{"id":8694,"date":"2008-08-25T20:15:34","date_gmt":"2008-08-25T23:15:34","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=8694&lang=pt-br"},"modified":"2008-09-23T19:52:28","modified_gmt":"2008-09-23T22:52:28","slug":"bale-folclorico-da-bahia-20-anos-de-pesquisa-culturalbale-folclorico-da-bahia-20-years-os-cultural-research","status":"publish","type":"post","link":"https:\/\/idanca.net\/bale-folclorico-da-bahia-20-anos-de-pesquisa-culturalbale-folclorico-da-bahia-20-years-os-cultural-research\/","title":{"rendered":"Bal\u00e9 Folcl\u00f3rico da Bahia: 20 anos de pesquisa cultural|Bal\u00e9 Folcl\u00f3rico da Bahia: 20 years os cultural research"},"content":{"rendered":"

H\u00e1 20 anos, um grupo de dan\u00e7as folcl\u00f3ricas sa\u00eddo de Salvador conquistava o p\u00fablico do Festival de Joinville ao dan\u00e7ar em homenagem aos 100 anos da aboli\u00e7\u00e3o dos escravos. O sucesso da ent\u00e3o apresenta\u00e7\u00e3o \u00fanica dentro da programa\u00e7\u00e3o do festival rendeu uma pequena turn\u00ea por Santa Catarina, al\u00e9m do batismo do grupo que est\u00e1 oficialmente completando 20 anos em 2008: Bal\u00e9 Folcl\u00f3rico da Bahia (BFB).<\/span><\/p>\n


\n<\/span><\/p>\n

As duas d\u00e9cadas de hist\u00f3ria do Bal\u00e9 come\u00e7aram pelas m\u00e3os de Walson Botelho e Ninho Reis, os fundadores. Eles haviam sido colegas no grupo de dan\u00e7as folcl\u00f3ricas Viva Bahia, um dos mais famosos dentro e fora do pa\u00eds na d\u00e9cada de 80. Em 1985, Walson \u2013 o Vav\u00e1 \u2013 saiu da companhia para terminar a faculdade de Antropologia. Formado, recebeu muitos convites para voltar ao mundo da dan\u00e7a, mas a id\u00e9ia do que mais tarde se tornaria o Bal\u00e9 Folcl\u00f3rico j\u00e1 come\u00e7ava a tomar conta da cabe\u00e7a de Vav\u00e1. \u201cMuitos amigos me chamaram para trabalhar, mas meu objetivo n\u00e3o era aquele. Eu sonhava com a profissionaliza\u00e7\u00e3o do trabalho de bailarino\u201d, lembra o core\u00f3grafo. A oportunidade apareceu em 1988, quando uma grande empresa o contratou para que realizasse um show com dan\u00e7as folcl\u00f3ricas. \u201cA partir dali n\u00e3o paramos mais, foi um show atr\u00e1s do outro. Fomos juntando o que t\u00ednhamos de melhor e, em algum tempo, j\u00e1 pod\u00edamos nos manter apenas com os cach\u00eas. E foi nesse contexto que surgiu o convite para ir a Joinville\u201d, conta Vav\u00e1, orgulhoso. \u201cL\u00e1 foi um teste para n\u00f3s, se desse errado eu pararia por ali\u201d. A empreitada deu certo e de l\u00e1 pra c\u00e1 o Bal\u00e9 Folcl\u00f3rico da Bahia recebeu in\u00fameros pr\u00eamios nacionais e internacionais.<\/span><\/p>\n


\n<\/span><\/p>\n

Mas o caminho n\u00e3o foi sempre t\u00e3o simples. At\u00e9 1994, o BFB teve dificuldades para encontrar espa\u00e7os para se apresentar no circuito comercial justamente por basear seu trabalho na dan\u00e7a folcl\u00f3rica baiana. \u201cFoi uma \u00e9poca em que o folclore estava desgastado em todo o mundo, o p\u00fablico j\u00e1 estava saturado, tudo o que existia era muito igual. S\u00f3 consegu\u00edamos participar de festas culturais. At\u00e9 que o Guy Darmet (diretor da Bienal de Lyon) veio a Bahia, nos conheceu e nos convidou para participar do festival\u201d, recorda Vav\u00e1. Novamente as portas se abriram para o Bal\u00e9.<\/span><\/p>\n


