{"id":10045,"date":"2009-03-26T17:40:07","date_gmt":"2009-03-26T20:40:07","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10045"},"modified":"2023-05-02T12:28:14","modified_gmt":"2023-05-02T15:28:14","slug":"a-temporalidade-na-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-temporalidade-na-danca\/","title":{"rendered":"A temporalidade na dan\u00e7a | Temporality in dance"},"content":{"rendered":"

O texto abaixo integra a s\u00e9rie de resenhas que o idan\u00e7a come\u00e7ou a publicar no final de 2008 aproveitando a boa fase editorial na \u00e1rea de dan\u00e7a. A primeira resenha foi feita pela bailarina e pesquisadora Nirvana Marinho sobre o livro <\/em>\u2018Dan\u00e7a C\u00eanica – pesquisas em dan\u00e7a volume 1?, organizado por Jussara Xavier, Sandra Meyer e Vera Torres. O segundo t\u00edtulo analisado foi ‘Zdenek Hampl – Constante Movimento’, por Christianne Galdino. Clique aqui<\/a> para ver os textos anteriores.<\/em><\/span><\/p>\n

A iniciativa empreendida pela revista eletr\u00f4nica idan\u00e7a<\/strong> em publicar resenhas de livros de dan\u00e7a, dentre eles pesquisas acad\u00eamicas que foram transformadas em livro, colabora fortemente para difus\u00e3o de ideias de dan\u00e7a, e tamb\u00e9m para exerc\u00edcios de reflex\u00e3o cr\u00edtica acerca das produ\u00e7\u00f5es de escritos nesse campo de conhecimento.<\/span> A resenha que se apresenta trata de uma pesquisa acad\u00eamica em n\u00edvel de doutorado realizada pela professora, pesquisadora e cr\u00edtica de dan\u00e7a Fabiana Dultra Britto. A pesquisa se realizou no curso de Comunica\u00e7\u00e3o e Semi\u00f3tica na PUC-SP sob a orienta\u00e7\u00e3o da professora e pesquisadora Helena Katz. <\/span><\/p>\n

A publica\u00e7\u00e3o do livro Temporalidade em Dan\u00e7a: par\u00e2metros para uma hist\u00f3ria contempor\u00e2nea <\/em>faz parte de uma trilogia corpoespa\u00e7otempo organizada enquanto a\u00e7\u00e3o cultural pelo FID (F\u00f3rum Internacional de Dan\u00e7a)<\/a> e que teve in\u00edcio com a publica\u00e7\u00e3o do livro Um, Dois, Tr\u00eas: a dan\u00e7a \u00e9 o pensamento do corpo,<\/em> de Helena Katz. O fechamento da trilogia, previsto para 2009, se dar\u00e1 pela publica\u00e7\u00e3o do livro da professora e atual diretora da Escola de Dan\u00e7a da UFBA, Dulce Aquino.<\/span><\/p>\n

O t\u00edtulo do livro j\u00e1 anuncia a complexidade argumentativa e a rede de informa\u00e7\u00f5es, ideias, conceitos e constata\u00e7\u00f5es trabalhada pela autora. H\u00e1 uma preocupa\u00e7\u00e3o premente em articular ideias pr\u00f3prias \u00e0s ideias de demais autores, o que fortalece a no\u00e7\u00e3o de coautoria e compartilhamento de prop\u00f3sitos. J\u00e1 no \u00edndice \u00e9 poss\u00edvel observar outro modo de organizar as partes do livro, numa demonstra\u00e7\u00e3o de que importa propor exerc\u00edcios de entendimentos e compreens\u00f5es aos leitores, exerc\u00edcios esses regidos por nomea\u00e7\u00f5es metaforicamente especializadas e cuidadosamente apresentadas ao longo do corpo textual. <\/span><\/p>\n

