{"id":3298,"date":"2006-08-11T13:16:47","date_gmt":"2006-08-11T16:16:47","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/08\/11\/uma-investigacao-sobre-o-frevo\/"},"modified":"2008-10-09T13:37:55","modified_gmt":"2008-10-09T16:37:55","slug":"uma-investigacao-sobre-o-frevo","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/","title":{"rendered":"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo"},"content":{"rendered":"

Algumas quest\u00f5es, quando evitadas, parecem ressurgir cada vez com mais urg\u00eancia, como que insistindo para que, sen\u00e3o respostas, pelo menos novas perguntas sejam produzidas.<\/span><\/p>\n

A quest\u00e3o do uso das dan\u00e7as populares ou dan\u00e7as sociais na cena de dan\u00e7a contempor\u00e2nea \u00e9 um desses assuntos que me perseguem. Talvez porque no Recife, onde me criei, uma grande variedade dessas dan\u00e7as se reveza durante o ano no cotidiano dos eventos p\u00fablicos; talvez porque venho percebendo que as informa\u00e7\u00f5es dessas dan\u00e7as comp\u00f5em minha corporalidade de tal forma que ignor\u00e1-las n\u00e3o as retira da cena; talvez porque o sentido de pr\u00e1tica ritual\u00edstica, coletiva, sinalizadora de quest\u00f5es da cultura, me interpele e me mova como artista-cidad\u00e3-pessoa. O fato \u00e9 que, seja questionando teoricamente, seja tendo que lidar com vest\u00edgios de movimentos e inten\u00e7\u00f5es na minha pr\u00e1tica art\u00edstica, os elementos desses dan\u00e7ares me interpelam e exigem aten\u00e7\u00e3o.<\/span><\/p>\n

Digo isso para sinalizar que esse artigo n\u00e3o parte de uma artista que, ao ver as dan\u00e7as de tradi\u00e7\u00e3o popular e se encantar com elas decide coloc\u00e1-las em cena, mas de algu\u00e9m que por diversas formas teve contato com essas dan\u00e7as durante sua forma\u00e7\u00e3o e, ao escolher a arte da dan\u00e7a como profiss\u00e3o, se v\u00ea obrigada a refletir sobre essa presen\u00e7a. Minha inten\u00e7\u00e3o \u00e9 sinalizar o trajeto que permite o olhar que proponho e o lugar de onde falo.<\/span><\/p>\n

Outra quest\u00e3o relevante \u00e9 que essa escrita decorre de uma investiga\u00e7\u00e3o pr\u00e1tica de estudo sobre o frevo, num ambiente de pesquisa de movimento e cria\u00e7\u00e3o art\u00edstica com um grupo de atores e dan\u00e7arinos do Recife. Portanto, \u00e9 prioritariamente na dan\u00e7a que essas formula\u00e7\u00f5es encontram gatilho para se estruturar enquanto discurso.<\/span><\/p>\n

Nossa investiga\u00e7\u00e3o art\u00edstica come\u00e7ou em novembro de 2005, a partir da seguinte pergunta: Ser\u00e1 que o frevo pode ser utilizado como uma linguagem corporal capaz de provocar din\u00e2micas e sentidos espec\u00edficos e assim estar a servi\u00e7o da constru\u00e7\u00e3o de espet\u00e1culos de dan\u00e7a contempor\u00e2nea?<\/span><\/p>\n

\u00c9 de comum acordo entre pesquisadores e bailarinos que o frevo tem um largo repert\u00f3rio de movimentos, inten\u00e7\u00f5es e din\u00e2micas e que \u00e9 uma dan\u00e7a extremamente aberta \u00e0 criatividade do passista. No entanto, a tradi\u00e7\u00e3o de utiliza\u00e7\u00e3o do frevo no Recife parece ter como caracter\u00edstica a transposi\u00e7\u00e3o dos movimentos para o palco de forma sincr\u00f4nica entre os dan\u00e7arinos, utilizando prioritariamente uma rela\u00e7\u00e3o frontal com o p\u00fablico e raramente propondo novas utiliza\u00e7\u00f5es. Uma tend\u00eancia que virou escola no Recife, atrav\u00e9s do Bal\u00e9 Popular do Recife (cuja pesquisa e estrutura\u00e7\u00e3o c\u00eanica foi feita nas d\u00e9cadas de 1970 e 1980) e cujo resultado art\u00edstico mais reconhecido e contaminador remete a uma fun\u00e7\u00e3o para-folcl\u00f3rica e pedag\u00f3gica de apresentar as express\u00f5es culturais locais.<\/span><\/p>\n

