{"id":12545,"date":"2009-09-30T16:34:13","date_gmt":"2009-09-30T19:34:13","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12545"},"modified":"2009-10-02T18:07:49","modified_gmt":"2009-10-02T21:07:49","slug":"intersecoes-entre-gestos-e-olhares","status":"publish","type":"post","link":"https:\/\/idanca.net\/intersecoes-entre-gestos-e-olhares\/","title":{"rendered":"Interse\u00e7\u00f5es entre gestos e olhares | Intersections between gestures and looks"},"content":{"rendered":"

Ivani Santana<\/strong> tem 42 anos. Nasceu em S\u00e3o Paulo e mora h\u00e1 seis em Salvador.<\/span><\/p>\n

Armando Menicacci<\/strong> tem 44. Nasceu na It\u00e1lia e mora desde 1994 em Paris.<\/span><\/p>\n

Ivani Santana<\/strong> come\u00e7ou dan\u00e7ando bal\u00e9, aos oito anos, \u201ccomo toda menina\u201d.<\/span><\/p>\n

Armando Menicacci<\/strong> cal\u00e7ou as sapatilhas pela primeira vez com a mesma idade, como quase nenhum menino.<\/span><\/p>\n

Ivani Santana<\/strong> sempre almejou o al\u00e9m-dan\u00e7a. Nos palcos, trabalha h\u00e1 um bom tempo em busca de novas maneiras de fazer arte. Seu corpo vive \u00e0 ca\u00e7a de outras estrat\u00e9gias po\u00e9ticas. Hoje transita entre cria\u00e7\u00e3o, pesquisa e ensino.<\/span><\/p>\n

Armando Menicacci<\/strong> nunca quis ser bailarino. Deixou a dan\u00e7a na adolesc\u00eancia e partiu para a m\u00fasica. Aprendeu piano, mas foi estudar musicologia. Voltou a encontrar a dan\u00e7a aos 29 anos, numa perspectiva mais te\u00f3rica. Hoje transita entre cria\u00e7\u00e3o, pesquisa e ensino.<\/span><\/p>\n

Ivani e Armando s\u00e3o amigos e desenvolvem em paralelo trabalhos com interesse interdisciplinar entre dan\u00e7a e tecnologia. Muito mais do que carreiras parecidas, compartilham uma forma particular de encarar o mundo \u2013 incluindo o fazer-arte. Se h\u00e1 algum r\u00f3tulo para eles, \u00e9 a no\u00e7\u00e3o de contemporaneidade levada a cabo. N\u00e3o se contentam com a \u201cverdade\u201d; buscam o avesso. N\u00e3o separam cria\u00e7\u00e3o de experi\u00eancia; corpo de mente; arte de t\u00e9cnica. Rejeitam o esquema de dualidades cartesiano. \u201cTecnologia = computador\u201d \u00e9 uma equa\u00e7\u00e3o datada. Cultura digital vem muito antes da internet. Acreditam no potencial das m\u00e1quinas, desde que n\u00e3o sejam meros \u201cenfeites\u201d utilit\u00e1rios \u2013 ou cenografias gratuitas. Para ambos, explorar o potencial de aparatos tecnol\u00f3gicos de ponta se figura como mais uma das maneiras de que o ser humano disp\u00f5e para trabalhar com novas possibilidades de recriar e conceber o real.<\/span><\/p>\n

De uma forma geral, e por vias distintas, tanto um quanto o outro defende a ideia de que a rela\u00e7\u00e3o entre dan\u00e7a e tecnologia n\u00e3o quer dizer a soma de corpo e c\u00e2mera, simplesmente. Significa promover um encontro dentro de um ambiente pr\u00f3prio, ou se preferirmos, totalmente novo de pensamento \u2013 n\u00e3o necessariamente tomado por computadores e webcams. Se apropriar desse terreno \u00e9 o caminho que escolheram para redescobrir o corpo, romper os limites do gesto e criar novos atalhos no percurso po\u00e9tico.<\/span><\/p>\n

