{"id":506,"date":"2005-05-24T00:00:00","date_gmt":"2005-05-24T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/05\/24\/nem-tudo-sao-flores\/"},"modified":"2008-08-06T19:10:15","modified_gmt":"2008-08-06T22:10:15","slug":"nem-tudo-sao-flores","status":"publish","type":"post","link":"https:\/\/idanca.net\/nem-tudo-sao-flores\/","title":{"rendered":"Nem tudo s\u00e3o flores | Not everything are flowers"},"content":{"rendered":"

Tr\u00eas artistas no Springdance 2005: Dani Lima, Nirvana Marinho e Wagner Schwartz. Cada qual com sua \u00e1rea de atua\u00e7\u00e3o e seus interesses. Foram longos 10 dias de debate sobre o que se reflete ser a nossa pr\u00f3pria condi\u00e7\u00e3o de cria\u00e7\u00e3o e questionamento sobre a dan\u00e7a contempor\u00e2nea. O que este artigo mostra s\u00e3o algumas quest\u00f5es que surgiram desta experi\u00eancia. Agrade\u00e7o aos core\u00f3grafos pela oportunidade \u00fanica. <\/span><\/p>\n

Uma quest\u00e3o especial abre o debate: o que significa o trabalho de Bruno Beltr\u00e3o (H2 \u2013 2005<\/em>), jovem core\u00f3grafo carioca, na abertura no Springdance, um reconhecido e importante festival de dan\u00e7a contempor\u00e2nea na Europa? Tendo em vista que este brilhante core\u00f3grafo n\u00e3o tem apresentando recentemente no Brasil, o que se repete com outros grandes nomes da dan\u00e7a contempor\u00e2nea, de que forma lidamos com um reconhecimento as avessas: o sucesso deste core\u00f3grafo \u00e9 evidente no circuito europeu e por que n\u00e3o visualizamos condi\u00e7\u00f5es equivalentes de trabalho no circuito brasileiro? O que sufoca as produ\u00e7\u00f5es ou as inova\u00e7\u00f5es no campo da dan\u00e7a contempor\u00e2nea brasileira?<\/p>\n

Uma coisa que um festival de 26 anos como o Springdance nos mostra \u00e9 que uma pol\u00edtica p\u00fablica \u00e9 um grande primeiro passo, seguido de um acurada balan\u00e7a fina do mercado. Estiveram l\u00e1 core\u00f3grafos que trabalham em contextos diferentes e que se alimentam mutuamente de um debate rico de novas id\u00e9ias. Isso ficou presente nos debates entre core\u00f3grafos, na palestra de Andr\u00e9 Lepecki e nos espet\u00e1culos que foram apresentados em diversos lugares da cidade, invadindo os h\u00e1bitos e os espa\u00e7os incomuns. Alguns exemplos s\u00e3o as coreografias em tempo permanente (apresentadas de 11 \u00e0s 20 horas, a cada 1 hora ou a cada visita) como a instala\u00e7\u00e3o de Rosemary Lee, Remote Dancing<\/em> (2004), a instala\u00e7\u00e3o de Jim Buchanan na piscina, Immersion<\/em> (2005), a coreografia numa mesa de discuss\u00e3o que foi Stationen<\/em> (2003) de Thomas Lehmen, o filme com um duo de improvisa\u00e7\u00e3o do core\u00f3grafo franc\u00eas Boris Charmatz, Horace Benedict<\/em> (2001), e ainda do mesmo core\u00f3grafo heatre-elevisison<\/em> (2002), um espet\u00e1culo sem dan\u00e7arinos e a performance Confrontation<\/em> (2005). Tamb\u00e9m houve um espet\u00e1culo para beb\u00eas Oogly Boogly<\/em> (2004), dos ingleses Tom Morris e Guy Dartnell.<\/p>\n

