{"id":122,"date":"2004-02-27T00:00:00","date_gmt":"2004-02-27T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/02\/27\/nao-so-um-coracao\/"},"modified":"2008-07-04T19:31:20","modified_gmt":"2008-07-04T22:31:20","slug":"nao-so-um-coracao","status":"publish","type":"post","link":"https:\/\/idanca.net\/nao-so-um-coracao\/","title":{"rendered":"N\u00e3o s\u00f3 um cora\u00e7\u00e3o | More than just a heart"},"content":{"rendered":"

Falar sobre a dan\u00e7a contempor\u00e2nea paulistana \u00e9 um desafio, pelo simples fato dessa dan\u00e7a se parecer com um mosaico. S\u00e3o Paulo \u00e9 uma cidade que sofre influ\u00eancias de diferentes culturas, uma terra de muitas l\u00ednguas e de muitas caras. A exemplo disso, sua dan\u00e7a apresenta tra\u00e7os e sotaques daquilo que \u00e9 produzido em Nova York, Fran\u00e7a, B\u00e9lgica, Alemanha, Holanda ou at\u00e9 mesmo Recife. Uma mistura de tend\u00eancias e estilos, muitas vezes em um mesmo trabalho. Embora a caracter\u00edstica marcante dessa produ\u00e7\u00e3o seja a absoluta falta de verbas e de uma pol\u00edtica p\u00fablica eficiente. Ou melhor, de uma pol\u00edtica p\u00fablica. Fato que interfere diretamente na produ\u00e7\u00e3o e na pesquisa.<\/p>\n

A dan\u00e7a paulistana sofre com o descaso. Sem aporte financeiro, tanto do Estado como de patrocinadores, \u00e9 praticamente imposs\u00edvel manter uma companhia e todo o peso de sua estrutura. Com raras exce\u00e7\u00f5es, como o Est\u00fadio Nova Dan\u00e7a, que resiste bravamente, boa parte das coreografias s\u00e3o elaboradas no econ\u00f4mico formato de solos, de duos e at\u00e9 de trios. Raramente um n\u00famero maior de artistas divide o palco. Mesmo o Nova Dan\u00e7a foi obrigado a p\u00f4r um ponto final no Ter\u00e7as de Dan\u00e7a, uma programa\u00e7\u00e3o que abria espa\u00e7o para a experimenta\u00e7\u00e3o e para os jovens artistas, devido a falta de patroc\u00ednio para bancar os custos b\u00e1sicos com luz e som.<\/p>\n

Sem um teatro espec\u00edfico e a dificuldade de circular com um espet\u00e1culo, bailarinos e core\u00f3grafos encontram no Centro Cultural S\u00e3o Paulo um abrigo. O Centro Cultural S\u00e3o Paulo abre suas portas e mant\u00e9m uma programa\u00e7\u00e3o constante durante o ano, que revelou jovens talentos e trouxe \u00e0 cena nomes quase esquecidos. O Sesc marca sua programa\u00e7\u00e3o com eventos pontuais, como o Outras Dan\u00e7as no Ipiranga. Tamb\u00e9m n\u00e3o d\u00e1 para n\u00e3o mencionar a Bienal Sesc de Dan\u00e7a.<\/p>\n

Mesmo diante de tantos obst\u00e1culos, a produ\u00e7\u00e3o, n\u00e3o apenas de coreografias, como de pesquisas acad\u00eamicas, surpreende. Uma safra de artistas est\u00e1 ligada \u00e0s universidades e aos seus debates, reuni\u00f5es em centros de estudos e encontros informais promovem a circula\u00e7\u00e3o de informa\u00e7\u00f5es, id\u00e9ias e reflex\u00e3o. N\u00e3o \u00e0 toa, que Marta Soares e Vera Sala foram contempladas, cada uma, com uma bolsa da Guggenheim Foudantion.<\/p>\n

Mesmo em um ambiente t\u00e3o hostil a produ\u00e7\u00e3o \u00e9 constante. Contato e improvisa\u00e7\u00e3o mesclam-se ao minimalismo, \u00e0s id\u00e9ias do but\u00f4, ao expressionismo de Pina Bausch, ao acaso de Merce Cunningham, ao hip hop ou mesmo \u00e0s performances, \u00e0s artes pl\u00e1sticas, \u00e0 literatura e \u00e0 m\u00fasica. Para compreender melhor esse universo \u00e9 preciso voltar o olhar para o corpo dos bailarinos. Neles est\u00e3o inscritos diferentes t\u00e9cnicas e diferentes nomes. Feldenkrais, Pilates, Steve Paxton, Ruth Rachou e Klauss Vianna, personalidade marcante na hist\u00f3ria da dan\u00e7a. A produ\u00e7\u00e3o \u00e9 marcada pelo di\u00e1logo e a intersec\u00e7\u00e3o de t\u00e9cnicas e express\u00f5es art\u00edsticas. O hibridismo \u00e9 uma caracter\u00edstica forte dessa dan\u00e7a. O curioso \u00e9 que essa forma de cria\u00e7\u00e3o plural \u00e9 totalmente diferente do momento da concep\u00e7\u00e3o de uma coreografia. Todo o processo de investiga\u00e7\u00e3o \u00e9 marcado pelo isolamento dos artistas.<\/p>\n

