{"id":15454,"date":"2010-06-17T19:04:12","date_gmt":"2010-06-17T22:04:12","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=15454"},"modified":"2010-06-17T21:59:48","modified_gmt":"2010-06-18T00:59:48","slug":"notacoes-de-multiplicidade","status":"publish","type":"post","link":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/","title":{"rendered":"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity"},"content":{"rendered":"

Uma vers\u00e3o preliminar do texto foi publicada\u00a0 no Jornal Not\u00edcias do Dia durante o evento.<\/em><\/span><\/p>\n

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

A quinta edi\u00e7\u00e3o do M\u00faltipla Dan\u00e7a: Semin\u00e1rio Internacional de Dan\u00e7a Contempor\u00e2nea<\/a>, uma realiza\u00e7\u00e3o da Alian\u00e7a Francesa de Florian\u00f3polis, Santa Catarina, ocorreu de 25 a 29 de mar\u00e7o de 2010, tendo como participantes aproximadamente 900 pessoas. As organizadoras, Marta Cesar e Jussara Xavier, mais uma vez se desdobraram para colocar em foco uma programa\u00e7\u00e3o diversa e aguardada pelo p\u00fablico de dan\u00e7a catarinense.<\/span><\/p>\n

O M\u00faltipla Dan\u00e7a, semelhante \u00e0 web, pareceu-me ser uma fonte de in\u00fameras\u00a0 informa\u00e7\u00f5es. Mas, as sugest\u00f5es de rapidez, exatid\u00e3o, multiplicidade, consist\u00eancia, leveza, visibilidade, descritas por \u00cdtalo Calvino me ajudaram a tra\u00e7ar um caminho, provocando as notas aqui expressas. Neste caso, a a\u00e7\u00e3o de anotar \u00e9 destacada do saber como modelo, coisa para copiar, imitar. Ela \u00e9 escritura, n\u00e3o mem\u00f3ria; est\u00e1 na produ\u00e7\u00e3o, dir\u00edamos, na cria\u00e7\u00e3o e n\u00e3o na representa\u00e7\u00e3o.<\/span><\/p>\n

Os artistas e os trabalhos\u00a0da dan\u00e7a catarinense foram o destaque do semin\u00e1rio, indicou a curadora Jussara Xavier: Anderson Gon\u00e7alves (1964-2010)\u00a0foi homenageado; houve o lan\u00e7amento do livro As met\u00e1foras do corpo em cena, <\/em>de Sandra Meyer, e\u00a0a estreia do document\u00e1rio Ballet Desterro: contemporaneidade na dan\u00e7a catarinense<\/em>, dirigido pela curadora;\u00a0o Cena 11 compartilhou seu processo criativo\u00a0com o p\u00fablico por meio de uma a\u00e7\u00e3o no palco\u00a0e de uma conversa no dia seguinte;\u00a0em ensaios abertos com discuss\u00e3o sobre dramaturgia, grupos e artistas de Florian\u00f3polis e Jaragu\u00e1 do Sul conversaram com as professoras Christine Greiner e Sandra Meyer; foram promovidas atividades em\u00a0parceria com o projeto Entrando em Contato<\/em>, desenvolvido por Ana Alonso aqui na cidade; os videodan\u00e7as de Sarah Ferreira\u00a0foram exibidos. Outros destaques do semin\u00e1rio incluiram: o di\u00e1logo sobre economia da cultura com Ana Carla Reis. A presen\u00e7a da Quasar Cia. de Dan\u00e7a (GO),\u00a0uma das mais importantes\u00a0companhias brasileiras. A performance da Companhia Flutuante (SP) no Jivago Lounge, local que enfatizou o interesse do M\u00faltipla em ocupar outros espa\u00e7os, alcan\u00e7ar novos p\u00fablicos, enfim,\u00a0n\u00e3o perder de vista a multiplicidade,\u00a0foco do encontro desde seu surgimento.<\/span><\/p>\n

A dan\u00e7a aconteceu novamente na cidade m\u00faltipla e variada: muitas dan\u00e7as em contraposi\u00e7\u00e3o a \u201cuma\u201d. Mas, n\u00e3o se trata de dispers\u00e3o ilimitada, mas de n\u00famero: quando a dan\u00e7a que se aprecia \u00e9 uma e ao mesmo tempo m\u00faltipla.\u00a0 Mas, independentemente da ordem\u00a0 e da unidade que a dan\u00e7a receba, seja da sensibilidade e do intelecto, o espectador ao se deparar com a multiplicidade\u00a0 de conhecimento acerca da dan\u00e7a apresentada nas propostas, nos espet\u00e1culos, nas oficinas, nos debates e ensaios abertos do M\u00faltipla Dan\u00e7a, sentiu-se desafiado a buscar sentido para tal experi\u00eancia em todo esse\u00a0 conte\u00fado sens\u00edvel. Neste estado aparentemente desconexo ou bruto, instaura uma experi\u00eancia est\u00e9tica da dan\u00e7a que convida: aprecie com compreens\u00e3o.<\/span><\/p>\n

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

Instant\u00e2neos<\/strong><\/span><\/p>\n

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

No pref\u00e1cio da obra de Jo\u00e3o Gilberto Noll: M\u00ednimos, m\u00faltiplos, comuns<\/em>, Wagner Carelli observa a aplicada disciplina desse autor de escrever narrativas completas e de porte incomum: cada relato estava confinado a um m\u00e1ximo de 130 palavras. Noll optou por cham\u00e1-los \u201cinstantes ficcionais\u201d. Para exemplificar: \u201cComo se chamava a sensa\u00e7\u00e3o fluida de todo final de tarde? O sopro escorrendo pelo est\u00f4mago sem desenlace seguro, o que era? Estava sentado\u00a0 num caf\u00e9, absorto nesse laivo de instante. E isso lhe deixaria aquele sumidouro de lembran\u00e7a cada vez mais distantes de uma nascente precisa…\u201d Esse fragmento nos impulsiona a indagar como o olhar, o escrever, o mover-se, revelam gestos instant\u00e2neos, cujo entrela\u00e7amento forja o v\u00eddeo, o livro, e a dan\u00e7a.<\/span><\/p>\n

