{"id":3242,"date":"2006-07-11T18:36:24","date_gmt":"2006-07-11T21:36:24","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/07\/11\/artistas-em-conexao\/"},"modified":"2008-08-06T17:31:21","modified_gmt":"2008-08-06T20:31:21","slug":"artistas-em-conexao","status":"publish","type":"post","link":"https:\/\/idanca.net\/artistas-em-conexao\/","title":{"rendered":"Artistas em conex\u00e3o | Artists in connection"},"content":{"rendered":"

Um grupo de artistas reunidos, de 25 a 28 de maio, em Porto Alegre, produziu um intervalo diferenciado de tempo, construindo espa\u00e7os complexos, diretos, transversais, m\u00faltiplos. Apostando na possibilidade de um di\u00e1logo horizontal na hierarquia, e vertical na abordagem da produ\u00e7\u00e3o e cria\u00e7\u00e3o art\u00edstica, o Conex\u00e3o Sul 2006 pode ser visto como uma performance cuja experi\u00eancia continua gerando e solicitando repercuss\u00f5es.<\/p>\n

Conex\u00e3o Sul \u2013 encontro de artistas contempor\u00e2neos de dan\u00e7a – , \u00e9 um tipo especial de mostra que re\u00fane artistas em torno de parte da produ\u00e7\u00e3o de dan\u00e7a de Santa Catarina, Rio Grande do Sul e Paran\u00e1. Sua especificidade consiste em estar focado n\u00e3o na apresenta\u00e7\u00e3o e divulga\u00e7\u00e3o de produtos art\u00edsticos, mas na problematiza\u00e7\u00e3o dos processos e na troca entre artistas. \u00c9 um local de fric\u00e7\u00e3o e enuncia\u00e7\u00e3o das quest\u00f5es que envolvem a cria\u00e7\u00e3o em dan\u00e7a e, portanto, um local de produ\u00e7\u00e3o e dissemina\u00e7\u00e3o de conhecimentos art\u00edsticos.<\/p>\n

O que me parece digno de sublinhar \u00e9 que no momento de avalia\u00e7\u00e3o do encontro, todos os envolvidos concordavam que a teoria se fez pr\u00e1tica. Ou seja, ao contr\u00e1rio das rixas entre tend\u00eancias, egos, seguran\u00e7as e inseguran\u00e7as comumente verific\u00e1veis em encontros desse tipo, os di\u00e1logos foram constantes e frut\u00edferos. As farpas se fizeram sementes.<\/p>\n

Pergunto o que d\u00e1 estrutura a essa conquista e as respostas remetem ao mesmo tempo a uma hist\u00f3ria recente e a uma necessidade do presente. Vamos ent\u00e3o a esses dois pontos, esperando que eles sejam vistos n\u00e3o apenas como causa, mas tamb\u00e9m, numa l\u00f3gica menos convencional, como conseq\u00fc\u00eancia desse encontro de 2006.<\/p>\n

O primeiro Conex\u00e3o Sul aconteceu em 2002, em Porto Alegre, como um encontro proposto por artistas de \u201cdan\u00e7as contempor\u00e2neas\u201d, com o objetivo de promover o interc\u00e2mbio da classe de dan\u00e7a dos estados da Regi\u00e3o Sul. Os membros fundadores se auto-denominaram articuladores<\/em> \u2013 quebrando uma poss\u00edvel hierarquia entre os primeiros idealizadores (Cibele Sastre, Marco Fillipin, Tatiana da Rosa – RS) e os demais integrantes ( Helo\u00edsa Gravina RS, Sandra Meyer, Vera Torres e Jussara Xavier – SC; C\u00ednthia Cunifas, M\u00f4nica Infante, Rosemeri Rocha e Mar\u00edlla Veloso – PR) \u2013 e iniciando uma rede de interc\u00e2mbio que nascia da necessidade dos artistas \u201cde desenvolver uma atitude de iniciativa, articula\u00e7\u00e3o e auto-reflex\u00e3o a partir de sua condi\u00e7\u00e3o de artistas\u201d [1].<\/p>\n

