{"id":8937,"date":"2008-09-18T20:06:51","date_gmt":"2008-09-18T23:06:51","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=8937&lang=pt-br"},"modified":"2008-09-22T14:42:27","modified_gmt":"2008-09-22T17:42:27","slug":"corpos-entre-margens-2","status":"publish","type":"post","link":"https:\/\/idanca.net\/corpos-entre-margens-2\/","title":{"rendered":"Corpos entre margens | Bodies between margins"},"content":{"rendered":"

A id\u00e9ia deste texto partiu de um tempo de conviv\u00eancia com o N\u00facleo de Cria\u00e7\u00e3o do Dirceu<\/a>, periferia de Teresina, Piau\u00ed, em fevereiro de 2008. O grupo Musicanoar foi convidado a se apresentar com o espet\u00e1culo de dan\u00e7a Vapor<\/strong><\/em> no projeto lan\u00e7ado pelo N\u00facleo de Cria\u00e7\u00e3o do Dirceu denominado Mapas do Corpo<\/em> (leia aqui<\/a> not\u00edcia sobre a 3\u00aa edi\u00e7\u00e3o do evento).<\/span><\/p>\n

Sabemos que qualquer constru\u00e7\u00e3o bem realizada depende de parcerias e condi\u00e7\u00f5es as quais propiciam possibilidades mais concretas de realiza\u00e7\u00f5es com um devido sucesso. No caso do Musicanoar, eu – Helena Bastos – e Raul Rachou t\u00ednhamos a disponibilidade da diretora de Vapor <\/strong><\/em>que nos acompanhou: Vera Sala. Da parte do N\u00facleo de Cria\u00e7\u00e3o do Dirceu cont\u00e1vamos com a coordena\u00e7\u00e3o de Marcelo Evelin (core\u00f3grafo\/criador\/int\u00e9rprete) neste projeto, a produ\u00e7\u00e3o de Regina Velloso e Klayton Amorim e o diretor administrativo Francisco de Castro. Neste circuito houve tamb\u00e9m a m\u00e3o do Ita\u00fa Cultural – Rumos Dan\u00e7a2006\/2007, que administrou nosso cach\u00ea, nossas idas e vindas tendo sempre a presen\u00e7a da gestora de projetos de dan\u00e7a S\u00f4nia Sobral.<\/span><\/p>\n

Quando mapeamos estas rela\u00e7\u00f5es \u00e9 por querer chamar aten\u00e7\u00e3o que qualquer pensamento, para existir, necessita de visibilidade que estar\u00e1 sempre vinculada a uma temporalidade no ambiente e co-dependente do modo como as rela\u00e7\u00f5es se articulam num determinado espa\u00e7o focado e dispon\u00edvel em dire\u00e7\u00f5es que fomentem o fazer criativo. Em Teresina, era falar de dan\u00e7a, cria\u00e7\u00e3o, dramaturgia, contemporaneidade em dan\u00e7a, enfim, pretendia-se deste encontro uma reflex\u00e3o conjunta em que artistas, professores e iniciantes ligados \u00e0 pesquisa de linguagem c\u00eanica movessem suas a\u00e7\u00f5es e conseguissem expandir modos de pensar organiza\u00e7\u00e3o no corpo que dan\u00e7a.<\/span><\/p>\n

Arte no projeto Dirceu passa pelo entendimento de outras formas de conhecimento. Todo conhecimento \u00e9 uma forma de educa\u00e7\u00e3o vital. Vale ressaltar a pertin\u00eancia deste encontro com o Musicanoar. Apesar de morarmos em cidades distantes entre si, como S\u00e3o Paulo e Teresina, parte do que alimentou nosso encontro foi a percep\u00e7\u00e3o de haver uma proximidade por quest\u00f5es conceituais inseridas nas nossas investiga\u00e7\u00f5es contempor\u00e2neas.<\/span><\/p>\n