Nossa id\u00e9ia \u00e9 abordar esse fen\u00f4meno s\u00f3cio-cultural Frevo, tateando-o por v\u00e1rios eixos \u2013 din\u00e2micas, sensa\u00e7\u00f5es, elementos hist\u00f3ricos, l\u00f3gica de utiliza\u00e7\u00e3o do peso e articula\u00e7\u00f5es, usando dele os elementos que interessarem para um discurso conduzido pelo pr\u00f3prio processo. Ao fazer isso nos deparamos com informa\u00e7\u00f5es, reflex\u00f5es, sensa\u00e7\u00f5es que, no estado atual, compartilho parcialmente com o leitor neste artigo.<\/span><\/p>\n

A forma que estamos abordando o frevo o compreende como sendo um dan\u00e7ar constitu\u00eddo de um ac\u00famulo de conhecimentos corporais sobre equil\u00edbrio, impulso, agilidade, explos\u00e3o e deslizamentos. Nossa pesquisa ainda em andamento mostrou que \u00e9 poss\u00edvel perceber o frevo como uma linguagem corporal que se especializou atrav\u00e9s do ac\u00famulo de t\u00e9cnicas e abordagens gerando um legado de grande representatividade s\u00f3cio-cultural e diversas qualidades art\u00edsticas singulares. A dica do bailarino Jaflis Nascimento, \u201cO frevo \u00e9 a pl\u00e1stica de Pernambucano\u201d foi se mostrando cada vez mais pertinente.<\/span><\/p>\n

Entendemos que o frevo precise ser investigado n\u00e3o com o olhar folcl\u00f3rico, que justifica sua exist\u00eancia pela necessidade de resgate ou como reconstrutor de uma identidade de na\u00e7\u00e3o, e sim reconhecendo suas caracter\u00edsticas singulares como um legado art\u00edstico, como uma t\u00e9cnica que desenvolveu de forma espetacular diferenciadas rela\u00e7\u00f5es com o espa\u00e7o, tempo, gravidade e que permite a expans\u00e3o das possibilidades do corpo.<\/span><\/p>\n

Mergulhando nos est\u00edmulos corporais gerados pela m\u00fasica do frevo \u2013 pois \u00e9 uma dan\u00e7a cuja inventividade de movimentos esteve sempre ligada \u00e0 rela\u00e7\u00e3o corpo-m\u00fasica – pudemos perceber pontos recorrentes de ativa\u00e7\u00e3o muscular e sensa\u00e7\u00f5es de agita\u00e7\u00e3o e euforia que sugeriam movimentos de flex\u00e3o dos joelhos, movimentos do osso externo e impulsos de explos\u00e3o. Isso nos fez, ao longo dos trabalhos, substituir a preocupa\u00e7\u00e3o com os passos existentes e sua forma, por uma busca de din\u00e2mica, musicalidade, prazer, deslocamento e suspens\u00e3o.<\/span><\/p>\n

A discuss\u00e3o que esse caminho provoca nos levou ao nome dessa dan\u00e7a: os especialistas chamam a dan\u00e7a ao som da musica Frevo, de Passo e, por isso, o dan\u00e7arino do frevo \u00e9 identificado como passista. Como \u201cpasso\u201d na dan\u00e7a \u00e9 sin\u00f4nimo de movimento sistematizado, essa denomina\u00e7\u00e3o, ao mesmo tempo em que confunde, reduz a compreens\u00e3o da dan\u00e7a. O que nos fez estranhar ainda mais essa separa\u00e7\u00e3o foi descobrir que, nos registros do in\u00edcio do s\u00e9culo, o nome \u201cFrevo\u201d estava muito mais ligado a fen\u00f4menos corporais do que \u00e0 m\u00fasica. Nos jornais do in\u00edcio do s\u00e9culo, a palavra Frevo era sin\u00f4nimo de anima\u00e7\u00e3o das multid\u00f5es, confus\u00e3o, sugest\u00e3o de algo belicoso, ou nas palavras de Valdemar de Oliveira \u201cum esperneio no meio da rua\u201d. A raz\u00e3o pela qual foi necess\u00e1rio separar em dois nomes a m\u00fasica e a dan\u00e7a e o que sugere a uma dan\u00e7a ter o nome de \u201cpasso\u201d \u00e9 uma quest\u00e3o a ser refletida.<\/span><\/p>\n

