{"id":13341,"date":"2009-12-03T17:51:22","date_gmt":"2009-12-03T20:51:22","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13341"},"modified":"2009-12-04T15:22:17","modified_gmt":"2009-12-04T18:22:17","slug":"danca-e-comunicacao","status":"publish","type":"post","link":"https:\/\/idanca.net\/danca-e-comunicacao\/","title":{"rendered":"Dan\u00e7a e Comunica\u00e7\u00e3o | Dance and communication"},"content":{"rendered":"

Muitas vezes j\u00e1 presenciamos ou at\u00e9 j\u00e1 fizemos parte de um certo tipo de conversa em que duas pessoas est\u00e3o conversando, mas nenhuma est\u00e1 ouvindo a outra. Mas tamb\u00e9m j\u00e1 testemunhamos algumas conversas nas quais ningu\u00e9m diz nenhuma palavra e os envolvidos entendem perfeitamente tudo que est\u00e1 acontecendo. Qual ser\u00e1 a base para uma comunica\u00e7\u00e3o verdadeira?\u00a0 O corpo.\u00a0 Sim, voc\u00ea j\u00e1 observou que \u00e9 dif\u00edcil mentir com o corpo. Talvez seja por isso que tentamos, em v\u00e3o, camufl\u00e1-lo com roupas, perfumes, maquiagens, acess\u00f3rios, tatuagens, cirurgias pl\u00e1sticas etc. Mas o corpo fala. Com uma voz silenciosa, que diz tudo sem palavra alguma.\u00a0 Na tentativa de nos comunicarmos\u00a0 uns com os outros, uma necessidade se imp\u00f5e, a saber, que devemos assumir responsabilidade\u00a0 entre o espa\u00e7o\u00a0 que h\u00e1 entre o meu corpo e o de outrem. De certa forma, \u00e9 a presen\u00e7a ou a aus\u00eancia desse espa\u00e7o corporal que vai determinar se a nossa comunica\u00e7\u00e3o \u00e9 uma fonte de inspira\u00e7\u00e3o ou de intimida\u00e7\u00e3o. Neste texto proponho explorar como a experi\u00eancia com a dan\u00e7a pode nos traduzir algumas li\u00e7\u00f5es de comunica\u00e7\u00e3o que o corpo nos ensina diariamente. Para isso, vou me pautar nas atividades de um curso e de uma oficina de dan\u00e7a e improvisa\u00e7\u00e3o no in\u00edcio do m\u00eas de fevereiro. A organiza\u00e7\u00e3o foi feita por Ana Maria Alonso Krischke, com o apoio das professoras Sandra Meyer e Marisa Naspolini, do CEART\/UDESC.<\/span><\/p>\n

Nosso corpo se move como nossa mente se move? As qualidades de qualquer\u00a0 movimento s\u00e3o as manifesta\u00e7\u00f5es de como a mente \u00e9 expressa atrav\u00e9s do corpo que est\u00e1 em movimento?\u00a0 As mudan\u00e7as nas qualidades do movimento indicam que a mente mudou o foco sobre o corpo, ou seria o contr\u00e1rio: quando n\u00f3s dirigimos a mente ou a aten\u00e7\u00e3o para diferentes \u00e1reas do corpo, e\u00a0 iniciamos o movimento a partir dessas \u00e1reas, n\u00f3s mudamos \u00a0a qualidade do nosso movimento? Seria o movimento um modo de observarmos a express\u00e3o da mente atrav\u00e9s do corpo, e\u00a0 isso tamb\u00e9m pode ser\u00a0 uma maneira de produzir mudan\u00e7as na rela\u00e7\u00e3o mente-corpo? Essas quest\u00f5es podem ser exploradas por qualquer interessado numa aprendizagem tanto experiencial como cognitiva dos sistemas do corpo humano, e talvez tenha sido isso que levou um grupo de pessoas a frequentar os cursos de ver\u00e3o que aconteceram no CEART na UDESC, tendo como professores convidados Heike Kuhlmann e\u00a0 Ingo Rozenkranz (os dois na foto), ambos de nacionalidade alem\u00e3.<\/span><\/p>\n

