{"id":15220,"date":"2010-05-27T18:20:28","date_gmt":"2010-05-27T21:20:28","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15220"},"modified":"2010-09-23T18:56:44","modified_gmt":"2010-09-23T21:56:44","slug":"mais-de-50-anos-de-historia","status":"publish","type":"post","link":"https:\/\/idanca.net\/mais-de-50-anos-de-historia\/","title":{"rendered":"Mais de 50 anos de hist\u00f3ria | More than 50 years of history"},"content":{"rendered":"

Ela foi criada quando muito pouco (ou nada) se falava sobre forma\u00e7\u00e3o acad\u00eamica em dan\u00e7a no Brasil. Passou com muita resist\u00eancia pela ditadura, lan\u00e7ou importantes experi\u00eancias criativas em dan\u00e7a contempor\u00e2nea e foi a primeira a ter um Programa de P\u00f3s-Gradua\u00e7\u00e3o em Dan\u00e7a (PPGD)<\/a> no pa\u00eds. Prestes a completar 55 anos, a Escola de Dan\u00e7a<\/strong><\/a> da Universidade Federal da Bahia (UFBA) reafirma sua import\u00e2ncia na hist\u00f3ria da dan\u00e7a brasileira ao criar, em 2006, o primeiro mestrado em dan\u00e7a do pa\u00eds, que mudou a geografia do ensino acad\u00eamico na \u00e1rea. O idan\u00e7a<\/strong> conversou em Salvador com a diretora da institui\u00e7\u00e3o, Dulce Aquino, e resgata a hist\u00f3ria da Escola aqui.<\/span><\/p>\n

Em 1946, em meio ao boom econ\u00f4mico pelo qual passava o estado da Bahia por conta da explora\u00e7\u00e3o do petr\u00f3leo, o m\u00e9dico Edgar Santos criou a UFBA. O primeiro curso aberto foi o de Medicina (a primeira escola do pa\u00eds), em seguida vieram as escolas polit\u00e9cnicas de Direito e Belas Artes. Com a UFBA, ele retomou o papel do estado como importante centro art\u00edstico-cultural brasileiro. \u201cMesmo antes de a Escola de Dan\u00e7a ser aberta, ele desenvolveu importantes a\u00e7\u00f5es nas \u00e1reas human\u00edstica e de artes. Uma delas foi a realiza\u00e7\u00e3o dos semin\u00e1rios de dan\u00e7a e m\u00fasica\u201d, conta Dulce Aquino, que foi uma das primeiras alunas do curso de dan\u00e7a.<\/span><\/p>\n

Em meio \u00e0 realiza\u00e7\u00e3o desses semin\u00e1rios, a ent\u00e3o bailarina polonesa Yanka Rudzka desembarcou na Bahia levando na bagagem sua experi\u00eancia com o expressionismo alem\u00e3o. Ela se apaixonou por Salvador e acabou sendo pe\u00e7a fundamental na cria\u00e7\u00e3o da Escola de Dan\u00e7a, em 1956. Junto com a Escola de M\u00fasica (fundada em 1955) e com a de Belas Artes, estava formado o pilar acad\u00eamico da \u00e1rea de artes na Bahia. \u201cN\u00e3o era um conservat\u00f3rio. As tr\u00eas tinham um esp\u00edrito muito atual, totalmente vanguarda para a \u00e9poca\u201d, lembra Dulce, que chegou \u00e0 escola como aluna em 1957.<\/span><\/p>\n

