{"id":5186,"date":"2007-12-21T15:11:03","date_gmt":"2007-12-21T18:11:03","guid":{"rendered":"http:\/\/beta.idanca.net\/2007\/12\/21\/impressoes-latentes\/"},"modified":"2008-10-08T17:47:25","modified_gmt":"2008-10-08T20:47:25","slug":"impressoes-latentes","status":"publish","type":"post","link":"https:\/\/idanca.net\/impressoes-latentes\/","title":{"rendered":"Impress\u00f5es Latentes|Latent impressions"},"content":{"rendered":"

“Teoria e pr\u00e1tica n\u00e3o se separam, seja na dan\u00e7a de um corpo ou na cr\u00edtica que reflete sobre ele. Ambos s\u00e3o de natureza intelectual e perform\u00e1tica ao mesmo tempo” <\/em>(Paulo Paix\u00e3o)<\/em><\/span><\/p>\n

Tentar refletir sobre um evento \u00e9 realizar um exerc\u00edcio de articula\u00e7\u00e3o das impress\u00f5es que permanecem latentes em rela\u00e7\u00e3o \u00e0quilo do que se deu a ver. Por certo, as impress\u00f5es s\u00e3o diversas e, antes disso se configurar como um problema, possibilita um campo f\u00e9rtil para o debate, aberto a contribuir para o alargamento e revis\u00e3o das in\u00fameras quest\u00f5es que permeiam o fazer-pensar a dan\u00e7a.<\/span><\/p>\n

A 5\u00ba edi\u00e7\u00e3o do Conex\u00e3o Sul<\/strong> ocorreu pela segunda vez na cidade de Curitiba entre os dias 22 e 25 de novembro deste ano. Seguindo a premissa das edi\u00e7\u00f5es anteriores, as atividades se mantiveram concentradas, sem programa\u00e7\u00f5es simult\u00e2neas, o que favoreceu enormemente o estreitamento das rela\u00e7\u00f5es entre os participantes. As mesas, apresenta\u00e7\u00f5es art\u00edsticas, debates e oficinas tiveram como foco de discuss\u00e3o os “caminhos e processos de pesquisa em dan\u00e7a”. Assunto t\u00e3o presente como gerador de pol\u00eamicas e diverg\u00eancias (salutares e prof\u00edcuas) em eventos desta natureza.<\/span><\/p>\n

A escolha dos artistas e pesquisadores convidados foi feita pelos articuladores estaduais M\u00f4nica Infante, Rosemeri Rocha, Cinthia Kunifas e Marila Velloso no Paran\u00e1, Sandra Meyer, Vera Torres e Jussara Xavier em Santa Catarina e Heloisa Gravina, Marco Fillipin, Tatiana da Rosa e Cibele Sastre no Rio Grande do Sul. Estas escolhas se referem \u00e0 parte da produ\u00e7\u00e3o em dan\u00e7a destes estados. N\u00e3o sei se por coincid\u00eancia ou por delibera\u00e7\u00e3o, se fez presente nas produ\u00e7\u00f5es uma grande similaridade regional, principalmente nas obras vindas de Santa Catarina e Rio Grande do Sul. De qualquer modo, este fato nos leva a refletir o quanto e de que maneira tradi\u00e7\u00f5es, modelos e referenciais contaminam os processos criativos e como lidamos com estas qualidades informativas.<\/span><\/p>\n

Muito embora algumas obras ainda se mostrassem atreladas a modelos pr\u00e9-estabelecidos, deixando fr\u00e1geis as quest\u00f5es apresentadas, as experi\u00eancias evidenciaram uma grande diversidade no entendimento do que seja fazer dan\u00e7a contempor\u00e2nea, quer seja nos procedimentos adotados ou na articula\u00e7\u00e3o das quest\u00f5es formuladas, como no modo de test\u00e1-las no corpo e na elabora\u00e7\u00e3o de uma dramaturgia.<\/span><\/p>\n

Trabalhos como Attraverso<\/strong><\/em> de Gladis Tridapalli, Ob-gestos<\/strong><\/em> da PIP Cia de Dan\u00e7a e Hipo-teses<\/strong><\/em> de Volmir Cordeiro, Marcos Klann, Manoela Rangel e Cle\u00edstenes Groot deixaram claro que o processo de pesquisa em dan\u00e7a \u00e9 um trabalho de pr\u00e1ticas entrela\u00e7adas, que se d\u00e3o num continum <\/em>espa\u00e7o-temporal que transp\u00f5e a obra e se estabelece como mote propulsor do artista.<\/span><\/p>\n

