{"id":4698,"date":"2007-07-17T15:01:04","date_gmt":"2007-07-17T18:01:04","guid":{"rendered":"http:\/\/beta.idanca.net\/2007\/07\/17\/que-lugar-e-esse\/"},"modified":"2008-08-05T19:07:17","modified_gmt":"2008-08-05T22:07:17","slug":"que-lugar-e-esse","status":"publish","type":"post","link":"https:\/\/idanca.net\/que-lugar-e-esse\/","title":{"rendered":"Que lugar \u00e9 esse? | What kind of place is that?"},"content":{"rendered":"

Aconteceu assim: Jo\u00e3o Andreazzi, ap\u00f3s 17 anos atuando como profissional de dan\u00e7a, formado pela School for New Dance Development, na Holanda (1998), depois de alguns solos e trabalhos premiados, inscreve um projeto para obter verba l\u00edquida aproximada de R$159.000,00 para montar um espa\u00e7o de atividades, encontros e apresenta\u00e7\u00f5es, ligada \u00e0 companhia Corpos N\u00f4mades, que receba grupos convidados e outras linguagens al\u00e9m da dan\u00e7a contempor\u00e2nea. Chama-se Lugar Aberto (Rua Augusta n\u00ba 325 \u2013 S\u00e3o Paulo, telefone (11) 3237-3224, e-mail ciacorposnomades@uol.com.br), um espa\u00e7o cuja fun\u00e7\u00e3o \u00e9 primordialmente formar, criar e difundir a dan\u00e7a.<\/span><\/p>\n

Mas um detalhe n\u00e3o deve escapar a esta descri\u00e7\u00e3o: Lugar foi montado gra\u00e7as \u00e0 Lei de Fomento Municipal da cidade de S\u00e3o Paulo, verba concedida a partir de novembro de 2006 at\u00e9 outubro de 2007. Ou seja, o que parecia um audacioso projeto, \u00e9, mais ainda, um compromisso p\u00fablico de gest\u00e3o e compartilhamento de id\u00e9ias e a\u00e7\u00f5es na dan\u00e7a.<\/p>\n

Lugar \u00e9 isso: p\u00fablico, apesar de ser o local sede da Cia. Corpos N\u00f4mades. Nasce com a proposta de um espa\u00e7o \u201cf\u00e9rtil para quem investiga, forma e cria\u201d, que, a partir dos experimentos da companhia, tem o desafio de expandir suas id\u00e9ias com verba p\u00fablica.<\/p>\n

A l\u00f3gica parte do particular – Cia. Corpos N\u00f4mades – e desemboca no p\u00fablico \u2013 verba e acesso. Pode ser definida assim: a companhia incentiva a forma\u00e7\u00e3o de seus componentes atrav\u00e9s de aulas de t\u00e9cnica, vinculadas ao trabalho do core\u00f3grafo. A partir disso, d\u00e1-se a experi\u00eancia de criar as coreografias e batalhar pela circula\u00e7\u00e3o de suas obras no mercado. Em interse\u00e7\u00e3o com v\u00eddeo, propostas visuais, grafite e outras linguagens, os profissionais da dan\u00e7a produzem conhecimento para a pr\u00f3pria \u00e1rea \u2013 conhecimento e significados diversos na cria\u00e7\u00e3o art\u00edstica do movimento e da cena \u2013 e para fora, como um bem p\u00fablico \u2013 participar id\u00e9ias, abrigar forma\u00e7\u00e3o e difundir conhecimento. Se isso se estrutura em um espa\u00e7o capaz de viabilizar a\u00e7\u00f5es compartilhadas, ganha a dan\u00e7a, ganha a id\u00e9ia que temos da \u201ccoisa p\u00fablica\u201d.<\/p>\n

Lugar \u00e9 tamb\u00e9m um projeto que refor\u00e7a o profissionalismo de Jo\u00e3o Andreazzi e sua companhia, agora com a chance de abrigar seus experimentos c\u00eanicos, dar continuidade a sua pesquisa de linguagem e investigar \u201cconceitos e pr\u00e1ticas do fazer corporal\u201d au-del\u00e1 da porta do espa\u00e7o.<\/p>\n

