{"id":13512,"date":"2009-12-17T17:47:33","date_gmt":"2009-12-17T20:47:33","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13512"},"modified":"2010-02-05T15:38:50","modified_gmt":"2010-02-05T18:38:50","slug":"7x7-a-bandeira-que-nao-e-branca","status":"publish","type":"post","link":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/","title":{"rendered":"7×7 – A bandeira que n\u00e3o \u00e9 branca | 7×7 – The flag is not white"},"content":{"rendered":"

Aqui est\u00e1 o segundo texto\u00a0 da s\u00e9rie 7X7,<\/strong> em que convido jovens artistas a escreverem suas vis\u00f5es sobre os trabalhos de outros artistas \u2013 neste caso, os programados na segunda edi\u00e7\u00e3o do Festival Contempor\u00e2neo de Dan\u00e7a<\/a>, realizado em novembro, em S\u00e3o Paulo. O intuito \u00e9 o de criar uma a\u00e7\u00e3o sin\u00e9rgica instigando a an\u00e1lise cr\u00edtica e sens\u00edvel sobre a arte da dan\u00e7a por novos artistas que crescem dentro dela. Sheila Ribeiro.<\/em><\/span><\/p>\n

Rafael Alvarez por Mariah Polati <\/strong><\/span><\/p>\n

Apresentando-se na Galeria Olido<\/em>, dentro do Festival Contempor\u00e2neo de Dan\u00e7a<\/em>, Rafael Alvarez mostra seu espet\u00e1culo Fatigues<\/em><\/strong>, que vem questionar o estere\u00f3tipo do masculino associado a uma imagem que carrega a ideia de poder, domina\u00e7\u00e3o, for\u00e7a e autoridade. Para isso, Rafael se contamina com o elemento camuflagem, onde o t\u00edtulo de sua obra revela o caminho tra\u00e7ado pelo dan\u00e7arino: \u201cfatigues\u201d \u00e9 um termo utilizado em ingl\u00eas para definir qualquer vestimenta militar.<\/span><\/p>\n

Utilizando-se da institui\u00e7\u00e3o militar como base de seu trabalho, ele trata da identidade de g\u00eaneros, propondo associar a esse universo militar os modelos do masculino e tamb\u00e9m do feminino que, nesta institui\u00e7\u00e3o, se d\u00e3o de forma \u00fanica.<\/span><\/p>\n

O jogo entre o esconder e o revelar est\u00e1 presente durante todo o espet\u00e1culo, no qual os modelos e lugares de poder s\u00e3o desconstru\u00eddos. Mas, apesar da camuflagem estar t\u00e3o fortemente presente, o corpo, durante a apresenta\u00e7\u00e3o, vai destacando-se e o que parecia se camuflar e se integrar \u00e0quele todo, come\u00e7a a se destacar.<\/span><\/p>\n

Rafael assume o papel ou o personagem do soldado, que permanece durante todo o espet\u00e1culo mesmo transparecendo outras figuras em meio \u00e0quela j\u00e1 consolidada. O material que ele utiliza para a sua coreografia parte da hierarquia do corpo, que est\u00e1 engessado e sob controle. Seus movimentos s\u00e3o expl\u00edcitos e representativos, expondo bem o que quer comunicar. \u00a0Utilizando-se, inicialmente, de gestos \u201cuniversalmente\u201d conhecidos como militares – o caminhar, ou melhor, o marchar, o correr, o \u201csaudar\u201d \u2013 e propondo, ao longo do espet\u00e1culo, uma quebra com esse padr\u00e3o de movimento, come\u00e7a a desfazer repentinamente esses gestos s\u00f3lidos, retos, uniformes e geom\u00e9tricos, transformando-os, al\u00e9m de grandiosos e espalhados, mergulhados numa aparente tentativa de sair desse ritmo estabelecido no come\u00e7o do trabalho. Mas, essa tentativa n\u00e3o se torna uma realiza\u00e7\u00e3o porque, apesar de reorganizar seu corpo a sair desse mundo cubista, continua contido e forte.<\/span><\/p>\n