Yanka ficou \u00e0 frente da Escola durante dois anos. Tempo suficiente para criar uma escola que explorasse a criatividade e sensibilidade dos alunos. As aulas tinham muito de improvisa\u00e7\u00e3o, al\u00e9m de uma forte base te\u00f3rica com aulas de Filosofia da Arte, Est\u00e9tica, e de outras linguagens art\u00edsticas, como a pintura. \u201cFoi um in\u00edcio muito interessante pois vieram alunos de S\u00e3o Paulo atr\u00e1s da Yanka. Faz\u00edamos aula com m\u00fasica ao vivo, as aulas exploravam as articula\u00e7\u00f5es naturais do movimento, sem for\u00e7ar nada. Tamb\u00e9m havia liga\u00e7\u00e3o muito forte com o candombl\u00e9. Ela mesclava a vis\u00e3o do expressionismo alem\u00e3o com elementos essenciais do candombl\u00e9\u201d, recorda Dulce. As duas primeiras montagens de Yanka na UFBA foram Candombl\u00e9<\/em><\/strong> e \u00c1guas de Oxal\u00e1<\/em><\/strong>, no Cine-teatro Guarani, na Pra\u00e7a Castro Alves.<\/span><\/p>\n

Com o tempo, a Escola foi ganhando uma cara, uma linha de pensamento, mas at\u00e9 aquele momento n\u00e3o existia um conte\u00fado program\u00e1tico a ser seguido. Em 1960, chegou \u00e0 escola Rolf Geleweski, que foi o grande estruturador dos conte\u00fados pedag\u00f3gicos durante o per\u00edodo em que foi diretor, de 1960 a 1965.<\/span><\/p>\n

\"A<\/a>

A atual fachada da Escola de Dan\u00e7a<\/p><\/div><\/span><\/p>\n

Em 1965, nasce o Grupo de Dan\u00e7a Contempor\u00e2nea (GDC), um marco na hist\u00f3ria da institui\u00e7\u00e3o e da dan\u00e7a brasileira como um todo. \u201cEle j\u00e1 apontava para cada um procurar sua dan\u00e7a. Neste per\u00edodo, fomos cobaias de v\u00e1rios m\u00e9todos de ensino de conte\u00fados program\u00e1ticos que Gedelewski instaurou (ele era o diretor art\u00edstico da empreitada<\/em>). Ao lado da \u2018t\u00e9cnica b\u00e1sica\u2019, como ele chamou, havia aulas de movimentos anat\u00f4micos (para fortalecimento), aulas de espa\u00e7o, forma, composi\u00e7\u00e3o coreogr\u00e1fica e sol\u00edstica, psicologia da arte e pedagogia\u201d, afirma Dulce.<\/span><\/p>\n

Passaram pelo GDC nomes como Clyde Morgan, Roger George, Klauss Vianna, Lia Robatto, Carmen Paternostro, M\u00e1rcio Meirelles e Teresinha Argolo, entre muitos outros, que faziam quest\u00e3o de coreografar para o grupo, fugindo do academicismo dominante naquela \u00e9poca.<\/span><\/p>\n

Ditadura quase acabou com a produ\u00e7\u00e3o<\/strong><\/span><\/p>\n

Todo a intensidade da produ\u00e7\u00e3o desde a inaugura\u00e7\u00e3o da Escola, por\u00e9m, quase se perdeu no per\u00edodo da ditadura, que afetou diretamente a UFBA nos anos de chumbo. Numa tentativa de diminuir a produtividade, a Escola de Dan\u00e7a se tornou um departamento da Faculdade de Belas Artes. \u201cFoi muito dif\u00edcil, mas tent\u00e1vamos preservar nossa identidade. Foram 20 anos de resist\u00eancia, lutando contra not\u00edcias de que a escola fecharia a qualquer momento\u201d, revela Dulce, que assumira a dire\u00e7\u00e3o da Escola em 1965, logo ap\u00f3s a sa\u00edda de Gedelewski.<\/span><\/p>\n

Por volta de 1976 come\u00e7ou-se a se falar em abertura pol\u00edtica. Naquele ano nasce a Funda\u00e7\u00e3o Nacional das Artes (Funarte)<\/a>, com o objetivo de funcionar como v\u00e1lvula de escape da produ\u00e7\u00e3o das universidades. \u201cNaquela \u00e9poca elas estavam um caldeir\u00e3o, a ponto de explodir\u201d, lembra a diretora.<\/span><\/p>\n

