{"id":12567,"date":"2009-10-01T14:45:58","date_gmt":"2009-10-01T17:45:58","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12567"},"modified":"2009-10-05T13:59:22","modified_gmt":"2009-10-05T16:59:22","slug":"china-unmade-nao-acredite-em-nada","status":"publish","type":"post","link":"https:\/\/idanca.net\/china-unmade-nao-acredite-em-nada\/","title":{"rendered":"CHINA unMADE – N\u00e3o acredite em nada | CHINA unMADE – Don\u00b4t believe in anything"},"content":{"rendered":"

Sheila Ribeiro\/dona orpheline est\u00e1 trabalhando em Nanjing, na China, pelos pr\u00f3ximos seis meses. De l\u00e1, ela vai relatar suas experi\u00eancias e observa\u00e7\u00f5es da cultura local como correspondente do idan\u00e7a<\/strong>. <\/em><\/span><\/p>\n

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

meu nome \u00e9…; moro em…; tenho x anos; sou casada; nao acredite em nada \u00e9 tudo mentira<\/em>… Assim come\u00e7amos a aprender mandarim na \u201cli\u00e7\u00e3o 1\u201d do livro \u201cFale tudo em chin\u00eas\u201d.<\/span><\/p>\n

Na China atual, o falso tudo \u00e9, menos o contr\u00e1rio do verdadeiro. O falso n\u00e3o \u00e9 fruto nem de trai\u00e7\u00e3o, nem de deslealdade. Uma latente realidade do falso me leva a querer apresentar-lhes – em minha primeira correspond\u00eancia Brasil-China para o idan\u00e7a<\/strong> – a core\u00f3grafa, bailarina, m\u00e3e, esposa e ex-coronel, Jin Xing (na foto).<\/span><\/p>\n

Esta artista \u00e9 com quem nos deparamos ao chegar na China quando n\u00e3o conhecemos nada sobre a produ\u00e7\u00e3o, a pesquisa e a cria\u00e7\u00e3o em dan\u00e7a contempor\u00e2nea daquele pa\u00eds. In\u00fameros jornais, de diferentes partes do mundo e em ingl\u00eas, franc\u00eas, italiano, portugu\u00eas (e n\u00e3o saberia dizer em chin\u00eas) a apresentam da mesm\u00edssima maneira, que, por brincadeira, reproduzo como um disco riscado, assessoria de imprensa pregui\u00e7osa, ou ainda, como quem fala de um produto chin\u00eas manufaturado de exporta\u00e7\u00e3o:<\/span><\/p>\n

Jin Xing, \u201cEstrela de Ouro\u201d em chin\u00eas, \u00e9 a primeira transexual oficialmente reconhecida pelo governo chin\u00eas. De pais coreanos, ainda garoto, recebe treino militar tornando-se coronel no Ex\u00e9rcito Popular de Liberta\u00e7\u00e3o<\/em>. Na jovem vida adulta vai para Nova York estudar Modern Dance<\/em> (Murray Louis) e em seguida trabalha em Roma e em Bruxelas, voltando \u00e0 China aos 26 anos. Hoje, como ressaltam todos os jornalistas, ela tem casa, carro, um pequeno hotel, um teatro, trabalha em filmes e isso a faz uma artista \u201cbem sucedida\u201d.<\/span><\/p>\n

Seus trabalhos com a companhia Shanghai Jin Xing Dance Theatre<\/em> trazem uma dan\u00e7a feita para o grande p\u00fablico: um dan\u00e7a com a vontade de ser forte, triste e de \u201cexpressar o que \u00e9 de mais profundo no ser humano\u201d; uma dan\u00e7a que \u00e9 espet\u00e1culo, organizada dramaturgicamente com os elementos de luz, figurino, m\u00fasica e bailarinos; uma dan\u00e7a frontal em grupo com algum solista especial; uma dan\u00e7a de passos, organizados em um vocabul\u00e1rio entre o Ballet Cl\u00e1ssico, o neo-cl\u00e1ssico e a Modern Dance; <\/em>uma dan\u00e7a <\/em>tem\u00e1tica, geralmente tocando algum assunto politicamente conservador atrav\u00e9s de um interesse no dualismo bem\/mal; homem\/mulher; beleza\/feiura; Oriente\/Ocidente, deixando sempre o lugar midi\u00e1tico de todos no mesmo lugar estereotipado de antes. Uma dan\u00e7a que vende, circula e aparece em grandes teatros, com direito \u00e0 configura\u00e7\u00e3o de corpo de baile em meia lua, caminhada da core\u00f3grafa para frente com os bra\u00e7os abertos e ova\u00e7\u00e3o: o kit completo do que a filosofia popular quebequense define t\u00e3o bem na express\u00e3o \u201cdan\u00e7a para a minha tia\u201d \u2013 la danse \u2018ma tante\u2019.<\/span><\/p>\n

