{"id":319,"date":"2004-10-26T00:00:00","date_gmt":"2004-10-26T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2004\/10\/26\/sob-a-pedra-furada\/"},"modified":"2008-07-15T16:49:57","modified_gmt":"2008-07-15T19:49:57","slug":"sob-a-pedra-furada","status":"publish","type":"post","link":"https:\/\/idanca.net\/sob-a-pedra-furada\/","title":{"rendered":"Sob a Pedra Furada | Under the Pedra Furada"},"content":{"rendered":"

Serra da Capivara, Piau\u00ed \u2013 Carminha, mineira com mais de 20 anos de conv\u00edvio com os Krah\u00f4 conta uma linda hist\u00f3ria: em 1948, o etn\u00f3logo Harald Schultz trocou um rev\u00f3lver calibre 22 por um koyr\u00e9 (objeto sagrado) com um \u00edndio jovem da Pedra Branca, que desconhecia o valor simb\u00f3lico dessa machadinha. Desde ent\u00e3o, os Krah\u00f4 vivem sem o cora\u00e7\u00e3o da tribo<\/em>. Meses atr\u00e1s, a antrop\u00f3loga Vilma Chiara, ex-orientanda de L\u00e9vy Strauss, vi\u00fava de Schultz, procurou a companheira de pesquisa Ni\u00e9de Guidon, fundadora e diretora presidente da Fumdham, manifestando o desejo de devolver o koyr\u00e9 para os Krah\u00f4. Foi essa emocionante cerim\u00f4nia de devolu\u00e7\u00e3o que abriu o festival Interartes 2004<\/a>, realizado pela FUMDHAM (Funda\u00e7\u00e3o Museu do Homem Americano).<\/p>\n

Poderia parecer precipitado consagrar a import\u00e2ncia de um evento ainda na sua segunda edi\u00e7\u00e3o, mas o Interartes j\u00e1 pode ser considerado um modelo. Dirigido por Lina do Carmo, conta com a compet\u00eancia de Cris Buco e Elaine Ign\u00e1cio para a sua realiza\u00e7\u00e3o. Debaixo da impon\u00eancia do c\u00e9u da caatinga, no anfiteatro da Pedra Furada, cerca de 1.200 pessoas se re\u00fanem a cada noite para embeber-se da diversidade e da abrang\u00eancia de informa\u00e7\u00e3o que Lina do Carmo seleciona como programa\u00e7\u00e3o. Uma plat\u00e9ia sem familiaridade com o tipo de arte que lhe \u00e9 oferecida e que a recebe como se fosse formada por especialistas. Quem ainda n\u00e3o sabe que \u00e9 a distribui\u00e7\u00e3o democr\u00e1tica da informa\u00e7\u00e3o que constr\u00f3i a cidadania, precisa conhecer o festival que vem nos ensinando a ver um Piau\u00ed muito diferente daquele apenas associado \u00e0 mis\u00e9ria e \u00e0 pobreza com o qual estivemos sempre convivendo.<\/p>\n

Evidentemente, o trabalho permanente que esse trio de ouro desenvolve no Pr\u00f3-Arte Fumdham (o projeto social da Fundham que desenvolve a educa\u00e7\u00e3o atrav\u00e9s da arte e a arte atrav\u00e9s da educa\u00e7\u00e3o), tem papel central na pol\u00edtica cont\u00ednua de constru\u00e7\u00e3o de cidadania que vem sendo empreendida na regi\u00e3o h\u00e1 mais de 30 anos pela atua\u00e7\u00e3o da Fumdham na regi\u00e3o, tendo a antrop\u00f3loga Ni\u00e9de Guidon \u00e0 frente.\tH\u00e1 muitas singularidades envolvidas no Interartes e uma delas \u00e9 a transmiss\u00e3o completa e em tempo real de todo o festival, que dura cinco dias, pela TV Meio Norte para todo o Piau\u00ed e para parte do Maranh\u00e3o e do Cear\u00e1, com flashes veiculados pela TV Bandeirantes. Comandada pela talentosa jornalista Maia Velloso, que consegue fazer com que 30 horas cont\u00ednuas de programa\u00e7\u00e3o ao vivo se transformem em um verdadeiro processo educacional moderno e renovador, essa transmiss\u00e3o comprova, com a sua exce\u00e7\u00e3o, o quanto a TV brasileira permanece distante da contribui\u00e7\u00e3o cultural que deve ao pa\u00eds. Vem, portanto, do interior do Piau\u00ed, o modelo de ponta no relacionamento mediado pelo estado entre a arte (financiada com o dinheiro p\u00fablico via Leis de Incentivo) e a TV (igualmente uma concess\u00e3o p\u00fablica).<\/p>\n

