{"id":6826,"date":"2008-08-07T16:32:41","date_gmt":"2008-08-07T19:32:41","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=6826&lang=pt-br"},"modified":"2008-08-07T16:33:00","modified_gmt":"2008-08-07T19:33:00","slug":"os-mercados-da-danca","status":"publish","type":"post","link":"https:\/\/idanca.net\/os-mercados-da-danca\/","title":{"rendered":"Os mercados da dan\u00e7a | Dance labour markets"},"content":{"rendered":"

A palavra “mercado” no t\u00edtulo deste texto tem um sentido cl\u00e1ssico – espa\u00e7o, f\u00edsico ou conceitual, onde se encontram algu\u00e9m que deseja determinado bem ou servi\u00e7o e algu\u00e9m que o oferece. Este encontro pode ou n\u00e3o ocorrer em troca de remunera\u00e7\u00e3o – ou seja, estamos falando de algo em sentido bem estrito, distante da id\u00e9ia que os neoliberalismos v\u00eam tentando nos impingir, que transforma os mercados em entidades metaf\u00edsicas que regem os neg\u00f3cios universais independentemente da vontade humana. Dito isto, vale uma nota sobre o fato de que “mercados” est\u00e1 no plural e “dan\u00e7a” no singular. Mercados, como vimos acima, s\u00e3o realidades concretas. A dan\u00e7a \u00e9 uma categoria intelectual (abstrata, portanto), de modo que quando falamos em “mercados de dan\u00e7a”, estamos a nos referir, na verdade, de mercados de bens e servi\u00e7os que nos parecem realizar concretamente aquela id\u00e9ia de dan\u00e7a – como espet\u00e1culos de dan\u00e7a, grupos e companhias de dan\u00e7a, artistas de dan\u00e7a, escolas de dan\u00e7a, projetos de dan\u00e7a, e por a\u00ed vai. Algu\u00e9m pode perguntar se a soma destes mercados n\u00e3o constituiria, em si mesma, um mercado de dan\u00e7a (no singular mesmo). \u00c9 poss\u00edvel que isso tenha ocorrido algum dia. \u00c9 poss\u00edvel at\u00e9 mesmo que isso ocorra em alguns lugares do mundo. Mas, no geral, n\u00e3o ocorre hoje. E, principalmente, n\u00e3o ocorre no Brasil. Tomemos como exemplo uma situa\u00e7\u00e3o poss\u00edvel de converg\u00eancia entre companhias e escolas. Quando pensamos, por exemplo, a respeito do s\u00e9culo XIX, que uma determinada companhia de ballet em Paris (ao lado, a pintura Classe de Ballet, de Edgar Degas<\/em>) est\u00e1 vinculada a determinadas escolas ou determinados professores, temos um mercado comum para os espet\u00e1culos e a forma\u00e7\u00e3o de bailarinos. A companhia produz os espet\u00e1culos que acredita satisfazerem as pessoas que a sustentam, e estas pessoas compram ingressos da companhia ou bancam seus mecenas porque acreditam apreciar o que ela produz, ou acreditam no significado de afirma\u00e7\u00e3o social decorrente daquele patroc\u00ednio. A companhia busca os bailarinos adequados \u00e0 produ\u00e7\u00e3o daqueles espet\u00e1culos espec\u00edficos, tanto no sentido t\u00e9cnico quanto art\u00edstico; os professores, em tal estrutura, adquirem prest\u00edgio (e, portanto, posi\u00e7\u00e3o social na comunidade art\u00edstica e remunera\u00e7\u00e3o mais elevada) exatamente por sua capacidade de construir corpos de bailarinos com aquela adequa\u00e7\u00e3o.<\/span><\/p>\n

\u00c9 poss\u00edvel enxergar situa\u00e7\u00e3o an\u00e1loga no mundo de hoje? N\u00e3o. A realidade descrita acima depende, em sua ess\u00eancia, de uniformidades – de est\u00e9tica, de espa\u00e7os de legitima\u00e7\u00e3o dos saberes, de centros de poder. Numa contemporaneidade marcada por diversidade aut\u00eantica, aquela realidade \u00e9 imposs\u00edvel. Temos, ent\u00e3o, a condi\u00e7\u00e3o atual do mercado, um ente fragment\u00e1rio, no qual inst\u00e2ncias diversas, sociais, pol\u00edticas, econ\u00f4micas e culturais, se interferem e sobrep\u00f5em. No caso espec\u00edfico da dan\u00e7a, uma das maneiras como este mercado fragment\u00e1rio se manifesta \u00e9 a cis\u00e3o entre os mercados espec\u00edficos.<\/span><\/p>\n