Por estar dentro de um festival de dan\u00e7a contempor\u00e2nea, pode-se definir que a dan\u00e7a de Rafael \u00e9, portanto, contempor\u00e2nea. Mas, como definir uma arte com, ent\u00e3o, esse defini\u00e7\u00e3o? A arte contempor\u00e2nea se d\u00e1 no n\u00e3o uso de vocabul\u00e1rio pr\u00e9vio, por\u00e9m, esses modos se acomodaram, criando, assim, um vocabul\u00e1rio. Isso parece ser uma irreversibilidade evolutiva, pois estabiliza o campo que define a produ\u00e7\u00e3o, mostrando o que \u00e9 relevante e desej\u00e1vel. A dan\u00e7a contempor\u00e2nea se transforma num \u201cbal\u00e9 de repert\u00f3rio\u201d (KATZ, 2009), onde os gestos ocupam o lugar de passos. Portanto, apesar dela nascer da necessidade de n\u00e3o utilizar vocabul\u00e1rio, acabou criando uma forma pr\u00f3pria, ou seja, uma linguagem que permanece independente do tema utilizado em qualquer espet\u00e1culo.<\/span><\/p>\n

Isso faz com que se observe a similaridade nas apresenta\u00e7\u00f5es, mesmo que feitas em pa\u00edses diferentes, por pessoas diferentes, com forma\u00e7\u00f5es bem distintas, como acontece no Festival Contempor\u00e2neo de Dan\u00e7a<\/em>, onde sua proposta \u00e9 unir pessoas de diversas nacionalidades e culturas, criando um interc\u00e2mbio entre elas.<\/span><\/p>\n

Cultura \u00e9 o conjunto de bens simb\u00f3licos e rela\u00e7\u00f5es de bens de uma comunidade, incluindo tudo, o expl\u00edcito e impl\u00edcito, o consciente e o inconsciente. A estrutura social \u00e9 a divis\u00e3o entre privado e p\u00fablico, emin\u00eancia de uma viol\u00eancia pol\u00edtica. \u201cA cultura n\u00e3o pode ser vista como um projeto acumulativo na dire\u00e7\u00e3o de um coroamento linear no futuro, mas como uma rede de conex\u00f5es entre s\u00e9ries, cuja for\u00e7a de fric\u00e7\u00e3o e engaste ressalta a no\u00e7\u00e3o de processos dentro de uma estrutura\u201d (JOSE AM\u00c1LIO PINHEIRO, 2007). Isso implica pensar em como a separa\u00e7\u00e3o geogr\u00e1fica que fazemos, territorializando pa\u00edses, estados e cidades, n\u00e3o faz completo sentido, sendo que esses todos \u2013 CEP \u2013 e quem os habita, j\u00e1 nasceram do que \u00e9 impuro, da mistura.<\/span><\/p>\n

Ao colocar um assunto e um tema que \u00e9 reconhecido pelo mundo inteiro, ou pelo menos por grande parte dele, como esse universo fardado, Rafael trata da territorializa\u00e7\u00e3o e da desterritorializa\u00e7\u00e3o?<\/span><\/p>\n

Devemos nos questionar, aqui, que qualquer posicionamento j\u00e1 \u00e9 pol\u00edtico, por assim tomarmos conhecimento do lugar de discurso; como, por exemplo, \u00e9 o espet\u00e1culo Fatigues<\/em><\/strong>, que, mesmo n\u00e3o sendo assumidamente pol\u00edtico, se coloca para os que assistem em determinada posi\u00e7\u00e3o, que, apenas por isso, j\u00e1 se faz politizada. A pr\u00f3pria imagem camuflada pela vestimenta militar pode ser considerada provocativa a muitos, onde o desconstruir das imagens durante seu espet\u00e1culo vem colocar for\u00e7a na concep\u00e7\u00e3o de identidade, uma vez que permanece na tentativa de desfazer o estere\u00f3tipo do militar como sendo o masculino bruto<\/span><\/p>\n