Essas e outras quest\u00f5es se mostraram bem evidentes entre eles na primeira edi\u00e7\u00e3o do Semin\u00e1rio<\/em> Interse\u00e7\u00f5es \u2013 Corpo e Olhar<\/em>, realizado no Recife, entre os dias 24 e 26 de setembro (leia mais aqui<\/a>). Menicacci abriu o evento com a palestra O olhar no calcanhar: sobre a especificidade do olhar coreogr\u00e1fico da imagem<\/em>. Ivani encerrou o projeto, com as falas Dan\u00e7a imagem: provoca\u00e7\u00f5es est\u00e9ticas das apropria\u00e7\u00f5es no corpo e na tela<\/em>, e Mapa D2<\/em>. Entre ambos, uma programa\u00e7\u00e3o extensa de semin\u00e1rios, debates, palestras e proje\u00e7\u00f5es de v\u00eddeo movimentou a iniciativa, cujo prop\u00f3sito foi promover uma discuss\u00e3o sobre a dan\u00e7a para al\u00e9m de suas especificidades. Dentro do amplo leque sugerido de interse\u00e7\u00e3o entre corpo e olhar, que pode ser entendido como dan\u00e7a e cinema, ou dan\u00e7a e imagem (ou muito mais), cerca de 40 pesquisadores e criadores apresentaram seus estudos e perspectivas te\u00f3ricas.<\/span><\/p>\n

Interessados nessas rela\u00e7\u00f5es, pode-se dizer que Menicacci e Ivani tamb\u00e9m foram um ponto de di\u00e1logo na diversidade de entrecortes sugerida pelo evento \u2013 uma realiza\u00e7\u00e3o, com proposta bianual, do Acervo Recordan\u00e7a\/Asssocia\u00e7\u00e3o Reviva<\/a>, da Funda\u00e7\u00e3o Joaquim Nabuco e da Universidade Federal de Pernambuco (UFPE). A partir deles, e da proposta do semin\u00e1rio em aproximar de alguma forma os seus discursos, foi poss\u00edvel mergulhar mais fundo nesse universo onde o corpo n\u00e3o \u00e9 apenas uma dimens\u00e3o org\u00e2nica.<\/span><\/p>\n

Confira a seguir uma s\u00edntese de depoimentos e reflex\u00f5es gentilmente concedidos por cada um deles em suas palestras e entrevistas ao idan\u00e7a<\/strong>.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

<\/strong><\/span><\/p>\n

\u201cEstamos reinventando e redescobrindo o corpo\u201d<\/strong><\/span><\/p>\n

\"Ivani<\/a>

Ivani Santana \/ Foto: Duda Freyre <\/p><\/div><\/span><\/p>\n

Quando tinha 20 e poucos anos, e quase nada sabia sobre computadores, cibern\u00e9tica ou motion capture<\/em> (capta\u00e7\u00e3o do movimento), a paulista Ivani Santana resolveu colocar em cena um retroprojetor de sala de aula para interagir com bailarinas. Uma delas se incumbia de levar o aparato na m\u00e3o e, na medida em que riscava sobre a transpar\u00eancia, imagens-gestos se projetavam sobre as demais int\u00e9rpretes, que reagiam a cada impulso. Hoje, passadas mais de duas d\u00e9cadas, Ivani e o grupo de pesquisa do qual faz parte (Grupo de Trabalho em M\u00eddias Digitais e Arte) se preparam para colocar em rede um ousado projeto de dan\u00e7a telem\u00e1tica, que vai acontecer em tr\u00eas cidades simultaneamente, com transmiss\u00e3o e conex\u00e3o via internet.<\/span><\/p>\n

Apesar de muito mais complexo e experimental que sua empreitada de juventude, Ivani n\u00e3o v\u00ea diferen\u00e7a entre este novo trabalho, intitulado e-pormundos afetos<\/em><\/strong>, e as investidas do in\u00edcio de carreira. Para ela, ambas as obras carregam em si o trip\u00e9 que est\u00e1 no cerne de suas inven\u00e7\u00f5es: intera\u00e7\u00e3o, imers\u00e3o e tempo real. \u201cIntuitivamente sempre tive essa coisa de trabalhar com conhecimentos novos, fossem quais fossem; de trabalhar com a dan\u00e7a sempre num sentido de estar repetindo o que est\u00e1 acontecendo na realidade vigente, daquele momento. Ent\u00e3o, em cada \u00e9poca eu criei com as realidades que estavam \u00e0 minha porta\u201d, conta a artista, tamb\u00e9m pesquisadora e professora da Universidade Federal da Bahia (UFBA).<\/span><\/p>\n

