{"id":360,"date":"2005-01-21T00:00:00","date_gmt":"2005-01-21T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/01\/21\/politicidade-no-corpo-na-danca\/"},"modified":"2008-08-06T19:23:44","modified_gmt":"2008-08-06T22:23:44","slug":"politicidade-no-corpo-na-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/","title":{"rendered":"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance"},"content":{"rendered":"

Na 13a. Edi\u00e7\u00e3o, com dire\u00e7\u00e3o art\u00edstica de Lia Rodrigues e curadoria de Nayse Lopez e Eduardo Bonito, O Panorama Rioarte de Dan\u00e7a trouxe algo de muito especial no percurso do festival: a possibilidade de novos olhares, tanto na programa\u00e7\u00e3o a cargo dos curadores, quanto na coordena\u00e7\u00e3o dos Nov\u00edssimos, que ficou por conta de Beatriz Cerbino. Um novo olhar n\u00e3o significa somente trazer novas possibilidades, mas tamb\u00e9m oferecer a chance reconhecermos aquilo que foi estabelecido pelos 12 anos do festival. Seja no exerc\u00edcio das parcerias ou no olhar para novos criadores, o Panorama mostra uma preocupa\u00e7\u00e3o pol\u00edtica diante da dan\u00e7a contempor\u00e2nea feita no Brasil e no exterior. <\/span><\/p>\n

\u00c9 necess\u00e1rio lembrar que este ano a verba foi reduzida pela metade. A perman\u00eancia de um incentivo p\u00fablico para a realiza\u00e7\u00e3o do evento significa um engajamento, um compromisso. Isso se estende para popula\u00e7\u00e3o, que tem acesso aos espet\u00e1culos e a uma reflex\u00e3o s\u00e9ria e consistente na dan\u00e7a e, claro, aos profissionais. Trata-se de um percurso de identidade da hist\u00f3ria, cultura e de uma pol\u00edtica de se fazer dan\u00e7a no Rio e no pa\u00eds. O significado do corte vai alem dos n\u00fameros, e \u00e9 sempre bom lembrar da import\u00e2ncia de um compromisso p\u00fablico.<\/p>\n

Neste ano, as parcerias aumentaram. A li\u00e7\u00e3o \u00e9 de colabora\u00e7\u00e3o e converg\u00eancia de interesses das diversas institui\u00e7\u00f5es parceiras: Instituto Cervantes, Instituto Goethe, British Council, Ita\u00fa Cultural, Consulado Geral da Fran\u00e7a e SESC Rio. As parcerias tiveram um papel conceitual que foi possibilitar a presen\u00e7a e a co-habita\u00e7\u00e3o de v\u00e1rias id\u00e9ias de dan\u00e7a, vindas de v\u00e1rios lugares. Dois exemplos deste tipo de engajamento s\u00e3o o Ita\u00fa Cultural com o Programa Rumos Dan\u00e7a e o British Council. O primeiro esteve presente no Panorama com a Noite Rumos Dan\u00e7a\/Panorama. Durante tr\u00eas noites, foram apresentados trabalhos cariocas pr\u00e9-selecionados no programa que aconteceu in\u00edcio de 2004 em S\u00e3o Paulo. Outra parceria foi o British Council, que j\u00e1 havia promovido a palestra de James Tyson e, agora, trouxe Louis Keidan, diretora do Live Art Development Agency, para falar de Live Art.<\/p>\n