No meio deste caldeir\u00e3o, claro, estava a Escola de Dan\u00e7a, que em 1977 lan\u00e7a a Oficina Nacional de Dan\u00e7a Contempor\u00e2nea, outro marco na hist\u00f3ria da dan\u00e7a no Brasil. Foi um projeto inovador que aconteceu anualmente, durante 20 anos, e que promoveu encontros memor\u00e1veis. Passaram por l\u00e1 artistas de todo o Brasil, como C\u00e9lia Gouveia, Graciela Figueroa e Jo\u00e3o Saldanha.<\/span><\/p>\n

\"Alunos<\/a>

Alunos estudam em uma das salas <\/p><\/div><\/span><\/p>\n

De acordo com um documento oficial datado de 1988 sobre a Oficina, ela \u201ctem como objetivo principal aglutinar grupos de dan\u00e7a que estejam realizando a pesquisa de uma nova linguagem, onde a forma e o conte\u00fado sejam significativos para o homem de hoje. Este evento anual se distancia da filosofia dos principais festivais de arte do Pa\u00eds: primeiro, por se tratar de uma amostragem do novo, logo pouco conhecido, atrav\u00e9s da participa\u00e7\u00e3o de grupos que n\u00e3o pertencem ao c\u00edrculo pequeno e elitista dos consagrados; segundo, por desenvolver uma s\u00e9rie de cursos que visam a atualiza\u00e7\u00e3o dos profissionais, n\u00e3o s\u00f3 na \u00e1rea t\u00e9cnica, mas tamb\u00e9m no desenvolvimento do potencial criativo coreogr\u00e1fico; e, finalmente, por realizar semin\u00e1rios e debates onde a atua\u00e7\u00e3o cr\u00edtico\/te\u00f3rica do profissional \u00e9 estimulada.\u00a0 Estes itens v\u00eam ao encontro das necessidades de uma \u00e1rea pouco atendida pelos \u00f3rg\u00e3os oficiais, detectada atrav\u00e9s da falta de apoio \u00e0 produ\u00e7\u00e3o de grupos emergentes (…)\u201d<\/span><\/p>\n

Anos 2000: novos passos em dire\u00e7\u00e3o ao pensamento em dan\u00e7a<\/strong><\/span><\/p>\n

Passado o per\u00edodo de redemocratiza\u00e7\u00e3o, a Escola de Dan\u00e7a entra num limbo. Em 1987 \u00e9 criado o curso de p\u00f3s-gradua\u00e7\u00e3o latu senso em Coreografia numa parceria com a Escola de Teatro, mas ele n\u00e3o \u00e9 suficiente para os objetivos da Escola. No entanto, no ano seguinte h\u00e1 uma esp\u00e9cie de interven\u00e7\u00e3o e uma diretora n\u00e3o eleita por voto \u00e9 nomeada. \u201cO objetivo era dar um salto de qualidade e chegar ao doutorado, mas a Escola sofreu muito com essa atitude, que envolveu quest\u00f5es pol\u00edticas\u201d, admite Dulce.<\/span><\/p>\n

Ainda firme no intuito de formar pensadores e pesquisadores de alto n\u00edvel em dan\u00e7a, em 2003, a Escola apresenta ao Programa de Qualifica\u00e7\u00e3o Institucional (PQI) da Capes proposta de um doutorado e de um programa de p\u00f3s-gradua\u00e7\u00e3o. O Programa de P\u00f3s-Gradua\u00e7\u00e3o em Dan\u00e7a (PPGD) surge em 2006, no ano do cinquenten\u00e1rio da Escola, causando uma revolu\u00e7\u00e3o no meio acad\u00eamico. \u201cMuita gente come\u00e7a a vir para a Bahia para estudar. Somos um centro de refer\u00eancia, pois temos muitos grupos de pesquisa distintos. \u00c9 uma escola que est\u00e1 bem na arquitetura universit\u00e1ria. Temos import\u00e2ncia, voz\u201d, diz Dulce, que agora se v\u00ea \u00e0s voltas com a reforma e amplia\u00e7\u00e3o do pr\u00e9dio da escola como novo presente. Diante de toda essa carga de hist\u00f3ria que guarda a Escola de Dan\u00e7a da UFBA, n\u00e3o \u00e9 exagero dizer que no mapa da dan\u00e7a brasileira, muitos dos caminhos passam por Salvador.<\/span><\/p>\n

