{"id":11662,"date":"2009-07-23T15:16:39","date_gmt":"2009-07-23T18:16:39","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=11662"},"modified":"2009-07-23T20:07:56","modified_gmt":"2009-07-23T23:07:56","slug":"por-dentro-da-cooperativa-paulista-de-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/por-dentro-da-cooperativa-paulista-de-danca\/","title":{"rendered":"Por dentro da Cooperativa Paulista de Dan\u00e7a"},"content":{"rendered":"

A Cooperativa Paulista de Dan\u00e7a vem desde 2005 atuando no cen\u00e1rio da dan\u00e7a paulista. Sua equipe \u00e9 formada pelos bailarinos e core\u00f3grafos Carmen Gomide (presidente) e Raymundo Costa (vice) contando tamb\u00e9m com o apoio dos profissionais: Maria In\u00eas (secret\u00e1ria), Zuannon (web designer, www.coopdanca.com.br<\/a>) e o Planej Escrit\u00f3rio de Contabilidade (consultoria jur\u00eddica).<\/span><\/p>\n

Com objetivos de incentivar a produ\u00e7\u00e3o da dan\u00e7a; pesquisar conjuntamente novas express\u00f5es de linguagem corporal e outras formas art\u00edsticas; de produzir espet\u00e1culos de dan\u00e7a, workshops, oficinas e cursos; participar de projetos e licita\u00e7\u00f5es p\u00fablicas para captar recursos, trabalhando com base na colabora\u00e7\u00e3o rec\u00edproca a cooperativa de dan\u00e7a, a entidade tem a responsabilidade pol\u00edtica de representa\u00e7\u00e3o legalmente constitu\u00edda de seus cooperados. “Sem uma representa\u00e7\u00e3o legal constitu\u00edda \u00e9 como se n\u00e3o exist\u00edssemos. Essa \u00e9 a grande diferen\u00e7a entre sermos uma institui\u00e7\u00e3o ou um movimento”, diz Gomide.<\/span><\/p>\n

Trabalhando juntos desde 1995, Carmen e Raymundo participaram da equipe da primeira cooperativa de dan\u00e7a de S\u00e3o Paulo (Cooperativa dos Bailarinos – Core\u00f3grafos). Em 2001, Carmen assumiu a presid\u00eancia da antiga cooperativa e por problemas legais e cont\u00e1beis foi levada a fundar a atual. Funcionando com maior efici\u00eancia, a nova cooperativa conta hoje com 110 associados.<\/span><\/p>\n

Em quatro anos de atua\u00e7\u00e3o, a cooperativa organizou quatro eventos, tr\u00eas edi\u00e7\u00f5es do Cooperativa em Cena<\/em>, uma <\/em>mostra de dan\u00e7a realizada em abril, maio e junho de 2005, no Centro de Encontro das Artes e tamb\u00e9m promoveu o Na Galeria com Quintana, <\/em>o projeto de lan\u00e7amento da cooperativa, realizado em novembro de 2006 na Galeria Olido, e em dezembro do mesmo ano no Centro Cultural S\u00e3o Paulo. Este \u00faltimo evento mobilizou os cooperados a criarem a\u00e7\u00f5es perform\u00e1ticas baseadas em contos do M\u00e1rio Quintana e teve a colabora\u00e7\u00e3o da atriz Ondina Castilho.<\/span><\/p>\n

A experi\u00eancia na gest\u00e3o das atividades da cooperativa levou a uma mudan\u00e7a no foco de atua\u00e7\u00e3o e a delibera\u00e7\u00e3o de que o Conselho Administrativo n\u00e3o deveria organizar eventos e sim apoi\u00e1-los. A tarefa principal desta institui\u00e7\u00e3o \u00e9 a de garantir que suas obriga\u00e7\u00f5es legais e financeiras estejam sempre em dia, desse modo o cooperativado pode contar sempre com a representa\u00e7\u00e3o jur\u00eddica da institui\u00e7\u00e3o junto a editais, contratos tempor\u00e1rios de trabalho e emiss\u00e3o de faturas.<\/span><\/p>\n

