{"id":40,"date":"2003-01-12T00:00:00","date_gmt":"2003-01-12T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/12\/uma-ponte-para-recife\/"},"modified":"2008-06-13T17:53:54","modified_gmt":"2008-06-13T20:53:54","slug":"uma-ponte-para-recife","status":"publish","type":"post","link":"https:\/\/idanca.net\/uma-ponte-para-recife\/","title":{"rendered":"Uma ponte para Recife | Bridge for Recife"},"content":{"rendered":"

O Festival de Dan\u00e7a do Recife poderia ter colocado uma dessas faixas “Mudamos e re-inauguramos sob nova dire\u00e7\u00e3o dia 5 de novembro”, assim como vemos nos estabelecimentos que mudam de m\u00e3os. Se at\u00e9 ent\u00e3o era de import\u00e2ncia bastante localizada, a partir dessa 8\u00aa edi\u00e7\u00e3o o festival se alarga, abre, mas n\u00e3o a ponto de quebrar. Come\u00e7a estabelecendo novas e boas conex\u00f5es – \u00e9 mesmo esse o in\u00edcio de qualquer movimento – com o Sindicato dos Artistas e com a Universidade Federal de Pernambuco, al\u00e9m de contar com tr\u00eas curadores: Arnaldo Siqueira, Ivonete Melo e Marcelo Zamora. Tudo isso sob a reg\u00eancia de Adriana Faria, que assina a coordena\u00e7\u00e3o geral. Espalhado por quatro teatros e dois p\u00e1tios (bel\u00edssimos e invariavelmente lotados) a programa\u00e7\u00e3o intensa de cinco dias exibiu novos core\u00f3grafos e companhias pernambucanas est\u00e1veis como Cia. Vias de Dan\u00e7a, Grupo Grial de Dan\u00e7a, Cia. de Dan\u00e7a Artefolia, entre outros. Al\u00e9m de companhias do nordeste e sudeste (Bal\u00e9 da Cidade de S\u00e3o Paulo, Balagandan\u00e7as (SP), Cia. Ser\u00e1 Qu\u00ea?(MG), Lia Rodrigues Cia. de Dan\u00e7a (RJ), Cia. Steven Harper (RJ), Marcia Milhazes Dan\u00e7a Contempor\u00e2nea (RJ), Sua Cia. de Dan\u00e7a (BA) e Romero Mota (PB)). E os internacionais Sonia Baptista (Portugal) e Rachid Ourandame \/ Julie Nioche (Fran\u00e7a). E ainda uma longa noite dedicada a grupos de dan\u00e7a folcl\u00f3rica.<\/p>\n

A primeira impress\u00e3o \u00e9 de uma programa\u00e7\u00e3o irregular, cheia de franjas. Uma programa\u00e7\u00e3o ansiosa por tudo, tentando acomodar o que j\u00e1 era do festival, a produ\u00e7\u00e3o que existia mas n\u00e3o pertencia \u00e0s edi\u00e7\u00f5es anteriores e a perspectiva dos novos realizadores. Essa \u00e9 uma maneira de mudar: romper sem rompantes. Sinalizando ao p\u00fablico fiel e participante que h\u00e1 aquilo que eles j\u00e1 admiram e muito mais, que d\u00e1 para virar outras esquinas sem medo de se perder. Numa mesma noite M\u00e1rcia Milhazes nos encaminha pelo desconhecido e a Ic\u00f3gnum Cia. de Dan\u00e7a traz o confort\u00e1vel teatro de manipula\u00e7\u00e3o, deixando claro um exemplo de acomoda\u00e7\u00e3o. \u00c9 como se eles estivessem – e estavam – dizendo ao p\u00fablico que podem, sim, dividir o mesmo palco eles e n\u00f3s, o diferente e o conhecido.<\/p>\n

Em que pese a import\u00e2ncia de defini\u00e7\u00f5es e distin\u00e7\u00f5es – disting\u00fcir significa especializar e especializar significa ir al\u00e9m da superf\u00edcie comum – estrat\u00e9gia significa sobreviv\u00eancia. Esse arranjo \u00e9 estrat\u00e9gia de sobreviv\u00eancia tanto perante os patrocinadores quanto perante o p\u00fablico. Al\u00e9m disso a programa\u00e7\u00e3o espelha, em certa medida, a dan\u00e7a pernambucana. N\u00e3o d\u00e1 para pensar aquela dan\u00e7a contempor\u00e2nea sem considerar que a arte popular est\u00e1 incrustada no corpo e no imagin\u00e1rio dessa dan\u00e7a.<\/p>\n

A grande maioria dos bailarinos que formam hoje o campo da dan\u00e7a moderna e contempor\u00e2nea passaram pelo Bal\u00e9 Popular do Recife. Diretamente como Maria Paula (Grial), Raimundo Branco (Compassos Cia. de Dan\u00e7a), Otac\u00edlio Junior (Cia. Trapia) e \u00c2ngelo Madureira, ou culturalmente como no ide\u00e1rio de M\u00f4nica Lira. “\u00c9 contempor\u00e2neo com a intui\u00e7\u00e3o n\u00e3o articulada do artista popular”, diz Val\u00e9ria Vicente sobre M\u00f4nica.Al\u00e9m da arte folcl\u00f3rica ser uma forte refer\u00eancia visual, cultural e corporal, eventos como o pr\u00f3prio Festival de Dan\u00e7a do Recife, que por sete anos legitimou um tipo de pensamento como sendo A dan\u00e7a e n\u00e3o UMA dan\u00e7a poss\u00edvel, acabam configurando equivocadamente todo um campo art\u00edstico de criadores, programadores, cr\u00edticos, produtores e p\u00fablico. A pertinente e esperada transforma\u00e7\u00e3o que esta 8\u00aa edi\u00e7\u00e3o iniciou tem mesmo que ser constru\u00edda como ponte – t\u00e3o emblem\u00e1tica da arquitetura da cidade – e n\u00e3o como aterro que cobre a \u00e1gua abaixo que tenta desesperadamente seguir.<\/p>\n

