{"id":13059,"date":"2009-11-05T14:56:10","date_gmt":"2009-11-05T17:56:10","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13059"},"modified":"2009-11-06T16:08:00","modified_gmt":"2009-11-06T19:08:00","slug":"videodanca-territorio-de-resistencia","status":"publish","type":"post","link":"https:\/\/idanca.net\/videodanca-territorio-de-resistencia\/","title":{"rendered":"Videodan\u00e7a: Territ\u00f3rio de Resist\u00eancia | Videodance: Resistance Territory"},"content":{"rendered":"

O projeto Vid.BR foi apresentado durante o III PlayRec – Festival Internacional de Videodan\u00e7a do Recife, que acaba nesta quinta-feira (5\/11). Clique aqui<\/a> e confira a galeria que o idan\u00e7a <\/strong>fez com v\u00eddeos de artistas que participaram do evento.<\/em><\/span><\/p>\n

Videodan\u00e7a, linguagem h\u00edbrida sim! Menos importa sua defini\u00e7\u00e3o, mais importa \u00e9 ser poss\u00edvel expressar a dan\u00e7a em contato com a linguagem do v\u00eddeo e, a partir disso, poder estar em muitos lugares: em um site na internet, em um festival de dan\u00e7a, em uma galeria de arte ou em um cinema antigo no centro de S\u00e3o Paulo. Uma parte do trabalho do artista est\u00e1 em um pequeno disco, que pode viajar o mundo com uma po\u00e9tica espec\u00edfica da dan\u00e7a para o v\u00eddeo. Esta mistura vem fortalecer a dan\u00e7a, criando espa\u00e7os para explodir as quest\u00f5es inerentes da dan\u00e7a contempor\u00e2nea.<\/span><\/p>\n

A pesquisa Vid.BR<\/a> \u00e9 um mapeamento da produ\u00e7\u00e3o art\u00edstica da linguagem no pa\u00eds, realizada pelo Acervo Mariposa<\/a>, de metodologia aberta segundo o que nos diziam os artistas entrevistados e mapeados. Essa iniciativa assim configurada mostrou-nos as infinitas formas, a partir do v\u00eddeo, com as quais a dan\u00e7a pode se infiltrar. A exemplo, a Mostra Lanterninha, parceria do Acervo com a Galeria Olido, que est\u00e1 em sua segunda edi\u00e7\u00e3o e \u00e9 realizada em um cinema antigo de 236 lugares. A pesquisa Vid.BR alimenta a mostra, abre espa\u00e7o para a produ\u00e7\u00e3o nacional e busca formar um p\u00fablico para a linguagem.<\/span><\/p>\n

A busca da experimenta\u00e7\u00e3o com o v\u00eddeo, heran\u00e7a da videoarte, est\u00e1 presente na videodan\u00e7a produzida no Brasil. Este car\u00e1ter, de alguma forma, tem rela\u00e7\u00e3o com a escassez de recursos para a realiza\u00e7\u00e3o das produ\u00e7\u00f5es. Tal escassez nos for\u00e7a a buscar novos olhares sobre o corpo diante do material que temos em m\u00e3os, lembrando de nossa hist\u00f3ria no cinema, que durante muitos anos n\u00e3o recebeu nenhum incentivo para a produ\u00e7\u00e3o e contava apenas com \u2018\u2019uma ideia na cabe\u00e7a e uma c\u00e2mera na m\u00e3o\u201d. Podemos dizer que a videodan\u00e7a tem uma c\u00e2mera na m\u00e3o e o corpo em quest\u00e3o.<\/span><\/p>\n

O v\u00eddeo na Am\u00e9rica Latina tem uma caracter\u00edstica ligada a um discurso pol\u00edtico. O enfoque da videodan\u00e7a no Brasil est\u00e1 nos corpos em estado de urg\u00eancia, nas metr\u00f3poles em crescimento e no caos desenfreado, em paisagens \u00e1ridas ou em ambientes \u00edntimos. Diferente de algumas das videodan\u00e7as ou cinedan\u00e7as americanos e europeus, onde o corpo \u00e9 apol\u00edneo, na Am\u00e9rica Latina, de maneira geral, o v\u00eddeo tem este car\u00e1ter provocativo e pol\u00edtico, como aponta Rodrigo Alonso*.<\/span><\/p>\n