Tamb\u00e9m a organiza\u00e7\u00e3o pedag\u00f3gica do ensino do Frevo foi estruturada atrav\u00e9s da cataloga\u00e7\u00e3o de passos, batizados e definidos em sua forma. Assim, aprende-se Frevo atrav\u00e9s de seus passos b\u00e1sicos: ponta-de-p\u00e9-calcanhar, tesoura, saci perer\u00ea, trocadilho…
\n<\/em>Pensando que a forma de transmiss\u00e3o indica percep\u00e7\u00f5es sobre a dan\u00e7a e formas de abordagens c\u00eanicas, talvez seja interessante notar que a divis\u00e3o do Frevo em passos foi uma op\u00e7\u00e3o e, apesar de ancorada em v\u00e1rios aspectos, fatos e situa\u00e7\u00f5es do surgimento e desenvolvimento do Frevo, essa abordagem n\u00e3o precisa ser vista como a \u00fanica ou a que define melhor o que ele \u00e9. A divis\u00e3o do frevo em passos \u00e9 apenas uma das formas de compreend\u00ea-lo; e n\u00e3o podemos deixar de notar que a forma de abordar o movimento est\u00e1 ligada a pensamentos norteadores. Talvez responda a uma vis\u00e3o cartesiana de mundo, em que cada elemento pode ser dividido em partes e tratado separadamente, teoricamente, sem perdas na sua compreens\u00e3o como um todo. Tamb\u00e9m n\u00e3o custa lembrar que para Descartes a melhor met\u00e1fora para o corpo \u00e9 a m\u00e1quina, e que sua forma de hierarquizar os tipos de conhecimento relega a dan\u00e7a a um papel inferior no \u00e2mbito das artes e as artes a um \u00e2mbito inferior entre os n\u00edveis de conhecimento.<\/span><\/p>\n

Cabe registrar que algumas dessas reflex\u00f5es encontraram apoio em conversas e encontros com os Guerreiros do Passo, um grupo de passistas que se dedica, por livre e n\u00e3o remunerada iniciativa, a transmitir a abordagem do frevo de Nascimento do Passo, em escolas e pra\u00e7as da Regi\u00e3o Metropolitana do Recife. Em nossa nova fase de pesquisa, teremos passistas de diversas \u201ccorrentes\u201d; parceiros de trabalho como Ot\u00e1vio Passos, Gil Torres, Paulo Melo, Luciano Fagundes.<\/span><\/p>\n

Deixa-me especialmente feliz perceber que muitas das reflex\u00f5es que se iniciam aqui s\u00f3 se tornaram poss\u00edveis atrav\u00e9s da experi\u00eancia art\u00edstica e da contribui\u00e7\u00e3o que cada um desses bailarinos-pesquisadores \u2013 Jaflis Nascimento, Leda Santos, Calixto Neto, Marcelo Sena, Iane Costa e eu. Foi poss\u00edvel dividir nossa hist\u00f3ria e a constante interpela\u00e7\u00e3o do movimento em nossas carreiras.<\/span><\/p>\n

