{"id":10440,"date":"2009-05-07T21:54:05","date_gmt":"2009-05-08T00:54:05","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10440"},"modified":"2009-05-12T15:48:38","modified_gmt":"2009-05-12T18:48:38","slug":"a-casa-de-dona-lia","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-casa-de-dona-lia\/","title":{"rendered":"A casa de dona Lia | Misses Lia’s house"},"content":{"rendered":"

Este texto foi publicado originalmente no jornal <\/em>P\u00fablico<\/a>.<\/span><\/p>\n

Lia Rodrigues levanta-se sempre por volta das seis da manh\u00e3. Pouco depois j\u00e1 est\u00e1 sentada junto ao computador planejando o dia que ser\u00e1 longo. Ter\u00e1 que rever contratos, verificar se os materiais de constru\u00e7\u00e3o chegaram ao local, passar pelo electricista, negociar com o empreiteiro, encontrar quem lhe ofere\u00e7a o melhor pre\u00e7o para os azulejos, marcar reuni\u00f5es com investidores, montar andaimes e reunir a sua equipa.<\/span><\/p>\n

Lia Rodrigues \u00e9 core\u00f3grafa, mora no Rio de Janeiro e o local onde os materiais de constru\u00e7\u00e3o devem chegar \u00e9 um armaz\u00e9m degradado de 1200 metros quadrados, que h\u00e1 quinze anos era uma f\u00e1brica de andaimes, e que fica no fim de uma rua na comunidade Nova Holanda, na terra batida de uma das maiores favelas do Rio de Janeiro, a Mar\u00e9.<\/span><\/p>\n

\u00c9 o seu novo desafio, depois de ter fundado e dirigido durante catorze anos o Panorama Rio Dan\u00e7a, hoje dirigido por Nayse Lopez e Eduardo Bonito, e de h\u00e1 dezenove estar \u00e0 frente da sua pr\u00f3pria companhia, com um total de vinte e tr\u00eas elementos, entre administrativos e bailarinos pagos mensalmente. \u201c\u00c9 um trabalho \u00e1rduo\u201d confessa, \u201cmas estou super optimista\u201d, diz, atropelando as id\u00e9ias com uma for\u00e7a discursiva contagiante.<\/span><\/p>\n

Em novembro passado Lia conduziu-nos, e a um pequeno grupo de programadores, a este seu novo desafio, a constru\u00e7\u00e3o de um centro cultural no meio de uma favela composta por dezasseis comunidades onde vivem 144 mil habitantes em casas encavalitadas umas nas outras e estendidas ao longo de quase vinte quil\u00f3metros, indo do aeroporto Ant\u00f3nio Carlos Jobim at\u00e9 \u00e0 zona norte do Rio de Janeiro.<\/span><\/p>\n

Ao longo da viagem foi intercalando o relato dos sucessos j\u00e1 garantidos com algumas precau\u00e7\u00f5es que dever\u00edamos ter em conta. E apesar de j\u00e1 serem muitos \u2013 sobretudo a integra\u00e7\u00e3o na comunidade -, foram essas regras que prenderam a aten\u00e7\u00e3o. N\u00e3o usar cinto de seguran\u00e7a porque \u201cquando o tirares vai parecer que est\u00e1s a puxar de uma arma\u201d, deixar as luzes do carro acesas quando atravessarmos as ruas \u201cpara que eles<\/em> te vejam\u201d, n\u00e3o fixar o olhar demoradamente em algo ou algu\u00e9m. Eles<\/em> s\u00e3o os traficantes e bandidos que controlam a Mar\u00e9. Est\u00e3o divididos em tr\u00eas gangs: Comando Vermelho, Amigos dos Amigos e Terceiro Comando. A zona onde Lia est\u00e1 a desenvolver o projecto, chamada Nova Holanda, \u00e9 controlada pelo Comando Vermelho e alberga 22 mil habitantes.<\/span><\/p>\n

