{"id":209,"date":"2004-06-02T00:00:00","date_gmt":"2004-06-02T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/06\/02\/uma-crise-em-niteroi\/"},"modified":"2008-08-06T19:32:33","modified_gmt":"2008-08-06T22:32:33","slug":"uma-crise-em-niteroi","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-crise-em-niteroi\/","title":{"rendered":"Uma crise em Niter\u00f3i | Crisis in Niter\u00f3i"},"content":{"rendered":"

Pre\u00e2mbulo<\/strong><\/span><\/p>\n

Se existe algum of\u00edcio que me d\u00e1 prazer \u00e9 o de fazer cr\u00edtica de arte. \u00c9 divertido, nos d\u00e1 uma confus\u00e3o danada na cabe\u00e7a, e invariavelmente tenho a sensa\u00e7\u00e3o de que estou devendo ao futuro. Dever ao futuro \u00e9 chegar \u00e0 conclus\u00e3o de que, por mais moralista e chato que S\u00f3crates tenha sido, o papai foi preciso em dizer que ele s\u00f3 sabia que nada sabia. O efeito ao escrever uma cr\u00edtica \u00e9 exatamente esse. Tem sempre um espa\u00e7o enorme entre aquilo que disse e aquilo que imaginava ser importante dominar para escrever melhor. Mas de algum modo, dever ao futuro gera movimento. Dever ao futuro provoca um surto para buscar tapar o buraco daquilo que ficou faltando. Fazer cr\u00edtica \u00e9 uma atividade tapa-buraco. Fazer cr\u00edtica nos move. Para onde eu n\u00e3o sei, mas move. <\/span><\/p>\n

J\u00e1 h\u00e1 algum tempo venho tentando criar uma forma mais sistem\u00e1tica na hora de ordenar o pensamento e escrever uma cr\u00edtica. Para isso foi preciso criar um espa\u00e7o na mochila para alocar o meu mais novo objeto de estima\u00e7\u00e3o: o Kit de Cr\u00edtico<\/strong>. O Kit de Cr\u00edtico \u00e9 uma bolsinha marrom, feita com um pano bem molinho e \u00e9 amarrado por uma corda tamb\u00e9m molinha e branca. O Kit de Cr\u00edtico \u00e9 um objeto pessoal que voc\u00ea escolhe o que colocar dentro. Ele serve como um balizador moral e principalmente um utens\u00edlio de lembran\u00e7a. Por enquanto o meu Kit de Cr\u00edtico vem com os seguintes itens: um filtro, um passaporte para todos pontos, o meu pai e a minha m\u00e3e. Numa outra ocasi\u00e3o explico melhor. <\/span><\/p>\n

Como admirador do of\u00edcio, sempre permito que o kit seja um parceiro insepar\u00e1vel. O Kit na verdade n\u00e3o faz nada. A fun\u00e7\u00e3o dele \u00e9 s\u00f3 a de ficar com voc\u00ea permanentemente para lembr\u00e1-lo que tem um compromisso muito s\u00e9rio, uma responsabilidade e um poder nas m\u00e3os muito grande. N\u00e3o \u00e9 a toa que sempre que olho para o Kit ele \u00e9 categ\u00f3rico em dizer sem uma \u00fanica palavra pronunciar: – “Calma. Pondera. Relativiza. Usa o passaporte. Cuidado. De onde est\u00e1 olhando? De onde acha que \u00e9 importante olhar? Tem certeza?” <\/span><\/p>\n

O Kit de Cr\u00edtico, dez para as nove, em cima da mesa da sala <\/strong><\/span><\/p>\n

Mas preciso informar-lhes que algo inesperado aconteceu. M\u00eas passado, sentado na plat\u00e9ia do Teatro Municipal da cidade, assistindo ao espet\u00e1culo da Companhia de Bal\u00e9 da Cidade de Niter\u00f3i, me dei conta de que havia deixado o kit em casa!! E o resultado foi esse: <\/span><\/p>\n