A cooperativa fornece fatura para realiza\u00e7\u00e3o de trabalhos, sua sede com secret\u00e1ria, contador, internet, impressora, telefone, o nome do cooperativado publicado em seu site, a intermedia\u00e7\u00e3o de contratos, administra\u00e7\u00e3o geral de contabilidade e da parte jur\u00eddica – servi\u00e7os que, pagos de forma independente, custariam mais de R$ 2 mil, segundo informa Gomide. Hoje a cooperativa paulista j\u00e1 faz parte do conselho de entidades que atuam por pol\u00edticas p\u00fablicas mais inclusivas, sendo consultada, por exemplo, sobre a constitui\u00e7\u00e3o de comiss\u00f5es de sele\u00e7\u00f5es de projetos como o PAC-Dan\u00e7a (Plano de A\u00e7\u00e3o Cultural da Secretaria de Cultura do Estado de S\u00e3o Paulo), o Fomento \u00e0 Dan\u00e7a Para a Cidade de S\u00e3o Paulo, e para o fomento \u00e0 dan\u00e7a concedido pela Funarte atrav\u00e9s edital Klauss Vianna.<\/span><\/p>\n

Para se associar \u00e0 cooperativa \u00e9 necess\u00e1rio preencher uma ficha cadastral dispon\u00edvel no site, c\u00f3pias do RG; CPF; comprovante de endere\u00e7o; comprovante de dependentes (se for o caso, certid\u00e3o de nascimento); uma foto 3×4; curr\u00edculo; PIS\/PASEP; n\u00famero do DRT; INSS e CCM, (os tr\u00eas \u00faltimos documentos podem ser providenciados ap\u00f3s a filia\u00e7\u00e3o). \u00c9 necess\u00e1rio o pagamento da joia no valor de R$ 50, que faz parte do capital social da cooperativa; uma mensalidade de R$ 32, sendo que grupos at\u00e9 4 pessoas pagam R$ 22 e de 5 pessoas em diante pagam R$ 17 por pessoa. As taxas cobradas sobre as notas fiscais s\u00e3o de 5% para solos, 4% para grupos at\u00e9 4 pessoas e 2,5% para grupos com 5 pessoas ou mais. Sua sede encontra-se na Avenida S\u00e3o Jo\u00e3o 324, sala 4008-B. O telefone \u00e9 (11) 3225-9585 e o email coopdanca@coopdanca.com.br.<\/span><\/p>\n

Mesmo depois de quatro anos de atua\u00e7\u00e3o, a cooperativa ainda enfrenta algumas dificuldades b\u00e1sicas. A mais s\u00e9ria, segundo seus dirigentes, \u00e9 a n\u00e3o ades\u00e3o por parte dos grupos e criadores mais atuantes no estado de S\u00e3o Paulo. Grande parte destes grupos e criadores s\u00e3o associados \u00e0 cooperativa de teatro. Dessa maneira, suas contribui\u00e7\u00f5es fortalecem e financiam eventos de teatro. Gomide desabafa: “A classe de dan\u00e7a n\u00e3o consegue enxergar que somos n\u00f3s que temos que mudar, n\u00e3o s\u00e3o os pol\u00edticos ou curadores, mas n\u00f3s mesmos na nossa atitude como classe e como pessoas”.<\/span><\/p>\n

