{"id":3297,"date":"2006-08-11T13:15:10","date_gmt":"2006-08-11T16:15:10","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/08\/11\/uma-demanda-de-mercado\/"},"modified":"2008-08-06T17:26:54","modified_gmt":"2008-08-06T20:26:54","slug":"uma-demanda-de-mercado","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-demanda-de-mercado\/","title":{"rendered":"Uma demanda de mercado | A demand of market"},"content":{"rendered":"

Adapta\u00e7\u00e3o do texto original publicado no Jornal Dan\u00e7a Arte & A\u00e7\u00e3o, edi\u00e7\u00e3o 71, Mar\u00e7o\/Abril, ano 2006.<\/em><\/p>\n

H\u00e1 tempos venho procurando trazer um mapeamento da produ\u00e7\u00e3o nacional e internacional de videodan\u00e7a atrav\u00e9s de eventos que se dedicam \u00e0 exibi\u00e7\u00e3o e \u00e0 produ\u00e7\u00e3o desse tipo de obra. Numa perspectiva brasileira, poucos s\u00e3o (ou foram) os festivais envolvidos com o tema. Entre eles, destaca-se o recentemente extinto Dan\u00e7a Brasil (CCBB \u2013 Rio de Janeiro e Bras\u00edlia), onde eu fazia a dire\u00e7\u00e3o art\u00edstica, e o Festival Internacional da Novadan\u00e7a<\/a> (Bras\u00edlia). Ambos iniciaram suas mostras paralelas de v\u00eddeos de dan\u00e7a em 1997, al\u00e9m de realizar outras atividades, como palestras e debates sobre o assunto. Este ano o Festival Novadan\u00e7a promover\u00e1 tamb\u00e9m oficinas e a produ\u00e7\u00e3o de tr\u00eas curtas-metragens. Outro destaque vai para o Rumos Dan\u00e7a<\/a> (Ita\u00fa Cultural\/S\u00e3o Paulo), uma iniciativa que em 2004 comissionou, pela primeira vez no Brasil, duas produ\u00e7\u00f5es de videodan\u00e7a: P\u00e9 de Moleque<\/em><\/strong>, de Kiko Ribeiro e Dafne Michellepis; e Dentro do Movimento<\/em><\/strong>, de Chico de Paula e Patr\u00edcia Werneck. Recentemente, atrav\u00e9s do Rumos Dan\u00e7a 2006, lan\u00e7ou outra convocat\u00f3ria para a produ\u00e7\u00e3o de mais cinco obras do g\u00eanero.<\/p>\n

O Dan\u00e7a em Foco<\/a>, festival que dirijo com Paulo Caldas e Eduardo Bonito no Rio de Janeiro, \u00e9 o primeiro festival brasileiro inteiramente dedicado \u00e0 interface videodan\u00e7a. Uma iniciativa \u00fanica no pa\u00eds tamb\u00e9m na cria\u00e7\u00e3o de parcerias com outros festivais da Am\u00e9rica Latina. Desde 2004, o evento \u00e9 associado ao Festival Internacional de Videodanza del Uruguay<\/a> e ao Festival Internacional de Video-Danza de Buenos Aires<\/a>, formando o Circuito Videodan\u00e7a Mercosul<\/a>, uma esp\u00e9cie de compila\u00e7\u00e3o de importantes obras dos tr\u00eas pa\u00edses. Na sua \u00faltima edi\u00e7\u00e3o, o Dan\u00e7a em Foco encerrou a temporada de lan\u00e7amentos desse circuito que come\u00e7ou pelo Uruguai e Argentina. Na edi\u00e7\u00e3o 2006, que come\u00e7a dia 30 de agosto, ampliar\u00e1 as suas atividades para al\u00e9m do Espa\u00e7o SESC, em Copacabana, com programa\u00e7\u00e3o no Centro Cultural Telemar, MAM (Rio) e SESC\/SP. Em dezembro, haver\u00e1 uma edi\u00e7\u00e3o internacional do festival em Berlim, que conta com o apoio da Copa da Cultura.<\/p>\n