COLE PORTER: O S\u00ffMBOLO DA CRISE<\/span><\/p>\n

Companhia de Bal\u00e9 da Cidade de Niter\u00f3i volta a cena depois de 4 anos sem produzir mostrando como a burocracia brasileira e uma administra\u00e7\u00e3o pouco informada sobre dan\u00e7a ajudaram a desgastar uma companhia municipal.<\/em><\/span><\/p>\n

A cena pol\u00edtica da dan\u00e7a em Niter\u00f3i pede socorro. Nas duas primeiras semanas de abril, o p\u00fablico niteroiense teve a oportunidade de ver ressurgir, depois de anos e anos de confus\u00e3o administrativa, a Companhia de Bal\u00e9 da Cidade de Niter\u00f3i, com “Uma noite com Cole Porter”, espet\u00e1culo coreografado por Rodrigo Negri e dirigido por Roberto Lima. Mas o que seria motivo de pura alegria (a reativa\u00e7\u00e3o de uma companhia de dan\u00e7a municipal), tendo em vista o secular quadro desvaloriza\u00e7\u00e3o do artista e seu of\u00edcio na pol\u00edtica brasileira em geral, a volta da Companhia de Bal\u00e9 da cidade nos for\u00e7a a refletir urgentemente o panorama da dan\u00e7a por aqui. E j\u00e1 era tempo. <\/span><\/p>\n

A CBN existe desde 1992, quando um grupo de artistas liderados por Roberto Lima e pela bailarina Renata Vila\u00e7a, amiga do ent\u00e3o prefeito Jorge Roberto Silveira, decidiram montar uma companhia p\u00fablica de dan\u00e7a da cidade. Para isso apresentaram um projeto, o prefeito aprovou e em uma semana foi divulgado o concurso p\u00fablico para sele\u00e7\u00e3o dos profissionais. O concurso foi no Hotel Busky, contou a presen\u00e7a de v\u00e1rios convidados, entre eles a bailarina Ana Botafogo. Naquele dia, foram selecionados trinta bailarinos. <\/span><\/p>\n

Depois de algum tempo funcionando, um problema com o diretor Roberto Lima trocou a diretoria toda e fez com que a bailarina \u00ffurea Hamerli assumisse o cargo. \u00ffurea entrou em 1994 e permaneceu at\u00e9 2002. Mas, ainda na administra\u00e7\u00e3o de \u00ffurea, alimentada por brigas internas, atritos dos bailarinos com Renata Vila\u00e7a e uma sucess\u00e3o de frescuras inaceit\u00e1veis para quem, com dan\u00e7a, recebia um sal\u00e1rio mensal, ensaiava numa sala \u00fanica em nosso munic\u00edpio e rara de se encontrar no Rio de Janeiro (os bailarinos reclamavam que o pr\u00e9dio de 4 andares onde ensaiavam n\u00e3o tinha elevador!), Niter\u00f3i viu sua companhia oficial entrar numa crise que durou quatro anos. De 1999 at\u00e9 o ano passado, por quest\u00f5es pol\u00edticas, trabalhistas e jur\u00eddicas os bailarinos da companhia n\u00e3o trabalharam. Mas receberam todos os meses sem atraso. <\/span><\/p>\n

Em 2003, o secret\u00e1rio de Cultura da cidade, Marcos Gomes, resolveu reativar a companhia convidando o core\u00f3grafo Roberto Lima para a empreitada. Para tanto, criaram um espet\u00e1culo que, se faz brotar alguma coisa, \u00e9 a certeza de que ali, entre passos e produ\u00e7\u00e3o exuberante, existe uma mistura de falta de intimidade enorme com o que se produz em dan\u00e7a atualmente e um jogo vis\u00edvel de adapta\u00e7\u00e3o a uma legisla\u00e7\u00e3o em que o trabalhador \u00e9 um rei intoc\u00e1vel, independente de qualquer situa\u00e7\u00e3o. <\/span><\/p>\n

