{"id":120,"date":"2004-02-27T00:00:00","date_gmt":"2004-02-27T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/02\/27\/mobilizar-mais-que-a-coluna\/"},"modified":"2008-07-05T10:21:11","modified_gmt":"2008-07-05T13:21:11","slug":"mobilizar-mais-que-a-coluna","status":"publish","type":"post","link":"https:\/\/idanca.net\/mobilizar-mais-que-a-coluna\/","title":{"rendered":"Mobilizar mais que a coluna | Mobilize more than the column"},"content":{"rendered":"

O texto que segue \u00e9 um ponto de vista sobre a organiza\u00e7\u00e3o pol\u00edtica da dan\u00e7a contempor\u00e2nea paulistana. O que estou expondo n\u00e3o \u00e9 o resultado de uma observa\u00e7\u00e3o cient\u00edfica, apoiada em dados rigorosamente analisados. Trata-se de um relato pessoal de uma artista que trabalha em uma \u00e1rea dif\u00edcil: por que n\u00e3o lida com a palavra, por que enfoca a pesquisa, e por que esta pesquisa se refere ao movimento, ao corpo, e este universo do corpo e do movimento requer tempo e paci\u00eancia para ser abordado, al\u00e9m da disposi\u00e7\u00e3o de se abrir para uma experi\u00eancia diferente daquilo que somos diariamente levados a consumir. \u00c9 no m\u00ednimo quixotesco dedicar-se a um trabalho com essas caracter\u00edsticas num pa\u00eds como o Brasil, que investe muito pouco em pesquisa de qualquer natureza e que em 2003 destinou ao seu Minist\u00e9rio da Cultura<\/strong> 0,26% do or\u00e7amento do pa\u00eds. Mas est\u00e1 longe de ser uma a\u00e7\u00e3o solit\u00e1ria, n\u00e3o s\u00f3 por causa da quantidade de pessoas que se dedicam \u00e0 dan\u00e7a contempor\u00e2nea, como por causa dos diferentes tipos de associa\u00e7\u00f5es que se formaram com prop\u00f3sitos diversos que v\u00e3o desde estudar e discutir aspectos da produ\u00e7\u00e3o art\u00edstica at\u00e9 buscar solu\u00e7\u00f5es para o est\u00e1gio de estagna\u00e7\u00e3o em que esta se encontra, n\u00e3o por falta de profissionais e propostas, mas por falta de pol\u00edticas culturais espec\u00edficas para o setor.<\/p>\n

Fa\u00e7o parte da comiss\u00e3o executiva do Movimento Mobiliza\u00e7\u00e3o Dan\u00e7a<\/strong> que, desde outubro de 2002, tem trabalhado junto ao legislativo e executivo da cidade S\u00e3o Paulo, com o intuito discutir e propor pol\u00edticas p\u00fablicas para a dan\u00e7a contempor\u00e2nea com enfoque na pesquisa da linguagem c\u00eanica e na investiga\u00e7\u00e3o de par\u00e2metros corporais pr\u00f3prios. Trata-se de um movimento civil, apartid\u00e1rio, sem constitui\u00e7\u00e3o jur\u00eddica, nem car\u00e1ter representativo de categoria profissional. Desde o in\u00edcio de 2003 nos reunimos mensalmente na C\u00e2mara dos Vereadores<\/strong>, onde organizamos discuss\u00f5es abertas com artistas, pesquisadores, cr\u00edticos, produtores e interessados em geral. Essas reuni\u00f5es, envolvendo diferentes n\u00facleos de discuss\u00e3o, tem como meta um debate p\u00fablico sobre dan\u00e7a contempor\u00e2nea que levante subs\u00eddios para propostas a serem encaminhadas aos setores que trabalham com cultura.<\/p>\n

