{"id":217,"date":"2004-06-16T00:00:00","date_gmt":"2004-06-16T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/06\/16\/letra-d-de-politica\/"},"modified":"2008-08-06T19:30:04","modified_gmt":"2008-08-06T22:30:04","slug":"letra-d-de-politica","status":"publish","type":"post","link":"https:\/\/idanca.net\/letra-d-de-politica\/","title":{"rendered":"Letra D de pol\u00edtica | The letter “D” of politics"},"content":{"rendered":"

Como \u00e9 sabido, o dia D da Dan\u00e7a ou Dia Internacional da Dan\u00e7a foi criado em 1982, pelo Conselho Internacional da Dan\u00e7a (CID) e o Comit\u00ea de Dan\u00e7a do Instituto Internacional do Teatro (ITI), as duas organiza\u00e7\u00f5es n\u00e3o governamentais que se ocupam desta arte na Organiza\u00e7\u00e3o das Na\u00e7\u00f5es Unidas para a Educa\u00e7\u00e3o, Ci\u00eancia e Cultura (UNESCO). A data de 29 de Abril comemora o anivers\u00e1rio de Jean-George Noverre (1727), o formulador das bases c\u00eanicas da dan\u00e7a no s\u00e9culo 18 e autor das Cartas sobre a dan\u00e7a e os ballets<\/em>, livro at\u00e9 hoje fundamental para estudar a teoria e a pr\u00e1tica da dan\u00e7a. O Conselho Brasileiro da Dan\u00e7a, que \u00e9 o representante oficial do CID no Brasil, participou da aprova\u00e7\u00e3o da data e sua inclus\u00e3o entre as comemora\u00e7\u00f5es mundiais da UNESCO e da ONU. Vamos aproveitar para resumir rapidamente as fun\u00e7\u00f5es desses conselhos. <\/span><\/p>\n

O Conselho Internacional da Dan\u00e7a (CID – Conseil International de la Danse), de rela\u00e7\u00f5es consultivas com a UNESCO, foi criado em 1973 e est\u00e1 representado em 77 pa\u00edses. Seus principais objetivos s\u00e3o preservar o patrim\u00f4nio da dan\u00e7a no mundo; promover a cria\u00e7\u00e3o e a pesquisa; favorecer o conhecimento da dan\u00e7a atrav\u00e9s da educa\u00e7\u00e3o; encorajar a forma\u00e7\u00e3o de int\u00e9rpretes e criadores; agir em rela\u00e7\u00e3o estreita com a UNESCO. O Conselho Brasileiro da Dan\u00e7a \u00e9 o representante nacional do Conseil International de la Danse e foi criado em 17 de setembro de 1979. \u00c9 uma associa\u00e7\u00e3o sem fins lucrativos, declarada como utilidade p\u00fablica e organizada como institui\u00e7\u00e3o de direito privado, com reconhecimento nacional e internacional, tendo representantes em 14 estados. <\/span><\/p>\n

Desde 1980 o CBDD promove um Festival Nacional de Dan\u00e7a. O 21\u00ba aconteceu de 21 a 25 de abril de 2004, no Teatro Odylo Costa Filho, na UERJ (Universidade Estadual do Rio de Janeiro). Esteve aberto para a participa\u00e7\u00e3o de Conjuntos, Solos e Duos de Contempor\u00e2neo, Varia\u00e7\u00f5es, Pas e Gran Pas de Deux de Repert\u00f3rio e Dan\u00e7a de Sal\u00e3o. Entre as premia\u00e7\u00f5es, R$ 7.100,00 divididos entre as modalidades. Na \u00e1rea de forma\u00e7\u00e3o, aconteceram tr\u00eas workshops para reciclagem. Mariza Estrella \u00e9 presidente do CBDD. As informa\u00e7\u00f5es est\u00e3o dispon\u00edveis no site do sindicato dos profissionais de dan\u00e7a do Rio de Janeiro<\/a>. No Brasil, as leis de dan\u00e7a s\u00e3o principalmente regidas pela lei 6.533, que regulamenta as profiss\u00f5es de Artista e T\u00e9cnico em Espet\u00e1culos de Divers\u00f5es, inclusive o artista da dan\u00e7a. Atualmente, h\u00e1 associa\u00e7\u00f5es que buscam algum tipo de representatividade da classe, mais articulada politicamente e menos ligadas \u00e0s quest\u00f5es do ensino e dos corpos est\u00e1veis de bal\u00e9 – focos principais da a\u00e7\u00e3o trabalhista dos sindicatos de S\u00e3o Paulo e Rio de Janeiro (Sindidan\u00e7a SP e RJ) e nos outros estados, onde funcionam acoplados ao SATED. <\/span><\/p>\n