\"Shangai<\/a>

Shangai Tango \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

Dez diferentes pe\u00e7as curtas sob m\u00fasica de Astor Piazzolla formam Shanghai Tango<\/em><\/strong>. Em uma delas, um chorus formado por uma dezena de bailarinos, homens e mulheres, vestidos em cal\u00e7as e camisas negras sem distin\u00e7\u00e3o de g\u00eanero, em uma estiliza\u00e7\u00e3o soft e urbana de uma roupa chinesa, seguram grandes leques vermelhos e dan\u00e7am em grupo fazendo piruetas piquet, arabesques, contra\u00e7\u00f5es de Limon, poses com os leques, em um interessante toque de espacialidade militar. Em uma outra, um ambiente obscuro, semi-expressionista aludido por dois grandes spots de luz branca vazada, colocam em semi-penumbra as figuras de um homem e de uma mulher vestidos em negro. Do lado direito do palco, o homem \u00e9 o m\u00fasico, ou representa um m\u00fasico. Ele segura um acordeon e dan\u00e7a como se acariciasse este instrumento. Do outro lado vemos Jin Xing. Enquanto rodopia em triplets<\/em> e passos de valsa, segura e solta repetidas vezes a saia de seu vestido longo de tchu-tchu negro, leve e de pouco tule.<\/span><\/p>\n

Explicitamente tudo em Shanghai Tango<\/em><\/strong> <\/em>parece n\u00e3o propor transforma\u00e7\u00e3o, somente repeti\u00e7\u00e3o, mas o que nos desloca \u00e9 a incongru\u00eancia que foge do controle da artista. As dez pe\u00e7as, de certa forma distintas, cohabitam e nos abrem uma porta para os v\u00e1rios mundos vividos pela obra e pela artista. Mundos trans. O corp\u00e3o masculinizado de Jin Xing, desloca o conto de fadas da sexy dama negra que sofre de tenta\u00e7\u00e3o. Nesse sentido a valsa n\u00e3o \u00e9 a mesma. O tchu-tchu \u00e9 bem outro. A rela\u00e7\u00e3o entre a figura masculina do m\u00fasico, a feminilidade do acordeon e o corpo de muitas leituras de Jin Xing trazem uma coisa nova e inesperada \u00e0quele tango.<\/span><\/p>\n

O que quero salientar \u00e9 que as coisas com as quais ando me deparando n\u00e3o s\u00e3o o que aparentam ser. Por mais que a obra de Jin Xing proponha o que possivelmente \u00e9 a dan\u00e7a comercial, reproduzindo clich\u00eas universais – como a en\u00e9sima vers\u00e3o de Carmina Burana<\/em><\/strong> – por outro lado o contexto em que esse fen\u00f4meno vive traz uma escultura ps\u00edquica espec\u00edfica desta dan\u00e7a (ou de todo o resto) made in China. A incongru\u00eancia \u00e9 parte da beleza e da complica\u00e7\u00e3o pol\u00edtica do que estou percebendo aqui e desloca os clich\u00eas que as dan\u00e7as de Jin Xing poderiam representar se n\u00e3o fossem manifestadas naquele corpo, naquela hist\u00f3ria.<\/span><\/p>\n

N\u00e3o entende-se bem se Jin Xing \u00e9 uma artista de alma inquieta, um freakshow<\/em> ou um \u00edcone nacional de mercado tal qual o Cirque de Soleil <\/em>para o Canad\u00e1. Tendo passado pelo not\u00f3rio militarismo chin\u00eas, diasporado nos States<\/em> e na Europa (como muitos terceiro mundistas e alpinistas sociais), sendo considerada como \u201ctransexual\u201d e ao mesmo tempo fazendo parte de uma relativa banalidade enquanto mulher casada e m\u00e3e de tr\u00eas filhos, Jin Xing \u00e9 um branding<\/em> de m\u00faltiplas identidades. Diva e celebridade por excel\u00eancia e com apari\u00e7\u00f5es de todo tipo, ela \u00e9 modelo, faz comerciais e outras participa\u00e7\u00f5es na televis\u00e3o – sua corporeidade e signo s\u00e3o publicidade.<\/span><\/p>\n

