This monograph is the research and reflection of junina gang as a place of affirmation of artist-gangster in postmodernity. Through the mapping method, the theme will be scrutinized from the following problem: how to investigate the identity construction process ofartist-gangster, in its fullness to produce / participate in a popular and democratic cultural manifestation as the June gang and his claim locus in postmodernity? With this, the general historical context of the gang as its emergence and influence will be mapped, their arrival in Brazil, its installation in Belem in local and universal dance influences to modernity, imbued with the following Then I will make a mobile mapping Artist in construction processes quadrilhesca identity through relationship / engagement with folk dances and the gang in Piriá the waterfall municipality to extend the city of Bethlehem, specifically the School of Theater and Dance of UFPA (ETDUFPA). Finally, locate the gang as a space for cultural learnings, political and social, the choreographer as a stimulator of dancing bodies in the construction of cultural identity and in particular the assertion of self-artist-gangster in postmodernity. The main theoretical references in this research are: Deleuze and Guattari (1995) on cartography; Chianca (2007), Rabbit (2011), Leal (2004, 2008) and Shelly (1998, 2001) on the context of the gang and popular culture; Bião (2009) on Ethnoscenology; Merleau-Ponty (1995), Daolio (1995) and Dantas (1999) on the body; Santos (2011), Hall (2006) on cultural identity in postmodernity; Canclini (2003) on hybrid cultures; Mendes (2004) and Muniz (2011) on postmodernity in dance; Kaeppler (2001) and Keallinohomoku (1998) on the dance anthropology; Ostrower (1987) and Silva (2007) on creativity and networking; Freire (1996) on pedagogy of autonomy.
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