Qualitativamente, ainda h\u00e1 poucos core\u00f3grafos dedicados \u00e0 linguagem da videodan\u00e7a. Por\u00e9m, uma nova gera\u00e7\u00e3o ascendente se faz representar. Alguns nomes: Alex Soares (SP), O12 (SP), Cia. Vitrola Qu\u00e2ntica (SP), Carolina Cony (RJ), Celina Portella e Elisa Pessoa (RJ), Coletivo Molin TL. (MG), Cia. Flux (MG), Pedro Bastos (MG), Diego Mac (RS), Elisa Schmit (SC), Andr\u00e9ia Bardawil (CE), entre outros, v\u00eam desenvolvendo pesquisas junto a seus trabalhos art\u00edsticos, nas quais o v\u00eddeo faz parte de um pensamento coreogr\u00e1fico.<\/span><\/p>\n

Hoje, a forma\u00e7\u00e3o do bailarino que deseja se infiltrar nesta linguagem passa, muitas vezes, por um curso de multim\u00eddias, visto a necessidade de buscar em outro nicho, a informa\u00e7\u00e3o para a produ\u00e7\u00e3o de seus trabalhos. Ou ainda, muitos bailarinos t\u00eam se associado a um videoartista que, ao meu ver, est\u00e3o sendo respons\u00e1veis pelo grande desenvolvimento da videodan\u00e7a no Brasil. Muitos est\u00e3o interessados nesta troca entre v\u00eddeo e dan\u00e7a e esse hibridismo tem dado bons frutos, a exemplo de: Alexandre Veras (CE), Breno C\u00e9sar (PE), Oscar Malta (PE), Andr\u00e9 Martinez (SP), Kika Nicolela (SP), Rodrigo Gontijo (SP), Tatiana Gentille (RJ).<\/span><\/p>\n

H\u00e1 pouco tempo, novos lugares de forma\u00e7\u00e3o nesta linguagem se estabelecem, como o caso da p\u00f3s-gradua\u00e7\u00e3o em Est\u00e9tica do Movimento: Dan\u00e7a, Videodan\u00e7a e Multim\u00eddias na Faculdade Angel Viana (RJ), sob coordena\u00e7\u00e3o de Paulo Caldas. Ou tamb\u00e9m o Grupo de Pesquisa: Po\u00e9ticas Tecnol\u00f3gicas, coordenado por Ivani Santana (BA), que desenvolve o Mapa D2<\/a>. A produ\u00e7\u00e3o acad\u00eamica tamb\u00e9m vem crescendo e muitos jovens dan\u00e7arinos, j\u00e1 na gradua\u00e7\u00e3o, t\u00eam se interessado em discutir a pedagogia em dan\u00e7a atrav\u00e9s da videodan\u00e7a. Dois exemplos que est\u00e3o localizados nos extremos do pa\u00eds s\u00e3o Ana PI, orientada pelo prof. S\u00e9rgio Pereira Andrade, co-orientada: profa. dra. Cl\u00e9lia Ferraz Pereira de Queiroz, UFBA e Sarah Ferreira, da UDESC orientada pelo prof. Milton de Andrade.<\/span><\/p>\n

Vid.BR j\u00e1 caminha para o segundo ano de pesquisa e o Acervo Mariposa pretende continuar mapeando os artistas. Nesta segunda fase, a pesquisa vai se dedicar a localizar tamb\u00e9m os festivais e eventos que incorporam ou falam sobre o v\u00eddeo e a dan\u00e7a, tal como o precursor Dan\u00e7a em Foco<\/a>, que ap\u00f3s quatro anos de intensa atividade, viaja para quase todas as regi\u00f5es do pa\u00eds exibindo a produ\u00e7\u00e3o nacional. Outros festivais como o Play REC – Festival Internacional de Videodan\u00e7a de Recife e a Bienal de Dan\u00e7a de Fortaleza, que em sua \u00faltima edi\u00e7\u00e3o abriu espa\u00e7o para a exibi\u00e7\u00e3o de videodan\u00e7as, formam, n\u00e3o s\u00f3 p\u00fablico, mas tamb\u00e9m os artistas que buscam aprimorar seu conhecimento nesta linguagem.<\/span><\/p>\n

