This paper examines the 'Queima das Fitas' (The Ribbons' Burn), a traditional ritual performed by the students of higher education in Portugal. Specifically, this paper will analyze the 'Cortejo dos Fitados' (The Ribboned's Parade), a parade of floats through the streets of the city of Coimbra; the parade is organized by the Academic Association of the University of Coimbra. Students who are coming to the end of their respective courses take part in the ritual. The experience for the students is represented through the body movements, of speaking and facial expression, among others. In this investigation we are questioning: How do these manifestations express and reinforce, through the intermediacy of the higher education, power relations that are part of that society?  From the point of view of the corporeality: Which are the meanings and perceptions stablished between students and objects (cape, cane, top hat, outfit) used by them in the parade? We adopted an interdisciplinary approach, bringing together aspects of history, sociology and anthropology, based on the theoretical contributions of Pierre Bourdieu, Alain Corbin and Marisa Peirano, among others. To carry out the study, an ethnographic methodology was adopted, and the “Cortejo dos Fitados” relative to 2012 and 2013 were analyzed. The study two consecutive editions of the event were proposed to identify changes and continuity. A photographic camp diary was set up. The photos taken, around 2,000, were classified in categories: sociabilities and actions experienced (greeting with hands, kisses, hugs, facial expressions, body expressions, dominance and loudness of voice, among others); the participation of members of the academic community (with this parents, grandparents and clergy); the presence and utilization of symbols and artifacts (cultural objects such as costumes and insignia); registration of the ritual through film and photograph (by students, family, media, or the university); and also through the interviewing some participants. Between some of the study results, we evidence that the body hexis and the performative action of participants are essential to constitute habitus of any given academic culture just as it can contribute to the maintenance of a determined “distinctive institutional originality” and contributed in distinguishing those who entered/graduated higher education, giving them a new status, amplifying their cultural and social capital.

This paper examines the 'Queima das Fitas' (The Ribbons' Burn), a traditional ritual performed by the students of higher education in Portugal. Specifically, this paper will analyze the 'Cortejo dos Fitados' (The Ribboned's Parade), a parade of floats through the streets of the city of Coimbra; the parade is organized by the Academic Association of the University of Coimbra. Students who are coming to the end of their respective courses take part in the ritual. The experience for the students is represented through the body movements, of speaking and facial expression, among others. In this investigation we are questioning: How do these manifestations express and reinforce, through the intermediacy of the higher education, power relations that are part of that society?  From the point of view of the corporeality: Which are the meanings and perceptions stablished between students and objects (cape, cane, top hat, outfit) used by them in the parade? We adopted an interdisciplinary approach, bringing together aspects of history, sociology and anthropology, based on the theoretical contributions of Pierre Bourdieu, Alain Corbin and Marisa Peirano, among others. To carry out the study, an ethnographic methodology was adopted, and the “Cortejo dos Fitados” relative to 2012 and 2013 were analyzed. The study two consecutive editions of the event were proposed to identify changes and continuity. A photographic camp diary was set up. The photos taken, around 2,000, were classified in categories: sociabilities and actions experienced (greeting with hands, kisses, hugs, facial expressions, body expressions, dominance and loudness of voice, among others); the participation of members of the academic community (with this parents, grandparents and clergy); the presence and utilization of symbols and artifacts (cultural objects such as costumes and insignia); registration of the ritual through film and photograph (by students, family, media, or the university); and also through the interviewing some participants. Between some of the study results, we evidence that the body hexis and the performative action of participants are essential to constitute habitus of any given academic culture just as it can contribute to the maintenance of a determined “distinctive institutional originality” and contributed in distinguishing those who entered/graduated higher education, giving them a new status, amplifying their cultural and social capital.