Enquanto isso, olhando pra fora… <\/strong><\/span><\/p>\n

O Festival<\/em> diz, no seu programa, contribuir com a democratiza\u00e7\u00e3o cultural ao oferecer ingressos gratuitos. Mas \u00e9 suficiente n\u00e3o se pagar para ver um espet\u00e1culo, para se participar de um processo desses? Deve-se pensar, ent\u00e3o, na necessidade de uma democratiza\u00e7\u00e3o cultural e tamb\u00e9m de uma pol\u00edtica de acesso, onde n\u00e3o basta se produzir meios para acontecer essa acessibilidade; j\u00e1 que quem n\u00e3o tem acesso n\u00e3o o tem apenas \u00e0 cultura, mas \u00e0 educa\u00e7\u00e3o, entre muitas outras coisas. Como pensar, nesse caso, em expandir esse mercado para atingir mais pessoas, se o questionamento deve ser mais amplo?<\/span><\/p>\n

Estamos, ainda, num certo campo de concentra\u00e7\u00e3o simb\u00f3lico, promovido por uma defini\u00e7\u00e3o de que o valor de uso \u00e9 menor que o valor de troca, ou seja, a necessidade \u00e9 condicionada pelo que ela vale. Esse sistema prioriza a produ\u00e7\u00e3o e n\u00e3o a quest\u00e3o de para quem ela vai servir.<\/span><\/p>\n

Je suis tr\u00e8s fatigu\u00e9…<\/em><\/strong><\/span><\/p>\n

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

Al\u00e9m de trazer o sentido que define como qualquer uniforme militar, \u201cfatigues\u201d pode significar cansa\u00e7o, e podemos traduzir essa palavra para o portugu\u00eas fatigar. Talvez n\u00e3o o seja proposital, ou assim o artista veio a pensar, mas al\u00e9m do aspecto da roupa camuflada, o cansar-se est\u00e1 presente na obra, e podemos fazer uma refer\u00eancia novamente \u00e0 institui\u00e7\u00e3o militar, onde cansar n\u00e3o se faz muito presente no discurso.<\/span><\/p>\n

A apresenta\u00e7\u00e3o de Fatigues<\/strong><\/em> condiz com seu programa, uma vez que seu trabalho capta exatamente aquilo que descreve seu release. Mas isso se deu por haver um distanciamento, vendo o que existe no espet\u00e1culo ou o que foi criado veio representar essa descri\u00e7\u00e3o de sua obra?<\/span><\/p>\n

Giorgio Agamben prop\u00f5e que para ser contempor\u00e2neo n\u00e3o se pode ser muito inserido na \u00e9poca em que est\u00e1, e deve-se ter certo distanciamento, pois sem isso, \u00e9 poss\u00edvel ver o que existe, mas n\u00e3o se consegue desenvolver habilidades para reconhecer essa exist\u00eancia. Talvez possamos olhar para esse existir de uma obra com a vis\u00e3o desse fil\u00f3sofo, se tornando aquele que \u00e9 inatual, no sentido de n\u00e3o estar apropriado e n\u00e3o coincidir com o seu tempo, ao mesmo tempo que nesse deslocamento \u00e9 capaz de perceber e aprender seu tempo.<\/span><\/p>\n

Durante todo o espet\u00e1culo permanece tocando ao fundo uma m\u00fasica meio f\u00fanebre, com uma corneta ou algum instrumento do tipo, que toca incessantemente a mesma melodia, parecida com um hino de morte de guerra, aqueles que tocam nos funerais.<\/span><\/p>\n