\n

\"F\u00eameas<\/a>

F\u00eameas \/ Foto divulga\u00e7\u00e3o<\/p><\/div>
\n<\/span><\/p>\n

Hoje, o grupo conta com uma equipe de 40 pessoas \u2013 entre bailarinos, m\u00fasicos e t\u00e9cnicos \u2013 e um curr\u00edculo compar\u00e1vel ao de uma companhia cl\u00e1ssica. \u201cNosso trabalho \u00e9 diferente porque conseguimos aliar o que h\u00e1 de mais puro da cultura folcl\u00f3rica tradicional a uma linguagem contempor\u00e2nea\u201d, explica o core\u00f3grafo e diretor do BFB. Essa mistura entre tradicional e contempor\u00e2neo a que Vav\u00e1 se refere \u00e9 vis\u00edvel no palco e resultado de muito trabalho de pesquisa aliado a aulas para melhorar a t\u00e9cnica. \u201cDou o maculel\u00ea como exemplo. \u00c9 uma dan\u00e7a t\u00edpica dos escravos que trabalhavam na cana-de-a\u00e7\u00facar, com movimenta\u00e7\u00e3o violenta e movimentos bem caracter\u00edsticos. No Bal\u00e9, n\u00f3s fazemos esses movimentos caracter\u00edsticos mas com incremento t\u00e9cnico, aliamos a t\u00e9cnica sem perder a dan\u00e7a tradicional. N\u00e3o vejo essa evolu\u00e7\u00e3o em outros grupos\u201d, afirma ele.<\/span><\/p>\n


\n<\/span><\/p>\n

Para alcan\u00e7ar essa t\u00e9cnica, os bailarinos se dividem entre ensaios e aulas oito horas por dia, de segunda-feira a s\u00e1bado. Eles t\u00eam aulas de bal\u00e9, dan\u00e7a contempor\u00e2nea, dan\u00e7a moderna, dan\u00e7a afro-brasileira, capoeira e o que mais for necess\u00e1rio para a composi\u00e7\u00e3o de um novo trabalho. \u201cO bailarino que se forma aqui est\u00e1 apto a dan\u00e7ar em companhias de qualquer outro estilo\u201d, orgulha-se Vav\u00e1. <\/span><\/p>\n


\n<\/span><\/p>\n

E como v\u00e1rias boas iniciativas pelo Brasil, o BFB tamb\u00e9m resolveu disseminar sua arte para fora das salas de ensaio e, h\u00e1 seis anos, criou o Bal\u00e9 Jr. Com crian\u00e7as de quatro a 14 anos, a \u2018escolinha\u2019 come\u00e7ou de uma forma curiosa: incomodados com a algazarra que os meninos de rua faziam do lado de fora, os bailarinos resolveram convid\u00e1-los para entrar. Pronto. \u201cO projeto ganhou corpo e resolvemos estend\u00ea-lo para toda a cidade. Hoje temos mais de 200 crian\u00e7as de classe baixa, n\u00e3o apenas meninos e meninas de rua\u201d, comemora Vav\u00e1.<\/span><\/p>\n


\n<\/span><\/p>\n

Al\u00e9m das aulas, as crian\u00e7as participam freq\u00fcentemente de mostras de trabalhos seus e dos bailarinos da companhia oficial como uma forma de incentivo para que eles continuem no projeto. De uma dessas mostras nasceu outro projeto do Bal\u00e9 Folcl\u00f3rico: o Bal\u00e9 que voc\u00ea n\u00e3o v\u00ea. Nele, o folclore d\u00e1 lugar a remontagens de espet\u00e1culos cl\u00e1ssicos, modernos e contempor\u00e2neos feitas pelos pr\u00f3prios bailarinos \u2013 que tamb\u00e9m podem experimentar \u00e1reas como figurino, ilumina\u00e7\u00e3o e cenografia. O resultado desse \u2018projeto paralelo\u2019 que mostra uma outra cara da companhia \u00e9 mostrado diariamente, de segunda-feira a s\u00e1bado, no Teatro Miguel Santana, no Pelourinho, logo ap\u00f3s a apresenta\u00e7\u00e3o di\u00e1ria e oficial do Bal\u00e9. <\/span><\/p>\n


\n<\/span><\/p>\n

Orgulho de Vav\u00e1 Botelho e um dos s\u00edmbolos da carreira bem-sucedida do BFB, o Bal\u00e9 que voc\u00ea n\u00e3o v\u00ea acabou inspirando o espet\u00e1culo comemorativo pelos 20 anos da companhia, que foi apresentado s\u00e1bado e domingo (23 e 24\/08), no Teatro Castro Alves, em Salvador. Especialmente para a data, a companhia criou Sagra\u00e7\u00e3o, uma releitura de Sagra\u00e7\u00e3o da Primavera, de Igor Stravinsky, que mostrar\u00e1 a vertente contempor\u00e2nea do grupo. A coreografia \u00e9 Jos\u00e9 Carlos Aranbiba, o Zebrinha. A segunda parte, sim, mostrar\u00e1 o folclore que acompanha o grupo h\u00e1 20 anos com trechos dos espet\u00e1culos Oxal\u00e1 (98), Afixir\u00ea (90), Capoeira do Amor (94), Berimbau (2004), Dan\u00e7a de origem e Puxada de Rede (88).<\/span><\/p>\n