Leia tamb\u00e9m: Inscri\u00e7\u00f5es abertas para mestrado na UFBA<\/a><\/span><\/p>\n

It was created at a time when there was little (or no) talk of dance academic education in Brazil. It resisted throughout the dictatorship period, launched important creative experiences in contemporary dance and it was the first institution to have a Dance Post-Graduate Program (PPGD)<\/a>. The Dance School<\/strong><\/a> of the Federal University of Bahia (UFBA) is about to celebrate 55 years and reinforced its importance in the history of Brazilian dance by creating the country\u2019s first masters program in dance, in 2006. This changed the geography of dance academic learning in Brazil. Idan\u00e7a<\/strong> talked to the institution\u2019s director, Dulce Aquino, in Salvador, and visits the history of the School. <\/span><\/p>\n

In 1946, amidst the economic boom in the state of Bahia due to oil exploration, physician Edgar Santos created UFBA. The first course was Medicine (the country\u2019s first). Then came the Law and the Fine Arts schools. With UFBA, he reclaimed the state\u2019s role as an important artistic and cultural center. \u201cEven before the Dance School opened, he developed important actions in the humanities and arts areas. One of them was the production of dance and music seminars\u201d, says Dulce Aquino, who was one of the first students of the dance course. <\/span><\/p>\n

During the seminars, polish dancer Yanka Rudzka landed in Bahia bringing in her luggage her experience with German expressionism. She fell in love with Salvador and ended up being a key figure in the creation of the Dance School, which formed the academic pillar for the arts along with the Music and Fine Arts schools. \u201cIt wasn\u00b4t a conservatory. The three schools had a very up-to-date spirit, totally avant-guard for the time\u201d, Dulce remembers. <\/span><\/p>\n

Yanka was in charge of the school for two years. It was enough time to create a school that explored the creativity and sensitivity of the students. The classes had a lot of improvisation, besides having a very strong theoretical basis with classes about Philosophy of the Arts, Aesthetics and other artistic languages, such as painting. \u201cIt was a very interesting beginning, because some students came from S\u00e3o Paulo, looking for Yanka. We had classes with live music, the classes explored the natural articulations of movement, without forcing anything. There was also a strong connection with candombl\u00e9<\/em>. She mixed the perspectives of German expressionism with essential elements of candombl\u00e9\u201d, says Dulce. Yanka\u2019s first two works at UFBA were Candombl\u00e9<\/em><\/strong> and \u00c1guas de Oxal\u00e1<\/em><\/strong>. <\/span><\/p>\n

As time went by, the School acquired identity and a line of though, but until that moment there was no syllabus to be followed. In 1960, Rolf Geleweski arrived at the school and designed the pedagogical content during the period he directed the school, from 1960 to 1965. <\/span><\/p>\n

In 1965, Grupo de Dan\u00e7a Contempor\u00e2nea (GDC, the Portuguese acronym for Contemporary Dance Group) was created. It was a mark in the history of the institution and of Brazilian dance as a whole. \u201cHe already suggested that each one should pursue their own dance. In that period, we were guinea pigs of several teaching methods of the syllabus Gedelewski established (he was the artistic director of the Group<\/em>). Along with the \u2018basic technique\u2019, as he called it, there were classes of anatomical movements (for strengthening), space, shape, choreographic composition, art psychology and pedagogy\u201d, says Dulce. <\/span><\/p>\n

People like Clyde Morgan, Roger George, Klauss Vianna, Lia Robatto, Carmen Paternostro, M\u00e1rcio Meirelles and Teresinha Argolo were part of GDC, among many others who made a point of choreographing for the group, escaping from the academicism of the time. <\/span><\/p>\n

