This work aimed to analyze the choreographic creative process of the artistic
presentation entitled "Black Mother", a result of the Institutional Program of Initiatives
for Artistic Production PIBIPA / 2016 of the Institute of Art Sciences - ICA. The
spectacularity arises with the ancestral affections caused by the "Black Mother", a
poem that composes the book of the poet and folklorist Bruno de Menezes called
"Batuque", in which is poetically denoted the symbolic affective figure of the mother,
who cares, whatch for and protects their children. As a theoretical reference, authors
such as Rodrigues (1997) has been adopted once she emphasizes and offers paths
to do Afro-Brazilian art, emerging from the mutual and daily experience of field
research, together with the affective memory of the artist-creator herself and her
cultural roots. Lobo and Navas (2003) were studied and referenced for the way they
deal with the creation process of the choreographic composition, indicating paths
from three fundamental axes: scenic body, structured movement and creative
imaginary. Salles (1988) was another author referenced to reflect on the unfinished
research, dialoguing with the constant adaptations that were present in the artistic
presentations of the "Black Mother". Pradier (1995) and his Brazilian apprentice, Bião
(2009), with the concept of ethnocenology, became preponderant in this study to
understand and reflect the art of the spectacle in this artistic work. The methodology
used the ethnopesquisa, considering the need to build this knowledge with the
community, giving voice to the actors involved in this process, understanding that all
the elements experienced throughout the construction of the choreography are
important. The present study seeks to strengthen the identity records left by the
ancestors in my body that is black, feminine, peripheral and Afro-Amazonian, from
the transcendental process of the "Black Mother".
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