Que conseq\u00fc\u00eancias o debate sobre Live Art traz para o pensamento dos artistas l\u00e1 presentes? As implica\u00e7\u00f5es desta oportunidade de troca certamente se replica para a dan\u00e7a e para os artistas interessados em artes vivas e perform\u00e1ticas da cidade do Rio de Janeiro. E ainda, isso pode reverberar em outros artistas no pa\u00eds todo. O debate da contamina\u00e7\u00e3o entre estas tend\u00eancias vem sendo travado entre os core\u00f3grafos e te\u00f3ricos envolvidos com a quest\u00e3o. Vale dizer que artes perform\u00e1ticas e Live Art s\u00e3o \u00e1reas distintas, com pontos em comum, com estudos por vezes diferentes, tanto teoricamente como esteticamente.A Casa Hoffman, Centro de Forma\u00e7\u00e3o do Movimento, possibilitou a vinda de cinco bolsistas no Teatro Carlos Gomes. Al\u00e9m do fato da Casa Hoffman promover a vinda de core\u00f3grafos de diversos lugares (como o espet\u00e1culo de Juan Dominguez, Tous les bons espions sont de mon \u00e2ge<\/em>, 2002 ) e de core\u00f3grafos e te\u00f3ricos brasileiros como Roberto Pereira e Lia Rodrigues, oferece tamb\u00e9m a oportunidade de delinear um grupo de interesses acerca dos artistas participantes. Isso foi apresentado no evento Da Casa, com os core\u00f3grafos Elisabete Finger, Michelle Moura, Ricardo Marinelli, Andr\u00e9a Serrato e Cristiane Bouger. Os interesses se dirigiam para um discurso cr\u00edtico sobre o corpo, para a experimenta\u00e7\u00e3o de estruturas de apresenta\u00e7\u00e3o em sess\u00f5es e salas separadas no Teatro Carlos Gomes e, principalmente, o que da performance d\u00e1 conta de elaborar corpo, cena e coreografia. Primeiramente, este grupo nos lembra que uma forma\u00e7\u00e3o n\u00e3o se restringe a aprender movimentos, mas tamb\u00e9m a entender que implica\u00e7\u00f5es pol\u00edticas o como fazer movimentos<\/em> traz consigo. Al\u00e9m de autonomia e investiga\u00e7\u00e3o, a apresenta\u00e7\u00e3o dos curitibanos da Casa Hoffman ecoa a afirma\u00e7\u00e3o que o que est\u00e1 fora do eixo, est\u00e1, de fato, dentro de uma atua\u00e7\u00e3o de pesquisa e engajamento na dan\u00e7a contempor\u00e2nea no Brasil. Foi de extrema import\u00e2ncia o Panorama lembrar que isso ocorre al\u00e9m das fronteiras de S\u00e3o Paulo, Rio de Janeiro e dos core\u00f3grafos europeus.<\/p>\n

No vi\u00e9s de questionar as fronteiras do pr\u00f3prio fazer, La Ribot convida 20 n\u00e3o-dan\u00e7arinos a passarem por uma resid\u00eancia de uma semana acerca do tema dos espont\u00e1neos<\/em>. Junto com seu assistente de dire\u00e7\u00e3o, Juan Dominguez, e as assistentes Tania Arias Winogradow e Corinne Garc\u00eda, La Ribot provoca a cena com a presen\u00e7a dos espont\u00e1neos<\/em> numa sala, por 60 minutos, executando a\u00e7\u00f5es simples como rir, simular morrer (cair no ch\u00e3o), mostrar seu n\u00famero. Isso vai aos poucos montando a cena. O que La Ribot acaba por subverter definitivamente \u00e9 a fun\u00e7\u00e3o da cena. Ao mesmo tempo que mostra uma fic\u00e7\u00e3o, ou seja, o teatro com regras pr\u00f3prias que na realidade \u00e9 uma grande simula\u00e7\u00e3o, mostra tamb\u00e9m corpos humanos caindo num ch\u00e3o manchado de vermelho. O papel dos espont\u00e1neos<\/em> \u00e9 uma refer\u00eancia aos invasores de uma tourada. S\u00e3o, por defini\u00e7\u00e3o, aqueles que invadem a arena, quebram as regras do jogo, roubam a capa do toureiro com uma dose extra de risco. Que regras s\u00e3o estas do teatro? Quem rouba mesmo a cena: aquele que ocupa do lugar de performer ou o olhar do observador? Que risco n\u00f3s espectadores tamb\u00e9m um pouco “penetras” corremos ao nos confrontarmos com informa\u00e7\u00e3o art\u00edsticas que podem mudar nossa concep\u00e7\u00e3o de coisas aparentemente t\u00e3o banais?<\/p>\n

