{"id":13699,"date":"2010-01-21T17:49:28","date_gmt":"2010-01-21T20:49:28","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13699"},"modified":"2010-01-25T18:05:34","modified_gmt":"2010-01-25T21:05:34","slug":"china-unmade-i-dance-em-varios-sistemas-especial-hong-kong","status":"publish","type":"post","link":"https:\/\/idanca.net\/china-unmade-i-dance-em-varios-sistemas-especial-hong-kong\/","title":{"rendered":"CHINA unMADE: I dance em v\u00e1rios sistemas – especial Hong Kong | CHINA unMADE: I dance in many systems – Hong Kong especial"},"content":{"rendered":"

Sheila Ribeiro\/dona orpheline est\u00e1 trabalhando em Nanjing, na China, pelos pr\u00f3ximos seis meses. De l\u00e1, ela vai relatar suas experi\u00eancias e observa\u00e7\u00f5es da cultura local como correspondente do idan\u00e7a<\/strong>. <\/em><\/span><\/p>\n

\u201cUm pa\u00eds, dois sistemas\u201d \u00e9 o slogan de tens\u00e3o que integra e desintegra Hong Kong da mainland China<\/em>, onde o movimento de centro econ\u00f4mico e comercial – teoricamente mais capitalista do que a China teoricamente comunista – permeia a realidade.<\/span><\/p>\n

Nesse contexto, Mandy Yim <\/strong>e Victor Ma Choi Wo<\/strong>, diretores do y-space<\/a>, dirigem e produzem respecticamente o I-Dance 2009 \u2013<\/em> Festival of Solo & Improv<\/em>, em uma 2\u00aa edi\u00e7\u00e3o de 2 semanas (bem diferente da 1\u00aa edi\u00e7\u00e3o de 2 dias).<\/span><\/p>\n

Apoiado pelo Hong Kong Jockey Club Performing Arts Venue<\/em>, levemente patrocinado pelo Hong Kong Arts Development Council <\/em>e enquanto Victor Ma vende camisetas e programas deste festival, i-dance <\/em>prop\u00f5e um olhar sobre solos e improvisa\u00e7\u00e3o<\/strong>, trazendo tamb\u00e9m conversas com os artistas, v\u00eddeos de dan\u00e7a, workshops e performances site especific<\/em>.<\/span><\/p>\n

I-dance <\/em>preza orgulhosamente pelo seu principal sujeito e nome: \u201cI\u201d (eu). Com a perspectiva de que, mais do que pregui\u00e7a, a tecnologia traga possibilidades, este festival \u201cI\u201d<\/span><\/p>\n

\u00e9 proje\u00e7\u00e3o de I<\/strong>pod, I<\/strong>phone, I<\/strong>nven\u00e7\u00e3o (Eu-pode? Eu-fone? Eu-inven\u00e7\u00e3o?). Um I<\/strong><\/em> <\/strong>como independ\u00eancia e individualidade \u2013 na ambi\u00e7\u00e3o de uma ode \u00e0 subjetividade.<\/span><\/p>\n

Os dispositivos dos corpos tecnol\u00f3gicos s\u00e3o tamb\u00e9m parte do que constitui os \u201ceus\u201d, tornando o \u201csi mesmo\u201d (ou os si-mesmos) poss\u00edvel em uma das cidades de maior densidade demogr\u00e1fica do mundo. I-dance<\/em> ainda preza pelo contexto I<\/strong>nternacional, de I<\/strong>ntera\u00e7\u00e3o com ambiente e audi\u00eancia e com um foco especial, carinho e respeito pelo ato de I<\/strong>mprovisar. Essa plataforma de trocas compartilha um trabalho criativo e pol\u00edtico sem querem limitar-se em um estilo.<\/span><\/p>\n

Assim, o I-dance<\/em> de Hong Kong (a pol\u00eamica tamb\u00e9m China e n\u00e3o China), apresenta uma s\u00e9rie de solos de uma dezena de artistas. Talentos potentes e m\u00faltiplos que, mesmo impossibilitando a categoriza\u00e7\u00e3o, s\u00e3o tamb\u00e9m bailarinos-core\u00f3grafos-criadores-int\u00e9rpretes (termos que eu insisto em citar por um respeito \u00e0 dan\u00e7a e \u00e0 maneira em que cada artista possa e queira se apresentar). Este festival convida \u201cpessoas \u00fanicas\u201d, desmistificando o clich\u00ea da \u201cmassa chinesa\u201d naquele contexto, pois que estes artistas est\u00e3o baseados em bem mais do que dois sistemas, ou melhor dizendo, em bem outros sistemas…<\/span><\/p>\n