\n<\/span><\/p>\n

\u201cTrata-se de um espet\u00e1culo comemorativo. N\u00e3o entrar\u00e1 no nosso repert\u00f3rio, nossa linguagem \u00e9 folcl\u00f3rica. Criar um espet\u00e1culo folcl\u00f3rico demanda tempo e dinheiro e como n\u00e3o tivemos patroc\u00ednio, n\u00e3o pudemos criar nada novo. N\u00e3o se pode inventar o folclore, ele est\u00e1 baseado na cultura. \u00c9 um trabalho de pesquisa muito grande, j\u00e1 que o folclore j\u00e1 est\u00e1 quase todo morto\u201d, explica Vav\u00e1. \u201cOptamos, assim, por explorar o Bal\u00e9 que voc\u00ea n\u00e3o v\u00ea para valorizar os nossos bailarinos pois \u00e9 t\u00e3o dif\u00edcil fazer arte no Brasil.\u201d Mas n\u00e3o se pode negar que ele est\u00e1 vendo realizado o sonho de profissionaliza\u00e7\u00e3o que, l\u00e1 atr\u00e1s, o impulsionou a criar o Bal\u00e9 Folcl\u00f3rico da Bahia.<\/span><\/p>\n


\n<\/span><\/p>\n

20 years ago, a folkloric dance group out of Salvador conquered the audience of Festival de Joinville by dancing a tribute to the 100th<\/sup> anniversary of the slavery abolition in Brazil. The success of that first, and then only, show in the festival program prompted a small tour through Santa Catarina, and originated the name of the group that is celebrating its 20th<\/sup> birthday in 2008: Bal\u00e9 Folcl\u00f3rico da Bahia.<\/span><\/p>\n

The two decades of the Bal\u00e9 history started through the work of Walson Botelho and Ninho Reis, the founders. They had been colleagues in the folkloric dance group Viva Bahia, one of the most famous groups in and out of the country in the 80\u00b4s. In 1985, Walson \u2013 aka Vava \u2013 left the group the finish studying Antropology. After graduation, he received many invitations to come back to the dance scene, but the idea of what later became Bal\u00e9 Folcl\u00f3rico was already in his mind. \u201cMany friends invited me to work, but that wasn\u00b4t my goal. I dreamed of the profissionalization of the work of dancers\u201d, remembers the choreographer. The opportunity came in 1988, when a large company hired him to produce a show of folkloric dance. \u201cFrom that point on, we didn\u00b4t stop, it was one show after the other. We put together the best of what we had and, after some time, we were able to live out of our payment. And it was in that context that the invitation to Joinville came up\u201d says a proud Vava. \u201cIt was a test for us, if it had not worked, I would have given up right there.\u201d The enterprise worked and since then, Bal\u00e9 Folcl\u00f3rico da Bahia received countless national and international awards.<\/span><\/span><\/p>\n

But the path was not always so smooth. Until 1994, BFB had trouble finding venues to perform in the commercial circuit exactly for having the folkloric dance of Bahia as foundation for their work. \u201cIt was a time when folklore was washed out all over the world, the audiences were saturated, everything was just the same. We could only participate in cultural festivals. Until Guy Darmet (director of Biennale de Lyon) came to Bahia, got to know us and invited us to participate in the festival\u201d, remembers Vav\u00e1. Again, the doors opened to Bal\u00e9.<\/span><\/p>\n


\n

\"F\u00eameas<\/a>

F\u00eameas \/ Foto divulga\u00e7\u00e3o<\/p><\/div>
\n<\/span><\/p>\n

Nowadays, the group has a crew of 40 people \u2013 dancers, musicians and technicians \u2013 and a resum\u00e9 that can be compared to that of a classic company. \u201cOur work is different because we are able to combine the most pure elements of traditional folkloric culture and contemporary dance language\u201d, explains the choreographer and director of BFB. This mixture of traditional and contemporary Vava mentions is noticeable on stage and is the result of a lot of research work combined with classes to improve technique. \u201cI teach maculel\u00ea, for example. It\u00b4s a typical dance of the slaves who worked in the sugar cane plantations, with violent movement and very characteristic moves. In Bal\u00e9, we perform these characteristic moves, but with technical enhancement, we combine technique without losing the traditional dance. I don\u00b4t see that evolution in other groups\u201d.<\/span><\/p>\n

