{"id":3438,"date":"2006-12-05T15:34:24","date_gmt":"2006-12-05T18:34:24","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/12\/05\/uma-agenda-de-encontros\/"},"modified":"2008-08-06T16:51:03","modified_gmt":"2008-08-06T19:51:03","slug":"uma-agenda-de-encontros","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-agenda-de-encontros\/","title":{"rendered":"Uma agenda de encontros | A meetings agenda"},"content":{"rendered":"

A pr\u00e1tica de acompanhar festivais, encontros ou eventos de dan\u00e7a pelo Brasil apresenta uma dificuldade real das dist\u00e2ncias e, conseq\u00fcentemente, dos valores consider\u00e1veis de transporte e hospedagem. No entanto, muitos profissionais optam pelo tr\u00e1fego na \u00e1rea e usufruem destes momentos de troca. Perguntar por qu\u00ea seria redundante, mas parece que h\u00e1 uma necessidade iminente sobre tais encontros, sobretudo quando sugerem novos formatos de festivais de dan\u00e7a. Este artigo prop\u00f5e uma reflex\u00e3o, ao mesmo tempo, apresenta uma agenda de festivais com intuito de ajudar aos profissionais que sabem que tal pr\u00e1tica vem acompanhada de uma atitude art\u00edstica engajada com novas possibilidades.<\/p>\n

Importante esclarecer que n\u00e3o se trata de um levantamento completo. Utilizamos a fonte do Banco de Dados do Rumos Dan\u00e7a Ita\u00fa Cultural<\/em> [1] e a constata\u00e7\u00e3o de que alguns festivais com repercuss\u00e3o nacional acabam se espalhando rapidamente no meio da dan\u00e7a, portanto, referimo-nos a alguns dos quais temos mais acesso. Estes festivais n\u00e3o tratam somente de mostrar dan\u00e7as e sim, s\u00e3o oportunidades de entender a curadoria, articular os tipos de dan\u00e7a que se mostram naquela edi\u00e7\u00e3o e, com isso, incentivar um debate sobre os modos de organizar da dan\u00e7a que interessam a muitos.<\/p>\n

Opta-se tamb\u00e9m por n\u00e3o considerar os festivais competitivos em raz\u00e3o do foco em dan\u00e7a contempor\u00e2nea apontar para uma pesquisa de linguagem, investiga\u00e7\u00e3o ou simplesmente uma forma de articular um pensamento cr\u00edtico diante da dan\u00e7a que se faz.<\/p>\n

Dito isso, vamos a alguns festivais ou encontros ou eventos que, al\u00e9m de exibirem uma programa\u00e7\u00e3o de dan\u00e7as da qual se evidencia a curadoria, tamb\u00e9m articulam tais escolhas e apontam para um debate, com mesas, palestras, resid\u00eancias ou oficinas. Considera-se tamb\u00e9m encontros te\u00f3rico-pr\u00e1ticos ou congressos que reflitam a dan\u00e7a de maneira aprofundada.<\/p>\n

O Festival Panorama de Dan\u00e7a<\/strong> (www.panoramafestival.com<\/a>) \u00e9 reconhecido dentro e fora do pa\u00eds como uma refer\u00eancia, pela ousadia da curadoria – 10 anos na m\u00e3o da core\u00f3grafa Lia Rodrigues, mais alguns anos em colabora\u00e7\u00e3o com Roberto Pereira e S\u00edlvia Soter e nos \u00faltimos 3 anos coordenado por Eduardo Bonito e Nayse Lopez – e pela intensa irriga\u00e7\u00e3o de novas id\u00e9ias e formatos. Destaca-se o projeto Nov\u00edssimos que inclui core\u00f3grafos e cr\u00edticos. As resid\u00eancias internacionais, caracterizadas como a visita de core\u00f3grafos tais como Thomas Lehmen, que novamente esteve na programa\u00e7\u00e3o este ano, e outros. Este ano, o Panorama aconteceu na sua vers\u00e3o Encontros Imediatos (ver detalhes no site) e, no Rio de Janeiro, ocorreu de 10 a 22 de novembro.<\/p>\n

O FID<\/strong> (www.fid.com.br<\/a>) – desde recentes anos chamando F\u00f3rum Internacional de Dan\u00e7a de Belo Horizonte – tem a curadoria de Adriana Banana, tamb\u00e9m core\u00f3grafa e ativista de uma pr\u00e1tica cr\u00edtica em dan\u00e7a. A troca do nome de festival para f\u00f3rum n\u00e3o foi sem prop\u00f3sito. Um projeto com diversos programas e a\u00e7\u00f5es ao longo do ano: Circulando BH (setembro), Territ\u00f3rio Minas (julho a novembro) e Conex\u00e3o InterNacional (novembro). Traz consigo, portanto, uma preocupa\u00e7\u00e3o em estender as atividades ao longo do ano e de n\u00e3o limitar o evento em poucos dias. Desde ano passado, o FID lan\u00e7ou uma editora pr\u00f3pria. Com a necessidade de n\u00e3o mais depender das regras comerciais de editoras convencionais, o FID novamente inova, promovendo a publica\u00e7\u00e3o de importantes teses de pesquisadores brasileiros. Para detalhes, consulte o site. Destes dois \u00faltimos, vale a pena visitar o site como meio de estudo de sua trajet\u00f3ria ao longo destes anos.<\/p>\n