A mudan\u00e7a no corpo exige mais tempo que a mudan\u00e7a no formato de um festival (formato que indica um pensamento). Como teoria e pr\u00e1tica t\u00eam rela\u00e7\u00e3o \u00edntima, como uma alimenta e transforma a outra, est\u00e1 dada a largada. A m\u00fasica e o cinema pernambucanos chegaram ao ideal de tratar de qualquer quest\u00e3o com seu jeito absolutamente pr\u00f3prio, realizaram um projeto art\u00edstico t\u00e3o pernambucano quanto universal. Isso tem a ver com a compreens\u00e3o de que n\u00e3o \u00e9 preciso se voltar s\u00f3 para si mesmo para guardar a necess\u00e1ria identidade. O novo Festival de Dan\u00e7a do Recife certamente compactua com esse entendimento.<\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/p>\n

The Recife Dance Festival could have used the following banner “Re-opened under new management on November 5”, similar to that which appears when establishments change hands. If until then the festival was of a rather localized importance, after its recent 8th edition it certainly widened and opened its scope, but not to the point of breaking. It all began with the establishment of new, solid connections (as with the beginning of any movement) with the Artists Union and with the Pernambuco Federal University, in addition to the participation of three trustees: Arnaldo Siqueira, Ivonete Melo and Marcelo Zamora. All of this happened under the masterful hand of Adriana Faria, who is in charge of general coordination. Distributed throughout four theatres and two patios (very beautiful and always sold-out) the intense programming exhibited both new choreographies and well-established Pernambuco companies, such as: Cia. Vias de Dan\u00e7a, Grupo Grial de Dan\u00e7a, Cia. de Dan\u00e7a Artefolia, among others. In addition to companies from the Northeast and Southeast: Bal\u00e9 da Cidade de S\u00e3o Paulo, Balagandan\u00e7as (SP), Cia. Ser\u00e1 Qu\u00ea? (MG), Lia Rodrigues Cia.de Dan\u00e7a (RJ), Cia. Steven Harper (RJ), Marcia Milhazes Dan\u00e7a Contempor\u00e2nea (RJ), Sua Cia. de Dan\u00e7a (BA) and Romero Mota (PB). There were also international participants, including Sonia Baptista (Portugal) and Rachid Ourandame\/Julie Nioche (France). And another long night dedicated to folkloric dance groups. <\/p>\n

The first impression is that it is an irregular programming, full of fringes. A programming that is anxious for everything, one that attempts to accommodate the festival aspects of the past, the production that existed before, but also one that does not belong to former editions and that includes the new perspectives of the new organizers. This is one way of changing: breaking without destruction. It works by showing the faithful and participatory public that you keep offering them what they have always admired and much more, assuring them that it is possible to turn around new corners without fear of getting lost. In the same evening, M\u00e1rcia Milhazes leads us into unknown territory and Ic\u00f3gnum Cia. de Dan\u00e7a brings the comfort of the manipulation theatre, making it an example of accommodation. It is if they had been telling the audience – and were telling indeed – that these two companies can share the stage, the different and the well-known. <\/p>\n

Considering the importance of definitions and distinctions – to distinguish means specializing and specializing means going beyond the common surface – strategy means survival. This arrangement is a survival strategy as much for the sponsors as it is for the public. In a certain way, the programming also reflects the dance from Pernambuco. One cannot think about this contemporary dance without considering that popular art is encrusted in the body and imagination of this dance. <\/p>\n

The great majority of dancers that are today part of the modern andcontemporary dance scene at some level interacted with the Bal\u00e9 Popular doRecife. In person,as Maria Paula (Grial), Raimundo Branco (Compassos Cia. deDan\u00e7a), Otac\u00edlio Junior (Cia. Trapia) and \u00c2ngelo Madureira, or culturally,as in the imagery of choreographer M\u00f4nica Lira ” it is contemporary makinguse of the non-articulated intuition of the popular artist”, commentedVal\u00e9ria Vicente on her work.<\/p>\n

In addition to folkloric art being a strong reference, whether visual, cultural or corporal, events such as the Recife Dance Festival, which for seven years legitimized a type of thinking as the dance and not as a possible dance, ended up configuring an entire artistic area of creators, programmers, critics, producers and the public. The pertinent and awaited transformation that this 8th edition initiated needs to be constructed as a bridge \u2013 so emblematic of this city\u2019s architecture \u2013 and not as an embankment that covers the water below that tries so desperately to flow through. <\/p>\n

The change in the body requires more time than the change in the format of a festival (format that indicates a thought). Because theory and practice share an intimate relationship, because one feeds the other, the starting gun is fired. Pernambuco’s music and cinema have reached the ideal of addressing any questions in their own way, organizing an artistic project that is as “pernambuco-style” as it is universal. This follows the understanding that it is not necessary to return to oneself to keep a necessary identity. The new Recife Dance Festival in line with this understanding. <\/p>\n

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

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