Abstract Frevo dance comes from the cities of Recife and Olinda in the northeastern Brazilian state of Pernambuco. We expand on previous research by Valéria Vicente to apply Homi Bhabha’s concepts of pedagogy and performativity to a study of how frevo dancers fight for multiplicity and individuality. We explore how the group Guerreiros do Passo (Frevo Dance Warriors) preserves and disseminates frevo through distinct teaching methods and performance projects, arguing that their work enables the performative enactment of popular memory and the subversion of frevo’s own official discourse. We examine how Guerreiros do Passo provides a new perspective on common challenges in dance pedagogy and performance, including the tensions between tradition/innovation and cultural/individual expression.

中文翻译：

---

在教学法和表演之间跳舞：Guerreiros do Passo 和巴西 Frevo 的案例

摘要 Frevo 舞蹈来自巴西东北部伯南布哥州的累西腓和奥林达市。我们扩展了 Valéria Vicente 之前的研究，将 Homi Bhabha 的教学法和表演性概念应用于 frevo 舞者如何争取多样性和个性的研究。我们探索了 Guerreiros do Passo（Frevo Dance Warriors）团体如何通过独特的教学方法和表演项目来保存和传播 frevo，认为他们的工作能够实现大众记忆的表演性制定和对 frevo 自己官方话语的颠覆。我们研究了 Guerreiros do Passo 如何为舞蹈教学和表演中的共同挑战提供新的视角，包括传统/创新和文化/个人表达之间的紧张关系。