Um segundo elemento que se fez presente em nossas discuss\u00f5es foi a rela\u00e7\u00e3o do Frevo com a viol\u00eancia. A quest\u00e3o era como lidar com a sua origem belicosa e seus elementos de luta sabendo e sentindo o quanto ele se tornou s\u00edmbolo de alegria, explos\u00e3o de contentamento, uma dan\u00e7a de cont\u00e1gio e exibicionismo, calcada no virtuosismo do passista. Pudemos constatar que o seu desenvolvimento e especializa\u00e7\u00e3o como linguagem art\u00edstica ao longo do s\u00e9culo priorizou esses aspectos e decidimos nos lan\u00e7ar no jogo de fazer o caminho contr\u00e1rio; para encontrar uma corporalidade passista de uma pessoa dispon\u00edvel para entrar numa briga a qualquer momento; e tamb\u00e9m na tentativa de identificar no carnaval momentos e situa\u00e7\u00f5es em que o frevo se corporifica como aquela confus\u00e3o e esperneamento a que Valdemar de Oliveira se refere.<\/span><\/p>\n

Interessante foi encontrar nesse Frevo \u201cbelicoso\u201d um corpo negro muito mais n\u00edtido, num tr\u00e2nsito f\u00e1cil n\u00e3o s\u00f3 entre o Frevo e a Capoeira, o que \u00e9 sempre ressaltado nos textos dispon\u00edveis (Oliveira, Dantas, Ara\u00fajo) mas tamb\u00e9m e surpreendentemente, mandingueiro, rebolador, sugerindo movimentos de macumba e de samba. Surpreendente n\u00e3o porque n\u00e3o seja f\u00e1cil perceber que as possibilidades de movimento do descendente africano t\u00eam se constitu\u00eddo e transmitido atrav\u00e9s de suas dan\u00e7as religiosas, mas porque essa heran\u00e7a nunca foi ressaltada como caracter\u00edstica do passista do Frevo.<\/span><\/p>\n

Nossa reflex\u00e3o, a partir dessa rela\u00e7\u00e3o que se fez no corpo, \u00e9 que, apesar de n\u00e3o existir uma rela\u00e7\u00e3o entre frevo e religiosidade \u2013 como em grande parte das dan\u00e7as populares no Brasil -, um dos pilares que permite a constitui\u00e7\u00e3o da dan\u00e7a do frevo \u00e9 a ginga que constitui o corpo negro e que est\u00e1 fortemente ligada \u00e0 pr\u00e1tica religiosa afro-brasileira.<\/span><\/p>\n

Apesar de aparentemente nossa coloca\u00e7\u00e3o parecer redundante, a quest\u00e3o que estamos ressaltando \u00e9: por que t\u00e3o pouco nos lembramos do conte\u00fado negro nessa dan\u00e7a? Talvez porque sua estrutura n\u00e3o est\u00e1 calcada no rebolar, na \u201cmalemol\u00eancia\u201d e morosidade que costumamos identificar com a heran\u00e7a negra do Brasil. Talvez por uma necessidade de aceita\u00e7\u00e3o pela sociedade local – o que tornou o frevo (m\u00fasica e dan\u00e7a) um s\u00edmbolo da arte local. Ou talvez porque essa heran\u00e7a ressalta um lado do frevo que nos interessa menos lembrar: a marginalidade em que os rec\u00e9m libertos pela escravid\u00e3o foram lan\u00e7ados nos centros urbanos. Afinal o capoerista de que falamos n\u00e3o era um artista e sim um marginal perigoso. Esquecimentos ou apagamentos que se tornam indicadores de l\u00f3gicas culturais, ideologias, gosto.<\/span><\/p>\n

Nossa \u201cdescoberta\u201d, ou dizendo melhor, o que a pesquisa corporal ressaltou, foi perceber que uma das possibilidades de encontrar o frevo foi desembranquec\u00ea-lo (no sentido de compreender e temporariamente nos desfazer das transforma\u00e7\u00f5es decorrentes da estiliza\u00e7\u00e3o do frevo para adequa\u00e7\u00e3o ao palco ou para responder ao que se entende como belo). Ao fazer isso, ficou muito mais f\u00e1cil dan\u00e7\u00e1-lo. E, ao nos vermos dan\u00e7ar, pudemos ver que foi o olhar branco-ib\u00e9rico, e uma percep\u00e7\u00e3o cl\u00e1ssica do belo, que deixou o frevo mais ereto, com pernas fechadas, com menos ginga e mal\u00edcia, padronizado – e, em sua execu\u00e7\u00e3o no palco, sincronizado.<\/span><\/p>\n