O espet\u00e1culo \u00e9 constru\u00eddo a partir da id\u00e9ia de que bom trabalho \u00e9 aquele que \u00e9 c\u00famplice da “desnutri\u00e7\u00e3o cultural” do povo brasileiro, e que tarefa da arte \u00e9 cuidar dessa enfermidade reduzindo o discurso ao prim\u00e1rio, ao facilmente digestivo. \u00c9 uma atitude preocupante, pois ao inv\u00e9s de direcionar o problema a uma forma\u00e7\u00e3o de base, que s\u00f3 se conquista a longo prazo, d\u00e1 ao artista a tarefa de falar a mesma l\u00edngua daquele que o entendimento da dan\u00e7a \u00e9 um punhado de clich\u00eas e nada mais. Com esse pensamento, entende a democratiza\u00e7\u00e3o como uma esp\u00e9cie de esmola art\u00edstica compensadora e condescendente. E nesse jogo, tanto o artista quanto o p\u00fablico perdem feio. Essa op\u00e7\u00e3o de um fazer dan\u00e7a que simplesmente entret\u00eam e separa esse entretenimento do pensar deve ter o seu espa\u00e7o. O problema \u00e9 quando o espa\u00e7o f\u00edsico, o espa\u00e7o no or\u00e7amento, o espa\u00e7o na agenda, o espa\u00e7o no tratamento s\u00f3 abra\u00e7a um tipo de iniciativa. <\/span><\/p>\n

Entretanto, a CBN \u00e9 um rolo do ex-prefeito Jorge Roberto Silveira, estendido at\u00e9 a administra\u00e7\u00e3o atual por causa de uma s\u00e9rie de entraves na legisla\u00e7\u00e3o trabalhista, que independente de qualquer situa\u00e7\u00e3o, coloca o funcion\u00e1rio p\u00fablico num pedestal intoc\u00e1vel e impronunci\u00e1vel. Houve de fato uma s\u00e9rie de tentativas de desarticular a companhia, mas sempre se deparando com uma legisla\u00e7\u00e3o trabalhista complicada, com aus\u00eancia de mecanismos e crit\u00e9rios v\u00e1lidos para situa\u00e7\u00f5es como essa. <\/span><\/p>\n

Exemplos como esse de Jorge Roberto em Niter\u00f3i, e C\u00e9sar Maia no Rio de Janeiro, (que h\u00e1 pouco tempo atr\u00e1s fez a mesma besteira na cidade carioca), nos for\u00e7aram a aprender, que os l\u00edderes pol\u00edticos precisam estar sempre muito bem “acompanhados” pelos profissionais da \u00e1rea, pois seus “chutes” administrativos dificilmente acertam a rede quando a torcida que acompanha o jogo n\u00e3o \u00e9 consultada. <\/span><\/p>\n

Pausa: aqui esqueci de vez que o kit cr\u00edtico j\u00e1 esteve em minha mochila<\/strong><\/span><\/p>\n

Na mesma semana que assisto o espet\u00e1culo fui perguntado em uma reuni\u00e3o, onde defin\u00edamos um patroc\u00ednio anual da prefeitura para o Grupo de Rua de Niter\u00f3i de 20.000 reais para 2004, o que o GRN tinha feito de concreto para ter recebido 12.000 reais no ano de 2003. Ap\u00f3s contar nossa passagem pelos oito festivais de dan\u00e7a que participamos, os sete agendados para este semestre e mais a produ\u00e7\u00e3o patrocinada por festivais europeus para 2005 tivemos que ouvir a triste frase: <\/span><\/p>\n

“- Ah. Mas viagem internacional n\u00e3o interessa muito para a gente”. <\/span><\/p>\n

Espero que estejamos de acordo que esse epis\u00f3dio n\u00e3o diz respeito apenas ao Grupo de Rua de Niter\u00f3i, mas \u00e9 um jeito de pensar comum nas reparti\u00e7\u00f5es que administram o dinheiro p\u00fablico e t\u00eam uma influ\u00eancia determinante em todo o processo art\u00edstico.<\/span><\/p>\n