Rafael quebra com esse padr\u00e3o musical, terminando sua obra com \u00c1guas de mar\u00e7o<\/a><\/em>, de Tom Jobim e Elis Regina, com a qual ele se prop\u00f5e a desconfigurar seus movimentos, dando-lhes um sentido de aprisionamento e ao mesmo tempo uma tentativa de mudan\u00e7a, como as \u00e1guas batendo nas pedras, mas acaba por finalizar voltando \u00e0 posi\u00e7\u00e3o do soldado. Seria isso um sinal de desist\u00eancia, de uma n\u00e3o esperan\u00e7a para uma transforma\u00e7\u00e3o nessa situa\u00e7\u00e3o discutida?<\/span><\/p>\n

Mariah Rahal Polati \u00e9 graduanda do curso Comunica\u00e7\u00e3o das Artes do Corpo na PUC-SP.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: 7×7 – Tudo o que voc\u00ea sempre quis saber<\/a><\/span><\/p>\n

7×7 – Dan\u00e7ando para al\u00e9m da porta<\/a><\/span><\/p>\n

7×7 – Armazenamento de energia para quem…<\/a>
\n<\/span><\/p>\n

Here is the second text of the series 7X7, in which I invite young artists to write their reflections about the work of other artists \u2013 in this case, those programmed at the second edition of Festival Contempor\u00e2neo de Dan\u00e7a<\/a>, held in November in S\u00e3o Paulo. The idea is to create a synergetic action instigating sensitive a critical analysis of the art of dance by young artists that are growing within it. Sheila Ribeiro.<\/em><\/span><\/p>\n

Rafael Alvarez by Mariah Polati <\/strong><\/span><\/p>\n

Performing at Galeria Olido, within Festival Contempor\u00e2neo de Dan\u00e7a, Rafael Alvarez presents his show Fatigues<\/strong><\/em>, which questions the male stereotype associated with an image that carries the idea of power, domination, force and authority. For that, Rafael is contaminated with the camouflage element, in which the title of the piece reveals the path traced by the dancer: \u201cfatigue\u201d is an English term used to define any military clothing. <\/span><\/p>\n

Making use of the military institution as foundation for his work, he deals with gender identity, proposing to associate this military universe with male and also female patterns that take place in a single way in this institution. <\/span><\/p>\n

The game between hiding and revealing is present during the whole show, in which the models and places of power are deconstructed. But, despite the fact that camouflage is so strongly present, during the presentation, the body is highlighted and what seemed to be camouflaged and integrated to the whole, starts to stand out. <\/span><\/p>\n

Rafael takes on the role or the character of the soldier that remains during the whole show, even if he discloses other figures amidst the one that was already consolidated. The material he uses for his choreography starts from the hierarchy of the body, that is plastered and under control. His movements are explicit and representative, well exposing what he wants to communicate. Initially using gestures that are \u201cuniversally\u201d known as military \u2013 the walk, or better yet, the marching, running, \u201csaluting\u201d \u2013 throughout the show he proposes a rupture with this pattern of movement, he starts to deconstruct these solid, upright, uniform, geometric gestures, transforming them, besides being grandiose and scattered, submerged in an apparent attempt to get out of this rhythm established in the beginning of the show. But this attempt does not fulfill itself because although it reorganizes his body to leave this cubist world, it continues to be constricted and strong. <\/span><\/p>\n

Because it is within a contemporary dance festival, it can be defined that Rafael\u2019s dance is, therefore, contemporary. But how to define an art form with this definition, then? Contemporary art takes place in not using a previously existence vocabulary, however these practices settled, thus creating a vocabulary. This seems to be an evolutionary irreversibility, for it stabilizes the field that defines production, displaying what is relevant and desirable. Contemporary dance becomes \u201crepertoire ballet\u201d (KATZ, 2009), in which gestures replace steps. Therefore, although it is born out of the need to not use a vocabulary, it ended up creating a formula of it own, meaning, a language that keeps independent from the theme used in any show. <\/span><\/p>\n