Refletir sobre esses processos, investir em cada um desses elementos, separada ou articuladamente, tem nos permitido discuss\u00f5es empolgantes. Minha inten\u00e7\u00e3o ao trazer para este texto estas reflex\u00f5es da etapa atual da pesquisa foi dividir essas rela\u00e7\u00f5es que estamos podendo estabelecer entre dan\u00e7a, cultura e sociedade com as pessoas interessadas na discuss\u00e3o da dan\u00e7a como \u00e1rea de conhecimento.<\/span><\/p>\n

Refer\u00eancias Bibliogr\u00e1ficas:<\/strong><\/span><\/p>\n

ARA\u00daJO. Rita de C\u00e1ssia. Festas: m\u00e1scaras do tempo: entrudo, mascaradas e frevono carnaval do Recife<\/em>. Recife, :1992.<\/span><\/p>\n

ARRAIS, Raimundo. Recife, culturas e confrontos: as camadas urbanas na campanha salvacionista de 1911<\/em>. Natal, EDUFRN:1998. <\/strong><\/span><\/p>\n

OLIVEIRA, Valdemar. Frevo, capoeira e passo<\/em>. Recife: CEPE, 1971.<\/span><\/p>\n

ROCHA DE OLIVEIRA, Goretti. Dan\u00e7as populares como espet\u00e1culo p\u00fablico o recife, de 1970 a 1988<\/em>. Recife: FUNDARPE\/Companhia editora de Pernambuco<\/span><\/p>\n

SILVA, Leonardo Dantas. O frevo Pernambucano<\/em>. Cultura Bras\u00edlia jul\/dez 1978.<\/span><\/p>\n

VICENTE, Val\u00e9ria, MARQUES, Roberta e COSTA, Liana. Acervo Recordan\u00e7a. Parte da hist\u00f3ria da dan\u00e7a em Pernambuco entre 1970 e 2000<\/em>. Recife: Recordan\u00e7a, 2004.<\/span><\/p>\n

Some questions, when avoided, seem to reappear each time with more urgency, as if insisting to produce, if not answers, at least new questions.<\/span><\/p>\n

The issue of the use of the popular dances or social dances in the scene of contemporary dance is one of those matters that follow me. Perhaps because, in Recife, where I grew-up, a big range of those dances alternates themselves during the year in the routine of the public events; perhaps because I came to notice that information from those dances compose my physicality in such a way that ignoring does not take them off the scene; perhaps because the sense of ritualistic, collective practice, signal of cultural questions, stroke me and moved me as artist-citizen-person… The fact is that, be as theoretical inquiry, or dealing with vestiges of movements and intentions in my artistic practice, the elements of those dances stop me and require attention.<\/span><\/p>\n

I say that to mark that this article does not come from an artist that, after seeing the dances of popular tradition and being seduced by them decides to bring them to stage, but from someone that through diverse forms had contact with those dances during her formation and, having chose the art of dance as profession, sees herself obliged to reflect about that presence. My intention is to point the journey that allows the vision I propose and the place from where I speak.<\/span><\/p>\n

Another prominent question is that this writing emerges from a practical research study about Frevo, in a movement research and artistic creation environment with a group of actors and dancers from Recife. Therefore, it is first in the dance that those formulations find the trigger to be structured as discussion.<\/span><\/p>\n

Our artistic research began in November 2005, from the following question: Could Frevo be used as a body language capable to provoke dynamic and specific senses and thus serve the construction of contemporary dance performances?<\/span><\/p>\n

It is common sense between researchers and dancers that Frevo has wide repertoire of movements, intentions and dynamics and that it is a dance extremely open to the dancer’s creativity. However, the traditional use of Frevo in Recife seems to have as a characteristic the stage transposition of the movements in synchronized form among the dancers, using mainly a frontal relation with audience and rarely proposing new uses. Such tendency became a school in Recife, through the Popular Ballet of the Recife (whose researches and scenic structures was made in 70’s and 80’s) and whose more recognized and contaminator artistic result relates to a pedagogical and para-folklorical form to present the local cultural expressions.<\/span><\/p>\n