Impulsionada por essas e outras quest\u00f5es, surgiu h\u00e1 dois meses em Niter\u00f3i uma mobiliza\u00e7\u00e3o da classe da dan\u00e7a na cidade, chamada Movimento Dan\u00e7a Niter\u00f3i<\/strong>. A quest\u00e3o principal? Como podemos criar um ambiente prop\u00edcio ao surgimento de uma produ\u00e7\u00e3o niteroiense de dan\u00e7a (c\u00eanica, te\u00f3rica e pedag\u00f3gica) elevando a cidade \u00e0 condi\u00e7\u00e3o de centro de refer\u00eancia nacional e internacional?Neste movimento estamos criando a\u00e7\u00f5es pensadas de forma integrada, levando em conta metas art\u00edsticas, econ\u00f4micas, pedag\u00f3gicas, geogr\u00e1ficas, de integra\u00e7\u00e3o social e gera\u00e7\u00e3o de emprego. <\/span><\/p>\n

A inser\u00e7\u00e3o da dan\u00e7a no curr\u00edculo das escolas municipais, a cria\u00e7\u00e3o de uma faculdade de dan\u00e7a na cidade, um programa de subven\u00e7\u00e3o claro que contemple mais companhias, a\u00e7\u00f5es que pensem no jovem criador que est\u00e1 come\u00e7ando agora, a curadoria do festival existente na cidade, (a Mostra Migra\u00e7\u00f5es de Dan\u00e7a Contempor\u00e2nea), a cria\u00e7\u00e3o de uma biblioteca, centros de pesquisa, espa\u00e7o f\u00edsico apropriado, programa de workshops, semin\u00e1rios e resid\u00eancias, bem como apoio a pesquisa te\u00f3rica de dan\u00e7a s\u00e3o a\u00e7\u00f5es j\u00e1 propostas no I Programa para a Dan\u00e7a de Niter\u00f3i entregue a Secretaria de Cultura este m\u00eas. <\/span><\/p>\n

O movimento j\u00e1 tem a sua primeira grande vit\u00f3ria: eliminou automaticamente as tentativas individuais isoladas e est\u00e1 gerando um forte sentimento de uni\u00e3o, de toler\u00e2ncia, de caminhar em dire\u00e7\u00e3o ao outro tamb\u00e9m. De sabermos que existem muitas dan\u00e7as poss\u00edveis, muito a ser feito e que cada profissional pode pensar suas a\u00e7\u00f5es como parte de um processo que \u00e9 pol\u00edtico. Sempre.N\u00e3o h\u00e1 d\u00favida que, daqui a algum tempo, esta mobiliza\u00e7\u00e3o pol\u00edtica e acima de tudo muito humana, estar\u00e1 revelando transforma\u00e7\u00f5es vis\u00edveis. Niter\u00f3i quer dar as m\u00e3os a todas as outras iniciativas espalhadas pelo Brasil que vem conquistando importantes espa\u00e7os para a dan\u00e7a e para a sociedade como um todo. <\/span><\/p>\n

*Bruno Beltr\u00e3o<\/strong> \u00e9 core\u00f3grafo e diretor do Grupo de Rua de Niter\u00f3i. Com a pesquisadora Beatriz Cerbino e outros nomes, organiza o Movimento Dan\u00e7a Niter\u00f3i.<\/em><\/span>
\nTranslation by Sarah Hyde, Ccaps Translation and Localization.<\/strong><\/span><\/p>\n

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

If there is anything that gives me pleasure, it is criticizing art. I find it enjoyable. It is very confusing and it always makes me feel that I owe something to the future. Owing to the future is coming to the conclusion that as much of a moralist and a bore as Socrates must have been, he was totally right in saying that he only knew that he knew nothing.The effect of writing criticism is exactly that. There is always a great gap between what is said and what is imagined to be important to master the art of writing better. But in a way, owing to the future creates movement. Owing to the future creates a need to try to fill in the blanks. Criticism is a fill-in-the-blank activity. Criticism moves us. I have no idea where it takes us to, but it surely takes us somewhere. <\/span><\/p>\n

I have been trying for some time to come up with a more systematic way of organizing my thoughts and writing the criticism itself. For that reason, I had to make room in my backpack for my newest toy: the Critic Kit<\/strong>. The Critic Kit is a small brown bag made of a very soft material and tied up by a white, soft rope. The kit is a personal object and you decide what you want to put inside it. It functions as a moral marker and especially as a reminder utensil. For now, my Kit contains the following items: a filter, a passport to everywhere, my father and my mother. I will take a rain check on the explanation of these items. <\/span><\/p>\n