Para que isso se tornasse realidade, \u201cA programa\u00e7\u00e3o foi formatada com a inten\u00e7\u00e3o de concentrar as atividades e promover o contato, buscando evitar as situa\u00e7\u00f5es de dispers\u00e3o, comuns em festivais. De breve dura\u00e7\u00e3o e com n\u00e3o mais do que uma oficina, um semin\u00e1rio, uma apresenta\u00e7\u00e3o e um debate por dia, o Conex\u00e3o Sul pode garantir-se como um multiplicador de decis\u00f5es e atitudes”. [3]<\/p>\n

V\u00ea-se desde o in\u00edcio da cria\u00e7\u00e3o o desejo de que o Conex\u00e3o Sul gerasse um tipo de resultado pautado num processo de troca e uma preocupa\u00e7\u00e3o \u2013 fazendo um paralelo com a produ\u00e7\u00e3o art\u00edstica \u2013 de que forma e conte\u00fado fossem percebidos como indissoci\u00e1veis.
\nAs narrativas sobre os encontros, que a cada ano aconteceram em um dos estados, falam de v\u00e1rias nuances:<\/p>\n

– Os percursos de amizades constru\u00eddas e intensificadas;<\/p>\n

– O percurso de parcerias art\u00edsticas consolidadas \u2013 como a colabora\u00e7\u00e3o entre M\u00f4nica Infante e C\u00ednthia Kunifas que mesmo morando em Curitiba s\u00f3 se conheceram na primeira edi\u00e7\u00e3o do Conex\u00e3o Sul e continuam trabalhando juntas at\u00e9 hoje;<\/p>\n

– As discuss\u00f5es sobre o nome e o tema de cada encontro, com e-mails trocados durante o ano evidenciando quest\u00f5es comuns e posi\u00e7\u00f5es a negociar. Vale explicitar que o nome que inicialmente era encontro de artistas de dan\u00e7as contempor\u00e2neas<\/em> da Regi\u00e3o Sul<\/strong>, est\u00e1 agora encontro de artistas contempor\u00e2neos de dan\u00e7a<\/em> da Regi\u00e3o Sul<\/strong>, como resultado dessas reflex\u00f5es sobre o que se faz e quem faz o encontro;<\/p>\n

– O processo de estrutura\u00e7\u00e3o da produ\u00e7\u00e3o; pois, se a princ\u00edpio os anfitri\u00f5es hospedavam em suas casas e faziam o transporte usando seus pr\u00f3prios autom\u00f3veis, a cada ano pequenas conquistas tornavam poss\u00edvel melhor acomoda\u00e7\u00e3o, mais agilidade, melhores condi\u00e7\u00f5es para as apresenta\u00e7\u00f5es, o convite a debatedores de outros estados, mas tamb\u00e9m propondo novos desafios. Na avalia\u00e7\u00e3o do encontro de Curitiba constatou-se que o crescimento do encontro, com a quantidade de apresenta\u00e7\u00f5es e sobrecarga na programa\u00e7\u00e3o, diminuiu as reflex\u00f5es compartilhadas e os espa\u00e7os de discuss\u00e3o, t\u00e3o caros ao conceito do evento.<\/p>\n

Na edi\u00e7\u00e3o de 2006, de volta a Porto Alegre, o Conex\u00e3o Sul pareceu ganhar maturidade alcan\u00e7ando a maior parte dos seus objetivos. Com todas as atividades concentradas num s\u00f3 lugar, performances, discuss\u00f5es, apresenta\u00e7\u00f5es e relatos eram um grande fluxo entre aprecia\u00e7\u00e3o e discuss\u00e3o est\u00e9tica e pol\u00edtica. Ao inv\u00e9s de palestras, os convidados deste ano (Marcos Moraes (RJ), Ciane Fernandes (BA), Natacha Melo (UY), Val\u00e9ria Vicente (PE), Sofia Cavalcante (SP), Isabel Marques (SP) e Paulo Caldas (RJ) ) foram convidados a um bate-papo conduzido mais pelo acordo coletivo que por normas previamente estabelecidas.<\/p>\n

Assim, a cada tarde, diante dos desejos manifestos dos convidados e da din\u00e2mica proveniente de cada discuss\u00e3o levantada e do di\u00e1logo com as performances que aconteciam, uma forma de trabalho se instaurou.
\nA discuss\u00e3o-tema do ano versava sobre a rela\u00e7\u00e3o entre o processo de trabalho e aula e o produto c\u00eanico. De forma inteligente, toda a programa\u00e7\u00e3o se estruturou para evidenciar esse caminho.<\/p>\n