Isso aponta para um mercado de diferen\u00e7as, mas que ainda sim \u00e9 um mercado. Um dos debates que apareceu foi este: junto convivem criadores como Paz Rojo (coreografia Basic Dance<\/em> com o dan\u00e7arino brasileiro Cristian Duarte, 2004) e Nicole Butler (The exact position of things<\/em>, 2005) e nomes como Xavier le Roy (com Project<\/em>, 2003 e Giszelle<\/em>, 2001 dan\u00e7ado por Eszter Salamon) e J\u00e9r\u00f4me Bel com o recente solo (Veronique Doisneau<\/em>, 2004). Ainda dentro deste mesmo quadro, se destaca o core\u00f3grafo Hooman Sharifi que tamb\u00e9m ocupa um lugar importante com dois espet\u00e1culos: Hopefully someone will carry you out great gengeance on me<\/em> (2004) e seu \u00faltimo solo We failed to hold this reality in mind<\/em> (2005). Inserida dentro do que chama aten\u00e7\u00e3o no mercado, Padmini Chetteur apresenta um quarteto impressionante baseado numa movimenta\u00e7\u00e3o da dan\u00e7a indiana e na figura dos bonecos que recortados em papel (aqueles que saem uns colados nos outros), chamado Papel Doll<\/em>, 2005 e a dan\u00e7a com tecnologia mas n\u00e3o menos po\u00e9tica de Rachid Ouramdane (Les morts pudiques<\/em>, 2004). Ele veio ao Brasil no \u00faltimo Panorama e estar\u00e1 em resid\u00eancia na cidade de Fortaleza neste segundo semestre.<\/p>\n

Visto estes nomes principais \u2013 e para quem n\u00e3o os conhecem, s\u00e3o bem diferentes – do que se trata esta balan\u00e7a do mercado? De diferen\u00e7as, de inova\u00e7\u00f5es, de um pensamento cr\u00edtico acerca da dan\u00e7a, de novos usos de velhas ferramentas? O olhar curatorial \u00e9 definidor da qualidade deste festival. E depois da sele\u00e7\u00e3o feita, como estas coreografias se encaixam no debate contempor\u00e2neo do corpo e da dan\u00e7a? H\u00e1 uma conviv\u00eancia coerente por conta de uma curadoria inteligente assinada por Simon Dove, fato este muitas vezes j\u00e1 praticado no Brasil mas ainda relativamente recente. Mas, no caso do Springdance, e depois? Segue-se o olhar do p\u00fablico, o olhar de artistas e programadores que procuram o que est\u00e1 no centro do mercado. Como se relacionam com as bordas e as margens dentro deste frame<\/em><\/strong>? Esta palavra em ingl\u00eas aponta eficientemente para a pr\u00e1tica vigente: existe um enquadramento, um panorama determinado pelo modo de olhar. Al\u00e9m de curatorial, este modo \u00e9 uma opera\u00e7\u00e3o de mercado.<\/p>\n

Isso significa que estes operadores entre curadoria, mercado e p\u00fablico, ainda mais quando este \u00faltimo \u00e9 especializado, nos diz n\u00e3o somente de quem n\u00e3o foi escolhido, de quem n\u00e3o est\u00e1 no frame<\/em><\/strong>, mas tamb\u00e9m como as bordas olham para o centro (quest\u00e3o recorrente para o trabalho de Wagner Schwartz, presente em nossos debates). H\u00e1 uma certa homogeneidade na pr\u00e1tica c\u00eanica em dan\u00e7a que tem a ver, portanto, com uma pol\u00edtica p\u00fablica, com uma curadoria e uma programa\u00e7\u00e3o constante em dan\u00e7a contempor\u00e2nea, uma li\u00e7\u00e3o que ainda somos jovens no Brasil.<\/p>\n

H\u00e1, depois dos operados relacionados entre si (mercado, pr\u00e1tica, cr\u00edtica, debate), repercuss\u00f5es que dizem tamb\u00e9m o que \u00e9 o festival. N\u00e3o s\u00e3o inst\u00e2ncias separadas: uma coisa seria o festival, outra coisa seria o que ecoa dele. Diria mesmo que h\u00e1 um car\u00e1ter performativo num festival de dan\u00e7a. Ou seja, o que emerge dele diz sobre ele, diz sobre suas pr\u00e1ticas, seus contextos, sua problem\u00e1tica. Atribu\u00edmos performativo quando nossa fala confere identidade ao outro, se relaciona e tem uma a\u00e7\u00e3o im- ou expl\u00edcita que determina o ato em quest\u00e3o, seja em cena ou fora dela. Portanto, este festival, na sua qualidade de maturidade e perman\u00eancia ao longo dos anos, assim repercute: se relaciona com diferentes contextos, os coloca em quest\u00e3o, confere identidade. A balan\u00e7a do mercado \u00e9 obrigada a aceitar que, apesar da conviv\u00eancia, de uma certa homogeneidade, a diferen\u00e7a \u00e9 o que delineia quem est\u00e1 dentro ou fora da arena. Ali\u00e1s, a balan\u00e7a \u00e9 feita deste movimento e, devo dizer, nosso olhar foi aprendendo a ver as sutilezas definidoras a\u00ed presentes.<\/p>\n

