{"id":121,"date":"2004-02-27T00:00:00","date_gmt":"2004-02-27T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/02\/27\/a-danca-do-mercado\/"},"modified":"2008-07-04T19:48:07","modified_gmt":"2008-07-04T22:48:07","slug":"a-danca-do-mercado","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-danca-do-mercado\/","title":{"rendered":"A dan\u00e7a do mercado | The market\u00b4s swing"},"content":{"rendered":"

Como se sabe, o mercado funciona como um termostato para a criatividade. Uma vez que os artistas s\u00e3o cidad\u00e3os como eu e voc\u00ea, que pagam as suas contas, precisam, em primeiro lugar, que aquilo que produzem seja respeitado como trabalho e remunerado como tal. Isso significa que seus produtos – a sua arte – precisa ser distribu\u00edda. Como em qualquer outro mercado, mecanismos de oferta e procura definem consumo de massa e nichos.<\/p>\n

A informa\u00e7\u00e3o, claro, faz parte disso. Quando se sabe que as empresas de comunica\u00e7\u00e3o no Brasil acumulam uma d\u00edvida estimada de R$10 bilh\u00f5es, que nos \u00faltimos dois anos foram cortados 17 mil empregos, que ano a ano a circula\u00e7\u00e3o de jornais e revistas cai, bem como o bolo pulblicit\u00e1rio que as sustenta, fica evidente o tamanho da crise que hoje abala a m\u00eddia. As consequ\u00eancias com respeito \u00e0 qualidade da informa\u00e7\u00e3o (sua mat\u00e9ria prima), bem como o encolhimento da sua diversidade, j\u00e1 s\u00e3o sentidas por todo leitor\/telespectador atento.<\/p>\n

Esse cen\u00e1rio atinge muito diretamente quem cria arte no nosso pa\u00eds. Porque se aquilo que \u00e9 produzido n\u00e3o encontra sequer espa\u00e7o de divulga\u00e7\u00e3o – uma vez que espa\u00e7o custa e vai custar cada vez mais caro – o mercado fica inviabilizado como tal. Basta pensar em qu\u00e3o poucos s\u00e3o os jornais que ainda mant\u00eam cadernos culturais com jornalistas e cr\u00edticos especializados para identificar uma tend\u00eancia que parece irrevers\u00edvel. Se o p\u00fablico \u00e9 direcionado pela not\u00edcia publicada a acreditar que n\u00e3o se produz dan\u00e7a, sites, teatro, v\u00eddeo, cria\u00e7\u00f5es na web, pintura, performances, escultura, m\u00fasica erudita, instala\u00e7\u00f5es, interven\u00e7\u00f5es, se ele n\u00e3o fica sabendo que cada uma dessas \u00e1reas \u00e9 muito mais ampla do que parece, evidentemente n\u00e3o pode desfrut\u00e1-las nem lutar pela expans\u00e3o do espa\u00e7o que n\u00e3o lhes \u00e9 atribu\u00eddo no cotidiano da imprensa.<\/p>\n

O contr\u00e1rio disso pode ser visto no que aconteceu com o cinema – que se tornou o futebol da cultura no Brasil da Lei do Audiovisual: o acompanhamento di\u00e1rio pela m\u00eddia de todo o seu sistema de produ\u00e7\u00e3o (fabrica\u00e7\u00e3o de estrelas, defesa e expans\u00e3o de mercado, manuten\u00e7\u00e3o e amplia\u00e7\u00e3o de privil\u00e9gios, premia\u00e7\u00f5es, etc) resulta em aumento de p\u00fablico, que retroalimenta a necessidade desse espa\u00e7o reservado para o cinema. Sem jornalismo cultural ativo em todas as outras \u00e1reas art\u00edsticas, os criadores precisam repensar a sua atua\u00e7\u00e3o.<\/p>\n

Evidentemente, longe da ingenuidade de choramingar pedindo por um espa\u00e7o e um tempo que n\u00e3o v\u00e3o retornar. O dia a dia na imprensa agora \u00e9 o dos n\u00fameros acima, publicados por Elvira Lobato no jornal Folha de S\u00e3o Paulo<\/em> (15\/02), que tamb\u00e9m lembra que em outubro passado os principais grupos de m\u00eddia estiveram no BNDES (Banco Nacional de Desenvolmento Econ\u00f4mico e Social) pedindo a cria\u00e7\u00e3o de uma linha de financiamento para a compra de papel de imprensa e um refinanciamento de 50% da d\u00edvida do setor em 10 anos.<\/p>\n

