{"id":5,"date":"2003-01-01T00:00:00","date_gmt":"2003-01-01T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2003\/01\/01\/logomarca-da-danca\/"},"modified":"2008-12-02T14:45:06","modified_gmt":"2008-12-02T17:45:06","slug":"logomarca-da-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/logomarca-da-danca\/","title":{"rendered":"Logomarca da dan\u00e7a | The logo of dance"},"content":{"rendered":"

A sincronia entre mercado e cultura \u00e9 um movimento complicado. Uma parceria obtusa e muitas vezes trai\u00e7oeira, mas que ao mesmo tempo \u00e9 de alguma forma inerente \u00e0 difus\u00e3o do resultado art\u00edstico. E tudo, especialmente, para empobrecimento do setor cultural, que se v\u00ea, na maioria das vezes, dominado pela m\u00e3o invis\u00edvel do mercado. Afinal, n\u00e3o \u00e9 preciso ir muito longe para se ter um exemplo patente de que aquela m\u00e3o h\u00e1 muito j\u00e1 n\u00e3o \u00e9 t\u00e3o invis\u00edvel assim. Basta abrir o jornal ou assistir a um show no Parque do Ibirapuera para encontrar a marca de uma das grandes empresas patrocinadoras de cultura estampada em algum canto estrat\u00e9gico. Mas ser\u00e1 que n\u00e3o h\u00e1 brechas nesta ind\u00fastria em que se transformou a cultura? Ou melhor, as artes podem andar com suas pr\u00f3prias pernas? (Ou at\u00e9 com as pernas dos outros, mas de forma interessada, n\u00e3o interesseira?) Apesar de n\u00e3o ser nova, a discuss\u00e3o \u00e9 encrespada e mereceria um maior n\u00famero de linhas. Por isso, ficaremos apenas com a \u00faltima pergunta, que j\u00e1 ocupa muitas delas.<\/span><\/p>\n

Fixando a aten\u00e7\u00e3o apenas no segmento da dan\u00e7a no Brasil, a resposta \u00e0 quest\u00e3o \u00e9 provavelmente n\u00e3o. Seriam necess\u00e1rias muitas pernas e inclusive bra\u00e7os \u2013 sem contar literalmente com o suor de seus int\u00e9rpretes e criadores \u2013 para que tal movimento acontecesse. N\u00e3o se trata de uma hierarquia entre as artes, mas de uma dificuldade concreta nos dias atuais em rela\u00e7\u00e3o \u00e0 dan\u00e7a. Se o setor fosse contar apenas com o valor destinado pelo governo, estaria decretada a sua morte. E se, por outro lado, se visse sem o apoio financeiro das empresas, o razo\u00e1vel fervilhamento de espet\u00e1culos de dan\u00e7a no pa\u00eds desabaria. Para se ter uma id\u00e9ia, s\u00f3 em S\u00e3o Paulo, 90% das a\u00e7\u00f5es culturais contam com o apoio da iniciativa privada (1). E no caso da dan\u00e7a a situa\u00e7\u00e3o n\u00e3o \u00e9 muito diferente. Conv\u00e9m lembrar, que a figura do mecenas j\u00e1 \u00e9 antiga no seu persurso hist\u00f3rico. Data da segunda metade do s\u00e9culo XVI, quando o bal\u00e9 de corte ensaiava seus primeiros passos com incentivo da rainha Catarina de M\u00e9dicis e do rei Lu\u00eds XIV.<\/span><\/p>\n

Hoje, apesar dos reis serem outros e apoiarem-se em mecanismos de incentivo fiscal criados pelo Estado, a id\u00e9ia \u00e9 basicamente a mesma. E, curiosamente, as primeiras iniciativas de patroc\u00ednio cultural no Brasil destinaram-se a grandes companhias de dan\u00e7a, al\u00e9m de orquestras sinf\u00f4nicas internacionais (2). Atualmente, segundo pesquisas realizadas pelo Ipea, Instituto de Pesquisa Econ\u00f4mica Aplicada, a cria\u00e7\u00e3o e manuten\u00e7\u00e3o das companhias da \u00e1rea ocupa o 13\u00ba lugar entre as atividades sociais mais comumente executadas pelas empresas. Um fen\u00f4meno que vem crescendo e ampliando seu foco de atua\u00e7\u00e3o; o patroc\u00ednio hoje j\u00e1 n\u00e3o se concentra tanto no bal\u00e9 cl\u00e1ssico. Os gerentes de marketing das empresas parecem estar se interessando cada vez mais pela imagem que a dan\u00e7a contempor\u00e2nea agrega \u00e0s suas marcas. Uma parceria que sugere inova\u00e7\u00e3o. Ou nas palavras de Marcos Barreto, gerente de marketing da Telemig Celular, ruptura.<\/span><\/p>\n