Para seguir a agenda do ano, o Festival de Dan\u00e7a do Recife<\/strong> (http:\/\/www.recife.pe.gov.br<\/a> \u2013 site oficial) aconteceu de 5 a 14 de outubro. Com a apresenta\u00e7\u00e3o e curadoria de Ernesto Gadelha e com o tema Encontros e Deslocamentos, a d\u00e9cima primeira edi\u00e7\u00e3o do Festival de Dan\u00e7a do Recife, promovido pela Prefeitura do Recife, atrav\u00e9s da Secretaria de Cultura e Funda\u00e7\u00e3o de Cultura, traz atividades de oficinas gratuitas de Dan\u00e7a Contempor\u00e2nea e Dan\u00e7a de Rua, Resid\u00eancia Art\u00edstica e Curso Te\u00f3rico-Pr\u00e1tico de V\u00eddeo-dan\u00e7a e Semin\u00e1rio Dan\u00e7a e Novas Tecnologias. Tamb\u00e9m conta com a Mostra Dan\u00e7a em Foco, e a s\u00e9rie de encontros Dan\u00e7a em Palavras.<\/p>\n

Refer\u00eancias do Nordeste\/Norte tamb\u00e9m poderiam ser citados. Apesar de extinto, o Festival Interates<\/strong>, organizado por Lina do Carmo, devido \u00e0 sua repercuss\u00e3o em seus dois anos de apresenta\u00e7\u00f5es pol\u00eamicas e de invas\u00e3o cultural positiva em meio \u00e0 Serra da Capivara.<\/p>\n

Situado em outro extremo geogr\u00e1fico e dentro da agenda deste ano, a 6\u00aa Mostra de Dan\u00e7a de Corumb\u00e1<\/strong> (www.dancacorumba.com.br<\/a>), de 9 a 15 de outubro deste ano. Com a coordena\u00e7\u00e3o de M\u00e1rcia Rol\u00f3n, re\u00fane artistas da regi\u00e3o e promove um importante fluxo no contexto rico mais distante do Mato Grosso do Sul. Para informa\u00e7\u00f5es, consulte contato@dancacorumba.com.br<\/a>.<\/p>\n

Dois outros exemplos interessantes de contextos tidos como \u00e1ridos, apesar de situados no interior de S\u00e3o Paulo – estado considerado como p\u00f3lo art\u00edstico – s\u00e3o o Festival de Dan\u00e7a de Araraquara<\/strong>, que teve sua 6\u00aa edi\u00e7\u00e3o setembro deste ano, e o Publica Dan\u00e7a<\/strong> em Votorantim que ocorreu em maio deste ano. Demonstram como \u00e9 vital, al\u00e9m de poss\u00edvel, articular novos formatos, inclusive o boletim com pequenos artigos de v\u00e1rias pessoas da dan\u00e7a.<\/p>\n

O primeiro (festivaldedanca@araraquara.sescsp.org.br<\/a>) teve, em 2004, o encontro de articuladores da Red Sudamericana de Danza (www.movimiento.org<\/a>) que catapultou uma forma de agregar e debater projetos de dan\u00e7a entre pa\u00edses latino-americanos, o que vem acontecendendo paulatinamente desde ent\u00e3o. Demonstra uma postura motivadora de a\u00e7\u00f5es em dan\u00e7a na cidade, que abrange a iniciativa p\u00fablica municipal, com a Escola Municipal de Dan\u00e7a Iracema Nogueira, e a compreens\u00e3o engajada da core\u00f3grafa e pesquisadora Gilsamara Moura, curadora e organizadora do evento, que tornou fact\u00edvel o entendimento de como a dan\u00e7a pode transformar o contexto local. Prepare-se para a edi\u00e7\u00e3o do ano que vem.<\/p>\n

O segundo projeto citado \u00e9 organizado pelo Quadra – pessoas e id\u00e9ias<\/strong> (www.quadrapessoaseideias.com.br<\/a>), no qual poder\u00edamos situar a coordena\u00e7\u00e3o de Marcelo Proen\u00e7a e Rodrigo Chiba, mas seria um equ\u00edvoco n\u00e3o conjecturar a equipe dos jovens, mas articuladores profissionais de dan\u00e7a da cidade, que guiam e decidem coletivamente sobre o evento e suas caracter\u00edsticas. No encontro, entre muitas atividades, chama-se aten\u00e7\u00e3o para a iniciativa da “Trai\u00e7\u00e3o da dan\u00e7a”. Quem pode modificar a dan\u00e7a e o contexto em que se encontra \u00e9 um traidor, como fazem os roceiros do interior de S\u00e3o Paulo quando visitam uma fazenda e coletivamente fazem o trabalho do dia em uma manh\u00e3, como uma esp\u00e9cie de trai\u00e7\u00e3o positiva com o dono da fazenda. Uma ironia bem vinda na \u00e1rea. Apesar de j\u00e1 ter ocorrido, o Quadra tamb\u00e9m guarda o h\u00e1bito em promover encontros e projetos ao longo do ano, como foi o Programa de V\u00eddeo dan\u00e7a (meados de mar\u00e7o de 2006) e o Dan\u00e7a Chiclete (apresentado em setembro). Vale a pena acompanhar pelo site.<\/p>\n