Na vis\u00e3o de Ivani, tecnologia \u00e9 algo inerente ao fazer art\u00edstico; ambos s\u00e3o insepar\u00e1veis, tal qual cora\u00e7\u00e3o e organismo. Mestre e doutora pelo Programa de Comunica\u00e7\u00e3o e Semi\u00f3tica da PUC\/S\u00e3o Paulo, ela enxerga essa rela\u00e7\u00e3o como algo condicional na arte, e uma quest\u00e3o de media\u00e7\u00e3o, n\u00e3o de \u201ccola\u201d. \u201c\u00c0s vezes, as pessoas colocam dan\u00e7a e tecnologia como se fossem duas coisas que se juntam, como se fosse A + B e voc\u00ea pudesse falar: \u2018At\u00e9 aqui \u00e9 A e at\u00e9 aqui \u00e9 B\u2019. E n\u00e3o existe essa possibilidade, mesmo na videodan\u00e7a\u201d, afirma. \u201cOnde est\u00e1 o elemento videogr\u00e1fico separado do elemento dan\u00e7a? Voc\u00ea n\u00e3o tem como falar isso. Aquele corpo est\u00e1 gravado daquele jeito, dan\u00e7ando naquele \u00e2ngulo e daquela maneira a partir do momento em que voc\u00ea juntou as duas linguagens. O bailarino n\u00e3o estaria agindo de uma determinada forma e a c\u00e2mera tamb\u00e9m n\u00e3o, mesmo se ela estiver num plano fixo. As duas coisas est\u00e3o unificadas, n\u00e3o \u00e9 uma dan\u00e7a utilit\u00e1ria, que eu coloco e tiro\u201d, pontua.<\/span><\/p>\n

Para ela, o grande interesse do artista deve estar na ideia, mas esta n\u00e3o se realiza se n\u00e3o dispuser de meios para tal. E nesse sentido, usar pincel \u00e9 igual lan\u00e7ar m\u00e3o da internet, ou o mesmo de um sensor acoplado ao corpo. O fasc\u00ednio de Ivani por novas tecnologias se d\u00e1 justamente nesse sentido. Se valer do uso da imagem na dan\u00e7a ou colocar o corpo em rede s\u00e3o exerc\u00edcios que caminham na dire\u00e7\u00e3o de novas possibilidades de arte e, portanto, de percep\u00e7\u00e3o de mundo. \u201cA grande quest\u00e3o \u00e9 que estamos reinventando e redescobrindo novas formas de o corpo se organizar\u201d, defende.<\/span><\/p>\n

Na concep\u00e7\u00e3o de Ivani Santana, utilizar a web como m\u00eddia \u00e9 aproveitar um potencial, se apropriar de um pensamento particular que, para ela, tem muito a oferecer ao campo da arte. \u201cS\u00f3 fico \u00e0s vezes com d\u00f3 das pessoas que tentam ver na internet uma maneira de recriar um mundo como esse daqui, como no palco italiano. E alguns projetos art\u00edsticos ficam tentando se esfor\u00e7ar para que esse ambiente seja igualzinho ao de l\u00e1. Mas jamais vai ser\u201d.<\/span><\/p>\n

<\/strong><\/span><\/p>\n

\u201cVejo nos bailarinos uma nova consci\u00eancia do corpo gra\u00e7as a esses novos recursos\u201d<\/strong><\/span><\/p>\n

Armando Menicacci podia ter nascido no Brasil. Assim n\u00e3o passaria pelo constrangimento de querer usar v\u00e1rios \u201cchap\u00e9us\u201d, como diz. Durante muito tempo, ele se viu em crise. Na Europa, onde nasceu e vive, as pessoas t\u00eam dificuldade para entender que algu\u00e9m possa querer ser, ao mesmo tempo, pesquisador, professor e artista. Que mal h\u00e1 nisso? Entre os brasileiros, \u00e9 algo absolutamente normal, at\u00e9 porque \u00e9 raro ver algu\u00e9m conseguir sobreviver atuando exclusivamente em uma dessas fun\u00e7\u00f5es. Mas no \u201cVelho Mundo\u201d \u00e9 diferente. N\u00e3o existe muito essa hist\u00f3ria de pr\u00e1tica e teoria serem faces da mesma moeda. S\u00e3o separadas mesmo, e por via institucional declarada.<\/span><\/p>\n