Entre esses \u201cIs\u201d <\/em>potentes e flutuantes est\u00e3o Pichet Klunchun (Tail\u00e2ndia), Yumi Umiumare<\/a> (Jap\u00e3o), Ku Ming-shen (Taiwan), al\u00e9m de Nunu Kong e Li Ning (China) \u2013 para cujos trabalhos vou dedicar um texto espec\u00edfico em breve.<\/span><\/p>\n

Trazendo \u00e0 tona ess\u00eancias da dan\u00e7a khon tradicional tailandesa (que eu n\u00e3o imagino o que seja e que n\u00e3o vou fazer descri\u00e7\u00e3o de wikipedia<\/em>) e o que de contempor\u00e2neo o seu ser manifesta, Pichet Klunchun<\/strong> traz a beleza da turbul\u00eancia e da poss\u00edvel organiza\u00e7\u00e3o de sua m\u00eddia de exist\u00eancia em I am a Demon<\/em><\/strong>.<\/em> Concentrado, rigoroso, impec\u00e1vel, doce, preciso, macio e masculino, Pichet dan\u00e7a em uma dan\u00e7a delicada, frontal e aparentemente demonstrativa, como quem conta uma hist\u00f3ria (que \u00e9 onde meu conhecimento se limita). Dentro dos 4 personagens da dan\u00e7a Khon, ele escolhe ser o dem\u00f4nio. Deixando claro, ou abstrato, que \u201c\u00e9\u201d e que \u201cvem de\u201d sensibilidades e aprendizados de si e de um contexto. Essa consci\u00eancia vis\u00edvel em seu corpo o faz um indiscut\u00edvel homem lindo e elegant\u00edssimo no qual respira\u00e7\u00e3o e t\u00f4nus fazem entender o que significa estar em cena e ser interm\u00e9dio de est\u00e9tica e conhecimento.<\/span><\/p>\n

Em Reverse World<\/em><\/strong>, <\/em>Yumi Umiumare <\/strong>torna-se parte das pinturas digitais projetadas, <\/strong>entrando no que se revela e se esconde nas manifesta\u00e7\u00f5es de vida, de morte e do ap\u00f3s morte. O que \u00e9 mais curioso no trabalho de Yumi, no entanto, \u00e9 que enquanto dan\u00e7arina de Butoh, organiza o original conceito de \u201ccabar\u00e9-butoh\u201d trazendo \u00e0 tona um trabalho forte e estranhamente acess\u00edvel onde a caricatura \u00e9 muitas vezes porta de entrada para uma profundidade ps\u00edquica de desespero, solid\u00e3o, mundo social e mundo noturno (relembrando constantemente a obscuridade que perpassa a beleza banal do cotidiano).<\/span><\/p>\n

\n
\"Victor<\/a>

Victor Ma e Mandy Yim \/ Foto divulga\u00e7\u00e3o <\/p><\/div>\n<\/div>\n

J\u00e1 Ku Ming-shen <\/strong>dan\u00e7a e s\u00f3. Ela traz em sua dan\u00e7a as mais meticulosas nuances do estar no presente. Em uma improvisa\u00e7\u00e3o constante, o tocar \u00e9 o que se evidencia. Suas m\u00e3os a tocam constantemente: cabelos, pernas, tronco… E esse tocar dialoga, impulsiona, participa ou finaliza sequ\u00eancias e pontua\u00e7\u00f5es de movimento com languidez, prazer e precis\u00e3o. A dan\u00e7a que faz Ming-shen <\/strong>\u00e9 daquelas mais dif\u00edceis de se falar, onde um corpo pequeno e magro preenche a sala com volume e sua proje\u00e7\u00e3o energ\u00e9tica psicof\u00edsica esculpe a dan\u00e7a em True reality<\/em><\/strong>. Uma dan\u00e7a herm\u00e9tica (sutil e forte) e de extrema cinestesia, talvez mais acess\u00edvel para quem dan\u00e7a, aprende dan\u00e7a ou j\u00e1 educou um olhar participante.<\/span><\/p>\n