Assim, a cada dia, uma oficina era ministrada como oficina-debate em que uma mediadora, ao fim dos exerc\u00edcios, abria a discuss\u00e3o com os participantes e com a plat\u00e9ia sobre as discuss\u00f5es propostas no corpo e a coreografia apresentada na noite anterior. N\u00e3o \u00e0 toa e n\u00e3o de forma superficial, quest\u00f5es como dramaturgia em dan\u00e7a, o que seria excesso de movimento, mem\u00f3ria do corpo, a influ\u00eancia da hist\u00f3ria da dan\u00e7a local, o que se pesquisa no corpo, que discurso se constr\u00f3i quando se articula a movimenta\u00e7\u00e3o constru\u00edda no est\u00fadio e os demais elementos c\u00eanicos, por exemplo, ganhavam formas e contornos nas diversas vozes presentes. A sensa\u00e7\u00e3o de euforia e prazer geradas pela enuncia\u00e7\u00e3o de quest\u00f5es como estas eram vis\u00edveis e estendiam a programa\u00e7\u00e3o aos quartos do hotel, refei\u00e7\u00f5es e mesas de bar.
\nFica registrada a compreens\u00e3o do saber que os artistas de dan\u00e7a produzem, saberes que s\u00e3o escassos na bibliografia da \u00e1rea no Brasil e cuja socializa\u00e7\u00e3o permitiria n\u00e3o s\u00f3 a dissemina\u00e7\u00e3o, mas o aprofundamento. O que numa perspectiva de pol\u00edtica p\u00fablica \u00e9 t\u00e3o fundamental quanto urgente.<\/p>\n

A motiva\u00e7\u00e3o inicial do Conex\u00e3o Sul se reafirma, talvez apontando que a necessidade de articula\u00e7\u00e3o e auto-reflex\u00e3o entre artistas n\u00e3o se esgota em um salto de qualidade nas rela\u00e7\u00f5es e processos de aperfei\u00e7oamento da produ\u00e7\u00e3o de dan\u00e7a, mas que saltos e passos sempre geram novos desafios e necessidade de movimento.<\/p>\n

Notas:<\/strong><\/p>\n

[1] Projeto do conex\u00e3o sul 2002.<\/p>\n

[2] Projeto do conex\u00e3o sul 2002.<\/p>\n

<\/span>A group of artists congregated, from 25th until 28th May, in Porto Alegre, produced a differentiated interval of time, constructing complex, straight, transversal, multiple spaces. Trusting the possibility of a horizontal dialogue in the hierarchy and a vertical dialogue in the boarding of the production and artistic creation, Conex\u00e3o Sul 2006 (South Connection 2006) can be seen as a performance whose experience continues generating and requesting repercussions.<\/p>\n

Conex\u00e3o Sul – meeting of contemporary dance artists – is a special type of exhibition that reunites artists around part of the production of dance of Santa Catarina, Rio Grande do Sul and Paran\u00e1. Its specificity consists of being focused not in the presentation and promotion of artistic products, but in the problematiza\u00e7\u00e3o of the processes and the exchange between artists. It is a place of friction and articulation of the questions that involve creation in dance and, therefore, a place of production and dissemination of artistic knowledge.<\/p>\n

What seems worthy to underline is that – to the moment of the meeting evaluation -, everyone involved agreed that the theory became practical. Or either, in contrast with disputes between trends, egos, securities and insecurities normally verifiable in meetings like that, the dialogues had been constant and fruitful. Barbs became seeds.<\/p>\n

I ask myself what structures this conquest and the answers remind us at the same time to a recent history and to a necessity of present. So let\u2019s see those two points, hoping they are seen not only as cause, but also, in a less conventional logic, as consequence of this meeting of 2006.<\/p>\n

The first Conex\u00e3o Sul happened in 2002, in Porto Alegre, as a meeting proposed by artists of \u201ccontemporary dances\u201d, with the objective to promote the interchange of the class of dance of South Region\u2019 states. The founder members called themselves articulators<\/em> – breaking a possible hierarchy between the first idealizators (Cibele Sastre, Marco Fillipin, Tatiana da Rosa – RS) and the others integrants (Helo\u00edsa Gravina RS, Sandra Meyer, Vera Torres and Jussara Xavier – SC; C\u00ednthia Cunifas, M\u00f4nica Infant, Rosemeri Rocha and Marila Velloso – PR) – and initiating a network that was born from the artists necessity “to develop an attitude of initiative, joint and self-reflection from its condition of artists” [1].<\/p>\n