O primeiro resultado concreto desta atua\u00e7\u00e3o ser\u00e1 visto a partir da segunda quinzena de fevereiro quando ter\u00e1 in\u00edcio uma circula\u00e7\u00e3o de trinta e cinco espet\u00e1culos de dan\u00e7a contempor\u00e2nea promovida pela Secretaria Municipal de Cultura de S\u00e3o Paulo<\/strong>, atrav\u00e9s de nove teatros da Prefeitura, dentre os quais sete pertencentes aos CEUs<\/strong> (Centro de Educa\u00e7\u00e3o Unificada). Essa mostra \u00e9 absolutamente in\u00e9dita sob v\u00e1rios pontos de vista: o n\u00famero de grupos contemplados, o n\u00famero de teatros que abrigar\u00e3o os espet\u00e1culos, a pluralidade de tend\u00eancias de dan\u00e7a contempor\u00e2nea que ser\u00e1 veiculada. O maior diferencial fica entretanto por conta da colabora\u00e7\u00e3o de um grupo organizado de artistas em momentos diferentes com o Legislativo<\/strong> e a Secretaria Municipal de Cultura<\/strong>. N\u00e3o s\u00f3 apresentamos a dan\u00e7a contempor\u00e2nea ao poder p\u00fablico municipal que aos poucos toma consci\u00eancia de nossa exist\u00eancia e nossas necessidades, como tamb\u00e9m pudemos come\u00e7ar a entender como funcionam suas institui\u00e7\u00f5es. Trata-se de um processo pelo qual os v\u00e1rios segmentos da cultura tem que passar. A aus\u00eancia de pol\u00edticas culturais p\u00fablicas durante tantos anos trouxe como conseq\u00fc\u00eancia um desconhecimento profundo das necessidades de cada setor, e cabe a cada um a tarefa de se organizar e procurar reverter essa situa\u00e7\u00e3o.<\/p>\n

Numa esfera diferente o F\u00f3rum Nacional de Dan\u00e7a<\/strong> tem tido uma experi\u00eancia semelhante \u00e0 nossa, onde o envolvimento com \u00f3rg\u00e3os p\u00fablicos e com a legisla\u00e7\u00e3o se transformou numa colabora\u00e7\u00e3o importante para a dan\u00e7a brasileira. Movimento nacional voltado para o todos segmentos de dan\u00e7a, o F\u00f3rum<\/strong> tem se dedicado a discutir a pertin\u00eancia das leis vigentes onde s\u00e3o percept\u00edveis defasagens que permitem “invas\u00f5es” de conselhos de outras profiss\u00f5es como a que tem que ocorrido ultimamente com os CONFEF e CREF<\/strong> no intuito de filiar profissionais de dan\u00e7a aos Conselhos Nacional e Regionais de Educa\u00e7\u00e3o F\u00edsica<\/strong>. Uma das principais metas dessas discuss\u00f5es \u00e9 estudar um projeto de lei de artistas da dan\u00e7a adequada \u00e0 situa\u00e7\u00e3o atual. Uma das bases para esse estudo \u00e9 a recente descri\u00e7\u00e3o do Artista da Dan\u00e7a no Cat\u00e1logo Brasileiro de Ocupa\u00e7\u00f5es 2000 do Minist\u00e9rio do Trabalho e Emprego<\/strong>, que j\u00e1 reflete uma perfil muito mais preciso e amplo do que a descri\u00e7\u00e3o da classifica\u00e7\u00e3o anterior.<\/p>\n

As a\u00e7\u00f5es do Movimento Mobiliza\u00e7\u00e3o Dan\u00e7a<\/strong> e do F\u00f3rum Nacional de Dan\u00e7a<\/strong> indicam um bom est\u00e1gio de organiza\u00e7\u00e3o dos artistas da dan\u00e7a. Pelo menos por parte do Mobiliza\u00e7\u00e3o Dan\u00e7a<\/strong>, n\u00e3o posso falar pelo F\u00f3rum, isso \u00e9 fruto de v\u00e1rias tentativas anteriores, que terminaram culminando no tipo de movimento que estamos construindo. Uma das nossas principais metas este ano \u00e9 criar um projeto de lei municipal de fomento \u00e0 dan\u00e7a contempor\u00e2nea, e para isso, temos inten\u00e7\u00e3o de organizar um s\u00e9rie de reuni\u00f5es setoriais que aprofundem a discuss\u00e3o deste projeto com os artistas.<\/p>\n

(1) O Mobiliza\u00e7\u00e3o Dan\u00e7a<\/strong> surgiu a partir da iniciativa da dan\u00e7arina e core\u00f3grafa C\u00e9lia Gouv\u00eaa, que em outubro de 2003 procurou o ent\u00e3o vereador Vicente C\u00e2ndido, hoje deputado estadual, solicitando apoio para a dan\u00e7a contempor\u00e2nea. Atrav\u00e9s de uma emenda encaminhada pelos vereadores Vicente C\u00e2ndido e Nabil Bonduki foi reservada a verba emergencial de R$1.000.000,00 para a dan\u00e7a contempor\u00e2nea no ano de 2003. Esta verba foi destinada \u00e0 Mostra de Dan\u00e7a Contempor\u00e2nea de S\u00e3o Paulo, que acontece de fevereiro a abril de 2004.<\/em><\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/b><\/p>\n

The following text offers a point of view on the political organization of contemporary dance in S\u00e3o Paulo. What I am exposing is not the result of a scientific observation, supported in rigorously analyzed data. Rather, it is the personal account of an artist who works in a difficult area: because it does not deal with the word, because it focuses on research and because this research refers to movement, to the body and this universe of the body and movement requires time and patience to be properly understood. It also requires a willingness to be open to an experience that is different than that which we are daily lead to consume.<\/p>\n