Da Carta das Des\/Inten\u00e7\u00f5es<\/em> ao Canteiro de Obras<\/em> se chega \u00e0 discuss\u00e3o do Como \u00e9 o que Existe<\/em> para encontrar-se com a apresenta\u00e7\u00e3o de argumentos que demonstram a Trajet\u00f3ria Hist\u00f3rica n\u00e3o \u00e9 um Processo Evolutivo<\/em>; que A Dan\u00e7a \u00e9 um Sistema Coevolutivo<\/em>; que a Evolu\u00e7\u00e3o \u00e9 outra Hist\u00f3ria <\/em>e, a proposi\u00e7\u00e3o de Exerc\u00edcios de Equival\u00eancia<\/em>. Em complementa\u00e7\u00e3o \u00e0s ideias em discuss\u00e3o, a autora acrescenta nos anexos t\u00edtulos e breve coment\u00e1rio de publica\u00e7\u00f5es nacionais de livros de dan\u00e7a preocupando-se em apresentar os autores aos leitores. Ainda, exp\u00f5e bibliografia separada por temas argumentativos num zeloso cuidado acad\u00eamico com aqueles interessados em dar continuidade aos estudos l\u00e1 apresentados.<\/span><\/p>\n

Todo o trabalho tem o prop\u00f3sito de discutir a quest\u00e3o da temporalidade na dan\u00e7a oferecendo novos par\u00e2metros que venham colaborar para estudos no campo da historiografia da dan\u00e7a. Para tanto, constr\u00f3i mapa investigativo com vistas a indagar como o modelo te\u00f3rico da historiografia pode conseguir explicar “o sentido evolutivo do processo de transforma\u00e7\u00e3o hist\u00f3rica da dan\u00e7a […]” (p.13). O di\u00e1logo com os autores Ilya Prigogine, Daniel Dennett, Richard Dawkins, Helena Katz, Jorge Vieira, dentre outros, colabora na organiza\u00e7\u00e3o do pensamento da autora acerca do modo como a hist\u00f3ria da dan\u00e7a vem sendo apresentada aos interessados em dan\u00e7a, que inclui aqueles que est\u00e3o nas universidades, nas academias, nos grupos art\u00edsticos, em ONGs, grupos comunit\u00e1rios e institui\u00e7\u00f5es de ensino formal. S\u00e3o in\u00fameros os interessados, mas ainda desproporcional aos que publicam suas ideias e compreens\u00f5es da hist\u00f3ria da dan\u00e7a do Brasil e do mundo no nosso pa\u00eds.<\/span><\/p>\n

A aproxima\u00e7\u00e3o desses te\u00f3ricos permite \u00e0 autora tecer uma trama argumentativa dial\u00f3gica e questionadora da realidade das informa\u00e7\u00f5es hist\u00f3ricas da dan\u00e7a no Brasil ao indicar que \u00e9 poss\u00edvel trabalhar com o entendimento da hist\u00f3ria enquanto processo em vez de entend\u00ea-la enquanto acontecimentos pontuais que expressam rela\u00e7\u00f5es fr\u00e1geis de espa\u00e7o e tempo. Ao inv\u00e9s de decalcar conceitos e transport\u00e1-los para prop\u00f3sitos discursivos, a autora relaciona entendimentos, compreens\u00f5es, fatos de dan\u00e7a com concep\u00e7\u00f5es te\u00f3ricas compat\u00edveis com os princ\u00edpios cr\u00edticos e reflexivos aos quais se at\u00e9m. Importa \u00e0 autora “[…] aproximar a dan\u00e7a dos princ\u00edpios l\u00f3gicos e conceitos cient\u00edficos condizentes com seu modo de existir no mundo, configurar-se no corpo e articular-se no tempo[…]” (p.14). Este tecido te\u00f3rico est\u00e1 disposto nas partes do livro que se preocupam com as afinidades entre dan\u00e7a e pressupostos cient\u00edficos sem a inten\u00e7\u00e3o de fundir conceitos, mas apresent\u00e1-los em suas configura\u00e7\u00f5es te\u00f3ricas de maneira relacional e compat\u00edvel com as compreens\u00f5es de seus contextos.<\/span><\/p>\n

