{"id":13587,"date":"2010-01-07T16:07:29","date_gmt":"2010-01-07T19:07:29","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13587"},"modified":"2010-03-23T15:37:33","modified_gmt":"2010-03-23T18:37:33","slug":"7x7-dancando-para-alem-da-porta","status":"publish","type":"post","link":"https:\/\/idanca.net\/7x7-dancando-para-alem-da-porta\/","title":{"rendered":"7×7 – Dan\u00e7ando para al\u00e9m da porta | 7×7 – Dancing beyond the door"},"content":{"rendered":"

Este terceiro <\/em>tex<\/em>to traz Taoufiq Izeddiou por Andr\u00e9ia Nhur. Na s\u00e9rie<\/em> <\/em>7X7,<\/em><\/strong> <\/em> 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<\/em> <\/em>Festival Contempor\u00e2neo de Dan\u00e7a (novembro 2009, 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.<\/em> O primeiro <\/em>tex<\/em>to foi sobre legenda diet<\/strong> (Sheila Ribeiro por Bruno Freire), em seguida Mariah Polati escreveu sobre A bandeira que n\u00e3o \u00e9 branca<\/strong>, de Rafael Alvarez. Boa leitura! Sheila Ribeiro.<\/em><\/span><\/p>\n


\n<\/span><\/p>\n

Alicer\u00e7ado nos pontos nodais que problematizam os bin\u00f4mios centro-periferia, individualidade-coletividade e inclus\u00e3o-exclus\u00e3o, o marroquino Taoufiq Izeddiou pede que olhemos para al\u00e9m da \u201cporta\u201d.<\/span><\/p>\n

Taoufiq \u00e9 nativo de Marraquexe e tem origem gnawa. Licenciado em arquitetura, teve experi\u00eancias com teatro, boxe, futebol e artesanato e, depois, ingressou na dan\u00e7a contempor\u00e2nea. Circulando por diversos pa\u00edses da \u00c1frica e da Europa, Taoufiq construiu uma forma\u00e7\u00e3o singular, deixando-se atravessar por muitas \u201ct\u00e9cnicas\u201d e modos de pensar a dan\u00e7a.<\/span><\/p>\n

Em 2001, Taoufiq criou a Anania, primeira companhia de dan\u00e7a contempor\u00e2nea do Marrocos e, em 2003, a primeira forma\u00e7\u00e3o em dan\u00e7a contempor\u00e2nea de Marraquexe, Al Mokhtabar, em colabora\u00e7\u00e3o com o Centro Coreogr\u00e1fico Nacional de Tours (Fran\u00e7a). A escola Al Mokhtabar estabeleceu-se com o objetivo de convidar pessoas a se iniciar na dan\u00e7a e criar p\u00fablico para um segmento, at\u00e9 ent\u00e3o, quase inexistente em Marraquexe.<\/span><\/p>\n

No encontro em que falou sobre sua obra, no 6\u00ba dia do Festival Contempor\u00e2neo de Dan\u00e7a <\/em>(Galeria Olido, S\u00e3o Paulo, novembro de 2009), Taoufiq metaforizou o atentado de 11 de setembro de 2001\u2014 em que dois avi\u00f5es derrubaram as torres g\u00eameas do complexo World Trade Center, em Nova Iorque \u2013 como algo que impede uma \u201cporta\u201d de ser aberta. Preocupados com a magnitude da \u201cporta\u201d, esquecemo-nos de olhar atrav\u00e9s dela, de ver o que ela abre.<\/span><\/p>\n

A met\u00e1fora da \u201cporta\u201d designa uma s\u00e9rie de rela\u00e7\u00f5es abissais (separadas por abismos) entre dentro e fora, centro e periferia, que, costumeiramente, conjugam-se como dualidades. Quando falou em \u201cporta\u201d, Taoufiq certamente n\u00e3o lan\u00e7ou um conceito cient\u00edfico, mas prop\u00f4s, poeticamente, uma discuss\u00e3o sobre rela\u00e7\u00f5es bin\u00e1rias \u2013 j\u00e1 que toda porta implica a separa\u00e7\u00e3o entre dois c\u00f4modos, ou, ao menos, entre um dentro e um fora.<\/span><\/p>\n