It is at least a little Quixotean to dedicate oneself to a job with these characteristics in a country like Brazil, which invests so little in research of any nature and which in 2003 destined .26% of the country\u2019s budget to its Ministry of Culture<\/b>. However, such figures are less daunting when one considers both the number of people who dedicate themselves to contemporary dance and also the different types of associations that are formed with different purposes, ranging from studying and discussing aspects of artistic production to seeking solutions to combat the current stage of stagnation that dance finds itself in, not because of a lack of professionals and proposals but because of a lack of specific cultural policies for the sector.<\/p>\n

I am a member of the executive commission of the Dance Mobilization Movement<\/b>, which, since October 2002, has worked together with the legislative and executive powers of the city of S\u00e3o Paulo to discuss and propose public policies for contemporary dance with a focus on scenic language research and the investigation of specific corporal parameters. It is a civil movement, non-partisan, without any legal constitution or representative character of the professional category. Since its foundation in 2003, we have met once a month in the Town Council<\/b>, where we organize open discussions with artists, researchers, critics, producers and others who are interested. These meetings, involving different centers of discussion, aim to create a public debate about contemporary dance that can raise grants for proposals that will then be sent to the departments that work with culture.<\/p>\n

The first concrete result of this effort will be seen a after the second half of February when a circulation of 35 contemporary dance performances will begin. The performances are promoted by the S\u00e3o Paulo Municipal Secretary of Culture<\/b> and will occur at nine theatres belonging to the City Hall, of which seven belong to the Unified Education Centers (CEUs)<\/b>. This first project is completely unprecedented in various respects, including: the number of groups that will participate, the number of theatres that will host the performances and the plurality of contemporary dance trends that will be displayed. The greatest differential, however, will be from the collaboration of an organized group of artists with the Legislative powerand the Municipal Secretary of Culture. Not only do we present contemporary dance to the municipal public power, we also gradually begin to raise awareness about our own existence and needs and also how the pertinent institutions work. It is a process through which the different cultural area must pass. The absence of public cultural policies for so many years led to a profound ignorance of the needs of each sector and each one of us is now responsible for organizing and seeking to revert this situation.<\/p>\n

In a different sphere, the National Dance Forum<\/b> could have had an experience similar to ours, where the involvement of public institutions and the legislative power transformed into an important collaboration for Brazilian dance. A national movement directed at all areas of dance, the Forum<\/b> has dedicated itself to discussing the pertinence of current laws, such as the different phases that have permitted “invasions” of advise from other professions, like what has recently occurred with the CONFEF and CREF<\/b> and their intention to affiliate dance professionals with National and Regional Physical Education Councils<\/b>. One of the principal goals of these discussions is to formulate a law for dance artists that is appropriate for the current situation. One of the foundations for this study is the recent description of the Dance Artists in the 2000 Brazilian Catalogue of Occupations<\/b> published by the Ministry of Labor and Employment, which already reflects a much more precise and ample profile than the description from the previous classification.<\/p>\n

The actions of the Dance Mobilization Movement<\/b> and the National Dance Forum<\/b> indicate that dance artists have entered a positive organizational stage. At least for Dance Mobilization<\/b> (as I cannot speak for the Forum), this is the fruit of many previous attempts that ended by culminating in the type of movement that we are building. One of our main goals this year is to create a municipal incentive law for contemporary dance. In order to do this, we intend to organize a series of department meetings that will deepen the discussion of this project with the artists.<\/p>\n

(1)
Dance Mobilization<\/b> arose from the initiative of dancer and choreographer C\u00e9lia Gouv\u00eaa who in October, 2003 sought out the then Councilman Vicente C\u00e2ndido, today a state congressman, requesting support for contemporary dance. Through an amendment directed by the Councilmen Vicente C\u00e2ndido and Nabil Bonduki, an emergency budget of R$1 million was liberated for contemporary dance in 2003. This budget made possible that Contemporary Dance Showcase that is happening in the City from February to April 2004.<\/i>
<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Sofia Cavancante faz relato pessoal da luta por uma pol\u00edtica cultural para a dan\u00e7a em S\u00e3o Paulo.<\/span>Sofia Cavalcante shares her personal view on the struggle for cultural politics for dance in S\u00e3o Paulo.<\/span><\/p>\n","protected":false},"author":91,"featured_media":0,"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":[46,28],"tags":[62,306,552,1154,125],"yoast_head":"\nMobilizar mais que a coluna | Mobilize more than the column -<\/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\/mobilizar-mais-que-a-coluna\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" 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