{"id":168,"date":"2004-04-21T00:00:00","date_gmt":"2004-04-21T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/04\/21\/rumo-a-expansao\/"},"modified":"2008-08-04T18:17:05","modified_gmt":"2008-08-04T21:17:05","slug":"rumo-a-expansao","status":"publish","type":"post","link":"https:\/\/idanca.net\/rumo-a-expansao\/","title":{"rendered":"Rumo \u00e0 expans\u00e3o | Towards expansion"},"content":{"rendered":"

Vamos come\u00e7ar pelo portugu\u00eas. Rumos s\u00e3o caminhos com dire\u00e7\u00f5es.O Rumos Dan\u00e7a, que o Itau Cultural promove a cada dois anos, nasceu como um diagn\u00f3stico, ao qual se seguiram importantes a\u00e7\u00f5es que respondiam \u00e0 an\u00e1lise dos sintomas apurados. O corte de verbas sofrido para a sua segunda edi\u00e7\u00e3o, acontecida em mar\u00e7o passado, inviabilizou a continuidade e aprimoramento do projeto original. A partir dessa restri\u00e7\u00e3o, precisou enfrentar uma outra, vinda do jornalismo cultural de hoje (quase nenhum espa\u00e7o para a dan\u00e7a, aus\u00eancia de discuss\u00e3o cr\u00edtica no que ainda \u00e9, eventualmente, publicado). A soma de ambas implicou numa indevida aproxima\u00e7\u00e3o deste evento \u00e0 vala comum dos festivais-vitrines, aqueles que montam uma programa\u00e7\u00e3o de espet\u00e1culos e a complementam com uma atividade aqui e outra ali.<\/span><\/p>\n

Felizmente, apartando-se desse modelo, o Rumos conseguiu manter o car\u00e1ter de aposta em um projeto. Um de seus diferenciais continua sendo o de viabilizar a encena\u00e7\u00e3o de: a) propostas coreogr\u00e1ficas vinculadas a um percurso de pesquisa; e b) que representem uma tend\u00eancia relevante na dan\u00e7a contempor\u00e2nea brasileira. O artista selecionado recebe uma verba para montar a sua proposta e ganha tamb\u00e9m a documenta\u00e7\u00e3o em v\u00eddeo profissional do resultado a que chegou.<\/p>\n

Como fiz parte da comiss\u00e3o que indicou os 32 projetos dentre os 415 apresentados (ao lado de Dulce Aquino, Fabiana Britto, Alejandro Ahmed e Henrique Rodovalho), sei que se buscou oferecer um diagrama de tend\u00eancias. Por raz\u00f5es de or\u00e7amento encurtado, dos 32 somente 14 aconteceram ao vivo e 18, em v\u00eddeo. Al\u00e9m desses, pela primeira vez houve tamb\u00e9m uma sele\u00e7\u00e3o de trabalhos em videodan\u00e7a, realizada por outra comiss\u00e3o, que contemplou P\u00e9 de Moleque<\/em> (Dafne Michellepis e Kiko Ribeiro) e Dentro do Movimento<\/em> (Patricia Werneck e Chico de Paula) – obras que tamb\u00e9m foram exibidas na inconveniente e inadequada Sala Azul do Itau Cultural que apresentou os outros espet\u00e1culos – um audit\u00f3rio mal adaptado que oferece vis\u00e3o parcial de todas as suas poltronas. As duas instala\u00e7\u00f5es aconteceram na Galeria Vermelho.<\/p>\n

Valeria deixar muito claro que o Rumos Dan\u00e7a n\u00e3o apresenta a sele\u00e7\u00e3o dos melhores trabalhos do ano e nem tem compromisso com uma distribui\u00e7\u00e3o geopol\u00edtica da sua representatividade, caso contr\u00e1rio, seria preciso tornar p\u00fablico um crit\u00e9rio para o peso que cada estado teria nesse mapa (ICMS? censo? par\u00e2metro eleitoral?). Fundamental \u00e9 n\u00e3o esquecer que o alcance do Rumos Dan\u00e7a<\/em> ultrapassa aquilo que exibe durante a semana da sua realiza\u00e7\u00e3o. Exemplo: a Base de Dados nascida em 2002 foi atualizada (inclui institui\u00e7\u00f5es, peri\u00f3dicos, festivais e produ\u00e7\u00f5es de dan\u00e7a brasileira), alguns dos espet\u00e1culos ser\u00e3o apresentados em Belo Horizonte e Rio de Janeiro, curadores nacionais e internacionais que assistiram ao evento j\u00e1 manifestaram interesse em programar alguns artistas.<\/p>\n