Podem nossos olhos interrogar o mundo e, atrav\u00e9s deles, o mundo apresentar-se a n\u00f3s? <\/strong>Ballet Desterro: contemporaneidade na dan\u00e7a catarinense,<\/em> dirigido por Jussara Xavier, registra em voz e imagens a trajet\u00f3ria pioneira de um grupo que, como relata a arguta diretora, realizou experi\u00eancias inovadoras ao adotar procedimentos criativos diferenciados do padr\u00e3o e provocar a percep\u00e7\u00e3o do p\u00fablico. Identifica em seus espet\u00e1culos a articula\u00e7\u00e3o in\u00e9dita de diferentes linguagens e m\u00eddias, a simultaneidade de a\u00e7\u00f5es na cena, a valoriza\u00e7\u00e3o da singularidade, a experimenta\u00e7\u00e3o coreogr\u00e1fica, a diversidade de motiva\u00e7\u00f5es e as tentativas de dirigir a dan\u00e7a \u00e0s infinitas coisas do mundo. <\/strong>Observa a diretora: \u201cVale notar que n\u00e3o existia cr\u00edtica de dan\u00e7a regular em Santa Catarina nesta \u00e9poca; ocasionalmente Janga, ent\u00e3o membro da Associa\u00e7\u00e3o Brasileira dos Cr\u00edticos de Arte, a pedido dos pr\u00f3prios artistas, exercia este papel. \u00c9 dele o texto de apresenta\u00e7\u00e3o do espet\u00e1culo para o programa (1990): \u2018a mais nova montagem do Ballet Desterro tem […] em comum uma sintoniza\u00e7\u00e3o com a contemporaneidade, clara e acertada op\u00e7\u00e3o do grupo desde que iniciou sua trajet\u00f3ria. […]\u2019 Quem assistir a essa montagem, mesmo que n\u00e3o conhe\u00e7a os excelentes trabalhos anteriores do Desterro, como Elo<\/em><\/strong> e Quatro Vis\u00f5es, <\/em><\/strong> poder\u00e1 concluir qu\u00e3o merecidas s\u00e3o as diversas premia\u00e7\u00f5es conquistadas pelo grupo. Fazendo bom uso da intelig\u00eancia e sensibilidade, a arte do Ballet Desterro contagia e emociona com sua inventividade, energia e juventude. Seus bailarinos e core\u00f3grafos recusam-se a fazer da dan\u00e7a mera divers\u00e3o, ornamento ou passatempo social inconsequente. Colocando o p\u00fablico diante de seus pr\u00f3prios problemas interiores, buscam aumentar os n\u00edveis de experi\u00eancia do int\u00e9rprete ou da plat\u00e9ia.\u201d O Desterro passo-a-passo firmou-se no cen\u00e1rio cultural como uma refer\u00eancia e deixou sua marca indel\u00e9vel na dan\u00e7a catarinense.<\/span><\/p>\n

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

Seria a escrita da dan\u00e7a um mapeamento e codifica\u00e7\u00e3o liter\u00e1rios das regi\u00f5es do corpo? O livro As met\u00e1foras do corpo em cena,<\/em> de Sandra Meyer, \u00e9 resultante da sua tese de doutorado e relaciona o m\u00e9todo das a\u00e7\u00f5es f\u00edsicas com estudos do corpo na contemporaneidade. Os processos cognitivos que envolvem a forma\u00e7\u00e3o do ator e do bailarino s\u00e3o discutidos no \u00e2mbito das ci\u00eancias, da filosofia e das artes, a partir do problema corpo-mente. \u201cAo colocar lado a lado os ensinamentos dos grandes mestres de teatro com novas possibilidades de uma teoria da a\u00e7\u00e3o, Sandra depura algumas quest\u00f5es\u00a0 fundamentais\u00a0 como a da met\u00e1fora, entendida na pesquisa \u00e0 luz dos estudos\u00a0 do pr\u00f3prio Mark Johnson e de seu parceiro George Lakoff. Para estes autores, a met\u00e1fora n\u00e3o \u00e9 uma figura de linguagem, mas uma a\u00e7\u00e3o cognitiva capaz de criar deslocamentos em toda criatura que pensa e se move. Esta amplia\u00e7\u00e3o da \u201ca\u00e7\u00e3o\u201d para diferentes n\u00edveis de descri\u00e7\u00e3o do corpo (e n\u00e3o apenas o macrosc\u00f3pico) abre caminhos para estudos do teatro contempor\u00e2neo, em suas rela\u00e7\u00f5es com a performance e o chamado teatro p\u00f3s-dram\u00e1tico. Isso porque, nestes casos, a a\u00e7\u00e3o nem sempre \u00e9 exposta, mas se d\u00e1 a ver sutilmente, atrav\u00e9s de mudan\u00e7as de estados corporais\u201d, prefacia Christine Greiner.<\/span><\/p>\n

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

Como o gesto daquilo que fica\u00a0 em suspenso em cada a\u00e7\u00e3o busca um sentido? Anderson Gon\u00e7alves (1964-2010), <\/strong>bailarino, dan\u00e7ou em grupos como o Desterro (SC), Cia. Jazz Brasil (SP), Vacilou Dan\u00e7ou (RJ). Foi professor e core\u00f3grafo de diversas escolas e grupos nacionais. Integrou o Cena 11 como int\u00e9rprete e figurinista. \u00c0 maneira de Clarice Lispector, ele interrompe a dan\u00e7a com sil\u00eancio espa\u00e7oso, e deixa o corpo num feixe de aten\u00e7\u00e3o intensa e muda. Ficamos \u00e0 espreita de nada. Dancemos. Seu sil\u00eancio n\u00e3o \u00e9 o vazio, \u00e9 a plenitude.<\/span><\/p>\n

