{"id":268,"date":"2004-08-09T00:00:00","date_gmt":"2004-08-09T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/08\/09\/a-danca-brasileira-de-jorge-catarina-e-angelo\/"},"modified":"2008-08-06T19:28:29","modified_gmt":"2008-08-06T22:28:29","slug":"a-danca-brasileira-de-jorge-catarina-e-angelo","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-danca-brasileira-de-jorge-catarina-e-angelo\/","title":{"rendered":"A dan\u00e7a brasileira de Jorge, Catarina e \u00c2ngelo |The Brazilian dance of Jorge, Catarina and \u00c2ngelo"},"content":{"rendered":"

Dan\u00e7a brasileira e corpo brasileiro correntemente s\u00e3o denomina\u00e7\u00e3o daquilo que se coloca nas prateleiras, como objeto de consumo, destinado \u00e0queles que precisam confirmar suas identidade incompletas. Introjetam o olhar estrangeiro de cart\u00e3o postal, que busca o ex\u00f3tico imediato, para se sentirem resgatados de sua nacionalidade prec\u00e1ria, com o n\u00e3o t\u00e3o vago mal-estar citadino, de quem imagina uma idade de ouro, n\u00e3o completamente extinta, vinda do passado, dos campos rurais, ou das serras. <\/span><\/p>\n

Neste processo h\u00e1 um cancelamento de conflitos, onde no gesto considerado autenticamente brasileiro \u00e9 erodido o significado das lutas por domina\u00e7\u00e3o, como por exemplo, de um cristianismo que tenta sufocar cren\u00e7as pag\u00e3s, e de cren\u00e7as pagas que tomam conta do corpo gestual do cristianismo, e nele se instalam, um corpo luta para tomar conta do outro. \u00c9 um espet\u00e1culo coreogr\u00e1fico cotidiano, em igrejas de diversas ruas de S\u00e3o Paulo, e de outras cidades, de pastores, de b\u00edblia na m\u00e3o, que expulsam Exus, Pombas-Giras e Ians\u00e3s, em nome de Cristo: um neo-convertido tr\u00eamulo na prometida \u00faltima possess\u00e3o e fieis de m\u00e3os erguidas para o alto, um audit\u00f3rio jubiloso, que no seu j\u00fabilo n\u00e3o mais separam a linha entre o sagrado e o profano, e n\u00e3o se distinguem dos audit\u00f3rios dos programas di\u00e1rios de televis\u00e3o. <\/span><\/p>\n

Por\u00e9m existem core\u00f3grafos, que apesar de receberem a etiqueta f\u00e1cil de dan\u00e7a brasileira, e produto de exporta\u00e7\u00e3o, est\u00e3o em um processo promissor, refletindo as tens\u00f5es destes muitos brasis<\/em> que se superp\u00f5em e se chocam, e parecem n\u00e3o se colocar no porto seguro de quem se sup\u00f5e representar o Made in Brazil<\/em>. Neste tr\u00e2nsito encontramos Jorge Garcia, \u00c2ngelo Madureira e Ana Catarina, que trabalhando e morando em S\u00e3o Paulo, de modos diferentes, trazem Recife e o nordeste, para dentro do que fazem. <\/span><\/p>\n

