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PhD Student
Departamento de Comunicação e Arte | Universidade de Aveiro
Campus Universitário de Santiago
3810-193 Aveiro
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Tel: (+351) 234 370 389 (ext. 23700)



Lenice de Sousa Leite began her training in the universe of popular culture as a dancer in the Mira Ira Group of the Federal Institute of Ceará (IFCE), in the city of Fortaleza-Ce (Brazil). He holds a Master's Degree in Preservation of Cultural Heritage from the National Historical and Artistic Heritage Institute (IPHAN) and a Bachelor's Degree in Music from the State University of Ceará (UECE). He has a training course in Art-Education and Applied Folk Culture from the Federal Institute of Ceará (IFCE). In the educational context, he taught music and dance in public and private schools from preschool to elementary school. She was a professor of Brazilian Dramatic Dances at the University of Fortaleza (UNIFOR), founded and coordinated Espaço Tom Maior – music and dance for 15 years, teaching and performing recitals. In the field of cultural heritage, she received a scholarship from IPHAN, carrying out the research “The Bands of the bands from here: Cabaçais Bands of the Pau da Bandeira Festival of Santo Antônio de Barbalha - CE (Production, reproduction, and transmission of values) and Technique of Intangible Heritage in the Coordination of Heritage and Memory of the Secretariat of Culture of the State of Ceará. She is currently a doctoral student in Ethnomusicology at the Institute of Ethnomusicology – Center for Studies in Music and Dance at the University of Aveiro. She is part of the Study Group on Applied Folk Culture at the Federal Institute of Ceará.
Doctoral Project
Dinâmicas de existência e sustentabilidade - Zés Pereiras
This project was elaborated a result of my concerns arising from experiences in Brazilian territory, within the scope of the Master's in Preservation of Cultural Heritage where I developed a research focused on intangible heritage with musical groups formed by box, zabumba and two fifes. For the completion of the PhD in Ethnomusicology, I wanted to maintain this bond and sensitivity to the so-called immaterial culture, to its musicians and practices linked to the communities where they belong. This framework led me to the so-called Zés Pereiras, bagpipes, snare drums and bass drum groups whose circuit of performance and musical work seemed to me similar to those of the cabaçais bands. I am interested in knowing the local dynamics that these musicians establish with their local communities, the impact of festivals and associative movement on learning processes, on the repertoire and even on the performative activity of Zés Pereiras, thus enhancing a knowledge that I started to consolidate within the scope of my Master's, which is the understanding between the sustainability of musical processes and the relationship between groups and their communities in the social, cultural, economic, educational or technological system.