Se f\u00f3ssemos agora seguir a agenda, provavelmente encontrar\u00edamos duas importantes bienais para o ano de 2007. A Bienal de Santos<\/strong>, promovida pelo SESC Santos e organizada por Rosa Freire, come\u00e7ou em 1998 e, em sua 4\u00aa edi\u00e7\u00e3o teve como tema o corpo brasileiro na dan\u00e7a. Seguindo o intuito inicial, a bienal busca se misturar \u00e0 cidade e trazer convidados e selecionados para promover um debate acerca do tema proposto. Para mais informa\u00e7\u00f5es, consulte www.sescsp.org.br<\/a> ou anote o telefone (13) 3278-9800.<\/p>\n

Outro festival que se mostrou importante dentro do contexto nordestino e tamb\u00e9m vem chamando aten\u00e7\u00e3o de v\u00e1rios profissionais \u00e9 a Bienal de Dan\u00e7a do Cear\u00e1<\/strong> que em 2007 vai promover sua quinta edi\u00e7\u00e3o. Com companhias da Fran\u00e7a, Su\u00ed\u00e7a e do Brasil, ocupando espa\u00e7os da cidade, a bienal acontece em Fortaleza e tamb\u00e9m se ramifica para o interior do estado, como aconteceu ano passado. Com ateli\u00eas guiados por core\u00f3grafos internacionais, tem uma rede de institui\u00e7\u00f5es apoiadoras, al\u00e9m do apoio do Governo do Estado do Cear\u00e1 atrav\u00e9s da Secretaria da Cultura (Secult).<\/p>\n

Aqui, uma reflex\u00e3o. Os festivais, de fato, tem o compromisso de ocupar a cidade e, com seu impacto, proporcionar o p\u00fablico conhecer outras dan\u00e7as. Deve-se lembrar tamb\u00e9m que este movimento deixa ecos, marcas nas cidades, que devem tamb\u00e9m ser nutridas com iniciativas de continuidade.<\/p>\n

Outro constante h\u00e1bito \u00e9 trazer artistas internacionais para lecionar oficinas ou fazer resid\u00eancias ou mostrar seus trabalhos coreogr\u00e1ficos. Vale lembrar que n\u00e3o s\u00e3o modelos nem tampouco falamos aqui de importa\u00e7\u00f5es est\u00e9ticas. Cada vez mais, o profissional estrangeiro nos interessa tanto quanto interessamos a eles, ao mesmo tempo que muitas companhias, professores ou te\u00f3ricos brasileiros anseiam por ocupar o mercado e ter o espa\u00e7o de circula\u00e7\u00e3o aberto pelos festivais no seu pr\u00f3prio pa\u00eds. A isso, soma-se tamb\u00e9m uma dificuldade de pagar as custas de profissionais brasileiros, sobretudo passagens \u00e1reas, ao contr\u00e1rio da facilitadora pol\u00edtica de institui\u00e7\u00f5es de interc\u00e2mbio cultural que pagam as passagens internacionais de artistas estrangeiros. Curioso, n\u00e3o?<\/p>\n

Eventos de outra natureza, te\u00f3rica, fazem da dan\u00e7a um lugar rico de reflex\u00e3o e troca entre quem pensa e quem faz dan\u00e7a. O Condan\u00e7a<\/strong>, organizado por Maria Valeska van Helden (condanca@terra.com.br<\/a>) reuniu em muitas de suas edi\u00e7\u00f5es pesquisadores e professores de dan\u00e7a do contexto universit\u00e1rio a fim de pensar estrat\u00e9gias de desenvolvimento da dan\u00e7a dentro das faculdades, sejam os cursos t\u00e9cnicos, gradua\u00e7\u00f5es, especializa\u00e7\u00f5es e p\u00f3s gradua\u00e7\u00f5es, ou at\u00e9 mesmo os grupos de pesquisa, que cresceram muito nos \u00faltimos anos. Tais encontros acabam por reunir novas id\u00e9ias para fomentar o ensino da dan\u00e7a e sua reflex\u00e3o te\u00f3rico-pr\u00e1tica s\u00f3 tem a ganhar com isso. Maria Valeska van Helden tamb\u00e9m coordena a Associa\u00e7\u00e3o Dan\u00e7a Alegre Alegrete que ano que vem completa anivers\u00e1rio e planeja um evento bastante promissor.<\/p>\n

Outro exemplo recente e marcante \u00e9 o II Encontro de Dan\u00e7a e Filosofia (www.dancaefilosofia.net\/index.htm<\/a> e o email de contato dancaefilosofia.inscr@gmail.com<\/a>) que ocorreu em setembro \u00faltimo, na cidade do Rio de Janeiro, em parceria com o SESC Copacabana. Idealizado e organizado por Charles Feitosa, Roberto Pereira e Thereza Rocha, vigora uma fun\u00e7\u00e3o muito espec\u00edfica na \u00e1rea e bastante inovadora: promover uma reflex\u00e3o te\u00f3rica aprofundada, ao mesmo tempo em que busca o encontro f\u00e9rtil entre os artistas e os te\u00f3ricos.<\/p>\n