Jorge Garcia come\u00e7ou como bailarino em Recife e atualmente dan\u00e7a e coreografa no Bal\u00e9 da Cidade de S\u00e3o Paulo, al\u00e9m de ter um trabalho coreogr\u00e1fico independente. Realidade e justi\u00e7a social e o papel do feminino no mundo atual fazem parte das preocupa\u00e7\u00f5es art\u00edsticas de Jorge Garcia, e na sua trama coreogr\u00e1fica se mesclam intencionalmente a um humor carnavalesco. Divin\u00e9ia<\/em> foi feito para o Bal\u00e9 da Cidade em 2001, tendo como referencial o universo dos presidi\u00e1rios da Casa de Deten\u00e7\u00e3o de S\u00e3o Paulo. Mais do que a constrigente realidade presidi\u00e1ria o que se manifesta \u00e9 o pulsar de um mundo menino, as v\u00e1rzeas abertas e alagadas, transformadas em campos de futebol, do grande Recife onde Jorge viveu sua inf\u00e2ncia. O mundo rural pernambucano e o carnaval do Recife est\u00e3o declaradamente presentes no Cantinho de n\u00f3is<\/em>, trabalho feito para o Centro Cultural S\u00e3o Paulo, para ser dan\u00e7ado por um grupo independente de bailarinos, o pr\u00f3prio Jorge Garcia, Henrique Lima, Marcelo Bucoff e Marisa Bucoff. \u00c9 um dos seus trabalhos mais bem sucedidos, onde encontramos uma estrutura coreogr\u00e1fica delicada e precisa, a energia dos improvisos dos Cavalos-Marinhos pernambucanos, e a coes\u00e3o de um grupo com uma linguagem corporal capaz de dar conta do tr\u00e2nsito entre as nuances regionais e o mundo art\u00edstico pessoal de Jorge Garcia. O seu trabalho para o Bal\u00e9 da Cidade em 2003, Desatino do Norte Desatino do Sul<\/em>, ainda n\u00e3o \u00e9 totalmente maduro e pede que o core\u00f3grafo re-visite os seus temas e motivos de movimento, em que predominam a polaridade entre a rela\u00e7\u00e3o homem e mulher num mundo ed\u00eanico, de um lado, e do outro a realidade da vida e amores suburbanos, dos sub\u00farbios das grandes cidades, quer seja Recife, S\u00e3o Paulo ou outra, realidade esta para a qual Jorge Garcia tem uma sensibilidade atenta. A m\u00fasica de DJ Dolores, um v\u00eddeo-cen\u00e1rio \u00e0s vezes excessivo e um elenco numeroso sufocaram a dan\u00e7a numa disputa por espa\u00e7o. Desatino<\/em>, que obsessivamente traz o fluir da \u00e1gua e o ventre da mulher, necessita e merece mais tempo para crescer, e se tornar uma linguagem t\u00e3o pessoal como a de um Cantinho de n\u00f3is<\/em>. <\/span><\/p>\n

\u00c2ngelo Madureira praticamente nasceu dentro do Bal\u00e9 Popular do Recife, uma companhia que fez uma s\u00famula pioneira das dan\u00e7as tradicionais pernambucanas, e que por se propor a tarefa dual de uma linguagem de dan\u00e7a bras\u00edlica e se constituir como commodity<\/em> cultural-turist\u00edca, demandaria uma an\u00e1lise espec\u00edfica. Mas \u00c2ngelo est\u00e1 aqui, em S\u00e3o Paulo, coreografando e dan\u00e7ando, e diz que ser contempor\u00e2neo \u00e9 entrar em negocia\u00e7\u00e3o com o ambiente cotidiano e verificar que a informa\u00e7\u00e3o em seu corpo, trazida do Recife, formada na escola da dan\u00e7a bras\u00edlica, \u00e9 modificada por este ambiente, muda a sua forma de comunica\u00e7\u00e3o, mudan\u00e7as que v\u00e3o desde a estrutura art\u00edstica at\u00e9 a uma amplia\u00e7\u00e3o da percep\u00e7\u00e3o de quest\u00f5es pol\u00edticas e sociais. Ana Catarina Vieira, que foi por v\u00e1rios anos bailarina da Cia. Cisne Negro, dan\u00e7a e coreografa atualmente com \u00c2ngelo Madureira e procura colocar no contexto do seu corpo, que j\u00e1 deu abrigo \u00e0 fada a\u00e7ucarada e \u00e0s linguagens contempor\u00e2neas do bal\u00e9, a ampla gama das dan\u00e7as nordestinas, um desafio permanente, que questiona at\u00e9 as formas de treinamento di\u00e1rio do seu corpo de bailarina. <\/span><\/p>\n

Del\u00edrio<\/em> foi um solo feito por \u00c2ngelo Madureira em 1999, com uma bolsa da Rede Stagium: \u00e9 o nordestino migrante, com seu matul\u00e3o e saco de dormir, trazendo o seu sonho e sua cultura para a cidade grande. \u00c9 a uni\u00e3o de m\u00fasica, dan\u00e7a e entretenimento com humor, capaz de captar simpatias imediatas, mas que deixa as possibilidades de forma e tempo coreogr\u00e1ficos ainda n\u00e3o totalmente despertos. Este solo, voltando a ser apresentado no Centro Cultural S\u00e3o Paulo em julho deste ano, vem como Del\u00edrio Remix<\/em>, trazendo inquieta\u00e7\u00f5es mais atuais. Por\u00e9m \u00e9 o espet\u00e1culo Somtir<\/em>, desenvolvido por Ana Catarina e \u00c2ngelo Madureira conjuntamente, contemplado pelo Rumos Ita\u00fa Cultural Dan\u00e7a 2003, que coloca definitivamente o padr\u00e3o de dan\u00e7a, m\u00fasica, entretenimento e humor, em contato direto com uma estrutura coreogr\u00e1fica ampla, numa sucess\u00e3o de quadros que s\u00e3o como portas que se abrem para salas encantadas de contos de fadas. \u00c9 um trajeto fascinante, de muitas possibilidades a serem totalmente exploradas, mas que exigir\u00e1 defini\u00e7\u00f5es da dupla de bailarinos-core\u00f3grafos. At\u00e9 nos contos de fadas \u00e9 preciso se fazer escolhas, que t\u00eam os seus grandes riscos, mas por isto mesmo \u00e9 que importa que sejam feitas. Contudo o que n\u00e3o pode deixar de ser percebido em Somtir<\/em> \u00e9 que \u00e9 colocado que o id\u00edlico corpo do bailarino popular brasileiro, por estar na grande feira da World Dance e World Music, j\u00e1 n\u00e3o pode ser o esconderijo de uma identidade nacional pronta, perfeita e supostamente aut\u00eantica, mas que est\u00e1 num devir aberto. O Baco menino de Ov\u00eddio, seq\u00fcestrado no navio da contemporaneidade, talvez n\u00e3o possa repetir o mesmo estratagema de suspender a nave num v\u00f3rtice e transformar os remos em pesadas videiras. Um novo tempo aguarda o passista virtuose do frevo do Recife. <\/span><\/p>\n