Em 1999, quando ele reassumiu o cargo, precisava encontrar uma forma de fazer diferen\u00e7a, conta. E a dan\u00e7a contempor\u00e2nea foi a solu\u00e7\u00e3o. Segundo ele, o foco neste vocabul\u00e1rio provocou uma verdadeira revolu\u00e7\u00e3o. Com isso, a empresa, que investir\u00e1 este ano R$ 770 mil em dan\u00e7a (em torno de 12% do investimento total em cultura), al\u00e9m de promover momentos de aprecia\u00e7\u00e3o est\u00e9tica, iniciou um trabalho de forma\u00e7\u00e3o de p\u00fablico, colocando em contato companhias mais arrojadas com outras mais estabelecidas. Entre elas, Thembi, Lu e Marg\u00f4, Marcelo Gabriel, Adriana Banana, Bal\u00e9 de Rua, Ser\u00e1Qu\u00ea?, 1\u00ba Ato e Dudude Herrmann 3.<\/span><\/p>\n

\u201cAqui em BH, a Telemig \u00e9 a secretaria de cultura\u201d, diz Adriana Banana, uma das pensadoras do festival que selou a rela\u00e7\u00e3o da Telemig com a dan\u00e7a contempor\u00e2nea. Hoje chamado de F\u00f3rum Internacional de Dan\u00e7a, o FID \u00e9 patrocinado pela empresa desde 1998 e foi quem primeiro chamou sua aten\u00e7\u00e3o para a \u00e1rea. Sem apelo mercadol\u00f3gico e voltado para a forma\u00e7\u00e3o do pensamento da dan\u00e7a, o f\u00f3rum anual, que oferece bolsas e oficinas a pre\u00e7os populares, ganhou mais corpo ap\u00f3s o patroc\u00ednio, passando a incluir companhias internacionais na programa\u00e7\u00e3o. \u201cSem a Telemig o FID n\u00e3o teria a continuidade que tem\u201d, diz Adriana, que conta hoje com R$ 100 mil anuais de mecenato.<\/span><\/p>\n

Al\u00e9m da Telemig, a Petrobras tamb\u00e9m tem uma parcela de investimento no FID, mas seu mais conhecido \u201cnamoro\u201d \u00e9 com o Grupo Corpo, uma das raras companhias que contam com patroc\u00ednio integral no Brasil. A empresa, que ostenta o segundo lugar entre as 100 maiores incentivadoras nas leis Rouanet e Audiovisual em 2002 (3), com valor de apoio na casa dos R$ 24 milh\u00f5es (o primeiro \u00e9 da Petrobr\u00e1s \u2013 Petr\u00f3leo Brasileiro\/SA, com R$ 38), investe no Grupo Corpo R$ 3,5 milh\u00f5es por ano como patrocinador exclusivo. O rico casal parece feito um para o outro e est\u00e1 longe de pensar em desquite; muito pelo contr\u00e1rio, a previs\u00e3o \u00e9 de que renda muitos frutos ainda. \u201cA rela\u00e7\u00e3o com o Corpo \u00e9 a melhor poss\u00edvel porque ele possui todos os atributos da empresa: excel\u00eancia, brasilidade, prest\u00edgio, diversidade e vanguarda do processo de pesquisa de linguagem. Ou seja, traduz a Petrobras no \u00e2mbito da cultura\u201d, adjetiva Lorena Coelho, gerente de patroc\u00ednios. \u201cOs passos do Grupo Corpo envolvem apoio e energia. Percebeu a presen\u00e7a da Petrobras?\u201d O slogan do programa do espet\u00e1culo apresentado em agosto desse ano diz tudo e mais um pouco.<\/span><\/p>\n