Nestes 16 anos de trabalho, o Musicanoar ampliou o entendimento sobre composi\u00e7\u00e3o e coreografia no ambiente contempor\u00e2neo. Hoje, o perfil deste artista na rela\u00e7\u00e3o com uma obra coreogr\u00e1fica exige uma interven\u00e7\u00e3o diferente tanto no momento da constru\u00e7\u00e3o, produ\u00e7\u00e3o e execu\u00e7\u00e3o do espet\u00e1culo.<\/span><\/p>\n

O Musicanoar apresenta um perfil que lida com uma conduta investigativa, em que determinados padr\u00f5es de movimentos se formalizam, a partir do modo como construo o espa\u00e7o deste ambiente num passo a passo. \u00c9 um modo de constru\u00e7\u00e3o que, para aquele que est\u00e1 envolvido no ambiente enquanto int\u00e9rprete-criador, \u00e9 muito dif\u00edcil. Em conversas, durante ou depois de uma coreografia ser conclu\u00edda, muitos destes int\u00e9rpretes desabafavam comigo ou com outros que uma das maiores dificuldades era a da sensa\u00e7\u00e3o de se mover num ambiente escuro e desconhecido – eles tinham dificuldades de nomear este “dan\u00e7ar”, perdiam refer\u00eancia sobre o ch\u00e3o desta dan\u00e7a. O encadeamento desta fala era recebido com estranhamentos e conseq\u00fcentemente geravam preocupa\u00e7\u00f5es como aonde tudo isso iria lev\u00e1-los?<\/span><\/p>\n

Esta maneira de constru\u00e7\u00e3o exige uma disponibilidade imensa. O ch\u00e3o inicial \u00e9 a id\u00e9ia da pesquisa coreogr\u00e1fica que surge com um padr\u00e3o de movimento. A partir deste passo, inicia-se um processo em rede – a id\u00e9ia se amplia, o padr\u00e3o inicial de movimento vai se tornando mais preciso no espa\u00e7o, desenhos espaciais em deslocamento v\u00e3o surgindo nestas conversas e um ambiente musical vai-se configurando. A coreografia anda para frente, apesar de sensa\u00e7\u00f5es que lidam com perdas, ganhos, avan\u00e7os e retrocessos. Estes parceiros, int\u00e9rpretes-criadores, marcaram o Musicanoar com atos de imensa generosidade no prop\u00f3sito de criar outros mundos, cheios de significados, num ambiente onde a princ\u00edpio nada est\u00e1 configurado.<\/span><\/p>\n

Desde 1993, Raul Rachou p\u00f4s os p\u00e9s no Musicanoar e, aos poucos, suas longas pernas contaminaram o meu caminhar com o Musicanoar. Ele \u00e9 o meu grande companheiro de cena. Sem premedita\u00e7\u00e3o, simplesmente uma constru\u00e7\u00e3o m\u00fatua, cont\u00ednua, de uma imensa caminhada. Apesar de Raul, na sua trajet\u00f3ria de vida, ter passado por v\u00e1rias aulas e cursos de dan\u00e7a, \u00e9 a partir de 1990 que se lan\u00e7a com uma dedica\u00e7\u00e3o mais profunda e sistematizada na sua forma\u00e7\u00e3o corporal.<\/span><\/p>\n

Em 1999, decidi que o pr\u00f3ximo trabalho seria com a participa\u00e7\u00e3o de poucos int\u00e9rpretes. Esta escolha surgiu a partir da minha necessidade em averiguar mais profundamente o corpo, o que acontece quando provocamos cria\u00e7\u00e3o de outros padr\u00f5es de movimentos e o que esta rela\u00e7\u00e3o provoca no contexto do ambiente. Neste momento, poderia ter escolhido a dire\u00e7\u00e3o de um solo coreogr\u00e1fico, por\u00e9m, gosto de compartilhar a cena com algu\u00e9m. Neste caso, perguntei ao Raul se ele concordava que a pr\u00f3xima aventura fosse somente entre eu e ele. Juntos, decidimos ir al\u00e9m, mais fundo na busca de outros entendimentos de corpo que lidam com a cria\u00e7\u00e3o e investiga\u00e7\u00e3o da cena contempor\u00e2nea em dan\u00e7a.<\/span><\/p>\n