Apesar de todos lamentarem a extin\u00e7\u00e3o do Dan\u00e7a Brasil<\/strong> (www.dancabrasil.com.br<\/a>), evento promovido pelo Centro Cultural Banco do Brasil no Rio de Janeiro, dois outros foram idealizados por Leonel Brum e seus colegas. Aconteceu pela terceira vez o Dan\u00e7a Crian\u00e7a<\/strong> (www.dancacrianca.com.br<\/a>), um festival de dan\u00e7a dedicado ao p\u00fablico infantil. Com realiza\u00e7\u00e3o da Arte em Foco, dire\u00e7\u00e3o art\u00edstica de Leonel Brum e curadoria dele e de S\u00edlvia Soter, o festival conta com o patroc\u00ednio do Teatro da Caixa Cultural da cidade e tamb\u00e9m com a promo\u00e7\u00e3o de uma mostra de v\u00eddeo de dan\u00e7a para crian\u00e7as, com curadoria de Luciana Ponso, Lucas Rodrigues e Cav\u00ed Borges e produ\u00e7\u00e3o de Cav\u00eddeo e Espa\u00e7o Caf\u00e9 Cultural (CDPD-RJ).<\/p>\n

Al\u00e9m de Leonel Brum e Paulo Caldas, os idealizadores iniciais deste projeto, o Dan\u00e7a em Foco<\/strong> (www.dancaemfoco.com.br<\/a>), desde o ano passado, conta com a dire\u00e7\u00e3o de Eduardo Bonito e Regina Levy. O festival internacional de dan\u00e7a e v\u00eddeo vem atendendo uma necessidade urgente de muitos core\u00f3grafos de, como diz a apresenta\u00e7\u00e3o do evento, se utilizar da imagem como possibilidade de cria\u00e7\u00e3o de novos par\u00e2metros est\u00e9ticos. Criado em 2003, no Rio de Janeiro, dedica-se \u00e0 interface v\u00eddeo \/ dan\u00e7a, do document\u00e1rio de dan\u00e7a \u00e0 instala\u00e7\u00e3o coreogr\u00e1fica interativa. Em 2004, associa-se Festival Internacional de Videodanza del Uruguay<\/strong> e ao Festival Internacional de Video-Danza de Buenos Aires<\/strong> no Circuito Videodan\u00e7a Mercosul. Este ano, foi publicado o livro Dan\u00e7a e Tecnologia (Volume I), com formato tril\u00edng\u00fce com a presen\u00e7a de muitos autores especializados na \u00e1rea – citamos Armando Menicacci, italino radicano em Paris e Ivani Santana, doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica (PUC-SP) e atualmente professora na Escola de Dan\u00e7a da UFBA. Neste mesmo ano, conta com a realiza\u00e7\u00e3o do Centro Telemar e o continuado apoio do SESC Rio de Janeiro. Os emails de contato e para quem interessa adquirir o livro, as informa\u00e7\u00f5es encontram-se na p\u00e1gina da internet.<\/p>\n

Com outro prop\u00f3sito, em Belo Horizonte, pelo terceiro ano consecutivo, ocorreu o 1,2 na Dan\u00e7a<\/strong>, promivodo pelo Teatro Alterosa e idealizado por Jaqueline de Castro. Traz artistas de todo Brasil para mostrar solos e duos em dan\u00e7a contempor\u00e2nea. Para mais informa\u00e7\u00f5es, contacte jackiecastro@uol.com.br<\/a>.<\/p>\n

Em Florian\u00f3polis, o Tubo de Ensaio<\/strong> tamb\u00e9m conta com a presen\u00e7a de artistas interessados em mostrar seus trabalhos e trocar entre si. Coordenado por Sandra Meyer, Vera Torres e Jussara Xavier, este ano lan\u00e7ou um livro que conta sobre o evento e repercuss\u00f5es a partir do mesmo, que foi inclusive comentado em recente artigo neste site. Para mais informa\u00e7\u00f5es, contacte sandrameyer@globo.com<\/a>.<\/p>\n

Segue-se ent\u00e3o escolas de refer\u00eancia que promovem ao longo do ano encontros e projetos que valem a pena ser conhecidos. Citamos aqui a Casa Hofmann de Curitiba. Voc\u00ea pode receber as informa\u00e7\u00f5es inscrevendo-se na mala direta atrav\u00e9s do email nucleodancapr@yahoo.com.br<\/a> ou ver os eventos ocorridos e por vir no site da Funda\u00e7\u00e3o Cultural de Curitiba, a quem a Casa est\u00e1 subordinada, no site www.fccdigital.com.br<\/a>. Com a coordena\u00e7\u00e3o de Marila Velloso, h\u00e1 editais para criadores e orientadores art\u00edsticos, h\u00e1 encontros semanais e mostras de dan\u00e7a ao longo do ano.<\/p>\n

O Est\u00fadio Nova Dan\u00e7a, em S\u00e3o Paulo, depois de longos anos promovendo o Ter\u00e7as na Dan\u00e7a<\/strong>, desde 2004 promove o Sexta na Tomada (estudio@novadanca.com.br<\/a>), como se define no site, um “espa\u00e7o livre e avan\u00e7ado e que, tecnicamente, traz o desafio para o interprete e se resolver com uma l\u00e2mpada e um cd player”. O projeto abarca processos finalizados ou n\u00e3o. Acontece na \u00faltima sexta do m\u00eas e tem a coordena\u00e7\u00e3o de \u00c9rika Moura.<\/p>\n