H\u00e1 associa\u00e7\u00f5es como o F\u00f3rum Nacional de Dan\u00e7a, que tem suas ramifica\u00e7\u00f5es estaduais, como o F\u00f3rum de Dan\u00e7a SP. Existe tamb\u00e9m em S\u00e3o Paulo o Mobiliza\u00e7\u00e3o Dan\u00e7a, descrito pelos membros como um movimento civil de organiza\u00e7\u00e3o coletiva e apartid\u00e1rio, sem constitui\u00e7\u00e3o jur\u00eddica nem car\u00e1ter corporativo ou finalidade representativa de categoria profissional. No Rio, diversos coletivos de artistas come\u00e7am a se reunir. H\u00e1 tamb\u00e9m um n\u00facleo de artistas, o F\u00f3rum Permanente, que no Rio organizou encontros concorridos com autoridades e consultores, para mobilizar os profissionais e discutir quest\u00f5es de patroc\u00ednio, mercado e cria\u00e7\u00e3o. <\/span><\/p>\n

Estas organiza\u00e7\u00f5es v\u00eam buscando aglomerar os profissionais de dan\u00e7a em torno dos seus interesses e problemas. Evidentemente, a mais urgente \u00e9 a quest\u00e3o da fiscaliza\u00e7\u00e3o do sistema Cref-Confef. O Conselho de Educa\u00e7\u00e3o F\u00edsica, nacional e estadualmente, vem tentando tomar controle do exerc\u00edcio de ensino da dan\u00e7a nas escolas e academias. Esse foi o mote central da cria\u00e7\u00e3o do F\u00f3rum Nacional de Dan\u00e7a em 2001, e a mobiliza\u00e7\u00e3o pol\u00edtica conseguiu a aprova\u00e7\u00e3o no Congresso Nacional da Lei 7.370\/02 (que impede a\u00e7\u00e3o de fiscaliza\u00e7\u00e3o do CONFEF). Mas ainda \u00e9 preciso combater a desinforma\u00e7\u00e3o pelo pa\u00eds e destaca-se a associa\u00e7\u00e3o de novos membros em todo pa\u00eds para fomentar campanhas de esclarecimentos e uma ampla discuss\u00e3o sobre avalia\u00e7\u00e3o e regulamenta\u00e7\u00e3o da profiss\u00e3o. <\/span><\/p>\n

Nos outros estados, tamb\u00e9m h\u00e1 organiza\u00e7\u00f5es relacionadas ao F\u00f3rum e outras que t\u00eam o intuito semelhante: chamar aten\u00e7\u00e3o para as principais necessidades da \u00e1rea. O que se revela \u00e9 a maneira que os profissionais de dan\u00e7a se fazem representar. As formas, regras e estrat\u00e9gias s\u00e3o um esfor\u00e7o intenso das frentes de lideran\u00e7a que na maioria das vezes n\u00e3o t\u00eam nenhuma remunera\u00e7\u00e3o do trabalho pol\u00edtico. E os custos s\u00e3o relevantes. Ainda sim, a disponibilidade de trabalhar em prol do desenvolvimento da dan\u00e7a vem fazendo a diferen\u00e7a. Este ano, logo ap\u00f3s o Dia D da dan\u00e7a, fomos atr\u00e1s do que aconteceu em algumas capitais brasileiras. <\/span><\/p>\n