Em rela\u00e7\u00e3o ao investimento em dan\u00e7a como um todo, segundo Coelho, n\u00e3o h\u00e1 foco em nenhum recorte espec\u00edfico. Os trabalhos podem ser selecionados via sele\u00e7\u00e3o p\u00fablica ou atrav\u00e9s de convite da Petrobras. Este ano, as principais patrocinadas s\u00e3o a Cia De Dan\u00e7a Dani Lima, os espet\u00e1culos Maruj\u00e1, da Cia Oito Nova Dan\u00e7a, Joaquim e Maria, da M\u00e1rcia Milhazes Dan\u00e7a Contempor\u00e2nea e espet\u00e1culo Bagaceira, da Cia Vat\u00e1, do Cear\u00e1, o FID, o Quasar Locomove, uma comemora\u00e7\u00e3o aos 15 anos da companhia, Deborah Colker e Ivaldo Bertazzo, al\u00e9m do Festival de Dan\u00e7a de Joinville. N\u00e3o h\u00e1 c\u00e1lculo de quanto \u00e9 investido na \u00e1rea, mas para artes c\u00eanicas s\u00e3o R$ 12 milh\u00f5es, \u201ca maioria dan\u00e7a\u201d. E para quem j\u00e1 pensa no ano que vem, o edital do Programa Petrobras de Cultura de 2004 dever\u00e1 estar no site da empresa na segunda quinzena de outubro, com foco em mem\u00f3ria e cria\u00e7\u00e3o.<\/span><\/p>\n

Outra gigante do patroc\u00ednio em dan\u00e7a \u00e9 a Brasil Telecom, que, em 5\u00ba lugar no ranking das 100 maiores, investiu no ano passado R$ 22 milh\u00f5es em artes c\u00eanicas, artes pl\u00e1sticas, cinema e literatura. Seguindo uma pol\u00edtica interna, Natalice Mundim, gerente de projetos culturais e sociais da empresa, n\u00e3o divulga o valor do investimento em dan\u00e7a, mas pelo n\u00famero de companhias patrocinadas d\u00e1 para se ter uma id\u00e9ia. Lia Rodrigues Companhia de Dan\u00e7a e Cia. \u00c9tnica, do Rio, Quasar, de Goi\u00e2nia, Basirah e Alaya, de Bras\u00edlia, Verve, do Paran\u00e1, Cena 11, de Florian\u00f3polis, Terpsi, do Rio Grande do Sul, Isadora Duncan, do Mato Grosso do Sul e Renata Melo, de S\u00e3o Paulo.<\/span><\/p>\n

A proposta, segundo Mundim, \u00e9 \u201cnacionalizar os regionais\u201d, tornando os grupos – a maioria de dan\u00e7a contempor\u00e2nea – conhecidos tanto fora do eixo Rio-S\u00e3o Paulo quanto em seu pr\u00f3prio estado. Para isso, a empresa faz uma exig\u00eancia aos patrocinados: ter um pre\u00e7o de bilheteria bem popular e oferecer oficinas gratuitas ao p\u00fablico, como acontece h\u00e1 dois anos no Festival Brasil Telecom de Dan\u00e7a. \u201cTivemos um retorno de p\u00fablico que nos surpreendeu ano passado e por isso vamos continuar\u201d, antecipa a gerente. E essa rela\u00e7\u00e3o com os espectadores intensifica-se com a proposta de uma parceria duradoura. \u201cSe a maioria (das companhias) n\u00e3o est\u00e1 (patrocinada) h\u00e1 quatro anos, pelo menos 90% est\u00e1\u201d, afirma.<\/span><\/p>\n

Mas apesar do n\u00famero de \u201ccases\u201d de patroc\u00ednio \u00e0 dan\u00e7a no Brasil ser grande \u2013 poderiam ser citados ainda Banco do Brasil, Correios, Funda\u00e7\u00e3o Bradesco, entre outros \u2013 \u00e9 preciso ter em mente que a a\u00e7\u00e3o \u00e9 inst\u00e1vel, sujeita aos \u201chumores\u201d do mercado. Al\u00e9m disso, deixa uma grande parcela de int\u00e9rpretes e criadores \u00e0 m\u00edngua do processo. N\u00e3o se trata tanto, por\u00e9m, de discutir os motivos dessa \u201cexclus\u00e3o do mecenato\u201d \u2013 sabe-se que as leis de incentivo \u00e0 cultura t\u00eam falhas -, mas de procurar priorizar o outro lado da moeda: as pol\u00edticas p\u00fablicas da \u00e1rea. Talvez ajude ressaltar que a extin\u00e7\u00e3o do investimento privado sugerida no in\u00edcio do texto apenas a t\u00edtulo ilustrativo, n\u00e3o est\u00e1 muito longe de se tornar uma realidade. A reforma tribut\u00e1ria aprovada pelo governo prev\u00ea a extin\u00e7\u00e3o das leis estaduais de incentivo \u00e0 cultura no prazo de tr\u00eas anos. A\u00ed sim, se tornaria urgente pensar no outro lado. Parece haver muito movimento pela frente.<\/span><\/p>\n