Na parte dos Exerc\u00edcios de Equival\u00eancia, a autora exp\u00f5e considera\u00e7\u00f5es aproximativas sobre temas que provocam posicionamentos e indica\u00e7\u00e3o conceitual, sendo eles: quest\u00e3o de enquadramento; identidade\/nacionalidade; emerg\u00eancia; modelos de conjuga\u00e7\u00e3o entre teoria e dan\u00e7a; flexibilidade adaptativa; a tese.<\/em> Em todos os exerc\u00edcios o foco recai sobre a dan\u00e7a contempor\u00e2nea, isso porque a autora considera que a mesma “expressa uma l\u00f3gica relacional n\u00e3o hier\u00e1rquica entre corpo e mundo […] se organiza \u00e0 semelhan\u00e7a de uma opera\u00e7\u00e3o metalingu\u00edstica, na medida em que transfere a cada ato compositivo os pap\u00e9is de gerador e gerenciador das suas pr\u00f3prias regras de estrutura\u00e7\u00e3o” (p. 15). <\/span><\/p>\n

Os exerc\u00edcios descritivo-argumentativos exp\u00f5em a responsabilidade e pensamento cr\u00edtico da autora ao tratar das tem\u00e1ticas relacionadas \u00e0s produ\u00e7\u00f5es art\u00edsticas. Conv\u00e9m ressaltar que houve o cuidado na escolha dos artistas do mesmo modo que na escolha dos te\u00f3ricos e elas (as escolhas) se aproximam por meio das concep\u00e7\u00f5es de mundo, espa\u00e7o e tempo diferenciados.<\/span> As concep\u00e7\u00f5es te\u00f3ricas apresentam-se correlacionadas \u00e0s concep\u00e7\u00f5es art\u00edsticas que, por sua vez, fazem parte do conjunto art\u00edstico-cr\u00edtico-argumentativo da autora. <\/span><\/p>\n

As ideias te\u00f3ricas acerca da complexidade (Prigogine), de memes e design (Dawkins), da dan\u00e7a como pensamento do corpo (Katz) e dos par\u00e2metros sist\u00eamicos da Teoria Geral dos Sistemas (Uemov e Vieira) est\u00e3o aqui destacadas e relacionadas \u00e0s ideias\/produ\u00e7\u00f5es art\u00edsticas expressas no FID 2001 com The Show Must Go On<\/em><\/strong> (J\u00e9r\u00f4me Bel), Mono Subjects<\/em><\/strong> (Thomas Lehmen), Not To Know<\/em><\/strong> (Benoit Lachambre), Self Unfinished<\/em><\/strong> (Xavier Le Roy), Au Bord d\u00eas M\u00e9taphores<\/em><\/strong> (Rachid Ouramdane), Still Distinguished<\/em><\/strong> (Maria de La Ribot), Muzz<\/em><\/strong> e Lamont Earth Observatory<\/em><\/strong> (Sarah Chase), The Princess Project<\/em><\/strong>Summerspace<\/em><\/strong> e Biped<\/em><\/strong> (Merce Cunningham); El Trilogy<\/em><\/strong> (Trisha Brown), I sais I<\/em><\/strong> (Anne Teresa de Keersmaeker), Art\u00e9rias: quando se perde o norte<\/em><\/strong>Cravos<\/em><\/strong> (Pina Baush), MTD -90;\u00a0 O Corpo<\/em><\/strong> (Rodrigo Perdeneiras\/Grupo Corpo). (Xavier Le Roy), (Cia. 2 Nova Dan\u00e7a), (Vicent Dunoyer), <\/span> A autora traz em sua constru\u00e7\u00e3o argumentativa a compreens\u00e3o de hist\u00f3ria a partir de uma perspectiva de temporalidade assim\u00e9trica para interpretar e descrever sistemas culturais e prop\u00f5e que a hist\u00f3ria da dan\u00e7a seja entendida n\u00e3o como “eventos locais que ocorrem num ponto dado do espa\u00e7o e num instante dado da hist\u00f3ria” (p.52), mas como processos cont\u00ednuos e difusos. Isso porque “[…] indiv\u00edduos e obras art\u00edsticas s\u00e3o \u00fanicos, mas implicados irremediavelmente numa mesma atividade global de organiza\u00e7\u00e3o do tempo – a hist\u00f3ria” (p.52). <\/span><\/p>\n

