{"id":42,"date":"2003-01-12T00:00:00","date_gmt":"2003-01-12T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/12\/saberes-interligados\/"},"modified":"2008-06-13T17:44:09","modified_gmt":"2008-06-13T20:44:09","slug":"saberes-interligados","status":"publish","type":"post","link":"https:\/\/idanca.net\/saberes-interligados\/","title":{"rendered":"Saberes interligados | Knowledge interface"},"content":{"rendered":"

\u00cdtalo Calvino sugere que para descrever o mundo a primeira coisa a fazer \u00e9 estabelecer a posi\u00e7\u00e3o em que cada um se encontra. Aqui, o lugar n\u00e3o \u00e9 algo compreendido como uma cole\u00e7\u00e3o de coordenadas f\u00edsicas e geogr\u00e1ficas, mas como uma orienta\u00e7\u00e3o<\/em>: uma certa atitude com rela\u00e7\u00e3o \u00e0quilo que se observa, uma mescla de disposi\u00e7\u00f5es e investimentos que contribui para a pr\u00f3pria constitui\u00e7\u00e3o daquilo que \u00e9 observado.<\/p>\n

Nesse sentido, as observa\u00e7\u00f5es praticadas atrav\u00e9s da hist\u00f3ria do FID<\/a> exibem uma orienta\u00e7\u00e3o bastante espec\u00edfica e consistente: uma concep\u00e7\u00e3o do que pode ser a dan\u00e7a hoje marcada pelos revezamentos entre teoria e pr\u00e1tica. Em conseq\u00fc\u00eancia, h\u00e1 um investimento maci\u00e7o na borra de fronteiras r\u00edgidas entre produto e processo, reflex\u00e3o e exerc\u00edcio, que j\u00e1 se tornou uma caracter\u00edstica central do modo de opera\u00e7\u00e3o do FID. A edi\u00e7\u00e3o 2003 do FID – TMTC apresenta trabalhos que gravitam ao redor destas orienta\u00e7\u00f5es, contribuindo mais uma vez para o desenho de uma constela\u00e7\u00e3o investigativa rica, f\u00e9rtil e produtiva. Quer se debrucem sobre a educa\u00e7\u00e3o da aten\u00e7\u00e3o e a propriocep\u00e7\u00e3o, sobre a natureza midi\u00e1tica do corpo, sobre os paradoxos do movimento na megal\u00f3pole ou sobre o poder dos limites, os processos participam de um esfor\u00e7o conjunto de produ\u00e7\u00e3o e dissemina\u00e7\u00e3o de conhecimento, angulado de maneira bastante precisa pela sugest\u00e3o do bi\u00f3logo chileno Humberto Maturana, de que todo saber \u00e9 fazer e todo fazer \u00e9 saber. Tal sugest\u00e3o \u00e9 muito mais que apenas um voto a favor de uma concep\u00e7\u00e3o do conhecimento como algo que participa, sempre e inevitavelmente, da din\u00e2mica corporal de agentes sociais: trata-se de algo potente tamb\u00e9m do ponto de vista pol\u00edtico. \u00c9 um convite para pensar um mundo em que os saberes est\u00e3o distribu\u00eddos de maneira diferente, e trafegam em regimes mais cooperativos e menos hier\u00e1rquicos. A hist\u00f3ria do FID e sua participa\u00e7\u00e3o na vida cultural podem ser vistas como o sedimento de gestos que intentam contribuir para a cria\u00e7\u00e3o de um mundo marcado por uma orienta\u00e7\u00e3o<\/em> diferente: um mundo mais generoso, pluralista e equ\u00e2nime.<\/p>\n

[Luciana + Marg\u00f4] + [Alexsander + Aretha + Geozelli + Ilma + Ludmilla + Rog\u00e9ria + Ver\u00f4nica]
\nInterface<\/em><\/p>\n

