{"id":16812,"date":"2011-01-13T16:53:48","date_gmt":"2011-01-13T19:53:48","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=16812"},"modified":"2011-02-04T15:43:55","modified_gmt":"2011-02-04T18:43:55","slug":"moving-dialogue-pedacos-da-primeira-semana-moving-dialogue-slices-of-week-one","status":"publish","type":"post","link":"https:\/\/idanca.net\/moving-dialogue-pedacos-da-primeira-semana-moving-dialogue-slices-of-week-one\/","title":{"rendered":"Moving dialogue: peda\u00e7os da primeira semana | Moving Dialogue: Slices of Week One"},"content":{"rendered":"

O<\/em> <\/em>programa<\/em> <\/em><\/strong>Moving Dialogue foi um interc\u00e2mbio entre um grupo de core\u00f3grafos e pesquisadores de performance oriundos da Rom\u00eania e dos Estados Unidos. Durante e ap\u00f3s o encontro, o site Critical Correspondence<\/a> – criado pelo Movement Research<\/a> de Nova York para reunir artigos sobre dan\u00e7a e performance – publicou textos da romena Gina Serbanescu e de Cristiane Bouger e Anna Drozdowski, que vivem nos EUA. O idan\u00e7a<\/strong> firmou uma parceria com o projeto e vai publicar alguns dos relatos. O Moving Dialogue foi concebido pelos parceiros: Romanian Cultural Institute in New York<\/a>; National Center for Dance<\/a>, Burcharest; Dance Theater Worskhop<\/a>, e Gabriela Tudor Foundation<\/a>. e iniciado com o apoio do Instituto Cultural Romeno e o National Dance Center Bucharest. Foi possibilitado pelos artistas Cosmin Manolescu (Rom\u00eania) e Levi Gonzalez (EUA) e \u00e9 dedicado a Gabriela Tudor. O projeto Moving Dialogue tem apoio adicional do Trust for Mutual Understanding.<\/em><\/span><\/p>\n

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

\u201cComo voc\u00eas vivem aqui?\u201d, Vava nos perguntou durante a mesa redonda. A sala toda riu com o orgulho e a incredulidade que vem quando voc\u00ea se d\u00e1 conta de que se esqueceu como suas circunst\u00e2ncias s\u00e3o especiais e estranhas. Depois de uma semana do nosso Moving Dialogue, paramos de identificar a mir\u00edade de diferen\u00e7as que separam as comunidades da dan\u00e7a na Rom\u00eania e em Nova York (espa\u00e7o, apoio, hist\u00f3ria de est\u00e9ticas, p\u00fablico, o h\u00e1bito de fumar…) e come\u00e7amos a permitir que as nossas semelhan\u00e7as ajudassem a costurar nosso trabalho.<\/span><\/p>\n

\u201cN\u00e3o posso ir, tenho que ir para o trabalho\u201d, disse Levi sobre a performance que veremos neste final de semana… Porque as gorjetas s\u00e3o a forma de ele sustentar sua pr\u00e1tica individual e elas s\u00e3o melhores nas noites de s\u00e1bado, quando tem dan\u00e7a acontecendo. Revelamos uns aos outros quem dan\u00e7a em boates por dinheiro quando as performances n\u00e3o rendem, quem de n\u00f3s tem empregos que s\u00e3o relacionados com a \u00e1rea da dan\u00e7a e quem descobriu alternativas de abrir espa\u00e7o para criar trabalhos.<\/span><\/p>\n

\u201cIsso foi muito americano\u201d, Cosmin comentou quando fizemos piada sobre a ins\u00edpida e pouco sincera express\u00e3o \u201ctenha um bom dia\u201d, que \u00e9 onipresente. Meus joelhos sacodem t\u00e3o r\u00e1pido com esta frase engra\u00e7ada, que remete \u00e0 toda a diversidade de uma cidade ou pa\u00eds, que n\u00e3o consigo deixar o coment\u00e1rio passar batido. \u00c9 o estere\u00f3tipo, as luzes e leggings de Cedric Andrieux e a escolha pelo entretenimento que guiam nossa paisagem cultural. Depois, quando falamos sobre o meu entendimento de \u201cmuito europeu\u201d, ele \u00e9 repleto de apoio para a produ\u00e7\u00e3o, conceito, pessoas se livrando da t\u00e9cnica (e das roupas) no palco \u2013 igualmente um arqu\u00e9tipo. E ainda assim, compartilhamos o mesmo espa\u00e7o, felizes em deixar qualquer um conduzir e ansiosos para vivenciar nossos companheiros (tanto locais quanto globais) de uma nova maneira.<\/span><\/p>\n