Como afirma o core\u00f3grafo, os lugares p\u00fablicos da cidade cumprem uma fun\u00e7\u00e3o importante: Oficina Oswald de Andrade, Centro Cultural S\u00e3o Paulo, Galeria Olido e Teatro S\u00e9rgio Cardoso s\u00e3o espa\u00e7os de ensaios e apresenta\u00e7\u00f5es, que, inclusive, fizeram parte de sua hist\u00f3ria. No entanto, uma mudan\u00e7a ocorreu nos \u00faltimos tempos. Um montante significativo de verba p\u00fablica foi paulatinamente sendo aplicado na dan\u00e7a, ainda (e sempre) uma luta di\u00e1ria para constituir um quadro de pol\u00edtica p\u00fablica da cidade e do estado para a dan\u00e7a. Juntamente com o dinheiro, projetos de natureza p\u00fablica fazem cada vez mais parte da reflex\u00e3o de como investir na \u00e1rea.<\/p>\n

Com 40 anos hoje, Jo\u00e3o obt\u00e9m este reconhecimento que soa como legitima\u00e7\u00e3o de anos de trabalho; em contrapartida, o compromisso de fomentar e propagar a dan\u00e7a. Uma troca justa. No Lugar, al\u00e9m da programa\u00e7\u00e3o de obras da cia., est\u00e3o programados happenings, cursos, oficinas gratuitas e cursos regulares (estes pagos para manuten\u00e7\u00e3o do espa\u00e7o), ateli\u00eas coreogr\u00e1ficos, encontros para refletir quest\u00f5es pol\u00edticas do ser profissional e mostras de dan\u00e7a e teatro. Algumas dessas atividades est\u00e3o desenhadas pelo projeto inicial e algumas j\u00e1 movimentam novos profissionais da cidade.<\/p>\n

Duas coisas chamam a aten\u00e7\u00e3o no discurso que \u201cLugar\u201d e seu idealizador enfatizam: 1. a conex\u00e3o de formar, criar e difundir e 2. a figura do artista independente que, apesar de subsidiado, guarda sua autonomia.<\/p>\n

A forma\u00e7\u00e3o \u00e9 responsabilidade p\u00fablica, mas, em dan\u00e7a, sempre esteve resguardada pela exist\u00eancia de cursos informais em espa\u00e7os privados ou encaixadas no seio de companhias que formam seus dan\u00e7arinos segundo sua linguagem pr\u00f3pria. Corpos N\u00f4mades se encaixa nesta segunda categoria, mas a exist\u00eancia do Lugar aponta para uma possibilidade de tornar esta forma\u00e7\u00e3o algo p\u00fablico, aberto e compartilhado com outras pessoas e linguagens.<\/p>\n

Normalmente, as companhias procuram satisfazer esta pr\u00e1tica de inserir outros core\u00f3grafos ou t\u00e9cnicas para seus dan\u00e7arinos, mas, por motivos financeiros, n\u00e3o t\u00e3o \u00e9 comum como desejado. Tamb\u00e9m pode reincidir em equ\u00edvocos ou tentativas fracassadas, quando t\u00e9cnicas ou jeitos de pensar a dan\u00e7a n\u00e3o dialogam. No caso do \u201cLugar\u201d, a oportunidade da companhia abrigar outros profissionais, cursos e linguagens, de maneira sistem\u00e1tica, torna seus dan\u00e7arinos figuras empenhadas em exercitar o deslocamento do aprendizado de uma t\u00e9cnica exclusiva para a companhia em uma forma\u00e7\u00e3o mais ampla e engajada com aquilo que acontece ao redor da companhia. Este \u00e9 um tipo de forma\u00e7\u00e3o.<\/p>\n

A cria\u00e7\u00e3o e difus\u00e3o de uma companhia de dan\u00e7a tamb\u00e9m guarda um teor privado, porque compete ao core\u00f3grafo idealizar sua obra e como circul\u00e1-la. Uma vez em um espa\u00e7o e com verba p\u00fablica, a companhia se compromete a tornar cada vez mais aberto seu fazer-pensar. Mas qual \u00e9 a natureza real deste compromisso? Significa fazer coisas palat\u00e1veis para os que n\u00e3o \u201centendem\u201d o que \u00e9 dan\u00e7a contempor\u00e2nea? Significa criar uma pol\u00edtica de forma\u00e7\u00e3o de p\u00fablico? Significa ser um lugar que guarda a diversidade t\u00edpica da \u201ccoisa p\u00fablica\u201d, portanto diverge fundamentalmente de algo privado que \u00e9 exclusivista, ou como se diz em dan\u00e7a, tribalista? Quest\u00f5es vitais para a dan\u00e7a.<\/p>\n