Nichos diversos proliferam, coletivos surgem como respostas criativas a esse contexto. Talvez seja a tend\u00eancia art\u00edstica mais interessante do momento. Mais que elocubrar quem vai criar o qu\u00ea em 2004, vale agu\u00e7ar a percep\u00e7\u00e3o nisso que se desenha como estrat\u00e9gia de sobreviv\u00eancia. O Mobiliza\u00e7\u00e3o Dan\u00e7a<\/em> (que conseguiu uma verba na C\u00e2mara dos Vereadores que resultou na circula\u00e7\u00e3o de 35 grupos em fevereiro\/mar\u00e7o, bem como um andar e um teatro para a dan\u00e7a na futura Galeria Olido) e o F\u00f3rum Nacional de Dan\u00e7a (que vem conseguindo desmascarar a gan\u00e2ncia comercial do Confef e evitar o seu avan\u00e7o predador) s\u00e3o as verdadeiras obras art\u00edsticas itransformadoras da dan\u00e7a hoje, pois fruto de cria\u00e7\u00e3o coletiva de artistas de olhos abertos para a sociedade.<\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/b><\/p>\n

As we all know, the market functions as a thermostat for creativity. Since artists are citizens like you and me who pay their bills, they require most importantly that what they produce be respected as work and be paid as such. This means that their products \u2013 their art \u2013 must be distributed. Like any other market, offer and demand mechanisms define mass consumption and niches.<\/p>\n

Of course, information plays a role. When it is known that communication companies in Brazil accumulated an estimated debt of R$ 10 billion, that in the last two years 17,000 jobs were cut, that from year to year the circulation of newspapers and magazines drops, as well as the advertising budget that sustains them, the size of the crisis that has hit the media becomes evident. The consequences with respect to the quality of information (the raw material), as well as the shrinking amount of diversity, are already felt by each attentive reader\/viewer.<\/p>\n

This situation directly affects those who create art in our country. Because if that which is produced does not find a space for diffusion \u2013 and this space is costly and will only continue to cost more \u2013 the market becomes an impossible outlet. One need merely think about how few newspapers still feature cultural sections with specialized journalists and critics to identify a tendency that seems irreversible. If the published news story directs the public to believe that dance, websites, theatre, video, web creations, painting, performances, sculpture, music, installations and interventions are not being produced, if the public is not informed that each of these areas is much more ample than they appear, then this public obviously cannot enjoy them or fight for the expansion of a space that does not exist in the daily press.<\/p>\n

The contrary occurred with cinema \u2013 which became the cultural “soccer” of Brazil through the Audiovisual Law: the media\u2019s daily coverage of the entire production system (the manufacturing of movie stars, the defense and expansion of the market, the maintenance and expansion of privileges, awards, etc.) results in an increased public that reciprocates the need for this space reserved for cinema.<\/p>\n

Without an active cultural journalism in all other artistic areas, the creators need to re-think their actions. Evidently, they cannot plead for a space and a time that will never return. The day-to-day of the contemporary press is that of the numbers listed above, published by Elvira Lobato in the Brazilian newspaper Folha de S\u00e3o Paulo<\/i> (02\/15\/04), which also reminds me that in October of last year, the principal media groups were at the Brazilian Development Bank (BNDES) requesting a line of financing for the purchase of newsprint and a 50% line of refinancing for the sector\u2019s 10-year-old debt. <\/p>\n

Diverse niches proliferate and cooperatives arise as creative responses to this situation. Perhaps this is the most interesting artistic trend of the moment. More than wondering who will create what in 2004, it is important to intensify the perception of that which is designed as a survival strategy. Mobiliza\u00e7\u00e3o Dan\u00e7a<\/i> (Dance Mobilization) received a state budget that resulted in the circulation of 35 groups in February and March as well as an entire floor and a theatre for dance in the future Olido Gallery. The National Dance Forum has been able to expose the commercial greediness of the Confef (Federal Physical Education Council) and avoid its predatory advance. These two entities are truly artistic works that transform the dance of today, fruit of the collective creation of artists who have their eyes wide open to society.
<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Mais que a cria\u00e7\u00e3o de espet\u00e1culos, a hora pede espa\u00e7os para a dan\u00e7a, alerta Helena Katz.<\/span>More than creating performances, the moment requests new spaces, alerts helena Katz.<\/span><\/p>\n","protected":false},"author":44,"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":[2,28],"tags":[1142,1167,160],"yoast_head":"\nA dan\u00e7a do mercado | The market\u00b4s swing -<\/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-danca-do-mercado\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A 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