A conviv\u00eancia com Raul foi ampliando o meu entendimento sobre o papel do int\u00e9rprete-criador. Na realidade, ao montar os espet\u00e1culos, no in\u00edcio da minha conviv\u00eancia com o Programa de Comunica\u00e7\u00e3o e Semi\u00f3tica, eu achava que uma mistura de refer\u00eancias poderia dar conta desta conduta contempor\u00e2nea. Hoje \u00e9 clar\u00edssimo que n\u00e3o basta misturar e ficarmos no n\u00edvel de in\u00fameras colagens. A cr\u00edtica de dan\u00e7a Laurence Louppe nos fala da id\u00e9ia de hibrida\u00e7\u00e3o: “Mistura evoca uma id\u00e9ia de universalidade que est\u00e1 em harmonia com o tipo de abertura cultural oferecida por correntes mundiais de pensamento com suas id\u00e9ias sobre alteridade, identidade de grupo e di\u00e1logo inter-grupal. Contrastando com isso, o h\u00edbrido. Esse h\u00edbrido n\u00e3o se situa em nenhum lugar, n\u00e3o \u00e9 nada. Freq\u00fcentemente, ele \u00e9 totalmente isolado e at\u00edpico, o resultado de uma combina\u00e7\u00e3o \u00fanica e acidental. A hibrida\u00e7\u00e3o funciona muito mais do lado da perda. A hibrida\u00e7\u00e3o age mais na nuclea\u00e7\u00e3o dos genes ao subvert\u00ea-los e desloc\u00e1-los”. (2000: L. Dan\u00e7a2)<\/span><\/p>\n

Outro dia, conversando com Raul e a nossa consultora de improvisa\u00e7\u00e3o, Cleide Martins, nos questionamos sobre o que \u00e9 que h\u00e1, nesta nossa parceria, que colabora nesta configura\u00e7\u00e3o de dois, enquanto \u00f3timas condi\u00e7\u00f5es de trabalho, voltada para uma produ\u00e7\u00e3o de pensamento investigativo e da cena? Levantei a seguinte hip\u00f3tese: a necessidade de ocupa\u00e7\u00e3o. Dessa forma, o meu olhar lida com composi\u00e7\u00e3o. Busco decifrar na rela\u00e7\u00e3o do pensamento lan\u00e7ado possibilidades de diversas ocupa\u00e7\u00f5es no ambiente que lidam com diferentes n\u00edveis de cria\u00e7\u00e3o. Neste caso, falo de vetores, deslocamentos, acelera\u00e7\u00e3o, produ\u00e7\u00e3o de outros padr\u00f5es de movimentos e desenhos no espa\u00e7o, por exemplo. \u00c9 como se eu fosse criando toda uma geografia deste lugar com seus in\u00fameros relevos e apontando as necessidades destas diversas rela\u00e7\u00f5es.<\/span><\/p>\n

O Raul tem a m\u00e3o de um cirurgi\u00e3o. No momento em que proponho uma investiga\u00e7\u00e3o de padr\u00e3o de movimento no corpo, o seu mergulho gera uma obsess\u00e3o profunda de auto-investiga\u00e7\u00e3o na rela\u00e7\u00e3o com tudo que come\u00e7a a povoar o nosso ambiente. Tal rigor contamina todo o fazer da cena. Ele libera intera\u00e7\u00f5es neste ambiente em que todo um trabalho explorat\u00f3rio no pr\u00f3prio corpo ilumina as necessidades das minhas solicita\u00e7\u00f5es, liberando um aspecto po\u00e9tico e filos\u00f3fico. Neste tempo de conviv\u00eancia com este meu parceiro, a sua dedica\u00e7\u00e3o ao trabalho de professor baseado na t\u00e9cnica do m\u00e9todo de pilates agu\u00e7ou nele um grande entendimento do corpo. Hoje, ele me ensina sutilezas deste n\u00edvel de disponibilidade corporal, em um caminho povoado de diferen\u00e7as. A cada vez que proponho uma fala, sua primeira igni\u00e7\u00e3o \u00e9 a da necessidade de um grande mergulho na experimenta\u00e7\u00e3o. A conversa entre palavras surge depois. Percebemos que, por mais estranha que seja a minha solicita\u00e7\u00e3o de core\u00f3grafa, a formula\u00e7\u00e3o de qualquer d\u00favida se tornar\u00e1 mais precisa ap\u00f3s diferentes experimenta\u00e7\u00f5es e elabora\u00e7\u00f5es neste processo criativo que demanda tempo.<\/span><\/p>\n