Na proposi\u00e7\u00e3o de refleti-las, proponho o desafio: um pouco de tudo, com bom senso e engajamento pol\u00edtico. N\u00e3o adianta ter bom senso no discurso p\u00fablico, nem a idealiza\u00e7\u00e3o de bons projetos; \u00e9 necess\u00e1rio execut\u00e1-los. Lugar, por sua estrutura e programa\u00e7\u00e3o, aponta para a t\u00e3o esperada chance de tornar palat\u00e1vel n\u00e3o o significado da coreografia, mas o posicionamento do artista diante do que ele apresenta; de sim formar p\u00fablico, convidando escolas para conhecer Manoel de Barros (inspirador do \u00faltimo trabalho da cia.) e de convidar profissionais diferentes que, de alguma forma, afinem com a proposta art\u00edstica da companhia e, portanto, fazer jus ao nome do espa\u00e7o.<\/p>\n

E, por fim, levantamos a pergunta: o artista independente pode tornar-se um ser inclu\u00eddo na estrutura p\u00fablica? Apesar de \u00f3bvio, muitos de n\u00f3s n\u00e3o estamos ainda acostumados a fazer de nossas a\u00e7\u00f5es privadas (parte de n\u00f3s, de interesses locais), algo p\u00fablico, aberto, do outro, para e com diversos \u201coutros\u201d. E ainda, ser independente por vezes significou n\u00e3o estar atrelado \u00e0 subven\u00e7\u00e3o p\u00fablica.<\/p>\n

Na conversa com Jo\u00e3o, ficou clara a necessidade de independ\u00eancia art\u00edstica, realidade contempor\u00e2nea a muitos de n\u00f3s. O criador \u00e9 um criador em qualquer condi\u00e7\u00e3o, inclusive com ou sem subs\u00eddio, porque seu trabalho \u00e9 investigar formas de tornar vis\u00edvel suas id\u00e9ias ou ideais art\u00edsticos. Sem ingenuidade, o trabalho do artista depende do olhar do outro e, evidentemente, de recursos para acontecer, o que faz primordial todo o trabalho pol\u00edtico e social de compreendermos o que s\u00e3o as pol\u00edticas p\u00fablicas. Na dan\u00e7a, isso vem sendo pauta obrigat\u00f3ria de muitos profissionais. Mas n\u00e3o se deve operar especificamente na legitima\u00e7\u00e3o que uma institui\u00e7\u00e3o ou verba concedida d\u00e1 a um trabalho art\u00edstico. Repare que coloquei um especificamente, ou seja, t\u00e3o somente, focado ou cego pela legitima\u00e7\u00e3o alheia e dominante. E, curiosamente, Jo\u00e3o Andreazzi, com verba e espa\u00e7o, refor\u00e7a esta l\u00f3gica e posicionamento de artista independente.<\/p>\n

N\u00e3o devemos responsabilizar a institui\u00e7\u00e3o e\/ou pessoas que cumprem esta fun\u00e7\u00e3o e legitimam seu curr\u00edculo a dizer quem voc\u00ea \u00e9; depende do que voc\u00ea faz com isso que o torna independente artisticamente. Temos v\u00e1rios outros exemplos desta postura \u00e9tica na dan\u00e7a. Voc\u00ea pode manter sua estrutura particular, seu modo de fazer-pensar a dan\u00e7a, cultivando a sanidade de tornar p\u00fablicas suas id\u00e9ias, realiz\u00e1veis ou n\u00e3o. Com a responsabilidade de debater quest\u00f5es, a dan\u00e7a pode ser ainda mais interessante quando \u00e9 capaz de mostrar, realizar e compartilhar suas perguntas com o p\u00fablico, mais amplamente quanto poss\u00edvel. Acredito, junto com outros autores, que algo muito pessoal torna-se pol\u00edtico, portanto, p\u00fablico, \u00e0 medida em que voc\u00ea coloca isso no mundo, entendendo e participando dos ecos poss\u00edveis que surgem a partir de seu posicionamento.<\/p>\n