A estudiosa do movimento Bonnie Bainbridge Cohen compilou ao longo dos anos uma s\u00e9rie de recursos voltados para uma educa\u00e7\u00e3o da aten\u00e7\u00e3o: ao inv\u00e9s de discutir estruturas anat\u00f4micas e sua import\u00e2ncia na constru\u00e7\u00e3o do movimento de maneira abstrata, seu trabalho prop\u00f5e focalizar e reconhecer na nossa experi\u00eancia a presen\u00e7a dessas estruturas. Tal mudan\u00e7a de perspectiva propicia a emerg\u00eancia de novos padr\u00f5es de sali\u00eancias nas concep\u00e7\u00f5es a respeito da origem, manuten\u00e7\u00e3o e expressividade do movimento, no vocabul\u00e1rio que utilizamos para descrever o processo de cria\u00e7\u00e3o de coreografias e performances, e mesmo na maneira como articulamos as esferas da raz\u00e3o, da emo\u00e7\u00e3o e da corporalidade.<\/p>\n

Dando continuidade a um trabalho de investiga\u00e7\u00e3o que, no espa\u00e7o das produ\u00e7\u00f5es associadas ao FID, j\u00e1 resultou em Experimento 1<\/em> (TMTC-2001) e In Situ<\/em> (TMTC-2002), Luciana Gontijo e Marg\u00f4 Assis investem agora na dissemina\u00e7\u00e3o de sua estrat\u00e9gia de pesquisa e cria\u00e7\u00e3o coreogr\u00e1fica. Interface<\/em> consiste em alguns resultados de um processo de apresenta\u00e7\u00e3o da metodologia de investiga\u00e7\u00e3o e produ\u00e7\u00e3o coreogr\u00e1fica inspirada pelo trabalho de Bonnie Cohen a um grupo de jovens core\u00f3grafos. Dirigidos pelas id\u00e9ias de racioc\u00ednio corporal e centramento, os trabalhos dedicam-se a expandir a pr\u00f3pria concep\u00e7\u00e3o de consci\u00eancia corporal de cada um, e exploram as conseq\u00fc\u00eancias de um foco em corpo e espa\u00e7o<\/em> para a produ\u00e7\u00e3o coreogr\u00e1fica. Investiga\u00e7\u00e3o, desafio, autonomia criativa e aten\u00e7\u00e3o ao processo s\u00e3o palavras-chave para a concep\u00e7\u00e3o de racioc\u00ednio corporal expressa atrav\u00e9s deste trabalho, e a coordena\u00e7\u00e3o dos resultados no espet\u00e1culo exibe algumas facetas do que pode ser esta perspectiva para a cria\u00e7\u00e3o em dan\u00e7a.<\/p>\n

[Vanilton Lakka]
\nVoc\u00ea, um im\u00f3vel corpo acelerado<\/em><\/p>\n

Rapidez e acelera\u00e7\u00e3o cada vez mais incrementadas; efetivos deslocamentos cada vez mais reduzidos. Caracter\u00edsticas pregnantes do modo de vida contempor\u00e2neo, estes tra\u00e7os s\u00e3o incorporados, no trabalho de Vanilton Lakka, a uma concep\u00e7\u00e3o do corpo como um vetor midi\u00e1tico: um condutor de informa\u00e7\u00e3o e, parafraseando McLuhan, uma “mensagem” em si mesmo.<\/p>\n

Resultado de explora\u00e7\u00f5es em torno da dan\u00e7a realizada em espa\u00e7os p\u00fablicos urbanos em Uberl\u00e2ndia e Belo Horizonte, estudos de etnocenologia e questionamentos sobre a rela\u00e7\u00e3o entre a id\u00e9ia do corpo enquanto m\u00eddia e o desenvolvimento de uma “m\u00eddia corporal”, o trabalho de Lakka consiste em uma interven\u00e7\u00e3o dirigida a provocar os transeuntes — fortuitos usu\u00e1rios de um “n\u00e3o-lugar” — a se interrogarem sobre quest\u00f5es de movimento, tempo, espa\u00e7o e deslocamento. Um homem caminha em uma esteira de exerc\u00edcios diante de uma tela de computador. Um corpo se mostra em sua condi\u00e7\u00e3o de perplexidade motora, em uma caminhada que n\u00e3o produz deslocamento. Um olhar se dirige para uma tela na qual reside a promessa de deslocamento sem movimento. O que est\u00e1 sendo exibido aqui? Em torno de todas essas facetas do trabalho de Lakka, os movimentos mais intensos e vis\u00edveis s\u00e3o aqueles operados pelas quest\u00f5es que o trabalho coloca para todos os envolvidos, e que tangenciam a pr\u00f3pria natureza da produ\u00e7\u00e3o art\u00edstica no horizonte da ind\u00fastria cultural.<\/p>\n