Nesse novo perfil que o Interartes desenha para o Piau\u00ed, muito contribui o apoio do governador Wellington Dias (PT) \u00e0 Fumdham, e n\u00e3o podem ser esquecidas as importantes a\u00e7\u00f5es que a secret\u00e1ria S\u00f4nia Terra vem desenvolvendo \u00e0 frente da pasta da Cultura. A maturidade pol\u00edtica com que o governador conduziu a pol\u00eamica em torno da exibi\u00e7\u00e3o do – Samba do Crioulo Doido – serve como exemplo. Na sua den\u00fancia contra o preconceito, Luiz de Abreu faz da bandeira brasileira uma continua\u00e7\u00e3o da sua carne nua. A seguran\u00e7a e a serenidade com que fez manter o respeito \u00e0 express\u00e3o art\u00edstica atestam que o Piau\u00ed hoje n\u00e3o mais se alinha com os preconceitos historicamente vinculados \u00e0 mis\u00e9ria.<\/p>\n

Patrocinado pelo governo do Piau\u00ed, pela Telemar, pelo Siec (Sistema de Incentivo Estadual \u00e0 Cultura), pelos Minist\u00e9rios da Cultura e do Turismo, Caixa Econ\u00f4mica Federal e Petrobr\u00e1s, e tendo o apoio do Consulado Franc\u00eas, o II Interartes condensou, durante cinco dias, 14 espet\u00e1culos, dez oficinas com as crian\u00e7as do Pro-Arte Fumdham, quatro palestras no Museu do Homem Americano e uma programa\u00e7\u00e3o paralela di\u00e1ria no povoado S\u00e3o Pedro com m\u00fasica, artesanato e gastronomia locais.<\/p>\n

O que singulariza o Interartes \u00e9 exatamente o tipo de curadoria que Lina do Carmo realiza com not\u00e1vel agudeza para as misturas entre erudito e popular, nacional e estrangeiro, local e global. Sua programa\u00e7\u00e3o revelou Sert\u00e3o<\/em>, a mais recente produ\u00e7\u00e3o de Marcelo Evelyn, que nasce madura, sintetizando anos e anos de busca coerente. E apresentou a delicada poesia do teatro de imagens dos franceses da Compagnie Les R\u00e9mouleurs, o hil\u00e1rio show t\u00edpico de cabar\u00e9 comandado pelo excelente Paul Morocco, um Beethoven tocado debaixo da constela\u00e7\u00e3o de Escorpi\u00e3o pela pianista chinesa radicada na Alemanha PI-Hsien-Cheng, que tamb\u00e9m toca A Arte da Fuga, de Bach, para a pr\u00f3pria Lina do Carmo dan\u00e7ar seu exerc\u00edcio de resist\u00eancia em Fugitus<\/em>, a cativante Banda Caba\u00e7al dos Irm\u00e3os Aniceto, a energia do Quasar dan\u00e7ando sem seu cen\u00e1rio habitual (e assim revelando qualidades at\u00e9 ent\u00e3o encobertas da sua Coreografia para Ouvir<\/em>), a bela intimidade compartilhada por Jo\u00e3o Negreiros em seu solo Marcas<\/em>, um Brasil que ousa buscar outras formas para sua dan\u00e7a popular com \u00c2ngelo Madureira e Ana Catarina Vieira.<\/p>\n

Depois dos Krah\u00f4, as crian\u00e7as do Pr\u00f3-Arte Fumdham dan\u00e7aram o Pacto Renovado<\/em>, demonstrando o quanto cresceram em somente um ano de trabalho. N\u00e3o poderia haver escolha mais auspiciosa para deixar claro que a realiza\u00e7\u00e3o de cada Interartes promove exatamente isso: renova o pacto que possibilita ao Piau\u00ed provar que a arte consolida a cidadania porque \u00e9, ela mesma, uma a\u00e7\u00e3o social.<\/p>\n

Helena Katz \u00e9 professora-doutora do Programa de Estudos P\u00f3s-Graduados em Comunica\u00e7\u00e3o e Semi\u00f3tica da PUC-SP e cr\u00edtica de dan\u00e7a do jornal O Estado de S\u00e3o Paulo<\/strong><\/em>.<\/span>Translation by Fabiana J\u00falio, Ccaps Translation and Localization.<\/b><\/p>\n

Serra da Capivara, Piau\u00ed \u2013 Coming form Minas Gerais and having lived with the Krah\u00f4 for more than 20 years, Carminha tells us a beautiful story. According to her, the ethnologist Harald Schultz exchanged a 22 caliber gun for a koyr\u00e9 (sacred object) in a trade with a young Indian from Pedra Branca in 1948. Schultz did not know the symbolic value of that little hatchet, though. The Krah\u00f4 have lived without “the heart of the tribe” since then. <\/p>\n

Some months ago, the anthropologist Vilma Chiara, who is L\u00e9vy Strauss\u2019 ex-student and Schultz\u2019s widow, contacted her research colleague Ni\u00e9de Guidon, founder and president director of FUMDHAM (Foundation Museum of the American Man). She expressed the desire to return the koyr\u00e9 for the Krah\u00f4. It was this touching returning ceremony that opened the Festival Interartes 2004<\/a>, coordinated by FUMDHAM.<\/p>\n