Na trilha das asser\u00e7\u00f5es sobre linhas de separa\u00e7\u00e3o, o soci\u00f3logo portugu\u00eas Boaventura de Sousa Santos contribui para esta an\u00e1lise ao discutir como o pensamento moderno ocidental foi e continua sendo pautado por uma l\u00f3gica abissal, perpetrada por linhas que separam este lado da linha<\/em>, do outro lado da linha<\/em>. Para Santos, as linhas cartogr\u00e1ficas abissais, que demarcavam o velho e o novo mundo, na era colonial, continuam constitutivas das rela\u00e7\u00f5es pol\u00edticas e culturais contempor\u00e2neas. (SANTOS,\u00a0 2009)<\/span><\/p>\n

Assim, dentro dessa l\u00f3gica abissal, a met\u00e1fora da \u201cporta\u201d\u2014 proposta aqui como norteadora deste texto \u2013 tra\u00e7a uma linha de separa\u00e7\u00e3o a ser aniquilada, sobre a qual toda a obra de Taoufiq parece discorrer.<\/span><\/p>\n

Um dia antes da conversa em que falou de seus processos, Taoufiq havia mostrado duas de suas obras: Danse Nord<\/em><\/strong> e Yes we can?<\/em><\/strong>.<\/span><\/p>\n

Danse Nord <\/em><\/strong>(2000) \u00e9 uma pe\u00e7a coreografada para o dan\u00e7arino Bernardo Montet por Suzan Buirge \u2013 artista que participou da companhia de Alwin Nikolais e Murray Louis entre 1963-1967. Radicado na Fran\u00e7a, Montet foi uma grande influ\u00eancia para Taoufiq e, em 2001, confiou-lhe a pe\u00e7a Danse Nord<\/em><\/strong>.<\/span><\/p>\n

A obra, inicialmente (quando criada por Suzan Buirge, em 2000), referia-se ao \u201cnorte\u201d:<\/span><\/p>\n

\u201cAlguns dizem que os antepassados encontram-se na regi\u00e3o do Grande Norte. Outros dizem que a origem do tempo encontra-se ao norte, terra de luz. E ainda outros dizem que o norte \u00e9 a cimeira da montanha. Uma vez uma amiga disse-me que sobre a costa do norte encontra-se um povo que sabe como sonhar uma dan\u00e7a\u201d (Suzan Buirge, 2000)<\/span><\/p>\n

Para um corpo que habita o hemisf\u00e9rio sul do planeta, como \u00e9 o caso de Taoufiq, outras implica\u00e7\u00f5es aparecem ao se dan\u00e7ar o \u201cnorte\u201d. Assim, a l\u00f3gica da oposi\u00e7\u00e3o revela a necessidade de se romper abismos, ou seja, de se aniquilar as separa\u00e7\u00f5es. O \u201cnorte\u201d, ent\u00e3o, aparece reconfigurado, destitu\u00eddo de sua verticalidade, desnorteado.<\/span><\/p>\n

Nessa obra, Taoufiq veste preto e branco; o piso branco \u00e9 delimitado por um quadrado sombreado ao centro; a ilumina\u00e7\u00e3o branca alterna-se com zonas de penumbra. Os movimentos desenham um corpo que reproduz formas e flu\u00eancias, irrompendo explos\u00f5es num espa\u00e7o de luz e sombra. Fora do escuro, o corpo margeia o centro sombreado, \u00e0 busca de luz. Como num jogo de bonecas russas, a estrutura do corpo incluso e, ao mesmo tempo, excluso se repete: o centro escuro delimitado pela margem clara; o corpo, vestindo preto e branco, incluindo-se e excluindo-se da luz.<\/span><\/p>\n

H\u00e1 uma intensa mobilidade entre luz e sombra, gesto e pausa, cor e n\u00e3o cor, que ferem estabilidades e desorientam as topografias congeladas do corpo, sobretudo aquelas que, convencionalmente, nos d\u00e3o a dire\u00e7\u00e3o do norte, em oposi\u00e7\u00e3o ao sul.<\/span><\/p>\n

Danse Nord<\/em><\/strong> marca o in\u00edcio da carreira de Taoufiq como dan\u00e7arino e fricciona nossa percep\u00e7\u00e3o ao parear-se com sua mais recente obra, Yes we can?<\/em><\/strong>, que, no Festival Contempor\u00e2neo de Dan\u00e7a, foi mostrada na mesma noite, logo em seguida. Por mais especulativa que seja a liga\u00e7\u00e3o entre as duas obras e o modo como esse artista descreve seu pensamento e pr\u00e1tica sobre dan\u00e7a, h\u00e1 emerg\u00eancias que insistem e que n\u00e3o podem ser ignoradas.<\/span><\/p>\n

\n
\"Taoufiq<\/a>

Taoufiq em 'Yes we can?' \/ Foto: J\u00f4nia Guimar\u00e3es<\/p><\/div>\n<\/div>\n