(1) fonte: Revista Exame S\u00e3o Paulo
\n(2)fonte: Revista Exame S\u00e3o Paulo
\n(3) fonte: Minist\u00e9rio da Cultura.<\/span><\/p>\n

The synchrony between the market and culture is a complicated movement. It is an obtuse and often treacherous partnership, but at the same time, it is inherent to the diffusion of the artistic result. And everything that one sees, especially that which impoverishes the cultural sector, is dominated by the invisible hand of the market. In the end, it is not necessary to look very far to see that this hand is not very invisible anymore. All one needs to do is open the newspaper or watch a show at Ibirapuera Park to see the brand of some huge company that is sponsoring the event in a strategically visible location. However, is it really true that there are no breaches in this industry that transformed culture? Or better, can the arts walk on their own two feet (or even with the feet of others, but with a sincere interest instead of self-interest)? Even though it is not new, the discussion is highly polemic and in theory deserves more print than it is given in this article. Therefore, we will focus only on this last question, which already occupies many of the lines below.<\/span><\/p>\n

If one were to focus attention only on the dance segment in Brazil, the answer to the question above would most likely be no. Many legs and arms would be necessary (without counting, literally, on the sweat of interpreters and creators) for such a movement to occur. We are not talking about a hierarchy among the arts, but rather a concrete difficulty facing dance today. If the sector were to count solely on the funds it receives from the government, it would be decreeing its own death. If dance did not benefit from the financial support of companies, the reasonable offering of dance performances in the country would collapse. In S\u00e3o Paulo alone, for example, 90% of cultural productions rely on the support of private initiative(1). In the specific case of dance, the situation is not much different. It is important to note that this Maecenas figure has existed for centuries, dating back to the second half of the 16th century when the court ballet rehearsed its first steps with the incentive of Queen Catarina de M\u00e9dicis and King Louis XIV.<\/span><\/p>\n

Today, in spite of the fact that the \u201ckings\u201d are different and that they are supported by tax incentive mechanisms created by the state, the idea is basically the same. And curiously, the first initiatives of cultural sponsorship in Brazil were destined at two groups: large dance companies and international symphonic orquestras(2). According to research recently conducted by the Applied Economics Research Institute, the creation and maintenance of dance companies occupies the 13th place among the most common social activities sponsored by companies. It is a phenomenon that has been growing and expanding its focus; sponsorship today is not all concentrated on classic ballet. Company marketing managers appear to be increasingly interested in the image that contemporary dance adds to their brands. It is a partnership that suggests innovation. In the words of Marcos Barreto, marketing manager of Telemig Celular, it is \u201crupture.\u201d<\/span><\/p>\n

In 1999, when Barreto reassumed his position, he explains that needed to find a way to make a difference. As it turned out, contemporary dance was the solution. According to Barreto, the focus on the vocabulary provoked a true revolution. The company decided to invest R$ 770,000 in dance this year (around 12% of the total investment in culture). In addition to promoting moments of esthetic appreciation, the company initiated a project of public development, putting more fledgling companies in contact with more established companies. These companies include Thembi, Lu e Marg\u00f4, Marcelo Gabriel, Adriana Banana, Bal\u00e9 de Rua, Ser\u00e1Qu\u00ea?, 1\u00ba Ato and Dudude Herrmann 3, among others.<\/span><\/p>\n