Outros momentos de intensa troca foram os debates ap\u00f3s as apresenta\u00e7\u00f5es, que trouxeram reflex\u00f5es e indaga\u00e7\u00f5es mais que pertinentes e, por isso mesmo, merecia uma maior dura\u00e7\u00e3o, por mais que elas se distendessem em conversas futuras em outros espa\u00e7os. Quest\u00f5es referentes ao processo criativo como: dramaturgia, rela\u00e7\u00e3o com outras linguagens, coreografia, cria\u00e7\u00e3o colaborativa, entre outras tantas, ganharam corpo entre os presentes. Do mesmo modo, a mesa de pesquisa em dan\u00e7a, proporcionou espa\u00e7o para o alargamento e a revis\u00e3o de conceitos, contribuindo com a tarefa, ainda muito necess\u00e1ria, de romper com estruturas deterministas e dualistas, que emergem em diversos discursos referentes ao corpo, a pesquisa e a dan\u00e7a.<\/span><\/p>\n

O Conex\u00e3o Sul<\/strong>, ao reunir parcela da comunidade da dan\u00e7a n\u00e3o s\u00f3 da Regi\u00e3o Sul, mas tamb\u00e9m convidados de outras localidades (neste ano foram convidados: Joubert Arrais – CE, Simone Avancini – SP, \u00cdtala Clay – AM, Tuca Pinheiro – MG e Eva Schul – RS) cria um espa\u00e7o continuado prop\u00edcio \u00e0 dissemina\u00e7\u00e3o de id\u00e9ias e propostas, de partilha da informa\u00e7\u00e3o, favorecendo a discuss\u00e3o e o di\u00e1logo com a diversidade, fortalecendo a atua\u00e7\u00e3o pol\u00edtica dos artistas da dan\u00e7a e sua efetiva inser\u00e7\u00e3o no tecido social.<\/span><\/p>\n

A proposta inicial permanece presente e ganha for\u00e7a a cada novo encontro, no entanto, \u00e9 importante a manuten\u00e7\u00e3o constante de espa\u00e7os para abarcar novas demandas e quest\u00f5es que emergem nos ambientes e, para n\u00e3o se restringir t\u00e3o somente a conversas entre artistas, faz-se necess\u00e1rio a cria\u00e7\u00e3o de estrat\u00e9gias que aproximem ainda mais o p\u00fablico do evento, de modo a torn\u00e1-lo mais familiarizado com quest\u00f5es relacionadas \u00e0 produ\u00e7\u00e3o art\u00edstica contempor\u00e2nea, cumprindo assim papel de produtor e difusor de conhecimento em dan\u00e7a.<\/span><\/p>\n

Afinal, como salienta a pesquisadora Fabiana Britto os eventos de dan\u00e7a, s\u00e3o mecanismos eficientes na promo\u00e7\u00e3o do confronto cr\u00edtico entre id\u00e9ias diversas e que, ao congregar, num espa\u00e7o de tempo e lugar, produ\u00e7\u00f5es geograficamente dispersas, “atualiza refer\u00eancias, mobiliza reflex\u00e3o cr\u00edtica, desafia h\u00e1bitos de pensamento. Mas acima de tudo, cria demanda – apontam novas perspectivas de investiga\u00e7\u00e3o.” (Britto 2004)[i]<\/a><\/span><\/p>\n

[i]<\/a> BRITTO, Fabiana. Dan\u00e7a e pol\u00edtica: Uma quest\u00e3o de tempo<\/em>. In: NORA, Sigrid (org.). H\u00famus1<\/em>, Caxias do Sul, 2004. p. 73-78<\/span><\/p>\n


\nTheory and practice aren’t apart, be it in the dance of a body or in the critic that reflects about it. Both are, at the same time, of intellectual and performatic nature<\/em>” (Paulo Paix\u00e3o)<\/span><\/p>\n

To try to reflect upon an event is to make an exercise of articulation of the impressions that remain latent in relation to that which has rendered itself visible. For sure, the impressions are diverse and, before that becomes a problem, it makes possible a fertile field for an open debate contributing this way to the enlargement and revision of the numberless questions that permeate the making and thinking of dance.<\/span><\/p>\n