\u201cFavela ser s\u00f3 viol\u00eancia \u00e9 coisa de Cidade de Deus<\/em>\u201d, diz a core\u00f3grafa referindo-se ao filme de Fernando Meirelles que foi um sucesso \u00e0 escala global, transformando a viol\u00eancia em algo pop e fetichista. \u201c\u00c9 a ignor\u00e2ncia que assusta. Os traficantes s\u00e3o um por cento da favela\u201d, assegura. Mas uma percentagem que toma a dianteira na imagem que passa para o exterior e que \u00e9 dif\u00edcil combater. \u201cA for\u00e7a que t\u00eam vem da pol\u00edcia, corrupta, que faz acordos com os bandidos por causa da droga\u201d. O que vemos nos filmes, em Cidade de Deus<\/em> e em Tropa de Elite <\/em>– para citar outro filme que fez as del\u00edcias dos humanistas encartados pela diplomacia ret\u00f3rica e burocr\u00e1tica europeia, – vemo-lo tamb\u00e9m na favela. H\u00e1 fogos-de-art\u00edficio quando chega um novo carregamento de droga ou armas (embora, dizem-nos, se tenha tornado um h\u00e1bito t\u00e3o recorrente que \u201cagora tudo \u00e9 uma desculpa para lan\u00e7ar foguetes\u201d). H\u00e1 mi\u00fados que carregam armas como se fosse uma extens\u00e3o natural do corpo. H\u00e1 neg\u00f3cios clandestinos feitos na escurid\u00e3o de um v\u00e3o de escadas.<\/span><\/p>\n

Mas tamb\u00e9m h\u00e1 escolas e espa\u00e7os de internet gratuitos, cabeleireiros, restaurantes e lojas de celular com esquemas mais ou menos legais para desbloqueamento de cart\u00f5es como em qualquer rua de qualquer cidade. E cartazes, muitos cartazes com promessas pol\u00edticas que v\u00e3o sendo adiadas. \u201cO poder pol\u00edtico n\u00e3o faz nada por isto. \u00c9 abandonado sim. O governo n\u00e3o est\u00e1 aqui pelas pessoas e elas sentem-se abandonadas. A cidade sente-se abandonada. Mas \u00e9 um bairro com uma vida completamente normal. Um bairro com todas as dificuldades que um bairro pobre tem\u201d, garante Lia que em 2003 instalou a sua companhia de dan\u00e7a na favela, ent\u00e3o no bairro do Timbau.<\/span><\/p>\n

No final de 2007, com a divis\u00e3o interna da estrutura que a albergava, mudou-se para a Nova Holanda, integrando a REDES, uma organiza\u00e7\u00e3o n\u00e3o-governamental que se dedica a ac\u00e7\u00f5es em m\u00faltiplas \u00e1reas tem\u00e1ticas \u2013 meio-ambiente, educa\u00e7\u00e3o, participa\u00e7\u00e3o comunit\u00e1ria, combates \u00e0 viol\u00eancia \u2013 que depois s\u00e3o desenvolvidas atrav\u00e9s de projectos diversos. Um deles \u00e9 a presen\u00e7a da companhia de dan\u00e7a Lia Rodrigues, que trabalha em estreita rela\u00e7\u00e3o com uma escola dirigida pela bailarina e core\u00f3grafa Silvia Soter.<\/span><\/p>\n

A core\u00f3grafa tem de tal forma confian\u00e7a nas gentes da favela que deixa o carro destrancado com o computador l\u00e1 dentro, seguindo em passo de corrida para a sede da associa\u00e7\u00e3o que leva o nome da comunidade e que se destaca dos outros edif\u00edcios da Rua Sargento Silva Nunes, tamb\u00e9m por pavimentar, por parecer n\u00e3o ir desabar a qualquer altura por causa das constru\u00e7\u00f5es ilegais. \u201cSinto-me mais segura c\u00e1 dentro do que nas ruas do Rio, onde chegam com armas e assaltam por coisa nenhuma\u201d. Quer levar-nos a conhecer as pessoas, as que estudam qu\u00edmica e portugu\u00eas, matem\u00e1tica e hist\u00f3ria preparando-se para as provas de faculdade. \u201c\u00c9 v\u00e9spera de jogo no Maracan\u00e3 (Fluminense \u2013 Vasco da Gama), mas s\u00f3 saem daqui quando tiverem aprendido tudo\u201d, diz Edson Dinis, o gestor do projecto e outro entusiasta. \u00c9 ele que nos leva pelos corredores do edif\u00edcio de tr\u00eas andares, que nos mostra as salas para os v\u00e1rios n\u00edveis de ensino, e os est\u00fadios onde os bailarinos da companhia de Lia ensaiam e d\u00e3o aulas e onde falta o lin\u00f3leo mas n\u00e3o faltam interessados, dos 9 aos 64. E s\u00e3o os dois, Lia e Edson que nos conduzem pelas ruas que t\u00eam nomes, mas muitas vezes \u00e9 s\u00f3 isso que lhes permite serem ruas.<\/span><\/p>\n