Our idea is to approach that social-cultural phenomenon Frevo, touching it through several axes \u2013 dynamics, sensations, historical elements, logic of weight use and articulations, using the elements that will interest a discussion conducted by the process itself. By doing that, we have an encounter with information, reflections, and sensations that, in the present state, I share partially with the reader in this article.<\/span><\/p>\n

The way we are approaching Frevo understands it as being a dance constituted of an accumulation of body knowledge about equilibrium, impulse, agility, explosion and dislocations. Our research, still in course, showed that is possible to perceive Frevo as a body language that specialized itself through accumulation of techniques and approaches, generating a big and representative social-cultural legacy and diverse singular artistic qualities. The hint of the dancer Jaflis Nascimento, “Frevo is the plastics of Pernambuco”, looks more and more pertinent. We understand that Frevo needs to be investigated not with the folk look, that justifies its existence by the need to rescue or reconstruct a nation\u2019s identity, but better recognizing its singular characteristics as an artistic legacy, a technique that developed in a spectacular form different relations with the space, time, gravity and that allows the expansion of the body\u2019s possibilities.<\/span><\/p>\n

Diving in corporal stimuli generated by the music of Frevo \u2013 for it is a dance which invention of movements has always been connected to the relation body-music – we could notice recurring points of muscular acceleration and sensations of agitation and euphoria that suggested movements of inflection of the knees, movements of the external bone and impulses of explosion. That made us, while working, replace the worry about existing steps and their forms, by a quest for dynamics, musicality, pleasure, displacement and suspension.<\/span><\/p>\n

The discussion this path creates took us to the name of that dance: the specialists refer to the dance that uses Frevo music as step. By that, the dancer of frevo is identified as ‘passista’ (something like a steper, N.T.)<\/em>. As “step” in dance is synonym of systematized movement, that denomination, at the same time that confuses, reduces the dance comprehension. What we found still stranger in that detachment was to discover that, in records from the beginning of the century, the name “Frevo” was much more connected to corporal phenomena than to the music. In the newspapers of the beginning of the century, the word \u2018Frevo\u2019 was synonym for animation of the crowds, chaos, suggestion of something belligerent, or in Valdemar de Oliveira’s words “a kick in the middle of the street”. The reason it was necessary to separate in two names the song and the dance and what the name “step” made to this dance is a question to be dealt with.<\/span><\/p>\n

The pedagogical organization of the education of Frevo was also structured through the cataloguing of steps, named and defined in their form. Like this, we learn Frevo through its basic steps: ponta-de-p\u00e9-calcanhar, tesoura, saci perer\u00ea, trocadilho…<\/em><\/span><\/p>\n

Thinking that the form of transmission indicates perceptions about dance and forms of scenic approaches, maybe it is interesting to notice that the division of Frevo in steps was an option and, despite being anchored in several aspects, facts and situations of the sprouting and development of Frevo, that option is not unique or the one that better defined what it was.<\/span><\/p>\n

The division of Frevo in steps is just one of the forms to understand it; and we cannot avoid noticing that the form to approach the movement is connected to leading thoughts. Perhaps an answer to a Cartesian world vision, in which each element can be divided in parts and treated separately, theoretically, without losing its comprehension as a whole. It does not hurt to remember also that to Descartes the best metaphor for the body is the machine, and that in his hierarchically way of arranging the kinds of knowledge relegates the dance to a lower role in the scope of the arts and the arts in a lower role among the levels of knowledge.<\/span><\/p>\n

It is valid to note that some of those reflections found support in conversations and meetings with the Guerreiros do Passo (Step Warriors)<\/em>, a group of dancers that is dedicated, in an unpaid initiative, to transmit Nascimento do Passo\u2019s approach of the frevo in schools and squares of the Metropolitan Region of Recife (Nascimento do Passo is a Frevo historian. N.T)<\/em>. In our new phase of research, we will have dancers from diverse “trends”; work partners as Ot\u00e1vio Passos, Gil Torres, Paulo Melo, Luciano Fagundes.<\/span><\/p>\n

