{"id":14262,"date":"2010-03-11T18:26:38","date_gmt":"2010-03-11T21:26:38","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=14262"},"modified":"2010-03-11T18:30:41","modified_gmt":"2010-03-11T21:30:41","slug":"danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street","status":"publish","type":"post","link":"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/","title":{"rendered":"Dan\u00e7a de rua para al\u00e9m da rua | Street-dance beyond the street"},"content":{"rendered":"

(A foto ao lado \u00e9 de Cl\u00e1udio Etges)
\n<\/em><\/span><\/p>\n

O tr\u00e2nsito entre linguagens, territ\u00f3rios e estilos de dan\u00e7a n\u00e3o \u00e9 novidade. E mais do que provocar uma crise de identidade, que me parece um fator superestimado por muitos, vem promovendo novos arranjos, experimenta\u00e7\u00f5es, combina\u00e7\u00f5es e, consequentemente, novas formas de a\u00e7\u00e3o e de afirma\u00e7\u00e3o da dan\u00e7a de rua no Rio Grande do Sul. Isso j\u00e1 vem acontecendo no Brasil e no mundo, mas aqui pelos pampas apenas recentemente essas mudan\u00e7as come\u00e7am a ser percebidas de maneira efetiva e elas v\u00eam promovendo algumas das mais inquietantes e entusi\u00e1sticas produ\u00e7\u00f5es da dan\u00e7a, especialmente nos \u00faltimos anos quatro anos.<\/span><\/p>\n

Uma das mais antigas companhias de dan\u00e7a de rua, a Hackers Crew j\u00e1 conta com 25 anos de estrada. Ela foi uma das primeiras a investir em outras vias de produ\u00e7\u00e3o. Das rodas de break dance dos anos 80, na Esquina Democr\u00e1tica (encontro de duas tradicionais ruas do cento da cidade na qual se realizam grandes celebra\u00e7\u00f5es musicais e dan\u00e7antes nas sextas-feiras \u00e0 noite), e do universo dos bailes de black music<\/em> de Porto Alegre, a cia marcou hist\u00f3ria a ser a primeira a realizar uma temporada de um espet\u00e1culo em teatro. O espet\u00e1culo O Ritmo pulsante das ruas<\/strong>(2005)<\/em> acabou dando a Ted (Odoni Borges), core\u00f3grafo e diretor da companhia, quatro indica\u00e7\u00f5es ao Pr\u00eamio A\u00e7orianos de Dan\u00e7a, nas categorias melhor bailarino, coreografia, cenografia e trilha sonora. Fato hist\u00f3rico para uma premia\u00e7\u00e3o que at\u00e9 ent\u00e3o tinha privilegiado o bal\u00e9, o jazz e a dan\u00e7a contempor\u00e2nea.<\/span><\/p>\n

Mas a Cia n\u00e3o parou por a\u00ed, brigando bravamente para manter o grupo, vem se dedicando a sua nova produ\u00e7\u00e3o Barbaridade!<\/em><\/strong> O espet\u00e1culo que teve estr\u00e9ia em novembro de 2009 mergulha na quest\u00e3o do regionalismo ga\u00facho para encontrar a interface com a dan\u00e7a de rua. E \u00e9 assim que cl\u00e1ssicos da m\u00fasica tradicionalista ga\u00facha servem de trilha sonora para coreografias de popping, locking e b-boying. Ainda que a pesquisa precise amadurecer, revela um agu\u00e7ada percep\u00e7\u00e3o cultural e promete provocar conservadores(da dan\u00e7a de rua e da cultura gauchesca) ao tensionar a cena urbana e a cena campeira, juntas no palco.<\/span><\/p>\n

