{"id":12027,"date":"2009-08-20T17:20:59","date_gmt":"2009-08-20T20:20:59","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12027"},"modified":"2009-09-24T16:23:30","modified_gmt":"2009-09-24T19:23:30","slug":"apontamentos-sobre-o-homem-pigmento-floresta","status":"publish","type":"post","link":"https:\/\/idanca.net\/apontamentos-sobre-o-homem-pigmento-floresta\/","title":{"rendered":"Apontamentos sobre o Homem Pigmento Floresta | Notes on Homem Pigmento Floresta"},"content":{"rendered":"

Encontros s\u00e3o enriquecedores. Bons encontros s\u00e3o maravilhosos.\u00a0 Soube da exist\u00eancia do Coletivo Difus\u00e3o Digital<\/a> no in\u00edcio deste ano (2009), durante a passagem da Caravana Rumos Ita\u00fa Cultural<\/a> 2009 por Manaus, no contexto das palestras de Christine Greiner sobre a import\u00e2ncia do corpo nos processos de cria\u00e7\u00e3o em arte contempor\u00e2nea, e de Marcelo Evelin sobre processos de cria\u00e7\u00e3o na dan\u00e7a.\u00a0 Ocasi\u00e3o em que fui convidada para a Mostra de Videodan\u00e7a 2 e pude perceber a proposta e o trabalho de\u00a0 seus integrantes: artistas das mais diferentes \u00e1reas, agregados em torno da investiga\u00e7\u00e3o, mapeamento e produ\u00e7\u00e3o de trabalhos entre as artes e a tecnologia, e mais especificamente a videodan\u00e7a. Interessante por ser um coletivo que vem realizando suas produ\u00e7\u00f5es por meio de processos colaborativos, refor\u00e7ando os valores do trabalho em parcerias, na contram\u00e3o das pr\u00e1ticas agon\u00edsticas das disputas pessoais e dos egos sobressaltados. Simplesmente querendo estar junto e ver o que acontece.\u00a0 Interessante ainda porque sendo difus\u00e3o, busca a irradia\u00e7\u00e3o do que \u00e9 produzido de uma maneira mais contundente, investindo na amplia\u00e7\u00e3o das conex\u00f5es entre as produ\u00e7\u00f5es locais em contextos nacionais e internacionais, al\u00e9m de promover atividades diversas, como grupos de estudos, semin\u00e1rios, oficinas e laborat\u00f3rios experimentais.<\/span><\/p>\n

No entanto, este texto n\u00e3o \u00e9 sobre o Difus\u00e3o Digital, mas sobre um artista e seu v\u00eddeo, que me foram revelados pela colet\u00e2nea organizada em DVD, produto da primeira mostra de videodan\u00e7a realizada pelo coletivo. Trata-se do Homem Pigmento Floresta<\/strong><\/em>, com roteiro e dire\u00e7\u00e3o de\u00a0 Odacy de Oliveira.\u00a0 Formado em Educa\u00e7\u00e3o Art\u00edstica pela Universidade Federal do Amazonas (Ufam) e atualmente professor do Instituto de Educa\u00e7\u00e3o do Amazonas (IEA), Odacy encontrou neste col\u00e9gio p\u00fablico um espa\u00e7o no qual vem construindo projetos de arte e educa\u00e7\u00e3o desde 2002, atrav\u00e9s do N\u00facleo de Arte Contempor\u00e2nea. Um percurso que se desdobrou em v\u00e1rias premia\u00e7\u00f5es e mais recentemente, em 2008, na cria\u00e7\u00e3o do Grupo de Arte Contempor\u00e2nea. Explorando as linguagens do teatro, performance,\u00a0 dan\u00e7a e\u00a0 pintura corporal, o artista busca abordar simultaneamente, de maneira po\u00e9tica, algumas quest\u00f5es sociais e ecol\u00f3gicas, tornando poss\u00edvel o desencadear de uma s\u00e9rie de reflex\u00f5es acerca da representa\u00e7\u00e3o da cultura e da natureza na regi\u00e3o amaz\u00f4nica.<\/span><\/p>\n

Clique aqui<\/a> para assistir a Homem Pigmento Floresta<\/strong><\/em>.
\n<\/span><\/p>\n

