{"id":15047,"date":"2010-05-13T19:04:11","date_gmt":"2010-05-13T22:04:11","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15047"},"modified":"2011-05-16T16:01:54","modified_gmt":"2011-05-16T19:01:54","slug":"danca-com-apenas-o-primeiro-passo","status":"publish","type":"post","link":"https:\/\/idanca.net\/danca-com-apenas-o-primeiro-passo\/","title":{"rendered":"Dan\u00e7a.Com: apenas o primeiro passo | Dan\u00e7a.Com: only the first step"},"content":{"rendered":"

O Dan\u00e7a.Com<\/a> teve sua primeira edi\u00e7\u00e3o realizada em Porto Alegre, no per\u00edodo de 26 de abril a 2 de maio, numa iniciativa da Secretaria Municipal de Cultura de Porto Alegre, atrav\u00e9s de seu Centro Municipal de Dan\u00e7a. Uma das provoca\u00e7\u00f5es iniciais, que serviu para concentrar esfor\u00e7os em torno desta iniciativa, foi\u00a0 a inten\u00e7\u00e3o de \u201cestabelecer n\u00e3o apenas um ponto, mas m\u00faltiplos pontos de comunica\u00e7\u00e3o na produ\u00e7\u00e3o de dan\u00e7a hoje\u201d, nas palavras do coordenador Airton Tomazzoni.<\/span><\/p>\n

A programa\u00e7\u00e3o foi elencada partindo de tr\u00eas eixos colocados em foco: o corpo na cena contempor\u00e2nea, os caminhos da performance e o uso das novas tecnologias. Em torno desses eixos, foram agrupadas a\u00e7\u00f5es distintas, viabilizadas por diferentes parceiros e articuladas por meio de um pensamento que buscou privilegiar as conex\u00f5es poss\u00edveis, investindo nos encontros.<\/span><\/p>\n

\u00c9 poss\u00edvel j\u00e1 aqui evidenciar um primeiro aspecto positivo do evento: a estrat\u00e9gia de mobilizar inst\u00e2ncias independentes para sua efetiva\u00e7\u00e3o, constituindo uma \u201crede de articula\u00e7\u00e3o e colabora\u00e7\u00e3o\u201d que atuou inclusive na produ\u00e7\u00e3o do evento, compartilhando institucionalmente sua realiza\u00e7\u00e3o.<\/span><\/p>\n

Al\u00e9m da a\u00e7\u00e3o do Centro Municipal de Dan\u00e7a, na elabora\u00e7\u00e3o e desenvolvimento do projeto, e na articula\u00e7\u00e3o de artistas locais como Cibele Sastre, Luciana Paludo e Fernanda Carvalho Leite, dentre outros, tal iniciativa propiciou a atua\u00e7\u00e3o do projeto dan\u00e7a em foco \u2013 Festival Internacional de video & dan\u00e7a<\/a>, respons\u00e1vel pela mostra de videodan\u00e7a e por uma oficina; da Universidade Federal do Rio Grande do Sul (UFRGS), atrav\u00e9s de seu Programa de P\u00f3s-Gradua\u00e7\u00e3o de Artes C\u00eanicas, respons\u00e1vel pelo Semin\u00e1rio Internacional Corpo, Performance e Tecnologia; e do programa Rumos Ita\u00fa Cultural<\/a> Dan\u00e7a 2009\/10, que viabilizou a apresenta\u00e7\u00e3o de algumas mostras de processos de sua mais recente edi\u00e7\u00e3o.<\/span><\/p>\n

Teoricamente, \u00e9 exatamente atrav\u00e9s da viabiliza\u00e7\u00e3o de parcerias que eventos desse porte s\u00e3o produzidos. Na pr\u00e1tica, o que se percebe \u00e9 que poucas vezes a efetiva\u00e7\u00e3o destas parcerias possibilitam uma concreta oportunidade de colabora\u00e7\u00e3o entre os parceiros envolvidos, contribuindo para uma gest\u00e3o mais compartilhada, que por sua vez favore\u00e7a as trocas e cont\u00e1gios m\u00fatuos que da\u00ed possam resultar, trazendo lufadas de ar aos formatos mais enrijecidos.<\/span><\/p>\n

