{"id":13421,"date":"2009-12-10T16:29:11","date_gmt":"2009-12-10T19:29:11","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13421"},"modified":"2009-12-10T19:45:52","modified_gmt":"2009-12-10T22:45:52","slug":"dancas-urbanas-algumas-para-se-pensar","status":"publish","type":"post","link":"https:\/\/idanca.net\/dancas-urbanas-algumas-para-se-pensar\/","title":{"rendered":"Dan\u00e7as urbanas: algumas para se pensar | Urban dances: something to think about"},"content":{"rendered":"

Sauda\u00e7\u00f5es dan\u00e7antes, caros e distintos amigos.<\/span><\/p>\n

Como poucos sabem, sou pesquisador da tem\u00e1tica culturas populares e suas transforma\u00e7\u00f5es ocorridas no meio urbano, com \u00eanfase em dan\u00e7a. No entanto, sempre tive \u201cum p\u00e9 atr\u00e1s\u201d em publicizar minhas pesquisas em espa\u00e7os virtuais, por se tratar de um formato em que as discuss\u00f5es aparecem de forma apressada e muitas vezes pouco proveitosas no sentido de aprofundamento de debates acerca de tem\u00e1ticas complexas, que s\u00e3o \u201carremessadas\u201d no mundo virtual e tratadas de maneira superficial e simplista. Diante esse panorama, o idan\u00e7a aparece atualmente como o portal mais flex\u00edvel e coerente com as empreitadas de nossos artistas. Isto posto, faz sentido e creio ser proveitoso tal espa\u00e7o para publicizar nossas reflex\u00f5es, eventos e not\u00edcias em dan\u00e7a.<\/span><\/p>\n

Tenho plena convic\u00e7\u00e3o de que muitos optam por formatar suas pesquisas e sintetiz\u00e1-las para que as tornem vi\u00e1veis ao formato digital como meio de divulga\u00e7\u00e3o de seus respectivos trabalhos. Em compensa\u00e7\u00e3o, lidamos ordinariamente com indiv\u00edduos que muito pouco, ou quase nada, pesquisam, mas que descarregam suas tortas e nada embasadas \u201cteorias\u201d em nosso j\u00e1 conturbado e tenso campo da dan\u00e7a.<\/span><\/p>\n

Por esse vi\u00e9s, adotei, ao longo de minha curta trajet\u00f3ria em dan\u00e7a, uma postura pol\u00edtica de n\u00e3o inserir minhas reflex\u00f5es adquiridas via pesquisas nas janelas da web, tendo em vista que se tratam de quest\u00f5es imposs\u00edveis de serem enxugadas em tr\u00eas ou cinco p\u00e1ginas. Ou seja, o texto aqui apresentado trata antes de uma preocupa\u00e7\u00e3o, de um diagn\u00f3stico e de um posicionamento pol\u00edtico acerca da dan\u00e7a de rua, e n\u00e3o de uma reflex\u00e3o oriunda de um estudo te\u00f3rico-metodol\u00f3gico.<\/span><\/p>\n

Trata-se da exist\u00eancia de um curso de extens\u00e3o universit\u00e1ria sobre \u201cDan\u00e7as Urbanas\u201d que foi implementado na Universidade Estadual de Campinas (UNICAMP) neste segundo semestre de 2009 e comandado pela Cia. Eclipse, representada pela prof\u00aa. Ana Cristina Ribeiro Silva juntamente com a prof\u00aa. Holly Elizabeth Cavrell (USA). A realiza\u00e7\u00e3o deste curso me deixou ambiguamente surpreso ao perceber que seu release prop\u00f5e \u201cuma abordagem te\u00f3rica e pr\u00e1tica onde estudaremos e pesquisaremos os diferentes estilos das dan\u00e7as urbanas\u201d.[1]<\/span><\/p>\n

Por um lado, \u00e9 interessante perceber e reconhecer que existe uma ampla pr\u00e1tica de dan\u00e7as urbanas, em suas diferentes ramifica\u00e7\u00f5es, em todo territ\u00f3rio nacional brasileiro, que torna leg\u00edtima a presen\u00e7a de seus praticantes em ministrar aulas para acad\u00eamicos vinculados \u00e0s institui\u00e7\u00f5es superiores de ensino \u2013 mesmo n\u00e3o levando em considera\u00e7\u00e3o seus usos, que podem ser desde a mera reprodu\u00e7\u00e3o por meio de aulas futuras em que essas pessoas poder\u00e3o utilizar-se deste material, at\u00e9 as interfer\u00eancias c\u00eanicas em que se implodem e\/ou se manipulam os c\u00f3digos oriundos das dan\u00e7as de rua em linguagens outras, que historicamente concordamos em aglomerar numa nomenclatura escorregadia, ora espec\u00edfica demais, ora ampla demais, denominada de dan\u00e7a contempor\u00e2nea. Sendo ambas vi\u00e1veis e pratic\u00e1veis em diferentes n\u00edveis.<\/span><\/p>\n