As an admirer of the profession, I always have the kit as a partner. It does not really do anything. Its function is to permanently remind you that you have a very serious commitment, a responsibility and a lot of power. It comes as no surprise that every time I look at the kit, it always tells me categorically but without pronouncing a word: <\/span><\/p>\n

– Take it easy. Think it over. Be relative. Use your passport. Beware. Where are you looking from? What angles to think it is important to look from? Are you sure? <\/span><\/p>\n

The Critic Kit, at ten to nine, on the living room table.<\/strong><\/span><\/p>\n

But I have to tell you that something unexpected happened. Last month, as I was sitting in the audience of the City Theater watching the performance of the Companhia de Bal\u00e9 da Cidade de Niter\u00f3i<\/em> (“The Ballet Company of the City of Niter\u00f3i”), I realized I had left the kit at home!! And this was the result: <\/span><\/p>\n

COLE PORTER: SYMBOL OF THE CRISIS. <\/span><\/p>\n

The Companhia de Bal\u00e9 da Cidade de Niter\u00f3i (CBN) returns after four years without producing and shows how a municipal company can get worn out by Brazilian bureaucracy and an administration which is ill-informed about dancing. <\/em><\/span><\/p>\n

The political dance scene in Niter\u00f3i needs help. After years and years of administrative confusion, the public of the city had the chance to see the comeback of the CBN during the first two weeks of April with Uma noite com Cole Porter<\/em> (“A night with Cole Porter”). The performance was choreographed by Rodrigo Negri and directed by Roberto Lima. But what would be the reason for sheer happiness (the comeback of a city dance company), taking into consideration the historic underestimation of the artist and the profession in Brazilian politics in general? The comeback of the city Ballet Company makes us think urgently about the prospect of dance around here. And it was about time. <\/span><\/p>\n

CBN has existed since 1992, when a group of artists organized by Roberto Lima and by ballet dancer Renata Vila\u00e7a – friends of Jorge Roberto Silveira, the mayor of the city at the time – decided to create a public dance company. In order to do so, they had to present a project, which was then approved by the mayor. One week later, they communicated that they would hold auditions to choose professionals for the group. They took place in the Busky Hotel and had many guests, Ana Botafogo being among them. On that day, 30 dancers were selected. After some time working, there was a problem in relation to director Roberto Lima. The issue changed the whole management and the dancer \u00ffurea Hamerli took his place. She started as director 1994 and remained in the position until 2002. <\/span><\/p>\n

However, under her management, there were inside fights and problems with the dancers. Renata Vila\u00e7a and a lot more unacceptable silly things for those who earned a monthly wage, and she rehearsed in a unique room in our city, which was hard to find in Rio de Janeiro (the dancers complained that there was no elevator in the four-floor building they used to rehearse in!). Niter\u00f3i had its official company fall into a crisis which lasted for four years. From 1999 until last year, for political, labor and legal reasons, the company dancers did not work. However, they did receive their salaries every month without any delay. <\/span><\/p>\n

In 2003, the city\u2019s Secretary of Culture, Marcos Gomes, decided to restart the company by inviting the choreographer Roberto Lima. They gave a presentation that confirms for us that what exists, among steps and an exuberant production, is a great mixture of a lack of intimacy with the methods for contemporary dance and a visible game of adaptation to a group of laws in which the worker is an untouchable king, no matter what the situation be. The performance is based on the idea that good work is an accomplice of the “cultural malnutrition” of the Brazilian people, and that the task of art is to take care of this disease, lowering the approach to a primary one that can be easily digested. It is something to worry about, because instead of directing the problem to a basic background, which can only be a long-term goal, it forces the artist to speak the same language as those who understand dance as only a bunch of clich\u00e9s, nothing more. With that in mind, we understand democratization as a kind of artistic tip, one that is compensating and condescending all at once. In this game, the artist and the public lose. The option of creating dance as simple entertainment and separating this entertainment from thinking must have its own space. The problem is when the physical space, the space in the budget, the space in the agenda, the space in treatment only accepts one kind of action. <\/span><\/p>\n