\u00c0 medida que o Musicanoar avan\u00e7a nos seus projetos, ao longo destes anos, nos inserimos em diferentes movimentos representativos de profissionais de dan\u00e7a, que propiciaram diferentes estrat\u00e9gias de atua\u00e7\u00e3o conjunta na cidade de S\u00e3o Paulo. Se, enquanto artistas, n\u00e3o nos envolvemos e elaboramos outras estrat\u00e9gias coletivas de organiza\u00e7\u00e3o e condu\u00e7\u00e3o que venham a atender nossas necessidades, quem ir\u00e1 cri\u00e1-las? No nosso caso, um exemplo \u00e9 lutar por subven\u00e7\u00f5es p\u00fablicas e leis que garantam a subsist\u00eancia e manuten\u00e7\u00e3o de diferentes grupos em projetos de cria\u00e7\u00e3o, circula\u00e7\u00e3o e produ\u00e7\u00e3o.<\/span><\/p>\n

Nestes 16 anos muitos movimentos de dan\u00e7a foram criados, desmontados, aglutinados de outros jeitos exigindo de seus participantes conversas e estrat\u00e9gias de perman\u00eancia da realidade de dan\u00e7a contempor\u00e2nea. N\u00e3o cabe agora explicit\u00e1-los, por\u00e9m, existe um aspecto comum entre todos – cada um destes grupos e artistas lidam com uma produ\u00e7\u00e3o investigativa e de pesquisa de linguagem num fazer contempor\u00e2neo. Entendo que o N\u00facleo de Cria\u00e7\u00e3o do Dirceu tamb\u00e9m est\u00e1 ligado a estas reflex\u00f5es. Expandir modos de organiza\u00e7\u00e3o a fim de gerar compromisso dos governantes na elabora\u00e7\u00e3o de pol\u00edtica p\u00fablica de cultura de forma mais eficiente e condizente com nossas necessidades contempor\u00e2neas.<\/span><\/p>\n

\u00c9 importante esclarecer que o termo contempor\u00e2neo n\u00e3o est\u00e1 associado a uma t\u00e9cnica ou estilo de dan\u00e7a. O termo contempor\u00e2neo traduz uma a\u00e7\u00e3o investigativa na rela\u00e7\u00e3o das nossas propostas coreogr\u00e1ficas que passam por um pensamento e o modo singular como cada grupo ou core\u00f3grafo constr\u00f3i seus espet\u00e1culos. Os espet\u00e1culos gerados por estes diferentes criadores nunca s\u00e3o produtos prontos, quer dizer, as apresenta\u00e7\u00f5es p\u00fablicas s\u00e3o oportunidades deles testarem suas investiga\u00e7\u00f5es. Uma vez que estes criadores buscam inven\u00e7\u00f5es com outros modos de constru\u00e7\u00e3o, geralmente, seus espet\u00e1culos funcionam como protocolos de laborat\u00f3rios, resultantes de pesquisas direcionadas para uma linguagem da cena.<\/span><\/p>\n