Por outro lado, ao atentarmos para a ementa do curso sobre dan\u00e7a de rua ora proposto, percebemos o grande embara\u00e7o e falta de reconhecimento do processo hist\u00f3rico que forjou os praticantes da dan\u00e7a de rua ao longo das \u00faltimas duas d\u00e9cadas e meia no Brasil. Como assim? Em meados da d\u00e9cada de 1980, a sociedade brasileira come\u00e7ou a experienciar um fen\u00f4meno, sempre particular e local, que posteriormente recebeu a nomenclatura de dan\u00e7a de rua. Tal manifesta\u00e7\u00e3o cultural dan\u00e7ante, desde suas primeiras apari\u00e7\u00f5es, funcionava numa din\u00e2mica de di\u00e1logo com refer\u00eancias corporais m\u00faltiplas, tais como: Funk, Soul, Jazz Dance e Break (existem aqueles que preferem falar em contamina\u00e7\u00e3o). Cabe ressaltar que tais meios s\u00e3o de matrizes negras africanas, mas que se modificaram no territ\u00f3rio hoje conhecido como Estados Unidos da Am\u00e9rica.<\/span><\/p>\n

Todavia, o acesso a essas refer\u00eancias vem de forma fragmentada e pouco estruturada via meios de comunica\u00e7\u00e3o de massa e trocas gestuais por meio da observa\u00e7\u00e3o em bailes realizados nas periferias de todo Brasil. A quest\u00e3o \u00e9 que: no cen\u00e1rio nacional, existiram pessoas que deram in\u00edcio a essas pr\u00e1ticas de forma apropriada, gerando uma est\u00e9tica peculiar, na qual mesclava-se diversas refer\u00eancias de movimentos, pensamentos, viv\u00eancias, gestos e reconhecimento social via dan\u00e7a. Essa nova forma de dan\u00e7a ganhou visibilidade por meio do circuito de festivais competitivos j\u00e1 em fins da d\u00e9cada de 1980. Espa\u00e7o este que interferiu de forma crucial na formata\u00e7\u00e3o e legitima\u00e7\u00e3o do que seria a dan\u00e7a de rua no Brasil. Inclusive a nomenclatura Dan\u00e7a de Rua foi instaurada n\u00e3o por seus praticantes, mas por \u201cespecialistas\u201d[2]: curadores, jurados e toda \u201crapa\u201d que se fazia sempre presente e not\u00e1vel naqueles festivais.<\/span><\/p>\n

No decorrer da d\u00e9cada de 1990, eis que aparece um grupo da cidade de Santos-SP que forneceu uma f\u00f3rmula do que seria \u201cA\u201d dan\u00e7a de rua. Novamente, quem gera e consolida esse modelo n\u00e3o s\u00e3o seus praticantes, mas os \u201cespecialistas\u201d, que por meio de premia\u00e7\u00f5es, mo\u00e7\u00f5es, convites v\u00e3o gradativamente fornecendo as bases para uma dan\u00e7a de rua \u201caceit\u00e1vel\u201d, aquela que se aproxima mais dos modelos tradicionais da dan\u00e7a ocidental.<\/span><\/p>\n

Passado esse momento, surge um grupo de pessoas, oriundos da dan\u00e7a de rua, que passa a ocupar os lugares onde se fornecem legitima\u00e7\u00e3o est\u00e9tica \u00e0 dan\u00e7a de rua, dando inicio a cursos, palestras, workshops, realizando apresenta\u00e7\u00f5es e principalmente, sendo jurados de festivais competitivos. Refor\u00e7ando cada vez mais o \u201cmodel\u00e3o\u201d da dan\u00e7a de rua.<\/span><\/p>\n

