{"id":2,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/novos-ares-ao-norte\/"},"modified":"2008-08-08T16:17:36","modified_gmt":"2008-08-08T19:17:36","slug":"novos-ares-ao-norte","status":"publish","type":"post","link":"https:\/\/idanca.net\/novos-ares-ao-norte\/","title":{"rendered":"Novos ares ao Norte | New winds up North"},"content":{"rendered":"

Final do s\u00e9culo 20, in\u00edcio de um novo. Dois acontecimentos marcaram o fazer dan\u00e7a na cidade de Manaus: em 1998 a cria\u00e7\u00e3o do Corpo de Dan\u00e7a do Amazonas e em 2001 a cria\u00e7\u00e3o do Curso de Dan\u00e7a da Escola Superior de Artes e Turismo da Universidade do Estado do Amazonas (UEA). Durante este per\u00edodo a cidade respirou novos ares, e o governo do estado investiu nos corpos est\u00e1veis, no festival de \u00f3pera, na cria\u00e7\u00e3o de espa\u00e7os art\u00edsticos, agregando ao marketing da Amaz\u00f4nia ecol\u00f3gica as imagens de sua produ\u00e7\u00e3o art\u00edstico-cultural. Oportunidade de crescimento, troca de informa\u00e7\u00f5es, questionamentos e experimenta\u00e7\u00f5es..<\/span>The end of the 20th century and the beginning of the new century. Two events served as milestones for the dance community in the city of Manaus, Brazil: In 1998, it was the creation of the Amazon Dance Group (Corpo de Dan\u00e7a do Amazonas or CDA), and in 2001, it was the creation of the Dance major at the School of Arts and Tourism at Amazon State University. During this period, the city took a breath of fresh air as the state government invested in fit bodies, the opera festival and the creation of artistic spaces. Such investments added images of artistic-cultural production to the traditional concept of the ecological Amazon that has been marketed throughout the world..<\/span><\/p>\n

Hoje, 2003, \u00e9 tempo de refletir e avaliar os desdobramentos, as tend\u00eancias e os produtos gerados por este investimento, assim como as reivindica\u00e7\u00f5es dos profissionais de dan\u00e7a e de outras classes art\u00edsticas. .<\/p>\n

Atualmente o Corpo de Dan\u00e7a do Amazonas (CDA) possui em seu hist\u00f3rico, sob a dire\u00e7\u00e3o art\u00edstica e coreografia de Joffre Santos, as obras Xam\u00e3, Puracy, Desejo, Da cor azul e Floresta do Amazonas, assim como Sagra\u00e7\u00e3o da Primavera (Ivo Karagueorguiev), Another Time to Breathe, Carnaval dos Animais (Paulo Fonseca), Mandala (Luis Arrieta) e as coreografias criadas pelos pr\u00f3prios bailarinos do CDA: Dual (Yara Costa), Recreio (Guto Domingos), Madeireiro (Eduardo Amaral) e Armas da Tribo (Robson Tadeu). Nesta primeira fase, o CDA oscilou entre tem\u00e1ticas amaz\u00f4nicas e a cria\u00e7\u00e3o de core\u00f3grafos convidados. Este ano, com Ivonice Satie na condi\u00e7\u00e3o de diretora art\u00edstica e core\u00f3grafa, Manaus assistiu \u00e0 remontagem de sua Cria\u00e7\u00e3o e Kronos e aguarda a estr\u00e9ia de Tra\u00e7os, de Henrique Rodovalho e Noite Transfigurada, de Anselmo Zola, ambos core\u00f3grafos convidados. .<\/p>\n

O que se pode observar, analisando o percurso desenvolvido at\u00e9 aqui, \u00e9 que neste segundo momento administrativo afirma-se uma tend\u00eancia para a remontagem de obras cuja est\u00e9tica data-se nas d\u00e9cadas de 80 e 90, para a oferta de interc\u00e2mbio com profissionais convidados, e um espa\u00e7o “t\u00edmido” para que os profissionais de Manaus invistam em seus processos criativos. .<\/p>\n