O Est\u00fadio Move juntamente com o N\u00facleo Art\u00e9rias realiza pelo terceiro ano o Teorema<\/strong> (e-mail de contato \u00e9 o teorema@estudiomove.com.br<\/a> e mais informa\u00e7\u00f5es no site www.estudiomove.com.br<\/a>), com idealiza\u00e7\u00e3o de Adriana Grecchi, formata\u00e7\u00e3o conceitual, coordena\u00e7\u00e3o e curadoria de Fabiana Dultra Britto e colabora\u00e7\u00e3o de Plat\u00f4 Produ\u00e7\u00f5es. Abre inscri\u00e7\u00f5es, seleciona e apresenta trabalhos coreogr\u00e1ficos junto com o desafio de cada propositor, que pode ser te\u00f3rico, artista ou interessado, propor um teorema ao final de cada noite de apresenta\u00e7\u00f5es. A programa\u00e7\u00e3o acontece uma vez por m\u00eas no segundo semestre do ano.<\/p>\n

Por fim, deve-se dizer que, certamente, h\u00e1 muitos outros festivais, encontros e eventos de dan\u00e7a no pa\u00eds, cada qual guarda sua relev\u00e2ncia e fun\u00e7\u00e3o no contexto da dan\u00e7a contempor\u00e2nea, seja localmente, seja em toda extens\u00e3o que possa abranger. A quest\u00e3o aqui colocada, al\u00e9m de uma pequena agenda que possa situar criadores e artistas interessados em trocar, \u00e9 promover um reflex\u00e3o de como se articulam estes festivais. \u00c9 cada vez mais importante sabermos como e onde acontecem, uma vez que o material que produzem ou re\u00fanem, sejam v\u00eddeos ou programas s\u00e3o materiais de estudo.<\/p>\n

Alguns outros exemplos: Porto Alegre em dan\u00e7a, Festival de Jo\u00e3o Pessoa, Mostra XYZ de Bras\u00edlia<\/strong> (www.dancaxyz.com.br<\/a>) e a Mostra Sesi de Dan\u00e7a<\/strong> em S\u00e3o Paulo, assim como os de \u00e2mbito menor mas igualmente relevantes para a cidade de S\u00e3o Paulo, por exemplo, a s\u00e9rie do Feminino e Masculino na Dan\u00e7a<\/strong>, Solos, Duos e Trios e Semanas de Dan\u00e7a<\/strong>, promovidos pelo Centro Cultural S\u00e3o Paulo.<\/p>\n

Como \u00e9 poss\u00edvel constatar, h\u00e1 muitas estrat\u00e9gias diferentes entre si e est\u00e3o ocupando novos espa\u00e7os, fazendo-nos refletir quais s\u00e3o nossas lacunas ou necessidades de circula\u00e7\u00e3o. Vale dizer que uma delas \u00e9 termos malas diretas e sites sobre estes festivais que possam reunir informa\u00e7\u00f5es precisas e tamb\u00e9m tornar facilitado o acesso das pessoas a sua agenda, suas programa\u00e7\u00f5es, inclusive as j\u00e1 passadas.<\/p>\n

Este artigo pretende ser informativo al\u00e9m de reflexivo sobre tais condi\u00e7\u00f5es. Como nos relacionamos com as informa\u00e7\u00f5es recolhidas por um festival? Como as usamos para nossa produ\u00e7\u00e3o ou nosso posicionamento diante das provoca\u00e7\u00f5es que eles suscitam? Como nossa circula\u00e7\u00e3o como profissionais, indepentedentes na grande maioria, faz daquilo que dan\u00e7amos um lugar irrigado por quanto somos capazes de trocar nestes ou em outros ambientes que circulamos?<\/p>\n

Os festivais ou afins promovem encontros, al\u00e9m de formar p\u00fablico; provocam novas id\u00e9ias, al\u00e9m de reconsideramos aquelas que chamamos de velhas e, diante disso, resta-nos escolher que atitude tomaremos em frente a esta realidade. Participamos? Como? Temos novas op\u00e7\u00f5es ou repetimos velhos modelos de observadores passivos?<\/p>\n

Um convite aos encontros.<\/p>\n

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

[1] Consulte em biblioteca no site www.itaucultural.org.br<\/a>. No \u00ednicio de 2007, na ocasi\u00e3o do Rumos Dan\u00e7a, ser\u00e1 apresentada a edi\u00e7\u00e3o atualizada no banco de dados.<\/p>\n

<\/span>The practice of following dance festivals, meetings or events throughout Brazil presents a real difficulty due to the distances and, consequently, the considerable prices of transport and lodging. However, many professionals choose to travel and take advantage of these moments of exchange. To ask why would be redundant, but it seems that there is an imminent necessity about such meetings, above all when they suggest new formats of dance festivals. This article proposes a consideration, and at the same time, presents an agenda of festivals with the intention of helping professionals who know that such a practice comes together with an artistic attitude linked to new possibilities.<\/p>\n