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

\"\"

C\u00e9u na boca \/ Foto: Lu Barcelos<\/p><\/div><\/span><\/p>\n

A dualidade \u00e9 um conceito definido pela geometria em que s\u00e3o chamadas de duais duas figuras que podem ser obtidas uma da outra. Refere-se \u00e0 rela\u00e7\u00e3o que une dois objetos quaisquer, de tal modo que um pode transformar-se no outro mediante opera\u00e7\u00f5es oportunas. Camilo Chapela, Carolina Ribeiro, Fernando Martins, Jo\u00e3o Paulo Gross, Kak\u00e1 Antunes, Marcos Buiati, Martha Cano e Valeska Gon\u00e7alves, elenco da Quasar Cia. de Dan\u00e7a (GO), rastejam, se arrastam, caminham, se abra\u00e7am, se afastam, se falam, se beijam: desenham acontecimentos de dan\u00e7a em busca da felicidade. Durante 70 minutos, seus gestos gotejam risos, alfinetam surpresas e sugerem sensa\u00e7\u00f5es na plateia presente no espet\u00e1culo C\u00e9u na boca<\/em><\/strong>, dirigido por Henrique Rodovalho, e apresentado na noite de ter\u00e7a-feira no M\u00faltipla Dan\u00e7a.<\/span><\/p>\n

A musicalidade de Hendrik Lorenzen, Taylor Deupree, Marc Leclair, Goldie, Stacey Kent, Umebayashi Shigeru, Porter Ricks, Ray Conniff, dilatam o estado de esp\u00edrito, nos colocando ref\u00e9ns dos desejos alheios manifestos num contato aparentemente absurdo, numa comunica\u00e7\u00e3o estranhada, num deslocamento horizontal. Impulsionam-nos a reconhecermos, numa atitude epicurista, que o conhecimento seguro dos desejos leva a direcionar toda escolha e toda recusa para a sa\u00fade do corpo e para a serenidade do esp\u00edrito, visto que esta \u00e9 a finalidade da vida feliz.<\/span><\/p>\n

A movimenta\u00e7\u00e3o de um corpo intenso e presente \u00e9 vestida por C\u00e1ssio Brasil. Camuflagem desnudada em cena com o intuito de assumirmos como nossas as a\u00e7\u00f5es de tecer, em duo, em trio, tran\u00e7ar fios existenciais que nos afaste da dor e do medo. A aus\u00eancia de cen\u00e1rio metaforiza o outro como o\u00a0 c\u00e9u, o ideal inating\u00edvel; e o corpo-pr\u00f3prio como a boca, a realidade palat\u00e1vel. Nessa atmosfera difusa, a ilumina\u00e7\u00e3o faz nascer o corpo de outrem no tempo\/espa\u00e7o daquele que v\u00ea. Nas pausas contornadas pelo sil\u00eancio noto que n\u00e3o s\u00f3 o uso das\u00a0 palavras, mas tamb\u00e9m o movimento, o gesto, o tocar\u00a0 e o sorrir nos fazem singulares, neste desenho que \u00e9 a\u00a0 pluralidade humana.<\/span><\/p>\n

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

Presen\u00e7a<\/strong><\/span><\/p>\n

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

Diz que um objeto est\u00e1 presente quando \u00e9 visto ou \u00e9 dado a qualquer forma de intui\u00e7\u00e3o ou de conhecimento imediato. O que \u00e9 a presen\u00e7a na dan\u00e7a? Na tarde de quarta-feira, a core\u00f3grafa Zil\u00e1 Muniz (Florian\u00f3polis\/SC) mediou o di\u00e1logo entre Ana Alonso (Florian\u00f3polis\/SC) e Cristina Turdo (Argentina) sobre a improvisa\u00e7\u00e3o em seu modo espetacular e sobre se a improvisa\u00e7\u00e3o seria uma dan\u00e7a n\u00e3o planejada, um espa\u00e7o para o risco, acaso e imprevisto; e quais seriam as consequ\u00eancias desta escolha no impacto com a plateia. Um p\u00fablico composto por dan\u00e7arinas, core\u00f3grafos, produtoras culturais, professoras e pesquisadoras universit\u00e1rias participantes do M\u00faltipla Dan\u00e7a, contribu\u00edram para enriquecer o debate.<\/span><\/p>\n

A mediadora Zil\u00e1 Muniz inicia o debate ao fazer refer\u00eancia \u00e0 composi\u00e7\u00e3o instant\u00e2nea como um processo presente na dan\u00e7a contempor\u00e2nea, e ao destacar sua natureza experimental. Esclarece que n\u00e3o se trata de um trabalho sem rigor, mas pelo contr\u00e1rio, exige olhar cr\u00edtico de quem dan\u00e7a, t\u00e3o necess\u00e1rio para n\u00e3o se correr o risco de n\u00e3o aprofundar na pesquisa do movimento.<\/span><\/p>\n

Ana Alonso indaga se \u00e9 necess\u00e1rio buscar sempre o novo. Ela percebe a improvisa\u00e7\u00e3o como comunica\u00e7\u00e3o. Defende a import\u00e2ncia da presen\u00e7a na cena, mais que o movimento inovador. Afirma o corpo como presen\u00e7a: o aqui e o agora.<\/span><\/p>\n

A improvisa\u00e7\u00e3o \u00e9 um grande tema na vida para Cristina Turdo. Para a professora, improvisa\u00e7\u00e3o \u00e9 sua vida. Um caminho de crescimento. Se a arte n\u00e3o \u00e9 crescimento, n\u00e3o \u00e9 arte. Apresenta a improvisa\u00e7\u00e3o como paradoxal e revolucion\u00e1ria. Ao improvisar, busca o suporte, um lugar para voltar, uma \u00e2ncora que assegure n\u00e3o nos perder na m\u00faltiplas possibilidades que esse processo propicia. Observa que sem a censura de um ju\u00edzo de certo e errado, as crian\u00e7as s\u00e3o as melhores improvisadoras.<\/span><\/p>\n