\tIt may sound hasty to give so much value to an event that is only in its second edition, but Interartes can already be considered a role model. It is directed by Lina do Carmo, and relies on the competence of Cris Buco and Elaine Ign\u00e1cio. Around 1,200 people gather every night to drench themselves in the diversity and scope of information that Lina do Carmo selects as programming under the impotent sky of the caatinga<\/i> (the drought region of Northeastern Brazil) in the Pedra Furada amphitheatre. It is an audience that is not familiar with the type of art that is offered and that receives it as if it had been created by specialists. Those who still do not know that the democratic distribution of information builds citizenship need to experience the festival that has been teaching us to see a Piau\u00ed that is very different from the one that is associated only with hard times and the poverty that we live with.<\/p>\n

It is evident that the permanent work that this golden trio develops at Pr\u00f3-Arte FUMDHAM (FUMDHAM\u00b4s social project that develops education through art and art through education) has a major role in the continuous politics of citizenship development, which has been used in that region for more than 30 years (through FUMDHAM) and which is organized by the anthropologist Ni\u00e9de Guidon.<\/p>\n

There are many peculiarities involved in Interartes and one of them is the broadcasting in real time of the whole festival (which lasts five days) by TV Meio Norte for the entire state of Piau\u00ed and parts of the states of Maranh\u00e3o and Cear\u00e1, with some flashes by TV Bandeirantes. It was presented by the talented journalist Maia Velloso, who is able to transform a 30-hour live transmission into a truly modern and renewing educational process. This broadcasting proves, with its exception, how much the Brazilian TV remains distant from the cultural contribution that it owes the country. The state-of-the-art model in the relationship that the state mediates between art (supported by public money via Incentive Laws) and TV (also a public affair) comes from the inside of Piau\u00ed.<\/p>\n

\tThe new profile that Interartes is designing for Piau\u00ed gets a good deal of contributions from Governor Wellington Dias (PT) in his support for FUMDHAM. Plus, one cannot forget the important things that the secretary S\u00f4nia Terra has been doing in the Cultural sector. The political maturity with which the governor conducted the controversy in relation to the exhibition of the Samba do Crioulo Doido<\/i> (Samba of the Crazy Black Man) is an example. Luiz de Abreu makes the Brazilian flag a continuation of his bare skin in his fight against prejudice. The security and serenity with which the respect for the artistic expression was preserved prove that Piau\u00ed today does not match the prejudice historically connected to poverty. <\/p>\n

\tDuring five days, Interartes 2004 condensed 14 performances, 10 workshops with the Pro-Arte Fundham children; four lectures in Museu do Homem Americano (American Man Museum) and an every-day parallel program in the town of S\u00e3o Pedro town music, arts and crafts and local gastronomy. All of that was sponsored by the Piau\u00ed government, Telemar, SIEC (The State Cultural Incentive System), the Ministry of Culture and Tourism, Caixa Econ\u00f4mica Federal Bank, Petrobras and the French Consulate. <\/p>\n

\tWhat makes Interartes special is exactly the kind of accurate curator job that Lima do Carmo does for the mixtures between the well educated and the popular, the national and the foreign, the local and the global. Her programming revealed Marcelo Evelyn’s most recent production – Sert\u00e3o<\/i>. It arises as mature and synthesizes years and years of coherent search. It also presented a delicate poetry of the theatre of images of the French from Les R\u00e9mouleurs, the hilarious typical cabaret performance led by the outstanding artist Paul Morocco. It consists of Beethoven\u2019s music being played under the Scorpio constellation by PI-Hsien-Cheng, a Chinese piano player who lives in Germany. She also plays Bach\u2019s – The Art of Escape – for Lina do Carmo to dance her resistance exercise in Fugitus<\/i>, the captivating group Caba\u00e7al<\/i> by the Aniceto brothers, the energy of Quasar dancing wothout its usual set (thus revealing qualities so far unnoticed in Coreografia para Ouvir<\/i>), the beautiful intimacy that Jo\u00e3o Negreiros shares with us in his solo Marcas<\/i> (Marks), a Brazil that dares search for other ways for its popular dance with \u00c2ngelo Madureira and Ana Catarina Vieira. <\/p>\n

After the Krah\u00f4, the Pr\u00f3-Arte Fumdham children danced O Pacto Renovado<\/i> (The Renovated Pact), demonstrating how much they have grown in only one year of work. There could not have been a more auspicious choice to make it clear that the making of each Interartes promotes exactly that: it renews the pact that makes it possible for Piau\u00ed to prove that art consolidates citizenship because it is, in itself, a social affair.<\/p>\n

Helena Katz is dance critic for O Estado de S\u00e3o Paulo<\/b>, teacher and reseracher at PUC-SP <\/i>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Helena Katz fala sobre o Interartes e sua singular proposta no Piau\u00ed<\/span>Helena Katz talks about Interates and its singular goals in Piau\u00ed<\/span><\/p>\n","protected":false},"author":44,"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":[788,816,112,1167,1431,1432,1433],"yoast_head":"\nSob a Pedra Furada | Under the Pedra Furada -<\/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\/sob-a-pedra-furada\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sob a Pedra Furada | Under the Pedra Furada -\" 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