Outra dificuldade encontrada no trabalho realizado pela equipe da cooperativa de dan\u00e7a \u00e9 a falta de compreens\u00e3o do trabalho cooperativado, ou seja, da coopera\u00e7\u00e3o rec\u00edproca. Alguns dos cooperativados agem como se este fosse um servi\u00e7o contratado perdendo a dimens\u00e3o que a presid\u00eancia realiza um trabalho volunt\u00e1rio. Essas dificuldades amea\u00e7am a atua\u00e7\u00e3o e sobreviv\u00eancia deste importante \u00f3rg\u00e3o uma vez que os servi\u00e7os por ele oferecidos dependem da contribui\u00e7\u00e3o mensal dos associados e que as reivindica\u00e7\u00f5es e encaminhamento das quest\u00f5es da classe dependem da participa\u00e7\u00e3o de todos.<\/span><\/p>\n

Sem poder se igualar \u00e0 cooperativa de teatro – que hoje possui 4 mil cooperados e por esse motivo recebe mais contribui\u00e7\u00f5es e pode manter o custo das taxas cobradas aos cooperados mais barato que o valor cobrado pela cooperativa de dan\u00e7a -, a cooperativa de dan\u00e7a existe para representar a classe de dan\u00e7a, lutando por suas quest\u00f5es, que s\u00e3o bem distintas das da classe de teatro. A classe de dan\u00e7a precisa se afirmar em sua singularidade perante o mercado da arte. Carmen afirma que, se os bailarinos e criadores que hoje est\u00e3o filiados \u00e0 cooperativa de teatro migrassem para a cooperativa de dan\u00e7a seria poss\u00edvel uma equival\u00eancia dos custos das taxas, pois esse fato acarretaria no aumento do ativo da cooperativa.<\/span><\/p>\n

O campo da organiza\u00e7\u00e3o trabalhista da classe de dan\u00e7a no Brasil \u00e9 mais um dos que necessita de organiza\u00e7\u00e3o e pol\u00edticas pr\u00f3prias. O trabalho da Cooperativa Paulista de Dan\u00e7a, sem d\u00favida, pode dar alguns passos nessa dire\u00e7\u00e3o, mas essa \u00e9 uma tarefa coletiva que pode ser encaminhada por representantes que deliberam o que um coletivo discutiu e acordou, portanto, \u00e9 prerrogativa do exerc\u00edcio democr\u00e1tico da participa\u00e7\u00e3o desenvolver entre os profissionais da dan\u00e7a o senso de cidadania.<\/span><\/p>\n

Cooperativa Paulista de Dan\u00e7a (\u201cS\u00e3o Paulo Dance Cooperative\u201d) has been acting since 2005 in S\u00e3o Paulo\u2019s dance environment. Its staff is composed by dancers and choreographers Carmen Gomide (president) and Raymundo Costa (vice-president) and also has the support of Maria In\u00eas (secretary), Zuannon (webdesing, www.coopdance.com.br) and Planej Escrit\u00f3rio de Contabilidade (legal consulting).<\/span><\/p>\n

Aiming to encourage dance production; jointly research new body language expressions and other artistic forms; producing dance shows, workshops and courses; participate in public projects and biddings to raise funds, working based on reciprocal collaboration, the dance cooperative has the political responsibility to legally represent its associates. \u201cWithout legal representation, it\u00b4s like we don\u00b4t exist. That\u2019s the big difference between being an institution or a movement\u201d, says Gomide. <\/span><\/p>\n

Carmen and Raymundo have worked together since 1995, they were part of S\u00e3o Paulo\u2019s first dance cooperative (Dancers \u2013 Choreographers Cooperative). In 2001, Carmen assumed the presidency of the old cooperative and because of legal and accounting problems, she decided to establish the current one. Working more efficiently, the new cooperative now has 110 members. <\/span><\/p>\n

During the four years of activities, the cooperative organized four events: three editions of Cooperativa em Cena, a dance showcase that took place in April, May and June of 2005, at Centro de Encontro das Artes and Na Galeria com Quintana, the launching project of the cooperative, was produced in November 2006 at Galeria Olido and in December of the same year at Centro Cultural S\u00e3o Paulo. The latter event counted on the collaboration of actress Ondina Castilho and mobilized the cooperative members to create performing actions based on M\u00e1rio de Andrade\u2019s short stories. <\/span><\/p>\n