The 5th<\/sup> edition of Conex\u00e3o Sul<\/strong> (South Connection) took place for the second time in the city of Curitiba between the days of November 22nd<\/sup> and 25th<\/sup> this year. Following the premise of the previous editions, the activities were concentrated, without any simultaneous programming, what has favored enormously the narrowing of the relationships among the participants. The panels, artistic presentations, debates and workshops had as discussion focus the “ways and processes of research in dance”. A very present subject, as generator of polemics ad divergences (healthy and useful ones) in events of this nature.<\/span><\/p>\n

The choice of the invited artists and researchers was made by the state-based articulators M\u00f4nica Infante, Rosemeri Rocha, Cinthia Kunifas and Marila Velloso in Paran\u00e1, Sandra Meyer, Vera Torres and Jussara Xavier in Santa Catarina and Heloisa Gravina, Marco Fillipin, Tatiana da Rosa and Cibele Sastre in Rio Grande do Sul. These choices refer to the part of the production in dance in these states. I don’t know if by coincidence or deliberation a big regional similarity makes itself present, mainly in the works coming from Santa Catarina and Rio Grande do Sul. Any way, this fact makes reflect how much and in which ways traditions, models and references contaminate the creative processes and how we deal with these informative qualities.<\/span><\/p>\n

Although some works still showed a connection to pre-established models, rendering fragile the presented questions, the experiences put into evidence a great diversity of understanding what making contemporary dance might mean, be it in the adopted proceedings or in the enounced articulation of the questions, as in the way of testing them in the body and in the elaboration of a dramaturgy.<\/span><\/p>\n

Works as Attraverso<\/em> (Across<\/em>) by Gladis Tridapalli, Ob-gestos<\/em> (Ob-gestures) by PIP Cia de Dan\u00e7a and Hipo-teses<\/em> (Hypo-thesis<\/em>) by Volmir Cordeiro, Marcos Klann, Manoela Rangel and Cle\u00edstenes Groot made it clear that the dance research process is a work of interlaced practices which happen in a space-time continuum that transposes the work and establishes itself as the propelling motto of the artist.<\/span><\/p>\n

Other moments of intense exchange were the debates after the presentations, what brought up reflections and questionings more than pertinent and, really because of that, deserved a bigger duration, although having been distended in future conversations into other spaces. Questions referring to the creative process as: dramaturgy, relationship with other artistic languages, choreography, collaborative creation, among so many others, took form among the present people. In the same way, the panel on research in dance has provided space for the enlargement and the revision of concepts, contributing with the task, still very necessary, of breaking through determinist and dualistic structures, which emerge in different speeches referring to body, research and dance.<\/span><\/p>\n

Conex\u00e3o Sul<\/strong>, when gathering parcel of the dance community not only from the South Region, but also guests from other localities (this year the guests were Joubert Arrais – CE, Simone Avancini – SP, \u00cdtala Clay – AM, Tuca Pinheiro – MG and Eva Schul – RS), creates a continued space favorable to the dissemination of ideas and proposals, of sharing of information, promoting the discussion and the dialogue with the diversity, fortifying the political engagement of the dance artists and their effective insertion in the social tissue.<\/span><\/p>\n

The initial proposal remains present and gains force at every new meeting. Nevertheless, it’s important the constant maintenance of spaces to host new demands and questions that emerge in the ambiences and, in order not to get restricted solely to the conversations between artists, it’s necessary the creation of strategies that cause the public of the event to approach even more, in such a way that render it more familiar with questions related to the contemporary artistic production, fulfilling this way the role of producer and diffuser of knowledge in dance.<\/span><\/p>\n

After all, as underlines the researcher Fabiana Britto, the dance events, are efficient mechanisms in the promotion of the critical confrontation between diverse ideas and that, when it congregates, in space and time, geographically dispersed productions, it “updates references, mobilizes critical reflection, challenges thinking habits. But more than anything else, it creates demand – it points to new perspectives of investigation.”( Britto 2004)[i]<\/a>.<\/span><\/p>\n

[i]<\/a> BRITTO, Fabiana. Dan\u00e7a e pol\u00edtica: Uma quest\u00e3o de tempo<\/em>. (Dance and politics: a matter of time) In: NORA, Sigrid (org.). H\u00famus1<\/em>, Caxias do Sul, 2004. p. 73-78<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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