[M\u00e1rcia Neves]
\nEm Tr\u00e2nsito<\/em><\/p>\n

Uma rede bastante extensa do vocabul\u00e1rio contempor\u00e2neo vincula-se \u00e0 no\u00e7\u00e3o de tr\u00e2nsito<\/em>. Tr\u00e1fego, tr\u00e1fico, transi\u00e7\u00e3o, transitoriedade: todos s\u00e3o termos de uso corrente em in\u00fameros espa\u00e7os discursivos, indicando no\u00e7\u00f5es que se alojam muito bem na disposi\u00e7\u00e3o ordin\u00e1ria das expectativas na vida citadina.<\/p>\n

Em seu trabalho, M\u00e1rcia Neves opera como uma tradutora deste campo de significados, realizando uma coreografia que, ao narrar alguns dos paradoxos e tens\u00f5es associados a nossa rela\u00e7\u00e3o com o tr\u00e2nsito em um sentido bastante espec\u00edfico \u2013 itiner\u00e1rios urbanos cotidianos, autom\u00f3veis, cintos de seguran\u00e7a, sons do tr\u00e1fego, engarrafamentos, sem\u00e1foros, pol\u00edcia, celular, apressados e ultrapassagens \u2013 pode ser ampliada para alcan\u00e7ar toda a imensa variedade de sentidos de tr\u00e2nsito que podemos circunscrever. Atrav\u00e9s do uso de um aparato cenogr\u00e1fico que explicita a refer\u00eancia imediata do trabalho, M\u00e1rcia Neves joga com a audi\u00eancia em um registro que oscila sempre entre o literal e o ir\u00f4nico, provocando e tornando mais aguda a nossa percep\u00e7\u00e3o de que, em uma \u00e9poca t\u00e3o marcada por uma ret\u00f3rica de elogio ao movimento, talvez um dos aspectos mais gritantes da vida dos cidad\u00e3os urbanos seja sua imobilidade, sua efetiva incapacidade de mudar de lugar.<\/p>\n

[Joana Carmo]
\nDeserto<\/em><\/p>\n

Uma alus\u00e3o ao deserto entre n\u00f3s pode provocar vis\u00f5es de priva\u00e7\u00e3o e dificuldade, e ecos de um ambiente marcado por sua hostilidade \u00e0 presen\u00e7a humana. Mas pode tamb\u00e9m trazer imagens de o\u00e1sis e tamareiras, e o exotismo eventualmente convidativo de culturas distantes. Vista por um prisma rom\u00e2ntico, a imagem do deserto agrega certa imprevisibilidade e perigo \u00e0 id\u00e9ia de mist\u00e9rios ocultos entre as areias.<\/p>\n

Em seu Deserto<\/em> Joana Carmo n\u00e3o satisfaz a nenhuma destas expectativas cristalizadas. Realizado com uma aten\u00e7\u00e3o para o nexo entre as no\u00e7\u00f5es de limite<\/em> e possibilidade<\/em>, o trabalho desvia constantemente a audi\u00eancia das expectativas can\u00f4nicas, e investe na eloq\u00fc\u00eancia do detalhe e na expressividade do m\u00ednimo. Habitar o deserto \u00e9, via de regra, negociar com a precariedade, com a perene lembran\u00e7a de que os recursos dispon\u00edveis s\u00e3o limitados, e que a parcim\u00f4nia \u00e9 uma quest\u00e3o de sobreviv\u00eancia. Nas explora\u00e7\u00f5es e reitera\u00e7\u00f5es do vocabul\u00e1rio gestual e nas v\u00e1rias manobras de conflu\u00eancia, di\u00e1logo e interfer\u00eancia — propiciadas, por um lado, pelo contato entre seus racioc\u00ednios corporais e a m\u00fasica precisa do Grivo<\/em> e, por outro, pela transpar\u00eancia do fil\u00f3 que abriga os desenhos animados criados por ela \u2013 Deserto<\/em> desafia a cada momento as expectativas da audi\u00eancia. Negocia\u00e7\u00f5es com a precariedade, limita\u00e7\u00e3o de recursos, a op\u00e7\u00e3o pela parcim\u00f4nia, as v\u00e1rias tramas semi\u00f3ticas e discursivas que participam da composi\u00e7\u00e3o da vida: \u00e9 dessa amplitude que fala o Deserto<\/em> de Joana Carmo. Evocando John Cage, trata-se aqui de “observar o que h\u00e1 para ver e ouvir no teatro no qual acontece de estarmos vivendo”.<\/p>\n