Noto que h\u00e1 na improvisa\u00e7\u00e3o uma intera\u00e7\u00e3o de presen\u00e7a e aus\u00eancia que merece ser investigada, tendemos a enfatizar a presen\u00e7a na dan\u00e7a, mas a aus\u00eancia tamb\u00e9m requer aten\u00e7\u00e3o. Deveras, a improvisa\u00e7\u00e3o proporciona uma experi\u00eancia mais interativa com a dan\u00e7a que desvela algumas intui\u00e7\u00f5es acerca desse tema instigante.<\/span><\/p>\n

Compreens\u00e3o<\/strong><\/span><\/p>\n

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

Na noite de quinta-feira (27 de maio), ocorreu a conversa orientada sobre a nova pesquisa coreogr\u00e1fica do Grupo Cena 11 Cia. de Dan\u00e7a, intitulada: SIM > a\u00e7\u00f5es integradas de consentimento para ocupa\u00e7\u00e3o e resist\u00eancia<\/em><\/strong>, <\/strong>mediada pela professora Fabiana Dultra Britto (BA), e tendo como participantes o diretor e core\u00f3grafo Alejandro Ahmed, o elenco\u00a0 composto por Adilso Machado, Aline Blasius, Cl\u00e1udia Shimura, Jussara Belchior, Karin Serafin, Leticia Lamela, Marcos Klann e Mariana Romagnani e a plateia do M\u00faltipla Dan\u00e7a.<\/span><\/p>\n

Uma tarefa foi solicitada: que form\u00e1ssemos tr\u00eas grupos para descrever a experi\u00eancia de compreens\u00e3o e o sentimento do SIM<\/em><\/strong>. Tal a\u00e7\u00e3o me p\u00f4s a pensar acerca da compreens\u00e3o, que na concep\u00e7\u00e3o de Hannah Arendt \u00e9 intermin\u00e1vel, come\u00e7a com o nascimento e termina com a morte, \u00e9 a maneira especificamente humana de estar vivo. Como plateia \u201cteste\u201d, escolhi ficar no grupo para descrever a compreens\u00e3o da coisa. Em tr\u00eas come\u00e7amos a tarefa, descrevendo a nossa atitude frente \u00e0 coisa: distanciamento de uma, aproxima\u00e7\u00e3o de outra.<\/span><\/p>\n

Mas, o que \u00e9 descrever a compreens\u00e3o de uma experi\u00eancia vivida acerca de ocupa\u00e7\u00e3o de espa\u00e7o e resist\u00eancia num ambiente c\u00eanico? Refleti acerca da necessidade de compreens\u00e3o mediante a resigna\u00e7\u00e3o para conferir sentido e produzir novidade no esp\u00edrito e no cora\u00e7\u00e3o humanos. Faltou-nos tempo para cruzar o abismo entre experi\u00eancia e a compreens\u00e3o dela. Nessa aus\u00eancia, notamos a ess\u00eancia do interrogar-se. Uma atividade t\u00e3o peculiar de descrever\u00a0 uma experi\u00eancia e o entendimento racional e afetivo no contexto da dan\u00e7a \u00e9 pouco usual. No entanto, nesta situa\u00e7\u00e3o aprendemos juntamente com Arendt que o resultado da compreens\u00e3o \u00e9 o significado que produzimos em nosso pr\u00f3prio processo de vida \u00e0 medida que tentamos nos reconciliar com o que fazemos e com o que sofremos. <\/strong><\/span><\/p>\n

Na sexta-feira \u00e0 tarde (28 de maio), ocorreu a reflex\u00e3o sobre a economia da cultura, a implementa\u00e7\u00e3o de a\u00e7\u00f5es integradas por meio da constitui\u00e7\u00e3o de redes de parceria para a profissionaliza\u00e7\u00e3o do trabalho art\u00edstico. A proposta incluiu a dissemina\u00e7\u00e3o de conhecimentos sobre a aplica\u00e7\u00e3o de m\u00e9todos, \u00edndices, processos e ferramentas da economia na \u00e1rea da gest\u00e3o cultural.\u00a0 O di\u00e1logo iniciou com a palestra proferida por Ana Carla Fonseca Reis (SP), e foi mediado por Marcos Moraes (SP), que problematizou acerca dos saberes do corpo; Vanilton Lakka (MG) descreveu sua experi\u00eancia e sua participa\u00e7\u00e3o na Rede Sul-Americana, e Luciana Ribeiro (GO) enfatizou a necessidade de mapeamento da dan\u00e7a no pa\u00eds, bem como uma rediscuss\u00e3o no mundo do trabalho tendo como refer\u00eancia a dan\u00e7a enquanto categoria profissional.<\/span><\/p>\n

No \u00faltimo dia do M\u00faltipla Dan\u00e7a, a todos aqueles que se interessaram em\u00a0 buscar uma compreens\u00e3o da dan\u00e7a enquanto processo, foi oferecido o programa Ensaios Abertos: Tr\u00e2nsitos, teoria e pr\u00e1tica<\/em>, <\/strong>espa\u00e7o de mostra de trabalhos com artistas e grupos de Santa Catarina, seguida de discuss\u00e3o sobre dramaturgia com professoras as convidadas Christine Greiner (SP) e Sandra Meyer (SC). Um dos trabalhos foi o Projeto A\u00e7\u00facar, Fel e Afeto, que apresentou Apenas Esp\u00e9cie<\/em><\/strong> (t\u00edtulo proviss\u00f3rio), dirigido por Diana Gilardenghi (Florian\u00f3polis), tendo como int\u00e9rpretes-criadoras Michelle Pereira e\u00a0 Nastaja Brehsan. A apresenta\u00e7\u00e3o foi seguida de uma calorosa conversa, e a tem\u00e1tica\u00a0 acerca de identidade e dessemelhan\u00e7a\u00a0 provocou m\u00faltiplas interpreta\u00e7\u00f5es, tais como imagens reverberadas em espelhos desfocados.<\/span><\/p>\n