\u201cHere in Belo Horizonte, Telemig is the secretary of culture,\u201d said Adriana Banana, one of the masterminds behind the festival that sealed the relationship between Telemig and contemporary dance. The company has sponsored The International Dance Forum (Forum International de Dan\u00e7a or FID) since 1998. Without marketing appeal and directed at the development of thought and opinion about dance, the annual forum (which offers scholarships and workshops at discounted prices) gained more substance after the sponsorship and began to include international companies in its programming. \u201cWithout Telemig, FID would not have the continuity that it does,\u201d said Banana, whose dance company receives approximately R$ 100,000 annually from the company.<\/span><\/p>\n

In addition to Telemig, Petrobr\u00e1s also invested a portion in FID, but the company\u2019s most well known \u201clove affair\u201d is with the Grupo Corpo dance group. Grupo Corpo is one of the few companies that receives all of its sponsorship in Brazil. While Telemig holds second place among the 100 largest inciters of the Rouanet and Audiovisual laws in 2002(3) (the company provides a total support of R$ 24 million), the first place goes to Petrobr\u00e1s \u2013 Petr\u00f3leo Brasileiro\/SA (R$ 38 million). Petrobr\u00e1s invests R$ 3.5 million per year in the Grupo Corpo as an exclusive sponsor. Each member of this prosperous couple appears to be made for each other, and neither would ever think of separation. Rather, much to the contrary, the prediction is that such a relationship will only continue to bear fruit. \u201cThe relationship with Corpo is the best possible because its possesses all of the attributes of the company: excellence, \u00b4brazilianess,\u2019 prestige, and diversity. In other words, such a relationship places Petrobr\u00e1s in the cultural field,\u201d said Lorena Coelho, sponsorship manager. \u201cThe steps that Grupo Corpo take involve both support and energy. Did you perceive Petrobr\u00e1s\u00b4presence?\u201d The slogan printed in the program of the performance last August says everything and more.<\/span><\/p>\n

According to Coelho, in relation to investment in dance as a whole there is no focus on any specific segment. The projects can be selected by the public or through Petrobras\u00b4 invitation. This year, the main sponsored events are Cia De Dan\u00e7a Dani Lima, Maruj\u00e1 by Cia Oito Nova Dan\u00e7a, Joaquim e Maria by M\u00e1rcia Milhazes Dan\u00e7a Contempor\u00e2nea and Bagaceira by Cia Vat\u00e1, the FID, Quasar Locomove (a celebration of the company\u2019s 15 years), Deborah Colker, Ivaldo Bertazzo, and the Festival de Dan\u00e7a de Joinville (Joinville Dance Festival). There is no calculation of how much is invested in the area, but for the scenic arts, it is R$ 12 million: \u201cthe majority dances.\u201d And for those already thinking about next year, the placard of the 2004 Petrobr\u00e1s Cultural Program will be available online at the company\u2019s website around the October 15. The focus of next year\u2019s program will be memory and creation.<\/span><\/p>\n

Another giant of dance sponsorship in the country is Brasil Telecom. In 5th place in the ranking of the 100 largest, the company invested R$ 22 million last year in scenic arts, plastic arts, cinema and literature. Natalice Mundim is the cultural and social project manager of the company. While Mundim cannot reveal the value of the investment in dance due to company policy, the number of dance companies that are sponsored most certainly gives an idea. Lia Rodrigues Companhia de Dan\u00e7a e Cia, the groups \u00c9tnica from Rio, Quasar from Goi\u00e2nia, Basirah e Alaya from Brasilia, Verve from Paran\u00e1, Cena 11 from Florian\u00f3polis, Terpsi from Rio Grande do Sul, Isadora Duncan from Mato Grosso do Sul and Renata Melo from S\u00e3o Paulo.<\/span><\/p>\n

According to Mundim, the proposal is to \u201cnationalize the regional\u201d, transforming the groups- the majority from the area of contemporary dance \u2013 into well-known entities both outside the Rio-S\u00e3o Paulo axis as well as in their own state. In order to do this, the company is making some demands of the sponsored groups: they must offer lowered ticket prices and free workshops to the public. Such practices were employed two years ago for the Festival Brasil Telecom de Dan\u00e7a (Brasil Telecom Dance Festival). \u201cWe had a public return that surprised us last year, and it is because of this popularity that will continue,\u201d said Mundim. It is this relationship with the spectators that becomes more intense with the proposal of an enduring partnership. \u201cIf the majority (of companies) have not been (sponsored) for the at least four years, at least 90% have\u201d, she said.<\/span><\/p>\n