It is important to clarify that this is not a complete survey. We used the Rumos Dan\u00e7a Ita\u00fa Cultural<\/em> [1] data base as a source and the verification that some festivals with national repercussion are quickly known in the dance environment, therefore, we refer to the ones to which we have more access. These festivals do not only present dances but are also chances to understand the curatorship, articulate the types of dance that are shown in that edition and, with this, to stimulate a debate on the ways of organizing dance that interest many people.<\/p>\n

We also chose not to consider the competitive festivals because of the focus contemporary dance has with respect to a research of language, investigation or simply a form to articulate a critical thought before the dance that it creates.<\/p>\n

This said, we go to some festivals or meetings or events that, besides showing a dance program which evidences a curatorship, also articulate such choices and point to debates, with round tables, lectures, residences or workshops. We also consider theoretical-practical meetings or congresses that deeply think about dance.<\/p>\n

The Festival Panorama de Dan\u00e7a <\/strong>(www.panoramafestival.com<\/a>) is recognized in and out of the country as a reference point, for the audacity of its curatorship – 10 years in the choreographer Lia Rodrigues\u2019 hand, plus some years in collaboration with Roberto Pereira and S\u00edlvia Soter and for last the 3 years coordinated by Eduardo Bonito and Nayse Lopez – and for the intense irrigation of new ideas and formats. The project Nov\u00edssimos is highlighted, it includes choreographers and critics. The international residences, characterized with visits of choreographers such as Thomas Lehmen, who was in the program this year again, and others. This year, the Panorama has already happened in its version Encontros Imediatos (see details in the site) and, in Rio de Janeiro, occured from the 10th to the 22nd of November.<\/p>\n

The FID<\/strong> (www.fid.com.br<\/a>) \u2013 also known as F\u00f3rum Internacional de Dan\u00e7a de Belo Horizonte – has a curatorship by Adriana Banana, also a choreographer and activist of a critical practice in dance. The change of the name of the festival to f\u00f3rum was not without purpose. A project with diverse programs and actions throughout the year: Circulando BH (September), Territ\u00f3rio Minas (July to November) and Conex\u00e3o InterNacional (November). It brings, therefore, a concern to extend the activities throughout the year and not to limit the event to a few days. For the past year, the FID launched its own publishing company. Feeling the need not to depend on the commercial rules of conventional publishing companies, FID again innovates, promoting the publication of important theses by Brazilian researchers. For details, consult the site. Of these two past ones, it is worth visiting the site as a way of studying its trajectory along these past years.<\/p>\n

To follow the agenda of the year, the Festival de Dan\u00e7a do Recife<\/strong> (http:\/\/www.recife.pe.gov.br<\/a> – official site) happened from the 5th to the 14th of October. With the presentation and curatorship by Ernesto Gadelha and with the subject Meetings and Displacements, the eleventh edition of the Festival de Dan\u00e7a do Recife, promoted by the City hall of Recife, through the Secretariat of Culture and Culture Foundation, brings activities like free workshops of Contemporary Dance and Street Dance, Artistic Residence and Theoretical-Practical Courses of Video-dances and a Seminary: Dance and New Technologies. It also has the Mostra Dan\u00e7a em Foco, and a series of meetings Dan\u00e7a em Palavras.<\/p>\n

References from the Northeast\/North can also be cited, although extinct, Festival Interates<\/strong> organized by Lina do Carmo due to its repercussion in its two years of controversial presentations and positive cultural invasion in the middle of the Capivara Mountain range.<\/p>\n

Situated at the other geographic extreme and in this year\u2019s agenda, is the 6\u00aa Mostra de Dan\u00e7a de Corumb\u00e1<\/strong> (www.dancacorumba.com.br<\/a>) that happened from the 9th to 15th of October of this year. With the coordination of M\u00e1rcia Rol\u00f3n, it congregates artists of the region and promotes an important flow in the rich but distant context of Mato Grosso do Sul. For information, consult contato@dancacorumba.com.br<\/a>.<\/p>\n

Two other interesting examples of contexts seen as barren, although situated in the interior of S\u00e3o Paulo \u2013 a state considered as artistic – are the Festival de Dan\u00e7a de Araraquara<\/strong> that had its 6th edition in September of this year, and Publica Dan\u00e7a<\/strong> in Votorantim that happened in May of this year. They demonstrate how it is vital, as well as possible, to articulate new formats, including a bulletin with small articles by many dance people.<\/p>\n

The first one (festivaldedanca@araraquara.sescsp.org.br<\/a>), in 2004, had a meeting of articulators from the Red Sudamericana de Danza (www.movimiento.org<\/a>) that launched a form of gathering and debating dance projects among Latin American countries that has been gradually happening since. It demonstrates a motivating position of dance actions in the city, which encloses the municipal public initiative, with the Escola Municipal de Dan\u00e7a Iracema Nogueira, and the engaged understanding of the choreographer and researcher Gilsamara Moura, curator and organizer of the event, that made feasible the understanding of how dance can transform the local context. It is preparing next year\u2019s edition.<\/p>\n