Esse processo gerou uma insatisfa\u00e7\u00e3o dupla: tanto os \u201cespecialistas\u201d quanto os praticantes da dan\u00e7a de rua se voltaram contra esse formato fechado e chapado do que deveria ser a dan\u00e7a de rua no Brasil. Houve uma necessidade m\u00fatua, uma busca para tornar poss\u00edvel a renova\u00e7\u00e3o dessa forma de dan\u00e7a em nosso territ\u00f3rio nacional. Entretanto, a falta de estudo, pesquisa, de compreens\u00e3o dos processos de apropria\u00e7\u00e3o cultural, media\u00e7\u00e3o, re-significa\u00e7\u00e3o, incorpora\u00e7\u00e3o por ambas as partes, impossibilitou a percep\u00e7\u00e3o do processo que j\u00e1 vinha sendo realizada desde in\u00edcio da d\u00e9cada de 1980, tornando c\u00f4modo, pregui\u00e7oso e vi\u00e1vel a ado\u00e7\u00e3o dos \u201cnew models\u201d norte-americanos. Verdadeiros \u201calcor\u00f5es\u201d das dan\u00e7as urbanas, onde se encontra nomenclaturas, tutoriais, enfim, dan\u00e7as urbanas formatadas, fechadas e pass\u00edvel de reprodu\u00e7\u00e3o. Convidamos seus \u201cmessias\u201d, exaltamos seus \u201csantos\u201d, abrimos espa\u00e7os para seus \u201cap\u00f3stolos\u201d brasileiros pregarem a palavra sagrada do hip hop. Como \u00e9 lindo ver um Freestyle, New School, Krump, B.boying, Locking, Popping tudo muito bem organizado e bem acabado. Agora estamos embasados teoricamente e corporalmente para oferecermos um curso de extens\u00e3o universit\u00e1ria.<\/span><\/p>\n

Creio que seja altamente v\u00e1lida essa nova formata\u00e7\u00e3o da dan\u00e7a de rua no Brasil. O que me inquieta \u00e9 que, paradoxalmente, alijamos do processo as pessoas que, de fato, conseguiram produzir o h\u00edbrido a partir dessas refer\u00eancias externas, que longe de reproduzir um modelo, criaram formas outras de express\u00e3o lidando com esses c\u00f3digos. Sujeitos que, mesmo sem possu\u00edrem uma forma\u00e7\u00e3o acad\u00eamica, efetivaram em seus corpos apropria\u00e7\u00f5es riqu\u00edssimas em que, ao inv\u00e9s de se ter uma sobreposi\u00e7\u00e3o de nomes e movimentos reconhec\u00edveis de dan\u00e7as espec\u00edficas, produziam um corpo m\u00faltiplo, com possibilidades mil.<\/span><\/p>\n

Para aqueles que reclamaram tanto do \u201cmodel\u00e3o\u201d de meados da d\u00e9cada de 1990, est\u00e1 na hora de rever novamente seus conceitos de dan\u00e7as urbanas, pois elas n\u00e3o s\u00e3o em sua unanimidade estrangeiras. Em determinado momento de nosso percurso, \u201cabrimos m\u00e3o\u201d de algo que constru\u00edmos para adotar, assimilar e glorificar como \u201caut\u00eanticos\u201d os padr\u00f5es norte-americanos das dan\u00e7as urbanas[3]. Paremos para assistir \u00e0s apresenta\u00e7\u00f5es dos grupos atualmente atuantes na cena brasileira da dan\u00e7a de rua. O que temos s\u00e3o modelos, que devem ser seguidos \u00e0 risca. Caso contr\u00e1rio, o artista estar\u00e1 fadado ao fracasso no interior da l\u00f3gica da dan\u00e7a de rua hoje operante.<\/span><\/p>\n

Temos que nos atentar um pouco mais n\u00e3o \u00e0s formas e seus processos de produ\u00e7\u00e3o, circula\u00e7\u00e3o, veicula\u00e7\u00e3o, mas antes de tudo, ao processo de apropria\u00e7\u00e3o. Como as pessoas se utilizam dessas informa\u00e7\u00f5es vindas \u2013 extra \u2013 territ\u00f3rio nacional, antes mesmo de tentarmos enquadr\u00e1-las \u00e0s exig\u00eancias estritamente formais. Da mesma forma com que lidamos com micro formas de disciplinariza\u00e7\u00e3o, existe uma pr\u00e1tica outra, micro, realizada no meio social, em que os populares se utilizam dessas informa\u00e7\u00f5es, gerando mil maneiras de fazer.<\/span><\/p>\n

[1] Trecho retirado do release do curso de extens\u00e3o universit\u00e1ria sobre Dan\u00e7a de Rua da Universidade Estadual de Campinas (UNICAMP), que apresenta os diferentes estilos das dan\u00e7as urbanas como sendo (street dance): Funk, Rocking, Locking, Popping, Breaking, Hip Hop Dance, House Dance, Dance Hall e Krump; assim como as suas subdivis\u00f5es.<\/span><\/p>\n