Evidentemente, o maior saldo vem sempre da oportunidade do conv\u00edvio – preciosidade num pa\u00eds do tamanho do nosso, onde a informa\u00e7\u00e3o simplesmente n\u00e3o circula. Para a pr\u00f3xima edi\u00e7\u00e3o, seria desej\u00e1vel que existisse um local capaz de receber artistas e p\u00fablico tamb\u00e9m depois dos espet\u00e1culos. Estimular e promover diariamente a troca entre artistas, bem como entre artistas, interessados e cr\u00edticos, muito provavelmente contribuiria bastante para a amplia\u00e7\u00e3o do processo de qualifica\u00e7\u00e3o do discurso da dan\u00e7a entre n\u00f3s. Tamb\u00e9m ajudaria se fossem propostas novas formas de discuss\u00e3o e debates fora do habitual modelo de palestra, confer\u00eancia, mesa redonda ou semin\u00e1rio expositivos. Exatamente porque o pa\u00eds \u00e9 gigantesco e ningu\u00e9m sabe tudo o que acontece em todos os outros lugares, o interc\u00e2mbio que um evento como esses possibilita pode ser muito otimizado.<\/p>\n

Seria preciso tamb\u00e9m repensar o sistema adotado pelo Itau Cultural com rela\u00e7\u00e3o aos ingressos. Numa \u00e9poca em que se imprime ingresso em casa para ir ao cinema, precisar se submeter \u00e0 fila para senhas na chuva, seguida de fila para entrar na sala de espet\u00e1culos n\u00e3o mais se justifica.<\/p>\n

Institucionalmente, o ganho foi importante, uma vez que todas as atividades propostas (inclusive as que aconteceram fora, na Galeria Vermelho), tiveram lota\u00e7\u00e3o plena, com gente voltando por falta de ingresso. A dire\u00e7\u00e3o do Itau Cultural deve ter percebido a vitalidade da cena contempor\u00e2nea brasileira de dan\u00e7a, que se mostrou capaz de interessar curadores e programadores da cidade, do pa\u00eds e internacionais – m\u00e9rito de S\u00f4nia Sobral, a coordenadora de artes c\u00eanicas, que assinou o projeto deste ano. Espera-se, portanto, que o pr\u00f3ximo Rumos Dan\u00e7a seja tratado com a dignidade que merece, recebendo condi\u00e7\u00f5es de praticar o que lhe confere o sentido de seu nome: voltar a ser um diagn\u00f3stico com prospec\u00e7\u00e3o realizada por pesquisadores, publicando este resultado, e voltar a ser novamente capaz de atuar naquilo que detecta.<\/p>\n

Trilhas contemporaneas e alguns desvios<\/strong><\/p>\n

Ma\u00edra Spanghero<\/em><\/p>\n

Dentre as in\u00fameras reflex\u00f5es que poderiam ser levantadas a partir das obras apresentadas pelos artistas selecionados na Mostra Rumos Dan\u00e7a<\/em>, duas delas chamam a aten\u00e7\u00e3o: a disparidade e o aspecto pol\u00edtico. As discrep\u00e2ncias ou disparidades podem ser percebidas na maneira de entender o que seja dan\u00e7a contempor\u00e2nea, no modo de proceder durante a investiga\u00e7\u00e3o, no est\u00e1gio de implementa\u00e7\u00e3o no corpo, na articula\u00e7\u00e3o das informa\u00e7\u00f5es e no tempo em que o processo de pesquisa vem se realizando. J\u00e1 o aspecto pol\u00edtico pode ser dimensionado no assunto que foi escolhido para ser tratado coreograficamente, nos posicionamentos e questionamentos que cada criador coloca e, na responsabilidade e atitude que o p\u00fablico precisa assumir como tal.<\/p>\n

Para continuar a ler, clique aqui<\/a>.<\/p>\n

*Ma\u00edra Spanghero<\/strong> \u00e9 autora do livro <\/em>A Dan\u00e7a dos Enc\u00e9falos Acesos<\/em>, doutoranda no Programa de P\u00f3s-Gradua\u00e7\u00e3o em Comunica\u00e7\u00e3o e Semi\u00f3tica e, professora convidada do curso de Tecnologias e M\u00eddias Digitais (PUC\/SP) e do Curso de Especializa\u00e7\u00e3o em Dan\u00e7a C\u00eanica (UDESC\/SC).
\nTranslation by Sarah Hyde, Ccaps Translation and Localization.<\/strong><\/span><\/p>\n

Let\u2019s begin with the Portuguese meaning of the word. “Rumos (Paths)” are ways in a direction. Rumos Dan\u00e7a, sponsored by Itau Cultural every two years, arose as a diagnosis and was followed by important actions that responded to the analysis of the detected symptoms. The funding cuts it suffered for its second edition last March halted the continuation and improvement of the original project. After that restriction was imposed, it was forced to confront another, today\u2019s journalism (with almost no space for dance and the absence of critical discussion in the text that is eventually published). The sum of both these hindrances was the unfair approximation of this event with the common gutter of “showcase festivals”, those that set up a programming for performances and complement them with an activity here and there.<\/p>\n