E, para tr\u00eas artistas brasileiros, uma pergunta se refaz neste contexto: Que diferen\u00e7as aproximam ou distanciam o mercado europeu e brasileiro? Qual \u00e9 o impacto disso no nosso mercado?<\/p>\n

Devo chamar Homi K. Bhabha para o debate. Quando o novo entra no mundo<\/em>, Bhabha (1998) aponta para as v\u00e1rias realidades concomitantes: quando se encena uma po\u00e9tica da tradu\u00e7\u00e3o que arrisca a fronteira entre a col\u00f4nia e a metr\u00f3pole; quando se tenta negociar narrativas nas vidas duplas do mundo p\u00f3s-colonial, com suas jornadas de migra\u00e7\u00e3o e suas di\u00e1sporas; ou quando \u00e9 necess\u00e1ria uma precau\u00e7\u00e3o contra a generaliza\u00e7\u00e3o de conting\u00eancias e contornos de circunst\u00e2ncia local no momento em que \u00e9 urgente um saber transnacional, migrante<\/em>. Portanto, estamos cruzando os espa\u00e7os desarticulados que pronunciam o presente, novamente e de modo novo. Isso parece tamb\u00e9m se aplicar a n\u00e3o t\u00e3o pac\u00edfica rela\u00e7\u00e3o entre gera\u00e7\u00f5es, entre os espa\u00e7os, entre as bordas e nas formas de se corporificar um pensamento em dan\u00e7a. Ainda Bhabha, parece haver um entre-lugar<\/em> no qual emerge a provisoriedade do presente<\/em>.<\/p>\n

Agamben tamb\u00e9m \u00e9 pesquisador que ajuda neste debate quando se trata de uma inclus\u00e3o que pode excluir (Agamben) aqueles que est\u00e3o no frame<\/em><\/strong> do mercado atual. Ou seja, havendo um mercado europeu determinado isso n\u00e3o significa que todos est\u00e3o inclu\u00eddos, ou que exista um generoso mercado que abarque as diferen\u00e7as (agrade\u00e7o a Dani Lima pelo coment\u00e1rio). O que se coloca s\u00e3o as dif\u00edceis quest\u00f5es sobre o ponto de impacto entre os mercados e os saberes. Como migram as id\u00e9ias, como trafegam as dificuldades de se estar ou n\u00e3o estar no centro de um mercado definidor. Faz-se necess\u00e1rio estrat\u00e9gias de a\u00e7\u00e3o, presentes inclusive neste festival, j\u00e1 maduro. Este ponto de impacto, que coincide com os entre-lugares de Bhabha, parecem apontar para um modo de compreens\u00e3o importante para entender esta complicada din\u00e2mica de inclus\u00e3o e exclus\u00e3o.<\/p>\n

Isso se refere sempre a um ponto de vista, uma perspectiva com a qual nos \u00e9 poss\u00edvel ver e definir o que vemos. Qual \u00e9 o ponto a partir do qual cada um de n\u00f3s avalia o mercado de dan\u00e7a, inclusive tendo a frente realidades diferentes, como o mercado europeu e o brasileiro, \u00e9 o ponto nevr\u00e1lgico deste nosso debate. Urgente lembrar que n\u00e3o h\u00e1 uma pr\u00e1tica s\u00f3lida de pol\u00edticas p\u00fablicas efetiva no Brasil, de maneira que isso interfere nos nossos pontos de vistas, estejamos no centro ou nas bordas da pr\u00e1tica cultural em dan\u00e7a neste pa\u00eds.<\/p>\n