A introdu\u00e7\u00e3o ao Body-Mind Centering \u2013 BMC (Corpo-Mente Centralizados) pela improvisa\u00e7\u00e3o de contato possibilita a explora\u00e7\u00e3o profunda do corpo atrav\u00e9s da dan\u00e7a. Ela abre novas perspectivas para o dan\u00e7arino desenvolver seu trabalho t\u00e9cnico e de cria\u00e7\u00e3o. Essa foi a proposta de um curso de cinco dias de Heike Kuhlmann, que ensina dan\u00e7a e movimento h\u00e1 12 anos, al\u00e9m de criar performances para adultos e crian\u00e7as em Berlim. Formada em Educa\u00e7\u00e3o F\u00edsica e Dan\u00e7a, Heike possui Mestrado em Coreografia pela Universidade de Leeds, na Inglaterra, onde tamb\u00e9m incrementou sua forma\u00e7\u00e3o em Body-Mind Centering<\/em> <\/em>BMC (Corpo e Mente centralizados) e Movimento Aut\u00eantico, com Linda Hartley. Essa forma\u00e7\u00e3o enriqueceu sua dan\u00e7a, dirigindo seu interesse para a express\u00e3o interior do corpo.<\/span><\/p>\n

Conhecer o esqueleto, os m\u00fasculos, a pele, os \u00f3rg\u00e3os internos, a\u00a0 respira\u00e7\u00e3o, a vocaliza\u00e7\u00e3o; os sentidos e a din\u00e2mica da percep\u00e7\u00e3o e o desenvolvimento do movimento tanto ontogen\u00e9tico como filogen\u00e9tico; e a arte do tocar e ser responsivo \u00e9 a base do BMC. Embora cada um desses sistemas do corpo humano apresente separadamente suas pr\u00f3prias contribui\u00e7\u00f5es para o movimento corpo-mente, eles s\u00e3o todos interdependentes, juntos proporcionam uma completa rede de apoio e express\u00e3o e sustenta\u00e7\u00e3o. O BMC est\u00e1 alicer\u00e7ado em aproximadamente 30 anos de experi\u00eancias de Bonnie Bainbridge Cohen e seus colaboradores e tem sido aplicado por pessoas de diferentes \u00e1reas, como a dan\u00e7a,\u00a0 atletismo, trabalho corporal,\u00a0 educa\u00e7\u00e3o f\u00edsica, terapias\u00a0 da fala, do movimento, ocupacional,\u00a0 psicoterapia, medicina, desenvolvimento infantil, educa\u00e7\u00e3o, arte visual e musical, ioga, artes marciais, medita\u00e7\u00e3o\u00a0 e outras disciplinas envolvendo corpo-mente. O desenvolvimento do movimento no sistema Body-Mind Centering \u00e9 apresentado como um processo n\u00e3o linear, mas que ocorre atrav\u00e9s de ondas sobrepostas.<\/span><\/p>\n

Nascemos para ser escolhidos, vivemos para escolher<\/em>, escreve Mia Couto. A dan\u00e7a contempor\u00e2nea, a partir de suas proposi\u00e7\u00f5es, tais como sugeridas nesse curso oferecido\u00a0 por Heike,\u00a0 nos faz pensar nas escolhas. O ato de escolher \u00e9 muitas vezes mais importante que a pr\u00f3pria coisa escolhida.\u00a0 Quando n\u00e3o escolhemos, a vida escolhe por n\u00f3s, e podemos vir a ser v\u00edtimas das circunst\u00e2ncias. No entanto, escolher \u00e9\u00a0 uma decis\u00e3o que deve ser tomada com cuidado, mais precisamente num\u00a0 tempo da delicadeza.\u00a0 Nas din\u00e2micas da percep\u00e7\u00e3o aprendemos que \u00e9 atrav\u00e9s de nossos sentidos que recebemos informa\u00e7\u00e3o de nosso ambiente interno e externo. A forma como filtramos, modificamos, distorcemos, aceitamos e rejeitamos essa informa\u00e7\u00e3o \u00e9 parte do ato de perceber. Tocar e movimentar s\u00e3o as primeiras a\u00e7\u00f5es para nos desenvolver. Elas estabelecem a linha de base para a percep\u00e7\u00e3o futura atrav\u00e9s do olfato, gusta\u00e7\u00e3o, audi\u00e7\u00e3o e vis\u00e3o. Pela explora\u00e7\u00e3o do processo perceptivo,\u00a0 podemos\u00a0 expandir nossas escolhas para responder a n\u00f3s mesmos, aos outros e ao mundo no qual vivemos. Nossa respira\u00e7\u00e3o \u00e9 influenciada pelo nosso estado fisiol\u00f3gico e psicol\u00f3gico e por fatores externos do nosso ambiente. A maneira pela qual respiramos tamb\u00e9m influencia nosso comportamento e funcionamento f\u00edsico. No que diz respeito a nossa voz, atrav\u00e9s de suas qualidades expressivas, comunicamos para o mundo exterior quem n\u00f3s somos. Nossa voz reflete o funcionamento de todos os sistemas do nosso corpo e o processo de integra\u00e7\u00e3o do nosso desenvolvimento. Quando tocamos algu\u00e9m, somos tocados igualmente. Isto \u00e9 uma explora\u00e7\u00e3o da comunica\u00e7\u00e3o atrav\u00e9s do toque – a transmiss\u00e3o e a aceita\u00e7\u00e3o da flu\u00eancia\u00a0 de energia\u00a0 dentro de n\u00f3s mesmos e entre n\u00f3s mesmos e os outros.<\/span><\/p>\n