H\u00e1 algo bom nisso tudo. Mas tamb\u00e9m h\u00e1 algo que preocupa. Durante este processo n\u00e3o se tem aprofundado as quest\u00f5es do corpo, exatamente o fundamento para as transforma\u00e7\u00f5es em dan\u00e7a, pois a dan\u00e7a est\u00e1 no corpo e n\u00e3o no “discurso\u2019 que se faz sobre ela. N\u00e3o se constr\u00f3i dan\u00e7as apenas com argumentos bem desenvolvidos retoricamente, expondo os desejos ou os valores individuais, como “o sentimento que vem de dentro”. Pode ser que muita coisa consiga incorporar-se no figurino, ou no cen\u00e1rio, mas se a coreografia repete vocabul\u00e1rios e sintaxes j\u00e1 conhecidos e que provocam bocejos \u00e9 preciso avaliar o caminho trilhado. Trata-se de repensar o qu\u00ea\/ por qu\u00ea\/ quando\/ como\/ onde um corpo est\u00e1vel como o CDA pode se complexificar e se enriquecer em tessitura c\u00eanica..<\/p>\n

\u00c9 preciso ter um projeto est\u00e9tico para evitar as meras reprodu\u00e7\u00f5es de espet\u00e1culos datados. \u00c9 preciso levantar questionamentos e acredito mesmo que com uma dire\u00e7\u00e3o art\u00edstica reconhecida nacionalmente, esta deve ser acompanhada por um Conselho de Artistas que oportunize a exposi\u00e7\u00e3o do pensamento dos bailarinos e profissionais de dan\u00e7a sobre seu entendimento da dan\u00e7a para a cidade, seu papel art\u00edstico, social, educacional e de cidadania. Principalmente quando as diretrizes do atual governo do estado orientam-se prioritariamente para a populariza\u00e7\u00e3o e interioriza\u00e7\u00e3o da cultura, o que significa o trabalho para os bairros distantes e o interior.<\/p>\n

H\u00e1 tamb\u00e9m que se pensar um projeto de pol\u00edtica cultural no qual se tenham asseguradas as vozes dos bailarinos, core\u00f3grafos, pesquisadores e produtores no que se refere aos seus direitos trabalhistas, refor\u00e7ando sua condi\u00e7\u00e3o profissional e propiciando-lhes forma\u00e7\u00e3o afinada com a ci\u00eancia e a arte contempor\u00e2neas, estimulando o debate e as viv\u00eancias sobre valores e paradigmas da sociedade global e regional.<\/p>\n

Eis ent\u00e3o o papel da Universidade. A sua import\u00e2ncia na forma\u00e7\u00e3o de profissionais e na difus\u00e3o e gera\u00e7\u00e3o de informa\u00e7\u00f5es. Pode-se ver o Curso de Dan\u00e7a como uma fonte respons\u00e1vel pelo fomento, desenvolvimento e expans\u00e3o de pr\u00e1ticas c\u00eanicas que possam criar formas outras, rela\u00e7\u00f5es novas e ousadas para esta arte, por meio de seu trip\u00e9 ensino-pesquisa-extens\u00e3o. Esta tem sido a tend\u00eancia dos laborat\u00f3rios de investiga\u00e7\u00e3o em dan\u00e7a no ambiente universit\u00e1rio ao prover conhecimento sistematizado. .<\/p>\n

Conhecimento que envolve observa\u00e7\u00e3o minuciosa, descri\u00e7\u00e3o, coleta de dados, interpreta\u00e7\u00e3o e s\u00edntese dos resultados. E que nem por isso \u00e9 menos criativo. Conhecimento que n\u00e3o se dissocia do compromisso com o ser humano, possibilitando-lhe uma exist\u00eancia com qualidade de vida e garantindo-lhe um processo evolutivo..<\/p>\n

Certamente o curso de dan\u00e7a tem exercido consider\u00e1vel influ\u00eancia na cidade. A ocupa\u00e7\u00e3o de um espa\u00e7o f\u00edsico no qual \u00e9 dever pensar a dan\u00e7a, de certa forma, garante sua veicula\u00e7\u00e3o nos meios de comunica\u00e7\u00e3o com exig\u00eancias outras que n\u00e3o apenas os comerciais para os clubes dan\u00e7antes. E a popula\u00e7\u00e3o come\u00e7a a elaborar outras associa\u00e7\u00f5es n\u00e3o mais direcionadas ao “Xiado da Chinela”, ou \u00e0s noites de Flashdance..<\/p>\n