\"\"

Experimento port\u00e1til, uma a\u00e7\u00e3o sob encomenda \/ Foto: Gil Grossi<\/p><\/div><\/span><\/p>\n

\u00c0 noite, Let\u00edcia Sekito, da Companhia Flutuante (SP) apresentou no Jivago Lounge seu Experimento port\u00e1til, uma a\u00e7\u00e3o sob encomenda<\/em><\/strong>. A performance prop\u00f4s uma reflex\u00e3o sobre poss\u00edveis rela\u00e7\u00f5es entre corpo feminino, fetichismo visual, olhar estrangeiro, comunica\u00e7\u00e3o e cultura. Imagens fetichistas femininas – a aeromo\u00e7a, a gar\u00e7onete, a dan\u00e7arina havaiana \u2013 relacionam-se com a ideia do olhar estrangeiro, met\u00e1fora presente nos v\u00eddeos em cena. Com ironia e comicidade, prop\u00f4s uma intera\u00e7\u00e3o direta com o p\u00fablico, considerado como um voyeur\/\u2019cliente\u2019. Ao voltar para casa ap\u00f3s a performance de Let\u00edcia me sentia repleta de informa\u00e7\u00f5es, de experi\u00eancias, de encontros, trocas. Perguntei como a dan\u00e7a contempor\u00e2nea contribui para nos sentirmos em casa neste mundo em que nascemos estranhos e permaneceremos estranhos em nossa inconfund\u00edvel singularidade e retornei a Hannah Arendt, que inspira escrever sobre como uma experi\u00eancia mais profunda com a dan\u00e7a demonstra que um cora\u00e7\u00e3o compreensivo, e n\u00e3o a mera reflex\u00e3o ou o mero sentimento, torna suport\u00e1vel para n\u00f3s a conviv\u00eancia com outro.<\/span><\/p>\n

Nota\u00e7\u00f5es acerca do M\u00faltipla, vi-me desafiada a fazer escolhas. Tal como fa\u00e7o quando acesso um site na Internet em busca de algo que procuro. Encerro aqui minha partitura de gestos textuais com a avalia\u00e7\u00e3o da curadora Jussara Xavier pontuando que a maior dificuldade da realiza\u00e7\u00e3o do evento \u00e9 sempre\u00a0relativa aos apoios e \u00a0patroc\u00ednios. Considera que o\u00a0tempo \u00e9\u00a0insuficiente para planejar melhor o encontro, pois sem saber com certeza o volume de\u00a0recursos financeiros que\u00a0ser\u00e3o\u00a0disponibilizados fica\u00a0dif\u00edcil agendar\u00a0principalmente as atra\u00e7\u00f5es internacionais. Percebe que a visibilidade e a repercuss\u00e3o na m\u00eddia impressa e televisiva foram excelentes. Comenta que os encontros interpessoais que ocorrem entre os participantes\u00a0e geram outras possibilidades de realiza\u00e7\u00e3o nos deixam bastante contentes. Certifica que foi um momento de troca intenso e rico. Finaliza ao dizer \u201cficamos muito satisfeitas e estimuladas a continuar,\u00a0repensar e ajustar\u00a0os encontros\u00a0e atividades as necessidades locais. Para n\u00f3s, \u00e9 vital descobrir o significado do M\u00faltipla Dan\u00e7a para os artistas da dan\u00e7a de SC, ent\u00e3o acho que seria mais bacana se voc\u00ea os entrevistasse para descobrir…\u201d Bem, isso \u00a0me parece pauta para um outro texto.<\/span><\/p>\n

Ida Mara Freire tem Especializa\u00e7\u00e3o em Dan\u00e7a C\u00eanica pela Universidade do Estado de Santa Catarina e\u00a0 P\u00f3s-doutorado em T\u00f3picos Especificos da Educa\u00e7\u00e3o pela University of Nottingham. Atualmente ocupa o cargo de Professor Associado na Universidade Federal de Santa Catarina, Diretora, core\u00f3grafa e dan\u00e7arina do Potlach Grupo de Dan\u00e7a.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: Florian\u00f3polis de m\u00faltiplos encontros<\/a><\/span><\/p>\n

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

The fifth edition of M\u00faltipla Dan\u00e7a: Semin\u00e1rio Internacional de Dan\u00e7a Contempor\u00e2nea took place in Florian\u00f3polis, between March 25 and 29. About 900 people participated. Organizers Marta Cesar and Jassara Xavier once again made an effort to put forth a diversified program, highly anticipated by the dance public of the state of Santa Catarina.<\/span><\/p>\n

Similar to the web, M\u00faltipla Dan\u00e7a seemed to me like a source of countless information. But, the notions of speed, accuracy, multiplicity, consistency, lightness and visibility described by \u00cdtalo Calvino helped me to draw a path that instigated these notes. In this case, the act of jotting down is different from knowledge as standard, something to be copied, imitated. It is writing, not memory; it is in production, we could say it is creation instead of representation.<\/span><\/p>\n