The second project mentioned is organized by Quadra – people and ideas<\/strong> (www.quadrapessoaseideias.com.br<\/a>), where we can recognize the coordination of Marcelo Proen\u00e7a and Rodrigo Chiba, but it would be a mistake not to also think of the team of the young but articulate dance professionals of the city that collectively guide and decide about the event and its characteristics. In the meeting, among many activities, the initiative “Trai\u00e7\u00e3o da dan\u00e7a” (Dance treason) calls our attention. Those who can modify the dance and its context are committing treason, like the farm workers from the interior of S\u00e3o Paulo when they visit a farm and collectively do the work of the day in one morning, as a sort of positive treason against the owner of the farm. In this case, a welcome irony. Although it has already happened, Quadra also keeps up the habit of promoting meetings and projects during the year, as was the Programa de V\u00eddeo dan\u00e7a (middle of March of 2006) and the Dan\u00e7a Chiclete (presented in September). It is worth following in the site.<\/p>\n

If we were now to follow the agenda, we would probably find two important biennials for the year of 2007. The Bienal de Santos<\/strong>, promoted by SESC Santos and organized by Rose Freire, started in 1998 and in its 4th edition, had as its theme the Brazilian body in dance. Following initial intention, the biennial searches to mix in with the city and bring guests and selected professionals to promote a debate concerning the proposed subject. For more information, consult www.sescsp.org.br<\/a> or telephone (13) 3278-9800.<\/p>\n

Another festival that was important in the Northeastern context and is also calling the attention of many professionals is the Bienal de Dan\u00e7a do Cear\u00e1<\/strong> that in 2007 promotes its fifth edition. With companies from France, Switzerland and Brazil, occupying spaces in the city, the biennial happens in Fortaleza and also branches out to the interior of the state, as happened last year. With workshops guided by international choreographers, it has a net of support institutions, as well as the support of the Government of the State of Cear\u00e1 through the Secretariat of the Culture (Secult).<\/p>\n

Here, a reflection. The festivals have, in fact, the commitment to occupy the city and, with their impact, provide the public the possibility of getting to know other dances. It must also be remembered that this movement leaves echoes, marks in the cities, which must also be nourished with continuing initiatives.<\/p>\n

Another constant habit is to bring international artists to teach workshops or residencies or to show their choreographic works. It is worth remembering that they are not models nor do we speak here of aesthetic importations. More and more, foreign professionals interest us in as much as we interest them, at the same time that many Brazilian companies, professors or theoreticians yearn for to occupy the market and have circulation space opened by the festivals in their own country. To this, a difficulty is also added, to pay the costs of Brazilian professionals, above all air fares, in contrast to the facilitating politics of cultural interchange institutions that pay the international air fares of foreign artists. Curious, isn\u2019t it?<\/p>\n

Events of another nature, theoretical, make of dance a rich place of reflection and exchange between those who think and those who dance. The Condan\u00e7a<\/strong>, organized by Maria Valeska van Helden (condanca@terra.com.br<\/a>) congregated in many of its editions researchers and university professors of dance in order to think about strategies of development of dance within universities, be the courses technical, graduations, specializations and post-graduations, or even research groups, that have grown a lot in the last years. Such meetings finish by bringing together new ideas to foment dance education and its theoretical-practical reflection only has to gain by it. Maria Valeska van Helden also coordinates the Associa\u00e7\u00e3o Dan\u00e7a Alegre Alegrete that has an anniversary next year and plans a promising event.<\/p>\n

Another recent and remarkable example is the II Encontro de Dan\u00e7a e Filosofia<\/strong> (www.dancaefilosofia.net\/index.htm<\/a> and contact email: dancaefilosofia.inscr@gmail.com<\/a>) that occurred last September, in Rio de Janeiro, partnership with SESC Copacabana. Thought up and organized by Charles Feitosa, Roberto Pereira and Thereza Rocha, it strengthens a very specific and innovative function in the area: the promotion of deeper theoretical reflection, at the same time as it promotes the fertile meeting between artists and theoreticians.<\/p>\n

Although all lament the extinction of Dan\u00e7a Brasil<\/strong> (www.dancabrasil.com.br<\/a>), event promoted by the Centro Cultural Banco do Brasil, in Rio de Janeiro, two others have been created by Leonel Brum and his colleagues. Dan\u00e7a Crian\u00e7a<\/strong> (www.dancacrianca.com.br<\/a>) happened for the third time, a dance festival for children. With the creation of the Arte em Foco, artistic direction by Leonel Brum and his curatorship of it with S\u00edlvia Soter, the festival also relies on the sponsorship of the Teatro da Caixa Cultural of the city and on the promotion of a dance video exhibition for children, with curatorship by Luciana Ponso, Lucas Rodrigues and Cav\u00ed Borges and production by Cav\u00eddeo and Espa\u00e7o Caf\u00e9 Cultural (CDPD-RJ).<\/p>\n