Em Yes, we can? <\/em><\/strong>(2009), a figura que \u201canima\u201d um micromundo de brinquedos \u2013 em que se conflitam avi\u00f5es de papel e duas pequenas torres g\u00eameas \u2013 p\u00f5e em choque sua pr\u00f3pria exist\u00eancia num espa\u00e7o em que despencam o corpo, as ideologias, a inventividade e o conv\u00edvio. Nesta pe\u00e7a, Taoufiq inicia sentado \u00e0 uma pequena mesa, vestido de preto, com um par de \u00f3culos amarelo listado. As listas parecem impedir sua vis\u00e3o. Na a\u00e7\u00e3o de dobrar e jogar avi\u00f5es de papel no p\u00fablico, Taoufiq bombardeia a audi\u00eancia, como um regulador cego de destrui\u00e7\u00f5es.<\/span><\/p>\n

No momento seguinte, uma sequ\u00eancia de quedas revela um corpo com uma qualidade explosiva e hipertrofiada. Numa viol\u00eancia agenciada pelo impacto de sua carne no ch\u00e3o, Taoufiq n\u00e3o tomba somente seu corpo, mas uma infinidade de convic\u00e7\u00f5es, conceitos e paradigmas.<\/span><\/p>\n

Ao fim, ap\u00f3s amea\u00e7ar um bombardeio \u00e0s pequenas torres, o dan\u00e7arino come, mastiga e cospe um de seus avi\u00f5es de papel, \u00e0 luz de uma tentativa frustrada de derrubar seu \u201cmini World Trade Center\u201d. Ent\u00e3o, num dueto afogado com Nina Simone (em off), Taoufiq canta \u2013 dotado de uma qualidade vocal que, por aqui, seria t\u00edpica de um aboio \u2014 e finaliza a obra com uma amarga pergunta sobre possibilidades.<\/span><\/p>\n

Nas duas pe\u00e7as, seu corpo-touro atravessa o espa\u00e7o com delicadeza de a\u00e7\u00f5es, signos e sonoridades que revelam do que sua dan\u00e7a \u00e9 feita. Uma l\u00f3gica expl\u00edcita em sua met\u00e1fora da \u201cporta\u201d: trata-se das rela\u00e7\u00f5es abissais que se interpenetram na dif\u00edcil tarefa de se fazer arte na parte sul do mundo.<\/span><\/p>\n

Fora do centro (leia-se centro-ocidente), \u00e9 costume juntar peda\u00e7os, lidar com sobras, excessos, misturas e invadir para, momentaneamente, tornar-se centro. Entre centro e periferia, \u00e9 comum fazer da \u201cporta\u201d a separa\u00e7\u00e3o que ausenta e torna inexistente o que atr\u00e1s dela habita. E disso, n\u00f3s, brasileiros, bem sabemos \u2013 ou dever\u00edamos saber.<\/span><\/p>\n

As estonteantes quedas de Taoufiq que estremeceram o solo em Yes, we can?<\/em><\/strong> s\u00e3o sintom\u00e1ticas da necessidade do tombo. H\u00e1 muros que caem, h\u00e1 torres que tombam. Mas h\u00e1 de se derrubar as \u201cportas\u201d que nos ausentam das rela\u00e7\u00f5es entre l\u00e1 (outro lado da linha<\/em>) e c\u00e1 (este lado da linha<\/em>).<\/span><\/p>\n

Bibliografia:<\/strong>
\n<\/span><\/p>\n

BUIRGE, Susan. Danse Marrakech, 2005 (www.jardinsdumaroc.com<\/a>)<\/span><\/p>\n

SANTOS, Boaventura de Sousa. Para al\u00e9m do pensamento abissal: das linhas globais a uma ecologia de saberes. In. Epistemologias do Sul<\/strong>. Santos, Boaventura de Sousa; Meneses, Maria Paulo (orgs.). Coimbra: Edi\u00e7\u00f5es Almedina SA, 2009.<\/span><\/p>\n

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

Andr\u00e9ia Nhur \u00e9 bailarina, core\u00f3grafa, atriz e pesquisadora. Doutoranda em Comunica\u00e7\u00e3o e Semi\u00f3tica pela PUC-SP, desenvolve pesquisa sobre as rela\u00e7\u00f5es de temporalidade e mem\u00f3ria na dan\u00e7a. Atualmente, desenvolve o projeto de relan\u00e7amento do grupo Pr\u00f3-Posi\u00e7\u00e3o<\/a>, ao lado de sua m\u00e3e, a core\u00f3grafa Janice Vieira. <\/strong><\/span><\/p>\n