Portanto, a necessidade de estabelecer um discurso em dan\u00e7a \u2013 seja neste caso de um festival ou dos artistas em debate na tentativa de compreender o ponto sobre o qual se d\u00e1 a ver nosso contexto – tem a ver com sobreviv\u00eancia. As formas de atuar diante desta necessidade s\u00e3o estrat\u00e9gias pol\u00edticas de conviv\u00eancia, de co-habita\u00e7\u00e3o. Isso atua em diversos n\u00edveis, inclusive naquele em que o olhar do outro me define diante da minha pr\u00f3pria pr\u00e1tica. Na politicidade inerente ao mercado, n\u00e3o h\u00e1 como ficar isento do ponto de vista com o qual se olha a paisagem art\u00edstica.<\/p>\n

Diante disso, uma reflex\u00e3o que emerge desta experi\u00eancia pode re-configurar o contexto brasileiro: parece urgente reconhecer nossos entre-lugares, retomar politicamente e artisticamente quais s\u00e3o nosso pontos de vis\u00e3o, compreender o que \u00e9 uma pol\u00edtica p\u00fablica efetiva, o que significam os festivais de dan\u00e7a e quais s\u00e3o seus prop\u00f3sitos ideol\u00f3gicos e, finalmente, como podemos criar estrat\u00e9gias de visibilidade e conviv\u00eancia mais e mais eficazes. A isso, Dani Lima comenta: buscar descobrir novas e mais estrat\u00e9gias locais de amplia\u00e7\u00e3o de mercado<\/em>. A li\u00e7\u00e3o n\u00e3o \u00e9 estrangeira, mas extremamente real no dia-a-dia dos criadores que l\u00e1 estiveram, o que acontece com tantos outros no Brasil.<\/p>\n

E como Bhabha nos mostra, h\u00e1 um novo que negocia, traduz e localiza contextos constantemente sendo modificados pela presen\u00e7a do Outro. O nosso Outro pode estar invis\u00edvel no lugar a partir do qual olhamos nossa pratica art\u00edstica, mas talvez seja (e isso se faz no tempo constante, portanto, n\u00e3o se finda) necess\u00e1rio torn\u00e1-lo vis\u00edvel, ou seja, revisitar as ideologias que permeiam nossos meios de conv\u00edvio est\u00e9tico e pol\u00edtico na dan\u00e7a contempor\u00e2nea brasileira.<\/p>\n

Uma vez que temos encarnados um h\u00e1bito antropof\u00e1gico e migrante, tais ideologias necessitam sempre serem ajustadas e ganharem espa\u00e7os de visibilidade. A possibilidade de visitar um festival de dan\u00e7a, em qualquer lugar do mundo, \u00e9 revirar nossos sentidos constantemente. N\u00e3o \u00e9 somente a l\u00edngua que muda ou o modo de vestir, mas tamb\u00e9m uma forma de rever nossas leituras, \u00e0s vezes t\u00e3o estabelecidas e legitimadas (ou por muitas vezes n\u00e3o) pelo contexto que vivemos.<\/p>\n

Esta pr\u00e1tica est\u00e1 t\u00e3o presente quanto nossa necessidade em reafirmamos um discurso. \u00c9 sobre esta ambig\u00fcidade que proponho refletir a visita num festival de dan\u00e7a contempor\u00e2nea em Utrecht, pequena e simp\u00e1tica cidade meia hora de Amsterd\u00e3, onde acontece o Springdance.<\/p>\n

Nirvana Marinho*<\/strong> \u00e9 pesquisadora em dan\u00e7a e uma das coordenadoras do projeto www.idanca.net.<\/em>Translation by Sarah Hyde from CCAPS.<\/em><\/span><\/p>\n

Three artists at Springdance 2005: Dani Lima, Nirvana Marinho and Wagner Schwartz. Each one with their own area of activity and their interests. They were 10 long days of debate about what it means to have our own condition of creation and questioning on contemporary dance. What this article shows are some of the issues that arose from this experience. I would like to thank the choreographers for this unique opportunity.<\/p>\n

A special issue opens the debate: the meaning of the work of Bruno Beltr\u00e3o (H2 \u2013 2005<\/em>), a young choreographer from Rio de Janeiro at the opening of Springdance, a well-known and important contemporary dance festival in Europe? Considering that this brilliant choreographer has not presented recently in Brazil, which is being repeated with the other major names in contemporary dance, how do we deal with a recognition the other way around: the success of this choreographer is evident in the European circuit and why don\u2019t we see the same kind of conditions for work in the Brazilian circuit? What suffocates the productions or innovations in the field of Brazilian contemporary dance?<\/p>\n