Foi um festival de encontros e n\u00e3o somente de espet\u00e1culos prontos para serem assistidos. Encontro foi, por defini\u00e7\u00e3o, o que aconteceu na s\u00e9rie de performances em sess\u00f5es continuadas na Benefic\u00eancia Portuguesa nos primeiros dias do festival, chamado de Encontros Imediatos Lisboa \u2013 Rio, que reuniu core\u00f3grafos de Portugal e core\u00f3grafos cariocas.<\/p>\n

O Panorama, como em outras edi\u00e7\u00f5es, traz n\u00e3o somente os espet\u00e1culos, mas a reflex\u00e3o viva de temas da dan\u00e7a. E um deles que se evidenciou intensamente \u00e9 a rela\u00e7\u00e3o entre dan\u00e7a, performance e o pol\u00edtico em cena. Alguns foram os \u00edcones desta discuss\u00e3o: Hooman Sharifi, Wagner Schwartz, Luiz de Abreu e Cia. Membros de Dan\u00e7a. Vejamos: um iraniano radicado na Noruega, um mineiro, um outro mineiro radicado em S\u00e3o Paulo e um grupo de dan\u00e7a de rua de Niter\u00f3i. O que h\u00e1 de comum nestes core\u00f3grafos? Primeiro, podemos destacar uma preocupa\u00e7\u00e3o maior com o discurso pol\u00edtico e critico na cena do que com uma estrutura coreogr\u00e1fica que acomode passos de dan\u00e7a. O compromisso \u00e9 com uma presen\u00e7a c\u00eanica que possa exibir o grau de engajamento com o que se tem para dizer. E isso \u00e9 uma atitude pol\u00edtica. Dessa atitude que, de fato, \u00e9 um dos importantes impulsos dos artistas, o corpo n\u00e3o \u00e9 s\u00edmbolo, n\u00e3o representa algo que est\u00e1 fora dele como algo descolado dele. O corpo \u00e9 o que ele diz, presentifica sua forma de expor quest\u00f5es, que vem sendo, afinal, o mote propulsor de muitos debates em dan\u00e7a contempor\u00e2nea. O que \u00e9 isso sen\u00e3o uma das preocupa\u00e7\u00f5es centrais das artes da performance?<\/p>\n

Hooman Sharifi (As if your death was your longest sneeze ever) vem se dedicando a formular em cena uma premissa: arte = pol\u00edtica. Isso est\u00e1 presente na rela\u00e7\u00e3o dan\u00e7arino\/espectador, nas frases lan\u00e7adas no ar e na dan\u00e7a que est\u00e1 cercando voc\u00ea. Wagner Schwartz (Wagner Ribot Pina Miranda Xavier le Schwartz Transobjeto) parece estar abrindo a hist\u00f3ria, desconhecida pela maioria dos brasileiros. Qual \u00e9 realmente o papel que cumpre na hist\u00f3ria das artes e da postura pol\u00edtica dos artistas uma tal de Lygia Clark, um tal de H\u00e9lio Oiticia, e uns mais conhecidos, por sinal todos estrangeiros, como Pina Bausch, Xavier le Roy e a pr\u00f3pria La Ribot? Que tipo de contamina\u00e7\u00f5es est\u00e3o em jogo? A prop\u00f3sito, Luiz de Abreu (O Samba do Crioulo Doido) faz uma pergunta semelhante, mas diante do corpo negro, que ironicamente, \u00e9 a carne mais barata do mercado. Sua ousadia \u00e9 ofuscante e instiga a quem um dia cantou o hino diante da bandeira nacional. A Cia. Membros de Dan\u00e7a (Elemento Bruto e Raio X), coreografada por Ta\u00eds Vieira e dirigida por Paulo Azevedo, tamb\u00e9m discute um posicionamento pol\u00edtico nacional, mas que derruba as fronteiras entre a dan\u00e7a de rua e a dan\u00e7a contempor\u00e2nea. Aproximam-se da m\u00e1xima que deveria ser respeitada: eu s\u00f3 quero fazer meu trabalho, ser considerado um profissional no campo da dan\u00e7a, t\u00e3o comum a tantos profissionais. At\u00e9 que ponto a sociedade induz o mesmo preconceito na figura do dan\u00e7arino num pa\u00eds de fome? O que \u00e9 ter fome de fazer arte? E ainda n\u00e3o ser reconhecido no seu papel social e pol\u00edtico: ser um artista da dan\u00e7a?<\/p>\n

