PEREIRA, M. C.; http://lattes.cnpq.br/6834188388740723; PEREIRA, Mariana Cavalcanti.
Résumé:
Parkour is commonly described as a practice that consists of overcoming obstacles quickly and efficiently, using your own body. It was constituted as such since the 1980s, in France, and has spread throughout the world, especially through the media and internet. Despite being best known for its “spectacular” aspect, expressed by great jumps or movements considered dangerous, parkour is an experience lived in a plural way. Parkour is commonly described as a practice that consists of overcoming obstacles quickly and efficiently, using your own body. It was constituted as such since the 1980s, in France, and has spread throughout the world, especially through the media and internet. Despite being best known for its “spectacular” aspect, expressed by great jumps or movements considered dangerous, parkour is an experience lived in a plural way. The multiplicity of experiences reveals a complex entanglement of lines that involve a series of subjectivities and encounters that produce different ways of being in the world with and through parkour. This work interprets the practice of parkour as a meshwork (INGOLD, 2018) that is woven by the interweaving of learning dynamics and experiences that help us to understand processes of creativity and knowledge from the bodily, affective and sensorial engagement in the world. Parkour as a living, moving practice, shows us different dimensions of participation in the processes of existing and inhabiting the world, without the need to question a perspective of analysis supported by the agency's theories. To conduct this debate, a research was carried out in the cities of Campina Grande-PB and in the Metropolitan Area of Porto (AMP), with practitioners between 13 and 40 years old, mostly men. The methodological paths are drawn from clues and contributions from ethnography, phenomenological literature and cartography.