Int\u00e9rpretes-criadores desenvolvem uma dan\u00e7a sem muitas cores, muitas vezes sem alegria, entretanto composta por uma densa pesquisa gestual. Nada para encher os olhos. A beleza vem da investiga\u00e7\u00e3o, das discuss\u00f5es em torno do que \u00e9 a dan\u00e7a, sua compreens\u00e3o como forma de pensamento, em sintonia com as discuss\u00f5es cient\u00edficas, filos\u00f3ficas, tecnol\u00f3gicas e sociais do momento. Movimentos que desafiam o olhar do p\u00fablico, que incomodam, agu\u00e7am e convidam ao debate. H\u00e1 quatro anos acompanho ensaios e espet\u00e1culos e observo uma forte presen\u00e7a da improvisa\u00e7\u00e3o como um dos pilares do processo de cria\u00e7\u00e3o. A improvisa\u00e7\u00e3o surge tanto como procedimento para colher material durante a pesquisa, quanto est\u00e1 presente no palco. Muitas vezes n\u00e3o h\u00e1 cen\u00e1rios ou figurinos, os objetos utilizados em cena funcionam tanto como um “segundo” int\u00e9rprete, como adquirem as fun\u00e7\u00f5es anteriores. Proje\u00e7\u00f5es de v\u00eddeo e imagens contribuem para a ambienta\u00e7\u00e3o cenogr\u00e1fica e coreogr\u00e1fica. A intera\u00e7\u00e3o de diferentes tecnologias dialogam com o corpo que dan\u00e7a. A desconstru\u00e7\u00e3o do movimento e a fragmenta\u00e7\u00e3o do corpo que dan\u00e7a comp\u00f5e trabalhos como o Marta Soares, por exemplo.<\/p>\n

Ao mesmo tempo em que os jovens talentos batem \u00e0 porta, S\u00e3o Paulo conserva companhias tradicionais, que marcaram a hist\u00f3ria da dan\u00e7a na cidade. O Stagium, sempre coerente com seus ideais, com sua dan\u00e7a t\u00e3o “brasileira”, que rompe fronteiras. O Cisne Negro e o Bal\u00e9 da Cidade contam com experi\u00eancia e a apurada qualidade t\u00e9cnica dos bailarinos.<\/p>\n

O ano de 2004 aponta para mudan\u00e7as no cen\u00e1rio da dan\u00e7a contempor\u00e2nea paulistana. Primeiro, pela organiza\u00e7\u00e3o pol\u00edtica de bailarinos e de core\u00f3grafos na forma do movimento Mobiliza\u00e7\u00e3o Dan\u00e7a, que conquistou da prefeitura uma verba de R$ 900 mil, dividida entre 35 companhias. Os grupos circular\u00e3o por dez teatros, inclusive nos CEUS, na periferia. A primeira grande conquista est\u00e1 na atitude dos artistas em deixarem de lado interesses particulares e exclusivistas. A uni\u00e3o e a organiza\u00e7\u00e3o levaram ao debate, \u00e0 apresenta\u00e7\u00e3o da dan\u00e7a contempor\u00e2nea aos vereadores e ao poder executivo e acima de tudo \u00e0 sociedade, que poder\u00e1 conferir parte da produ\u00e7\u00e3o paulistana at\u00e9 o m\u00eas de maio. Com o Mobiliza\u00e7\u00e3o, a dan\u00e7a passou a existir, sua car\u00eancia parece ter sido notada pela prefeitura, que inaugura no m\u00eas de mar\u00e7o um Centro Coreogr\u00e1fico dentro da Galeria Olido. Apenas um primeiro passo foi dado. Ainda h\u00e1 muito que fazer, principalmente na manuten\u00e7\u00e3o do que foi conquistado, na forma de uma Lei de Fomento espec\u00edfica para a dan\u00e7a, assim como a batalha por verbas para a pesquisa e a cria\u00e7\u00e3o de espet\u00e1culo e o registro dessa documenta\u00e7\u00e3o. Uma jornada de f\u00f4lego pela frente.<\/p>\n

* Rep\u00f3rter do Caderno 2 do Estado de S. Paulo<\/em>.<\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/b><\/p>\n

Talking about contemporary dance in S\u00e3o Paulo is a challenge, simply because this dance is a mosaic. S\u00e3o Paulo is a city that feels the influences of other cultures, a land of many languages and many faces. An example of this fact, local dance presents traces and accents of that which is produced in New York, France, Belgium, Germany, Holland or even the Northeastern Brazilian city of Recife. There is a mixture of trends and styles, many times in a single performance. The marking characteristic of this production is the complete lack of funding and an efficient public policy. Or better yet, a public policy, a fact the directly interferes with production and research.<\/p>\n