O sentido processual e assim\u00e9trico proposto pela autora para pensar dan\u00e7a e hist\u00f3ria da dan\u00e7a est\u00e3o compat\u00edveis com considera\u00e7\u00f5es acerca da diferen\u00e7a entre justaposi\u00e7\u00e3o e intera\u00e7\u00e3o e “[…] da din\u00e2mica de intera\u00e7\u00e3o entre os componentes desses conjuntos (passos, acontecimentos) para trat\u00e1-los como sistemas e compreend\u00ea-los na sua complexidade ” (p.68).<\/span> O entendimento de dan\u00e7a, hist\u00f3ria e historiografia tecido por Fabiana Britto conduz o leitor para exerc\u00edcios n\u00e3o lineares de pensamento ao mesmo tempo em que convida a pensar os escritos de dan\u00e7a sob perspectiva cr\u00edtico-reflexiva. Importa destacar que a pouca publica\u00e7\u00e3o de dan\u00e7a efetivada no nosso pa\u00eds \u00e9 tratada pela autora n\u00e3o como sendo um atraso da dan\u00e7a, mas como “descompasso r\u00edtmico entre seu modo de ocorrer e a produ\u00e7\u00e3o intelectual atualizada sobre sua ocorr\u00eancia. Por falta de recursos te\u00f3ricos competentes para lidar com quest\u00f5es conceitualmente sofisticadas, os temas dif\u00edceis relativos \u00e0 sua especificidade art\u00edstica mantiveram-se alojados no campo dos clich\u00eas e das licen\u00e7as po\u00e9ticas […]” (p.20). <\/span><\/p>\n

Essa considera\u00e7\u00e3o conduz \u00e0 reflex\u00e3o sobre o modo de pensar\/falar\/fazer dan\u00e7a realizado por professores, artistas, pesquisadores e outros. Faz refletir ainda sobre a amplia\u00e7\u00e3o dos cursos superiores em dan\u00e7a no pa\u00eds e sobre a rela\u00e7\u00e3o entre forma\u00e7\u00e3o e mercado prevista pela LDB 5692\/96.<\/span> Assim, a publica\u00e7\u00e3o dessas ideias em formato de livro colabora significativamente para o campo da dan\u00e7a e \u00e9 um convite para o exerc\u00edcio de leitura desafiador, complexo e instigante, mas indispens\u00e1vel \u00e0queles que tratam a dan\u00e7a respeitando suas especificidades e que trabalham pela promo\u00e7\u00e3o do entendimento de sua complexidade.<\/span> <\/strong><\/span> <\/strong><\/span><\/p>\n

Jussara Sobreira Setenta \u00e9 professora, pesquisadora e artista da dan\u00e7a. Atua na Universidade Federal da Bahia nos cursos de gradua\u00e7\u00e3o e p\u00f3s-gradua\u00e7\u00e3o (Mestrado em Dan\u00e7a e Especializa\u00e7\u00e3o Estudos Contempor\u00e2neos em Dan\u00e7a). Autora do livro O Fazer-Dizer do Corpo: dan\u00e7a e performatividade<\/em>, publicado em 2008.<\/strong><\/span> <\/em><\/span><\/p>\n

This article is part of a series of book reviews idan\u00e7a started to publish in the end of 2008 on the occasion of the good phase for publications in the dance area. The first review was written by researcher Nirvana Marinho about the book \u2018Dan\u00e7a C\u00eanica – pesquisas em dan\u00e7a volume 1?, organized by Jussara Xavier, Sandra Meyer and Vera Torres. The second title to be analyzed was ‘Zdenek Hampl – Constante Movimento’, by Christianne Galdino. Click here<\/a> to read the previous texts. <\/em><\/span><\/p>\n

The initiative of publishing dance book reviews carried out by electronic magazine idan\u00e7a<\/strong>, including academic research that have become books, strongly collaborates for the broadcast of ideas and also exercises of critical reflection about written production in this field of knowledge.<\/span><\/p>\n

This review is about a doctorate level academic research carried out by professor, researcher and dance critic Fabiana Dultra Britto. The research was made in PUC-SP Communication and Semiotics course, under the orientation of professor and researcher Helena Katz. The publication of the book Temporalidade em Dan\u00e7a: par\u00e2metros para uma hist\u00f3ria contempor\u00e2nea<\/em> is part of corpoespa\u00e7otempo<\/em> trilogy, organized as cultural action by FID (F\u00f3rum Internacional de Dan\u00e7a),<\/a> which started with the publication of Helena Katz\u2019s book Um, Dois, Tr\u00eas: a dan\u00e7a \u00e9 o pensamento do corpo. The last part of the trilogy is expected for the end of 2009 and will be the publication of a book by professor and researcher Dulce Aquino, current director of UFBA dance school.<\/span><\/p>\n