Sendo Jin Xing, a primeira em tudo, primeira core\u00f3grafa reconhecida na China contempor\u00e2nea e atualmente participando de \u201centusiasmantes trocas com core\u00f3grafos Ocidentais\u201d (segundo a pr\u00f3pria artista) parece que ela (e seu pa\u00eds como coadjuvante) \u00e9 capaz de ir al\u00e9m do agradar e desagradar \u201cOcidente e Oriente\u201d e ser appeal <\/em>em voga.<\/span><\/p>\n

Os par\u00e2metros n\u00e3o s\u00e3o os que conhecemos.\u00a0 Em 2002, a artista foi convidada pela Haus der Kulturen der Welt (Casa das Culturas do Mundo) <\/em>de Berlim a criar uma obra onde trabalharia aspectos de g\u00eanero na movimenta\u00e7\u00e3o (por ser transexual?). Jin Xing ficou perdida porque, segundo ela, \u201cn\u00e3o tinha conhecimento sobre o tema\u201d. O que a faz famosa no exterior e \u00e9 bandeira de liberta\u00e7\u00e3o para algumas culturas ocidentais baseadas no indiv\u00edduo, para ela n\u00e3o parece ser a primeira de suas preocupa\u00e7\u00f5es panflet\u00e1rias. Assim como outras pessoas que consideram ter nascido no corpo errado, Jin Xing, busca o seu corpo pertinente sem explicit\u00e1-la em sua obra.<\/span><\/p>\n

Nesse sentido, por mais que as obras tenham tudo para reproduzir uma arte de status quo <\/em>e mercado, os fios que tecem o fen\u00f4meno desta artista (vida, obra, percurso, desejos, manifesta\u00e7\u00f5es) trazem elementos de <\/em>drive<\/em> de mudan\u00e7a, conquista, ascens\u00e3o e possibilidade. A obra de Jin Xing \u00e9 bizarramente compar\u00e1vel ao que a China contempor\u00e2nea mostra a um estrangeiro sinovirgem (mas atento): muitas coisas ao mesmo tempo; muitas coisas que funcionam com uma efici\u00eancia invej\u00e1vel; muita constru\u00e7\u00e3o… e algo que paralisa. Jin Xing n\u00e3o \u00e9 uma coisa s\u00f3. Shanghai Tango<\/em><\/strong> <\/em>\u00e9 tamb\u00e9m o nome da autobiografia de Jin Xing.<\/span><\/p>\n

Ser\u00e1 que a exist\u00eancia, dan\u00e7a e corpo de Jin Xing manifestam o fen\u00f4meno trans da China contempor\u00e2nea? Essa paisagem appeal,<\/em> que \u00e9 branding<\/em> multiidentit\u00e1rio em expans\u00e3o e que flutua onde parece falso e dissimulado por n\u00e3o estar mais no corpo \u201cerrado\u201d?<\/span><\/p>\n

Sheila Ribeiro\/dona orpheline \u00e9 artista em dan\u00e7a contempor\u00e2nea, novas m\u00eddias, publicidade e cinema. Interessada pelas din\u00e2micas de poder, trata tens\u00f5es p\u00f3s-coloniais, ilus\u00e3o, deslocamento e desejo na comunica\u00e7\u00e3o contempor\u00e2nea, trabalhando sempre em tr\u00e2nsito. Faz duo com seu marido, o antrop\u00f3logo Massimo Canevacci Ribeiro. Colabora tamb\u00e9m com Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, entre outros.<\/strong><\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is working in Nanjing, China, for the next six months. She will report on her experiences and observations about the local culture as a correspondent for idan\u00e7a<\/strong>.<\/em><\/span><\/p>\n

my name is…; I live in…; I am x years old; I am married; don\u2019t believe in anything it\u2019s all a lie\u2026<\/em> That\u2019s how we start learning Mandarin at the \u201clesson 1st\u201d on \u201cHow to Say Anything in Chinese\u201d book.<\/span><\/p>\n