Dance in S\u00e3o Paulo suffers from indifference. Without financial support from the State or private sponsors, it is practically impossible to maintain a company and all of the weight of its structure. With rare exceptions, such as Est\u00fadio Nova Dan\u00e7a<\/i> (New Dance Studio), which courageously resists, a good portion of the choreographies are created in the economic format of solos, duos and trios. Rarely, a larger number of artists share the stage. Even Nova Dan\u00e7a<\/i> was forced to close Ter\u00e7as de Dan\u00e7a<\/i> (Dance Tuesdays) \u2013 a program that opened a space for young artists to experiment their talents \u2013 due to a lack of sponsorship to meet basic costs such as light and sound equipment.<\/p>\n

Without a specific theatre and because of the difficulty of traveling with a performance, dancers and choreographers find a shelter in the S\u00e3o Paulo Cultural Center (CCSP). The center opens its doors and offers programming throughout the year, some of which led to the discovery of young talents and brought practically unknown names to the scene. SESC (Commercial Social Service) marked its programming with punctual events, such as the Outras Dan\u00e7as no Ipiranga<\/i> (Other Dances in Ipiranga). I also must not forget the mention the Sesc Dance Biennial. Even faced with so many obstacles, the quality of the production surprises, and not only the choreographic aspect of it, but also in terms of academic research. A harvest of artists connected to the universities and to their debates, meetings in study centers and informal meetings promote the circulation of information, ideas and reflection. It was not merely by chance that Marta Soares and Vera were each granted a scholarship from the Guggenheim Foundation.<\/p>\n

Even in such a hostile environment, production is constant. Contact and improvisation blend with minimalism, with the ideas of but\u00f4<\/i>, with the expressionism of Pina Bausch, with the randomness of Merce Cunningham, with hip hop or even performances, with plastic arts, with literature and with music. To better understand this universe, it is necessary to look again at the body of the dancers. In these bodies, are written different techniques and different names. Feldenkrais, Pilates, Steve Paxton, Ruth Rachou and Klauss Vianna, an acclaimed personality in the history of dance. Production is marked by dialogue and the intersection of techniques and artistic expressions. Hybridism is also a strong characteristic of this dance. The interesting thing is that this form of plural creation is completely different from the moment of choreography\u2019s conception. The entire investigative process is marked by the isolation of the artists. Interpreter-creators develop dance without many colors, many times without happiness, although composed of a dense research of gestures. Nothing to knock your socks off. The beauty comes from investigation, from the discussions on what dance is, its concept as a form of thinking in tune with the scientific, philosophical, technological and social discussions of the moment. Movements that challenge the public eye, that cause discomfort and that stimulate the debate.<\/p>\n

For four years, I have been following rehearsals and performances and I have observed that improvisation is one of the pillars of the creative process. Improvisation emerges as much as a procedure to collect material during research as it does on stage. Many times there are no sets or costumes, instead the objects are used in the set as much as a “second” interpreter as they acquire previous functions. Video and image projections contribute to the scenographic and choreographic adaptation to the environment. The interaction of different technologies perform dialogues with the dancing body. The deconstruction of movement and the fragmentation of the dancing body are found in works of Marta Soares, for example. At the same time that many talented youth knock on the door, S\u00e3o Paulo also conserves traditional companies that left their mark on the history of dance in the city. The Stagium Ballet Group<\/i> presents a consistently “Brazilian” dance that moves across borders. The Cisne Negro<\/i> (Black Swan) and Bal\u00e9 da Cidade<\/i> (Ballet of the City) benefit from experience and the advanced technical quality of their dancers. <\/p>\n

In 2004, there will likely be changes in the contemporary S\u00e3o Paulo dance scene. First, due to the political organization of the dancers and choreographers through the Mobiliza\u00e7\u00e3o Dan\u00e7a<\/i> (Dance Mobilization) movement, which received a budget of R$ 900,000 from the city that was divided between 35 companies. The groups circulated through ten theatres, including in the CEUS theatres in the peripheral areas. The first great accomplishment is in the artists\u2019 attitude: they are able to leave aside particular and exclusivist interests. Union and organization led to debate and it also led to the presentation of contemporary dance to city councilmen, to the executive power and above all to society, which can experience a taste of the S\u00e3o Paulo production until the month of May. With Mobilization<\/i>, dance began to exist, its needs were noticed by the city. During the month of March, a Choreographic Center was inaugurated inside the Olido Gallery. This is only a first step. There is still a great deal to do, principally to hold on to what has been accomplished. Future goals should include an Incentive Law particularly for dance, and the battle must continue for research funding, for the creation of new performances and for the recording of this documentation. A difficult journey lies ahead.<\/p>\n

* Reporter on Caderno 2 at Estado de S. Paulo newspaper <\/i>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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