Esta zona, no centro do bairro, \u00e9 menos labir\u00edntica mas ainda assim percebe-se bem o improviso que sustenta a vida destas pessoas. O espa\u00e7o entre as casas, de um lado e de outro, est\u00e1 coberto por cabos de telefone e televis\u00e3o, os telhados, alguns ainda de zinco, suportam antenas de televis\u00e3o enormes, tamb\u00e9m elas manietadas, as paredes de muitas casas ainda est\u00e3o em tijolo e nem todas t\u00eam janelas. Mas nada disso impede que em cada s\u00edtio sejamos recebidos com o maior dos sorrisos. Lia fala dos past\u00e9is \u201cda galega\u201d como os melhores que j\u00e1 comeu \u201cno mundo\u201d. E se tivermos sede \u201co bar do Zito tem o melhor chopinho<\/em> (cerveja) do Rio\u201d. No Sacol\u00e3o Vida Nova s\u00e3o as cores fortes e o cheiro intenso da fruta que nos inebria. E por todo o lado se ouvem os preparativos para mais uma noite onde a quadra de samba j\u00e1 anda a preparar a participa\u00e7\u00e3o no corso de Carnaval. Ouvem-se os acordes de \u201cEu sou mais do que um vencedor\u201d, o samba-enredo que v\u00e3o apresentar no Samb\u00f3dromo. \u201cPara ganhar\u201d, diz a \u201cgalega\u201d.<\/span><\/p>\n

Lia tamb\u00e9m \u00e9 mais do que uma vencedora. \u201cLuto para me manter\u201d, diz. Gosta da luta, da resist\u00eancia e das dificuldades. No armaz\u00e9m, cujo tecto ruiu parcialmente, o ch\u00e3o est\u00e1 coberto de fezes de pombos e o cheiro a urina dos gatos dificulta a respira\u00e7\u00e3o. Mas \u00e9 de investimento e de di\u00e1logo que se fala. \u201cH\u00e1 quest\u00f5es que me importam como core\u00f3grafa e cidad\u00e3 da cidade do Rio de Janeiro e \u00e9 isso que trago para c\u00e1, \u00e9 esse investimento que fa\u00e7o, porque recebo imenso tamb\u00e9m. \u00c9 uma loucura, mas \u00e9 t\u00e3o legal. Dentro de toda a instabilidade do mundo, eu luto para ter este encontro. \u00c9 a minha vis\u00e3o pol\u00edtica do mundo\u201d.<\/span><\/p>\n

O encontro de que fala traduzir-se-\u00e1, a curto e m\u00e9dio prazo no centro cultural que quer ver nascer neste armaz\u00e9m insalubre. Garante que n\u00e3o \u00e9 um projecto social, mas de \u201carte contempor\u00e2nea, de cria\u00e7\u00e3o, para abrir as portas a esta realidade. N\u00e3o falamos todos a mesma linguagem, mas somos todos capazes de olhar para as mesmas coisas e relacionarmo-nos com elas\u201d. E, ao contr\u00e1rio de v\u00e1rios projectos, tamb\u00e9m eles de cariz integrador, a Companhia Lia Rodrigues n\u00e3o \u00e9 apenas residente na favela da Mar\u00e9. Faz parte da vida desta imensa comunidade e contribui para a reformula\u00e7\u00e3o do discurso tendencioso e limitado que existe sobre as favelas e a ac\u00e7\u00e3o social. \u201cPessoas s\u00e3o pessoas e a instabilidade faz parte dos processos\u201d, diz. \u201c\u00c9 um trabalho \u00e1rduo\u201d, vai insistindo, e incluiu \u201cuma permanente conquista do p\u00fablico que n\u00e3o tem o menor contacto com a arte\u201d. E nada est\u00e1 assegurado.<\/span><\/p>\n