Mas, se a Hackers vem bancando suas produ\u00e7\u00f5es de maneira independente e com dificuldade financeira, outros grupos vem se habilitando a financiamentos p\u00fablicos. O grupo Batida de Rua<\/em>, criado em 1997 por Carlos Nunes, que at\u00e9 2007 vinha se destacando em festivais competitivos, dos quais colecionou v\u00e1rias premia\u00e7\u00f5es, deu um novo passo. O grupo foi primeiro a encaminhar um projeto e ser aprovado no Fundo Municipal de Apoio \u00e0 Produ\u00e7\u00e3o Art\u00edstica e Cultural de Porto Alegre \u2013 FUMPROARTE . O pr\u00eamio garantiu os recursos para produ\u00e7\u00e3o do espet\u00e1culo Batida de Rua 10 anos<\/em><\/strong> que fez duas temporadas no Teatro Renascen\u00e7a e no Teatro de C\u00e2mara. Em 15 anos de financiamentos do Fundo, foi a primeira vez que um projeto de dan\u00e7a de rua foi contemplado, o que revela a disposi\u00e7\u00e3o da dan\u00e7a de rua de conquistar seu espa\u00e7o, n\u00e3o apenas f\u00edsico, nos palcos, mas tamb\u00e9m na pol\u00edtica cultural da cidade.<\/span><\/p>\n

Outra via foi seguida pelo grupo Grupo My House, que fez sua estr\u00e9ia com espet\u00e1culo hom\u00f4nimo, ocupando um dos espa\u00e7os nobres da capital, o Teatro do CIEE. As duas semanas de temporada mostraram uma produ\u00e7\u00e3o cuidadosa, profissional e um resultado coreogr\u00e1fico refinado, bem humorado e inteligente. O que rendeu ao espet\u00e1culo sete indica\u00e7\u00f5es ao Pr\u00eamio A\u00e7orianos de Dan\u00e7a, incluindo melhor espet\u00e1culo, coreografias, bailarino. Pela primeira vez a dan\u00e7a de rua tem a chance de sair com o reconhecimento da melhor produ\u00e7\u00e3o de dan\u00e7a do ano.<\/span><\/p>\n

Mas o tr\u00e2nsito da dan\u00e7a de rua vem ultrapassando tamb\u00e9m as fronteiras locais. O Art & Dan\u00e7a j\u00e1 vinha fazendo h\u00e1 alguns anos do tr\u00e2nsito entre a dan\u00e7a de rua e a dan\u00e7a contempor\u00e2nea um di\u00e1logo frut\u00edfero. O grupo j\u00e1 havia revelado esse potencial com coreografias que deram em 2007 o Pr\u00eamio de Core\u00f3grafo Revela\u00e7\u00e3o, no Festival de Dan\u00e7a de Joinville, a Eduardo Menezes. Mesmo com o afastamento de Eduardo, que vem atuando fora do RS, o grupo prosseguiu suas pesquisas j\u00e1 sendo estranhado na categoria de dan\u00e7a de rua, nos \u00faltimos anos, em festivais competitivos, por estar \u201ccontempor\u00e2neo demais\u201d. E, nesta trilha, em 2009, o Art&Dan\u00e7a foi o \u00fanico grupo ga\u00facho a ser selecionado para o Projeto Rumos Dan\u00e7a, do Ita\u00fa Cultural, de S\u00e3o Paulo, com o projeto intitulado Conseq\u00fc\u00eancia do som<\/strong>, <\/em>de Carini Pereira, Mickael Ramos, William Freitas e St\u00e9fanie Telles. (Clique aqui<\/a> para ver o blog do projeto)<\/span><\/p>\n

Ao lado desta produ\u00e7\u00e3o, iniciativas p\u00fablicas come\u00e7am perceber essa movimenta\u00e7\u00e3o. Em 2005, foi realizada a I Mostra de Dan\u00e7a de Rua de Porto Alegre<\/em>, promovida pela Secretaria Municipal da Cultura. Sem o car\u00e1ter competitivo, o evento prop\u00f5e o encontro e a troca entre os participantes. Al\u00e9m, da Mostra, os projetos de Dan\u00e7a de Domingo <\/em>e Quartas na dan\u00e7a<\/em>, j\u00e1 selecionaram espet\u00e1culos do g\u00eanero para sua programa\u00e7\u00e3o anual, com grande \u00eaxito de p\u00fablico. Ao mesmo tempo a produ\u00e7\u00e3o acad\u00eamica nos cursos de gradua\u00e7\u00e3o em dan\u00e7a (hoje s\u00e3o 5 no Estado) vem produzindo in\u00fameras e importantes reflex\u00f5es, como as produzidas nos trabalhos de conclus\u00e3o de curso por Fernando Faleiro, Carol Laner e Tassiana Rodrigues.<\/span><\/p>\n

