{"id":13850,"date":"2010-02-03T17:42:29","date_gmt":"2010-02-03T20:42:29","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13850"},"modified":"2010-03-17T19:10:29","modified_gmt":"2010-03-17T22:10:29","slug":"7-x-7-armazenamento-de-energia-para-quem","status":"publish","type":"post","link":"https:\/\/idanca.net\/7-x-7-armazenamento-de-energia-para-quem\/","title":{"rendered":"7 x 7 – Armazenamento de energia para quem… | 7×7 Energy storage for who…"},"content":{"rendered":"

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

Segue um olhar sobre o trabalho da artista Tamara Cubas, no quarto texto da s\u00e9rie 7X7<\/strong>, na qual 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> Festival Contempor\u00e2neo de Dan\u00e7a <\/a><\/em>(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. Convido todos os leitores a comentarem, refletirem, participarem… Isso ajuda a\u00a0 alimentar este projetinho que quer falar e escrever sobre a dan\u00e7a. Sheila Ribeiro.<\/em><\/span><\/p>\n

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

Tamara Cubas por Arthur Moreau<\/strong><\/span><\/p>\n

A pe\u00e7a ATP<\/em><\/strong>, da uruguaia Tamara Cubas, que \u00e9 uma das artistas a se apresentar no 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea de S\u00e3o Paulo, investiga motivos e posi\u00e7\u00f5es assumidas ao estar em cena. Essas s\u00e3o suas moedas de energias po\u00e9ticas, numa analogia \u00e0 ATP, que \u00e9 um nucleot\u00eddeo respons\u00e1vel pelo armazenamento de energia em suas liga\u00e7\u00f5es qu\u00edmicas dos seres com atividade metab\u00f3lica. Metabolismo \u00e9 o conjunto de transforma\u00e7\u00f5es<\/a> que as subst\u00e2ncias qu\u00edmicas<\/a> sofrem no interior dos organismos<\/a> vivos. Assim, os tr\u00eas dan\u00e7arinos, Mariana Marchesano, Miguel Jaime e Santiago Turenne, transportam suas energias aos v\u00e1rios eventos laboratoriais pr\u00e9-estabelecidos, como se estabelecer parados em pontos diferentes do palco; ser manipulado, em rod\u00edzio, pelos outros dois colegas da pe\u00e7a; fazer diferentes sobreposi\u00e7\u00f5es dos corpos; arrastar os microfones pelo ch\u00e3o; encostar os microfones de modos e locais diversos nos corpos. O quanto cada um est\u00e1 vestido com a composi\u00e7\u00e3o do seu figurino em cada a\u00e7\u00e3o, em cada cena, \u00e9 outra variante. Cubas demonstra aqui um projeto de metapesquisa: uma apresenta\u00e7\u00e3o conclu\u00edda de uma pesquisa com o tema pesquisa.<\/span><\/p>\n

Tudo o que se \u00e9 experenciado comunica. Isso \u00e9, todo corpo sofre os contatos com os signos do mundo. Muitos desses sofreres causam diferen\u00e7as insignificantes. A arte, ainda mais a contempor\u00e2nea, se prop\u00f5e a causar diferen\u00e7as que fa\u00e7am a diferen\u00e7a.<\/span><\/p>\n

Em ATP<\/em><\/strong>, os corpos s\u00e3o eficientes nas suas movimenta\u00e7\u00f5es desinteressadas, no sentido de serem realizados sem finalidade proposital, mais ou menos assim como fazem os fen\u00f4menos da natureza. Sofrer as investiga\u00e7\u00f5es das propostas gen\u00e9ricas por Cubas pode instaurar quest\u00f5es amplas. Isso comunga com o visual do cen\u00e1rio, que \u00e9 composto por paredes e piso brancos. \u00c9 uma est\u00e9tica que voltou a ser reconstru\u00edda com frequ\u00eancia nos \u00faltimos anos na dan\u00e7a, como nas pe\u00e7as (Not) A Love Song<\/em><\/strong> (2007), do franc\u00eas Alain Buffard, e Desvio para o Vermelho<\/em><\/strong> (2009), da brasileira Carmen Gomide. Faz alus\u00e3o ao conceito, que foi configurado no meio da museologia e das artes pl\u00e1sticas, do cubo branco<\/em>, cujo conceito foi inaugurado em 1929, na cria\u00e7\u00e3o do edif\u00edcio atual do MoMA (Museu de Arte Moderna de Nova York), projetado pelos arquitetos Philip Goodwin e Edwarda Stone, e se intensificou na d\u00e9cada de 50. \u00c9 o pensamento ideol\u00f3gico de que um dado objeto dentro de um espa\u00e7o branco estaria muito mais prop\u00edcio a ser observado porque estaria neutro em rela\u00e7\u00e3o a outros fatores. Sob outro aspecto, isso causa um contraste se se considerar as possibilidades instigantes de deslocar nexos de sentidos, de modo vertiginoso, da pe\u00e7a para outras dramaturgias do corpo. Tradu\u00e7\u00e3o essa movida com a curiosidade e o interesse como os de um arque\u00f3logo ao encontrar um artefato antigu\u00edssimo, j\u00e1 sem nenhuma utilidade cultural original e sem valor financeiro claro.<\/span><\/p>\n