Outro aspecto positivo que merece destaque foi o fato do evento ter se concentrado em grande parte no Teatro Renascen\u00e7a e na sala \u00c1lvaro Moreyra, onde tamb\u00e9m est\u00e1 sediado o Centro de Dan\u00e7a, conferindo ares de caseiro<\/em> ao evento, no melhor sentido daquilo que \u00e9 feito em casa, <\/em>lugar <\/em>mesmo do cuidado e do acolhimento, que favorece as perman\u00eancias e prepara para as desestabiliza\u00e7\u00f5es cotidianas.<\/span><\/p>\n

A op\u00e7\u00e3o por um formato enxuto de programa\u00e7\u00e3o foi feliz; com intervalos entre as a\u00e7\u00f5es agendadas e sem choque de proposi\u00e7\u00f5es, favoreceu-se o deslocamento tranquilo do p\u00fablico e dos artistas e, conseq\u00fcentemente, uma participa\u00e7\u00e3o mais constante ao longo de toda a programa\u00e7\u00e3o. Os espa\u00e7amentos, por sua vez, potencializam novos encontros, que n\u00e3o se efetivam no regime de urg\u00eancia normalmente conferido aos festivais.<\/span><\/p>\n

Dessa forma, foi poss\u00edvel partilhar da experi\u00eancia de Andrew Harwood (Canad\u00e1) no Semin\u00e1rio, por exemplo, em sua narrativa de anos de trabalho com a t\u00e9cnica do Contato Improvisa\u00e7\u00e3o ao lado de Steve Paxton, e assisti-lo no\u00a0 pr\u00f3prio ato de improvisar, em sala de aula e em cena, ao lado de Paula Zacharias (Argentina) e Fernanda Carvalho Leite (RS). Igualmente rico presenciar a fala de Clarisse Bardiot (Fran\u00e7a), sobre o evento experimental 9 Evenings<\/em><\/strong>, articulado por Robert Rauschenberg em 1966, em Nova York, e aproxim\u00e1-la da fala de Ivani Santana, em que descreveu suas experi\u00eancias com Dan\u00e7a e Novas Tecnologias. Igualmente importante aproximar a dimens\u00e3o pol\u00edtica apresentada em alguns trabalhos, sejam eles te\u00f3ricos ou pr\u00e1ticos, da apresenta\u00e7\u00e3o feita por Leonel Brum, coordenador de Dan\u00e7a da Funarte, acerca dos novos rumos que a institui\u00e7\u00e3o vai tomando. Qual o papel do artista na constitui\u00e7\u00e3o de uma pol\u00edtica p\u00fablica para a dan\u00e7a no Brasil? Quais os papeis de mobiliza\u00e7\u00e3o e participa\u00e7\u00e3o que ocupamos \u2013 ou N\u00c3O ocupamos \u2013 em nossas cidades, a fim de nos fazermos representados?<\/span><\/p>\n

Muitas s\u00e3o as conex\u00f5es poss\u00edveis, quando os encontros se efetivam.\u00a0 A inten\u00e7\u00e3o manifesta pela coordena\u00e7\u00e3o do evento e a disposi\u00e7\u00e3o de todos os parceiros envolvidos sinalizam para boas perspectivas de continuidade do Dan\u00e7a.Com. Motivo de celebra\u00e7\u00e3o, portanto, considerando nosso vasto territ\u00f3rio nacional, ainda t\u00e3o \u00e1rido de iniciativas potentes. Nas palavras de Tomazzoni, \u201cque o COM que consta no nome do festival signifique estar conectado COM o planeta, estar COM o p\u00fablico, estar COM quem queira debater e trocar ideias.\u201d<\/span><\/p>\n

Lembramos de Stuart Hall, ao nos afirmar que \u201cuma cultura nacional \u00e9 um discurso<\/em> \u2013 um modo de construir sentidos que influencia e organiza tanto nossas a\u00e7\u00f5es quanto a concep\u00e7\u00e3o que temos de n\u00f3s mesmos.\u201d(HALL, 2006, p.50)\u00a0 Hall nos prop\u00f5e pensarmos nas culturas nacionais como comunidades imaginadas. Considerando que as identidades nacionais n\u00e3o s\u00e3o transmitidas hereditariamente, ou seja, n\u00e3o nascem conosco, evidencia-se que a na\u00e7\u00e3o \u00e9 produtora de sentidos, um sistema de representa\u00e7\u00e3o cultural <\/em>que se constitui numa comunidade simb\u00f3lica<\/em>. \u00c9 a partir desse ponto que Benedict Anderson argumenta que a identidade nacional \u00e9 uma comunidade imaginada<\/em>. E justo por isso conv\u00e9m indagarmos acerca das estrat\u00e9gias representacionais que acionamos \u2013 e nas quais nos engendramos \u2013 na constru\u00e7\u00e3o de nossas no\u00e7\u00f5es de pertencimento e identidade cultural.<\/span><\/p>\n