A oficina oferecida por Ingo Rozenkranz buscou desenvolver um trabalho corporal que visava nos guiar ao cerne de nosso corpo. Ingo \u00e9 instrutor de improvisa\u00e7\u00e3o e medita\u00e7\u00e3o. Em seus estudos no Departamento de Esportes da Universidade de Cologne, Alemanha, figuram o teatro f\u00edsico, dan\u00e7a e teatro e a dan\u00e7a contempor\u00e2nea.\u00a0Al\u00e9m de seu interesse pelas filosofias orientais: Tai Chi, Qi Gong, Aikido, junto com Body-Mind Centering e Movimento Aut\u00eantico. Ele tamb\u00e9m colabora na organiza\u00e7\u00e3o do Eastimprofestival<\/em> e do Healingheartfestival <\/em>e atua como professor em v\u00e1rios festivais de improvisa\u00e7\u00e3o e dan\u00e7a na Europa, Israel, R\u00fassia, EUA e Jap\u00e3o.<\/span><\/p>\n

A oficina que ministrou, intitulada Corpos Sens\u00edveis,<\/em> teve a dura\u00e7\u00e3o de dois dias. No transcorrer das atividades Ingo intencionou que n\u00f3s, participantes, aprend\u00eassemos a observar e a ler a n\u00f3s mesmos e aos outros. Explor\u00e1ssemos as intera\u00e7\u00f5es e possibilidades dessa escuta. Volt\u00e1ssemo-nos para o pequeno e o poss\u00edvel como sendo necess\u00e1rios para perceber nossas necessidades, buscarmos o prazer em nos movermos, abrindo espa\u00e7o para que todos pudessem existir. Desfrutar de momentos de medita\u00e7\u00e3o e cura integrados aos princ\u00edpios vindos de diferentes abordagens do Contato e Improvisa\u00e7\u00e3o e da Dan\u00e7a. Enfim, ao movermos nossos corpos e termos conhecimento de como isso se d\u00e1, estamos a um passo de nos ajudar e de nos entregar ao movimento, de modo que fiquemos mais presentes tanto na dan\u00e7a como no encontro com outro.<\/span><\/p>\n