As pessoas em cena t\u00eam que construir energias provenientes da constru\u00e7\u00e3o dos seus pr\u00f3prios movimentos. Essa \u00e9 uma regra sugerida por ATP<\/em><\/strong> ao fazer\/dizer de uma dan\u00e7a. Ou seja, mesmo que a ela fa\u00e7a recortes e\/ou di\u00e1logos com outras formas de conhecimento, ela deve se renovar com as suas especificidades, e que tamb\u00e9m s\u00e3o transit\u00f3rias, porque s\u00e3o elas suas principais for\u00e7as. E essa renova\u00e7\u00e3o acontece de modo ativo. Assim, ela \u00e9 uma usina dela mesma: gera energia a partir da qual ela mesma utilizou.<\/span><\/p>\n

Cubas presenteou \u00e0 dan\u00e7a paulista sua pesquisa mobiliz\u00e1vel. Nela, as a\u00e7\u00f5es cujo capital inicial, que s\u00e3o suas inten\u00e7\u00f5es e sua argumenta\u00e7\u00e3o, e suas decorrentes transforma\u00e7\u00f5es carregam seu pr\u00f3prio impulso e est\u00edmulos. Se a classe tem muito a pleitear, deve pesar muito valor em cada uma das etapas das dramaturgias pol\u00edticas de modo coreografado. Por esse modo, as suas individualidades devem se submeter a favor do interesse que a arte tem para elas e que pode ter melhor a v\u00e1rias mais.<\/span><\/p>\n

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

Desligamentos e liga\u00e7\u00f5es na dan\u00e7a<\/strong><\/span><\/p>\n

A realiza\u00e7\u00e3o concomitante de dois eventos importantes da dan\u00e7a paulista foi um dado sintom\u00e1tico no meio. A 3\u00ba Bienal de Dan\u00e7a realizada pelo SESC Santos, com apresenta\u00e7\u00f5es tanto na pr\u00f3pria unidade quanto em outros pontos da cidade, aconteceu do dia 3 a 10 de novembro. E, a 82 km de dist\u00e2ncia, entre os dias 5 e 15 de novembro, tamb\u00e9m ocorreu o 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea de S\u00e3o Paulo, na Galeria Olido. Ambos os eventos amadureceram em rela\u00e7\u00e3o \u00e0s suas edi\u00e7\u00f5es anteriores. O de Santos, na amplitude de possibilidades de palcos, na visibilidade da programa\u00e7\u00e3o e na quantidade de op\u00e7\u00f5es de pe\u00e7as. O da Galeria Olido, na concep\u00e7\u00e3o geral e na coer\u00eancia e qualidade dos artistas convidados.<\/span><\/p>\n

Tomando como refer\u00eancia a capital paulista desde o come\u00e7o da d\u00e9cada de 2000, houve um salto do lastro cultural da dan\u00e7a, com a intensifica\u00e7\u00e3o dos encontros dos seus profissionais entre si, do aumento ano a ano de seu n\u00famero, com o surgimento de faculdades, de mais escolas e de eventos. Entretanto, ao mesmo tempo, essa maior movimenta\u00e7\u00e3o ainda n\u00e3o se transformou numa converg\u00eancia para uma agenda emancipadora de tarefas. Alguns problemas urgentes em comum j\u00e1 foram identificados por uma parte daqueles. \u00c9 precisar continuar nisso e desenvolver a\u00e7\u00f5es de mobiliza\u00e7\u00e3o. Principalmente frente \u00e0 Secretaria de Cultura do Estado de S\u00e3o Paulo, que trata a dan\u00e7a paulista de modo autorit\u00e1rio, impondo projetos sem di\u00e1logo com representantes da \u00e1rea, e cuja prioridade, a Cia. de Dan\u00e7a de S\u00e3o Paulo \u00e9, em muitos sentidos, assaz equivocada e deslocada. Ora, a movimenta\u00e7\u00e3o da dan\u00e7a paulista, na sua evolu\u00e7\u00e3o hist\u00f3rica, \u00e9 fortemente inclinada e prop\u00edcia a tipos de dan\u00e7as diferentes da praticada por aquela. Contudo, o ponto mais intrigante \u00e9 que a cia. oficial do Estado tem um suporte financeiro anual de mais de R$ 13 milh\u00f5es, enquanto todos os outros grupos ou artistas da dan\u00e7a que fazem carreira solo s\u00f3 podem pleitear, ou seja, disputar nos editais, juntos, ao governo do Estado, menos da metade desse valor. E ela ainda deve ganhar, de acordo com um projeto recentemente contestado por uma a\u00e7\u00e3o p\u00fablica, uma cede luxuosa no bairro paulistano da Luz. Regi\u00e3o essa que est\u00e1 sofrendo uma revitaliza\u00e7\u00e3o para tornar-se um local que receba a classe alta.<\/span><\/p>\n