Menicacci, contudo, nunca se conformou muito com esse tipo de organiza\u00e7\u00e3o social. E hoje enxerga como foco de vida aquilo que muitos ao seu redor percebem como paradoxo. \u201cAos poucos me dei conta que essa n\u00e3o \u00e9 uma ambig\u00fcidade, n\u00e3o \u00e9 um conflito, \u00e9 um projeto. Um projeto de fazer uma outra circula\u00e7\u00e3o entre campos que normalmente n\u00e3o s\u00e3o reconhecidos como juntos. Quer dizer, ou voc\u00ea \u00e9 uma coisa, ou \u00e9 outra coisa. Mas \u00e9 o outro que n\u00e3o quer ver a tua complexidade, o outro quer simplificar voc\u00ea. Voc\u00ea tem que ter um chap\u00e9u s\u00f3\u201d, afirma.<\/span><\/p>\n

\"Armando<\/a>

Armando Menicacci \/ Foto: Duda Freyre<\/p><\/div><\/span><\/p>\n

Hoje, este que j\u00e1 assume sem culpas sua identidade m\u00faltipla roda o mundo dando palestras, ao mesmo tempo em que mant\u00e9m na Fran\u00e7a as atividades do laborat\u00f3rio M\u00e9diadanse, voltado a trabalhos de pesquisa, cria\u00e7\u00e3o e pedagogia em dan\u00e7a e tecnologia. O espa\u00e7o \u00e9 ligado \u00e0 Universidade de Paris 8, onde concluiu seu doutorado. Al\u00e9m de publicar livros e artigos nessa seara intermediada por diferentes campos de conhecimento, desenvolve ainda projetos art\u00edsticos no Digitalflesh<\/a>, \u201cum laborat\u00f3rio de pesquisas pl\u00e1sticas, musicais, c\u00eanicas e tecnol\u00f3gicas em torno do espet\u00e1culo vivo\u201d, que ajudou a fundar com Christian Delecluse. Divide o tempo colaborando com core\u00f3grafos como Alain Buffard, Rachid Ouramdame, Vincent Dupont e Helder Vasconcelos, e cuidando de suas pr\u00f3prias cria\u00e7\u00f5es, que define como \u201cinstala\u00e7\u00f5es interativas\u201d. S\u00e3o exemplos dessas concep\u00e7\u00f5es art\u00edsticas o Dans le noir<\/em><\/strong> e a cria\u00e7\u00e3o coreogr\u00e1fica improvisada Under-score<\/em><\/strong> (foto), que j\u00e1 circularam por diferentes cidades e pa\u00edses, incluindo o Brasil.<\/span><\/p>\n

Com essa vasta experi\u00eancia, para ele \u00e9 inconceb\u00edvel que algu\u00e9m ainda questione: \u201cComo \u00e9 poss\u00edvel unir dan\u00e7a e tecnologia, corpo e m\u00e1quina?\u201d. Menicacci sempre rebate: \u201cComo n\u00e3o \u00e9 poss\u00edvel? Chega dessa pergunta. Ela esconde um pensamento que tem medo da substitui\u00e7\u00e3o do corpo pela m\u00e1quina. E esse medo \u00e9 muito velho. Essa substitui\u00e7\u00e3o n\u00e3o aconteceu\u201d. Segundo ele, essa resist\u00eancia, e at\u00e9 de uma certa ignor\u00e2ncia sobretudo entre os profissionais da dan\u00e7a, ganha refor\u00e7o ainda porque alguns pensadores \u201cciberpessimistas\u201d, como Jean Bradrillard e outros, afirmaram que a tecnologia nos afasta do corpo.<\/span><\/p>\n