However, in spite of the number of \u201ccases\u201d of dance sponsorship in Brazil being many \u2013 and we could cite Banco do Brasil, Correios, Funda\u00e7\u00e3o Bradesco, among others \u2013 it is important to have in mind that the action is still unstable, subject to the \u201cmood\u201d of the market. In addition, it leaves a large portion of interpreters and creators out of the process. Nevertheless, we are not talking about discussing the motives for this \u201cexclusion of the patron,\u201d (after all, it is known that tax incentive laws for culture do have their weak points) rather we are talking about looking to prioritize the other side of the coin: the public policies of the area. Perhaps it should be emphasized that the extinction of private investment suggested at the beginning of this text as an illustrative title is not far from becoming a reality. The tax reform approved by the government will make state cultural incentive laws extinct within three years. At that time, thinking about other alternatives will become urgent. There appears to be a great deal of commotion ahead.<\/span><\/p>\n

OB. EUR $ 1 = R$ 3,20
\n(1) source: Exame S\u00e3o Paulo magazine
\n(2) source: Exame S\u00e3o Paulo magazine
\n(3) source: Ministry of Culture.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Deborah Rocha tra\u00e7a um panorama dos patroc\u00ednios, dando voz a criadores e gerentes de marketing.<\/span>Deborah Rocha offers a view on the sponsorship and listens to creators and marketing managers.<\/span><\/p>\n","protected":false},"author":31,"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":[162,160,161],"yoast_head":"\nLogomarca da dan\u00e7a | The logo of 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\/logomarca-da-danca\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Logomarca da dan\u00e7a | The logo of dance -\" \/>\n<meta property=\"og:description\" content=\"Deborah Rocha tra\u00e7a um panorama dos patroc\u00ednios, dando voz a criadores e gerentes de marketing.Deborah Rocha offers a view on the sponsorship and listens to creators and marketing managers.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/logomarca-da-danca\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2003-01-01T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-12-02T17:45:06+00:00\" \/>\n<meta name=\"author\" content=\"Deborah Rocha\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Deborah Rocha\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/logomarca-da-danca\/\",\"url\":\"https:\/\/idanca.net\/logomarca-da-danca\/\",\"name\":\"Logomarca da dan\u00e7a | The logo of dance -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2003-01-01T00:00:00+00:00\",\"dateModified\":\"2008-12-02T17:45:06+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/80de2d441343834d8f4c0428efafb4ea\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/logomarca-da-danca\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/logomarca-da-danca\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/logomarca-da-danca\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Logomarca da dan\u00e7a | The logo of 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\/80de2d441343834d8f4c0428efafb4ea\",\"name\":\"Deborah Rocha\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"caption\":\"Deborah Rocha\"},\"url\":\"https:\/\/idanca.net\/author\/deborahrocha\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Logomarca da dan\u00e7a | The logo of 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\/logomarca-da-danca\/","og_locale":"pt_BR","og_type":"article","og_title":"Logomarca da dan\u00e7a | The logo of dance -","og_description":"Deborah Rocha tra\u00e7a um panorama dos patroc\u00ednios, dando voz a criadores e gerentes de marketing.Deborah Rocha offers a view on the sponsorship and listens to creators and marketing managers.","og_url":"https:\/\/idanca.net\/logomarca-da-danca\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2003-01-01T00:00:00+00:00","article_modified_time":"2008-12-02T17:45:06+00:00","author":"Deborah Rocha","twitter_misc":{"Escrito por":"Deborah Rocha","Est. tempo de leitura":"16 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/logomarca-da-danca\/","url":"https:\/\/idanca.net\/logomarca-da-danca\/","name":"Logomarca da dan\u00e7a | The logo of dance -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2003-01-01T00:00:00+00:00","dateModified":"2008-12-02T17:45:06+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/80de2d441343834d8f4c0428efafb4ea"},"breadcrumb":{"@id":"https:\/\/idanca.net\/logomarca-da-danca\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/logomarca-da-danca\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/logomarca-da-danca\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Logomarca da dan\u00e7a | The logo of 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\/80de2d441343834d8f4c0428efafb4ea","name":"Deborah Rocha","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","caption":"Deborah Rocha"},"url":"https:\/\/idanca.net\/author\/deborahrocha\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/5"}],"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\/31"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=5"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/5\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=5"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=5"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=5"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}