A pol\u00edtica cultural vigente \u00e9 uma n\u00e3o pol\u00edtica cultural. Tratar e conduzir as manifesta\u00e7\u00f5es e a\u00e7\u00f5es art\u00edsticas como mercadorias industriais de consumo fragilizam, de modo gigantesco, o vigor das suas fun\u00e7\u00f5es sociais. As pessoas da dan\u00e7a s\u00e3o parceiras do Estado nessa incongruente dial\u00e9tica que caminha com inc\u00f4moda tranquilidade.<\/span><\/p>\n

O 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea se manifestou, principalmente, na mod\u00e9stia. Vislumbrou para um \u00fanico pequeno lugar o pequeno e cativo p\u00fablico desse coletivo de g\u00eanero. Aquele trouxe para suas pe\u00e7as, encontros e workshops, artistas e\/ou pesquisadores com significativas experi\u00eancias de carreiras, oriundos da Am\u00e9ricas Latina ou Europa e de Marraquexe (Marrocos), o pioneiro Taoufiq Izeddiou. Essa legitima\u00e7\u00e3o \u00e9 uma assinatura. Marcelo Evelin e Adriana Grecchi labutam, h\u00e1 anos, por algumas fun\u00e7\u00f5es dentro da dan\u00e7a. \u00c9 de grande import\u00e2ncia, assim como no exemplo deles com o festival, que a dire\u00e7\u00e3o art\u00edstica de um evento art\u00edstico seja de responsabilidade de pessoas \u00edntimas da arte em quest\u00e3o. Tal pol\u00edtica e o seu h\u00e1bito est\u00e3o, na capital paulista ao menos, come\u00e7ando a fundamentar essa sua obviedade.<\/span><\/p>\n

No mesmo modo, uma a\u00e7\u00e3o com muita apar\u00eancia de h\u00e1bito. Contudo, esse caso \u00e9 devido tamb\u00e9m a outras condi\u00e7\u00f5es do que s\u00f3 pela postura curadora. Por exemplo, as regi\u00f5es ou na\u00e7\u00f5es que costumam n\u00e3o ter representantes em festivais de arte em S\u00e3o Paulo continuam dadas como se fossem quase que totalmente heterog\u00eaneas. A complexidade cultural pode se desenvolver em qualquer pa\u00eds seja ele pobre ou n\u00e3o, distante ou n\u00e3o, pouco conhecido ou n\u00e3o. E isso inclui estados do pr\u00f3prio Brasil. Essa pol\u00edtica com teor p\u00f3s-colonialista \u00e9 encontrada aqui no pa\u00eds numa outra, por\u00e9m parecida, propor\u00e7\u00e3o na maioria dos contemplados dos editais estatais e dos favorecidos pelas ren\u00fancias fiscais (cinicamente nomeadas como \u201cpatroc\u00ednios\u201d) das empresas. Todavia, tamb\u00e9m s\u00e3o poucos os lugares em que se estruturou um conhecimento e campo de pesquisa das quest\u00f5es e inc\u00f4modos contempor\u00e2neos na dan\u00e7a. Os corpos dela constroem, com suas energias armazenadas e liga\u00e7\u00f5es qu\u00edmicas, seus locais pensando de modo cr\u00edtico e pol\u00edtico.<\/span><\/p>\n

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

A express\u00e3o \u201ccubo branco\u201d (White Cube) foi criada por Brian O’Doherty e usada para definir o museu moderno. Para saber mais consultar o livro dele sobre o assunto: No Interior do Cubo Branco; a ideologia do espa\u00e7o da arte, <\/em>publicado pela Martins Fontes (2002).<\/span><\/p>\n