No seu primeiro videodan\u00e7a, Homem Pigmento Floresta<\/strong><\/em>, \u00e9 poss\u00edvel verificar a exist\u00eancia e insist\u00eancia de alguns \u00edndices do que pretende desenvolver: uma natureza-ambiente longe de uma representa\u00e7\u00e3o meramente descritiva ou decorativa. Nas palavras de Odacy,\u00a0 “… estou cansado de ver a representa\u00e7\u00e3o por clich\u00eas, a peneira, as casinhas, isso tanto na dan\u00e7a quanto na pintura, e a minha \u00e2nsia \u00e9 justamente outra coisa. A gente est\u00e1 trabalhando a quest\u00e3o ambiental, mas tenta fazer de forma diferente, e o que para mim \u00e9 mais interessante \u00e9 que, quem assiste acaba tendo esse desejo ecol\u00f3gico e, fica po\u00e9tico o que a gente faz.”\u00a0 Natureza e cultura podem ent\u00e3o movimentar-se, prenhes de possibilidades de experimenta\u00e7\u00e3o, articula\u00e7\u00e3o de sentidos, sinestesias e, embora escapem aqui e ali res\u00edduos de uma gestualidade ambientada em pr\u00e1ticas, por assim dizer, mais tradicionais das artes c\u00eanicas, a obra de Odacy traz um certo frescor. Aponta para outros caminhos, adensa-se em propor a abertura de novas possibilidades interpretativas para a Amaz\u00f4nia. Nos faz pensar, por um lado, sobre as evidentes formas de representa\u00e7\u00e3o art\u00edstica,\u00a0 teimosas em replicar quest\u00f5es que se constituem muito mais no olhar de fora, no olhar estrangeiro e menos em um processo de autorreflex\u00e3o e, por outro, na autonomia do pensamento art\u00edstico, em seu car\u00e1ter investigativo, mesmo que as condi\u00e7\u00f5es sociais e pol\u00edticas n\u00e3o sejam favor\u00e1veis.<\/span><\/p>\n

Historicamente \u00e9 oportuno lembrar que, em Manaus, durante d\u00e9cadas, essa busca por uma po\u00e9tica afastada de um regionalismo piegas, para turista ver, para vender o exotismo e o lugar comum, tem sido preocupa\u00e7\u00e3o cotidiana entre seus moradores. O que se pode exemplificar nas falas de pesquisadores, cientistas sociais, jornalistas\u00a0 e artistas. Nos anos de 1970, a publica\u00e7\u00e3o de A Express\u00e3o Amazonense<\/em>, do escritor M\u00e1rcio Souza, j\u00e1 apontava para as m\u00e1s inten\u00e7\u00f5es dos ideais preservacionistas na regi\u00e3o. Nesses discursos, em evid\u00eancia, uma percep\u00e7\u00e3o utilit\u00e1ria e capitalista da natureza. Nos anos de 1980, as atividades de alguns grupos de dan\u00e7a como o Dan\u00e7aviva, o Origem e o N\u00facleo Universit\u00e1rio de Dan\u00e7a Contempor\u00e2nea (Nudac) foram relevantes para que se pudesse colocar em cena algumas quest\u00f5es sociais, urbanas e corporais mais latentes da \u00e9poca. Algo que encontra eco nos jornais locais dos anos de 1990 e se avoluma e legitima no di\u00e1logo com os intelectuais e artistas de outras \u00e1reas que n\u00e3o a dan\u00e7a, principalmente no caderno de cultura do jornal A Cr\u00edtica, no qual se apresentavam constantes pautas tendo por conte\u00fado as pol\u00eamicas declara\u00e7\u00f5es cruzadas entre pol\u00edticos e artistas sobre o abandono e o folclorismo das artes. Lembro ainda, para finalizar este rol de exemplos, a pertin\u00eancia do ambiente ficcional do romance Cinzas do Norte<\/em>, do escritor Milton Hatoum, no qual os personagens Mundo (Raimundo) e Arana nos remetem \u00e0 reflex\u00e3o sobre o papel do artista no confronto entre a fun\u00e7\u00e3o social da arte e a sua sujei\u00e7\u00e3o ao mercado. Pena que estas vozes possuam pouca exposi\u00e7\u00e3o na m\u00eddia nacional e internacional.<\/span><\/p>\n