[2] Incluo nessa nomenclatura desde aqueles autodidatas, perpassando por estudiosos que lidam com a reprodu\u00e7\u00e3o de t\u00e9cnicas de dan\u00e7a em escolas, grupos e cias de dan\u00e7a, at\u00e9 intelectuais vinculados \u00e0 academia. Trata-se da compreens\u00e3o de um formato de evento onde pessoas que possuem forma\u00e7\u00f5es distintas e espec\u00edficas, interferiram historicamente em m\u00faltiplas formas de dan\u00e7a, cada qual com suas historicidades e peculiaridades, mas que receberam avalia\u00e7\u00f5es, recomenda\u00e7\u00f5es, sugest\u00f5es de pessoas que est\u00e3o muito aqu\u00e9m de compreender o significado de suas dan\u00e7as.<\/span><\/p>\n

[3] Ao investigar o processo de constru\u00e7\u00e3o e consolida\u00e7\u00e3o das dan\u00e7as urbanas no territ\u00f3rio norte-americano, o processo \u00e9 similar ao ocorrido no Brasil at\u00e9 meados da d\u00e9cada de 1980. A diferen\u00e7a se fez quando um grupo de praticantes daquele pa\u00eds conseguiu organizar e codificar passos, gestos, posturas, um padr\u00e3o de movimenta\u00e7\u00e3o, dado reconhecimento e legitimidade via registro escrito e audiovisual aos seus primeiros praticantes. Tornando palp\u00e1vel perceber o processo de constru\u00e7\u00e3o de suas dan\u00e7as. Fato este que n\u00e3o ocorreu no Brasil, n\u00e3o disp\u00f4s de amparo acad\u00eamico, midi\u00e1tico, intelectual para forjar o alicerce em que se assentavam as nossas diversas formas de usos e apropria\u00e7\u00f5es, que formava e expressava-se esteticamente como outra.<\/span><\/p>\n

Dancing greeting, dear friends.<\/span><\/p>\n

As few may know, I am a researcher of popular culture and its transformations in urban environments, focusing on dance. However I always had reservations about publicizing my research in virtual spaces, because it is a format in which the discussions seem hurried and often not so useful in terms of deepening debates about complex themes that are thrown into the virtual world and treated in a superficial and simplistic manner. Given this panorama, idan\u00e7a is currently the most flexible portal, coherent with our artist\u2019s endeavors. That said, it makes sense and I think it is beneficial for such space to publicize our reflections, events and news about dance.<\/span><\/p>\n

I firmly believe that many choose to format and synthesize their research so that they become viable in a digital format as a way to spread their own work. On the other hand, we usually deal with individuals that do little or no research, but unload their crooked and not-so-well-grounded \u201ctheories\u201d in our already troubled and tense dance field.
\nThus, I have always adopted in my short career in dance a political stance of not inserting my reflections acquired through research in web pages, given that they are issues that cannot be condensed in three or four pages. In other words, this text is more a preoccupation, a diagnosis and a political statement about street dance and not a reflection based on theoretical-methodological study.<\/span><\/p>\n

This text is about the existence of a University Extension Course about \u201cUrban Dance\u201d that took place at Campinas State University (UNICAMP) in the second semester of 2009 and was conducted by Cia. Eclipse, represented by Professor Ana Cristina Ribeiro Silva along with Professor Holly Elizabeth Cavrell (USA). The occurrence of this course left me ambiguously surprised when I realized its program proposed \u201ca theoretical and practical approach in which we will study and research different urban dance styles\u201d.<\/span><\/p>\n

On one hand it is interesting to realize there is a wide practice of urban dances in all of its ramifications in all of Brazil, which legitimizes the fact that its dancers are teaching academics linked to higher education institutions \u2013 even if they don\u00b4t take into account their use, which can range from the mere reproduction through future classes in which these people will use this material for scenic interventions in which codes taken from street dance are imploded or manipulated in other languages, which we historically agree to group under the same slippery nomenclature – sometimes too specific, sometimes to broad \u2013 called contemporary dance. Both are viable and feasible in different levels.<\/span><\/p>\n

On the other hand, once we look closely to the course about street dance, we can see the great embarrassment and lack of knowledge about the historical process that forged street dances throughout the last two decades and a half in Brazil. How so? In the middle of the 1980\u2019s Brazilian society started to experience a particular and local phenomenon that later became known as street dance. Since the first appearances, such dancing cultural manifestation worked as a dialogue dynamic with multiple body references like: Funk, Soul, Jazz Dance and Break (there are some that prefer to speak of contamination). It is worth stressing that such medium have African origins, but was modified in the territory currently known as the United States of America.<\/span><\/p>\n