\"Espet\u00e1culo<\/a><\/span>

Espet\u00e1culo Vapor \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

Todo conhecimento \u00e9 uma forma de educa\u00e7\u00e3o vital. Vivemos porque conhecemos. Por esta raz\u00e3o, entendemos que a arte \u00e9 um mecanismo co-evolutivo em que a est\u00e9tica faz parte de uma realidade concreta. A natureza tamb\u00e9m \u00e9 est\u00e9tica. Est\u00e9tica \u00e9 lidar com efici\u00eancia e, n\u00e3o \u00e0 toa, as coisas precisam se adaptar para sobreviver. A pertin\u00eancia da arte age na rela\u00e7\u00e3o de uma necessidade de expandir uma realidade para permanecer (isto \u00e9, sobreviver), conhecer e construir, numa mesma escala temporal, outras possibilidades de se pensar sobre processos organizativos.<\/span><\/p>\n

O Centro de Cria\u00e7\u00e3o do Dirceu foi criado em agosto de 2005 pela prefeitura de Teresina, respondendo a insistentes reivindica\u00e7\u00f5es da Comunidade do Grande Dirceu, bairro mais populoso da cidade. Esta a\u00e7\u00e3o atende a uma urg\u00eancia colocada por seus mun\u00edcipes. Isso \u00e9 uma iniciativa p\u00fablica com possibilidades de sucesso pelo fato de ser compartilhada e apoiada por uma comunidade que deseja investigar a arte. Esta empreitada vem mobilizando e reconfigurando este ambiente p\u00fablico como um espa\u00e7o de discuss\u00e3o, troca, tr\u00e2nsito, intera\u00e7\u00e3o, pesquisa, aproximando artistas de diferentes p\u00f3los do Brasil e do exterior para fomentar o pensamento de um fazer est\u00e9tico numa dire\u00e7\u00e3o contempor\u00e2nea.<\/span><\/p>\n

O N\u00facleo de Cria\u00e7\u00e3o do Dirceu na estr\u00e9ia de Mapas do Corpo<\/em> foi competente na articula\u00e7\u00e3o entre regi\u00f5es distantes, que comprovaram que a dist\u00e2ncia n\u00e3o \u00e9 um obst\u00e1culo para se entrar em contato. Qualquer expans\u00e3o de pensar outros modos de organiza\u00e7\u00e3o depende da imagina\u00e7\u00e3o, inventividade e coragem de se quebrar rotinas e tentar caminhos n\u00e3o experimentados. No Dirceu houve um belo encontro. Caso o modo de articular um pensamento de dan\u00e7a fosse totalmente diferente daquilo que o Musicanoar acredita, com certeza as falas seriam levadas ao vento. Por\u00e9m, l\u00e1 em Teresina, percebemos que apesar de cada um dos artistas resolverem em cena suas quest\u00f5es de forma diferente estamos discutindo em cena os mesmos conceitos. Em outras palavras dependemos da capacidade de n\u00f3s, artistas contempor\u00e2neos, viver com riscos e de aceitarmos a responsabilidade pelas conseq\u00fc\u00eancias: cuidados e aux\u00edlios m\u00fatuos.<\/span><\/p>\n

No Dirceu, a criatividade n\u00e3o est\u00e1 dispon\u00edvel para linha de montagem, e sim para a\u00e7\u00f5es que acionam no coletivo, pensamentos que se cruzam e estimulam encontros que refor\u00e7am outras formas de pensar organiza\u00e7\u00e3o. Com os Grupos Residentes, N\u00facleo de Cria\u00e7\u00e3o do Dirceu, oficinas oferecidas ao NCD e \u00e0 comunidade, Mapas do Corpo, Projeto Instant\u00e2neo<\/em>, resid\u00eancias art\u00edsticas, espet\u00e1culos e palestras, Marcelo Evelin e seus parceiros elevaram Teresina a um ambiente de refer\u00eancia na constru\u00e7\u00e3o de novos modos de pensar e compartilhar a arte contempor\u00e2nea.<\/span><\/p>\n