\u201cLevou 10 anos para chegarmos at\u00e9 aqui\u201d, disse Barbara. No mesmo f\u00f4lego, ela aceita que esta \u00e9 a hora certa para que o interc\u00e2mbio aconte\u00e7a e se entristece com as condi\u00e7\u00f5es de financiamento, alinhamento, cons\u00f3rcio cuidadoso que foram necess\u00e1rios para trazer 15 pessoas para dividir e compartilhar o mesmo espa\u00e7o e tempo. O interc\u00e2mbio \u00e9 isso, o compartilhamento de espa\u00e7o e tempo no est\u00fadio e na rua. Tem a ver com a explica\u00e7\u00e3o um tanto constrangida sobre nova-iorquinos e seus telefones e a habilidade romena de conversar. E a habilidade de ver a o trabalho em dan\u00e7a e tentar entender como voc\u00ea o vivencia com base em suas experi\u00eancias.<\/span><\/p>\n

\u201cAh, mas o Alistair n\u00e3o viria assistir a este trabalho\u201d, eu retruco \u2013 uma tentativa de explicar porque o DTW (Dance Theater Workshop)<\/a> est\u00e1 dentro do escopo de apenas alguns autores e como se d\u00e1 esta pol\u00edtica de escolhas sobre quem \u00e9 pauta, de quem e como. Nosso grupo desconfia muito do termo \u201ccriticismo\u201d. N\u00e3o escrevemos sobre quem aparentava estar um pouco fraco no alongamento, mas sobre como o trabalho \u00e9 instigante em sua execu\u00e7\u00e3o e ideias. Escolhemos o termo \u201cautor\u201d como uma postura pol\u00edtica sobre o que significa ser parte de uma comunidade cr\u00edtica ao inv\u00e9s de ter um julgamento distanciado sobre ela.<\/span><\/p>\n

\u201cS\u00f3 temos um centro nacional de dan\u00e7a\u201d, explica Corina. Isso, penso comigo, \u00e9 um a mais do que n\u00f3s temos aqui! Mas o nacionalismo est\u00e1 escasso na nossa comunidade da dan\u00e7a, estamos menos dispostos a nos jogar em nossos hinos como a Gina fez no nosso recente trabalho de est\u00fadio. Parece que cada exemplo de \u201ctemos\u201d ou \u201cn\u00e3o temos\u201d \u00e9 complementado por um novo entendimento dos benef\u00edcios e desafios do sistema \u2013 estamos aprendendo a dar valor ao que temos ao entender o que n\u00f3s n\u00e3o temos.<\/span><\/p>\n

::<\/p>\n

Abaixo, veja um pouco de como foram os trabalhos durante o interc\u00e2mbio:<\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=NGY0BqrLdHY[\/youtube]<\/span><\/p>\n

Anna Drozdowski \u00e9 <\/strong>pesquisadora de dan\u00e7a, j\u00e1 tendo trabalhado como manager<\/em> de grandes companhias internacionais. J\u00e1 foi cr\u00edtica de dan\u00e7a para Philadelphia Weekly, The Bournonville Daily e Dance Advance. Tem mestrado em Estudos de Performance na NYU\u2019s Tisch School of the Arts.<\/strong><\/span><\/p>\n

Leia tamb\u00e9m: <\/strong><\/span>Moving dialogue: converg\u00eancias, diferen\u00e7as \u00fateis <\/a><\/p>\n