Estes breves apontamentos v\u00eam, hoje, confirmar o que h\u00e1 dois anos o artigo de Liana Gesteira – Videodan\u00e7a: Territ\u00f3rio F\u00e9rtil<\/em><\/a> – apontava sobre a linguagem. Passados poucos anos, a videodan\u00e7a continua sendo um territ\u00f3rio de resist\u00eancia, n\u00e3o s\u00f3 para dan\u00e7a, mas uma resist\u00eancia da arte que precisa buscar melhores pol\u00edticas p\u00fablicas no pa\u00eds. Ainda que existam poucos editais (o \u00fanico em vista \u00e9 mesmo o Rumos<\/a> Videodan\u00e7a do Instituto Ita\u00fa Cultural) e que tenhamos pouco espa\u00e7o de exibi\u00e7\u00e3o para a grande demanda de nossa produ\u00e7\u00e3o, o trabalho vem sendo produzir resistindo, resistir produzindo. Pois, tudo indica, olhares podem se voltar para a dan\u00e7a criada nesta m\u00eddia.<\/span><\/p>\n

Para conhecer mais da produ\u00e7\u00e3o de videodan\u00e7a n\u00e3o s\u00f3 do Brasil, mas de toda a Am\u00e9rica Latina, visite a p\u00e1gina de v\u00eddeos do www.movimento.org<\/a>. L\u00e1, \u00e9 poss\u00edvel assistir a mais de 800 v\u00eddeos dos mais variados estilos e temas.<\/em><\/span><\/p>\n

Rita Tatiana Cavassana \u00e9 respons\u00e1vel pela pesquisa Vid.BR e Gestora Cultural do Acervo Mariposa. Bacharel em Comunica\u00e7\u00e3o das Artes do Corpo- PUC-SP<\/strong><\/span><\/p>\n

* Alonso, Rodrigo Videoarte e Videodanca em uma (in)Certa America Latina<\/em> – Revista Dan\u00e7a em Foco – Videodan\u00e7a 2007.<\/span><\/p>\n

The Vid.BR project was presented during the III PlayRec \u2013 Recife International Videodance Festival, which ends this Thursday (5\/11) Click here<\/a> to check out the gallery idan\u00e7a<\/strong> created with videos of artists who participated in the event.<\/em><\/span><\/p>\n

Videodance is indeed a hybrid language! Its definition matters less, what really matters is that it is possible to express dance in contact with the language of video and upon it, to be in many different places: in a internet website, in a dance festival, in an art gallery or in an old movie theater in the center of S\u00e3o Paulo. A part of the artist\u2019s work is in a little disk that can travel the world in a poetic specific of dance for video. This mix strengthens dance, creating spaces to explode the issues inherent to contemporary dance.
\nThe Vid.BR research is a mapping of the videodance artistic language in Brazil, carried out by Acervo Mariposa<\/a> with open methodology, according to what the interviewed and mapped artists would tell us. The so configured initiative showed us the infinite forms in which dance could infiltrate itself upon video. For example, Mostra Lanterninha, a showcase produced by Acervo in partnership with Galeria Olido that is already in its second edition and is screened in an old movie theater with 236 seats. The Vid.BR research feeds the showcase, opens space for the national productions and seeks to develop an audience for the language.<\/span><\/p>\n

The search for experimentation with video, a legacy of videoart, is present in the videodance produced in Brazil. This quality is somehow related to the scarcity of resources for production. Such scarcity forces us to search for new perspectives on the body given the material we have in hand, keeping in mind that the history of our cinema, which for many years didn\u00b4t receive any incentive for production and counted only on \u201can idea in the head and a camera in the hand\u201d. We could say that videodance has a camera in the hand and the body as subject.
\nVideo in Latin America has a characteristic linked to a political discourse. The focus of videodance in Brazil is in the bodies in a state of urgency in the growing metropolis and rampant chaos, in arid landscapes or in intimate environments. Different from some American or European videodances or cinedances in which the body is Apollonian, in Latin America, in general, video has this provocative and political quality, as Rodrigo Alonso* points out.<\/span><\/p>\n