Desde que est\u00e1 na comunidade da Nova Holanda ainda n\u00e3o se apercebeu se existe ou n\u00e3o uma regularidade no p\u00fablico, mas parte do acordo inclui a pr\u00e9-estreia das pe\u00e7as de Lia na favela. \u00c9 n\u00e3o s\u00f3 uma forma de agradecerem o apoio, mas tamb\u00e9m uma possibilidade de aproxima\u00e7\u00e3o. \u201cH\u00e1 pessoas que nunca viram nada mas que tem exactamente as mesmas d\u00favidas que as [pessoas] que v\u00e3o ao Th\u00e9\u00e2tre de la Ville (em Paris, para onde prepara uma nova pe\u00e7a a estrear em Novembro deste ano). Gosto de fazer esse encontro entre o que se faz c\u00e1 e o que se faz l\u00e1\u201d. Por isso chama ao seu centro cultural \u2013 que na verdade, sublinha v\u00e1rias vezes, est\u00e1 a fazer para a comunidade -, um \u201centre-espa\u00e7os\u201d.<\/span><\/p>\n

\u201cA minha companhia \u00e9 uma companhia de forma\u00e7\u00e3o, n\u00e3o \u00e9 s\u00f3 de cria\u00e7\u00e3o\u201d. As aulas dos seus bailarinos n\u00e3o incluem s\u00f3 dan\u00e7a, \u201ctamb\u00e9m incluem dan\u00e7a\u201d. \u201cDiscutimos, falamos, aprendemos, trocamos ideias sobre religi\u00e3o, filosofia, pol\u00edtica, e eventualmente dan\u00e7amos\u201d, explica. Por isso \u00e9 que quando vai ao ferro-velho para alugar um andaime e diz que n\u00e3o tem dinheiro para pagar, a resposta \u00e9, invariavelmente \u201cdamos um jeitinho, dona Lia\u201d. As pessoas sentem que o projecto lhes pertence e as diferen\u00e7as na defini\u00e7\u00e3o de arte contempor\u00e2nea e cultura esbatem-se quando um projecto \u00e9 da responsabilidade de todos. \u201cNo trabalho de cria\u00e7\u00e3o de um espa\u00e7o lida-se com uma concretude pr\u00f3pria. Est\u00e1s na realidade total\u201d. E que o tempo s\u00f3 ilusoriamente ajuda a suavizar.<\/span><\/p>\n

Ao fim de cinco anos Lia n\u00e3o acha que as coisas se tenham tornado mais f\u00e1ceis, nem acha que o esfor\u00e7o tenha um impacto directo nas suas pe\u00e7as, de uma rudez e aspereza, mas tamb\u00e9m de uma po\u00e9tica sufocante sem par. Mas encontra um paralelo no tempo que as coisas levam para serem realizadas. \u201cO tempo \u00e9 um luxo, \u00e9 uma coisa muito preciosa e os artistas vivem na pressa de apresentar coisas, porque nunca h\u00e1 dinheiro, porque s\u00e3o as obriga\u00e7\u00f5es do mercado que levam a produzir algo novo. E eu resisto\u201d. \u201cN\u00e3o sei o que isto traz \u00e0s minhas cria\u00e7\u00f5es, nem sei o que faz, mas sei o que traz ao dia a dia: as minhas obriga\u00e7\u00f5es s\u00e3o mais pr\u00e1ticas. O tempo \u00e9 importante por isso\u201d.<\/span><\/p>\n

