
<kwd lng="pt"><![CDATA[Quimbanda]]></kwd>
<kwd lng="en"><![CDATA[education of bodies]]></kwd>
<kwd lng="en"><![CDATA[dance]]></kwd>
<kwd lng="en"><![CDATA[Quimbanda]]></kwd>
<kwd lng="es"><![CDATA[educación de los cuerpos]]></kwd>
<kwd lng="es"><![CDATA[danza]]></kwd>
<kwd lng="es"><![CDATA[Quimbanda]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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