To become reality, “the programming was formatted with the intention to concentrate the activities and to promote the contact, and to avoid the situations of dispersion, common in festivals. With short duration and with not more than a workshop, a seminary, a presentation and a discuss per day, Conex\u00e3o Sul can guarantee yourself as a multiplier of decisions and attitudes “. [2]<\/p>\n

We can see since the beginning of the creation the desire of Conex\u00e3o Sul to generate a type of result staved in an exchange process, and a concern – making a parallel with the artistic production – of that forms and content was perceived as unsociable.<\/p>\n

The narratives on the meeting, that each year had happened in one of the states, talk about several nuances:<\/p>\n

– The passages of constructed and intensified friendships;
\n– The passage of consolidated artistic partnerships – as the contribution between M\u00f4nica Infante and C\u00ednthia Kunifas (both live in Curitiba, but just met each other at the first edition of the event and continue working together until now;
\n– The quarrels on the name and the subject of each meeting, with e-mails changed during the year evidencing common questions and position to negotiate. It\u2019s worthy to explicit the name that initially was meeting of artists of contemporary dances<\/em> of South Region<\/strong>, is now meeting of contemporary dance artists<\/em> of South Region<\/strong>, as resulted of these reflections on what becomes and who makes the meeting;
\n– The process of the structuration of production; therefore, if at first the hosts housed in their houses and made the transport using theirs own cars, each year small conquests became possible best accommodation, more agility, better conditions for presentations, the invitation of speakers from other states, but also proposing new challenges. In the evaluation of the meeting of Curitiba, the growth of the meeting was evident, with the amount of presentations and overload in the programming diminished the shared reflections and the spaces of discussion, so important to the concept of the event;<\/p>\n

In the 2006 edition, back to Porto Alegre, Conex\u00e3o Sul seemed to gain maturity in reaching most of its objectives. With all the activities concentrated in one only place, performances, discussions, presentations and stories were a great flow between aesthetic and political appreciation and discussion. Instead of lectures, the guests of this year (Marcos Moraes (RJ), Ciane Fernandes (BA), Natacha Melo (UY), Val\u00e9ria Vicente (PE), Sofia Cavalcante (SP), Isabel Marques (SP) and Paulo Caldas (RJ)) had been invited to a chat lead more by collective agreement than by previously established norms. Thus, to each afternoon, ahead of the manifest desires of the guests and the dynamic from each raised discussion and of the dialogue with the performances that happened, a work form restored itself.<\/p>\n

The discussion-subject of the year focused on the relation between the process of work and teaching and the scenic product. Intelligently, all the programming structuralized itself to evidenciate this way. Thus, each day, a workshop was given as a workshop-debate where a mediator, at the end of exercises, opened the dicussion with participants and the audience about proposals in the body and the choreography presented in the previous night. Not in vain and not with superficial form, questions like dramaturgy in dance<\/em>, what it would be movement excess<\/em>, memory of the body,<\/em> the influence of the local dance history<\/em>, what to research in the body<\/em>, what speech constructs itself when it articulates the movement constructed in the studio <\/em>and too much scenic elements<\/em>, for example, gained forms and contours in the diverse voices over there. The sensation of euphoria and pleasure generated by articulation of questions like those were visible and extended the programming to hotel rooms, meals and bar tables. The understanding of knowledge that is produced by dance artists keeps noted, knowing that bibliography in the area in Brazil is scarce and that socialization of this knowlegde would allow not only the dissemination, but also the deepening. It is so basic as urgent in a perspective of public politicies.<\/p>\n

The initial motivation of Conex\u00e3o Sul reaffirms itself, perhaps pointing that the necessity of articulation and self-reflection between artists is not depleted in a jump of quality in the relations and processes of improvement of the dance production, but jumps and steps always generate new challenges and the necessity of movement.<\/p>\n

Notes:<\/strong><\/p>\n

[1] Project of Conex\u00e3o Sul 2002.<\/p>\n

[2] Project of Conex\u00e3o Sul 2002.<\/p>\n

<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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