Se seu lugar for aberto, des-institu\u00eddo e art\u00edstico, parece que \u00e9 cada vez mais poss\u00edvel que outros lugares abertos fa\u00e7am parte do bem p\u00fablico. Nosso dinheiro est\u00e1 neste Lugar Aberto: \u00e9 poss\u00edvel fazer bons dividendos culturais se compreendermos o posicionamento art\u00edstico-pol\u00edtico que tomamos e se dialogarmos em um espa\u00e7o comum, \u00e9tico de uso do dinheiro e fazer p\u00fablico.It happened this way: Jo\u00e3o Andreazzi, after 17 years acting as a dance professional, graduated at the School for New Dance Development, in Holland (1998), after some solos and awarded works, inscribes a project to obtain a net free sum of nearly R$ 159.000,00 in order to create a space of activities, meetings and presentations, connected to the company Corpos N\u00f4mades (Nomad Bodies), where to invite groups and other art languages besides contemporary dance. A place called Lugar Aberto (Open Space), at Rua Augusta 325 \u2013 S\u00e3o Paulo (phone +5511 3237-3224, e-mail ciacorposnomades@uol.com.br), whose function is basically to teach, create and diffuse dance.<\/span><\/p>\n

But one detail must not be missed in this description: Lugar was created thanks to the Municipal Funding Law of the city of S\u00e3o Paulo (Lei de Fomento Municipal da cidade de S\u00e3o Paulo), a sum granted from November 2006 till October 2007. That is, what seemed a daring project is, even more now, a public compromise of management and sharing of ideas and actions in dance.<\/p>\n

Lugar is that: public, although it\u2019s the base for the company Corpos N\u00f4mades. It was created with the proposal of being a \u201cfertile space for those who investigate, educate and create\u201d, which, out of the experiments of the company, has the challenge of expanding its ideas with public money.<\/p>\n

The logic starts at the particular sphere \u2013 Corpos N\u00f4mades Company \u2013 and flows into the public realm \u2013 money and access. It can be defined this way: the company encourages the education of its members through technical courses related to the work of the choreographer. From then on, the experience of creating the choreographies and struggling in order to make the pieces circulate in the market. In intersection with video, visual proposals, graffiti and other artistic languages, the dance professionals produce knowledge for their own artistic field \u2013 diverse knowledge and meanings in the artistic creation of movements and scene \u2013 and for the outside, as a public good \u2013 sharing ideas, hosting education projects and disseminating knowledge. If this finds its structure in a space capable of making it feasible in terms of shared actions, dance profits with it, as much as the idea that we have of \u201cpublic thing\u201d.<\/p>\n

Lugar is also a project that reinforces the professionalism of Jo\u00e3o Andreazzi and his company, now with more chance of hosting its scenic experiments, giving continuity to its language research and investigating \u201cconcepts and practices of body actions\u201d au del\u00e0 of the door of the space.<\/p>\n

As the choreographer states, the public spaces of the city fulfill an important function: Oficina Oswald de Andrade, Centro Cultural S\u00e3o Paulo, Galeria Olido and Teatro S\u00e9rgio Cardoso are rehearsal and presentation spaces, which are inclusively part of the history of the city. However, a change has occurred lately. A significant sum of money has been gradually applied to dance, still (and always) a daily fight to constitute a situation of public policies for dance in the city and in the state. Alongside the money, projects of public nature are more and more part of the reflection on how to invest in the area.<\/p>\n

Forty years old now, Jo\u00e3o obtains this recognition which sounds as the legitimization of years of work; on the other hand, the compromise of fomenting and propagating dance. A fair exchange. At Lugar, besides the program with the pieces of the company, happenings, free workshops and regular courses (these last ones being paid courses in order to afford the maintenance of the space) are programmed, as well as choreographic workshops, meetings to reflect political questions on being a professional and on dance and theater series. Some of these activities are indicated in the initial project and some of them already involve new professionals of the city.<\/p>\n

Two things attract our attention in the speech that Lugar and its idealizer emphasize: 1. the connection between education, creation and diffusion and 2. the role of the independent artist who, despite being subsided, keeps his\/her autonomy.<\/p>\n

The education is a public responsibility, but in dance, it has always been kept sheltered due to the existence of informal courses in private spaces or inserted in companies that form their dancers according to their own language. Corpos N\u00f4mades fits into this second category, but the existence of Lugar points to the possibility of transforming this education into something public, open and shared with other people and languages.<\/p>\n

Normally, dance companies try to satisfy this practice by presenting new choreographers or techniques to their dancers, but for financial reasons, this is not as common as wished. This can sometimes drive to mistakes or failed experiments, when techniques or ways of thinking about dance don\u2019t dialogue with other. At the case of Lugar, the opportunity for the company in hosting other professionals, courses and languages, in a systematic manner, renders its dancers engaged people in exercising the dislocation from the teaching of an exclusive technique to the company to a wider education, engaged with what is happening around the company. This is a type of education.<\/p>\n

