{"id":13329,"date":"2009-12-02T15:57:47","date_gmt":"2009-12-02T18:57:47","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13329"},"modified":"2009-12-03T19:03:57","modified_gmt":"2009-12-03T22:03:57","slug":"cadernos-de-viagem","status":"publish","type":"post","link":"https:\/\/idanca.net\/cadernos-de-viagem\/","title":{"rendered":"Cadernos de viagem | Travel logs"},"content":{"rendered":"

Esta coluna se escreveu na urg\u00eancia de um entre. Chegava ao Rio de Janeiro de volta da VII Bienal Internacional de Dan\u00e7a de Fortaleza<\/a> e me encontrava prestes a mergulhar novamente nas dores e nas del\u00edcias da programa\u00e7\u00e3o de outro festival, agora do Panorama de Dan\u00e7a<\/a>. O Panorama se foi e junto com ele o II Seminario Internacional Economia da Dan\u00e7a que, aviso, gerou frutos, aprofundou e deu continuidade ao que havia iniciado no ano passado. Tivemos casa lotada, transmiss\u00e3o simult\u00e2nea via Internet, palestras potentes e muita urg\u00eancia de troca acerca de algo que nos interessa a todos. H\u00e1 neste momento um grupo de discuss\u00e3o em andamento; oito cidades com vistas \u00e0 realiza\u00e7\u00e3o de semin\u00e1rios semelhantes no pr\u00f3ximo ano; Plano Nacional da Dan\u00e7a disponibilizado (leia mais na reportagem publicada aqui no idan\u00e7a<\/strong><\/a>) e muita gente boa acreditando que este tema-feixe pode nos valer de moeda para o necess\u00e1rio escambo nacional de a\u00e7\u00f5es. N\u00e3o me deterei especificamente no Semin\u00e1rio por ora. Convoco os leitores a uma retrospectiva dos acontecimentos e ao acompanhamento dos pr\u00f3ximos cap\u00edtulos pelo blog do semin\u00e1rio<\/a> (Engaje-se neste co-labor in process!).<\/span><\/p>\n

Quero antes ser fiel ao que se apontava como urgente quando iniciei esta coluna. E o entremundo dos festivais de dan\u00e7a se apresentou para mim como uma oportunidade, mais do que um motivo.<\/span><\/p>\n

Fico sempre me perguntando o quanto um festival de dan\u00e7a se faz tamb\u00e9m e talvez sobretudo pelas frestas da programa\u00e7\u00e3o. Frequent\u00e1-lo \u00e9 uma aposta. Contamos que a curadoria possa ter tecido boas oportunidades, bons motivos para os encontros entre as pessoas e, assim, a necess\u00e1ria partilha do sens\u00edvel<\/em>, como nos inspira Jacques Ranci\u00e9re. Dos dissensos \u00e0 partilha. Na partilha, uma pol\u00edtica.<\/span><\/p>\n

A aposta \u00e9 tamb\u00e9m na mutualidade como \u00fanica e prec\u00e1ria certeza de que a dan\u00e7a possa ainda ser aquilo que nos une na constitui\u00e7\u00e3o de um comum. Pequenos e fortes encontros reafirmam um tipo espec\u00edfico de amizade tecido \u00e0 dist\u00e2ncia. Cada qual dos parceiros, na maioria das vezes sem o saber, colabora com o outro na inven\u00e7\u00e3o compartilhada de mundo. Ali\u00e1s, a parceria \u00e9 anterior, \u00e9 condi\u00e7\u00e3o.<\/span><\/p>\n

Muitas vezes em um festival, nos descobrimos parceiros de algu\u00e9m. Antes, de um nome que conhecemos pela refer\u00eancia em um cat\u00e1logo. \u00c9 o seu trabalho, sua a\u00e7\u00e3o no mundo, que alimenta a amizade cujo exerc\u00edcio mudo \u2013 exerc\u00edcio n\u00e3o exercido \u2013 nos une. Trata-se de um tecido de afetos em potencial, uma filia ainda n\u00e3o realizada que desconstroi o futuro em favor de devires-mundo e de devires-dan\u00e7a. Sem o saber, a programa\u00e7\u00e3o de um festival tece, sem objetivo ou programa, uma rede silenciosa de devires.\u00a0 E isso tamb\u00e9m \u00e9 uma pol\u00edtica.<\/span><\/p>\n