De fato, a videodan\u00e7a \u00e9 uma forma art\u00edstica em pleno desenvolvimento em v\u00e1rios pa\u00edses do mundo; unindo tecnologia, dan\u00e7a, v\u00eddeo e cinema em obras de grande visibilidade atrav\u00e9s de festivais, distribui\u00e7\u00e3o direta e apresenta\u00e7\u00f5es na televis\u00e3o. A videodan\u00e7a \u00e9 definitivamente o ve\u00edculo de maior alcance para a coreografia contempor\u00e2nea. Seu espa\u00e7o no cen\u00e1rio art\u00edstico nacional, ainda restrito, cresce visivelmente. Apesar disso, as tentativas de conceitua\u00e7\u00e3o desse tipo de obra continuam limitadas, j\u00e1 que n\u00e3o conseguem abranger as in\u00fameras possibilidades de cria\u00e7\u00e3o.<\/p>\n

Pode-se pensar na videodan\u00e7a como o di\u00e1logo entre a dan\u00e7a e o v\u00eddeo cujo resultado gera um tipo de obra onde essas linguagens se tornam indissoci\u00e1veis. Uma arte que existe apenas no v\u00eddeo e para o v\u00eddeo. Enfim, trata-se da materializa\u00e7\u00e3o de um pensamento que integra as id\u00e9ias do core\u00f3grafo e do videomaker<\/em> numa forma h\u00edbrida que n\u00e3o deixa distin\u00e7\u00f5es entre o v\u00eddeo e a coreografia. Mas essa \u00e9 apenas uma das in\u00fameras leituras poss\u00edveis, pois encontramos vari\u00e1veis a cada nova cria\u00e7\u00e3o.<\/p>\n

Do ponto de vista hist\u00f3rico, a bailarina e cineasta ucraniana Maya Deren foi quem introduziu um modo diferente de pensar e agir na converg\u00eancia entre o audiovisual (no caso, o cinema) e a dan\u00e7a. Em seu artigo Choreography for the Camera<\/em>, publicado na Dance Magazine<\/em>, em outubro de 1945, ela afirmou que o bailarino e o cineasta deveriam saber um pouco do of\u00edcio do outro para que o filme se tornasse uma obra h\u00edbrida. Ela n\u00e3o acreditava numa cria\u00e7\u00e3o onde o bailarino estivesse preocupado somente com a pr\u00f3pria composi\u00e7\u00e3o coreogr\u00e1fica e o cineasta com os efeitos pict\u00f3ricos da fotografia. Os filmes mais conhecidos da core\u00f3grafa foram: Meshes of the Afternoon<\/em> (1943); A Study in Coreography for Camera<\/em> (1945), Ritual in Transfigures Time<\/em> (1945\/6); e The Very Eye of Night<\/em> (1952\/59). Em 2002, atrav\u00e9s de uma parceria entre a \u00c1ustria e a Rep\u00fablica Checa, foi criado In the Mirror of Maya Deren<\/em>, de Martina Kudlacek, um belo document\u00e1rio sobre a vida da artista.<\/p>\n

Ainda nos Estados Unidos, outras importantes contribui\u00e7\u00f5es vieram do core\u00f3grafo americano Merce Cunningham, que desde a d\u00e9cada de 1970 j\u00e1 trabalhava em parceria com o videomaker<\/em> Charles Atlas e mais tarde com Elliot Kaplan. Na B\u00e9lgica, na d\u00e9cada de 1980, a famosa core\u00f3grafa Anne Teresa De Keersmaeker, diretora do grupo Rosas<\/em>, criou uma obra com o famoso cineasta Peter Greenaway e outras com o m\u00fasico e cineasta Thierry De Mey. Na Inglaterra, Lloyd Newson, diretor do grupo DV8<\/em>, trabalhou com os diretores David Hinton e Clara Van Gool. H\u00e1 outros artistas que n\u00e3o podem deixar de ser citados como importantes criadores de v\u00eddeos de dan\u00e7a, entre eles: Phillippe Decoufl\u00e9, Angelin Preljocaj, Suzanne Linke, Meg Stuart, Mats Ek e Sylvie Guillem.<\/p>\n