Os core\u00f3grafos cariocas encaminham tamb\u00e9m um debate pol\u00edtico entre dan\u00e7a e performance, podendo inclusive confundir um desavisado que se trata efetivamente de dan\u00e7a. Dan\u00e7a esta que se utiliza de recursos performativos que est\u00e3o num corpo contempor\u00e2neo, encarnando-os como c\u00f3digos. N\u00e3o s\u00e3o passos de dan\u00e7a, mas podem ser reconhecidos como uma t\u00e9cnica, como uma forma de fazer e pensar a cena. A necessidade de questionar os processos e reconhecer que perguntas rodeiam estes core\u00f3grafos. J\u00e1 havia sido posto como um exerc\u00edcio pelo te\u00f3rico franc\u00eas Christophe Wavelet, na ocasi\u00e3o de um semin\u00e1rio do Panorama do ano passado. Este procedimento marcou esta gera\u00e7\u00e3o e impulsionou um modo de pensar a pesquisa coreogr\u00e1fica. Tal modo deve estar no singular, porque algo costura estes core\u00f3grafos. Mas n\u00e3o se trata somente de uma forma de fazer, mas de pensar o fazer. Por isso, o que resta, \u00e9 um compromisso de continuar questionando porque, certamente, estes novos core\u00f3grafos est\u00e3o abrindo novas possibilidades de cria\u00e7\u00e3o diferentes. S\u00e3o eles: Micheline Torres com Eros\u00e3o e conserva\u00e7\u00e3o do solo<\/em>, Claudia Muller com Dois do seis de setenta<\/em>, Gustavo Barros com O Relat\u00f3rio G<\/em>, Paula \u00ffguas com N\u00e3o alimente o animal<\/em> e Marcela Levi com Massa de sentidos<\/em>. E ainda, o espet\u00e1culo de Cristina Moura, I was born to die<\/em>.<\/p>\n

O Panorama vem sempre lembrar, a cada ano, que \u00e9 na troca de informa\u00e7\u00e3o, no debate aberto das tend\u00eancias e na postura pol\u00edtica do festival e de seus participantes que podemos afinar um pouco mais nossa localiza\u00e7\u00e3o na sociedade e nossos interesses. E \u00e9 disso que trata uma certa politicidade: da forma de reconhecimento das nossas a\u00e7\u00f5es no mundo.<\/p>\n

*Nirvana Marinho \u00e9 pesquisadora em dan\u00e7a e uma das coordenadoras do projeto www.idanca.net.The 13th edition of Panorama RioArte de Dan\u00e7a, which featured Lia Rodrigues as art\u00edstic director and Nayse Lopez and Eduardo Bonito as curators, offered participants something very special: the possibility of new ways of looking at the program, which is the curators\u2019 responsibility, and the coordination of Nov\u00edssimos, which was up to Beatriz Cerbino. A new way of looking at things does not only bring new possibilities, but it also offers participants the chance to recognize that which was established over the 12 years of festival. Whether it be through new partnerships or the view of new creators, Panorama has demonstrated a political concern in relation to the contemporaneous dance developed in Brazil and abroad. <\/span><\/p>\n