However, CBN is a problem that former mayor Jorge Roberto Silveira extended to the recent administration because of a group of problems with local labor laws that, regardless of the situation, make the public servant untouchable and unpronounceable. There were, in fact, a number of attempts to break the company up, but they were always faced with a group of complicated labor laws and there was no valid mechanism or criteria for a situation such as this one. <\/span><\/p>\n

Examples such as the ones given by Jorge Roberto in Niter\u00f3i, and C\u00e9sar Maia in Rio de Janeiro (who did the same stupid thing in Rio not too long ago) made us learn that the political leaders must always have a good “company” of professionals of the area because they hardly ever get their administrative guessing right when they do not have the help of the audience. <\/span><\/p>\n

Pause: I have totally forgotten that the Critic Kit was ever in my backpack <\/strong><\/span><\/p>\n

During the same week I watch the performance, I was asked to participate in a conference where we defined the annual sponsorship of the City Hall for the Grupo de Rua de Niter\u00f3i<\/em> (“Niter\u00f3i Street Group”). We decided on R$20,000 for 2004. In 2003, GRN had received R$ 12.000. After planning our way through eight dance festivals, the seven ones scheduled for the first half of the year and the production sponsored by European festivals for 2005, we had to listen to the sad statement: <\/span><\/p>\n

“- Oh. But we are not that interested in international trips.” <\/span><\/p>\n

I hope it is understood that this does not only apply to the Grupo de Rua de Niter\u00f3i<\/em>. It is also a common behavior in sections that manage public money and have an important influence on the whole artistic process. <\/span><\/p>\n

Because of such matters, a mobilization in the class came up two months ago in Niter\u00f3i. The name was Movimento Dan\u00e7a Niter\u00f3i<\/em> (“Niter\u00f3i Dance Movement”). The main question raised by the movement was: How can we make a proper environment for a Niter\u00f3i dance production (scenic, theoretical and pedagogical) making the city a center of national and international reference? With this movement, we are creating actions in an integrating manner while taking into account artistic, economical, pedagogical, geographical and social integration goal as well as creating job opportunities. <\/span><\/p>\n

Initiatives such as making dance a school subject, the creation of a dance university in the city and a subvention program that caters to more companies are some of the ideas that I suggest in the 1st Program for Dance in Niter\u00f3i sponsored by the Secretary of Culture that takes places this month. Other initiatives include creating opportunities for young artists who are just starting their careers, sponsorship of the festival that exists in the city Mostra Migra\u00e7\u00f5es de Dan\u00e7a Contempor\u00e2nea<\/em> (“Migrations Exhibit of Contemporary Dance”) the creation of a library, research centers, proper physical space, workshops, seminars and residences in addition to support for theoretical dance. <\/span><\/p>\n

The movement has already been successful in one aspect: it has automatically cut out isolated individual attempts and it is responsible for a feeling of togetherness, tolerance, of walking towards the other and of knowing that there are many possible dance. There is much to be done, and each professional can think about their actions as being part of a political process.There is no doubt that at some point in this political and above all humane mobilization, will be making visible changes. Niter\u00f3i wants to hold hands with all the other actions spread throughout Brazil that have been getting winning significant victories for dance and for society as a whole. <\/span><\/p>\n

*Bruno Beltr\u00e3o<\/strong> is choreographer and director of Grupo de Rua de Niter\u00f3i. With the dance reseracher Beatriz Cerbino and others, organizes the colective Movimento Dan\u00e7a Niter\u00f3i.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Bruno Beltr\u00e3o reflete sobre o panorama atual da dan\u00e7a niteroiense.<\/span>Bruno Beltr\u00e3o reflects on the current panorama of dance in Niter\u00f3i.<\/span><\/p>\n","protected":false},"author":24,"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":[49,28],"tags":[],"yoast_head":"\nUma crise em Niter\u00f3i | Crisis in Niter\u00f3i -<\/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\/uma-crise-em-niteroi\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Uma crise em Niter\u00f3i | Crisis in Niter\u00f3i -\" 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