Foi assim, por pura sorte, que um caf\u00e9 da manh\u00e3 da Bienal de Fortaleza me re-uniu \u00e0 amiga Vera Mantero, cujos solos tive o prazer de comentar no festival riocenacontemporanea de 2005. Pude ver com muito gosto o quanto nossa amizade de dan\u00e7a continuou a ser tecida, \u00e0 revelia dos encontros presenciais, estes que, desde ent\u00e3o, nunca mais aconteceram. Nossa conversa na verdade se fez meta-conversa. Fal\u00e1vamos da sintom\u00e1tica l\u00edquida (Bauman) que rege os afetos hoje e do quanto \u00e9 contradit\u00f3rio que nossos projetos de dan\u00e7a falem da mutualidade como pol\u00edtica e do quanto \u00e9 dif\u00edcil que de fato nos encontremos. Circunst\u00e2ncia de mundo; situa\u00e7\u00e3o de dan\u00e7a.<\/span><\/p>\n

Pensei em alguns de meus amigos core\u00f3grafos com quem eu n\u00e3o encontro sen\u00e3o mui raramente. Ali\u00e1s, encontrar para ensaiar tornou-se um transtorno, parei e pensei. Lembrei-me de circuitos europeus de festivais cujo tr\u00e1fego a\u00e9reo exige malas cada vez menores e mais leves; roupas cada vez mais desmarcadas de g\u00eanero, a meio caminho entre a roupa de ensaio e a roupa de passeio. A prolifera\u00e7\u00e3o de computadores Macintosh brancos e levinhos, port\u00e1teis e prontos a tecer rela\u00e7\u00f5es \u2013 quase um fetiche descolado da gera\u00e7\u00e3o l\u00edquida.<\/span><\/p>\n

Sem lamentos, pensei tamb\u00e9m o quanto malas menores metaforizam certo desterro e o quanto isso colabora, sem qualquer rela\u00e7\u00e3o de causa e efeito, na constitui\u00e7\u00e3o de uma rede, bela rede, e na poss\u00edvel desconstitui\u00e7\u00e3o de um ambiente de dan\u00e7a. Penso no quanto nossas rela\u00e7\u00f5es de dan\u00e7a, de uns tempos para c\u00e1, est\u00e3o sempre intermediadas pelo projeto; o quanto o risco do encontro est\u00e1 roubado de antem\u00e3o pelo elogio da colabora\u00e7\u00e3o. Pensei na colabora\u00e7\u00e3o, t\u00e3o festejada na dan\u00e7a de uns tempos para c\u00e1, como um sintoma. E como ela se ampara contraditoriamente numa rede de rela\u00e7\u00f5es sempre intermediadas pelas granas do projeto ou do edital. Eu me encontro com voc\u00ea a n\u00e3o ser que o edital ou o programa n\u00e3o o proporcione.<\/span><\/p>\n

J\u00e1 fiz aqui, neste s\u00edtio virtual, a defesa do projeto como modeliza\u00e7\u00e3o do trabalho e da economia nestes novos tempos da decad\u00eancia do emprego. Inven\u00e7\u00e3o como prova dos nove!<\/em> – parafraseando o poeta antrop\u00f3fago. N\u00e3o estou padecendo de uma melancolia celetista. Ali\u00e1s, para o bem ou para o mal, a CLT nunca de fato consolidou<\/em> rela\u00e7\u00f5es (trabalhistas) em dan\u00e7a. Diante mais uma vez da liquidez contempor\u00e2nea, acredito na for\u00e7a da constru\u00e7\u00e3o de mundo baseada nos indeterminismos do projeto e no quanto estes indeterminismos se fazem economia e tecem pol\u00edtica. Mas me inclino a dizer que a contrapartida do projeto \u00e9 a inven\u00e7\u00e3o de novos modos de habitar. Um habitar sem resid\u00eancia, mas com resili\u00eancia.<\/span><\/p>\n

No estado atual do ambiente de dan\u00e7a da cidade do Rio de Janeiro, resili\u00eancia talvez rime com resist\u00eancia. Trata-se de uma situa\u00e7\u00e3o do Rio, mas que vejo talvez como retrato poss\u00edvel de uma circunst\u00e2ncia nacional. Me inquieta certa atomiza\u00e7\u00e3o que ouso reconhecer na cena de dan\u00e7a carioca, certa rarefa\u00e7\u00e3o da conviv\u00eancia. Fico me perguntando se a l\u00f3gica dos editais, por exemplo, colabora de algum modo com este cen\u00e1rio.<\/span><\/p>\n