Em Salvador<\/strong>, a efervesc\u00eancia foi art\u00edstica, social e cultural. O 3\u00ba Painel Coreogr\u00e1fico da Escola de Dan\u00e7a da UFBa realizou manifesta\u00e7\u00e3o p\u00fablica em comemora\u00e7\u00e3o ao Dia Internacional da Dan\u00e7a, com performances, v\u00eddeos, manifesto e debate. <\/span><\/p>\n

Em S\u00e3o Paulo<\/strong>, um evento foi organizado pelo F\u00f3rum de Dan\u00e7a S\u00e3o Paulo e pelo Mobiliza\u00e7\u00e3o Dan\u00e7a na Funarte, com workshop e apresenta\u00e7\u00e3o do core\u00f3grafo Sandro Borelli e debate sobre “Pol\u00edticas P\u00fablicas e Pautas de A\u00e7\u00e3o para a Dan\u00e7a”. O mais relevante resultado foi o gesto de abertura da Funarte ao chamar a classe a participar democraticamente da indica\u00e7\u00e3o do nome do novo coordenador de dan\u00e7a da funda\u00e7\u00e3o. <\/span><\/p>\n

At\u00e9 agora, s\u00f3 os profissionais de S\u00e3o Paulo se mobilizaram para discutir e sugerir crit\u00e9rios de escolha para o cargo e apontaram tr\u00eas nomes, que foram enviados aos representantes do governo: Gilsamara Moura (por seu trabalho na Fundarte de Araraquara , Marcos Moraes e Sofia Cavalcante (que fazem parte do Mobiliza\u00e7\u00e3o em S\u00e3o Paulo). Uma corrente de e-mails foi estabelecida, pedindo que aqueles que concordassem com o nome enviassem seu referendo diretamente ao presidente da Funarte, Antonio Grassi. Apesar das press\u00f5es e distor\u00e7\u00f5es, o F\u00f3rum de Dan\u00e7a SP \u2013 com a reflex\u00e3o de crit\u00e9rios \u2013 e o Mobiliza\u00e7\u00e3o \u2013 com a indica\u00e7\u00e3o de tr\u00eas nomes, foram os \u00fanicos grupos de profissionais a realizar o debate em torno da nomea\u00e7\u00e3o de uma representante da dan\u00e7a na Funarte. <\/span><\/p>\n

Em Recife<\/strong>, vinte grupos folcl\u00f3ricos e companhias de dan\u00e7a cl\u00e1ssica apresentaram-se numa maratona durante toda a noite no centro hist\u00f3rico da cidade, organizada pela Comiss\u00e3o de Dan\u00e7a da Delegacia Regional de Pernambuco. Foram distribu\u00eddos diplomas aos Construtores da Dan\u00e7a em Pernambuco, homenageando personalidades da dan\u00e7a, patrocinadores e autoridades. Na mesma cidade, no entanto, foi lan\u00e7ado neste dia o Mobiliza\u00e7\u00e3o Dan\u00e7a-Recife, a articula\u00e7\u00e3o pernambucana do F\u00f3rum Nacional. Recolheram-se 600 assinaturas num documento que reivindica pol\u00edtica publica e cria\u00e7\u00e3o de um curso superior de dan\u00e7a no Estado. O documento foi entregue aos governos estaduais, municipal e federal, atrav\u00e9s do Minist\u00e9rio da Cultura. <\/span><\/p>\n