Ant\u00f4nio Marcos Pereira \u00e9 doutorando em Estudos Lingu\u00edsticos na UFMG, e foi Coordenador Art\u00edstico do FID – TMTC 2003.<\/em><\/span>Translation by Sarah Hyde, Ccaps Translation and Localization.<\/b><\/p>\n

According to \u00fftalo Calvino, in order to describe the world, the first thing that one must do is determine the position that each individual occupies. Here, place is not understood as a collection of physical and geographic coordinates, but rather as an orientation: a certain attitude in relation to what one observes, a blend of arrangements and investments that contribute to the very constitution of that which is observed. <\/p>\n

In this sense, the observations practiced throughout the history of the FID<\/a> exhibit an orientation that is quite specific and consistent: a concept of what dance can be today marked by the alternations between theory and practice. In consequence, there is a massive investment along the edge of the rigid borders between the product and the process and reflection and exercise, seeing as this has already become a central characteristic in FID operations. The 2003 edition of FID \u2013 Territ\u00f3rio Minas Telemig Celular (TMTC) presents works that gravitate around these orientations, contributing once again to the design of an investigative constellation that is rich, fertile and productive. Whether one learns about the education of attention and knowledge of movement or about the diffusing nature of the body, about the paradoxes of movement in the megalopolis or about the power of limits, the many processes participate in a collective effort of production and dissemination of knowledge, angled rather precisely by the suggestion of the Chilean biologist Humberto Maturana; that to know is to do and to do is to know. Such a suggestion is much more than a simple vote in favor of a concept of knowledge as something that participates, always and inevitably, in the corporal dynamic of social agents: it deals with something that is also potent from a political point of view. It is an invitation to think of a world in which knowledge is distributed in a different way, passing through more cooperative and less hierarchical regimes. The history of FID and its participation in cultural life can be seen as the sediment of gestures that attempt to contribute to the creation of a world marked by a different orientation: a more generous, pluralist and equal world. <\/p>\n

[Luciana + Marg\u00f4] + [Alexsander + Aretha + Geozelli + Ilma + Ludmilla + Rog\u00e9ria + Ver\u00f4nica]
Interface<\/i><\/p>\n

Scholar Bonnie Bainbridge Cohen compiled over the years a series of resources directed at the education of attention: instead of abstractly disputing anatomic structures and their importance in the construction of movement, Cohen\u2019s work proposes that we both focus on and recognize in our own experience the presence of these structure. Such a change in perspective propitiates the emergence of new standards of salience in the conceptions of origin, the maintenance and expressiveness of movement, in the vocabulary that we use to describe the creative process of choreographies and performances and even in the way that we articulate the spheres of reason, emotion and corporality.<\/p>\n

Giving continuity to an investigative work that, in the space of productions associated with FID, already resulted in Experimento 1<\/i> (TMTC-2001) and In Situ<\/i> (TMTC-2002), Luciana Gontijo and Marg\u00f4 Assis now invest in the dissemination of their research strategy and choreographic creation. Interface<\/i> consists of some of the results produced by a process of presentation of investigation methodology and choreographic production inspired by the work Bonnie Cohen, performed by a group of young choreographers. Guided by ideas of corporal reasoning and centering, the works are dedicated to expanding the very concept of corporal conscience of each one and to the exploration of the consequences of a focus on the body<\/i> and space<\/i> in choreographic production. Investigation, challenge, creative autonomy and attention to the process are key-words for the concept of corporal reasoning expressed in this work, and the coordination of the results in the performance exhibits certain facets of what this perspective can mean for dance creation. <\/p>\n

[Vanilton Lakka]
You, a motionless accelerated body<\/i> <\/p>\n

Speed and acceleration are constantly increasing; effective displacements that are always being reduced. Characteristics filled with the contemporary way of life, these traces are incorporated into the work of Vanilton Lakka, whose work presents the concept of the body as a diffusing vector: a conductor of information, and paraphrasing McLuhan, a “message” in itself. <\/p>\n