\u201cAcontece o contr\u00e1rio. Na minha pr\u00e1tica de an\u00e1lise dos movimentos, atrav\u00e9s dos recursos inform\u00e1ticos, do motion caption<\/em> e da intera\u00e7\u00e3o com o v\u00eddeo em tempo real, vejo nos bailarinos uma nova consci\u00eancia do corpo gra\u00e7as a esses novos recursos, e n\u00e3o apesar deles; gra\u00e7as a esses novos ambientes da a\u00e7\u00e3o e do pensamento\u201d, defende Menicacci, que se v\u00ea como \u201ccibercr\u00edtico\u201d \u2013 nem “ciberentusiasta” cego, nem pessimista incondicional.<\/span><\/p>\n

O professor-criador-pesquisador entende e respeita que os bailarinos ou core\u00f3grafos possam n\u00e3o gostar das novas tecnologias, e at\u00e9 admite que a dan\u00e7a nem sequer precise delas. Mas se incomoda com a rea\u00e7\u00e3o sem argumento, em defesa da \u201cpureza\u201d do corpo sem nenhum debate embasado. \u201cArte e t\u00e9cnica foram sempre ligadas. A t\u00e9cnica sempre chegou para exprimir alguma coisa. E sempre os artistas usaram os \u00faltimos recursos, as mais novas tecnologias de sua \u00e9poca. Chegou o g\u00e1s no teatro e a luz mudou, porque at\u00e9 o come\u00e7o do s\u00e9culo 19 havia a mesma ilumina\u00e7\u00e3o na sala e no palco, e voc\u00ea n\u00e3o podia mexer com a luz, porque era s\u00f3 vela. A pr\u00f3pria dura\u00e7\u00e3o dos atos, das pe\u00e7as de Moli\u00e8re, por exemplo, era ligada ao tamanho das velas, e ele tinha que troc\u00e1-las… Ent\u00e3o, t\u00e9cnica, arte, estilo, ritmo da montagem e da escrita est\u00e3o ligadas\u201d, analisa.<\/span><\/p>\n

Concebendo a inform\u00e1tica n\u00e3o como uma ferramenta, mas como uma tecnologia que muda a nossa forma de atuar no mundo, e de perceb\u00ea-lo, ele diz que os bailarinos podem demorar anos, assim como fizeram com a sapatilha de ponta, para terem dom\u00ednio desse universo. \u00c9 normal. E afirma que espet\u00e1culos \u201cruins\u201d n\u00e3o s\u00e3o um problema da tecnologia, mas do artista. \u201cO importante \u00e9 fazer poesia. Com qualquer coisa. Qualquer que seja o ambiente de seu pensamento\u201d, refor\u00e7a. \u201cTem dan\u00e7as que se organizam ao redor de um desejo de virtuosismo vazio, s\u00f3 pela performance, s\u00f3 pela divers\u00e3o. E eu penso que divers\u00e3o \u00e9 o contr\u00e1rio de arte. Divertire <\/em>em latim significa desviar. Desviar de qu\u00ea? Da pol\u00edtica, de uma a\u00e7\u00e3o pertinente do mundo que est\u00e1 caindo ao redor da gente. A divers\u00e3o leva voc\u00ea para casa id\u00eantico, igual. A arte muda voc\u00ea, tem que mudar voc\u00ea de algum jeito. Tem que construir. Uma obra de arte \u00e9 um projeto de um outro mundo poss\u00edvel. N\u00e3o \u00e9 um objeto, uma coisa. \u00c9 uma vis\u00e3o\u201d.<\/span><\/p>\n

Assista a trecho de Under_score<\/strong><\/em>:<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=aKeSQQ1wz5w[\/youtube]<\/span><\/p>\n

Ol\u00edvia Mind\u00ealo \u00e9 graduada em Comunica\u00e7\u00e3o Social\/Jornalismo pela Universidade Federal de Pernambuco (2005), onde estuda atualmente como mestranda do Programa de P\u00f3s-Gradu\u00e7\u00e3o em Sociologia (PPGS). Atuou como rep\u00f3rter do Caderno C \u2013 Jornal do Commercio (JC), para o qual escreveu mat\u00e9rias de artes e cultura entre 2004 e 2009. No in\u00edcio deste ano, foi contemplada com o Pr\u00eamio M\u00e1rio Pedrosa \u2013 Museus, Mem\u00f3ria e M\u00eddia, do Instituto do Patrim\u00f4nio Hist\u00f3rico e Art\u00edstico Nacional (Iphan), pela s\u00e9rie de reportagem Museu de Todos<\/em>. Colabora periodicamente com a Revista Continente e outros ve\u00edculos.<\/strong><\/span><\/p>\n