Em Porto Alegre<\/strong> foram v\u00e1rias a\u00e7\u00f5es simult\u00e2neas: apresenta\u00e7\u00f5es de dan\u00e7a na Universidade Luterana do Brasil, organizadas pelo Curso Tecn\u00f3logo de Dan\u00e7a; apresenta\u00e7\u00f5es em espa\u00e7os p\u00fablicos organizadas pela UERGS. Al\u00e9m disso, uma carta reivindicando a obrigatoriedade do ensino da dan\u00e7a nas escolas p\u00fablicas, foi lida pela Comiss\u00e3o Permanente de Dan\u00e7a na Assembl\u00e9ia Legislativa. A prefeitura produziu uma montagem coletiva com profissionais de dan\u00e7a, teatro e m\u00fasica e a TV Educativa do Rio Grande do Sul lan\u00e7ou o piloto de uma s\u00e9rie de 10 programas sobre a hist\u00f3ria da dan\u00e7a ga\u00facha nas primeiras d\u00e9cadas do s\u00e9culo 20. <\/span><\/p>\n

Em Bras\u00edlia<\/strong>, diferentemente dos \u00faltimos anos, aconteceram espet\u00e1culos e discuss\u00f5es. Foi formada uma comiss\u00e3o para a a\u00e7\u00e3o espec\u00edfica do Dia Internacional da Dan\u00e7a. Os profissionais entenderam que estando em Bras\u00edlia a maior contribui\u00e7\u00e3o seria aproveitar a proximidade com os poderes p\u00fablicos. Concentraram-se numa a\u00e7\u00e3o direta com os deputados da comiss\u00e3o de educa\u00e7\u00e3o (v\u00e1rios deles novos na comiss\u00e3o). Em lugar de produzirem um documento, os representantes da dan\u00e7a se decidiram, no encontro com os deputados, explicar, informar e esclarecer sobre as quest\u00f5es ligadas \u00e0 luta contra a fiscaliza\u00e7\u00e3o abusiva e ilegal do Confef. <\/span><\/p>\n

No Rio<\/strong>, uma situa\u00e7\u00e3o “dif\u00edcuriosa”. Por um lado, foi uma das cidades com menos mobiliza\u00e7\u00e3o pol\u00edtica. Por outro, foi a cidade escolhida pelo Ministro Gilberto Gil para visitar e se reunir, alguns dias antes, por quest\u00f5es de agenda ministerial. O encontro, organizado pelo diretor do Teatro Odylo Costa Filho, Dino Carrera, foi informal e convidou, segundo Dino, nomes representativos de v\u00e1rias \u00e1reas da dan\u00e7a. “Tentamos ser o mais aberto poss\u00edvel, mas t\u00ednhamos uma restri\u00e7\u00e3o de n\u00famero de pessoas por parte do minist\u00e9rio. O importante era come\u00e7ar a levar a eles quest\u00f5es sobre patroc\u00ednio, legisla\u00e7\u00e3o, como a retirada do imposto simples de companhias e escolas de dan\u00e7a, e quest\u00f5es de circula\u00e7\u00e3o de espet\u00e1culos”, explicou. Estiveram presentes Mariza Estrela, Dalal Achcar, Deborah Colker, Carlinhos de Jesus, Thereza Rocha, Angela Ferreira (representando o Forum nacional de Dan\u00e7a), Ana Botafogo, Lourdes Braga (presidente do sindicato) e Carlota Portella. O ministro disse que antes de qualquer plano para a dan\u00e7a \u00e9 preciso saber que dan\u00e7a o Brasil quer. Dino diz que o encontro foi uma preliminar e que \u00e9 preciso continuar a articula\u00e7\u00e3o para que a dan\u00e7a tenha uma pol\u00edtica espec\u00edfica para a \u00e1rea. <\/span><\/p>\n