Arthur Moreau \u00e9 bacharel em Comunica\u00e7\u00e3o das Artes do Corpo (PUC-SP) e p\u00f3s-graduando em Y\u00f4ga (UGF-SP). Integrante da Cia. Depois do Inc\u00eandio.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: 7×7 – Quando se desprendem as partes?<\/a>
\n<\/span><\/p>\n

7×7 – Uma discuss\u00e3o das frestas entre realidade e arte<\/a>
\n<\/span><\/p>\n

7\u00d77 \u2013 Corpo em resigna\u00e7\u00e3o<\/a><\/span><\/p>\n

7\u00d77 \u2013 Dan\u00e7ando para al\u00e9m da porta<\/a><\/span><\/p>\n

7\u00d77 \u2013 A bandeira que n\u00e3o \u00e9 branca<\/a><\/span><\/p>\n

7\u00d77 \u2013 Tudo o que voc\u00ea sempre quis saber<\/a><\/span><\/p>\n


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

Here is a reflection about the work of Tamara Cubas,the fourth 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><\/em>, 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. I invite all readers to comment, reflect, participate\u2026 This helps to feed this little project intending to speak and write about dance. Sheila Ribeiro.<\/em>
\n<\/span><\/p>\n

Tamara Cubas bt Arthur Moreau<\/strong><\/span><\/p>\n

The piece ATP<\/em><\/strong>, created by Uruguayan Tamara Cubas, one of the artists who participated in the 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea de S\u00e3o Paulo, investigates motives and positions that are assumed on stage. These are her coins of poetic energy, in an analogy with ATP, a nucleotide responsible for energy storage in chemical connections in creatures with metabolic activity. Metabolism is the set of transformations<\/a> chemical compounds<\/a> undergo inside living organisms<\/a>. Thus, the three dancers, Mariana Marchesano, Miguel Jaime and Santiago Turenne, transport their energy to several pre-established laboratorial events, such as remaining still in different points of the stage; taking turns being handled by the other two castmates; making different juxtapositions of the bodies; dragging the microphone through the floor; placing the microphone against in different places of the bodies, in different ways. How much each one is dressed with their costumes in each action, in each scene, is another variant. Here, Cubas demonstrates a metaresearch project: a presentation concluded from a research with research as its subject.
\n<\/span><\/p>\n

Everything that is experienced communicates. That means that every body is affected by the signs of the world. Many of these affections cause insignificant differences. Art, contemporary above all, proposes to cause differences that make a difference.
\nIn ATP<\/em><\/strong>, the bodies are efficient in their uninterested movements, in the sense of being carried out without a deliberate purpose, more or less like natural phenomena. Being affected by the investigations of Cubas\u2019 generic proposals can establish broad questions. This communes with the stage settings appearance, which is composed by white walls and floor. It\u00b4s an aesthetic that has been often reconstructed in the last years, such as in Alain Buffard\u2019s (Not) A Love Song<\/em><\/strong> (2007), and Carmen Gomide\u2019s Desvio para o Vermelho<\/em><\/strong> (2009). It alludes to the idea, configured in the fields of museology and plastic art, of the white cube, whose concept was debuted in 1929, during the construction of MoMA\u2019s current building, designed by architects Philip Goodwin and Edwarda Stone and intensified in the 50\u2019s. It is the ideological thinking that a given object inside a white space would be much more suitable to be observed because it would be neutral regarding other factors. From another angle, this causes a contrast if the instigating possibilities of vertiginously shifting meaning nexus are considered, from the play to other dramaturgies of the body. This translation is moved by the curiosity and interest like that of an archeologist finding a very old artifact, already without any original cultural purpose and without financial value.
\n<\/span><\/p>\n

The people on stage must build energies coming from the construction of their own movement. This is the rule suggested by ATP<\/em><\/strong> in making and speaking about a dance. It means that even if she makes cuts and\/or dialogues with other kinds of knowledge, she must renew herself with her specificities, which are also fleeting because they are her main strength. And this renewal takes place in an active way. Thus, it is a power plant of herself: she generates energies from that which she used herself.
\n<\/span><\/p>\n

Cubas gifted the dance of S\u00e3o Paulo with her mobilizable research. The initial capital of the research\u2019s actions, which is her intentions and her argumentation, and the resulting transformations carry their own impulses and stimulus. If the category has much to demand, it must place a lot of value on each of the steps of the choreographed political dramaturgy. Thus, their individualities must submit in favor of the interest art has for them and that can better have many more. <\/span><\/p>\n