It made me especially happy to notice that many of the questions that are initiated here only became possible through the artistic experience and the contribution from each one of those interpreters-researchers \u2013 Jaflis Nascimento, Leda Santos, Calixto Neto, Marcelo Sena, Iane Costa e me. We could all divide our history and the constant questioning of the movement in our careers.<\/span><\/p>\n

A second element that was present in our discussions was the relation between Frevo and violence. The question was how to deal with its belligerent origin and its elements of fight, knowing and feeling how much it became a symbol of joy, blast of enjoyment, a dance of contagion and exhibitionism, compressed in the virtuosity of the ‘passista’. We could establish that its development and specialization as artistic language during the century prioritized those aspects and we decide to throw ourselves in the game of doing the contrary road; to find a ‘passista physicality’ as a person available to enter a fight at any moment; and also in the attempt of identifying moments and situations in carnival where Frevo embodies itself, like that kick to which Valdemar de Oliveira refers himself.<\/span><\/p>\n

Was interesting to find in that “belligerent” Frevo a black body with a much sharper image, in a easy transit not only between Frevo and Capoeira, what always stood out on available texts (Oliveira, Dantas, Ara\u00fajo) but also and surprisingly magical, hip moving body, suggesting movements of macumba and samba. It is surprising not fornot being easily perceived that the possibilities of movement of the African descendant have constituted and were transmitted through their religious dances, but because this inheritance never stood out like characteristic of the ‘passista’ in Frevo.<\/span><\/p>\n

Our reflection, from the relation established in the body, is that, despite of non existent relation between Frevo and religiosity \u2013 as in a big extent of the popular dances in Brazil -, one of the pillars that allow the constitution of the dance of Frevo is the ginga that constituted the black body and that is strongly connected to the African Brazilian religious practices.<\/span><\/p>\n

Despite of apparently looking redundant, the question that standing out is: why do we remember so little of the black content in that dance? Perhaps because its structure is not compressed in ginga, in the “malemol\u00eancia” and slowness that we use to identify with the black inheritance of Brazil. Maybe by a need of acceptance by local society – Frevo (music and dance) then became a symbol of local art. Or even because that inheritance points out a side of Frevo that interest us less to remember: the marginal condition in which ex-slaves were thrown at urban centers. After all the ‘capoerista’ we speak about was not an artist, but a risky delinquent. Forgetfulness or deletions that become indicators of cultural logics, ideologies, taste.<\/span><\/p>\n

Our “discovery”, or better said, what the corporal research pointed out, was to realize that one of the possibilities to find Frevo was to unbleach it (in the sense of understanding and temporarily undoing the resulting transformations of the stylization of Frevo in its adaptation for stage or to answer what was understood as beautiful). By doing that, was much easier to dance it. And, looking us dancing, we could see that was the white-Iberian look, and a classical perception of beauty, that made Frevo more erect, with closed legs, with less hips and malice, standardized and, in its stage form, synchronized.<\/span><\/p>\n

To think about those processes, to invest in each one of those elements, separate or articulately, allowed us thrilling discussions. My intention by bringing those discussions to this text in the present phase of the research was to divide those relations we are being able to establish between dance, culture and society with people interested in the argument of dance as knowledge area.<\/span><\/p>\n

Bibliography references:<\/strong><\/span><\/p>\n

ARA\u00daJO. Rita de C\u00e1ssia. Festas: m\u00e1scaras do tempo: entrudo, mascaradas e frevono carnaval do Recife<\/em>. Recife, :1992.<\/span><\/p>\n

ARRAIS, Raimundo. Recife, culturas e confrontos: as camadas urbanas na campanha salvacionista de 1911<\/em>. Natal, EDUFRN:1998. <\/strong><\/span><\/p>\n

OLIVEIRA, Valdemar. Frevo, capoeira e passo<\/em>. Recife: CEPE, 1971.<\/span><\/p>\n

ROCHA DE OLIVEIRA, Goretti. Dan\u00e7as populares como espet\u00e1culo p\u00fablico o recife, de 1970 a 1988<\/em>. Recife: FUNDARPE\/Companhia editora de Pernambuco<\/span><\/p>\n