That brings to attention the similarity in the presentations, even if they are created in different countries, by different people, with very distinct backgrounds, as it happens in Festival Contempor\u00e2neo de Dan\u00e7a, whose proposal is to bring together people from different nationalities and cultures, creating exchange among them.<\/span><\/p>\n

Culture is the group of symbolic goods and relationships within a community, including everything, explicit and implicit, conscious and unconscious. Social structure is the division between private and public, eminence of political violence. \u201cCulture cannot be seen as a accumulative project towards linear crowning in the future, but as a network of connections between series, whose friction and embedment strength highlights the idea of process within a structure\u201d (JOSE AM\u00c1LIO PINHEIRO, 2007). This implies thinking about how the geographic separation we create, territorializing countries, states and cities, doesn\u00b4t make complete sense, since all of them and those who inhabit them are already born out of what is impure, of mixture. <\/span><\/p>\n

By placing a subject and a theme that is recognized by the entire world, or at least a large part of it, as a universe in uniform, does Rafael deal with territorialization and deterritorialization?<\/span><\/p>\n

Here we should question ourselves about the fact that any position is already political, for we acknowledge the place of speech; for instance, even if the show Fatigues is not admittedly political, it takes a position before those who watch it that is already politicized. The very image camouflaged by the military clothes can be considered provocative by many, in which the deconstruction of the images during the show strengthens the conception of identity, since it remains in the attempt to undo the stereotype of the military as being the rough male. <\/span><\/p>\n

Meanwhile, looking outside…<\/strong><\/span><\/p>\n

It says in program that festival contributes to cultural democratization by offering free entrance. But is it enough not paying to watch a show, to take part in a process like this one? So, we must think about the need for cultural democratization and also an access policy, in which it\u00b4s not enough to produce conditions for accessibility to take place, since those who don\u00b4t have access to culture also don\u00b4t have access to education, among many other things. In this case, how to think about expanding this market to reach more people if the questioning should be broader? <\/span><\/p>\n

We are still in a kind of symbolic concentration camp, brought by a definition that the value of use is smaller than the exchange value, meaning, the necessity is conditioned by what it\u00b4s worth. This system prioritizes production and not the issue of whom it\u00b4ll serve. <\/span><\/p>\n

Je suis tr\u00e8s fatigu\u00e9…<\/strong><\/span><\/p>\n

Besides bringing the meaning that defines any military clothes, \u201cfatigues\u201d can also mean weariness and we can also translate the word to Portuguese as \u201cfatigar<\/em>\u201d, which means to tire, to wear out. Maybe it was not intentional, or the artist thought so, but beyond the aspect of the camouflaged clothes, tiredness is also present in the piece and we can again make a reference to the military institution, in which tiredness is not very present in its discourse. <\/span><\/p>\n

The presentation of Fatigues<\/strong><\/em> matches its program, since the piece captures exactly what is described in its press release. But did that happen because there is a detachment, seeing what exists in the show or what was created has come to represent this description of the piece? <\/span><\/p>\n

Giorgio Agamben proposes that in order to be contemporary one can\u00b4t be too inserted in their time and there must be some detachment, because without that it\u00b4s possible to see what exists, but it\u00b4s not possible to develop abilities to acknowledge this existence. Maybe we can look at the existence of a piece from this philosopher\u2019s point of view, becoming that which is uncurrent, in the sense of not being appropriated and not coincide with time, at the same time this displacement to be able to perceive and to apprehend our time. <\/span><\/p>\n

During the whole show a kind of gloomy music is playing in the background, with a trumpet or trumpet-like instrument that incessantly plays the same melody that sounds like a war death anthem, like those played in funerals. <\/span><\/p>\n

Rafael breaks with this musical pattern, ending his piece with the song \u00c1guas de mar\u00e7o, by Tom Jobim and Elis Regina, in which they propose to un-configure their movement giving them a sense of imprisonment and at the same time an attempt of change, like water hitting stones, but ends up retuning to the position of the soldier. Would that be a sign of desistance and not hope for transformation in the situation being debated?<\/span><\/p>\n