Mateus e Basti\u00e3o, no Cavalo Marinho de Recife, s\u00e3o s\u00edmbolos da tradi\u00e7\u00e3o, mas com um humor sempre corrosivo, eles p\u00f5em a pr\u00f3pria tradi\u00e7\u00e3o maior do Capit\u00e3o, dono do Cavalo Marinho, a uma prova permanente. Esta \u00e9 a tarefa de Jorge Garcia, Ana Catarina Vieira e \u00c2ngelo Madureira. <\/span><\/p>\n

* Bergson Queiroz<\/strong> \u00e9 core\u00f3grafo e pesquisou a cultura popular de Recife e Olinda nas d\u00e9cadas de 70\/80.<\/em><\/span>
\nTranslation by Fabiana J\u00falio, Ccaps Translation and Localization.<\/strong><\/p>\n

Brazilian dance and the Brazilian body are currently names associated with that which is sold on shelves: an object to be consumed, destined to those who need to confirm their incomplete identities.They insert the foreign look of postcards, seeking the immediate “exotic”, so that they can feel rescued from their primary nationality with the not-so-vague city discomfort of those who imagine a city of gold, not totally extinct, coming from the past, from the country fields or the hills.<\/p>\n

Through this process there is a cancellation of conflicts, where in the gesture considered authentically Brazilian the meaning of the fights for domination is eroded. It is like Christianity trying to suffocate pagan beliefs or these beliefs trying to conquer the body of Christianity and, therefore, take over it. One trying to conquer the other. It is an every-day choreographic performance, in churches from many streets of S\u00e3o Paulo, and from other cities, from preachers, Bible in hand, who compel Exus<\/em>, Pombas-Gira<\/em> and Ians\u00e3s<\/em> out of people\u2019s bodies in the name of Christ: a shaking just-converted man on the promised last possession and believers with their hands in the air, a jubilant crowd who, in its jubilee cannot separate what is sacred from what is profane anymore, and are not any different from the audience of a daily TV show.<\/p>\n

However, there are choreographers who, in spite of getting the easy label of Brazilian dance and exporting product, are in a promising process, reflecting the tensions of these so many Brazils that overlap and crash against each other and seem not to put themselves in the position of those who supposedely represent Made in Brazil. Here we find Jorge Garcia, \u00c2ngelo Madureira and Ana Catarina who live in S\u00e3o Paulo and, working different ways, bring Recife and the Northeast into what they do.<\/p>\n

Jorge Garcia started off as a dancer in Recife and now dances and makes choreographies for the Bal\u00e9 da Cidade de S\u00e3o Paulo, besides having his independent choreographic work. Reality, social justice and the role of women in the recent world are part of the artistic concerns of Jorge Garcia and in his choreographic piece they mix intentionally to a Carnival humor. Divin\u00e9ia<\/em> was made for the City Ballet in 2001, having as a reference the world of the prisoners in Casa de Deten\u00e7\u00e3o de S\u00e3o Paulo. But more than the constricting prison reality, what is manifested is the throbbing of a boy world, the open and flooded fields that turn into soocer fields of the big Recife where Jorge lived his childhood years. The rural world of Pernambuco and the Recife Carnival are present in the Cantinho de n\u00f3is<\/em>, a project done for the Centro Cultural S\u00e3o Paulo, to be danced by an independent group of dancers, Jorge Garcia himself, Henrique Lima, Marcelo Bucoff and Marisa Bucoff. It\u2019s one of his most successful projects, where we find a delicate and precise choreographic structure, the energy of the improvisation of the sea-horses from Pernambuco, and the cohesion of a group with a body language which is able to handle the transit between the regional nuances and the artistic personal world of Jorge Garcia. His project for the City Ballet in 2003 Desatino do Norte Desatino do Sul<\/em>, is still not totally mature and wants the choreographer to re-visit his\/her themes and reasons for movement where the polarity between men and women in an Eden world prevail from one side and from the other the reality of life and love in the outskirts, the outskirts of the big cities, be it Recife, S\u00e3o Paulo or any other, to which Jorge Garcia has a very attentive sensibility. DJ Dolores’ music, a sometimes excessive video-scenario and a big cast have suffocated the dance in the fight for space. Desatino<\/em>, that obsessively brings up the flow of water and the woman\u2019s womb, needs and deserves more time to grow and to become as personal a language as the one in Cantinho de n\u00f3is<\/em>.<\/p>\n