The creation and the diffusion of a dance company is also a private matter, once the choreographer is the one responsible for idealizing his pieces and making them circulate. Being with a space and with public money, the company accepts the responsibility for opening up its making and thinking. But what is the real nature of this compromise? Does it mean making more palatable things for those who don\u2019t \u201cunderstand\u201d what contemporary dance is? Does it mean creating a policy for audience enlargement and education? Does that mean being a place which keeps the typical diversity of the \u201cpublic thing\u201d, and this way diverging fundamentally from something private which is exclusive or, as we say in dance, \u201ctribalist\u201d? Vital questions for dance.<\/p>\n

At the position of reflecting upon them, I propose the following challenge: a bit of everything, with a wise sense and political engagement. It\u2019s not enough having a wise sense in the public speech, or just idealizing good projects; it\u2019s necessary to execute them. Lugar, for its structure and programming, points to the so awaited chance of making palatable not the meaning of the choreography, but the positioning of the artist in relation to what he presents; of, yes, forming an audience by inviting schools to know Manoel de Barros (the inspiration source of company\u2019s last work) and inviting different professionals who, in some way, have some affinity with the company\u2019s artistic proposal, what consequently justifies the name of the space.<\/p>\n

And, to conclude, we raise the question: can the independent artist get included in the public structure? Despite the obvious, many of us aren\u2019t used to render our private actions (part of us, of local interests) something public, open, to the other and with many \u201cothers\u201d. And still, being independent sometimes means being unconnected to a public subvention.<\/p>\n

In the conversation with Jo\u00e3o, it was clear the necessity of artistic independence, a contemporary reality for many of us. The creator is a creator under any circumstance, inclusively with or without subsides, because his\/her work is investigating ways of making visible his\/her ideas or artistic ideals. Without being na\u00eff, the work of the artist depends on the other\u2019s glance and, evidently, on resources in order to happen, what renders primordial all the political and social effort in understanding what public policies are. In dance, this has been an obligatory agenda for many professionals. But, one should not work specifically upon the legitimization that an institution or the conceded money might give to the artistic work. Notice that I\u2019ve written \u201cspecifically\u201d, that is, only and solely focused on or blind by the dominant legitimization. And, curiously, Jo\u00e3o Andreazzi, with money and space, reinforces this logic and positioning of the independent artist.<\/p>\n

We shouldn\u2019t blame the institution and\/or people who fulfill this function and legitimate their curriculum by saying who you are; it depends on what you do with this that make you artistically independent. We have several other examples of this ethical attitude in dance. You can keep your private structure, your making and thinking dance, cultivating the sanity of rendering public your ideas, feasible or not. With the responsibility of debating questions, dance can be even more interesting when it is capable of showing, promoting and sharing its questions with the public, the wider as possible. I do believe that, alongside other authors, something very personal might become politic, and consequently public as one puts it into the world, understanding and participating in the possible echoes that arise from one\u2019s positioning.<\/p>\n

If the space is open, artistic and not instituted, it seems it\u2019s more and more possible that other open places become part of the public sphere. Our money is in this \u201cLugar Aberto\u201d (\u201cOpen Space\u201d): it\u2019s possible to produce cultural dividends if we understand the political and artistic positioning that we take and if we dialogue in a common space, ethically, in terms of using public money and making public things.<\/p>\n","protected":false},"excerpt":{"rendered":"

S\u00e3o Paulo tem agora mais um espa\u00e7o de cria\u00e7\u00e3o, produ\u00e7\u00e3o e difus\u00e3o para a dan\u00e7a. \u00c9 literalmente o LUGAR, por Nirvana Marinho<\/span>S\u00e3o Paulo has one more space of creation, production and diffusion for dance now. It\u00b4s literally the Lugar (Place), by Nirvana Marinho<\/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":[46,28],"tags":[],"yoast_head":"\nQue lugar \u00e9 esse? | What kind of place is that? -<\/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\/que-lugar-e-esse\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Que lugar \u00e9 esse? | What kind of place is that? -\" \/>\n<meta property=\"og:description\" content=\"S\u00e3o Paulo tem agora mais um espa\u00e7o de cria\u00e7\u00e3o, produ\u00e7\u00e3o e difus\u00e3o para a dan\u00e7a. \u00c9 literalmente o LUGAR, por Nirvana MarinhoS\u00e3o Paulo has one more space of creation, production and diffusion for dance now. 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