No Brasil a bailarina, core\u00f3grafa e videomaker Anal\u00edvia Cordeiro<\/a> \u00e9 considerada a pioneira tanto na videodan\u00e7a, como na videoarte. Entre suas cria\u00e7\u00f5es destacam-se M3x3<\/em> (1973), Slow-Billie Scan<\/em> (1977), Trajet\u00f3rias<\/em> (1984), 0\u00b0=45<\/em> (1974\/1989), Ar<\/em> (1985), Striptease<\/em> (1997), e, mais recentemente, Carne I e II<\/em> (2005). Outros nomes importantes de core\u00f3grafos e videomakers que seguem pesquisando e produzindo videodan\u00e7a no Brasil s\u00e3o: Ivani Santana, Nelson Enohata, Cec\u00edlia Lang, Henrique Rodovalho, Kleber Damaso, Lilyen Vass, Alex Cassal, Mara Castilho, Andr\u00e9a Maciel, Paulo Mendel, Ang\u00e9lica Carvalho, Eduardo S\u00e1nchez, Andr\u00e9a Bardawil, Alexandre Veras Costas, Karen Virg\u00ednia, Luiz Carlos Bizerril, Sheila Ribeiro, Rodrigo Raposo, Let\u00edcia Nabuco, Tatiana Gentile, Thelma Bonavita, Luciana Brites, Jo\u00e3o Andreazzi, Ma\u00edra Spanghero, Gilsamara Moura, Lara Pinheiro, entre outros. Uma lista bastante expressiva considerando que a maioria desses criadores produz suas obras com recursos pr\u00f3prios. Com efeito, essa demanda poderia ser atendida, por exemplo, por festivais brasileiros, seja abrindo janelas de exibi\u00e7\u00e3o em sua programa\u00e7\u00e3o, seja lan\u00e7ando editais que forne\u00e7am recursos financeiros para esse tipo de produ\u00e7\u00e3o. Acredito que essas iniciativas, acompanhadas do apoio de canais de televis\u00e3o e de outras institui\u00e7\u00f5es patrocinadoras, possam estabelecer, em m\u00e9dio prazo, um mercado brasileiro de videodan\u00e7a.<\/p>\n

<\/span>Adaptation of a text originally written to Jornal Dan\u00e7a Arte & A\u00e7\u00e3o, n\u00ba 71, March \/ April 2006<\/em><\/p>\n

I have been mapping the national and international production of videodance through events that dedicate themselves to exhibition and production of this type of work. In a Brazilian perspective, the festivals involved with the subject are (or had been) few. Among them, we emphasize the recently extinct Dan\u00e7a Brasil (CCBB – Rio De Janeiro e Brasilia), in which I worked as a artistic director, and the Festival Internacional da Novadan\u00e7a<\/a> (Brasilia). Both had initiated their parallel dance videos showcase in 1997, alongside other activities, as lectures and debates on the subject. This year the Festival Novadan\u00e7a will also promote workshops and the production of three short films. Another initiative to highlight is Rumos Dan\u00e7a<\/a> (Ita\u00fa Cultural \/S\u00e3o Paulo), an initiative that commissioned in 2004, for the first time in Brazil, two productions of videodance: P\u00e9 de Moleque<\/em><\/strong>, by Kiko Ribeiro and Dafne Michellepis; and Dentro do Movimento<\/em><\/strong>, by Chico de Paula and Patr\u00edcia Werneck. Recently, Ita\u00fa Cultural, in the Rumos Dan\u00e7a 2006 project, launched another call for the production of five works of the genre.<\/p>\n

Dan\u00e7a em Foco<\/a>, that I direct with Paulos Caldas and Eduardo Bonito, in Rio de Janeiro, is the first Brazilian festival entirely dedicated to the interface between video and dance. An unique initiative in the country also in the partnership with other festivals of Latin America. Since 2004, the event is associated with Festival Internacional de Videodanza del Uruguay<\/a> and Festival Internacional de Video-Danza de Buenos Aires<\/a>, forming the Circuito Videodan\u00e7a Mercosul<\/a>, a kind of compilation of important works from these three countries. In its last edition, Dan\u00e7a em Foco was the final step of the launchings season of this circuit that started in Uruguay and Argentina. In 2006, it will extend its activities beyond Espa\u00e7o SESC, in Copacabana, to Centro Cultural Telemar, MAM (Rio) and SESC\/SP. In December, it will have an international edition of the festival, in Berlin, with the support of Copa da Cultura.<\/p>\n