Uma vez que o setor da dan\u00e7a tem nos \u00faltimos tempos encontrado sua sustentabilidade nos editais que proliferaram pelo pa\u00eds \u2013 bem vindos os tenham sido (!) \u2013, talvez seja chegada a hora de uma reflex\u00e3o. N\u00e3o que questionemos a sua exist\u00eancia. Isso seria retrocesso hist\u00f3rico, uma esp\u00e9cie de tiro no p\u00e9. Mas alguns problemas talvez j\u00e1 possam ao menos ser elencados. Tudo ainda \u00e9 um pouco novo para todos n\u00f3s e \u00e9 por isso que escrevo esta coluna com um esp\u00edrito convocat\u00f3rio. O que se apresenta aqui \u00e9 escrita da hora, prec\u00e1ria, incompleta, incerta. Cheia de perguntas, fico com vontade de conversar.<\/span><\/p>\n

Fico pensando se a l\u00f3gica de produto vigente nos interst\u00edcios da escrita dos editais confronta a l\u00f3gica de processo t\u00e3o necess\u00e1ria na constitui\u00e7\u00e3o de fortes escritas de dan\u00e7a e, a partir delas, de fortes la\u00e7os de dan\u00e7a. Fico me perguntando, ainda, e mais fortemente, o quanto mediarmos nossos fazeres tanto pela l\u00f3gica quanto pelas temporalidades dos editais perturba e mesmo prejudica a forma\u00e7\u00e3o daquela filia de dan\u00e7a \u00e0 qual me referia anteriormente.<\/span><\/p>\n

N\u00e3o falo de exerc\u00edcio de classe de dan\u00e7a, pois j\u00e1 n\u00e3o sei se acredito propriamente nessa palavra, ou em tratar assim do problema. Tamb\u00e9m n\u00e3o estou aqui, neste momento, para falar (mal) do Estado. Quero falar de n\u00f3s e do quanto talvez estejamos delegando ao Estado e a seus inevit\u00e1veis anonimato e impessoalidade, a ger\u00eancia tanto de nossos tempos, quanto de nossa falta de paci\u00eancia de encontrar, nossa falta de sentido comum.<\/span><\/p>\n

Percebo uma insidiosa e perversa administra\u00e7\u00e3o dos afetos segundo uma competitividade miser\u00e1vel, a partir da qual ganhar um edital significa contradit\u00f3ria e imediatamente entrar na fila dos desvalidos novamente. Ao realizarmos um projeto, atendemos ao que nos propusera o edital, em termos de prazos e n\u00fameros de apresenta\u00e7\u00f5es, por exemplo, e perigosamente talvez achemos que isso \u00e9 suficiente. Assim, damos mais satisfa\u00e7\u00e3o ao Estado do que \u00e0 pr\u00f3pria dan\u00e7a acerca do quanto nossas a\u00e7\u00f5es colaboram ou n\u00e3o com a tessitura comum de seu devires. O que afinal de contas estamos fazendo? Que mundo estamos juntos ajudando a inventar?<\/span><\/p>\n

Pensei no quanto \u00e9 contradit\u00f3rio que festejemos os editais e lamentemos o que eles geram como produto. Hoje nos impacientamos com as estreias. Quase n\u00e3o as frequentamos. Preferimos adiar ou evitar o encontro. As estreias nos assustam, nos surpreendem e muitas vezes nos aborrecem. N\u00e3o h\u00e1 muito o que festejar. O mau humor impera.<\/span><\/p>\n

Talvez a resist\u00eancia hoje passe tamb\u00e9m por encontrar. Conviver, ta\u00ed uma prova dos nove! E \u00e9 justamente neste ponto que resil\u00eancia rima com resist\u00eancia.\u00a0 \u00c9 a partir da conviv\u00eancia de singularidades comunicantes (Deleuze) que a dan\u00e7a, todas elas, as realizadas e as (ainda) n\u00e3o realizadas podem resistir como projeto n\u00e3o program\u00e1tico de um comum.<\/span><\/p>\n