The artists and dance works from Santa Catarina were the highlight of the seminar, according to Jussara Xavier. Anderson Gon\u00e7alves (1964-2010)\u00a0was honored; the book As met\u00e1foras do corpo em cena<\/em> (\u201cThe metaphors of the body on stage\u201d), written by Sandra Meyer, was released and the documentary Ballet Desterro: Contemporaneidade na dan\u00e7a catarinense<\/em>, (\u201cBallet Desterro: Contemporaneity in the dace of Santa Catarina\u201d) directed by the curator, premiered; Cena 11 shared its creative process with the audience through activities on stage and a conversation the next day; groups from Florianopolis and Jaragu\u00e1 do Sul talked with professors Cristine Greiner and Sandra Meyer in open rehearsals with debates about dramaturgy; there were activities in partnership with the project Entrando em Contato<\/em> (\u201cGetting in Contact\u201d), developed by Ana Alonso in the city; Sarah Ferreira\u2019s videodances were screened. Other highlights of the seminar were: Ana Carla Reis talking about the economy of culture; the presence of Quasar Cia. de Dan\u00e7a, one of the most important Brazilian companies; the performance of Companhia Flutuante at Jivago Lounge. The latter emphasized M\u00faltipla Dan\u00e7a\u2019s interest in occupying other spaces, reaching new audiences and not to lose sight of multiplicity, which has been the focus of the event since the beginning.<\/span><\/p>\n

Dance happened once again in the multiple and diverse city: many dances as opposed to \u201cone\u201d. But, it is not about unlimited dispersion, but about numbers: when the dance being appreciated is one and, at the same time, multiple ones. But, regardless of the order and the unity dance has, be it based on sensitivity or intellect, confronted with a multiplicity of knowledge about dance presented in the proposals, the shows, workshops, debates and open rehearsals, the spectator felt challenged to search for the meaning of such experience with all of that sensitive material. In this apparently disconnected or raw state brings, it establishes an aesthetic experience of dance that makes an invitation: enjoy with understanding.<\/span><\/p>\n

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

In the foreword of Jo\u00e3o Gilberto Noll\u2019s book M\u00ednimos, m\u00faltiplos, comuns<\/em>, Wagner Carelli notes the author\u2019s applied discipline in writing complete narratives of unusual size: each account was confined to up to 130 words. Noll opted for calling them \u201cfictional instants\u201d. For instance \u201cHow was the fluid feeling of every late afternoon called? The breath pouring down the stomach without a safe outcome, what was it? I was sitting at a caf\u00e9, absorbed in this instant. And that would make that disappearance of reminiscence even more distant than a spring needs to be\u201c This fragment pushes us to inquire how the gaze, the writing, the movement, reveal instant gestures whose intertwinement forges the video, the book and the dance.<\/span><\/p>\n

Could our eyes interrogate the world and could the world present itself to us through them? Directed by Jussara Xavier, Ballet Desterro: contemporaneidade na dan\u00e7a catarinense<\/em> captures in sound and images the pioneer path of a group that made innovating experiences by adopting creative procedures different from the norm and provoking the perception of the audience. She identifies the following aspects in the group\u2019s work: the unprecedented use of different languages on stage, the choreographic experimentation, the diversity of motivations and the attempts to direct dance towards the infinite thing of the world. The director notes: \u201cIt is worth noting there was not regular dance criticism in Santa Catarina at the time; at the request of the artists themselves, Janga, then a member of the Brazilian Association of Art Critics, occasionally fulfilled this role. He wrote the show\u2019s presentation for the program (1990): The most recent work of Ballet Desterro has [\u2026] in common a tuning with contemporaneity, a clear and rightful choice of the group since its beginning. [\u2026] Those who watch this piece will be able to see how well-deserved were the many awards the group received, even if they are not familiar with previous works of Desterro, such as Elo<\/em><\/strong> and Quatro Vis\u00f5es<\/em><\/strong>. Making good use of intelligence and sensibility, the art of Ballet Desterro<\/em> enchants the audience with its ingenuity, energy and youth. Its dancers and choreographers refuse to make dance as mere entertainment, ornament or careless social pastime. By confronting the audience with their own internal problems, they seek to increase the level of the performer\u2019s experience, or that of the audience.\u201d Step by step, Desterro established itself as a reference in the cultural scene and left its indelible mark in the dance of Santa Catarina.<\/span><\/p>\n

Would the writing of dance be a mapping and a literary codification of the regions of the body? The book As met\u00e1foras do corpo em cena<\/em>, written by Sandra Meyer, is a result of her doctorate thesis and it relates the methods of physical actions with studies of the body in contemporaneity. The cognitive processes that surround the training of actors and dancers are discussed within the realm of science, philosophy and art, based on the mind-body problem. \u201cBy putting the teachings of the great masters of theater side by side with new possibilities for a theory of action, Sandra tackles some fundamental issues such as that of the metaphor, comprehended in light of the research of Mark Johnson and his partner George Lakoff. For them, the metaphor is not a figure of speech, but a cognitive action able to create shifts in every moving and thinking creature. This expansion of \u201caction\u201d towards different levels of descriptions of the body (an not only the macroscopic one) opens paths for studies of contemporary theater in its relationship with performance and the so-called post-dramatic theater. For, in these cases, the action is not always exposed, but reveals itself subtly, through changes in bodily states\u201d, Christine Greiner writes in the foreword.<\/span><\/p>\n

How does the gesture of that which is suspended in each action seek meaning? Dancer Anderson Gon\u00e7alves (1964-2010) performed in groups such as Desterro (SC), Cia. Jazz Brasil (SP), Vacilou Dan\u00e7ou (RJ). He was a teacher and a choreographer in many schools and national groups. He was part of Cena 11 as a performer and costume designer. Like Clarice Lispector, he interrupts dance with spacious silence and leaves the body in a bundle of intense and mute attention. We remain on the lookout for nothing. Let\u00b4s dance. His silence is not that of emptiness, but that of plenitude.<\/span><\/p>\n