Se analisarmos as a\u00e7\u00f5es nestas seis capitais, a classe aproveitou o dia comemorativo para fazer pol\u00edtica. Melhor dizendo, para continuar o que vem fazendo. N\u00e3o resta d\u00favida que o momento \u00e9 de grande import\u00e2ncia pol\u00edtica. Poucas vezes na nossa hist\u00f3ria houve tanta mobiliza\u00e7\u00e3o. E n\u00e3o resta d\u00favida que as recentes conquistas da \u00e1rea s\u00e3o resultantes exclusivamente de a\u00e7\u00f5es de organiza\u00e7\u00e3o de classe. O que antes vinha sendo feito pelo esfor\u00e7o pessoal de alguns incans\u00e1veis “militantes”, hoje est\u00e1 sendo realizado por uni\u00f5es e coletivos com objetivos comuns. \u00c9 um avan\u00e7o hist\u00f3rico. Responder \u00e0s necessidades desse tempo. N\u00e3o \u00e9 por acaso que o Condan\u00e7a 2004, (Encontro das Universidades de Dan\u00e7a do Brasil e Mercosul, em Porto Alegre de 7 a 13 de junho) teve como tema “O Corpo Pol\u00edtico”. N\u00e3o \u00e9 por acaso que as recentes produ\u00e7\u00f5es de dan\u00e7a de jovens e maduros criadores refletem a posi\u00e7\u00e3o do artista como pol\u00edtico, como em O samba do crioulo doido<\/em>, de Luiz de Abreu, Transobjeto<\/em>, de Wagner Schwartz ou Intervalo<\/em>, de Frederico Paredes. Est\u00e1 no ar, est\u00e1 no corpo. Nos resta responder: um artista ou um profissional contempor\u00e2neo \u00e9 necessariamente um pol\u00edtico? <\/span><\/p>\n

* As pesquisadoras Sonia Sobral<\/strong> e Nirvana Marinho<\/strong> s\u00e3o coordenadoras do idan\u00e7a.net.<\/em><\/span>
\nTranslation by Sarah Hyde, Ccaps Translation and Localization.<\/strong><\/span><\/p>\n

As it is known, the “D” day of dance or International Dance Day was created in 1982 by the International Dance Council (CID) and the Dance Committee of the International Theatre Institute (ITI), two important non-governmental organizations that focus on art and are part of the United Nations Organization for Education, Science and Culture (UNESCO). The date, April 29, marks the birthday of Jean-George Noverre (1727), the master mind behind many of the scene and stage designs for the dance of the 18th century and author of “Letters on Dance and Ballets”, a book that until today is considered fundamental for the study of dance theory and practice. The Brazilian Dance Council (Conselho Brasileiro da Dan\u00e7a), the official representative of the CID in Brazil, participated in the approval of the date and its inclusion among the global celebrations of UNESCO and the UN. Below, we have created a space to summarize in a brief fashion the functions that these councils serve. <\/span><\/p>\n

The International Dance Council (CID – Conseil International de la Danse), which serves as a consultant for UNESCO, was created in 1973 and is represented in 77 countries. Its principal objectives are to preserve the heritage of dance throughout the world, promote research, stimulate learning about dance through education, encourage the formation of interpreters and creators and develop a close partnership with UNESCO. The Brazilian Dance Council (CBDD), the national representative for CID, was founded on September 17, 1979. It is a non-profit organization that is declared as a public utility and organized as a private institution. The Council has earned both national and international recognition, and has representatives in 14 Brazilian states. <\/span><\/p>\n

Since 1980, CBDD has promoted a National Dance Festival. The 21st edition of the Festival occurred from April 21-25, 2004 at the Odylo Costa Filho Theatre at the State University of Rio de Janeiro (UERJ). The event was open for Groups, Solos and Duos in the categories of Contemporary Dance, Variations, Pas and Gran Pas de Deux of Repertoire and Ballroom Dancing. The awards consist of some R$7,100 divided between all the dance categories. In the area of training, three workshops were held for recycling. Mariza Estrella is currently president of CBDD and information on the organization is available at the official web site of the Labor Union of the Dance Professionals of Rio de Janeiro<\/a>. In Brazil, dance is primarily regulated by Law No. 6533, which regulates the professions of Artist and Technician in Diverse Performances, including dance artists. Currently, there are associations that seek some type of class representation, one that is more politically articulated and less connected to issues related to teaching and to stable ballet groups. These issues are some of the main focuses of the worker\u2019s rights movements of S\u00e3o Paulo and Rio de Janeiro labor unions and those of other states where SATED affiliates are located. <\/span><\/p>\n