In the present China, fake would be everything, except the opposite of trueness. Fake is neither a result of treason nor betrayal. A latent reality of the fake makes me want to introduce you \u2013 in my first Brazil-China correspondence for idan\u00e7a<\/strong> \u2013 the choreographer, dancer, mother, wife and ex-colonel, Jin Xing.<\/span><\/p>\n

This artist is whom we are faced with when we arrive to China without knowing anything on the country\u2019s Contemporary Dance production, research and creation. Countless newspapers, from different parts of the world, in English, French, Italian, Portuguese (I wouldn\u2019t be aware if in Chinese) present her in the exact same way, which I jokingly reproduce here, like a scratched record, lazy press relations, or better yet, like someone talking about a Chinese manufactured exportation good:<\/span><\/p>\n

Jin Xing, \u201cGolden Star\u201d in Chinese, is the first transsexual to be officially recognized by the Chinese government. Born of Korean parents, still at a young age he received military training, eventually becoming a colonel of the People\u2019s Liberation Army. As a young adult, he went to New York City to study Modern Dance (Murray Louis) and soon after he worked in Rome and Brussels, returning to China at age 26. Nowadays, as every journalist highlights, she has a house, a car, a small hotel, a theater, works in movies and all this makes her a \u201cvery successful\u201d artist.<\/span><\/p>\n

Her works with the Shanghai Jin Xing Dance Theatre<\/em> company bring a dance created for a large audience: a dance willing to be strong, sad and to \u201cexpress what is deepest in the human being\u201d; a dance that is spectacular, dramaturgically organized with elements of light, costumes, music and dancers; a frontal group dance with some special soloist; a dance of steps organized in a vocabulary revolving around Classic Ballet, neo-classic and Modern Dance; a thematic dance, usually touching upon some politically conservative subject through an interest in dualisms such as good\/evil; man\/woman; beauty\/ugliness; East\/West; sustaining stereotypes. A dance that sells, circulates and appears in big theaters, entitled to corps de ballet configured in half moon, the choreographer walking down the stage with open arms and ovation: the complete kit of what popularly in Quebec we would call \u201cmy aunt\u2019s dance\u201d \u2013 la danse \u2018ma tante\u2019.<\/span><\/p>\n

\"Shangai<\/a>

Shangai Tango \/ Foto divulga\u00e7\u00e3o<\/p><\/div><\/span><\/p>\n

Ten different short pieces under Astor Piazzolla\u2019s music compose Shanghai Tango<\/em><\/strong>. In one of them, a chorus with dozens of dancers, men and women, dressed in black trousers and shirts without any gender distinction, in a soft and urban version of a Chinese outfit. They hold red fans and dance in group, doing piquet pirouettes, arabesques, Limon contractions, poses with the fans, in an interesting touch of military spatiality. In another piece, a dark, semi-expressionist environment, illuminated by two big white light spots, place the figures of a man and a woman dressed in black in half-light. On the right side of the stage, the man is the musician, or he represents the musician. He holds an accordion and dances as if he was caressing the instrument. On the other side we see Jin Xing. While she spins in triplets and waltz steps, she repeatedly holds and drops the skirt of her black, light with little tulle, tutu dress.<\/span><\/p>\n

Explicitly, everything in Shanghai Tango<\/em><\/strong>. seems not to propose transformation, only repetition, but what brings us displacement is the incongruence that escapes the artist control. The ten pieces, somewhat distinct among them, coexist and open the door for the many worlds experienced by the work and the artist. Trans worlds. Jin Xing\u2019s manly body dislocates the fairy tale of the sexy lady in black suffering from temptation. In this sense, the waltz is not the same. The tutu is something else. The relationship between the male figure of the musician, the femininity of the accordion and the Jin Xing\u2019s multiple reading body brings something new and unexpected to that tango.<\/span><\/p>\n

What I want to stress is that the things I\u2019ve been faced with here are not what they seem to be. Even if Jin Xing\u2019s work proposes what is possibly a commercial dance, reproducing universal clich\u00e9s \u2013 like the nth version ofCarmina Burana<\/em><\/strong>\u2013 on the other hand, the context in which this phenomenon takes place brings a psychic sculpture specific to this dance (or of everything else) made in China. The incongruence is part of the beauty and the political complication I\u2019m observing here and shifts the clich\u00e9s that Jin Xing\u2019s dance could represent if they weren\u2019t expressed by that body, within that history.<\/span><\/p>\n