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

Os v\u00eddeos de dan\u00e7a apresentados por Constance Vos<\/a> <\/strong>fazem parte do festival Cinedans <\/strong>(Holanda).\u00a0 Her morning elegance<\/em><\/strong><\/a> <\/em>(Oren Lavie\/Israel) e As I was leaving my city<\/em><\/strong> <\/em>(Amirali Navaii\/Iran) s\u00e3o simplesmente fant\u00e1sticos.<\/span><\/p>\n

Jams de improvisa\u00e7\u00e3o<\/strong> aconteceram praticamente todos os dias do festival onde, em meio a muito p\u00e9 descal\u00e7o, Victor Ma<\/strong> e Mandy Yim <\/strong>(foto 2) improvisam com artistas convidados, al\u00e9m dos artistas da dan\u00e7a (vindos tamb\u00e9m da Austr\u00e1lia, Canad\u00e1 e Holanda), m\u00fasicos e videoartistas. Ali a improvisa\u00e7\u00e3o se situava entre vocabul\u00e1rios codificados do contact improvisation<\/em> e um desejo de pesquisa pr\u00e1tica, art\u00edstica e de estilo de vida. Buscavam timing<\/em>, estar no momento, alargar sentidos, relacionar-se (com outros, com o espa\u00e7o e com si mesmo), aceitar o erro, o acidente, o imprevis\u00edvel e desenvolver a capacidade de adapta\u00e7\u00e3o sem ter que antecipar o futuro. Enfim, um jogo infinito de aten\u00e7\u00e3o do solo em diferentes sistemas.<\/span><\/p>\n

Sheila Ribeiro\/dona orpheline \u00e9 artista em dan\u00e7a contempor\u00e2nea, novas m\u00eddias, publicidade e cinema. Interessada pelas din\u00e2micas de poder, trata tens\u00f5es p\u00f3s-coloniais, ilus\u00e3o, deslocamento e desejo na comunica\u00e7\u00e3o contempor\u00e2nea, trabalhando sempre em tr\u00e2nsito. Faz duo com seu marido, o antrop\u00f3logo Massimo Canevacci Ribeiro. Colabora tamb\u00e9m com Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, entre outros.<\/strong><\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is working in Nanjing, China, for the next six months. She will report on her experiences and observations about the local culture as a correspondent for idan\u00e7a.<\/em><\/span><\/p>\n

\u201cOne country, two systems\u201d is the slogan of tension that integrates and disintegrates Hong Kong from mainland China, where the movement of the economic and commercial center theoretically more capitalist than the theoretically communist China permeates reality.<\/span><\/p>\n

In this context, Mandy Yim<\/strong> and Victor Ma Choi Wo<\/strong>, directors of y-space<\/a>, respectively direct and produce I-Dance 2009 \u2013 Festival of Solo & Improv<\/em>, in its two-week-long 2nd edition (very different from the two-day 1st edition).<\/span><\/p>\n

Supported by the Hong Kong Jockey Club Performing Arts Venue<\/em>, lightly sponsored by Hong Kong Arts Development Council<\/em> and while Victor Ma sells this festival\u2019s t-shirts and program, I-dance<\/em> proposes a look at solos<\/strong> and improvisations<\/strong>, also bringing conversations with the artists, dance videos, workshops and site-specific performances.<\/span><\/p>\n

I-dance<\/em> proudly values its main subject and name: \u201cI\u201d. With the perspective that, more than laziness, technology brings possibilities, this \u201cI\u201d festival being a projection of I<\/strong>pod, I<\/strong>phone, I<\/strong>nvention. An I<\/strong> as Independence and Individuality \u2013 in ambition for an ode to subjectivity.<\/span><\/p>\n

The devices of technological bodies are also part of what constitutes the many \u201cI\u201d, making \u201coneself\u201d (or oneselves) possible in the reality of one of the cities with the highest demographic density in the world. I-dance also values the I<\/strong>nternational context, of I<\/strong>nteraction with the environment and the audience and with a special focus, affection and respect for the act of I<\/strong>mprovising. This exchange platform shares a creative and political work without limiting itself to only one style.<\/span><\/p>\n