O Contato e Improvisa\u00e7\u00e3o, como proposta de uma dan\u00e7a, foi criado por Steve Paxton e \u00e9 definida como um processo criativo que ocorre quando duas ou mais pessoas se\u00a0 movimentam com apoio m\u00fatuo e jogam com a mudan\u00e7a\u00a0 de equil\u00edbrio coletivo. \u00c9 influenciada por t\u00e9cnicas da dan\u00e7a moderna e por componentes de acrobacia, tendo seus pr\u00f3prios princ\u00edpios caracter\u00edsticos de movimento. Como se destina \u00e0 rela\u00e7\u00e3o entre o esqueleto, a musculatura e os reflexos, tal proposta tamb\u00e9m atenta para as intera\u00e7\u00f5es entre corpo perceptivo e organismo corpo-mente. Atrav\u00e9s da experi\u00eancia direta e da percep\u00e7\u00e3o da dan\u00e7a podem-se conhecer novos caminhos que nos ponham em contato conosco mesmos e com o nosso ambiente. O ponto principal desse sistema \u00e9 simplesmente o prazer de nos movimentar e de usar o nosso corpo. \u00c9 o prazer de dan\u00e7ar com algu\u00e9m de um modo n\u00e3o planejado e espontaneamente, em que cada pessoa est\u00e1 livre para inventar, sem estorvar a outra. Resumidamente, as qualidades do movimento valorizadas no contato e improvisa\u00e7\u00e3o s\u00e3o a gera\u00e7\u00e3o de movimento atrav\u00e9s de pontos mut\u00e1veis de contato entre os corpos; sensibilidade atrav\u00e9s da pele; rolar atrav\u00e9s do corpo, focalizando o segmento do corpo e\u00a0 movendo-se em diferentes dire\u00e7\u00f5es simultaneamente; experimentar o movimento a partir do espa\u00e7o interno; usar o espa\u00e7o 360\u00ba; ir no impulso, enfatizando a flu\u00eancia e o peso. Durante uma apresenta\u00e7\u00e3o h\u00e1 inclus\u00e3o t\u00e1cita da plateia acompanhada de informalidade consciente de apresenta\u00e7\u00e3o, modelada sobre uma pr\u00e1tica ou jam<\/em>; o dan\u00e7arino \u00e9 apenas uma pessoa entre outras e deixa a dan\u00e7a acontecer por si s\u00f3; nesse contexto todos s\u00e3o igualmente importantes.<\/span><\/p>\n

Essas experi\u00eancias possibilitam apresentar o corpo como base para uma comunica\u00e7\u00e3o respons\u00e1vel. Nesse sentido, minha responsabilidade para com outrem \u00e9 a estrutura fundamental sobre a qual todas as outras estruturas sociais s\u00e3o acolhidas. A dan\u00e7a como uma tradu\u00e7\u00e3o da comunica\u00e7\u00e3o corporal n\u00e3o est\u00e1 dispensada da \u00e9tica. N\u00f3s sempre dan\u00e7amos com o outro ou para o outro, n\u00f3s nunca dan\u00e7amos sozinhos. Dan\u00e7a n\u00e3o \u00e9 uma atividade solit\u00e1ria, mas um movimento solid\u00e1rio. Vale salientar que dan\u00e7ar \u00e9 a tentativa de ser um com outro. O espa\u00e7o da dan\u00e7a como estrutura coletiva sustenta a no\u00e7\u00e3o de acolhimento e hospitalidade. Improvisar no contato \u00e9 criar uma dan\u00e7a experimental. Aqui a no\u00e7\u00e3o do experimental de H\u00e9lio Oiticica se faz valer: \u201c… a palavra \u2018experimental\u2019 \u00e9 apropriada, n\u00e3o para ser entendida como descritiva de um ato a ser julgado posteriormente em termos de sucesso ou fracasso, mas como um ato cujo resultado \u00e9 desconhecido. O que foi determinado?\u201d <\/em>Esse desconhecimento nos abre para as possibilidades da dimens\u00e3o est\u00e9tica ou perceptiva, que prop\u00f5e uma ruptura com o h\u00e1bito. Supomos que a experi\u00eancia da dan\u00e7a que acolhe outrem seja uma revela\u00e7\u00e3o de um modo n\u00e3o habitual de estar no mundo. \u00a0Buscamos no corpo que dan\u00e7a uma comunica\u00e7\u00e3o livre, honesta e afetuosa com o mundo que o enreda.<\/span><\/p>\n

Ida Mara Freire \u00e9 professora do Centro de Ci\u00eancias da Educa\u00e7\u00e3o da UFSC e autora do blog Escrita da Dan\u00e7a<\/a><\/strong><\/span><\/p>\n

Many times we have witnessed or even taken part on a certain kind of conversation in which two people are talking, but none of them is listening to the other. But we have also witnessed some conversations in which nobody says a word and all those involved know exactly what is going on. What would be the foundation for true communication? The body. Yes, you already noticed that it is hard to lie with the body. Maybe that is why we try, in vain, to disguise it with clothes, perfume, make-up, accessories, tattoos, plastic surgery, etc. But the body speaks. Like a silent voice that says everything without a word. In an attempt to communicate with one another, a need imposes itself, assuming responsibility for the space there is between my body and someone else\u2019s. Somehow, it is the presence or lack of this personal space that determines whether our communication is a source of inspiration or intimidation. In this text I propose to explore how experience with dance can translate some communication lessons the body teaches us daily. For that, I will use the activities of a dance and improvisation course and workshop in the beginning of February. The activities were organized by Ana Maria Alonso Krischke, with the support of teachers Sandra Meyer and Marisa Naspolini, from CEART\/UDESC.<\/span><\/p>\n