Ao discutir os mercados de dan\u00e7a, ent\u00e3o, precisamos ter como pressuposto a fragmenta\u00e7\u00e3o. Quem oferece espet\u00e1culos pode ou n\u00e3o oferecer ensino de dan\u00e7a, e o p\u00fablico destes espet\u00e1culos n\u00e3o ser\u00e1, necessariamente, o mesmo da escola de dan\u00e7a. Uma institui\u00e7\u00e3o pode organizar um festival de dan\u00e7a sem ter qualquer compromisso com a sa\u00fade financeira ou art\u00edstica das companhias do lugar. O p\u00fablico que assiste a um espet\u00e1culo porque ele integra a programa\u00e7\u00e3o de um festival n\u00e3o o veria necessariamente se o mesmo espet\u00e1culo fizesse temporada regular num teatro de sua cidade. \u00d3rg\u00e3os p\u00fablicos ou institui\u00e7\u00f5es privadas de fomento dar\u00e3o recursos a projetos que nunca se realizar\u00e3o como espet\u00e1culos, e nunca alcan\u00e7ar\u00e3o um p\u00fablico de espet\u00e1culos – ter\u00e3o seu pr\u00f3prio p\u00fablico, um p\u00fablico de “projetos de dan\u00e7a” ou de “pesquisa de dan\u00e7a” (clique aqui<\/a> e leia tamb\u00e9m a reportagem Mercado acad\u00eamico de dan\u00e7a em alta<\/em>).<\/span><\/p>\n

Por tr\u00e1s da palavra “dan\u00e7a”, temos, portanto, pessoas distintas que oferecem servi\u00e7os distintos a p\u00fablicos distintos. Todos esses processos se inserem na categoria intelectual “dan\u00e7a” mencionada acima. Se seguissem apenas suas trajet\u00f3rias paralelas no que se refere \u00e0quela id\u00e9ia de dan\u00e7a, a fragmenta\u00e7\u00e3o nem ao menos teria conseq\u00fc\u00eancias. O problema \u00e9 que, fora daquela id\u00e9ia, os mercados freq\u00fcentemente se chocam. Vejamos um exemplo. Suponhamos que o Grupo Corpo tenha programado, na pr\u00f3xima semana, temporada em Belo Horizonte. Nos dias anteriores, sua assessoria de imprensa estar\u00e1 enviando, aos meios de comunica\u00e7\u00e3o da cidade, releases<\/em> e fotos anunciando o espet\u00e1culo. Na mesma \u00e9poca, as reda\u00e7\u00f5es poderiam estar recebendo releases<\/em> e fotos anunciando as apresenta\u00e7\u00f5es da escola de dan\u00e7a que o pr\u00f3prio Corpo mant\u00e9m. Os releases <\/em>ser\u00e3o bem parecidos – v\u00e3o trazer datas, hor\u00e1rios, pre\u00e7os, lugar das apresenta\u00e7\u00f5es, sinopses do que ser\u00e1 mostrado, fichas t\u00e9cnicas. As fotos ser\u00e3o bem parecidas, mostrar\u00e3o instant\u00e2neos de corpos humanos em posturas que ser\u00e3o decodificadas como “dan\u00e7a”.<\/span><\/p>\n

O que se esconde por tr\u00e1s dos releases<\/em>, contudo, \u00e9 bem diferente. O Corpo \u00e9 uma companhia profissional. Foi fundado para que uma s\u00e9rie de pessoas pudesse criar e executar obras de arte. A escola, mesmo ligada ao grupo, \u00e9 uma institui\u00e7\u00e3o pedag\u00f3gica de car\u00e1ter livre. Foi criada para transmitir conhecimento sobre a arte e ensinar sua t\u00e9cnica. Se tamb\u00e9m produz arte, isso \u00e9 um efeito colateral de seus processos pedag\u00f3gicos. Eles poder\u00e3o ser bons sem este subproduto. Eles poder\u00e3o ser bons at\u00e9 mesmo se o subproduto n\u00e3o for. A escola de dan\u00e7a realiza-se plenamente apenas no desenvolvimento t\u00e9cnico e art\u00edstico de seus aprendizes; a companhia de dan\u00e7a realiza-se plenamente apenas no olhar do espectador. A apresenta\u00e7\u00e3o ao p\u00fablico faz parte do desenvolvimento daqueles aprendizes, da mesma maneira que o aprimoramento t\u00e9cnico e art\u00edstico \u00e9 essencial \u00e0 evolu\u00e7\u00e3o da companhia; mas t\u00eam fun\u00e7\u00e3o apenas instrumental, s\u00e3o meios para atingir os fins espec\u00edficos de cada institui\u00e7\u00e3o.<\/span><\/p>\n