It is important to keep in mind that this year, the funding was cut by half. The permanence of public money granted for the event is an engagement, a commitment. That also goes for the population that has the chance to see the shows, they have the chance to experience a serious and consistent reflection in dance and, of course, they have a chance to see the dance professionals. It is all about a route of history and cultural identity and the politics of dancing in Rio and in Brazil. The meaning of such a cut-back is something that goes beyond numbers. It is always good to bear in mind the importance of a public commitment.<\/p>\n

This year we have had more partnerships. The lesson we learned is one of collaboration and convergence of interests of the many partner institutions: Cervantes Institute, Goethe Institute, British Council, Ita\u00fa Cultural, the General Consulate of France and SESC Rio. The partnerships had a conceptual role: one of making the presence of many ideas of dance from many places and their cohabitation possible. There are two examples of this kind of commitment: Ita\u00fa Cultural, with its Rumos Dan\u00e7a Program, and the British Council. The former was in Panorama with Noite Rumos Dan\u00e7a\/Panorama. For three nights, there were presentations of projects from Rio that had been previously selected in a program that took place at the beginning of this year in S\u00e3o Paulo. The latter had already promoted a lecture given by James Tyson and now has brought the director of Live Art Development Agency, Louis Keidan, to talk about Live Art.<\/p>\n

What effect does the debate of Live Art have on the minds of the artists present there? The consequences of this exchange opportunity certainly go back to the dance and the artists interested in the live and performed art in Rio de Janeiro. That can also be reflected in other artists all over the country. The debate on the contamination of these trends has been going on among the choreographers and the theorists involved. It\u2019s worth mentioning that Live Art and performed arts are two different areas with things in common, they have studies that are sometimes different as much theoretically as aesthetically.<\/p>\n

Casa Hoffman, which is the Center where the Movement was created, brought five scholarship holders to Carlos Gomes Theater. Casa Hoffman has been bringing choreographers from many places (such as in Juan Dominguez’ performance, Tous les bons espions sont de mon \u00e2ge<\/em>, 2002 ) and Brazilian choreographers and theorists such as Roberto Pereira and Lia Rodrigues. It also offers the chance of creating an interest category around the artists and participants. That was presented in Da Casa, with the choreographers Elisabete Finger, Michelle Moura, Ricardo Marinelli, Andr\u00e9a Serrato and Cristiane Bouger. The interests focused on a critical discussion over the body, over the experiment of presentation structures in sessions and separated rooms of Carlos Gomes Theater. But mainly, it focused on how the presentation can work and elaborate body, scene and choreography. First of all, this group reminds us that a formation should not only restrict itself to learning movements, but also to understand what political implications there are, the how to make movements. The presentation of the group from Curitiba at Casa Hoffman was a demonstration of autonomy and investigation, but it also echoes the statement that what is out of order is, in fact, inside a research Project and the engagement of the contemporaneous dance in Brazil. It was extremely important that Panorama brought up the fact that this occurs beyond the frontiers of S\u00e3o Paulo, Rio de Janeiro and the European choreographers.<\/p>\n

As a way of questioning the frontiers of creation, La Ribot invites 20 non-dancers to spend a week of resident time studying the espont\u00e1neos<\/em> theme. La Ribot works with his assistant director, Juan Dominguez, with Tania Arias Winogradow and Corinne Garc\u00eda. He makes the scene with the presence of the espont\u00e1neos<\/em> in a room for 60 minutes. There, she present simple actions, such as laughing, pretending to die (falling on the floor), she shows her number. That amounts to the scene little by little. What La Ribot has totally changed is the function of the scene. At the same time that she shows fiction, that is, the theater with its own rules and is, in fact, a big simulation, she also shows human bodies falling on a red-stained floor. The espont\u00e1neos<\/em> role is a reference to the invaders of a bull fight. By definition, they are those who invade the arena, break the rules, steal the toreador\u2019s cape with an extra twist of danger. What are the rules of the theater? Who steals the scene: the performer or the spectator? What kind of risk do we, spectators, also party-crashers, run when we face artistic information that can change our way of seeing apparently trivial things?<\/p>\n