Ainda segundo Hall, tr\u00eas aspectos devem ser levados em conta na constitui\u00e7\u00e3o de uma cultura nacional em comunidade imaginada<\/em>: as mem\u00f3rias<\/em> do passado, o desejo<\/em> por viver junto, e a perpetua\u00e7\u00e3o da heran\u00e7a<\/em>. No entanto adverte que uma cultura nacional nunca \u00e9 somente um ponto de lealdade, uni\u00e3o e identifica\u00e7\u00e3o simb\u00f3lica, \u00e9 tamb\u00e9m uma estrutura de poder cultural.<\/span><\/p>\n

\u00c9 a partir disso que avaliamos a import\u00e2ncia de tais iniciativas no \u00e2mbito de uma cidade. N\u00e3o s\u00f3 pela dimens\u00e3o dos encontros ali potencializada, mas, sobretudo, pela evid\u00eancia que se pode dar aos discursos de uma comunidade, pela afirma\u00e7\u00e3o dos sentidos ali produzidos, num contexto onde suas particularidades s\u00e3o atravessadas por outros fluxos e novos agenciamentos se fundam. Com todas as dificuldades, problemas e defici\u00eancias que possam aparecer, algo al\u00e9m sempre se torna vis\u00edvel tamb\u00e9m: maneiras de fazer e modos de exist\u00eancia, regimes de temporalidade diversos, habita\u00e7\u00f5es poss\u00edveis, comunidades imaginadas e cidades invis\u00edveis.<\/span><\/p>\n

Andr\u00e9a Bardawil \u00e9 core\u00f3grafa e coordenadora pedag\u00f3gica da Bienal Internacional de Dan\u00e7a do Cear\u00e1<\/strong><\/span><\/p>\n

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

HALL, Stuart (2006). A identidade cultural na p\u00f3s-modernidade<\/em><\/strong>. Rio de Janeiro: DP&A.<\/span><\/p>\n

Leia tamb\u00e9m: Festival Dan\u00e7a.Com come\u00e7a hoje discutindo corpo, performance e tecnologia<\/a><\/span><\/p>\n

Festival Dan\u00e7a.Com privilegia encontros e conversas<\/a><\/p>\n

Dan\u00e7a.Com<\/a> had its first edition in Porto Alegre, from April 26 to May 2nd, produced by the City Culture Office, through its City Dance Center. One of the initial provocations, which worked to concentrate the efforts surrounding this initiative, was the intention to \u201cestablish not only one point, but multiple points of communication in dance production today\u201d, in the words of Airton Tomazzoni, coordinator of the event. <\/span><\/p>\n

The program was created following three guidelines: the body in the contemporary scene, the paths of performance and the use of new technologies. Distinct actions were grouped within these guidelines. They were made possible by different partners and were articulated through a line of thought that sought to favor possible connections, investing in encounters. <\/span><\/p>\n

At this point, it is already possible to highlight another positive aspect of the event: the strategy to mobilize independent initiatives, establishing a \u201cnetwork of articulation and collaboration\u201d that worked at the very production of the event, sharing its execution on an institutional level. <\/span><\/p>\n

The City Dance Center acted in the project\u2019s elaboration and development and articulated local artists such as Cibele Sastre, Luciana Paludo and Fernanda Carvalho Leite, among others. The initiative also allowed the action of dan\u00e7a em foco \u2013 \u2013 International Videodance Festival<\/a>, which was responsible for the videodance showcase and a workshop; the Federal University of Rio Grande do Sul organized the Body, Performance and Technology international seminar, through its Performing Arts Post-Graduate Program; the Ita\u00fa Cultural Ita\u00fa Cultural Rumos Dan\u00e7a program<\/a> brought some of its recent edition\u2019s process showcases. <\/span><\/p>\n

Theoretically, the production such large events is made possible through partnerships. In reality, what can be observed is that such partnerships rarely allow a concrete opportunity for collaboration among the partners, contributing for shared management, which could allow mutual exchange that could result from them, bringing fresh air to rigid formats. <\/span><\/p>\n