The title of the book already announces the argumentative complexity and the network of information, ideas, concepts and findings handled by the author. There is pressing concern to articulate her own ideas with those of other authors, which reinforces the idea of co-authorship and proposal sharing. Already in the index it is possible to observe a different way to organize the book parts, demonstrating it is important to propose exercises of understanding for the readers, exercises guided by metaphorically specialized denominations carefully presented throughout the text. <\/span><\/p>\n

From chapter Carta das Des\/Inten\u00e7\u00f5es <\/em>(Letter of Des\/Intention) to Canteiro de Obras <\/em>(Building Site) the reader reaches the discussion of Como \u00e9 o que Existe<\/em> (How Does it Exist) to meet with arguments demonstrating that Trajet\u00f3ria Hist\u00f3rica n\u00e3o \u00e9 um Processo Evolutiva <\/em>(Historical Path is not an Evolutionary Process); that A Dan\u00e7a \u00e9 um Sistema Coevolutivo<\/em>Evolu\u00e7\u00e3o \u00e9 outra Hist\u00f3ria<\/em> (Evolution is Another Story) and the proposition of Exerc\u00edcios de Equival\u00eancia (Equivalent Exercises). Complementing the ideas discussed, the author adds in the supplements titles of national publications of dance books along with a brief comment, concerned in presenting the authors to the readers. She also exposes the bibliography separated by argumentative themes, with careful academic zeal with those interested in giving continuity to the studies presented there.<\/span><\/p>\n

The whole work aims at discussing the issue of temporality in dance offering new parameters that collaborate with studies in dance historiography. To do so, it builds an investigative map aiming to inquire how the theoretical pattern of historiography can explain \u201cthe evolutionary meaning of the process of dance historic transformation[\u2026]\u201d (p.13). The dialogue with authors Ilya Prigogine, Daniel Dennett, Richard Dawkins, Helena Katz, Jorge Vieira among others collaborates with the organization of the author\u2019s thinking about the way dance history has been presented to those interested in dance, including those in Universities, academies, artistic groups, NGO\u2019s, community groups and formal education institutions. There are many people interested in the subject, but their number is still discrepant with those who publish in their ideas and understandings about national and international dance history in our country.<\/span><\/p>\n

The approximation with those theorists allows the author to weave an argumentative texture that dialogues and questions the reality of historical information about dance in Brazil by indicating that it is possible to work with an understanding of history as process, instead of understanding it as isolated events that express frail relationships of space and time. Instead of reproducing concepts and transporting them for discourse purposes, the author links understandings and dance facts with theoretical concepts compatible with the critical principles she holds on to. For the author it is important to \u201c[\u2026]get dance closer to the logical principles and scientific concepts that agree with its way of existing in the world, configure the body and articulate in time[\u2026]\u201d (p.14). This theoretical texture is placed in the parts of the book that deal with affinities between dance and scientific premises without the intention of merging concepts, presenting them instead in their theoretical configuration in a relational way, compatible with the understanding of its context.<\/span><\/p>\n

In the Equivalence Exercises chapter, the author displays approximative considerations about themes that provoke the taking of position and conceptual indication, that are: framing issues; identity\/nationality; emergence; patterns of coordination between theory and dance; adaptative flexibility; the thesis<\/em>. In every exercise the focus turns to contemporary dance, for the author consider it to \u201cexpress a non-hierarchical relationship logic between body and the world [\u2026] organizes itself in a way similar to a metalinguistic operations, as it transfers to each compositional act the roles of generator and manager of its own structural rules\u201d (p. 15). The descriptive-argumentative exercises expose the author\u2019s responsibility and critical thinking in dealing with themes related to artistic production. It is suitable to point out that the choice of artists was careful and the same goes to the choice of theorists, they converge through different world views, space and time. <\/span><\/p>\n