Os grupos e companhias frente a este cen\u00e1rio v\u00eam estabelecendo novas condi\u00e7\u00f5es de organiza\u00e7\u00e3o, produ\u00e7\u00e3o e divulga\u00e7\u00e3o. Enfrentando os editais p\u00fablicos para temporadas, pr\u00eamios, leis de incentivo e financiamentos, come\u00e7am a dar novos passos. Passos que nas ruas, nos palcos e na cena cultural v\u00eam configurando um novo e bem-vindo panorama para a dan\u00e7a.<\/span><\/p>\n

The transit between dance languages, territories and styles is not new. And more than provoking an identity crisis, which seems to me a fact overestimated by many, it has been promoting new arrangements, experimentations, combinations and, consequently, new forms of action and assertion for street dance in Rio Grande do Sul. This has already been happening in Brazil and the world, but around here these changes have only recently been perceived effectively and they have been promoting some of the most startling and enthusiastic dance productions, especially in the last four years.<\/span><\/p>\n

One of the oldest street-dance companies, Hackers Crew, has already been on the Road for 25 years. It was one of the first to invest in other production alternatives. From break dance circles in the 80\u2019s, in Esquina Democr\u00e1tica (\u201cDemocratic Corner\u201d, a crossing of two traditional streets in the city\u2019s center where large musical and dancing celebrations take place on Friday nights), and in the black music party circuit, the company made history as the first to have a show season at a theater. The show O Ritmo pulsante das ruas<\/strong> (2005)<\/em> ended up giving Ted (Odoni Borges), the company\u2019s choreographer and director, four nominations for Pr\u00eamio A\u00e7orianos de Dan\u00e7a, in the best dancer, best choreography, best stage settings and best soundtrack categories. It was a historic fact for an award that had until then favored ballet, jazz and contemporary dance.<\/span><\/p>\n

But the company didn\u00b4t stop there, bravely fighting to maintain the group, it has been dedicating itself to a new production, Barbaridade!<\/em><\/strong> The show that premiered in November 2009 dives into the issue of Brazilian Southern regionalism to find an interface with street-dance. And that\u00b4s how traditional Southern music became the soundtrack for popping, locking and b-boying choreographies. Even though the research may need to mature, it reveals a sharp cultural perception and promises to provoke conservatives (in street-dance and in traditional Southern culture) by tensioning the urban scene and the pampa scene, together on stage.<\/span><\/p>\n

But, if Hackers have been paying for their productions independently and with financial difficulties, other groups have been qualifying for public funding. Created in 1997 by Carlos Nunes, who until 2007 had stood out in competitive festivals, from which he collected several awards, the group Batida de Rua <\/em>took a new step. The group was the first to send a project and to be selected to FUMPROARTE (City Support Fund for Porto Alegre\u2019s Artistic and Cultural Production). The award ensured resources for production of the show Batida de Rua 10 anos<\/em>, which had two seasons at Renascen\u00e7a Theater and C\u00e2mara Theater. In the 15 years of the Fund\u2019s financing, it was the first time a street-dance project was awarded, which reveals street-dance\u2019s disposition to conquer its place, not only a physical one, on stages, but also in the city\u2019s cultural policy.<\/span><\/p>\n

Another path was followed by group Grupo My House<\/em>, which debuted with a same-named show, occupying one of the capital\u2019s noble spaces, the CIEE Theater. The two weeks of performances showed a careful, professional production and a refined, humorous and clever choreographic result. That yielded seven nominations for Pr\u00eamio A\u00e7orianos de Dan\u00e7a, including best show, best choreographies, best dancer. For the first time, street-dance has the chance to get recognition as the year\u2019s best dance production.<\/span><\/p>\n