Qualitatively, there are still few choreographers dedicated to the videodance language. However a new ascending generation is making itself represented. Some names: Alex Soares(SP), O12(SP), Cia. Vitrola Qu\u00e2ntica (SP), Carolina Cony(RJ), Celina Portella and Elisa Pessoa (RJ), Coletivo Molin TL. (MG), Cia. Flux (MG), Pedro Bastos (MG), Diego Mac (RS), Elisa Schmit (SC), Andr\u00e9ia Bardawil (CE), among others, have been developing research along with their artistic work, in which video is part of a choreographic thinking.<\/span><\/p>\n

Nowadays, the training of the dancer who wishes to infiltrate in this language often goes through a multimedia course, given the necessity to seek another niche, the information for the production of their work. Better yet, many dancers have associated with a videoartist, who in my understanding have been responsible for the great development of videodance in Brazil. Many are interested in this exchange between video and dance and this hybridism has been giving good results, for instance: Alexandre Veras (CE), Breno C\u00e9sar (PE), Oscar Malta (PE),Andr\u00e9 Martinez (SP), Kika Nicolela (SP), Rodrigo Gontijo (SP), Tatiana Gentille (RJ).<\/span><\/p>\n

Recently, new education centers for this language have been established, such as the post-graduate course in Movement Aesthetics: Dance, Videodance and Multimedia at Faculdade Angel Vianna (RJ), coordinated by Paulo Caldas. Or the research group Technologic Poetics coordinated by Ivani Santana (BA), which develops Mapa D2<\/a>. The academic production has also been growing a lot and many young dances, still in college, have been interested in discussing dance pedagogy through videodance. Two examples from the extremes of the country are Ana Pi, oriented by professor S\u00e9rgio Pereira Andrade and co-oriented by professor Cl\u00e9lia Ferraz Pereira de Queiroz, UFBA and Sarah Ferreira, from UDESC, oriented by professor Milton de Andrade.<\/span><\/p>\n

Vid.BR is already moving towards the second year of research and Acervo Mariposa intends to keep mapping the artists. In this second phase, the research will dedicate itself to also track the Festivals and events that incorporate or deal with video and dance, such as the pioneer Dan\u00e7a em Foco<\/a> festival, which, after four years of intense activity, visits all the country\u2019s region screening national productions. Other festivals like Play REC – Recife International Videodance Festival and Bienal de Dan\u00e7a de Fortaleza, which opened space for the screening of videodance, develop not only an audience, but also the artists who seek to improve their knowledge of this language.<\/span><\/p>\n

These brief appointments now confirm what Liana Gesteira\u2019s article, Videodan\u00e7a: Territ\u00f3rio F\u00e9rtil<\/em><\/a> pointed to about this language. After only a few years, videodance is still resistance territory, not only for dance, but also a resistance of the art that needed to search for better public policies in the country. There are still very few grants (the only one around is Rumos<\/a> Videodan\u00e7a do Instituto Ita\u00fa Cultural) and we have little space for the screening a great demand of our production, the work has been to produce resisting, resist producing. Because it all indicates that eyes can turn to dance created in this media.<\/span><\/p>\n

To get to know a little more about the videodance production, not only from Brazil but also from Latin America, visit the www.movimento.org<\/a> video page. There are more than 800 videos from the most different styles and themes.<\/em><\/span><\/p>\n

Rita Tatiana Cavassa is responsible for the Vid.BR research and Cultural Manager of Acervo Mariposa. She has a degree in Communication of the Arts of the Body \u2013 PUC-SP.<\/strong><\/span><\/p>\n

* Alonso, Rodrigo Videoarte e Videodanca em uma (in)Certa America Latina<\/em> – Dan\u00e7a em Foco Magazine 2007.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em seu texto, a pesquisadora Rita Tatiana Cavassana elogia a linguagem da videodan\u00e7a e apresenta o projeto Vid.BR, do Acervo Mariposa, que est\u00e1 mapeando a produ\u00e7\u00e3o de videodan\u00e7a no Brasil. Leia e comente!<\/span>
\nResearcher Rita Tatiana Cavassana praises the language of videodance and presents Acervo Mariposa\u2019s Vid.BR project, a mapping of the videodance production in Brazil. 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