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

Duality is concept defined by geometry in which two figures are considered dual if they can be obtained from each other. It refers to the relationship that binds two given objects, in a way that one can become the other through convenient operations. Camilo Chapela, Carolina Ribeiro, Fernando Martins, Jo\u00e3o Paulo Gross, Kak\u00e1 Antunes, Marcos Buiati, Martha Cano and Valeska Gon\u00e7alves, the cast of Quasar Cia. de Dan\u00e7a (GO),\u00a0 crawl, creep, walk, hug, move away from each other, talk, kiss, draw dance happenings in search of happiness. During 70 minutes, their gestures drip laughs, poke surprises and suggest sensations for the audience of C\u00e9u na Boca<\/em><\/strong>, directed by Henrique Rodovalho and presented on Tuesday evening.<\/span><\/p>\n

The musicality of Hendrik Lorenzen, Taylor Deupree, Marc Leclair, Goldie, Stacey Kent, Umebayashi Shigeru, Porter Ricks, Ray Conniff expands the mood, making us hostages of the desires of others, which is expressed in an apparently absurd contact, in a strange communication, a horizontal displacement. They push to recognize, in an Epicurean attitude, that the safe knowledge of desire leads to directing every choice and every refusal towards the health of the body and the serenity of the spirit, since that is purpose of a happy life.<\/span><\/p>\n

The movement of an intense and present body is put on by C\u00e1ssio Brasil. A naked camouflage on stage aiming to make us assume as ours the acts of weaving in duos and trios, braiding existential threads that keep us away from pain and fear. The lack of stage settings is a metaphor of the other as heaven, the unobtainable ideal; and the body-itself as the mouth, the palatable reality. In this diffuse atmosphere, the lighting gives birth to the body of another in the time\/space of those who watch. In the pauses outlined by silence, I realize that not only the use of words, but also the movement, gestures, the touch and smiling make us unique in the drawing that is human plurality.<\/span><\/p>\n

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

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

It is said that an object is present when it is seen or it is given to any form of intuition of immediate knowledge. What is presence in dance? On Wednesday afternoon, choreographer Zil\u00e1 Muniz (Florian\u00f3polis\/SC) mediated the debate between Ana Alonso (Florian\u00f3polis\/SC) and Cristina\u00a0 Turdo (Argentina),\u00a0\u00a0 about improvisation in its spectacular form. They talked about whether improvisation is an unplanned dance, a space for risk, chance and the unexpected; and about which would be the consequences of this choice in the impact upon the audience. An audience composed by dancers, choreographers, producers, Univerisity professors and researchers contributed to enrich the debate.<\/span><\/p>\n

Zil\u00e1 Muniz, the mediator, started the debate by referring to instant composition as a process in contemporary dance and highlighting its experimental nature. She clarifies that it is not about work without rigor, much to the contrary, it requires the dancer\u2019s critical perspective, which is very necessary to avoid the risk of not deepening the movement research.<\/span><\/p>\n

Ana Alonso asks whether it is necessary to be always in search of something new. She perceives improvisation as communication. She defends the importance of the presence on stage, more than the innovating movement. She considers the body to be presence: here and now.<\/span><\/p>\n

Improvisation is the big subject of Cristina Turdo\u2019s life. Improvisation is the professor\u2019s life. A path for growth. If art is not growth, then it is not art. She presents improvisation as paradoxical and revolutionary. By improvising, she seeks support, a place to go back to, an anchor to make sure we don\u00b4t lose ourselves in the many possibilities this process allows. She notes that without having the censorship of a sense of right and wrong, children are the best improvisators.<\/span><\/p>\n

I notice that there is an interaction between presence and absence in improvisation that deserves to be investigated, we tend to emphasize the presence in dance, but absence also requires attention. Indeed, improvisation provides a more interactive experience with dance that unfolds some intuitions about this instigating theme.<\/span><\/p>\n

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

In the evening of May 27th there was a debate about Cena 11 Cia. de Dan\u00e7a\u2019s new choreographic research, called SIM > a\u00e7\u00f5es integradas de consentimento para ocupa\u00e7\u00e3o e resist\u00eancia<\/em><\/strong> (\u201cYES > integrated actions of consent for occupation and resistance\u201d). The talk was mediated by professor Fabiana Dultra Britto and had the participation of Alejandro Ahmed, the group\u2019s director and choreographer, and the cast composed by Adilso Machado, Aline Blasius, Cl\u00e1udia Shimura, Jussara Belchior, Karin Serafin, Leticia Lamela, Marcos Klann, Mariana Romagnani.<\/span><\/p>\n

One task was required. We should create three groups to describe the experience of understanding and feeling of SIM. Such action made me think about understanding, which is endless, according to Hannah Arendt It begins with birth and ends with death, it is the specifically human way of being alive. As \u201ctest\u201d audience, I chose to be in the group to describe the understanding of the research. The three of us started the task by describing our attitude towards it: detachment of one, approximation of the other.<\/span><\/p>\n

But, what does it mean to describe the understanding of an experience about the occupation of space and resistance in a scenic environment? I reflected about the need to understand through resignation, to provide meaning and produce something new in the human heart and spirit. There wasn\u00b4t enough time for us to cross the abyss between experience and its understanding. In this absence, we realized the essence of inquiring oneself. An activity so peculiar as describing an experience and the rational and emotional understanding is unusual in the dance context. However, in this situation we learned with Arendt that the result of understanding is meaning, which we produce in our own life process as we try to reconcile with what we do and what we suffer.<\/span><\/p>\n

On Friday evening, May 28th, there was a reflection about the economy of culture, the implementation of integrated actions though the establishment of partnership networks for the professionalization of the artistic work. The proposal included the dissemination of knowledge about the use of methods, indexes, processes and tools of economy in cultural management. The debate started with a lecture of Ana Carla Fonseca Reis and it mediated by Marcos Moraes, who discussed the issue of the knowledge of the body. Vanilton Lakka described his experience and participation in Red Sudamericana de Danza and Luciana Ribeiro emphasized the need for a mapping of dance in the country, as well as a re-discussion in the labor context with dance as a professional category as reference.<\/span><\/p>\n