Por isso falo urgentemente aqui da defesa da resil\u00eancia, de novos modos de habitar como part\u00edcipes da constitui\u00e7\u00e3o de uma forte rede de rela\u00e7\u00f5es que trabalhem entre si no tecido delicado de um sens\u00edvel de dan\u00e7a, um comum. Tal como nos sugere Ranci\u00e9re, \u00e9 a partir dos dissensos e da inevit\u00e1vel partilha do sens\u00edvel \u00e0 qual eles nos obrigam, que este senso de comunidade, auto-regulat\u00f3rio, e porque n\u00e3o democr\u00e1tico, se apresenta como possibilidade e como pol\u00edtica. E devo dizer que um festival de dan\u00e7a \u00e9 um festival de dissensos.<\/span><\/p>\n

O De Andrade da prova dos nove \u00e9 o mesmo da antropofagia que uma vez dissera ter ido \u00e0 Fran\u00e7a e descoberto o Brasil. Mais uma vez parafraseando-o, talvez tenha precisado ir a Fortaleza para arrancar um v\u00e9u de maia e descobrir o Rio novamente. Talvez o doce sotaque portugu\u00eas de Vera Mantero tamb\u00e9m tenha contribu\u00eddo para certa bruma de melancolia ib\u00e9rica que me tomou.<\/span><\/p>\n

Pensei em como seria cafona escrever uma coluna em pleno Panorama 2009 preocupada com o ambiente de dan\u00e7a, com certo exerc\u00edcio de localidade que j\u00e1 teve s\u00edtio, para usar uma palavra portuguesa, na cidade do Rio de Janeiro. Pensei na cafonice tamb\u00e9m como uma prova dos nove. E me encorajei a escrever e a lembrar.<\/span><\/p>\n

Lembrei-me de muitas coisas importantes. Lembrei-me do Panorama, este enorme parque de encontros que as gentes de dan\u00e7a ajudaram a construir ao longo de bem mais de uma d\u00e9cada na cidade do Rio. Pensei nas fortes filias de dan\u00e7a que o festival ajudou a constituir. Lembrei-me como aguard\u00e1vamos o ano todo por aquele compensado de dissensos (de)formadores de dan\u00e7a. Sab\u00edamos que frequentar o Panorama era certeza de encontrar a mo\u00e7ada.<\/span><\/p>\n

Pensei que a mutualidade nos fala de um ambiente de dan\u00e7a que resiste. Pensei que o Panorama era um bom motivo (de dan\u00e7a), provocativo o bastante, para pensarmos juntos na mutualidade como exerc\u00edcio de futuro n\u00e3o-program\u00e1tico de dan\u00e7a. Frequent\u00e1-lo, tamb\u00e9m uma pol\u00edtica. Pensei nesta coluna como um alerta. E ousei termin\u00e1-la sem conclu\u00ed-la.<\/span><\/p>\n

This column was written in the urgency of something in-between. I was arriving back in Rio de Janeiro from the VII Bienal Internacional de Dan\u00e7a de Fortaleza<\/a> and was about to dive again into the pain and pleasure of the program of yet another festival, Panorama de Dan\u00e7a<\/a>. Panorama came and went and along with it came the II Dance Economy Seminar which bore fruit, deepened and continued what was began in the previous year. We had a full house, live transmission via internet, strong speeches and a deep urgency for exchange about something that concerns all of us. Right this moment there is an ongoing discussion group; eight cities are slated to host similar seminars next year; the National Dance Plan is available and a lot of good people believe this set of themes can serve as currency for the necessary national barter of actions. I won\u00b4t write much specifically about the seminar for now. I summon readers for a retrospective of the events and to keep up with the next episodes at the Seminar\u2019s blog<\/a>. (Take part in this collaboration in progess!)<\/span><\/p>\n

I want to remain true to what was assigned as urgent when I started this column. And the in-between world of dance festivals presented itself to me as an opportunity, more than a motive. <\/span><\/p>\n

I always ask myself how much of a dance festival also, and maybe above all, takes place in the cracks of the program. Attending it is a wager. We count on the fact that the curatorship was able to weave good opportunities, good reasons for people to meet and thus the necessary sharing of the sensible <\/em>, as Jacques Ranci\u00e9re inspires us. From dissent to sharing. In sharing, a policy. <\/span><\/p>\n