To reach this technique, the dancers divide themselves between rehearses and classes eight hours a day, from Monday to Saturday. They have classes of ballet, contemporary dance, modern dance, afro-brazilian dance, capoeira and whatever else is necessary for the composition of a new piece. \u201cThe dancer that is trained here is apt to dance in companies of all styles\u201d, says a proud Vava.<\/span><\/p>\n

And, as many other good initiatives throughout Brazil, BFB also decided to spread their art outside the rehearsal rooms and, six years ago, created Bal\u00e9 Jr. With children of 4 to 14 years old, the school started in a peculiar way: annoyed with the noise the street kids were making outside, the dancers decided to invite them in. \u201cThe project built up and we decided to expand it to the whole city. Nowadays, we have over 200 poor children, not only street kids\u201d, celebrates Vava.<\/span><\/span><\/p>\n

Besides the classes, the children often participate in presentations of their own work and the work of dancers of the official company as way to encourage them to stick with the project. From one of these presentations, a new project was born: Bal\u00e9 que voc\u00ea n\u00e3o v\u00ea (the Ballet you don\u00b4t see). Folklore gives place to re-creations of classic, modern and contemporary shows done by the dancers themselves \u2013 who can also experiment in other areas such as costumes, lighting and stage setting. The result of this \u2018side project\u2019, that shows a another side of the company, is presented daily, from Monday to Saturday, in Miguel Santana Theatre, in Pelourinho, right after the daily official presentation of Bal\u00e9.<\/span><\/p>\n

The pride of Vava Botelho and one of the symbols of the successful carrier of BFB, the Bal\u00e9 you don\u00b4t see ended up inspiring the commemorative 20th<\/sup> anniversary show of the company, which was presented Saturday and Sunday (August 23 and 24), in Castro Alves Theatre, in Salvador. Specially for the date, the company created Sagra\u00e7\u00e3o, a re-creation of Rite of Spring, by Igor Stravinsky, that showed the contemporary verve of the company. The choreography was created by Jos\u00e9 Carlos Aranbiba, known as Zebrinha. The second part will show the folklore that has been part of the company in the last 20 years, with excerpts of the shows Oxal\u00e1 (98), Afixir\u00ea (90), Capoeira do Amor (94), Berimbau (2004), Dan\u00e7a de origem and Puxada de Rede (88).<\/span><\/p>\n

\u201cThis is a commemorative show. It won\u00b4t be part of our repertory, our language is folkloric. Creating a folkloric show requires time and money and since we have no sponsorship, we couldn\u00b4t create anything new. Folklore can\u00b4t be invented, it\u00b4s based on culture. It\u00b4s great research work, since folklore is almost all dead\u201d, explains Vava. \u201cWe opted, therefore, to explore Bal\u00e9 you don\u00b4t see to value our dancers because it\u00b4s so difficult to work with art in Brazil.\u201d There\u00b4s no denying he is watching his dream come true, the professionalization that, back then, urged him to create Bal\u00e9 Folcl\u00f3rico da Bahia.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O Bal\u00e9 Folcl\u00f3rico da Bahia completa 20 anos cheio de motivos para comemorar. Comanda dois projetos paralelos e o mais importante: segue criando espet\u00e1culos que resgatam a cultura folcl\u00f3rica baiana. Leia a entrevista que o idan\u00e7a fez com Walson Botelho, o Vav\u00e1, diretor e core\u00f3grafo da companhia. <\/p>\n","protected":false},"author":136,"featured_media":8732,"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":[52,2603,273,299,2604],"yoast_head":"\nBal\u00e9 Folcl\u00f3rico da Bahia: 20 anos de pesquisa cultural|Bal\u00e9 Folcl\u00f3rico da Bahia: 20 years os cultural research -<\/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\/bale-folclorico-da-bahia-20-anos-de-pesquisa-culturalbale-folclorico-da-bahia-20-years-os-cultural-research\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bal\u00e9 Folcl\u00f3rico da Bahia: 20 anos de pesquisa cultural|Bal\u00e9 Folcl\u00f3rico da Bahia: 20 years os cultural research -\" \/>\n<meta property=\"og:description\" content=\"O Bal\u00e9 Folcl\u00f3rico da Bahia completa 20 anos cheio de motivos para comemorar. 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