Mariah Polite is a graduate student in Communication of the Arts of the Body, at PUC-SP<\/strong><\/span><\/p>\n

Read also: Everything you wanted to know<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O idan\u00e7a publica o segundo texto da s\u00e9rie 7×7, que confronta jovens artistas no palco e na cr\u00edtica. Agora, Mariah Polati escreve sobre o trabalho do artista portugu\u00eas Rafael Alvarez. Deixe sua opini\u00e3o.<\/p>\n","protected":false},"author":1812,"featured_media":13513,"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":[49,28],"tags":[3531,2891,1491],"yoast_head":"\n7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -<\/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\/7x7-a-bandeira-que-nao-e-branca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -\" \/>\n<meta property=\"og:description\" content=\"O idan\u00e7a publica o segundo texto da s\u00e9rie 7x7, que confronta jovens artistas no palco e na cr\u00edtica. Agora, Mariah Polati escreve sobre o trabalho do artista portugu\u00eas Rafael Alvarez. Deixe sua opini\u00e3o.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2009-12-17T20:47:33+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2010-02-05T18:38:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2009\/12\/7x7fatigues_texto-mariah-polati.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"500\" \/>\n\t<meta property=\"og:image:height\" content=\"313\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mariah Polati\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mariah Polati\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"14 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/\",\"url\":\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/\",\"name\":\"7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2009-12-17T20:47:33+00:00\",\"dateModified\":\"2010-02-05T18:38:50+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/67131c81c29a7dd7e430d38c3a4ea478\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"7×7 – A bandeira que n\u00e3o \u00e9 branca | 7×7 – The flag is not white\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/67131c81c29a7dd7e430d38c3a4ea478\",\"name\":\"Mariah Polati\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/ff0911cf940edd82dfb1cac3be8d20f8?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/ff0911cf940edd82dfb1cac3be8d20f8?s=96&d=mm&r=g\",\"caption\":\"Mariah Polati\"},\"url\":\"https:\/\/idanca.net\/author\/mariahpolati\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/","og_locale":"pt_BR","og_type":"article","og_title":"7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -","og_description":"O idan\u00e7a publica o segundo texto da s\u00e9rie 7x7, que confronta jovens artistas no palco e na cr\u00edtica. Agora, Mariah Polati escreve sobre o trabalho do artista portugu\u00eas Rafael Alvarez. Deixe sua opini\u00e3o.","og_url":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2009-12-17T20:47:33+00:00","article_modified_time":"2010-02-05T18:38:50+00:00","og_image":[{"width":500,"height":313,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2009\/12\/7x7fatigues_texto-mariah-polati.jpg","type":"image\/jpeg"}],"author":"Mariah Polati","twitter_misc":{"Escrito por":"Mariah Polati","Est. tempo de leitura":"14 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/","url":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/","name":"7x7 - A bandeira que n\u00e3o \u00e9 branca | 7x7 - The flag is not white -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2009-12-17T20:47:33+00:00","dateModified":"2010-02-05T18:38:50+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/67131c81c29a7dd7e430d38c3a4ea478"},"breadcrumb":{"@id":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/7x7-a-bandeira-que-nao-e-branca\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"7×7 – A bandeira que n\u00e3o \u00e9 branca | 7×7 – The flag is not white"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/67131c81c29a7dd7e430d38c3a4ea478","name":"Mariah Polati","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/ff0911cf940edd82dfb1cac3be8d20f8?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/ff0911cf940edd82dfb1cac3be8d20f8?s=96&d=mm&r=g","caption":"Mariah Polati"},"url":"https:\/\/idanca.net\/author\/mariahpolati\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/13512"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/1812"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=13512"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/13512\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/13513"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=13512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=13512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=13512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}