The theoretical conceptions are presented in co-relation with artistic conceptions that are part of the author\u2019s artistic-critical-argumentative ensemble. The theoretical ideas about complexity (Prigogine), meme and design (Dawkins), dance as the thinking of the body (Katz) and the systemic parameters of the systems theory (Uemov and Vieira) are highlighted and connected to ideas\/artistic productions expressed in FID 2001 with The Show Must Go On<\/em> (J\u00e9r\u00f4me Bel), Mono Subjects <\/strong><\/em>(Thomas Lehmen), Not To Know <\/em>(Benoit Lachambre), Self Unfinished<\/strong><\/em> (Xavier Le Roy), Au Bord d\u00eas M\u00e9taphores<\/strong><\/em> (Rachid Ouramdane)Still Distinguished <\/strong><\/em> (Maria de La Ribot), Muzz<\/strong><\/em> and Lamont Earth Observatory<\/strong><\/em> (Sarah Chase), The Princess Project<\/strong><\/em> (Vicent Dunoyer), Summerspace <\/strong><\/em>and Biped <\/em><\/strong>(Merce Cunningham);\u00a0 El Trilogy <\/em><\/strong>(Trisha Brown),\u00a0 I sais I <\/em><\/strong>(Anne Teresa de Keersmaeker), Art\u00e9rias: quando se perde o norte <\/em><\/strong>(Cis 2 Nova Dan\u00e7a), Cravos<\/em><\/strong> (Pina Baush), MTD -90; O Corpo<\/em><\/strong> ( Rodrigo Perdeneiras\/Grupo Corpo).The author brings into her argumentative construction the understanding of history through the perspective of asymmetrical temporality to interpret and describe cultural systems and proposes that dance history should be understood not as \u201clocal events that happen in a given point in space and in a given instant in history\u201d (p. 52), but as continuous and diffuse processes. That is because \u201c[\u2026] individuals and artistic works are unique, but irremediably implicated in the same global activity of organizing time \u2013 history\u201d (p. 52). <\/span><\/p>\n

The processual and asymmetric meanings proposed by the author to think about dance and dance history are compatible with considerations about the difference between juxtaposition and interaction and \u201c[\u2026] of the interaction dynamic between the components of such ensembles (steps, happenings) to handle them as systems and understand it in its complexity. The understanding of dance, history and historiography weaved by Fabiana Britto conducts the reader in non-linear exercises of thinking at the same time it is an invitation to think writings about dance from a critical-reflective perspective. It is important to highlight that the scarce publication of dance in our country is dealt by the author not as dance backwardness, but as \u201crhythmic mismatch between the way it takes place and the up-to-date intellectual production about its occurrence. For lack of competent theoretical resources to deal with conceptually sophisticated issues, the difficult themes related to its artistic specificity have remained lodged in the realm of clich\u00e9s and poetic licenses [\u2026]\u201d (p. 20). <\/span><\/p>\n

This consideration conducts to the reflection about the how thinking\/discussing\/making dance is carried out by teachers, artists, researchers, among others. It also calls for reflection about the expansion of higher education in dance in the country and about the relationship between LDB 5692\/96. Thus, the publication of those ideas in book format significantly collaborates with the field of dance and is an invitation for a challenging, complex and instigating reading exercise, indispensable for those who deal with dance respecting its specificities and those who work to promote the understanding of its complexity. <\/span><\/p>\n

Jussara Sobreira Setenta is professor, researcher and dance artist. Teaches at Universidade Federal da Bahia in graduate and post graduate courses. Author of the book O Fazer-Dizer do Corpo: dan\u00e7a e performatividade, published in 2008. <\/strong><\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O livro ‘Temporalidade em Dan\u00e7a: par\u00e2metros para uma hist\u00f3ria contempor\u00e2nea’ \u00e9 o terceiro t\u00edtulo analisado na s\u00e9rie de resenhas que o idan\u00e7a come\u00e7ou a publicar em 2008. Leia e deixe seu coment\u00e1rio!<\/span>
\nThe book ‘Temporalidade em Dan\u00e7a: par\u00e2metros para uma hist\u00f3ria contempor\u00e2nea’ is the third title analyzed in the series of reviews idan\u00e7a started to publish in 2008. 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