Fortunately, parting from the model, Rumos<\/em> was able to maintain its sense of adventure. One of its differentials continues to be its ability to organize and implement a): choreographic proposals connected to a body of research; and b) proposals that represent a relevant trend in contemporary Brazilian dance. The selected artists receives funding to create a proposal and to also a professional video documentation of the final result.<\/p>\n

Because I was a part of the commission that nominated 32 projects among the 415 that were presented (next to Dulce Aquino, Fabiana Britto, Alejandro Ahmed and Henrique Rodovalho), I know that the programming sought to offer a diagram of trends. Due to a tightened budget, of the 32 that were chosen only 14 were performed live and 18 on video. In addition to these, for the first time there was also a selection of video dance works undertaken by another commission that included P\u00e9 de Moleque<\/em> (Dafne Michellepis and Kiko Ribeiro) e Dentro do Movimento<\/em> (Patricia Werneck and Chico de Paula) \u2013 works that were also exhibited in the inconvenient and inadequate Blu Room of Itau Cultural \u2013 an auditorium that was poorly adapted and that offers only a partial view from all of its seats. The two installations occurred at Galeria Vermelho.<\/p>\n

It is worth noting that Rumos Dan\u00e7a does not present a selection of the best works of the year. In fact, it does not even have a commitment with a geopolitical distribution of its representativeness. In order to achieve such representiveness, a criteria would have to be publicly implemented that would grant a proportionate weight to each state (ICMS? census? electoral parameter?). It is fundamental that we not forget that the scope of Rumos Dan\u00e7a surpasses those performances that are exhibited during the week that it takes place. Example: The Database founded in 2002 was updated (including institutions, periodicals, festivals and Brazilian dance productions), and some of the performances will be presented in Belo Horizonte and Rio de Janeiro. In addition, national and international trustees that watched the event have already expressed interest in scheduling the performances of certain artists.<\/p>\n

Evidently, the largest balance always comes from the opportunity of conviviality \u2013 precious in a country the size of Brazil, where information simply does not circulate. For the next edition, it would be better if there was a location capable of receiving artists and the public after the performances as well. Stimulating and promoting the exchange between artists, interested individuals and critics on a daily basis would likely contribute immensely to expanding the qualification of local discussions on dance. It would also help if new forms of discussion and debate were proposed that diverged from the normal lecture, conference, round table or expository seminar model. Precisely because Brazil is so gigantesque and no one knows everything about what happens in other places, the inter-exchange that an event likes this permits can be optimized to the fullest.<\/p>\n

It is also necessary for us to re-think the system adopted by Itau Cultural concerning admission tickets. In an age where we can print out our tickets at home to go to the movies, making people wait in line for tickets and then wait another line to enter the theatre is no longer justified.<\/p>\n

The initiative represented an important institutional gain because all of the proposed activities (including those that took place at the Galeria Vermelho, were completely sold-out, with people returning due to a scarcity of tickets. Itau Cultural must have perceived the vitality of the contemporary Brazilian dance scene, which proved itself capable of capturing the interest of the city\u2019s trustees and programmers, both in the country and on an international level \u2013 thanks to scenic arts coordinator Sonia Sobral, that signed the project this year. It is hoped, therefore, that in the years to come Rumos Dan\u00e7a is treated with the dignity that it deserves, and that it receives the conditions to practice that for which it is named: return to being a diagnosis that uses the studies of researchers, publishing this result and returning with a renewed capacity to act in accordance with that which it detects.
\nContemporary trails and some detours<\/strong><\/p>\n

Ma\u00edra Spanghero<\/em><\/p>\n

Amongst the innumerable reflections that could be raised from the works presented by the artists selected in Mostra Rumos Dan\u00e7a<\/em>, two of them call the attention: the disparity and the political aspect. The discrepancies and disparities can be noticed in the way of understanding what it is contemporary dance, in the way of proceeding during the inquiry, in the period of implementation in the body, in the articulation of the information and the period that the research process is being carried through. The political aspect can be dimensionned in the subject that was chosen to be treated in the coreography, in the positionings and questionings that each creator has and, in the responsibility and attitude that the public need to assume as such.<\/p>\n

To read more, click here<\/a>.<\/p>\n

*Ma\u00edra Spanghero<\/strong> is the author of A Dan\u00e7a dos Enc\u00e9falos Acesos<\/em>. She is at Post-graduate program in Comunication and Semiotics at PUC-SP, where she is invited teacher at Technologies and Digital Medias (PUC\/SP). She also teaches Specialization in Scenic dance at UDESC\/SC.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Helena Katz d\u00e1 o panorama do Rumos Dan\u00e7a 2004<\/i> e Ma\u00edra Spanghero comenta os trabalhos.<\/span>Helena Katz gives an overview of Rumos Dan\u00e7a 2004<\/i> and Ma\u00edra Spanghero comments the works.<\/span><\/p>\n","protected":false},"author":44,"featured_media":0,"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":[],"yoast_head":"\nRumo \u00e0 expans\u00e3o | Towards expansion -<\/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\/rumo-a-expansao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rumo \u00e0 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