However, access to those references comes in a fragmented and non-structured way though mass media outlets and gesture exchanges through observations in parties in the outskirts of Brazilian cities. The problem is: in the national landscape there were people who started this practice in an appropriate way, creating a peculiar aesthetics, in which different references of movement, thought, experiences, gestures and social recognition through dance were mixed. This new form of dance became known because of the competitive festivals circuit already in the end of the 1980\u2019s. This space crucially interfered in the formatting and legitimization of what would be street dance in Brazil. By the way, the street dance nomenclature wasn\u00b4t established by the dancers, but by \u201cspecialists\u201d: curators, jurors and all the people who were always actively present in those festivals.<\/span><\/p>\n

During the 1990\u2019s a group from the city of Santos emerged and provided a formula to what would become \u201cthe\u201d street dance. Again, those who engender and consolidate this model are not those who practice it, but the \u201cspecialists\u201d, who gradually provide through awards, propositions and invitations the foundations for an \u201cacceptable\u201d street dance, one closer to the most traditional Eastern dance patterns.<\/span><\/p>\n

After this moment, a group of people coming from street dance emerged and started to occupy the places where aesthetic legitimation is provided for street dance, carrying out courses, lectures, workshops, performance and mainly being judges in competitive festivals. Reinforcing even more the \u201cmainstream\u201d street dance.<\/span><\/p>\n

This process created a double discontent: both \u201cspecialists\u201d and street dancers turned against this closed format of what street dance in Brazil should be. There was a mutual need, a search to make possible the renovation of this form of dance in our national territory. However, the lack of studies, research, understanding of the cultural appropriation process, mediation, re-signification, incorporation by both parts, prevented the perception of the process that had been taking place since the beginning of the 1980\u2019s, making the use of North American \u201cnew models\u201d comfortable, lazy and viable. Virtual \u201cKorans\u201d of urban dances, where nomenclatures, tutorials, formatted, closed and liable to be reproduced. We invite its \u201cmessias\u201d, we praise their \u201csaints\u201d, we open space for its Brazilian \u201capostles\u201d to preach the holy word of hip hop. How beautiful it is to see Freestyle, New School, Krump, B.boying, Locking, Popping, everything well organized and well finished. Now we are theoretically and bodily grounded to offer a university extension course.<\/span><\/p>\n

I believe this new formatting of street dance in Brazil is highly valid. What troubles me is that we paradoxically alienate from the process the people who actually managed to produce a hybrid from these external references, who far from reproducing a model, created other forms of expression dealing with these codes. Individuals who effected very rich appropriations in their bodies in which instead of being a juxtaposition of recognizable names and movements from specific dances, produces multiple bodies, with thousands of possibilities.<\/span><\/p>\n

For those who complained about the \u201cmainstream\u201d of the 1990\u2019s, it\u00b4s about time to review their concepts about urban dances, because they are not in foreign unanimities. At a certain point in our path we \u201cgave up\u201d something we built to adopt, assimilate and glorify North American urban dance standard as \u201cauthentic\u201d. We must stop watching the performances of the groups that are currently around in the Brazilian scene. What we have are models that must be followed closely. Otherwise, the artist is bound to fail within the street dance logic operating nowadays.<\/span><\/p>\n

We must pay a little more attention to the form and its production, circulation, broadcast processes, but above all, the appropriation process. How people use this information coming from outside the national territory, before even trying to frame them into strictly formal demands. The same way we deal with micro forms of disciplining there is another micro practice carried out in the social environment, in which the common men use this information, creating thousands of ways to make.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A partir da cria\u00e7\u00e3o do curso de extens\u00e3o em Dan\u00e7as Urbanas na Unicamp, Rafael Guarato discute os caminhos da dan\u00e7a de rua no Brasil. Leia e comente.<\/p>\n","protected":false},"author":218,"featured_media":13422,"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":[1387,997],"yoast_head":"\nDan\u00e7as urbanas: algumas para se pensar | Urban dances: something to think about -<\/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\/dancas-urbanas-algumas-para-se-pensar\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dan\u00e7as urbanas: algumas para se pensar | Urban dances: something to think about -\" \/>\n<meta property=\"og:description\" content=\"A partir da cria\u00e7\u00e3o do curso de extens\u00e3o em Dan\u00e7as Urbanas na Unicamp, Rafael Guarato discute os caminhos da dan\u00e7a de rua no Brasil. 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