Os per\u00edodos que antecedem o vestibular t\u00eam gerado burburinho sobre sua prepara\u00e7\u00e3o enquanto um campo de conhecimento espec\u00edfico e mesmo aqueles que ainda n\u00e3o conseguem visualizar a diferen\u00e7a entre dan\u00e7a como “entretenimento” e dan\u00e7a como arte teatral acabam por compreender as distintas caracter\u00edsticas quando solicitam pronto retorno de suas reclama\u00e7\u00f5es ap\u00f3s o insucesso nos testes. Os pr\u00f3prios alunos atuam como agentes transformadores desta realidade na medida em que divulgam suas disciplinas de estudo e buscam refinamento intelectual para suas leituras do mundo e composi\u00e7\u00f5es c\u00eanicas..<\/p>\n

Desde a sua cria\u00e7\u00e3o o Curso de Dan\u00e7a da UEA tem buscado apresentar-se como agente fomentador da discuss\u00e3o sobre a dan\u00e7a enquanto objeto de conhecimento, e seus saberes paralelos, abrindo espa\u00e7o para mostras de v\u00eddeo, debates acerca da produ\u00e7\u00e3o nacional e internacional, f\u00f3runs de reflex\u00e3o sobre as diversas express\u00f5es da dan\u00e7a no Amazonas, semin\u00e1rios sobre processos criativos ou mesmo contribuindo para a inser\u00e7\u00e3o ou massifica\u00e7\u00e3o de novas palavras no vocabul\u00e1rio social corrente, tais como profissional de dan\u00e7a ou pesquisador do movimento. Termos que at\u00e9 ent\u00e3o possu\u00edam apenas o referencial sem\u00e2ntico relacionado ao dan\u00e7arino, levando a uma generalidade que n\u00e3o ajuda muito quando o importante \u00e9 esclarecer as diferen\u00e7as.<\/p>\n

Obviamente ainda h\u00e1 muito a ser feito e durante muito tempo, principalmente porque este curso \u00e9 o pioneiro na Regi\u00e3o Norte. Mas o importante \u00e9 que se possa reconhecer sua relev\u00e2ncia para o crescimento cultural da cidade e seu papel aglutinador e difusor das mais diferentes formas de manifesta\u00e7\u00e3o e pensamento sobre a dan\u00e7a.<\/p>\n

It was an opportunity for growth, for the exchange of information, for questionings and experimentations. The year 2003 is a time to reflect on and evaluate the discoveries, tendencies and creations generated by this investment, in addition to addressing the demands of dance professionals and other artistic classes..<\/p>\n

Until today, CDA has performed the pieces Xam\u00e3, Puracy, Desejo, Da cor azul, and Floresta do Amazonas under the artistic direction and choreography of Joffre Santos. The group has also performed Sagra\u00e7\u00e3o da Primavera (Ivo Karagueorguiev), Another Time to Breathe, Carnaval dos Animais (Paulo Fonseca), and Mandala (Luis Arrieta). In addition, the group has had the opportunity to perform choreographies created by its members, including Dual (Yara Costa), Recreio (Guto Domingos), Madeireiro (Eduardo Amaral) and Armas da Tribo (Robson Tadeu). During this first phase, CDA oscillated between Amazonian themes and the creations of invited choreographers. This year, with Ivonice Satie working as artistic director and choreographer, Manaus was audience to the reconstitution of her work, Cria\u00e7\u00e3o e Kronos as they awaited the debut of Tra\u00e7os by Henrique Rodovalho and Noite Transfigurada by Anselmo Zola. Both of these choreographers were invited to perform their pieces. .<\/p>\n

What can be observed by analyzing the historical course of events is that it was in this second administrative moment that the tendency was affirmed for the reconstitution of artistic performances with an esthetic dated back to the 1980s and 1990s. Such a tendency offered a rich exchange with invited professionals, and a “timid” space for the Manaus professionals to invest in their creative processes..<\/p>\n