Por isso \u00e9 que amanh\u00e3, \u00e0s seis da manh\u00e3, Lia Rodrigues vai voltar a levantar-se e a procurar a melhor forma de assegurar que n\u00e3o \u00e9 ultrapassada pelas imagens feitas da viol\u00eancia, pelas press\u00f5es dos co-produtores, pela desconfian\u00e7a dos habitantes da Mar\u00e9, pelas dificuldades inerentes a uma obra e pelo natural e compreens\u00edvel cansa\u00e7o. Amanh\u00e3 \u00e0s seis da manh\u00e3 Lia estar\u00e1 um dia mais perto da inaugura\u00e7\u00e3o n\u00e3o de um novo centro cultural, mas de um outro significado da palavra favela.<\/span><\/p>\n

O autor viajou a convite do Festival Panorama de Dan\u00e7a de 2008. <\/em><\/span><\/p>\n

A <\/em><\/span>Lia Rodrigues Companhia de Dan\u00e7as recebe financiamento da Petrobr\u00e1s atrav\u00e9s da Lei\u00a0 Rouanet, dentro do programa Petrobr\u00e1s Cultural 2007 de\u00a0 \u201cManuten\u00e7\u00e3o – por 2 anos – de Grupos e Companhias de Teatro e Dan\u00e7a\u201d. A Funda\u00e7\u00e3o Prince Claus \u00e9 parceira no\u00a0 projeto de workshops e aulas a ser desenvolvido no Centro de Artes da Mar\u00e9, Nova Holanda.<\/em><\/p>\n

This article was originally published at <\/em>P\u00fablico<\/a> newspaper.<\/em>
\n<\/span><\/p>\n

Lia Rodrigues always wakes up around 6am. Soon after, she is already sitting by her computer, planning the long day ahead. She must review contracts, check if the construction material arrived, talk to the electrician, negotiate with the contractor, find the best tile prices, schedule meeting with investors, assemble scaffolds and gather the team.<\/span><\/p>\n

Lia Rodrigues is a choreographer, she lives in Rio de Janeiro and the place where the constructions material is supposed to arrive is a degraded 1200 square meter warehouse, which used to be a scaffold factory and is located at the end of an unpaved street in one of the largest slums in Rio de Janeiro, Mar\u00e9. <\/span><\/p>\n

It is her new challenge, after creating Festival Panorama and directing it for fourteen years \u2013 currently it is directed by Nayse Lopez and Eduardo Bonito \u2013 and being ahead of her own company for nineteen years, working with a total of twenty three members, including monthly paid managers and dancers. \u201cIt\u00b4s hard work\u201d she confesses, \u201cbut I\u00b4m super optimistic\u201d, she says, running over ideas with contagious speech strength. <\/span><\/p>\n

Last November, Lia guided a small group of festival programmers through her new challenge, the establishment of a new cultural center in the middle of a slum composed of sixteen communities where 144.000 people live, in overlapped housesd stretched over twenty kilometers, from Ant\u00f4nio Carlos Jobim airport to the north zone of Rio de Janeiro. <\/span><\/p>\n

Throughout the journey, amidst stories of accomplishments she inserted some precautions we should keep in mind. And though the achievements were many \u2013 mainly regarding the integration with the community -, it was the rules that grabbed our attention. Not to use a seatbelt because \u201cwhen you take it off, it looks like you\u00b4re pulling a gun out\u201d, leave the lights on inside the car, \u201cso they can see you\u201d, not to stare too long at someone or something. They are the drug dealers and gangsters that control Mar\u00e9. They are divided in three gangs: Comando Vermelho, Amigos dos Amigos and Terceiro Comando. The area where Lia is developing the project, called Nova Holanda, is controlled by Comando Vermelho and houses 22.000 inhabitants. <\/span><\/p>\n

\u201cThe idea that favela is only violence is a City of God thing\u201d, says the choreographer, referring to Fernando Meirelles film, a global scaled success that turned violence into pop fetish. \u201cIgnorance is what\u2019s scary. The drug dealers are one percent of the slums\u201d. But they are a small percentage at the forefront of the slum\u2019s image abroad and that is hard to fight. \u201cThe strength they have comes from the corrupt police, who make deals with the gangsters for drugs\u201d. What we see in films like City of God and Elite Squad, another film that delighted humanists entitled by the rhetoric and bureaucratic European diplomacy, we also see in the slum. There are fireworks when a new shipment of drugs and guns arrives (although we are told it has become such a recurring habit that \u201cnow anything is an excuse for rockets\u201d). There are children carrying guns as natural extensions of their bodies. There are shady businesses carried out in the darkness of spaces under staircases.<\/span><\/p>\n