One thing that a 26-year old festival like Springdance shows us is that a public policy is a great first step followed by an accurate fine market balance. Choreographers who work under different contexts and who mutually fuel a rich debate of new ideas were present. This topic was present in the debates between choreographers, in the lecture by Andr\u00e9 Lepecki and in the performances that were presented in diverse locations throughout the city, invading uncommon habits and spaces. Some examples are the permanently exhibited choreographies (performed from 11:00 to 8:00 p.m., each hour or with each visit) such as the installation of Rosemary Lee, Remote Dancing<\/em> (2004), the installation of Jim Buchanan at the pool, entitled “Immersion” (2005), the choreography at a discussion table, Stationen<\/em> (2003) by Thomas Lehmen, the film with an improv duo presented by the French choreographer, Boris Charmatz, called Horace Benedict<\/em> (2001) and still from the same choreographer heatre-elevision<\/em> (2002), a performance without dancers and Confrontation<\/em> (2005). There was also a performance for babies entitled Oogly Boogly<\/em> (2004), by the English choreographers Tom Morris and Guy Dartnell.<\/p>\n

This indicates a market of differences, but which continues to be a market. One of the debates that appeared was the following: together creators such as Paz Rojo (Basic Dance<\/em> choreography with the Brazilian dancer Cristian Duarte, 2004) and Nicole Butler (The exact position of things<\/em>, 2005) together with names such as Xavier le Roy (with Project<\/em>, 2003 and Giszelle<\/em>, 2001 danced by Eszter Salamon) and J\u00e9r\u00f4me Bel with the recent solo (Veronique Doisneau<\/em>, 2004). Still within this same picture, the work of choreographer Hooman Sharifi also stands out. He also occupies an important place with two performances: Hopefully someone will carry you out great vengeance on me<\/em> (2004) and his last solo We failed to hold this reality in mind<\/em> (2005). Inserted within what calls attention in the market, Padmini Chetteur presents an impressive quartet based on the movements of Indian dance and on the figure of dolls cut out of paper (those that form a chain), called Papel Doll, 2005<\/em> and a dance with technology but no less poetic by Rachid Ouramdane (Les morts pudiques<\/em>, 2004). He came to Brazil during the last Panorama and will be in residence in the city of Fortaleza during the second half of the year.<\/p>\n

Given these major names \u2013 and for those who do not know them, they are very different \u2013 what is this market balance about? About differences, innovations, a critical thinking on dance, new uses for old tools? The trustee eye is what defines the quality of this festival. After the selection is made, how do these choreographies fit into the contemporary debate on the body and dance? There is a coherent co-existence due to the work of an intelligent trusteeship signed by Simon Dove, already commonly practiced in Brazil but still relatively recent. However, what about the case of Springdance and after that? It follows the public view and the view of artists and programmers who seek that which is at the center of the market. How do they relate to the edges and margins inside this frame?<\/strong><\/em> This last term efficiently reflects current practice: there is a framing, a panorama that is determined by the way of looking. In addition to being curatorial, this method is a market operation.<\/p>\n

This means that these operators, including curatorship, the market and public, and even more so when this last one is specialized, do not only tell us who was not chosen, who is not in the frame, but also how the edges look toward the center (a reoccurring issue in the work of Wagner Schwartz that was present in our debates). There is a certain level of homogeneity in the scenic practice in dance that has to do, therefore, with a public policy, with a curatorship and a constant programming in contemporary dance, serving as a lesson that we are still young in Brazil.<\/p>\n

There are, after the operated segments that relate to one another (market, practice, critique, debate), repercussions that also tell what the festival is about. They are not separate instances: one thing would be the festival, the other thing would be its echo. I would even say that there is a performative character in a dance festival. In other words, that which emerges that says something about it, about its practices, its contexts and its problems. We use the term performative when our discussion gives identity to the other, when it relates and has an implicit or explicit action that determines the act in question, whether inside our outside the scene. Therefore this festival, in the quality of its maturity and permanence throughout the years, reverberates in the following way: it relates with the different contexts, puts them into question and confers identity. The market balance is obliged to accept that, despite the co-existence of a certain homogeneity, the difference is what determines who is inside or outside the arena. As a matter of fact, the balance is created from this movement and, I should say, we learned to see the defining subtleties present there.<\/p>\n