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

Disconnections and connections in dance<\/strong><\/span><\/p>\n

The concomitant occurrence of two important events for dance in S\u00e3o Paulo was a symptomatic fact. The 3\u00ba Bienal de Dan\u00e7a produced by SESC Santos, with performances both in the unit and in others spots around the city, took place from December 3 to 10. And, 82km away, between November 5 and 15, the 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea de S\u00e3o Paulo, also took place at Galeria Olido. Both events matured in comparison to their previous editions. The one in Santos, in the amplitude of stage possibilities, in the program\u2019s visibility and in the amount of options of pieces. The one at Galeria Olido, in the general conception and in the coherence and quality of the invited artists.
\n<\/span><\/p>\n

Taking the capital of S\u00e3o Paulo since the beginning of the 2000\u2019s as reference, there has been an increase in dance\u2019s cultural basis, with intensification of meetings among professionals, the increase of its number year by year, with the establishment of colleges, of more schools and events. However, at the same time, this bigger movement still hasn\u00b4t transformed into convergence towards an emancipatory agenda of tasks. Some urgent common problems have already been identified by some of them. It is necessary to keep this up and to develop mobilization actions. Mainly against the State of S\u00e3o Paulo Culture Office, which deals with dance in an authoritarian way, imposing projects without dialogue with representatives of the community and whose main priority, Cia. de Dan\u00e7a de S\u00e3o Paulo is, in many ways, rather misguided and misplaced. The dance movement in S\u00e3o Paulo, in its historical evolution, is strongly inclined and favorable to kinds of dances that are different from that. However, the most intriguing point is that the State\u2019s official company has an annual financial support that amounts to more than R$ 13.000.000,00, while the other groups or artists that have solo careers in dance can only plead, or compete for a grant from the government of less than half that amount, altogether. And it will also probably get, according to a project recently opposed by public action, a luxurious building in the Luz district. This region is undergoing revitalization to become a place suitable to receive the upper class.
\n<\/span><\/p>\n

The current cultural policy is not a cultural policy. Dealing with and conducting artistic manifestations and actions as if they were industrial commodities hugely weakens the power of their social role. Dance people are partners of the state in this contradictory dialectic that goes on with disturbing tranquility.
\n<\/span><\/p>\n

The 2\u00ba Festival de Dan\u00e7a Contempor\u00e2nea expressed itself mainly through modesty. It glimpsed in one little place the small and loyal audience for this gender. It brought to its pieces, meeting and workshops, artists and\/or researchers with significant career experiences, coming from Latin America or Europe and from Marrakesh, Marrocco, came pioneer Taoufiq Izeddiou. This legitimation is a signature. Marcelo Evelin and Adriana Grecchi have been struggling for years for some issues within dance. It is very important, just like in their example in the Festival, that the artistic direction of an artistic event is under the responsibility of people intimate to the art concerned. Such policy and its habits are, at least in the city of S\u00e3o Paulo, starting to ground this obviousness.
\n<\/span><\/p>\n

Likewise, an action with the appearance of habit. However, this case is also due to conditions other than the curatorial attitude. For example, the regions or nations that are not usually represented in S\u00e3o Paulo\u2019s art festivals are still regarded as being almost completely heterogeneous. The cultural complexity can develop in any country, be it poor or not, distant or not, well-known or not. And that includes states in Brazil itself. This policy with post-colonialist overtones can be found in the country in another, but similar, proportion of projects awarded by the state\u2019s funding programs and those favored by tax rebates (cynically called \u201csponsorships\u201d) of companies. Nevertheless, there are also few places in which knowledge and research fields about dance\u2019s contemporary issues and problems. Its bodies construct, with its stored energies and chemical connections, their places thinking in a critical and political way.
\n<\/span><\/p>\n

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

The expression \u201cWhite Cube\u201d was created by Brian O\u00b4Doherty and is used to define the modern museum. To learn more, consult his book about the subject: Inside the White Cube: The Ideology of the Gallery Space. <\/span><\/p>\n

Arthur Moreau has a degree in Communication of the Arts of the Body from PUC-SP, is a post-graduate student in Yoga at UGF-SP and member of Cia. Depois do Inc\u00eandio. <\/strong><\/span><\/p>\n

Read also: 7\u00d77 \u2013 Dancing beyond the door<\/a><\/span><\/p>\n

7\u00d77 \u2013 The flag is not white <\/a><\/span><\/p>\n

7\u00d77 \u2013 Everything you always wanted to know<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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