It was a festival full of meetings, not only of performances ready to be seen. The meeting that happened in the series of performances in continuous sessions at Benefic\u00eancia Portuguesa on the very first days of the festival was called Encontros Imediatos- Lisboa Rio, which gathered choreographers from Portugal and Rio.<\/p>\n

Panorama, as in other editions, brings not only performances but also the live reflection of dance themes. One of those themes that caught people\u2019s attention was the relation between dance, performance and politics on stage. The icons of this discussion: Hooman Sharifi, Wagner Schwartz, Luiz de Abreu & Cia. Dance members. Let\u2019s see: an Iranian who lives in Norway, a person from Minas, another person from Minas who lives in S\u00e3o Paulo and a group of street dance from Niter\u00f3i. What do these choreographers have in common? First of all, we can see that there is a greater worry about the political and critical speech on stage than about a structure of the choreography that has some dance steps fit into it. There is the need to commit to a scene that can show the level of engagement to what one has to say. That is a political action. In fact, this action is one of the important impulses of the artists: the body is not a symbol, it does not represent something which is outside it, something detached from it. The body is what it says to be. It makes its way of proposing questions present. Questions that have turned out to be the propelant topic to many debates on contemporaneous dance. What is this, if not the main goal of the performing arts?<\/p>\n

Hooman Sharifi (As if your death was your longest sneeze ever) has put lots of dedication on creating a premise on stage: art = politics. This can be seen in the dancer\/spectator relationship, in the loose sentences and the surrounding dance. Wagner Schwartz (Wagner Ribot Pina Miranda Xavier le Schwartz Transobjeto) seems to be opening the history which is so unknown by most Brazilians. What is the real role in the history of parts and political attitude that artists such as some woman called Lygia Clark, a so called H\u00e9lio Oiticia, and some other names of foreign people one has never heard of, such as Pina Bausch, Xavier le Roy and La Ribot herself? What kind of contamination is at stake? In fact, Luiz de Abreu (O Samba do Crioulo Doido (Samba of the Crazy Black Man)<\/em>) proposes a similar questioning in relation to the black body which is, ironically, the cheapest meat in the market. He is incredibly daring and instigating, especially for those who once sang the National Anthem, eyes resting on the Brazilian flag. The Cia. Dance members (Elemento Bruto and Raio X<\/em>), choreographed by Ta\u00eds Vieira and directed by Paulo Azevedo also discusses a national political positioning, but it also breaks the barriers between street dance and contemporaneous dance. They approach a machinery that should be respected: the I-just-want-to-do-my-job. I-want-to-be-considered-a-professional attitude in the dance area, which is so common to so many people. How prejudiced can society be in relation to dance in a country stricken by hunger? What does it mean? This hunger for art? And yet, not to be recognized when playing a socio-political role: to be a dance artist?<\/p>\n

The choreographers from Rio have also proposed a political debate between dance and performance. It might also lead someone into thinking it that it is only about dance. Such dance makes use of performance devices which are in a contemporaneous body, and faces them as codes. They are not dance steps, but they can be seen as a technique, as another way of doing the scene and thinking about it. There is the need of questioning the processes and recognizing the questions surrounding these choreographers. On the last year edition of Panorama, the French theorist had already suggested this kind of attitude as an exercise. This procedure was a milestone for this generation and stimulated another way of thinking about the research of choreography. Such a way must be singular, because there is something that sews these choreographers together. However, it is not only a matter of doing something, but also of thinking about the doing in itself. That is why what is left is the commitment of continuous questioning, because certainly these new choreographers are opening new and different certain possibilities. They are: Micheline Torres in Eros\u00e3o e conserva\u00e7\u00e3o do solo (The eroding and preservation of soil) <\/em>, Claudia Muller in Dois do seis de setenta (The second of June, 1970)<\/em>, Gustavo Barros in O Relat\u00f3rio G (The G Report)<\/em>, and Marcela Levi in Massa de sentidos (Dough of senses)<\/em>. And finally Cristina Moura\u2019s presentation: I was born to die<\/em>.<\/p>\n