The result of explorations in dance performed in urban public spaces in the Southern Brazilian city of Uberl\u00e2ndia (Belo Horizonte), studies on ethno-scenology and questions about the relationship between the idea of the body in the context of media and the development of a “corporal media”, the work of Lakka consists of an intervention directed at provoking the passer-bys \u2013 those fortuitous users of the “non-place” who are interrogated about issues of movement, time, space and displacement. A man walks on a treadmill in front of a computer screen. A body shows itself in a condition of motor perplexity, in a walk that does not produce displacement. Looking at a screen in which there exists the promise of displacement without movement. What is being exhibited here? Around all of these facets of Lakka\u2019s work, the most intense and visible movements are those revolving around issues that the work proposes for all those involved and that follow the very nature of artistic production along the horizon of the cultural industry. <\/p>\n

[M\u00e1rcia Neves]
In Transit<\/i><\/p>\n

A rather extensive network of contemporary vocabulary is tied to the notion of transit<\/i>. Traffic, trade, transition, transitory: all are themes of use common in innumerous discursive spaces, indicating notions that are tightly lodged in the ordinary arrangement of expectations in urban life. <\/p>\n

In her work, M\u00e1rcia Neves serves as a translator for this area of meaning, performing a choreography that, upon narrating some of the paradoxes and tensions associated with our relationship with transit in a very specific sense \u2013 daily urban itineraries, cars, seatbelts, the sounds, traffic jams, signals, police, cell phones, those in a rush and those rude cut-offs \u2013 can be expanded to reach an immense variety of meanings related to transit that we can circumscribe. Through the use of a scenographic apparatus that explicitly describes the immediate reference of the work, M\u00e1rcia Neves plays with the audience in a registration that constantly oscillates between the literal and the ironic, provoking and sharpening our perception of that which, in an era that is so marked by a rhetoric of praise in terms of movement, is perhaps one of the most shocking aspects in the life of urban citizens; immobility, the effective incapacity of moving to another place. <\/p>\n

[Joana Carmo]
Desert<\/i><\/p>\n

An allusion to the desert can provoke visions of privation and difficulty, as well as the echoes of an environment marked by its hostility toward human presence. However, it can also bring images of oases and palm trees and the eventually inviting exoticism of distant cultures. Viewed through a romantic prism, the image of the desert adds a certain unpredictability and danger to the idea of the mysteries hidden beneath its sands. <\/p>\n

In her work entitled Deserto<\/i> (Desert<\/i>) Joana Carmo is not satisfied with any of these crystallized expectations. Performed with an attention toward the nexus between the notions of limit<\/i> and possibility<\/i>, Carmos\u2019 work constantly diverts the audience away from canonic expectations and invests in the eloquence of detail and in the expressiveness of the minimal. To inhabit the desert is, by rule of natural law, to negotiate with precariousness, with the lasting reminder that available resources are limited and that parsimony is a question of survival. In the explorations and reiterations of the gestured movements, and in the many maneuvers of confluence, dialogue and interference \u2013 propitiated on one hand by the contact between corporal reasoning and the precise music of Grivo<\/i> and on the other hand by the transparency of the tulle that covers the drawings created by the artist herself \u2013 Deserto<\/i> challenges at each moment the expectations of the audience. Negotiations with precariousness, limited resources, the choice of parsimony, the many semiotic and discursive plots that form a part of life\u2019s composition: this is the amplitude explored in Joana Carmo\u2019s Desert<\/i>. As John Cage said, it is a matter of “observing what there is to see and hear in the theatre within which we are living”. <\/p>\n

Ant\u00f4nio Marcos Pereira is a PHD in Linguistic Studies at UFMG, and was artistic coordinator of FID – TMTC 2003.<\/i><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

FID reafirma seu foco nas possibilidades de intercess\u00e3o entre teoria e pr\u00e1tica.<\/span>FID reafirms its focus on the intersection possibilities between theory and praxis.<\/span><\/p>\n","protected":false},"author":14,"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":[46,28],"tags":[201,202],"yoast_head":"\nSaberes interligados | Knowledge interface -<\/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\/saberes-interligados\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Saberes interligados | Knowledge interface 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