But there are also schools and places offering free internet, hairdressers, restaurants and cell phone stores with more or less legal unlocking schemes, just like any street in any city. And there are billboards, many billboards with political promises that keep being postponed. \u201cThe government doesn\u2019t do anything. It is abandoned. The government is not here for the people and they feel abandoned. The city feels abandoned. But this is a district with a completely normal life. A neighborhood with all the difficulties of a poor neighborhood\u201d, says Lia, who established her dance company in the slum, in the Timbau discrict. <\/span><\/p>\n

At the end of 2007, with the internal division of the structure that hosted the company, she moved to Nova Holanda, becoming part of REDES, a non-governmental organization dedicated actions in many areas \u2013 environment, educations, community participations, fighting violence \u2013 later developed through many projects. One of them is the presence of Lia Rodrigues dance company, working in a close relationship with a school directed by dancer and choreographer Silvia Soter. <\/span><\/p>\n

The choreographer has so much confidence in the people of the slum she leaves her car unlocked, with her computer inside, as she runs into the headquarters of the association named after the community, the building stands out from other buildings at the also unpaved Sargento Silva Nunes Street because it doesn\u00b4t seem about to collapse at any time. \u201cI feel safer here than in the streets of Rio, where they come up with guns and rob you for anything\u201d. She wants to introduce us to people, those who study Chemistry and Portuguese, Math and History, preparing for college exams. \u201cTomorrow there will be a soccer match in Maracan\u00e3 (Fluminense \u2013 Vasco da Gama), but they only go out after they learn everything\u201d, says Edson Dinis, project manager and another enthusiast. He is the who takes us through the hallways of the three story building, he shows us the classrooms for different education levels and the studios where the dancers of Lia\u2019s company rehearse and teach, where there is a lack of linoleum but not of interested people, ranging from 9 to 64 years old. And the two of them, Lia and Edson, guide us through the streets that have names, but many times that is the only thing that allows them to be called streets. <\/span><\/p>\n

This area in the center of the district is less of maze but it is still possible to notice the improvisation upon which the lives of these people are based. The space between the houses is covered in both sides by telephone and television cables, some of the rooftops are still made of zinc and hold huge tv antennas, the bricks on the walls are still showing and not all of them have windows. But none of this prevents us from being received with big smiles everywhere. Lia talks about the pastries prepared by \u201cGalega\u201d as the best ones she has \u201cever\u201d tasted. And if we are thirsty \u201cZito\u2019s bar has the best draft beer in town\u201d. In the fruit and vegetables market, strong colors and the intense smell of fruit inebriate us. And the sounds of the preparation for a night of samba can be heard all around as everybody is already getting ready for Carnaval. We hear the tunes of \u201cEu sou mais do que um vencedor\u201d, the song they will sing at the Carnaval parade. \u201cTo win\u201d, says \u201cGalega\u201d. <\/span><\/p>\n

Lia is more than a winner. \u201cI fight to keep up\u201d, she says. She likes fighting, resistance and difficulties. In the warehouse, where the roof has partially collapsed, the floor is covered with pigeon feces and the smell of cat urine makes the air hard to breathe. But all everybody is talking about is investments and dialogue. \u201cThere ate issues that matter to me as a choreographer and as a citizen of the city of Rio de Janeiro and that\u00b4s what I bring here, that\u00b4s the investment I make, because I get a lot back. It\u00b4s crazy, but it\u00b4s so nice. Out of all the instability in the world, I fight to have this encounter. It\u00b4s my political vision of the world\u201d. <\/span><\/p>\n