The experience of managing the cooperative\u2019s activities led to a shift in the action scope and the resolution that the Board should not organize events but rather support them. The main task of the institution is to assure its legal and financial obligations are always up to date, so that the member can always count on the institution\u2019s legal representation in selection processes, temporary work contracts and issuing invoices. <\/span><\/p>\n

The cooperative provides the following services: invoices for production work; headquarters staffed with a secretary and an accountant and equipped with internet and printers; the member\u2019s name published in the website; mediation in contracts, general accounting and legal management. According to Gomide, such services would cost over R$2.000,00. Currently, the cooperative is already part of the board of entities that push for more inclusive public policies. It was consulted, for instance, about the formation of selection committees such as PAC-Dan\u00e7a (State of S\u00e3o Paulo Culture Office\u2019s Cultural Action Plan), Fomento \u00e0 Dan\u00e7a Para a Cidade de S\u00e3o Paulo and the grants for dance projects awarded by FUNARTE (National Artist Foundation), through the Klauss Vianna award. <\/span><\/p>\n

In order to become a member of the cooperative, the artist must fill a registration form, available at the website and send copies of personal identification documents, proof of address, proof of dependents, 3×4 photo, CV, social security number, worker registration number. It\u00b4s also necessary to pay a R$50,00 fee, which is part of the cooperative\u2019s social capital; a R$32 monthly individual fee. Members of groups with up to 4 people must pay R$22,00 and for groups with more than 5 people, each person must pay R$17,00. The fees charged for invoices are 5% for solos, 4% for groups with up to 4 members and 2,5% for groups with 5 members or more. Its center is located at Av. S\u00e3o Jo\u00e3o, 324 sala 4008-B, the phone number is 11-3225-9585 and the e-mail is coopdanca@coopdanca.com.br.<\/span><\/p>\n

Even after four years of activities, the cooperative still faces some basic challenges. The most serious one, according to its directors, is the lack of commitment of the most active groups and creators in the state of S\u00e3o Paulo. Most part of these groups and creators are members of the theater cooperative. In this way, their contributions strengthen and finance theater events. \u201cThe dance community doesn\u00b4t understand that we are the ones who must change, not the politicians or curators, but ourselves as a community and as people.\u201d<\/span><\/p>\n

Another difficulty faced by the work carried out by the dance cooperative staff is the lack of understanding about the cooperative work, meaning, of mutual cooperation. Some of the members of the cooperative act as if this were a hired service, losing sight that the presidents work on a voluntary basis. These difficulties threaten the action and the survival of this important organization, since the services offered by them depend on the members\u2019 monthly contribution and that the requests and the handling of the issues of the community depend on everyone\u2019s participation. <\/span><\/p>\n

Unable to level with the theater cooperative, which has 4000 members and for that reason receives more contributions and are able to keep the fees lower that those of the dance cooperative, the dance cooperative exists to represent the dance community, fighting for its issues, which are very different from of the theater community . The dance community must establish its singularity within the art market. Carmen states that if the dancers and creators that are currently associated with the theater cooperative migrated to the dance cooperative, it would be possible to lower the fees, because it would result in an increase of he cooperative\u2019s cash flow. <\/span><\/p>\n

The field labor organization in Brazil\u2019s dance community needs its own organization and policies. The work of S\u00e3o Paulo\u2019s Dance Cooperative can definitely take some steps in that direction but this is a collective task that must be carried out by representatives that deliberate about what a group discussed and agreed upon, therefore developing a sense of citizenship among dance professionals is a prerogative of democratic participation.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em seu texto, Paulo Paix\u00e3o apresenta aos leitores do idan\u00e7a a Cooperativa Paulista de Dan\u00e7a, uma importante ferramenta de organiza\u00e7\u00e3o pol\u00edtica da classe. 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