Moving Dialogue is a two week exchange between a group of US and Romanian choreographers and writers about performance. <\/em>Critical Correspondence<\/a><\/em> will be hosting writings from Romanian writer Gina Serbanescu, as well as US-based Cristiane Bouger and Anna Drozdowski on our site throughout the exchange as well as after. Moving Dialogue is a project conceived by the partners and initiated with the support of the Romanian Cultural Institute and the National Dance Center Bucharest. It is facilitated by the artists Cosmin Manolescu (RO) and Levi Gonzalez (USA), and dedicated to Gabriela Tudor. Partners for this program are: Romanian Cultural Institute in New York, www.icrny.org; National Center for Dance, Burcharest,www.cndb.ro; Dance Theater Worskhop, www.dtw.org, and Gabriela Tudor Foundation,www.gabrielatudor.ro. Additional support for Moving Dialogue is provided by the Trust for Mutual Understanding. <\/strong><\/em><\/span><\/p>\n

\u201cHow do you live here?\u201d Vava asked us in the roundtable discussion, and the room laughed that laugh of pride and incredulity that comes when you recognize the way you\u2019ve forgotten how special and strange your circumstances are.\u00a0\u00a0 One week into our Moving Dialogue, we\u2019ve stopped identifying the myriad of differences that separate the dance communities in Romania and NYC (space, support, history of aesthetics, audience, smoking) and begun to let the ways in which we are similar help to sew together our working time.<\/span><\/p>\n

\u201cI can\u2019t come, I have to go to work.\u201d Levi says, in response to the performance we\u2019ll see this weekend as a group\u2026because tips are the manner that supports his individual practice, and they are best on Saturday evenings when dance is happening.\u00a0 We reveal to each other who dances in clubs for money when performances can\u2019t pay, which of us have \u201cday jobs\u201d that are related to the dance field and which of us have found alternate models of making space to make work.<\/span><\/p>\n

\u201cThis was very American,\u201d comments Cosmin and we joke further about the thin and insincere \u201chave a good day\u201d that is pervasive. And my knee-jerks so quickly to this funny phrase that lumps together such a diversity in a city and country that I can\u2019t let the comment pass.\u00a0 It is the stereotype, the lights & tights of Cedric Andrieux and the privileging of entertainment that leads our cultural landscape.\u00a0 Later when we talk about my understanding of \u201cvery European\u201d it is one of full production support, high concept, people eschewing technique (and their clothes) onstage\u2014equally an archetype.\u00a0 And yet we all share the same space, content to let anyone lead and come to the room eager to experience our peers (both local and global) in a new way.<\/span><\/p>\n

\u201cIt has taken us 10 years to get here,\u201d mentions Barbara.\u00a0 In the same breath she is accepting that this is the right time for the exchange to happen, and sad about the state of funding and alignment and careful consortium building that needed to happen in order to get 15 people to share the same space and time.\u00a0\u00a0 This is what the exchange is about, the sharing of space and time in the studio and on the street.\u00a0 It is about the slightly self-conscious explanation about New Yorkers and their telephones and the Romanian capacity for conversation. And the ability to see a dance work and try to understand how you have experienced it based on your past experiences (in relief against others).<\/span><\/p>\n

\u201cOh, but Alistair wouldn\u2019t come to see this work,\u201d I retort\u2014an attempt to explain why DTW (Dance Theater Workshop)<\/a> is within range of only certain writers and how this politics of choice is played out about who is covered, by whom and how.\u00a0 Our group is wary of the term \u201ccriticism\u201d.\u00a0\u00a0 We do not write about who was looking a little limp in their extension but rather how a work is evocative in its execution and ideas.\u00a0 We choose the term \u201cwriter\u201d as a political statement about what it means to be a part of a critical community rather than a distanced judgement of it.<\/span><\/p>\n

\u201cWe have only one national dance center,\u201d explains Corina.\u00a0 This, I think to myself, is one more than we have! But we are also short on nationalism in our dance community, less willing to throw ourselves into our anthem as Gina did during our recent studio score.\u00a0 It seems that every instance of haves and have-nots is complimented by a new understanding of the benefits and challenges of the system\u2014we are learning to be appreciative of what we have by understanding what we do not.<\/span><\/p>\n

Watch a little of the works developed during the exchange:<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=NGY0BqrLdHY[\/youtube]<\/span><\/p>\n

Anna Drozdowski is a dance researcher who have already worked as many international company’s manager. She has written critically on movement for Philadelphia Weekly, The Bournonville Daily and for Dance Advance. Anna has master’s degree on Performance Studies from NYU\u2019s Tisch School of the Arts.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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