We can\u2019t quite understand whether Jin Xing is an artist with a restless soul, a freakshow or a national market icon like Cirque de Soleil is for Canada. Having gone through the known Chinese military, living \u201cdiaspora\u201d in the States and Europe (like many third-worlders and social climbers), being considered a \u201ctranssexual\u201d and at the same time being part of a kind of banality as a married woman and mother of three kids, Jin Xing is a branding of multiple identities. Diva and celebrity par excellence and with every kind of appearance, she is a model, she does commercials and other participations in television \u2013 her corporeality and sign are advertising.<\/span><\/p>\n

Since Jin Xing is the first in everything, first Choreographer to be acknowledged in contemporary China and currently participating in \u201centhusiastic exchanges with Western choreographers\u201d (according to the artist herself) it seems like she (and her country supporting her) is able to please and displease \u201cWest and East\u201d and to have fashionable appeal.<\/span><\/p>\n

The parameters are not the ones we are used to. In 2002, the artist was invited by the Haus der Kulturen der Welt<\/em> (House of World Cultures<\/em>) in Berlin to create a piece in which she would work gender aspects in movement (because she is a transsexual?). Jin Xing was lost, because according to her, \u201cshe didn\u2019t have any knowledge on the subject\u201d. That which makes her famous abroad – and is a slogan for liberation in some western cultures based on the individual – doesn\u2019t seem to be the first of her activist preoccupations. Just like other people who consider they were born in the wrong body, Jin Xing seeks her adequate body without making the search evident in her work.<\/span><\/p>\n

Thus, even if her pieces have everything to reproduce a status quo, commercial art, the threads that weave this artist\u2019s phenomenon (life, work, path, desires, manifestations) bring elements that push for change, conquest, rise and possibility. Jin Xing\u2019s work is bizarrely comparable to what China displays for a first time (but observant) foreign visitant: many things at the same time; many things that work with enviable efficiency; a lot of construction\u2026 and something that paralyses. Jin Xing is not only one thing. Shanghai Tango<\/em><\/strong> is also the title of Jin Xing\u2019s biography.<\/span><\/p>\n

I wonder if the existence, the dance and the body of Jin Xing express the trans phenomenon in contemporary China. This landscape appeal, which is an expanding multi-identity branding and floats where it seems fake and dissimulated in order to avoid being in the \u201cwrong\u201d body.<\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is a contemporary dance, new medias, advertisement and cinema artist. Interested in power dynamics, she deals with issues of post-colonial tensions, illusion, displacement and desire, always working in transit. She forms a duo with her husband, anthropologist Massimo Canevacci Ribeiro. She also collaborates with Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, among others.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Sheila Ribeiro\/dona orpheline est\u00e1 trabalhando em Nanjing, na China. De l\u00e1, vai relatar suas experi\u00eancias e observa\u00e7\u00f5es da cultura local como correspondente do idan\u00e7a. Acompanhe essa viagem!<\/span>
\nSheila Ribeiro\/dona orpheline is working in Nanjing, China. She will report on her experiences and observations about the local culture as a correspondent for idan\u00e7a. Follow this journey!<\/span><\/p>\n","protected":false},"author":1808,"featured_media":12573,"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":[3433,3432],"yoast_head":"\nCHINA unMADE - N\u00e3o acredite em nada | CHINA unMADE - Don\u00b4t believe in anything -<\/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\/china-unmade-nao-acredite-em-nada\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"CHINA unMADE - N\u00e3o acredite em nada | CHINA unMADE - Don\u00b4t believe in anything -\" \/>\n<meta property=\"og:description\" content=\"Sheila Ribeiro\/dona orpheline est\u00e1 trabalhando em Nanjing, na China. De l\u00e1, vai relatar suas experi\u00eancias e observa\u00e7\u00f5es da cultura local como correspondente do idan\u00e7a. Acompanhe essa viagem! Sheila Ribeiro\/dona orpheline is working in Nanjing, China. She will report on her experiences and observations about the local culture as a correspondent for idan\u00e7a. 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