Does our body move like our mind does? Are the qualities of any movement manifestations of how the mind is expressed by the moving body? The changes in the quality of movement indicate that the mind changed the focus on the body, or would it be the other way around: when we direct the mind or the attention towards some part of the body and we start the movement from those areas, do we change the quality of our movement? Would movement be a way to observe the expression of the mind through the body and can that also be a way to produce changes in the mind-body relationship? These questions can be explored by anyone interested in learning about the human body\u2019s systems in both an experiential and cognitive way and maybe that is what lead a group of people to attend the summer courses that took place in CEART at UDESC, both conducted by German teachers Heike Kuhlmann and Ingo Rozenkranz. <\/span><\/p>\n

The introduction to Body-Mind Centering \u2013 BMC by contact improvisation allows the deep exploration of the body through dance. It opens new perspectives for dancers to develop their technical and creative work. That was the proposal of a five day course taught by Heike Kuhlmann, who has been teaching dance and movement for the last twelve years, besides creating performances for adults and children in Berlin. Graduated in Physical Education, Heike has a master\u2019s degree in choreography from Leeds University, where she also improved her training in Body-Mind Centering and Authentic Movement with Linda Hartley. This training enhanced her dance, driving her interest to the interior expression of the body.
\nKnowing the skeleton, the muscles, the skin, the internal organs, the breathing, the voice; the senses and the dynamic of perception and the development of movement, both ontogenetic and phylogenetic and the art of touching and being responsive is the foundation of BMC. Although each one of these systems of the human body presents their own contributions to the body-mind movement separately, together they allow a complete network of support, expression and sustenance. BMC is based on approximately thirty years of experience of Bonnie Bainbridge Cohen and her collaborators and has been applied by people from different areas, like dance, athletics, body work, physical education, speech, movement and occupational therapy, psychotherapy, child development, education, visual and musical arts, yoga, martial arts, meditation and other disciplines involving body-mind. The development of movement in the Body-Mind Centering is presented as a non-linear process that takes place through juxtaposed waves. <\/span><\/p>\n

We are born to be chosen, we live to choose<\/em>, Mia Couto writes. Contemporary dance with its proposals, such as those proposed in this course offered by Heike, makes us think about choices. The act of choosing is often more important that the chosen object. When we don\u00b4t choose, life chooses for us and we can become victims of the circumstances. However, choosing is a decision that must be made carefully, but precisely in a time of delicacy. In the dynamics of perception we learn that it is through our senses that we receive information from our internal and external environment. How we filter, modify, distort, accept and reject this information is part of perceiving. Touching and moving are the first action in our development. They establish the baseline for future perception through smell, taste, hearing and vision. Through the exploration of the perceptive process, we can expand our choices to respond ourselves, others and the world we live in. Our breathing is influenced by our physiological and psychological state and by external elements in our environment. The way we breathe also influences our behavior and physical operation. Regarding our voice, through its expressive qualities, it communicates who we are to the world outside. Our voice reflects the functioning of all of our body\u2019s systems and the integration process of our development. When we touch someone, we are equally touched. That is an exploration of communication through touch \u2013 the transmission and acceptance of the energy flow within ourselves and between ourselves and others.
\nThe workshop offered by Ingo Rozenkranz sought to develop a body work aimed at guiding us to the core of our body. Ingo is an improvisation and meditation instructor. Physical theater, dance, theater and contemporary dance were part if his studies at the Sports Department of the Cologne University, in Germany. Besides his interest in Eastern philosophies like Tai Chi, Qi Gong, Aikido, along with Body-Mind Centering and Authentic Movement. He also collaborates in the organization of the Eastimprofestival and the Healingheartfestival and acts as teacher in many improvisation and dance festivals in Europe, Israel, Russia, USA and Japan. <\/span><\/p>\n