As well as Leonel Brum and Paulo Caldas, the initial creators of this project, Dan\u00e7a em Foco<\/strong> (www.dancaemfoco.com.br<\/a>), also count on the direction of Eduardo Bonito and Regina Levy this past year. The international dance and video festival has been attending an urgent need of many choreographers of, as the presentation of the event says, using images as a possibility of creation of new aesthetic parameters. Created in 2003, in Rio de Janeiro, it is dedicated to the interface video\/dance, from the documentation of dance to the interactive choreographic installation. In 2004 it associated itself to the Festival Internacional de Videodanza del Uruguay<\/strong> and to the Festival Internacional de Video-Danza de Buenos Aires<\/strong> in the Videodan\u00e7a Mercosul Circuit. This year, the book Dance and Technology (Volume I) was published in a trilingual format with the presence of many specialized authors in the area – we cite Armando Menicacci, an Italian radicated in Paris and Ivani Santana, PhD in Communication and Semiotics (PUC-SP) and currently professor at the School of Dance at UFBA. This same year, it counts on the accomplishment of the Centro Telemar and the continued support of the SESC Rio de Janeiro. Contact emails of and for those who are interested in acquiring the book, information can be found on the internet site.<\/p>\n

With another intention, in Belo Horizonte, for the third consecutive year, the 1,2 na Dan\u00e7a<\/strong> happened, promoted by the Alterosa Theater and created by Jaqueline de Castro. It brings artists from all Brazil to show solos and duos in contemporary dance. For more information, contact jackiecastro@uol.com.br<\/a><\/p>\n

In Florian\u00f3polis, the Tubo de Ensaio<\/strong> also counts on the presence of artists interested in showing their work and exchanging among themselves. Coordinated by Sandra Meyer, Vera Torres and Jussara Xavier, this year launched a book that tells about the event and its repercussions, that was also commented on in a recent article on this site. For more information, contact sandrameyer@globo.com<\/a>.<\/p>\n

Now follow the schools of reference that promote meetings and projects that are worth getting to know throughout the year. We mention the Casa Hofmann in Curitiba here. You can receive information by registering in the mailing list through the email nucleodancapr@yahoo.com.br<\/a> or see the past and future events in the Funda\u00e7\u00e3o Cultural de Curitiba site (www.fccdigital.com.br<\/a>), to whom the casa Hoffmann is subordinated. With the coordination of Marila Velloso, it has edicts for creators and artistic orientators, it has weekly meetings and dance exhibitions throughout the year.<\/p>\n

The Est\u00fadio Nova Dan\u00e7a, in S\u00e3o Paulo, after long years promoting the Ter\u00e7as na Dan\u00e7a<\/strong>, since 2004 promotes the Sexta na Tomada<\/strong> (estudio@novadanca.com.br<\/a>), as it is defined in the site, a “free and advanced space and that, technically, brings a challenge to the performer to decide with a light bulb and a cd player”. The project accepts finished and unfinished processes. It happens on the last Friday of the month and is coordinated by \u00c9rika Moura.<\/p>\n

The Est\u00fadio Move together with the N\u00facleo Art\u00e9rias produces for the third year Teorema<\/strong> (contact email is teorema@estudiomove.com.br<\/a> and more information on the site www.estudiomove.com.br<\/a>) created by Adriana Grecchi, conceptual formatting, coordination and curatorship by Fabiana Dultra Britto and contribution of Plat\u00f4 Produ\u00e7\u00f5es. It registers, selects and presents choreographic works together with the challenge of each person, who can be an academic, artist or an interested party, to propose a theorem at the end of each night of presentations. The program happens once a month in the second semester of the year.<\/p>\n

Finally, it must be said that, certainly, there are many other dance festivals, meetings and events in the country, each one has its relevance and function in the context of the contemporary dance, either locally, or in all that the extension can enclose. The question placed here, apart from a small agenda that can point out creators and artists interested in exchanging ideas, is to promote a reflection of how these festivals are articulated. It is each time more important to know how and where they happen, once the material they produce or congregate, be they videos or programs is study material.<\/p>\n

Some other examples: Porto Alegre em dan\u00e7a, Festival de Jo\u00e3o Pessoa, Mostra XYZ de Bras\u00edlia<\/strong> (www.dancaxyz.com.br<\/a>) and Mostra Sesi de Dan\u00e7a<\/strong> in S\u00e3o Paulo, as well as the ones of lesser scope but equally excellent for the city of S\u00e3o Paulo, for example, the series of Feminino e Masculino na Dan\u00e7a, Solos, Duos and Trios and Semanas de Dan\u00e7a<\/strong>, promoted by the Centro Cultural S\u00e3o Paulo.<\/p>\n

As it is possible to see, there are many different strategies and they are occupying new spaces, making us reflect which are our gaps or necessities of circulation. It is worth saying that one of them is having mailing lists and sites about these festivals that can bring together necessary information and also facilitate people\u2019s access to their agendas, their programs, including past ones.<\/p>\n

This article intends to be informative as well as reflective on such conditions. How do we relate to the information collected from a festival? How do we use it for our production or our positioning facing the provocations they bring? How does our circulation as professionals, autonomously in the greater part, make of that which we dance a place irrigated by how much we are capable to exchange in these or other environments that we circulate?<\/p>\n

Festivals or similar events promote meetings, besides forming a public; they provoke new ideas, as well as reconsidering those that we call old and, before this, it remains for us to choose what attitude we will take facing this reality. Do we participate? How? Do we have new options or do we repeat old models of passive observers?<\/p>\n

An invitation to the meetings.<\/p>\n

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

[1] Consult the site www.itaucultural.org.br<\/a>. From the beginning of 2007, when Rumos Dan\u00e7a happens, the updated edition of the data base will be available.<\/p>\n

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

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