Thus, I-dance<\/em> from Hong Kong (the controversial China and non-China) also presents a series of solos from dozens of artists. Powerful and multiple talents that, even making categorization impossible, are also Dancers-Choreographers-Creators-Performers (terms I insist in naming in respect for a certain dance tradition and for the way in which each artist could and wishes to present himself). This festival invites \u201cunique people\u201d, demystifying the \u201cChinese mass\u201d clich\u00e9, for these artists are based on a lot more than two systems, or better yet, in other systems\u2026<\/span><\/p>\n

Among these powerful and floating I<\/em>s are Pichet Klunchun (Thailand), Yumi Umiumare<\/a> (Japan), Ku Ming-shen (Taiwan), besides Nunu Kong and Li Ning (China) \u2013 about whom I will soon dedicate a specific text.<\/span><\/p>\n

Bringing out the essence of the traditional Thai Khon dance (which I have no idea what is and won\u2019t write a Wikipedia description about) and what his being expresses as contemporary, Pichet Kluchun<\/strong> brings the beauty of turbulence and of the possible organization of his existence media in I am a demon<\/em><\/strong>. Focused, rigorous, impeccable, sweet, precise, soft and masculine, Pichet dances in a very delicate dance, frontal and apparently demonstrative, like someone telling a story (which is as far as my knowledge goes). Out of the 4 characters of the Khon dance, he chooses to be the demon. Making clear, or abstract, that he \u201cis\u201d and \u201ccomes from\u201d sensibilities and learning about oneself and a context. This awareness is visible in his body and makes him an unarguably handsome and elegant man in whom breathing and tonus enable an understanding of what it means to be on stage and to be a medium for aesthetics and knowledge.<\/span><\/p>\n

In Reverse World<\/em><\/strong>, Yumi Umiumare<\/strong> becomes part of projected digital paintings and goes into what reveals and hides manifestations of life, death and after death. However, what is most curious about Yumi\u2019s work is that, as a Butoh dancer, she had created the original concept of \u201cButoh-Cabaret\u201d bringing out a strong and weirdly accessible work, in which caricature is often an entrance door for a psychic depth of despair, loneliness, social world and nocturne world (constantly reminding us that obscurity pervades the trivial beauty of daily life).<\/span><\/p>\n

\n
\"Victor<\/a>

Victor Ma e Mandy Yim \/ Foto divulga\u00e7\u00e3o <\/p><\/div>\n<\/div>\n

Ku Ming-shen<\/strong> only dances. In her dance, she brings the most meticulous nuances of being in the present. In a constant improvisation, the touch is what stands out. Her hands touch her constantly: hair, legs, torso\u2026 and this touch dialogues, propels, participates or finalizes sequences and movements punctuations with sensuality, pleasure and precision. The dance Ming-shen<\/strong> does is one those that are most difficult to talk about, in which a small and slim body fills the room with volume and energetic psycho-physical projection sculptures the dance in True reality<\/em><\/strong>. A hermetic dance (subtle and strong) and with extreme kinesthesia, maybe more accessible for those who dance, are learning dance or have already trained a participating look.<\/span><\/p>\n

The dance videos presented by Constance Vos<\/a> are part of Cinedans<\/strong> festival (Holland). Her morning elegance<\/em><\/strong><\/a> (Oren Lavie\/Israel) and As I was leaving my city<\/em><\/strong> (Amirali Navaii\/Iran) are just fantastic.<\/strong><\/span><\/p>\n

Improvisations jams<\/strong> took place almost every day of the festival in which, amidst many bare feet, Victor Ma<\/strong> and Mandy Yim<\/strong> improvise with invited artists, besides dance artists (also coming from Australia, Canada and Holland), musicians and videoartists. There, the improvisation is situated among codified vocabularies of contact improvisation and a desire for practical, artistic and lifestyle research. They were searching for timing, being in the moment, widening senses, relating (to each other, to the environment and with themselves), accepting mistake, accident, unpredictable and developing the ability to adapt without having to anticipate future. Ultimately, an infinite game of attention on what a \u201csolo\u201d could became in so many different systems.<\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is a contemporary dance, new medias, advertisement and cinema artist. Interested in power dynamics, she deals with issues of post-colonial tensions, illusion, displacement and desire, always working in transit. She forms a duo with her husband, anthropologist Massimo Canevacci Ribeiro. She also collaborates with Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, among others.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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