The workshop he taught was called Sensitive Bodies and lasted for two days. Throughout the activities, Ingo intended for us participants to learn to observe and read ourselves and the others. We should explore the interactions and possibilities of this hearing. We had to go back to what is small and possible as being necessary to perceive our needs, to seek pleasure in movement, opening space so all could exist. Enjoying moments of meditation and healing integrated to the principles from different approaches of Contact Improvisation and dance. When we move our body and have knowledge of how this happens, we are about to help ourselves and to give ourselves to movement, so that we are more present, both in dance and in the encounter with others. <\/span><\/p>\n

Contact Improvisation as dance proposal was created by Steve Paxton and is defined as a creative process that takes place when two or more people move with mutual support and play with the shift of collective balance. It is influenced by modern dance techniques and elements of acrobatics and has its own characteristic movement principles. Since it is intended for the relationship between skeleton, muscles and reflexes, such proposal is also attentive to the interaction between perceptive body and the body-mind organism. Through direct experience and perception of dance it is possible to learn new paths that put us in touch with ourselves and our environment. The main point of this system is simply the pleasure of moving and using our body. It is the pleasure of dancing with someone in an unplanned and spontaneous way, in which each person is free to invent, without disturbing the other. In short, the movement qualities highlighted by contact improvisation are the generation of movement through mutable contact points between the bodies; sensitivity through the skin; rolling with the body, focusing on a segment of the body and moving in different directions simultaneously; experimenting movement using the internal space; using the space in 360 degrees; acting on impulse, emphasizing fluency and weight. During a presentation there is a tacit inclusion of the audience accompanied by a conscious informality, shaped after a practice or jam session; the dancer is only one person among others and he lets dance happen by itself; in this context, everyone is equally important. <\/span><\/p>\n

These experiences allow the presentation of the body as foundation for a responsible communication. Accordingly, my responsibility towards others is the fundamental structure upon which all other social structures are welcome. Dance as translation of bodily communication is not exempt from ethics. We always dance with the other or for the other, we never dance alone. Dance is not a solitary activity, by a solitary movement. It is worth stressing that dance is an attempt to become one with the other. The space of dance as collective structure harbors the idea of welcoming and hospitality. Improvising in contact is creating an experimental dance. In this case, H\u00e9lio Oiticica\u2019s notion of experimentation asserts itself: \u201c\u2026 the word \u2018experimental\u2019 is appropriate, it should not be understood as a description of an act to be judged later in terms of success or failure, but as an act whose result is unknown. What was determined?\u201d Not knowing makes us open up to the possibilities of the aesthetic or perceptive dimension that allow a rupture with habit. We suppose the dance experience that welcomes someone else is a revelation of an unusual way of being in the world. In the dancing body, we search for a free, honest and affectionate communication with the world around us.<\/span><\/p>\n

Ida Mara Freire is a professor at the Education Science Center of UFSC \u2013 Federal University of Santa Catarina and is the author of the blog Escrita da Dan\u00e7a<\/a><\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O corpo nos ensina li\u00e7\u00f5es de comunica\u00e7\u00e3o diariamente. Em seu texto, a pesquisadora Ida Mara Freire explora como essas li\u00e7\u00f5es s\u00e3o transmitidas partindo da experi\u00eancia de uma oficina de BMC. Leia e deixe seu coment\u00e1rio.<\/span>
\nThe body teaches us communication lessons daily. In her text, researcher Ida Mara Freire explores the way these lessons are transmitted, based on the experience of a BMC workshop. Read and write your comment. <\/span><\/p>\n","protected":false},"author":46,"featured_media":13343,"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":[2026,141,362],"yoast_head":"\nDan\u00e7a e Comunica\u00e7\u00e3o | Dance and communication -<\/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\/danca-e-comunicacao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dan\u00e7a e Comunica\u00e7\u00e3o | Dance and communication -\" \/>\n<meta property=\"og:description\" content=\"O corpo nos ensina li\u00e7\u00f5es de comunica\u00e7\u00e3o diariamente. Em seu texto, a pesquisadora Ida Mara Freire explora como essas li\u00e7\u00f5es s\u00e3o transmitidas partindo da experi\u00eancia de uma oficina de BMC. Leia e deixe seu coment\u00e1rio. The body teaches us communication lessons daily. In her text, researcher Ida Mara Freire explores the way these lessons are transmitted, based on the experience of a BMC workshop. 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