\u00c9 claro que n\u00e3o se pode negar que uma s\u00e9rie de not\u00edcias sobre a Amaz\u00f4nia nos bombardeiam diariamente. No entanto, \u00e9 fato que apresentam conceitos e apontam m\u00e9todos de desenvolvimento que sugerem colonialismo e monoculturas, no sentido do cientista pol\u00edtico Boaventura de Souza, na medida em que se constroi uma autoidentifica\u00e7\u00e3o na qual nos configuramos como o ignorante, o residual, o inferior, o local e o improdutivo. As palavras em uso e as met\u00e1foras que nos definem, se, por um lado refletem legitimidade com rela\u00e7\u00e3o \u00e0s situa\u00e7\u00f5es de degrada\u00e7\u00e3o ambiental e exclus\u00e3o social dos 25 milh\u00f5es de habitantes, em muitos\u00a0 casos parecem refletir um\u00a0 discurso de salvacionismo e\u00a0 vitimiza\u00e7\u00e3o. A sensa\u00e7\u00e3o \u00e9 estranha…\u00a0 E em todos esses casos h\u00e1 um indicativo de passividade. O que parece levar para longe as aspira\u00e7\u00f5es de autonomia, bem como refor\u00e7ar a ideia da impossibilidade de alternativas de transforma\u00e7\u00e3o da realidade. Todos parecem nos conhecer, mas ningu\u00e9m sabe de n\u00f3s ao certo, nos imaginam, nos deduzem em termos de beneficiamento pol\u00edtico e principalmente econ\u00f4mico. Pouco se fala da cultura do povo e de nosso estar no mundo como cidad\u00e3os. Ainda h\u00e1 um pouco do ex\u00f3tico e um muito de ignor\u00e2ncia. Da\u00ed a necessidade de se trocar a l\u00f3gica das monoculturas, por uma ecologia dos saberes. \u00c9 por isso que o trabalho de Odacy \u00e9 importante, pois o Homem Pigmento Floresta<\/strong><\/em>, que hoje j\u00e1 se desenvolveu em outras formas visuais e audiovisuais – posto que o artista continua trabalhando\u00a0 sobre sua proposta est\u00e9tica -, declaradamente n\u00e3o se trata de uma obra acabada, constitui-se como parte de um processo de constru\u00e7\u00e3o art\u00edstica e, como tal, solicita uma leitura no tempo. Odacy est\u00e1 maturando e reescrevendo, reeditando, refazendo, de modo lento e cont\u00ednuo sua ideias. Para ele, este foi apenas um come\u00e7o…<\/span><\/p>\n

Encounters are enriching. Good encounters are wonderful. I first heard about Coletivo Difus\u00e3o Digital<\/a> in the beginning of the year, during the time Caravana Rumos Ita\u00fa Cultural<\/a> 2009 was in Manaus, within the context of lectures by Christine Greiner about the importance of the body in contemporary art\u2019s creative process and by Marcelo Evelin about creative process in dance. I was invited for Mostra de Videodanca 2 (\u201cVideodance showcase 2\u201d) and I was able to observe the work proposal of its participants: artists from the most different areas, gathered around the investigation, mapping and production of works combining arts and technology, and more specifically videodance. They are interesting for being a collective and have been carrying out productions through collaborative processes, reinforcing values of partnership work, in the counter flow of agonizing practices of personal disputes and startled egos. Simply wishing to be together and see what happens. They are even more interesting for being diffusion, seeking irradiation of what is produced, in a more poignant way, investing in the increase of connections between local productions in national and international contexts, besides promoting many different activities such as study groups, seminars, workshops and experimental laboratories. <\/span><\/p>\n

However, this text is not about Difus\u00e3o Digital, it is rather about one artist and his video, which were revealed to me through a collection organized in DVD, a product of the first videodance showcase produced by the collective. This article is about Homem Pigmento Floresta<\/strong><\/em>, written and directed by Odacy de Oliveira. Graduated in Art Education by the Federal University of Amazonas (UFAM) and currently a professor at the Amazonas Education Institute (IEA), Odacy found in this school a space in which he has been building art and education projects since 2002 through N\u00facleo de Arte Contempor\u00e2nea (\u201cContemporary Art Center). A pathway that unfolded into many awards and most recently, in 2008, it resulted in the creation of Grupo de Arte Contempor\u00e2nea <\/em>(\u201cContemporary Art Group\u201d). Exploring the languages of theater, performance, dance and body painting, the artist seeks to simultaneously approach, in poetic way, some social and ecological issues, making it possible to unfold a series of reflections about the representation of the culture and nature of the Amazon region.<\/span><\/p>\n