There are associations such as the National Dance Forum that have their state branches, such as the SP Dance Forum. Dance Mobilization, also based in S\u00e3o Paulo, is described by its members as the civil movement of a collective and non-partisan organization without legal constitution or a corporate character or any aim of becoming a professional category. In Rio de Janeiro, different groups of artists have begun to gather. There is also a center of artists, the Permanent Forum, that has organized meetings in the city that include the presence of both authorities and specialized consultants. The meetings aim at mobilizing professionals to discuss heritage, market and creation issues. <\/span><\/p>\n

These organizations seek to gather dance professionals to discuss their interests and problems. Evidently, the most urgent issue is that of the Cref-Confef auditing system. The physical education council, both at a national and state level, is attempting to take over the teaching of dance in schools and academies. This campaign was the central reason why the National Dance Forum was created in 2001. Its members organized, prompting the National Congress to approve Law 7370\/02 (which impedes CONFEF from auditing dance). However, the struggle against mis-information has yet to be won in the country and it is apparent that new members are sprouting up everywhere, adding force to campaigns of truth and an ample discussion on the evaluation and regulation of the profession. <\/span><\/p>\n

In other states, there are also organizations related to the Forum and others that have a similar purpose: to highlight the main needs of the area. What is revealed is the way in which dance professionals represent themselves. The ways, rules and strategies represent a concerted effort on behalf of the movement\u2019s leadership that the majority of the time do not receive any remuneration for their political work. And the costs are impressive. Even with such a situation, the availability to work in support of dance development has been making a difference. This year, shortly after the “D Day” of dance, we followed the progress in a few Brazilian capitals. <\/span><\/p>\n

In Salvador<\/strong>, the effervescence was artistic, social and cultural. The 3rd Choreographic Panel of the UFBA Dance School organized a public manifestation in commemoration of International Dance Day with performances, videos, manifestos and debates. <\/span><\/p>\n

In S\u00e3o Paulo<\/strong>, an event was organized by the S\u00e3o Paulo Dance Forum and by the Dance Mobilization Movement at the Duarte Foundation, with a workshop and presentation by choreographer Sandra Bordello and a debate on “Public Policies and Action Plans for Dance”. The most relevant result was Duarte\u2019s idea of calling its members to participate in the democratic nomination of the new dance coordinator. <\/span><\/p>\n

Up until now, only S\u00e3o Paulo professionals have mobilized to discuss and suggest the decision criteria for the position and three names were chosen and then sent to representatives of the government: Gilsamara Moura (for her work at the Fundarte of Araraquara , Marcos Moraes and Sofia Cavalcante (who are currently members of the Mobilization in S\u00e3o Paulo). A flow of e-mails was established, and members were requested to cast their vote and send it directly to the president of Duarte, Antonio Grassi. Despite pressure and distortions, the S\u00e3o Paulo Dance Forum \u2013 with the reflection of criteria \u2013 and the Mobilization \u2013 with the nomination of three names, were the only professional groups that carried out a debate related to the nomination of a dance representative at Duarte. <\/span><\/p>\n

In Recife<\/strong>, 20 folkloric groups and classical dance groups presented themselves in a marathon manifestation that lasted the entire night in the historical downtown area of the city. The event was organized by the Dance Commission of the Pernambuco Regional Police Headquarters. Diplomas were distributed to the Dance Constructors in Pernambuco, and the organizers paid tribute to dance personalities, sponsors and authorities. The same city, however, also launched the Dance-Recife Mobilization, the Pernambuco branch of the National Forum. A total of 600 signatures were collected in a document demanding official public policy supporting dance and the creation of a university dance course in the State. The document was delivered to the state, municipal and federal governments through the Ministry of Culture. <\/span><\/p>\n