\u00c9 poss\u00edvel que esta confus\u00e3o esteja corroendo nossas rela\u00e7\u00f5es com a arte, com o poder p\u00fablico, com as plat\u00e9ias, at\u00e9 mesmo as rela\u00e7\u00f5es entre os pr\u00f3prios agentes de todo o processo, artistas ou produtores culturais. Competimos pelos mesmos espa\u00e7os junto \u00e0 imprensa. Entramos nos mesmos editais \u00ad- valendo lembrar, aqui, a co-responsabilidade de empresas e poder p\u00fablico, que ao proporem patroc\u00ednios gen\u00e9ricos em vez de programas espec\u00edficos, refor\u00e7am ainda mais a confus\u00e3o. Muitos de n\u00f3s n\u00e3o fazem id\u00e9ia do que seja realmente um p\u00fablico, j\u00e1 que as \u00fanicas pessoas que precisamos convencer s\u00e3o aquelas que julgam nossos projetos, n\u00e3o aquelas que v\u00e3o nos assistir. Misturamos relat\u00f3rio de pesquisa com espet\u00e1culo. Pensamos que o mundo s\u00e3o os festivais de dan\u00e7a – pr\u00e1tica ironicamente generalizada, pois mesmo que sejam distintos os eventos para profissionais e amadores, o p\u00fablico de ambos costuma consider\u00e1-los como se fossem “o” mercado. Fazemos toda essa bagun\u00e7a e depois reclamamos que algumas escolas de dan\u00e7a recebem fortunas como patroc\u00ednio, mesmo se n\u00e3o inseridas numa pol\u00edtica geral de forma\u00e7\u00e3o para a dan\u00e7a, ou que eventos amadores recebem boa parte do dinheiro que falta nas companhias profissionais. N\u00e3o percebemos que nossa vis\u00e3o equivocada de como s\u00e3o as rela\u00e7\u00f5es de informa\u00e7\u00e3o, pol\u00edtica e economia de nosso pr\u00f3prio trabalho \u00e9 um dos fatores mais importantes para que a estrutura apresente tais distor\u00e7\u00f5es. Se pus\u00e9ssemos alguma ordem na casa, se assum\u00edssemos nossas posi\u00e7\u00f5es no mundo real (sou professor antes de ser artista, sou atividade-meio antes de atividade-fim, por exemplo), talvez f\u00f4ssemos capazes, a m\u00e9dio prazo, de corrig\u00ed-las – e em algum futuro, voltar a lidar com um mercado mais uno e, portanto, mais racional, eficiente, proveitoso para todos os que dele participam e que o sustentam.<\/span><\/p>\n

Marcello Castilho Avellar \u00e9 cr\u00edtico de arte no jornal “Estado de Minas” e professor na Escola de Teatro PUC Minas<\/strong><\/span><\/p>\n

The word “market” in the title of this article has a classic meaning – physical or conceptual space, where there is someone who wishes a certain good or service and someone who offers them. This meeting can happen in exchange for remuneration or not – so, we are talking about something in a very strict sense, distant from the idea neo-liberals have been trying to impose on us, which turns markets into metaphysical entities that rule universal business independently of human will. Having said that, it\u00b4s important to point out that “markets” is written in plural and “dance”, in singular. As we saw above, markets are concrete realities. Dance is an intellectual category (therefore, abstract), so when we talk about “dance markets”, we are actually referring to markets of goods and services that seem to concretely fulfill that idea of dance – such as dance shows, dance groups and companies, dance artistes, dance schools, dance projects and so on.<\/span><\/p>\n