The dictatorship almost ended production<\/strong><\/span><\/p>\n

However, the production intensity since the opening of the School was almost lost during the dictatorship period, which directly affected UFBA. In an attempt to diminish productivity, the Dance School became a department of the Fine Arts School. \u201cIt was very difficult, but we were trying to preserve our identity. We spent 20 years resisting, fighting against rumors that the school would close at any moment\u201d, reveals Dulce, who would take over the direction of the school in 1965, after Gedelewski left. <\/span><\/p>\n

Around 1976, there started to be some talk about political opening. In that year, Funda\u00e7\u00e3o Nacional das Artes <\/a> (Funarte, the Portuguese acronym for National Arts Foundation) was created, with the goal of being a escape valve for the production of Universities. \u201cAt that time, they formed a cauldron, about to explode\u201d, remembers the director.<\/span><\/p>\n

The Dance School was obviously in the middle of that couldron. In 1977, the Oficina Nacional de Dan\u00e7a Contempor\u00e2nea (\u201cNational Contemporary Dance Workshop\u201d) was launched, another mark in the Brazilian dance history. It was an innovative project that took place every year, for 20 years, and it fostered memorable encounters. Artists from all over the country participated, such as C\u00e9lia Gouveia, Graciela Figueroa and Jo\u00e3o Saldanha.<\/span><\/p>\n

According to an official document from 1988 about the Worskshop, \u201cits main goal is to gather dance groups that have been developing research with the new language, in which form and content are relevant to today\u2019s men. This annual event distances itself from the country\u2019s main art festivals: first, for being a sample of what is new and therefore little known, through the participation of groups that are not part of the small and elitist circuit of the acclaimed; second, for developing a series of courses aiming to update professionals, not only in the technical realm, but also in the development of the creative choreographic potential; and finally, for carrying out seminars and debates in which the professional\u2019s critical\/theoretical process is stimulated. These items meet the need of an area that is overlooked by the authorities, detected through the lack of support to the production of new-coming groups (\u2026)\u201d<\/span><\/p>\n

The 2000\u2019s: new steps towards dance thought<\/strong><\/span><\/p>\n

After the re-democratization period, the Dance School entered a limbo. In 1987, a post-graduate Choreography course was created in partnership with the Theater School, but it wasn\u00b4t enough to meet the School\u2019s goals. However, in the next year there was a kind of intervention and the director wasn\u00b4t chosen by vote, she was nominated. \u201cThe goal was to have a leap in quality and achieve a doctor\u2019s program, but the school suffered a lot with this attitude, which involved political issues\u201d, Dulce admits. <\/span><\/p>\n

Still with the firm intention of training high level dance thinkers and researchers, in 2003 the School sent a proposal to the Programa de Qualifica\u00e7\u00e3o Institucional (PQI, the Portuguese acronym for Institutional Qualification Program) for the creation of a post-graduate program. The Dance Post-Graduate Program (PPGD, in Portuguese) was launched in 2006, the year the School celebrated 50 years. It brought a revolution to the academic community. \u201cA lot of people started coming to Bahia to study. We are a point of reference, because we have many different research groups. It\u00b4s a school that is well-placed in the University\u2019s structure. We have importance, a voice\u201d, says Dulce, who is now involved with reforms and the extension of the School\u2019s building. With such a rich history, it is not too much to say that in the map of Brazilian dance, many paths go through Salvador. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Conhe\u00e7a a hist\u00f3ria da Escola de Dan\u00e7a da UFBA, a mais importante institui\u00e7\u00e3o quando o assunto \u00e9 ensino de dan\u00e7a no Brasil. Ela completa 55 anos em 2011. <\/p>\n","protected":false},"author":136,"featured_media":15221,"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":[46,28],"tags":[1830,3723,1273,483],"yoast_head":"\nMais de 50 anos de hist\u00f3ria | More than 50 years of history -<\/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\/mais-de-50-anos-de-historia\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mais de 50 anos de hist\u00f3ria | More than 50 years of history -\" \/>\n<meta property=\"og:description\" content=\"Conhe\u00e7a a hist\u00f3ria da Escola de Dan\u00e7a da UFBA, a mais importante institui\u00e7\u00e3o quando o assunto \u00e9 ensino de dan\u00e7a no Brasil. 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