In Porto Alegre<\/strong>, there were a variety of simultaneous actions: dance presentations at the Lutheran University of Brazil that were organized by the Technological Dance course; presentations in public spaces organized by UERGS. In addition to this, a letter demanding the obligatory instruction of dance in public schools was read by the Permanent Dance Commission of the Legislative Assembly. The local Mayor\u2019s Office produced a collection of images featuring dance, theatre and music professionals and TV Educativa (public television channel focused on education) of Rio Grande do Sul launched the pilot series, which included 10 programs about the history of dance in the region during the first decades of the 20th century. <\/span><\/p>\n

In Brasilia<\/strong>, in contrast to past years, there were both performances and discussions. A commission was formed specifically for International Dance Day. The professional understood that being in Brasilia, the most important contribution would be take advantage of the proximity with the public powers. They concentrated on direct action with the representatives from the education commission (many of whom were new). When they met with the representatives, the commission members decided that instead of producing a document they would explain, communicate and clear up questions relevant to the struggle against the abusive and illegal auditing practiced by Confef. <\/span><\/p>\n

In Rio<\/strong>, a curious situation. In one hand, was one of the cities with less politic mobilization. On the other, was the city chosen by the Culture Minister Gilberto Gil to visit and meet with local dance representatives. The meeting, organized by the director of the Odylo Costa Filho Theater, Dino Carrera, was informal and has invited, according to Dino, names of several areas of dance. “We tried to be as open as possible, but we had a restriction on the number of people set by the ministry. The important thing was to bring them matters about sponsorship, legislation, as the withdrawal of the simple tax option for companies and dance schools, and matters of circulation of shows”, he explained. Were present Mariza Estrella, Dalal Achcar, Deborah Colker, Carlinhos de Jesus, Thereza Rocha, Angela Ferreira (representing the National Dance Forum), Ana Botafogo, Lourdes Braga (president of the dance union) and Carlota Portella. The minister said that, before any plan for the dance, it\u2019s necessary to know which dance Brazil wants. Dino says that the meeting was a preliminary move, and that it\u2019s necessary to continue the articulation so that dance can have one specific politics for it. <\/span><\/p>\n

If we analyze the actions in these six capitals, we can deduce that dance activists took advantage of the celebration to make a political statement. In other words, to continue what has been done so far. There is no doubt that the moment is of great political importance. There have been very few times in our history when there has been such a degree of mobilization. And there is no doubt that the recent achievements of the area have resulted exclusively from organized activities. What before was accomplished through the personal efforts of a group of tireless “militants” is today carried out by unions and groups with common objectives. It is a historical advance. It is a response to the needs of our times. It is not by chance that Condan\u00e7a 2004, (Meeting of the Brazilian and Mercosul Dance Universities in the city of Porto Alegre from June 7-13) is using “The Political Body” as its theme. And it is not by chance either that recent dance productions by young and mature creators reflect the position of the artist as a politician, such as in O samba do crioulo doido<\/em> (“The samba of the crazy black man”) by Luiz de Abreu, Transobjeto<\/em> (“Transobject”) by Wagner Schwartz or Intervalo<\/em> by Frederico Paredes. It\u2019s in the air, it\u2019s in the body. We have only left to answer the fundamental question: is an artist or a contemporary professional necessarily political? <\/span><\/p>\n

* Sonia Sobral<\/strong> and Nirvana Marinho<\/strong> are researchers and coordinate idan\u00e7a.net.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Sonia Sobral e Nirvana Marinho comentam a mobiliza\u00e7\u00e3o pol\u00edtica em v\u00e1rias capitais.<\/span>Sonia Sobral and Nirvana Marinho comment the politic mobilization in many brazilian capitals.<\/span><\/p>\n","protected":false},"author":76,"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":"\nLetra D de pol\u00edtica | The letter "D" of politics -<\/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\/letra-d-de-politica\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Letra D de 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