In fact, videodance is an artistic form in full development in some countries worldwide; joining technology, dance, video and cinema in works of great visibility through festivals, direct distribution and presentations on television. Videodance is definitively the broader reaching vehicle for the contemporary choreography. Its space in the national artistic scene, still restricted, grows visibly. Despite this, the attempts of conceptualization of this type of workmanship continue limited, since they do not include the innumerable possibilities of creation.<\/p>\n

We can think about videodance as the dialogue between dance and video whose results generate a type of work where these languages become indissociable. An art that exists only in video and for the video. At last, it is about materialization of a thought that integrates the ideas of the choreographer and videomaker in a hybrid form that does not make distinctions between video and choreography. But this is only one of the possible readings; therefore we find variables in each new creation.<\/p>\n

From the historical point of view, the dancer and moviemaker from Ukraine Maya Deren introduced a different way to think and to act in the convergence between audiovisual (in this case, the cinema) and dance. In her article Choreography for the Camera<\/em>, published in Dance Magazine<\/em>, in October 1945, she affirmed that the dancer and the moviemaker should know a little bit of the other\u2019s craft to the film became itself a hybrid work. She did not believe in a creation where the dancer was only worried about his choreographic composition and the moviemaker worried with the pictorial effects of the photograph. The most known films by Maya Deren were: Meshes of the Afternoon<\/em> (1943); A Study in Coreography for Camera<\/em> (1945), Ritual in Transfigures Time<\/em> (1945\/6); and The Very Eye of Night<\/em> (1952\/59). In 2002, through a partnership between Austria and the Czech Republic, In the Mirror of Maya Deren<\/em>, a beautiful documentary on the life of the artist was created by Martina Kudlacek.<\/p>\n

In United States, other important contributions came from the American choreographer Merce Cunningham, who since the 70\u2019s already worked with videomaker Charles Atlas and later with Elliot Kaplan. In Belgium, in 80\u2019s, the famous choreographer Anne Teresa De Keersmaeker, director of Rosas<\/em>, created a film with the famous filmmaker Peter Greenaway and others with the musician and filmmaker Thierry De Mey. In United Kingdom, Lloyd Newson, director of british group DV8<\/em>, worked with the directors David Hinton and Clara Van Gool. There are other artists who cannot be left aside as important creators of dance videos, including: Phillippe Decoufl\u00e9, Angelin Preljocaj, Suzanne Linke, Meg Stuart, Mats Ek and Sylvie Guillem.<\/p>\n

In Brazil, the dancer, choreographer and videomaker Anal\u00edvia Cordeiro<\/a> is considered the pioneer in videodance, as in video art. Among her creations the highlights are M3x3<\/em> (1973), Slow-Billie Scan<\/em> (1977), Trajet\u00f3rias<\/em> (1984), 0\u00b0=45<\/em> (1974\/1989), Ar<\/em> (1985), Striptease<\/em> (1997), and, more recently, Carne I and II<\/em> (2005). Other important names of choreographers and videomakers that kept searching and producing videodance in Brazil are: Ivani Santana, Nelson Enohata, Cec\u00edlia Lang, Henrique Rodovalho, Kleber Damaso, Lilyen Vass, Alex Cassal, Mara Castilho, Andr\u00e9a Maciel, Paulo Mendel, Ang\u00e9lica Carvalho, Eduardo S\u00e1nchez, Andr\u00e9a Bardawil, Alexandre Veras Costas, Karen Virg\u00ednia, Luiz Carlos Bizerril, Sheila Ribeiro, Rodrigo Raposo, Let\u00edcia Nabuco, Tatiana Gentile, Thelma Bonavita, Luciana Brites, Jo\u00e3o Andreazzi, Ma\u00edra Spanghero, Gilsamara Moura, Lara Pinheiro, among others. A sufficiently expressive list considering that the majority of these creators produce their works with their own resources. In fact, this demand could be taken care of, for example, by Brazilian festivals, either opening windows of exhibition in its programming, either launching calls that supply financial resources to this type of production. I believe that these initiatives, followed by the support of other institution and television channels sponsors, can establish, in medium term, a Brazilian market for videodance.<\/p>\n

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

Leonel Brum analisa o crescimento da produ\u00e7\u00e3o de videodan\u00e7a no Brasil e oferece um panorama dos seus criadores atuais<\/span>Leonel Brum analizes the market for dance films and offers a panoramic view of the artists producing them nowadays
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