Ivani Santana<\/strong> is 42 years old. She was born in S\u00e3o Paulo and has lived in Salvador for the last six years.<\/span><\/p>\n

Armando Menicacci<\/strong> is 44 years old. He was born in Italy and lives in Paris since 1994. <\/span><\/p>\n

Ivani Santana<\/strong> started dancing ballet at the age of 8, \u201clike every girl\u201d. <\/span><\/p>\n

Armando Menicacci<\/strong> first put on ballet slippers at the same age, like almost no other boy.<\/span><\/p>\n

Ivani Santana<\/strong> always longed for something beyond dance. On stages, she has been working for a long time in search of news ways to make art. Her body is constantly seeking other poetic strategies. She currently divides herself between creation, research and teaching.<\/span><\/p>\n

Armando Menicacci<\/strong> never wanted to be a dancer. He gave up dance in his teens and took on music. He learned piano, but studied musicology. He rekindled with dance at age 29, in a more theoretic perspective. He currently divides himself between creation, research and teaching.<\/span><\/p>\n

Ivani and Armando are friends and develop parallel works with interdisciplinary interest in dance and technology. Beyond having similar careers, they share a particular way to face the world \u2013 including art-making. If there is any label for them, it\u00b4s the idea of contemporaneity carried out. They don\u00b4t settle for \u201ctruth\u201d; they seek the opposite. They don\u00b4t separate creation from experience; body from mind; art from technique. They reject the Cartesian duality scheme. \u201cTechnology = computer\u201d is an outdated equation. Digital culture is much rather about the internet. They believe in the potential of machines, as long as they are not mere utilitarian \u201cornaments\u201d \u2013 or gratuitous stage settings. For both of them, exploring the potential of top of the line technological devices as just another way available for the human being to work with news possibilities to recreate and conceive reality.
\n<\/span><\/p>\n

In general, and through distinct paths, both defend the idea that the relationship between dance and technology does not simply mean the sum of body and camera. It means promoting an encounter within a particular, or if we prefer, a totally new thinking environment \u2013 not necessarily dominated by computers and webcams. Appropriating this territory is the way they chose to rediscover the body and create new shortcuts in the poetic pathway.
\n<\/span><\/p>\n

These and other issues were quite evident among them in the first edition of Semin\u00e1rio Interse\u00e7\u00f5es \u2013 Corpo e Olhar, that took place in Recife between September 24 and 26. <\/span><\/p>\n

Menicacci opened the event with the lecture O olhar no calcanhar: sobre a especificidade do olhar coreogr\u00e1fico da imagem<\/em>(\u201cEyes on heels: on the specificity of the choreographic perspective of image\u201d). Ivani closed the project with the lectures Dan\u00e7a imagem: provoca\u00e7\u00f5es est\u00e9ticas das apropria\u00e7\u00f5es no corpo e na tela<\/em>, and Mapa D2<\/em> (\u201cDance image: aesthetic provocations of the appropriations of the body\u201d and \u201cMap 2D\u201d). In between them, an extensive program of seminaries, debates, lectures and video projections agitated the project, whose purpose was to promote a discussion about dance beyond its specificities. Within the wide range suggested by the intersection between body and eyes, which can be understood as dance and cinema, or dance and image (or much more), about 40 researchers and creators presented their research and theoretical perspectives.
\n<\/span><\/p>\n

Both interested are in these relationships and it could be said that Menicacci and Ivani were a point of dialogue among the diversity of intersections suggested by the event \u2013 a biennial undertaking of Acervo Recordan\u00e7a\/Asssocia\u00e7\u00e3o Reviva, Funda\u00e7\u00e3o Joaquim Nabuco and Pernambuco Federal University (UFPE). From Armando and Ivani and the seminar\u2019s proposal of somehow approximating their speeches, it was possible to dive deeper into this universe where the body is not just its organic dimension.
\n<\/span><\/p>\n

Read a summary of the statements and reflections kindly offered by each one of them in their lectures and their interviews for idan\u00e7a. <\/span><\/p>\n