What Panorama is trying to tell us every year is that we have to exchange information, discuss trends, see the political positioning of the festival and its participants. Only then can we pinpoint where we are in society and what our interests are. And that\u2019s what being political is about: the way we see our actions in the world.<\/p>\n

* Nirvana Marinho is a dance researcher and one of the coordinators of www.idanca.net.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nirvana Marinho analisa coreografia, live art e performance na \u00faltima edi\u00e7\u00e3o do Panorama<\/span>Nirvana Marinho analyses dance, live art and performance in the last edition of Panorama<\/span><\/p>\n","protected":false},"author":74,"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":[49,28],"tags":[],"yoast_head":"\nPoliticidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -<\/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\/politicidade-no-corpo-na-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -\" \/>\n<meta property=\"og:description\" content=\"Nirvana Marinho analisa coreografia, live art e performance na \u00faltima edi\u00e7\u00e3o do PanoramaNirvana Marinho analyses dance, live art and performance in the last edition of Panorama\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2005-01-21T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-06T22:23:44+00:00\" \/>\n<meta name=\"author\" content=\"Nirvana Marinho\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Nirvana Marinho\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/\",\"url\":\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/\",\"name\":\"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2005-01-21T00:00:00+00:00\",\"dateModified\":\"2008-08-06T22:23:44+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/8e9706908994178c937ae1194c7f1c80\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance\"}]},{\"@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\/8e9706908994178c937ae1194c7f1c80\",\"name\":\"Nirvana Marinho\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/29176d45b80e07ab6f546c671d8d6072?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/29176d45b80e07ab6f546c671d8d6072?s=96&d=mm&r=g\",\"caption\":\"Nirvana Marinho\"},\"description\":\"\u00e9 dan\u00e7arina e pesquisadora, atualmente coordena o projeto de acervo e videoteca Mariposa ::: Nirvana Marinho is dancer and researcher, coordenates the heap project and video library Mariposa.\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/nirvanamarinho\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -","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\/politicidade-no-corpo-na-danca\/","og_locale":"pt_BR","og_type":"article","og_title":"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -","og_description":"Nirvana Marinho analisa coreografia, live art e performance na \u00faltima edi\u00e7\u00e3o do PanoramaNirvana Marinho analyses dance, live art and performance in the last edition of Panorama","og_url":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2005-01-21T00:00:00+00:00","article_modified_time":"2008-08-06T22:23:44+00:00","author":"Nirvana Marinho","twitter_misc":{"Escrito por":"Nirvana Marinho","Est. tempo de leitura":"18 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/","url":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/","name":"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2005-01-21T00:00:00+00:00","dateModified":"2008-08-06T22:23:44+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/8e9706908994178c937ae1194c7f1c80"},"breadcrumb":{"@id":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/politicidade-no-corpo-na-danca\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Politicidade: no corpo, na dan\u00e7a | Politics: in the body, in dance"}]},{"@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\/8e9706908994178c937ae1194c7f1c80","name":"Nirvana Marinho","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/29176d45b80e07ab6f546c671d8d6072?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/29176d45b80e07ab6f546c671d8d6072?s=96&d=mm&r=g","caption":"Nirvana Marinho"},"description":"\u00e9 dan\u00e7arina e pesquisadora, atualmente coordena o projeto de acervo e videoteca Mariposa ::: Nirvana Marinho is dancer and researcher, coordenates the heap project and video library Mariposa.","sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/nirvanamarinho\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/360"}],"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\/74"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=360"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/360\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}