In the last day of M\u00faltipla Dan\u00e7a, the Open Rehearsals were provided for all those who are interested in seeking an understanding of dance as process. Transits, theory and practice, a showcase of works with artists and groups from Santa Catarina, followed by a debate about dramaturgy with professors Cristine Greiner and Sandra Meyer.<\/span><\/p>\n

In the evening, Let\u00edcia Sekito, from Companhia Flutuante, performed Experimento port\u00e1til, uma a\u00e7\u00e3o sob encomenda<\/em><\/strong> at the Jivago Lounge. The performance proposed a reflection about possible relationships between the female body, visual fetichism, a foreign perspective, communication and culture. Fetishist images of women \u2013 the stewardess, the waitress, the Hawaiian dancer \u2013 are related to the idea of the foreign perspective, a metaphor present in the videos. With irony and comicality, she proposed a direct interaction with the audience, which was regarded as voyeur\/client. As I went home after Let\u00edcia\u2019s performance, I felt teeming with information, experiences, encounters, exchanges and I questioned how contemporary dance makes us feel at home in this world, in which we are born strangers and remain strangers in our unmistakable singularity. I returned to Hannah Arendt, who inspired me to write about how a more profound experience with dance reveals that an understanding heart, and not a mere reflection or mere feeling, makes living with others bearable.<\/span><\/p>\n

Notations about M\u00faltipla Dan\u00e7a, I felt challenged to make choices. Like I do when I surf the internet in search of something, I end this score of textual gestures with the evaluation of curator Jussara Xavier, who pointed out the biggest difficulty of the event is always related to support and sponsorship. She considers the time is not enough to better plan the meeting, since it\u00b4s not possible to know the amount of resources that will be made available, it\u00b4s hard to book shows, specially international ones. She notices that the visibility and repercussion in print and television outlets were excellent. She said that interpersonal exchanges that take place among the participants create other possibilities, which makes us happy. She stresses that it was a rich and intense moment. She finishes by saying that \u201cwe were very satisfied and stimulated to continue, re-think and adapt the meetings and activities with local needs. For us, it is vital to find the meaning of M\u00faltipla for the dance artists of Santa Catarina, so I think it would be nice if you interviewed them to find out\u2026\u201d Well that seems to be subject for another text.<\/span><\/p>\n

<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Em maio, o M\u00faltipla Dan\u00e7a mostrou as v\u00e1rias facetas da dan\u00e7a produzida em Santa Catarina e produziu uma variedade de encontros e discuss\u00f5es. Saiba o que aconteceu por l\u00e1 atrav\u00e9s do texto da professora e core\u00f3grafa Ida Mara Freire, que acompanhou o evento. <\/p>\n","protected":false},"author":46,"featured_media":15455,"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":[2388,2785],"yoast_head":"\nNota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -<\/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\/notacoes-de-multiplicidade\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -\" \/>\n<meta property=\"og:description\" content=\"Em maio, o M\u00faltipla Dan\u00e7a mostrou as v\u00e1rias facetas da dan\u00e7a produzida em Santa Catarina e produziu uma variedade de encontros e discuss\u00f5es. Saiba o que aconteceu por l\u00e1 atrav\u00e9s do texto da professora e core\u00f3grafa Ida Mara Freire, que acompanhou o evento.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2010-06-17T22:04:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2010-06-18T00:59:48+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/idanca.net\/wp-content\/uploads\/2010\/06\/multipla-dan\u00e7a-quasar_fotoLuBarcelos.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"3888\" \/>\n\t<meta property=\"og:image:height\" content=\"2592\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Ida Mara Freire\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ida Mara Freire\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"29 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/\",\"url\":\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/\",\"name\":\"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2010-06-17T22:04:12+00:00\",\"dateModified\":\"2010-06-18T00:59:48+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/62a27d9578db7ce0a3d220902857201a\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/notacoes-de-multiplicidade\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity\"}]},{\"@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\/62a27d9578db7ce0a3d220902857201a\",\"name\":\"Ida Mara Freire\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/ca3f25c9363c73a2a20166224ea3c0e0?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/ca3f25c9363c73a2a20166224ea3c0e0?s=96&d=mm&r=g\",\"caption\":\"Ida Mara Freire\"},\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/idamarafreire\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/","og_locale":"pt_BR","og_type":"article","og_title":"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -","og_description":"Em maio, o M\u00faltipla Dan\u00e7a mostrou as v\u00e1rias facetas da dan\u00e7a produzida em Santa Catarina e produziu uma variedade de encontros e discuss\u00f5es. Saiba o que aconteceu por l\u00e1 atrav\u00e9s do texto da professora e core\u00f3grafa Ida Mara Freire, que acompanhou o evento.","og_url":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2010-06-17T22:04:12+00:00","article_modified_time":"2010-06-18T00:59:48+00:00","og_image":[{"width":3888,"height":2592,"url":"https:\/\/idanca.net\/wp-content\/uploads\/2010\/06\/multipla-dan\u00e7a-quasar_fotoLuBarcelos.jpg","type":"image\/jpeg"}],"author":"Ida Mara Freire","twitter_misc":{"Escrito por":"Ida Mara Freire","Est. tempo de leitura":"29 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/","url":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/","name":"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2010-06-17T22:04:12+00:00","dateModified":"2010-06-18T00:59:48+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/62a27d9578db7ce0a3d220902857201a"},"breadcrumb":{"@id":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/notacoes-de-multiplicidade\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/notacoes-de-multiplicidade\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Nota\u00e7\u00f5es de multiplicidade | Notations of multiplicity"}]},{"@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\/62a27d9578db7ce0a3d220902857201a","name":"Ida Mara Freire","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/ca3f25c9363c73a2a20166224ea3c0e0?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/ca3f25c9363c73a2a20166224ea3c0e0?s=96&d=mm&r=g","caption":"Ida Mara Freire"},"sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/idamarafreire\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/15454"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/46"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=15454"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/15454\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media\/15455"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=15454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=15454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=15454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}