Leia tamb\u00e9m: 7×7 – A bandeira que n\u00e3o \u00e9 branca<\/a><\/span><\/p>\n

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

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

This third text brings Taoufiq Izeddiou by Andr\u00e9ia Nhur. In the series 7X7<\/strong>, 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, 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 .The first text was about legenda Diet<\/strong><\/em>, Sheila Ribeiro by Bruno Freire and the second wasThe flag is not white<\/strong>, Rafael Alvarez by Mariah Polati. Sheila Ribeiro <\/em><\/span><\/p>\n

Based on the nodal points that problematize the binomials center-periphery, individuality-collectiveness and inclusion-exclusion, Marrocan Taoufiq Izeddiou asks us to look beyond the \u201cdoor\u201d. Taoufiq is a Marrakesh native and has gnawa origins. With a license in architecture, he had experiences with theater, boxing, soccer and handicraft and later, he took on contemporary dance. Circulating through different countries in Africa and Europe, Taoufiq built a singular training, allowing himself to be influenced by many \u201ctechniques\u201d and ways to think about dance.<\/span><\/p>\n

In 2001, Taoufiq created Anania, the first Marrocan contemporary dance company and in 2003, the first contemporary dance training in Marrakesh, \u201cAl Mokhtabar\u201d, in collaboration with the Centre Chor\u00e9grafique National de Tours (France). The \u201cAl Mokhtabar\u201d school was created with the goal of inviting people to initiate in dance and thus establish an audience for this art form, so far almost nonexistent in Marrakesh.<\/span><\/p>\n

In the meeting in which he talked about his piece, in the 6th day of Festival Contempor\u00e2neo de Dan\u00e7a<\/em> (Galeria Olido, S\u00e3o Paulo, November 2009), Taoufiq metaphorized the September 11, 2001 attack \u2013 in which two airplanes knocked down the twin towers of the World Trade Center building complex, in New York City \u2013 as something that prevents a \u201cdoor\u201d to be open. Worried with the magnitude of the \u201cdoor\u201d, we forget to look beyond it, to see what it opens to.<\/span><\/p>\n

The \u201cdoor\u201d metaphor designates a number of abyssal (separated by abyss) relationships between inside and outside, center and periphery, that are customarily combined as dualities. When he talked about a \u201cdoor\u201d, Taoufiq certainly did not launch a scientific concept, but he rather poetically proposed a discussion about binary relationships \u2013 since every door implicates a separation between two rooms, or at least, between an inside and an outside.<\/span><\/p>\n

Following the trail of assertions about separation lines, Portuguese sociologist Boaventura de Sousa Santos contributes to this analysis by discussing how modern Western thinking was and still is guided by an abyssal logic, perpetrated by lines that separate this side of the line <\/em> from the other side of the line<\/em>. For Santos, the abyssal cartographic lines that separated the old and the new world in the colonial age still constitute contemporary political and cultural relationships. (SANTOS, 2009)<\/span><\/p>\n

Thus, within this abyssal logic, the \u201cdoor\u201d metaphor \u2013 proposed as guideline to this text \u2013 traces a separation line to be annihilated, upon which Taoufiq\u2019s whole body of work seems to discuss.<\/span><\/p>\n

One day before the debate in which he talked about his process, Taoufiq had shown two of his pieces: Danse Nord<\/em><\/strong> and Yes we can?<\/em><\/strong>.
\nDanse Nord <\/em><\/strong> (2000) is a piece choreographed for dancer Bernado Montet, by Suzan Buirge \u2013 an artist who participated in the companies of Alwin Nikolais and Murray Louis between 1963-1967. Based in France, Montet was a great influence for Taoufiq and in 2001 he dedicated the piece Danse Nord<\/em><\/strong> to him.<\/span><\/p>\n

Initially (when it was created by Suzan Buirge, in 2000), the piece referred to the \u201cNorth\u201d:<\/span><\/p>\n

\u201cSome say the ancestors can be found in the region of the Great North. Others say the origin of time is in the North, land of light. Furthermore, there are some who say the North is the summit of the mountain. Once a friend told me that in the North coast there is a people that knows how to dream a dance\u201d (Suzan Buirge, 2000)<\/span><\/p>\n

For a body that inhabits the southern hemisphere of the planet, as it is Taoufiq\u2019s case, other implications come up by dancing the \u201cNorth\u201d. Thus, the opposition logic reveals the need to break abyss, to annihilate separations. So, \u201cNorth\u201d appears reconfigured, destitute of its verticality.<\/span><\/p>\n