The encounter she talks about will soon translate into the cultural center she wants to see emerge from this insalubrious warehouse. She guarantees it\u00b4s not a social project, but a project of \u201ccontemporary art, creation, to open the doors for this reality. We don\u00b4t all speak the same language, but we are all capable of looking at the same things and relating to them\u201d. And, unlike many other integration projects, Lia Rodrigues Company not only resides in Mar\u00e9. They are part of the life of this huge community and they contribute to the reformulation of the biased and limited speeches regarding slums and social work. \u201cPeople are people and instability is part of the process\u201d, she says. \u201cIt\u00b4s hard work\u201d, she keeps insisting and includes \u201cit\u00b4s a permanent conquest of the audience, who has no contact with art\u201d. And nothing is assured. <\/span><\/p>\n

Since she has been in the Nova Holanda ommunity, she is still not sure if there is any audience regularity or not, but part of the deal includes a premiere of Lia\u2019s pieces in the slum. It\u00b4s not only a way to show gratitude for the support they received, but also a possibility of getting closer. \u201cThere are people who have never watched anything but who have the exact same doubts as the people who attend the Th\u00e9\u00e2tre de la Ville (in Paris, for which she is preparing a new piece to premiere in November). I like to promote this encounter between what is done here and what is done there\u201d. That is why she calls her cultural center \u2013 which, as she stressed many times, she is actually doing for the community \u2013, a \u201cin-between-spaces\u201d.<\/span><\/p>\n

\u201cMy company is not only a creating company, but also a training one\u201d. Her dancer\u2019s classes include not only dance, \u201cthey also include dance. We debate, talk, learn, exchange ideas about religion, philosophy and occasionally we dance\u201d, she explains. That\u00b4s why when she goes to the junk shop to rent a scaffold and says she doesn\u00b4t have any money the answer is always \u201cwe can work it out, miss Lia\u201d. People feel the project belongs to them and the differences in definitions of contemporary art and culture fade when a project is everybody\u2019s responsibility. \u201cIn the work of creating a space there is a concrete aspect. It\u00b4s total reality\u201d. Which time only apparently helps to soften. <\/span><\/p>\n

After five years, Lia doesn\u00b4t think things have become easier, nor does she think the effort has a direct effect upon her pieces, which are rough and coarse, but have also unparalleled suffocating poetry. But she also finds some similarity in the time things take to be carried out. \u201cTime is luxury, it\u00b4s a very precious thing and artists are always in a hurry to present things, because there\u00b4s never any money, because the pressure of the market forces them to produce something new. And I resist. I don\u00b4t know what that brings to my creations, nor do I know what does, but I know what it brings to my daily life: my obligations are practical. That\u00b4s why time is important\u201d. <\/span><\/p>\n

That\u00b4s why tomorrow at six in the morning, Lia Rodrigues will again get up and find the best way to make sure she is not overcome by the images of violence, by the pressure of producers, by the suspicion of the inhabitants of Mar\u00e9, by the inherent difficulties of construction and by the natural and expected weariness. Tomorrow, at six in the morning Lia will be one day closer to opening not only a cultural center, but also a new meaning for the word slum. <\/span><\/p>\n

The author traveled as a guest of Festival Panorama. Companhia Lia Rodrigues has the bi-annual sponsorship of Petrobras and the support of Prince Claus Fund for the cultural center project. <\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A core\u00f3grafa Lia Rodrigues ocupou um novo armaz\u00e9m no no Complexo da Mar\u00e9, no Rio de Janeiro, e quer fazer dele um centro cultural para a comunidade. Mas sem fazer a\u00e7\u00e3o social. <\/span><\/p>\n

Choreographer Lia Rodrigues discovered a warehouse in the middle of Mar\u00e9 slums, in Rio de Janeiro and she wants to turn it into a cultural center without doing social work. <\/span><\/p>\n","protected":false},"author":98,"featured_media":10462,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[31],"tags":[3226,355],"yoast_head":"\nA casa de dona Lia | Misses Lia's house -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/a-casa-de-dona-lia\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A casa de dona Lia | Misses Lia's house -\" \/>\n<meta property=\"og:description\" content=\"A core\u00f3grafa Lia Rodrigues ocupou um novo armaz\u00e9m no no Complexo da Mar\u00e9, no Rio de Janeiro, e quer fazer dele um centro cultural para a comunidade. 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