In his first videodance Homem Pigmento Floresta<\/strong><\/em>, it is possible to observe the existence and the persistence of some indications of what he intends to develop: a nature-environment removed from a merely decorative or descriptive representation. In Odacy\u2019s words: \u201c\u2026 I\u00b4m tired of seeing the representation of clich\u00e9s, the typical sieve, the little houses, both in dance and in paintings, and my yearning is exactly for something else. We are working with the environment issue, but we try to do it in a different way, and what is more interesting for me is that, those who watch end up getting this ecological desire and what we do becomes poetic.\u201d Nature and culture can thus move about, full of possibilities for experimentation, articulation of senses, synesthesia and, although some traces of gestures based on more traditional performing arts practices may come off here and there, Odacy\u2019s work is quite refreshing. It points to other pathways, it thickens itself by proposing the opening of new interpretative possibilities for the Amazon. On one hand, it makes us think about obvious forms of artistic representation, stubborn on reproducing issues that are constituted a lot more from an outside perspective, the foreign look and less in a process of self-reflection and, on the other hand, about the autonomy of artistic thinking, in its investigating quality, even if the social and political conditions are not favorable. <\/span><\/p>\n

Historically, it is appropriate to remember that, during decades in Manaus a daily preoccupation for its residents has been to search for poetic expression without soppy regionalism, aimed at tourists, to sell exoticism and commonplaces. This is something that was exemplified in the speeches of researchers, social scientists, journalists and artists. In the 1970\u2019s, the publication of A Express\u00e3o Amazonense<\/em>, written by M\u00e1rcio Souza, already pointed to the evil intentions of environmentalist ideals in the region. In those speeches, a utilitarian and capitalist perception of nature was evident. In the 1980\u2019s the activities of some dance groups like Dan\u00e7aviva, Origem and the N\u00facleo Universit\u00e1rio de Dan\u00e7a Contempor\u00e2nea<\/em> (Nudac \u2013 \u201cUniversity Center of Contemporary Dance\u201d), were relevant to bring to the stage some social, urban and corporal issues, which were latent at the time. Something that had resonance in local papers in the 1990\u2019s and was thickened and legitimized through dialogue with intellectuals and artists from other areas, specially in the culture segment of A Cr\u00edtica newspaper, in which there was a lot of content about the controversial statements exchanged between politicians and artists about the abandonment and folklorisation of the arts. On top of that, to finish this list of examples, the pertinence of the fictional environment of writer Milton Hatoum\u2019s romance Cinzas do Norte, in which the characters Mundo (Raimundo) and Arana allude to the reflection about the role of the artist in the confrontation between art\u2019s social function and its subordination to the market. It\u00b4s a pity those voices have so little space in the national and international media. <\/span><\/p>\n

Of course, it can\u00b4t be denied that countless news about the Amazon bombard us daily. However, it\u00b4s a fact that they present concepts and point to development methods that suggest colonialism and monocultures – as political scientist Boaventura de Souza has said \u2013 in the sense that a self-identification is built in which we configure ourselves as ignorant, residual, inferior, local and unproductive. If, on one hand, the words and the metaphors that define us reflect legitimacy regarding the environmental degradation and social exclusion of the region\u2019s 25 million residents, they also seem to reflect a salvational and victimizing discourse. It\u00b4s a strange feeling \u2026 and in all cases there are indications of passivity. Which seems to take away aspirations for autonomy, as well as it reinforces the idea of impossibility of alternatives to transform reality. Everyone seems to know us, but no one knows about us for sure, they imagine us, they infer things about us in terms of political and mainly economical benefits. Little is talked about the people\u2019s culture and our place in the world as citizens. There is still a lot of exoticism and a lot of ignorance. Thus the need to replace the logic of monoculture with ecology knowledge. That\u00b4s why Odacy\u00b4s work is so important. Homem Pigmento Floresta<\/strong><\/em> already unfolded into other visual and audiovisual forms \u2013 since the artist is still working on his artistic proposal -, it is professedly not a finished piece, it is part of a process of artistic construction and as such it requires an interpretation taking time into account. Odacy is slowly and continuously maturing, re-writing, re-editing, re-making his ideas. For him, this was just the beginning\u2026<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em seu novo texto, a colaboradora do idan\u00e7a \u00cdtala Clay revela o trabalho do artista Odacy de Oliveira. Na sua primeira videodan\u00e7a, ele prop\u00f5e um olhar novo, po\u00e9tico, sobre quest\u00f5es sociais e ecol\u00f3gicas inerentes \u00e0 regi\u00e3o amaz\u00f4nica. 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