We are reinventing and rediscovering the body<\/strong><\/span><\/p>\n

When she was twenty-something and knew almost nothing about computers, cibernetics or motion capture, Ivani Santana decided to put a classroom projector on stage to interact with the dancers. One of them had the duty to bring the device onstage and, as she drew on the transparencies, image-gestures were projected against the other performers, who reacted to each impulse. Nowadays, after almost two decades, Ivani and the research group she is part of (Grupo de Trabalho em M\u00eddias Digitais e Arte) get ready to put online a daring telematic dance project that will take place in three cities simultaneously, with internet transmission and connection.
\n<\/span><\/p>\n

Although it is a lot more complex and experimental than her youth undertaking, Ivani doesn\u00b4t see much difference between her new work, entitled e-pormundos afetos<\/em><\/strong> and the endeavors from the beginning of her career. In her opinion, both pieces hold the tripod in the core of her inventions: interaction, immersion and real time. \u201cIntuitively I always had a thing for working with new knowledge, whichever they were; working with dance in a sense of repeating what is going on in current reality, in that moment. So, at each time I created with the realities that were knocking on my door\u201d, tells the artist, also a researcher and professor at Bahia Federal University (UFBA).
\nIn Ivani\u2019s point of view, technology is something inherent to art-making; both are inseparable, just like the heart and the organism. With a master and doctorate degree from the Communication and Semiotics Program of PUC\/S\u00e3o Paulo, she sees this relationship as something conditional to art and a matter of mediation, not \u201cglue\u201d. \u201cSometimes people place dance and technology as if they were two things that go together, as if they were A+B and you could say: \u2018From here to here, it\u00b4s A and from here to there, it\u00b4s B\u2019. This possibility doesn\u00b4t exist, not even in videodance\u201d, she asserts. \u201cWhere is the video element separated from the dance element? There\u00b4s no way to talk about it. That body is always recorded in that way, dancing in that angle and in that way from the moment you put those two languages together. The dancer wouldn\u00b4t be acting in a given way and the camera neither, even if it\u2019s a still shot. Both things are unified, it\u00b4s not a utilitarian dance, that I put in and takeout.\u201d
\n<\/span><\/p>\n

For her, the artist\u2019s great interest must be the idea, but it won\u00b4t take place if there are no means available for such. Thus, using a paintbrush is like resorting to the internet, or even a sensor attached to the body. Ivani\u2019s fascination with new technologies lies exactly in that. Using image in dance or putting the body online are exercises that move towards new possibilities for art and, therefore, a new perception of the world. \u201cThe big issue is that we are reinventing and rediscovering news ways for the body to organize itself\u201d.
\nIn Ivani Santana\u2019s conception, using the web as media is to take advantage of a potential, to seize a particular thought that, in her opinion, has a lot to offer to the art field. \u201cI just feel sad about people who try to find in the internet a way to recreate a world like this one, like in the proscenium stage. And some artistic projects keep trying to make an effort for this environment to be exactly like the one over there. But it\u00b4ll never be\u201d.<\/span><\/p>\n

I see in dancers a new awareness of the body thanks to these new resources <\/strong>
\n<\/span><\/p>\n

Armando Menicacci could have been born in Brazil. That way he wouldn\u00b4t have to go through the embarrassment of wanting to wear many \u201chats\u201d, as he says. During a long time, he lived in crisis. In Europe, where he was born and currently lives, people have difficulty understanding how someone would want to be a researcher, a professor and an artist at the same time. What\u00b4s the harm in that? Among Brazilians, it is something perfectly normal, it is even rare for someone to survive with only one of those jobs. But it\u00b4s different in the \u201cOld World\u201d. There is no such thing as practice and theory being two sides of the same coin. They are actually separated and institutionally so.
\n<\/span><\/p>\n

However, Menicacci never conformed to this kind of social organization. Nowadays he sees as life\u2019s focus something that many consider a paradox. \u201cLittle by little I realized this is not ambiguity, it\u00b4s not a conflict, it\u00b4s a project. A project of doing another circulation among fields that are not acknowledged as being united. I mean, you are either one thing or another. But it\u00b4s the other person who doesn\u00b4t want to see your complexity, the other person wants to simplify you. You must have only one hat\u201d, he says.
\n<\/span><\/p>\n