SILVA, Leonardo Dantas. O frevo Pernambucano<\/em>. Cultura Bras\u00edlia jul\/dez 1978.<\/span><\/p>\n

VICENTE, Val\u00e9ria, MARQUES, Roberta e COSTA, Liana. Acervo Recordan\u00e7a. Parte da hist\u00f3ria da dan\u00e7a em Pernambuco entre 1970 e 2000<\/em>. Recife: Recordan\u00e7a, 2004.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Val\u00e9ria Vicente comenta sua pesquisa sobre as origens do Frevo em Recife e como ele foi embranquecido em um s\u00e9culo<\/span>Valeria Vicente shares her research for the origins of Frevo Dance in Recife and how it was bleached in one century<\/span><\/p>\n","protected":false},"author":107,"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":[2395,2876,2875,1079],"yoast_head":"\nUma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -<\/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\/uma-investigacao-sobre-o-frevo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -\" \/>\n<meta property=\"og:description\" content=\"Val\u00e9ria Vicente comenta sua pesquisa sobre as origens do Frevo em Recife e como ele foi embranquecido em um s\u00e9culoValeria Vicente shares her research for the origins of Frevo Dance in Recife and how it was bleached in one century\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2006-08-11T16:16:47+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-10-09T16:37:55+00:00\" \/>\n<meta name=\"author\" content=\"Val\u00e9ria Vicente\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Val\u00e9ria Vicente\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"20 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/\",\"url\":\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/\",\"name\":\"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2006-08-11T16:16:47+00:00\",\"dateModified\":\"2008-10-09T16:37:55+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/d2baea8d2c27f9d95fac17b1c7be8c17\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/d2baea8d2c27f9d95fac17b1c7be8c17\",\"name\":\"Val\u00e9ria Vicente\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/98b3e356b0aa8dcfbdaa44a3b79a050a?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/98b3e356b0aa8dcfbdaa44a3b79a050a?s=96&d=mm&r=g\",\"caption\":\"Val\u00e9ria Vicente\"},\"description\":\"\u00e9 bailarina e jornalista. Coordenadora Geral do Acervo RecorDan\u00e7a e diretora da Associa\u00e7\u00e3o Reviva, atualmente integra o mestrado de Artes c\u00eanicas da UFBA e o grupo de Pesquisa CARPA, na UNEB.\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/valeriavicente\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/","og_locale":"pt_BR","og_type":"article","og_title":"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -","og_description":"Val\u00e9ria Vicente comenta sua pesquisa sobre as origens do Frevo em Recife e como ele foi embranquecido em um s\u00e9culoValeria Vicente shares her research for the origins of Frevo Dance in Recife and how it was bleached in one century","og_url":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2006-08-11T16:16:47+00:00","article_modified_time":"2008-10-09T16:37:55+00:00","author":"Val\u00e9ria Vicente","twitter_misc":{"Escrito por":"Val\u00e9ria Vicente","Est. tempo de leitura":"20 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/","url":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/","name":"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2006-08-11T16:16:47+00:00","dateModified":"2008-10-09T16:37:55+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/d2baea8d2c27f9d95fac17b1c7be8c17"},"breadcrumb":{"@id":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/uma-investigacao-sobre-o-frevo\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Uma investiga\u00e7\u00e3o sobre o frevo|An inquiry about Frevo"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/d2baea8d2c27f9d95fac17b1c7be8c17","name":"Val\u00e9ria Vicente","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/98b3e356b0aa8dcfbdaa44a3b79a050a?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/98b3e356b0aa8dcfbdaa44a3b79a050a?s=96&d=mm&r=g","caption":"Val\u00e9ria Vicente"},"description":"\u00e9 bailarina e jornalista. Coordenadora Geral do Acervo RecorDan\u00e7a e diretora da Associa\u00e7\u00e3o Reviva, atualmente integra o mestrado de Artes c\u00eanicas da UFBA e o grupo de Pesquisa CARPA, na UNEB.","sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/valeriavicente\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/3298"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/107"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=3298"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/3298\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=3298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=3298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=3298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}