Furthermore, for three Brazilian artists, a reoccurring question in this context: What differences bring together or separate the European and Brazilian markets? What is the impact of this on our market?<\/p>\n

I should invite Homi K. Bhabha to participate in the debate. When the new enters the world<\/em>, Bhabha (1998) points to the different concomitant realities: when a poetics of translation is staged that ventures to the frontier between the colony and the metropolis; when one tries to negotiate narratives in the double lives of the post-colonial world, with its journeys of migration and its diasporas; or when it is necessary to take precautions against the generalization of contingencies and contours of local circumstance at the moment in which a transnational, migrant<\/em> knowledge is urgent. Therefore, we are crossing new unarticulated spaces that pronounce the present again and in a new way. This appears to also apply to the not so pacific relationship between generations, spaces, edges and in the ways of embodying a thought on dance. Bhabha also appears to have a middle ground from which the temporality of the present<\/em> emerges.
\nAgamben is also a researcher who helps with this debate when it deals with an inclusion that can exclude (Agamben) those who are not in the frame<\/strong><\/em> of the current market. In other words, having a European market determine this does not mean that all are included or that a generous market exists that embraces differences (I thank Dani Lima for the comment). What takes center stage are the difficult issues associated with the point of impact between markets and the different types of knowledge. How ideas migrate, how difficulties of being or not being at the center of a defining market come and go. Strategies of action become necessary, including those present at this festival, already mature. This point of impact, which coincides with Bhabha\u2019s middle grounds, appears to indicate an important way of thinking in terns of understanding this complicated dynamic of inclusion and exclusion.<\/p>\n

This always refers to a point of view, a perspective through which it is possible to see ourselves and define what we see. What is the departure point from which each one of us evaluates the dance market, including the different realities in front of us, such as the European and Brazilian markets? This is the neuralgic point of our debate. It is essential to point out that there is no solid practice of public policies in Brazil in such a way that this interferes with our points of view, whether we are at the center or edges of cultural practice in dance in Brazil.<\/p>\n

Therefore, the need to establish a discourse in dance \u2013 whether in the case of a festival or artists debating in an attempt to understand the point from which we are able to see our context \u2013 has to do with survival. The ways of acting when faced with this need are political strategies of co-existence, of co-living. This works on different levels, including the one on which the view of the other defines my own practice. With the politics that are inherent to the market, there is not way escaping the point of view with which one sees the artistic landscape.<\/p>\n

Faced with this scenario, a reflection emerging from this experience can re-configure the Brazilian context: it appears that it is urgent to recognize the middle grounds, politically and artistically retake our points of view, understand what an effective public policy is, what the dance festivals mean as well as their ideological purpose and finally, how we can create increasingly effective strategies of visibility and coexistence. On this point, Dani Lima states: seek to discover new and more strategic locations for market expansion.<\/em> The lesson is not foreign, but extremely real in the daily lives of the creators that were there, similarly to what happens with so many others in Brazil.<\/p>\n

And as Bhabha shows us, there is a new one that negotiates, translates and localizes contexts that are constantly being modified by the presence of the Other.<\/em> Our Other<\/em> can be invisible in the place from which we see our artistic practice, but perhaps (and this is done in constant time and therefore does not end) it is necessary to make it visible, or in other words, revisit the ideologies that permeate our means of esthetic coexistence and the politics in contemporary Brazilian dance.<\/p>\n

Since we have embodied an anthropophagic and migrant habit, such ideologies must always be adjusted and must earn visible spaces. The possibility of visiting a dance festival in any part of the world is to constantly re-examine our feelings. It is not only language that changes or our way of dressing, but also a way of re-examining our readings, sometimes so established and legitimized (or many times not) by the contexts in which we live.<\/p>\n

This practice is as present as our need to reaffirm a discourse. It is about this ambiguity that I propose to reflect at a contemporary dance festival in Utrecht, a small and pleasant city situated 30 minutes from Amsterdam, where Springdance will take place.<\/p>\n

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

Nirvana Marinho aponta as diferen\u00e7as homog\u00eaneas do Springdance Festival <\/span>Nirvana Marinho points out the homogeneous differences on Springdance Festival<\/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":"\nNem tudo s\u00e3o flores | Not everything are flowers -<\/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\/nem-tudo-sao-flores\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nem tudo s\u00e3o flores | Not everything are 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