Another positive aspect is the fact that the event was concentrated mostly at Renascen\u00e7a Theater, where the Dance Center is also located, providing a homelike <\/em> atmosphere to the event, homemade<\/em> in the best sense, a place for caring and welcoming that favors permanence and prepares for daily destabilizations. <\/span><\/p>\n

The choice of a lean program format was fortunate. The breaks between the scheduled activities and the lack clashing proposals allowed calm transitions for the audience and artists and a more constant participation throughout the whole program. The breaks also encouraged encounters, which often don\u00b4t take place in the usually hectic rhythm of festivals. <\/span><\/p>\n

Thus, it was possible to share the experience of Canadian artist Andrew Harwood, for instance, as he talked about the years working with the Contact Improvisation with Steve Paxton and to watch him improvising alongside Paula Zacharias (Argentina) and Fernanda Carvalho Leite (Brazil). It was equally exciting to listen to Clarisse Bardiot (France) talk about 9 Evenings<\/em><\/strong>, an experimental event articulated by Robert Rauchenberg in 1996, in New York, and compare it to Ivani Santana describing her experience with Dance and New Technologies. It was equally important to see Leonel Brum, the dance coordinator of the National Arts Foundation, discuss the political aspect of some of the works, both theoretical and practical, within the Foundation\u2019s new paths. What is the role of the artist in the establishment of public policies for dance in Brazil? What are the mobilization and participation roles we play \u2013 or do NOT play \u2013 in our cities, in order to make ourselves represented?<\/span><\/p>\n

There are many possible connections when encounters take place. The intention of the event\u2019s organizers and the willingness of all the partners pointed towards good perspectives of continuity for Dan\u00e7a.Com. Therefore, this is a reason for celebration, considering our vast national territory with such scarcity of powerful initiatives.<\/span><\/p>\n

Let us remember Stuart Hall. He states that a \u201cnational culture is a discourse<\/em> \u00ac \u2013 a way to build meanings that influence and organize both our actions and the conception we have of ourselves.\u201d (HALL, 2006, p.50) Hall proposes we think about national cultures as imagined communities. Considering national identities are not transmitted hereditarily, they are not born with us, it becomes clear that the nation produces meaning, a system of cultural representation<\/em> that is established as a symbolic community<\/em>. After this point, Benedict Anderson argues that national identity is an imagined community<\/em>. And that is exactly why it is important we question ourselves about the representation strategies we use \u2013 and which we engender \u2013 in building our ideas of belonging and cultural identity. <\/span><\/p>\n

According to Hall, three aspects should be taken into account in building a national culture in an imagined community<\/em>: the memories<\/em> of the past, the desire<\/em> to live together and the perpetuation of heritage<\/em>. He warns, however, that a national culture is never a point of loyalty, union and symbolic identification, it is also a structure of cultural power. <\/span><\/p>\n

We evaluate the importance of such initiatives in the context of a city upon that issue. Not only because of the dimension of the encounters, but above all because of the evidence it casts on a community\u2019s discourse, because of the meanings produced there, in a context in which its particularities are crossed by other flows and new assemblages that are established. With all the difficulties, problems and deficiencies that may arise, something beyond always becomes visible: ways of working and modes of existence, different time regimen, possible habitations, imagined communities and invisible cities. <\/span><\/p>\n

Andr\u00e9a Bardawil is a choreographer and pedagogical coordinator of Bienal Internacional de Dan\u00e7a do Cear\u00e1 <\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A 1\u00aa edi\u00e7\u00e3o do festival Dan\u00e7a.Com chegou ao fim em 2 de maio promovendo encontros e boas discuss\u00f5es em torno de performance, corpo e tecnologia. Andr\u00e9a Bardawil esteve l\u00e1 e conta suas impress\u00f5es. <\/p>\n","protected":false},"author":1824,"featured_media":15048,"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":[2,28],"tags":[3681,612,678],"yoast_head":"\nDan\u00e7a.Com: apenas o primeiro passo | Dan\u00e7a.Com: only the first step -<\/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-com-apenas-o-primeiro-passo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dan\u00e7a.Com: apenas o primeiro passo | Dan\u00e7a.Com: only the first step -\" \/>\n<meta property=\"og:description\" content=\"A 1\u00aa edi\u00e7\u00e3o do festival Dan\u00e7a.Com chegou ao fim em 2 de maio promovendo encontros e boas discuss\u00f5es em torno de performance, corpo e tecnologia. 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