The wager is also in mutuality as the only and precarious certainty that dance can still be that which unites us in the construct of something in common. Small and strong encounters reassure a specific kind of friendship built in distance. Each of the partners, most of the times without knowing, collaborates with the other in the shared invention of the world. Moreover, partnership comes beforehand, it is the condition. <\/span><\/p>\n

Often in festival, we discover someone\u2019s partners. Before, from a name we know from a reference in the catalogue. It\u00b4s their work, their action in the world, that feeds a friendship whose silent exercise \u2013 exercise that is not exercised \u2013 unites us. It\u00b4s a network of potential affects, an unfulfilled philia that deconstructs the future in favor of world affects and dance affects. Without knowing, the program of a festival weaves, without aim or program, a silent network of affects. That is also politics. <\/span><\/p>\n

It was like that, out of sheer luck, that a breakfast at Bienal de Fortaleza reunited me and my friend Vera Mantero, whose solos I had the pleasure of commenting during the riocenacontemporanea festival in 2005. I gladly realized how much our dance friendship continued to be weaved, in spite of live encounters, those that never happened again since. Our conversation actually became meta-conversation. We talked about the liquid symptoms (Bauman) that rule affections nowadays and how contradictory it is that our dance projects talk about mutuality as politics and how difficult it is for us to actually meet. Circumstance of the world, situation of dance. <\/span><\/p>\n

I thought about the choreographer friends I seldom meet. By the way, meeting to rehearse has become a nuisance, I stopped and I thought. I remembered the European festivals circuit that more and more requires smaller and lighter suitcase; clothes with less gender differentiation, halfway between rehearsal clothes and casual clothes. The widespread of white, light and portable Macintosh computers, ready to weave relationships \u2013 almost a cool fetish of the liquid generation. <\/span><\/p>\n

Without sorrow, I also thought about how much smaller suitcases are metaphors for a certain expatriation and how much it collaborates, without any cause and effect relationship, in constituting a network, a beautiful network, and in the likely de-constitution of a dance environment. I think about how much our dance relationships are always intermediated by projects; how much the risk of encounter is stolen beforehand by the compliment of collaboration. I thought about collaboration, so celebrated in dance lately, like a symptom. And how it is contradictorily supported by a network of relationships that are always intermediated by the cash of a project or grant program. I will meet you, unless the grant program won\u00b4t allow it. <\/span><\/p>\n

In this virtual site, I already defended the project as standardization of the work and the economy in a time of decadence of the job. Invention as sanity test ! <\/em> \u2013 paraphrasing the cannibalistic poet. I am not suffering from labor rights melancholy. By the way, for better or for worse, the Brazilian Consolidation of Labor Laws never actually consolidated<\/em> (labor) relationships in dance. Faced again with contemporary liquidity, I believe in the strength of the construction of a world based in the indeterminism of the project and how much this indeterminism become economy and weave policy. But I\u00b4m inclined to say that the compensation of the project is the invention of new way of inhabiting. Inhabiting without residency, but with resilience. <\/span><\/p>\n

In the current state of the dance environment in Rio de Janeiro, resilience may rhyme with resistance. It\u00b4s a situation in Rio, but I see it as a possible portrait of a national circumstance. A certain atomization I dare recognize in the dance scene in Rio de Janeiro, a certain rarefaction of togetherness bother me. I ask myself if the logic of grant programs, for instance, somehow collaborates with this situation. <\/span><\/p>\n

Since the dance sector has lately found sustainability in the grant programs that abound in the country, maybe it\u00b4s time for a reflection. Not that we question their existence. That would be a historical setback, a kind of shot in the foot. But maybe some problems can be at least outlined. Everything is still new for all of us and that is why I write this column in a summoning spirit. What is presented here is the writing of this moment, precarious, incomplete, uncertain. Full of questions, I feel like talking. <\/span><\/p>\n

I wonder if the logic of the product present in the interstices of the words of the grant program regulations confronts the logic of the process so necessary in the constitution of dance writings and, upon them, strong dance ties. I also ask myself, even more strongly, how much the fact that we mediate our activities both by the logic and the temporalities of grant programs disturbs and even harm the creation of this dance philia I previously mentioned. <\/span><\/p>\n