Nowadays, he already assumes his multiple identity and travels the world giving lectures, at the same time he carries on the activities of the M\u00e9diadanse laboratory, aimed at dance and technology research, creation and pedagogy. The space is linked to Paris 8 University, where he got his doctorate degree. Besides publishing books and articles on this harvest mediated by different knowledge fields, he also develops artistic projects at Digitalflesh<\/a>, \u201ca laboratory for plastic, musical, scenic and technological research about live performances\u201d, which he helped create along with Christian Delecluse. He divides time between collaborations with artists such as Alain Buffard, Rachid Ouramdame, Vincent Dupont and Helder Vasconcelos, and work on his own creations, which he defines as \u201cinteractive installations\u201d. Dans le noir and the improvised chroreographic creation Under-score are examples of these artistic conceptions. Both works already toured through different cities and countries, including Brazil. <\/span><\/p>\n

With such vast experience, he thinks it\u00b4s inconceivable that anyone would still ask: \u201cHow is it possible to bring together dance and technology, body and machine?\u201d. Menicacci always rebuffs: \u201cHow is this possible? Enough of this question. It conceals a line of thought that is afraid the body will be replaced by the machine. And this fear is very old. This replacement never happened\u201d. According to him, this resistance, and even some ignorance specially among dance professionals, is still reinforced by some \u201cciberpessimistic\u201d thinkers, like Jean Baudrillard and others who state that technology keeps us away from the body.
\n<\/span><\/p>\n

\u201cThe opposite happens. In my practice of movement analysis through computer resources, motion capture and real time interaction with video, I see in dancers a new awareness of the body brought by these new resources and not in spite of them; thanks to these new action environments of action and thought\u201d, says Menicacci, who sees himself as a \u201ccibercritic\u201d \u2013 neither a blind \u201cciberenthusiast\u201d nor an unconditional pessimist.<\/span><\/p>\n

The professor-creator-researcher understands and respects the fact that dancers may not like the new technologies and he even admits that dance doesn\u00b4t even need them. But reactions lacking argument, defending the \u201cpurity\u201d of the body without well-grounded debate, bother him. \u201cArt and technique have always been connected. Technique always arrived to express something. And artists always used the latest resources, the newest technology of their time. Gas appeared in theaters and the light changed, because until the beginning of the 19th century the lighting in the room was the same as the one on the stage and you couldn\u00b4t move the light, because there were only candles. The very duration of the acts, in Moliere\u2019s plays for instance, was influenced by the size of the candles, and he had to replace them\u2026 So, technique, art, style, the rhythm of the play and the writing were all connected\u201d.
\n<\/span><\/p>\n

Conceiving computers not as a tool, but as technology that change the way we act in the world and how we perceive it, he says dancers can take years to take control of this universe, just like it happens with pointe shoe. It\u00b4s normal. And he says that \u201cbad\u201d shows are not a problem of technology but of the artist. \u201cThe important thing is to make poetry. With anything. Whatever the environment of your thinking may be\u201d, he reinforces. \u201cThere are dances that organize themselves around a desire for an empty virtuosity, just for performance\u2019s sake, for entertainment. And I think entertainment is the opposite of art. Entertainment leaves you identical, the same as before. Art changes you, it has to change in some way. It has to build something. An artwork is a project for another world possible. It\u00b4s not an object, a thing. It\u00b4s a vision\u201d. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O Semin\u00e1rio Interse\u00e7\u00f5es reuniu uma diversidade de pensamentos em dan\u00e7a. Leia aqui reportagem que p\u00f5e lado a lado os pesquisadores Armando Menicacci e Ivani Santana e seus estudos de corpo e tecnologia. Confira as entrevistas e comente!<\/p>\n","protected":false},"author":1807,"featured_media":12548,"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":[1505,993,1819],"yoast_head":"\nInterse\u00e7\u00f5es entre gestos e olhares | Intersections between gestures and looks -<\/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\/intersecoes-entre-gestos-e-olhares\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interse\u00e7\u00f5es entre gestos e olhares | Intersections between gestures and looks -\" \/>\n<meta property=\"og:description\" content=\"O Semin\u00e1rio Interse\u00e7\u00f5es reuniu uma diversidade de pensamentos em dan\u00e7a. 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