But the street-dance transit has also been crossing the local borders. For the last years, group Art & Dan\u00e7a had already been turning the transit between street-dance and contemporary dance into fruitful dialogue. The group had already revealed its potential with choreographies that made Eduardo Menezes win the Crossover Choreographer Award, at Joinville Dance Festival. Even with Eduardo\u2019s withdrawal, as he has been working outside Rio Grande do Sul, the group continued with its researches, already being considered strange in the street-dance category for being \u201ctoo contemporary\u201d. And along this path, in 2009, Art & Dan\u00e7a was the only Southern group to be selected for Ita\u00fa Cultural\u2019s Rumos Dan\u00e7a project, in S\u00e3o Paulo, with a project called <\/strong>Conseq\u00fc\u00eancia do som<\/strong>,<\/em> created by Carini Pereira, Mickael Ramos, William Freitas and St\u00e9fanie Telles (Click here<\/a> to visit the project’s blog).<\/span><\/p>\n

Side by side with productions, public initiatives are becoming aware of this movement. In 2005, Porto Alegre\u2019s first street-dance showcase took place, promoted by the City\u2019s Culture Office. Without being competitive, the event proposes the encounter and exchange between the participants. Besides the showcase, the projects Dan\u00e7a de Domingo <\/em>(\u201cSunday\u2019s Dance\u201d) and Quartas na dan\u00e7a<\/em> (\u201cWednesday in Dance\u201d) already selected shows in this gender for its annual programming, with much public success. At the same time, academic production in dance undergraduate courses (currently, there are 5 in the state) have been producing countless and important reflections, such as those produced in the graduation projects of Fernando Faleiro, Carol Laner and Tassiana Rodrigues.<\/span><\/p>\n

The groups and companies ahead of this scene have been establishing new conditions for organization, production and diffusion. Struggling with public funding programs for seasons, awards, tax rebate laws and financing, are starting to take new steps. Steps that have been configuring a fresh and welcome panorama for dance on the streets, the stages and the cultural scene.<\/span><\/p>\n

My House<\/div>\n","protected":false},"excerpt":{"rendered":"

O colunista Airton Tomazzoni escreve sobre grupos e companhias ga\u00fachos que arriscam novas possibilidades e come\u00e7am a conquistar espa\u00e7os.<\/p>\n","protected":false},"author":8,"featured_media":14263,"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":[31,28],"tags":[],"yoast_head":"\nDan\u00e7a de rua para al\u00e9m da rua | Street-dance beyond the street -<\/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\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dan\u00e7a de rua para al\u00e9m da rua | Street-dance beyond the street -\" \/>\n<meta property=\"og:description\" content=\"O colunista Airton Tomazzoni escreve sobre grupos e companhias ga\u00fachos que arriscam novas possibilidades e come\u00e7am a conquistar espa\u00e7os.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2010-03-11T21:26:38+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2010-03-11T21:30:41+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2010\/03\/HOUSE849.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"448\" \/>\n\t<meta property=\"og:image:height\" content=\"298\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Airton Tomazzoni\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Airton Tomazzoni\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/\",\"url\":\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/\",\"name\":\"Dan\u00e7a de rua para al\u00e9m da rua | Street-dance beyond the street -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2010-03-11T21:26:38+00:00\",\"dateModified\":\"2010-03-11T21:30:41+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/6dfdf5b755cfd1b757103d28b24709cf\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/danca-de-rua-para-alem-da-rua-street-dance-beyond-the-street\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dan\u00e7a de rua para al\u00e9m da rua | Street-dance beyond the street\"}]},{\"@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\/6dfdf5b755cfd1b757103d28b24709cf\",\"name\":\"Airton Tomazzoni\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/1632d38007ab97a8ee5205704f64fab6?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/1632d38007ab97a8ee5205704f64fab6?s=96&d=mm&r=g\",\"caption\":\"Airton Tomazzoni\"},\"description\":\"\u00e9 jornalista, core\u00f3grafo, professor do curso de Gradua\u00e7\u00e3o em Dan\u00e7a da Fundarte\/UERGS, diretor do Centro Municipal de Dan\u00e7a de Porto Alegre, coordenador do Semin\u00e1rio Nacional de Dan\u00e7a e Educa\u00e7\u00e3o. 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