Someone could ask if the sum of these markets could constitute, in itself, one dance market (singular). It\u00b4s possible it did some day and it\u00b4s possible that it does in some places of the world, but in general it\u00b4s doesn\u00b4t nowadays and it specially not in Brazil. Let\u00b4s take the example of a possible situation of companies and schools coming together. For instance, when we think about the 19th<\/sup> century, some ballet companies in Paris were linked to certain schools and teachers, there was a common market for shows and dancer education. The company produced shows they believed pleased the people who maintained them and these people would buy tickets or play their Maecenas because they believed they appreciated what the company produced, or they believed in the meaning of the social recognition that came with that support. The company seeked adequate dancers for the production of those specific shows , either in a technical or artistic sense; in such a structure, teachers gain prestige (therefore, a good social position within the artistic community and higherpayment) exactly for their ability to build such adequate dancer bodies.<\/span><\/p>\n

Is it possible to see a similar situation in today\u00b4s world? No. The reality described above depends, in its essence, of uniformity – of aesthetics, of spaces for knowledge legitimization, of centralized power. In contemporary times marked by authentic diversity, that reality is impossible. So, we have the current market condition, a fragmented entity, in which diverse instances, social, political, economical and cultural interfere and juxtapose each other. In the specific case of dance, one of the ways this fragmented market manifests itself is the break down of specific markets.<\/span><\/p>\n

Discussing dance markets, therefore, we must assume fragmentation. The one who offers shows may or may not offer dance education and the public of the show won\u00b4t necessarily be the same of the dance school. An institution can organize a dance festival without having any commitment with the financial or artistic situation of the local companies. The public that watches a show because it is part of a festival program wouldn\u00b4t necessarily watch the same show if it were part of a regular season in a theater in its home town. Public organisms and private institutions for cultural promotion will provide resources to projects that will never materialize as shows – that will have their own public, a public for “dance projects” or “dance research”.<\/span><\/p>\n

Behind the word “dance”, we have distinct people, providing distinct services to distinct publics. All those processes can be inserted in the above mentioned intellectual “dance” category. If they followed their parallel courses in relation to that idea of dance, fragmentation wouldn\u00b4t have any consequences. The problem is that, outside that idea, the markets usually clash. Let\u00b4s look at an example. Let\u00b4s suppose Grupo Corpo had a programmed season next week in Belo Horizonte. In the days before the show, press relations send the local media releases and pictures announcing the show. At the same time, newspapers offices will be receiving releases and pictures announcing presentation of the dance school Grupo Corpo itself maintains. The releases will be very similar – they\u00b4ll show date, time, prices, venues, synopsis of what will be happening, technical sheets. The pictures will be very similar, showing snapshots of human bodies in positions that will be decoded as “dance”.<\/span><\/p>\n

What\u00b4s hiding behind the releases is a very different situation. Grupo Corpo is a professional company. It was founded so a number of people could create and perform works of art. The school, even though it\u00b4s connected to the group, is a free learning institution. It was created to transmit knowledge about the art of dance and teach its technique. If it also produces art, it\u00b4s a collateral effect of its teaching process. They could be good without that byproduct. They could be good even if the byproduct is not. The dance school fulfills its purpose just through the technical and artistic development of their pupils; the company can only fulfill their purpose through the eye of spectator. The presentation for the audience is part of the development of those pupils, in the same way technical and artistic refinement is essential to the evolution of the company; however, they have only an instrumental function, they are means for each institution to reach its specific ends.<\/span><\/p>\n

It\u00b4s possible this confusion is eating up our relationship with art, with the government, with audiences, even the relationship among the agents of the process themselves, artists and cultural producers. We compete for the same space in the press. We submit to the same support programs – it\u00b4s important to note the responsibility of companies and the government, by proposing generic sponsorship instead of specific programs they reinforce the confusion. Many of us have no idea what an audience really is, since the only people we need to convince are those who analyze our projects, not those who came to watch us. We mix research report with show. We think the world is just dance festivals – ironically, a widespread practice, because even if there are distinct events for professionals and for amateurs, the audience of both consider them to be “the” market. We make all this fuss and then we complain some dance schools get a fortune for sponsorship, even if they are not inserted in a general policy for dance education or that amateur events get most of the resources that professionals companies are lacking. We don\u00b4t realize that our distorted view of how the relations of information, politics and economy are within our own work is one of the most important reasons why the structure presents such distortions. If we assumed our positions in the real world (I\u00b4m a teacher before I\u00b4m an artist, I\u00b4m means instead of ends, for example) maybe we could be capable, in a medium term, to correct this and in some future, we could go back to dealing with a market that is more unified and, therefore, more rational, efficient, productive for all those who participate and maintain it.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A uniformidade no mercado de dan\u00e7a deu lugar \u00e0 diversidade. O mercado \u00fanico d\u00e1 lugar a mercados fragment\u00e1rios. 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