\u00c2ngelo Madureira was born practically in the Bal\u00e9 Popular do Recife, a company that has made a first summary of the traditional dance of Pernambuco and that because it is supposed to have the dual task of a Brazilian dance and settling itself as a cultural-touristic commodity, would demand specific analysis. However, \u00c2ngelo is here in S\u00e3o Paulo, choreographing and dancing. He says that being contemporaneous is to negotiate with the every-day life and verifying that the information in your body brought down from Recife, made in the Brazilian school of dance, is modified by this environment, changes its way of communication, making changes that go from the artistic structure until a widening of the perception of political and social matters. Ana Catarina Vieira, who was for many years a dancer for the Cia. Cisne Negro, dances and choreographes nowadays with \u00c2ngelo Madureira and is trying to put in the context of her body which has already sheltered the sugared fairy and the contemporaneous languages of ballet, the vast number of Northeastern dances, a permanent challenge, that questions even the ways of daily training of her ballerina body.<\/p>\n

Del\u00edrio<\/em> was a solo made by \u00c2ngelo Madureira in 1999, with a Rede Stagium bag: he is the migrant from the Northeast with his big bag and sleeping bag, taking his dreams and culture to the big city. It\u2019s joining music, dance and entertainement with humor, capable of capturing immediate affinity, but leaving the possibilities of choreographical shape and time still not totally awaken. This solo, as it was shown again in the Centro Cultural S\u00e3o Paulo in July this year, comes as Del\u00edrio Remix<\/em>, which brings more recent inquietitudes. However, it\u2019s the Somtir<\/em>Somtir is that it is put that the idyllic body of the Brazilian popular dancer for being in the big fair World Dance and World Music, cannot be the hideaway of a ready national identity, perfect and supposedly authentic but which is in an open idea of what\u2019s to become. Baco Menino de Ov\u00eddeo<\/em>, kidnapped in the contemporaneity ship, maybe cannot repeat the same stratagem of suspending the ship in a vortex and making the oars heavy grape trees. A new time awaiting the virtuoso frevo dancer from Recife. <\/em><\/em> performance, developed by Ana Catarina and \u00c2ngelo Madureira together, contemplated by Rumos Ita\u00fa Cultural Dan\u00e7a 2003, that definetely puts a standard in dance, music, entertainment and humor, in direct contact with a vast choreographical structure, in sucession of sketches that are like doors that open to enchanted rooms of fairy tales. It\u2019s a fascinating trajectory of many possibilities to be totally explored but which will demand definitions from the pair of choreographer dancers. Even in fairy tales you have to make choices that are risky, but being important to be made for that very reason. However, what cannot be left unnoticed in<\/p>\n

Mateus and Basti\u00e3o, in Recife\u2019s Sea Horse, are symbols of tradition, but always with an eroding humor. They put their own biggest tradition of the Captain, owner of the Sea Horse, to a test. This is Jorge Garcia, Ana Catarina and \u00c2ngelo Madureira’s task. <\/em><\/em><\/p>\n

* Bergson Queiroz<\/strong> is a choreographer and researched the popular culture of Recife and Olinda in the 70\u2019s and 80\u2019s.<\/em>
\n<\/em><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Bergson Queiroz analisa a dan\u00e7a despreocupada com a exporta\u00e7\u00e3o<\/span>Bergson Queiroz analyzes the dance that does not care for export<\/span><\/p>\n","protected":false},"author":21,"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":[2,28],"tags":[],"yoast_head":"\nA dan\u00e7a brasileira de Jorge, Catarina e \u00c2ngelo |The Brazilian dance of Jorge, Catarina and \u00c2ngelo -<\/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\/a-danca-brasileira-de-jorge-catarina-e-angelo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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