In this piece, Taoufiq wears black and white; the white floor is delimited by a shadowed square in the center; the white lighting alternates with shadow zones. The movements draw a body that reproduces forms and flows, bursting explosions in a space of light and shadow. Out of the darkness, the body borders the shadowed center, searching for light. As in a game of Russian dolls, the structure of the included, and at the time, excluded body repeats itself: the dark center delimited by the light margin; the body, wearing black and white, including and excluding itself from the light.<\/span><\/p>\n

There is intense mobility between light and shadow, gesture and pause, color and lack of color that hurt stability and disorient the frozen topologies of the body, above all, those that conventionally, give us the direction of the North, opposing the South.
\nDanse Nord<\/em><\/strong> marks the beginning of Taoufiq\u2019s career as a dancer and grinds our perception when paired with his most recent piece, Yes we can?<\/em><\/strong>, which was presented soon after, in the same evening, at Festival Contempor\u00e2neo de Dan\u00e7a. However speculative the connection between the two pieces and the way this artist describes his thinking and practice about dance, there are emergencies that insist and cannot be ignored.<\/span><\/p>\n

\n
\"Taoufiq<\/a><\/em>

Taoufiq em 'Yes we can?' \/ Foto: J\u00f4nia Guimar\u00e3es<\/p><\/div>\n<\/div>\n

In Yes, we can? <\/em><\/strong> the image that \u201canimates\u201d a microworld of toys \u2013 in which paper planes and two small twin towers conflict \u2013 puts his own existence in shock in a space where the body, ideologies, inventiveness and togetherness tumbles. In this piece, Taoufiq begins sitting in a small table, dressed in black with a pair of striped yellow glasses. The stripes seem to block his vision. In the action of folding and throwing paper planes in the spectators, Taoufiq bombards the audience, like a blind regulator of destructions.<\/span><\/p>\n

In the following moment, a sequence of falls reveals a body with an explosive and hypertrophied quality. In a violence brought by the impact of his flesh on the ground, Taoufiq doesn\u00b4t tumble only his body, but also an infinity of convictions, concepts and paradigms.<\/span><\/p>\n

In the end, after threatening an attack on the small towers, the dancer eats, chews and spits out one of his paper places, in light of a frustrated attempt to knock down his \u201cmini-World Trade Center\u201d. So, in a drowned duet with Nina Simone (in off), Taoufiq sings \u2013 endowed with a vocal quality that, around here, would be typical of chants sung by Brazilian cowboys guiding herds of oxen \u2013 and finalizes the piece with a bitter question about possibilities.<\/span><\/p>\n

In both pieces, his ox-body goes through space, with delicacy in actions, signs and sounds that reveal what this dance is made of. This logic is explicit in his \u201cdoor\u201d metaphor: it is about abyssal relationships that interpenetrate themselves in the difficult task of making art in the Southern part of the world.<\/span><\/p>\n

Out of the center (meaning center-West), there is a custom of putting together pieces, excesses, mixtures and to invade to, momentarily, become center. Between center and periphery it is common to turn the \u201cdoor\u201d into the separation that absents and makes what is behind it inexistent. And we, Brazilians, know a lot about that \u2013 or we should know.
\nTaoufiq\u2019s stunning falls that shake the ground in Yes, we can?<\/em><\/strong> are symptoms of the need for tumbling. There are walls that fall, there are towers that fall. But what needs to be torn down are the \u201cdoors\u201d that keeps us away from relationships between there (the other side of the line<\/em>) and here (this side of the line<\/em>).<\/span><\/p>\n

Andr\u00e9ia Nhur is a dancer, choreographer, actress and researcher. Doctorate candidate in Communication and Semiology by PUC-SP, she develops research about the relationships between temporality and memory in dance. Currently, she is developing the re-launching project of group Pr\u00f3-Posi\u00e7\u00e3o, alongside her mother, choreographer Janice Vieira.<\/strong><\/span><\/p>\n

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

BUIRGE, Susan. Danse Marrakech, 2005 – www.jardinsdumaroc.com<\/a><\/span><\/p>\n

SANTOS, Boaventura de Sousa. Para al\u00e9m do pensamento abissal: das linhas globais a uma ecologia de saberes. In. Epistemologias do Sul<\/strong>. Santos, Boaventura de Sousa; Meneses, Maria Paulo (orgs.). Coimbra: Edi\u00e7\u00f5es Almedina SA, 2009.<\/span><\/p>\n

Read also: 7\u00d77 \u2013 Everything you always wanted to know<\/a><\/span><\/p>\n

7×7 – The flag is not white<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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