There is something indeed positive in all of this progress, but there is also need for concern. During the process, issues about the body were not explored in depth, and these issues are exactly the foundation for transformations in dance because dance is in the body and not in the “discourse” created about it. Dances are not constructed solely by rhetorically well-developed arguments that expose the individual desires and values such as the “feeling that comes from within.” It may be that many things can be incorporated into the model or the setting, but if the choreographer repeats the familiar vocabularies and syntaxes that provoke yawns, it is necessary to evaluate the course taken. It is a question of re-thinking the who, what, when, how, and why a stable entity such as CDA can enrich its scenic texture..<\/p>\n

It is necessary to have an esthetic project to avoid the mere reproductions of dated performances. It is also necessary to raise questions, and I sincerely believe that with a nationally-recognized artistic direction, this should be accompanied by an Artists Council that allows dancers and dance professionals alike to expose their thoughts and feelings about their understanding of dance and its importance to the city, as well as their own artistic, social, educational and citizenship role. Principally when the policies of the current state government are oriented to prioritize the popularization and interiorization of culture, which means more work and effort reaching distant neighborhoods and the mid-land region. .<\/p>\n

It is necessary to contemplate a cultural policy that includes the voices of dancers, choreographers, researchers and producers in respect to worker\u2019s rights, one that reinforces their professional conditions and provides them an education that integrates science and contemporary arts, stimulating the debate and the experiences concerning values and paradigms of global and regional society..<\/p>\n

This is, therefore, the role of the university. This is its importance in the formation of professionals and in the diffusion and generation of information. The Dance major is a source that is responsible for the stimulation, development and expansion of scenic practices that can create other forms and relationships that are daring and new for this art through a triple combination of teaching, research and extension. It has been the tendency of laboratories of research in dance within the university environment to provide systemized knowledge. .<\/p>\n

It is a type of knowledge that involves detailed observation, description, data collection, and the interpretation and synthesis of results. And this does not make the art less creative. It is knowledge that is not disassociated from commitment like the human being is, and this is what allows it to exist with a quality of life and guarantees its evolutive process..<\/p>\n

Certainly, the dance major has exercised considerable influence in the city. The occupation of a physical space within which it is necessary to think about dance. It is a space that guarantees the art\u2019s presence in the different forms of mass communication. The population thus begins to elaborate other associations beyond those of “Xiado da Chinela” and Flashdance. .<\/p>\n

During the semesters that precede the entrance exam, there has been commentary about preparing for the major as a specific field of knowledge. Even those that still have not been able to visualize the difference between dance as “entertainment” and dance as a theatre art have come to understand the distinct characteristics when they fail to pass the exams. Even the students act as transforming agents when they expose their study disciplines and search for intellectual refinement for their world readings and scenic compositions..<\/p>\n

Since its creation, the Dance major at Amazon State University has sought to present itself as a stimulating agent in the discussion of dance as an object of knowledge, thus opening a space for video exhibits, debates about national and international production, forums of discussion about the diverse dance expressions of the Amazon region, seminaries about creative processes or even the direct contribution to the insertion or massification of new words in our current social vocabulary, such as dance professional or researcher of movement. These are terms that were before only semantic references to the dancer, generalized to the point that they did not help much when the important thing is an explanation of the art form. .<\/p>\n

Obviously, there is still much to be done over a long period of time, principally because this course of studies is a pioneer in the Northern Region of Brazil. However, the most important thing that one must recognize is the area\u2019s relevance for the cultural growth of the city, as well as its uniting and diffusing role for the most diverse forms of expression and opinion about dance.<\/p>\n","protected":false},"excerpt":{"rendered":"

Regi\u00e3o amaz\u00f4nica ganhou seu primeiro curso universit\u00e1rio de dan\u00e7a, mas a trilha a ser aberta ainda \u00e9 dura.<\/span>The Amazon region now offers its first university dance course, but the road ahead is still full of challenges.<\/span><\/p>\n","protected":false},"author":5,"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":[171,1666,360,1321,2308,170,125,1538,103,912],"yoast_head":"\nNovos ares ao Norte | New winds up North -<\/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\/novos-ares-ao-norte\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" 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