I don\u00b4t speak of an exercise of the dance class, because I already don\u00b4t know if I believe in this word, or in dealing like this with the problem. I am also not here, right now, to talk (badly) about the state. I want to talk about us and how much we are delegating to the state and its inevitable anonymity and impersonality, the management both of our time and our lack of patience to find, our lack of common sense. <\/span><\/p>\n

I see an insidious and perverse management of affections according to a miserable competitiveness, upon which being awarded a grant means contradiction and immediately getting in the line of the forsaken again. When we fulfill a project, we meet the requirements of the program, in terms of deadlines and presentation numbers, for instance, and maybe we dangerously think this is enough. Thus, we give more satisfaction to the state than to dance itself about how much our actions collaborate or not with the common network of their coming to be. What are we doing after all? What world are we helping to invent?<\/span><\/p>\n

I thought about how contradictory it is that we celebrate the grant programs and deplore the products that come out of them. Nowadays we become impatient with premieres. We almost never attend them. We prefer to postpone or avoid the encounter. Premieres scare us, surprise us and many times bore us. There isn\u00b4t much to celebrate. Grumpiness rules. <\/span><\/p>\n

Maybe nowadays resistance is also to be found. Living together, that\u00b4s a sanity test! And it\u00b4s exactly at this point that resilience rhymes with resistance. Upon the togetherness of communicating singularities (Deleuze), dance, all of them, those fulfilled and those that have not (yet) been fulfilled can resist as a non-programmatic project of something in common. <\/span><\/p>\n

That is why I talk about defending resilience, about new ways of acting as participants in the constitution of a strong network of relationships that work among themselves in the delicate meshes of a sensible in dance, something common. Such as Ranci\u00e9re suggests, taking upon dissent and the inevitable sharing of the sensible to which they push us to, that this sense of community, self regulating and because it is not democratic, it presents itself as possibility and as politics. And I must say a dance festival is a festival of dissent. <\/span><\/p>\n

That De Andrade from the sanity test is the same from the cannibalism that once said he went to France and discovered Brazil. Paraphrasing him once more, maybe I had to go to Fortaleza to pull out a veil of Maya and discover Rio over again. Maybe Vera Mantero\u2019s sweet Portuguese accent also contributed to a certain mist of Iberian melancholy that took me over. <\/span><\/p>\n

I thought about how tacky it would be to write a column in the middle of Panorama 2009 worrying about the dance environment, with some exercise of locale that already took place in the city of Rio de Janeiro. I also thought about tackiness as a sanity test. And I encouraged myself to write and remember. <\/span><\/p>\n

I remembered many important things. I remembered Panorama, this huge meeting park dance people helped to build well over a decade ago in the city of Rio de Janeiro. I thought about the strong dance philias the festival helped to build. I remembered how we waited the whole year for that plywood of (de)forming dissents of dance. We knew that by attending Panorama we were sure to meet everybody. <\/span><\/p>\n

I thought about the mutuality that speaks to us about a dance environment that resists. I thought that Panorama was a good (dance) reason, provocative enough to make us think together about mutuality as exercise of a non-programmatic dance future. Attending it is also political. I thought about this column as a warning. And I dared finish it without concluding it.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Tem gente que voc\u00ea s\u00f3 encontra uma vez por ano? Durante um festival de dan\u00e7a? Em sua nova coluna, Thereza Rocha trata disso: os encontros de dan\u00e7a produzidos durante os festivais. Leia e identifique-se!<\/span>
\nAre there people you only meet once a year? During a dance festival? In her new column, Thereza Rocha talks about that: the dance encounters that take place during festivals. Read and identify with!<\/span><\/p>\n","protected":false},"author":151,"featured_media":13331,"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":[31,28],"tags":[504,112,2893],"yoast_head":"\nCadernos de viagem | Travel logs -<\/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\/cadernos-de-viagem\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cadernos de viagem | Travel logs -\" \/>\n<meta property=\"og:description\" content=\"Tem gente que voc\u00ea s\u00f3 encontra uma vez por ano? Durante um festival de dan\u00e7a? Em sua nova coluna, Thereza Rocha trata disso: os encontros de dan\u00e7a produzidos durante os festivais. Leia e identifique-se! Are there people you only meet once a year? During a dance festival? In her new column, Thereza Rocha talks about that: the dance encounters that take place during festivals. 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