N\u00e3o podemos admitir um entendimento de dan\u00e7a contempor\u00e2nea que margeia em significados devaneios de pessoas sem “praticidade” ou ainda algo sup\u00e9rfluo. Como diz o astrof\u00edsico Jorge Albuquerque, dan\u00e7a \u00e9 uma manifesta\u00e7\u00e3o de complexidade e evolu\u00e7\u00e3o, \u00e9 um reflexo de valores mais elevados que a humanidade tem tentado vivenciar. \u00c9 assim a tentativa de efetiva\u00e7\u00e3o de formas elevadas de sobreviv\u00eancia, formas essas, sabemos, bastante inacess\u00edveis \u00e0 maioria dos seres humanos, mas potenciais em todos eles.<\/span><\/p>\n

Transitamos num discurso temporal. Marcas de uma pr\u00e1xis que se constr\u00f3i a todo instante. Vivemos a a\u00e7\u00e3o em tempo real. Desta maneira se defrontam normas e formas. No nosso caso, trilhamos caminhos que apostam em outros tipos de autonomias de dan\u00e7a. Percebemo-nos artistas ativistas que sob outros modos de organizar dan\u00e7a encaramos a\u00e7\u00f5es co-adaptativas numa realidade emergente, de car\u00e1ter urgente. O professor ge\u00f3grafo Milton Santos nos lembra:<\/span><\/p>\n

“H\u00e1 quem prefira dizer que o tempo se unifica, mas n\u00e3o \u00e9 disso que se trata. O que realmente se d\u00e1, nesses nossos dias, \u00e9 a possibilidade de conhecer instantaneamente eventos long\u00ednquos e, assim, a possibilidade de perceber a sua simultaneidade. O evento \u00e9 uma manifesta\u00e7\u00e3o corp\u00f3rea do tempo hist\u00f3rico, algo como se a chamada flecha do tempo apontasse e pousasse num ponto dado da superf\u00edcie da terra, povoando-o como um novo acontecer. Quando, no mesmo instante, outro ponto \u00e9 atingido e podemos conhecer o acontecer que ali se instalou, ent\u00e3o estamos presenciando uma converg\u00eancia de momentos”. (2008:196)<\/span><\/p>\n

Foi um privil\u00e9gio co-habitar provisoriamente o mundo do Dirceu, um espa\u00e7o brotado da experi\u00eancia enquanto exist\u00eancia. Como nos lembram as \u00e1guas do rio Poti e Parna\u00edba – um longo processo de encontros que des\u00e1guam num grande oceano.<\/span><\/p>\n

Helena Bastos \u00e9 bailarina, core\u00f3grafa, professora\/USP e pesquisadora.<\/strong><\/span><\/p>\n

Refer\u00eancias Bibliogr\u00e1ficas:<\/strong><\/span><\/p>\n

GREINER, Christine (2005). O Corpo. Pistas Para Estudos Indisciplinares. S\u00e3o Paulo: Annablume.<\/span><\/p>\n

KATZ, H.(1994). Um, Dois, Tr\u00eas: A Dan\u00e7a \u00e9 pensamento do Corpo. FID: Belo Horizonte<\/span><\/p>\n

SANTOS, Milton (2008). A Natureza do Espa\u00e7o: T\u00e9cnica e Tempo, Raz\u00e3o e Emo\u00e7\u00e3o. 4\u00aaed. S\u00e3o Paulo: Editora da Universidade de S\u00e3o Paulo.<\/span><\/p>\n

VIEIRA, Jorge de Albuquerque (2006). Teoria do Conhecimento e Arte – Formas de conhecimento – arte e ci\u00eancia numa vis\u00e3o a partir da complexidade. Fortaleza: Express\u00e3o Gr\u00e1fica e Editora.<\/span><\/p>\n

The idea for this article came up after a time of working together with N\u00facleo de cria\u00e7\u00e3o do Dirceu<\/a>, in the outskirts of Teresina, Piau\u00ed, in February 2008. The Musicanoar group was invited to perform with the dance piece Vapor<\/strong> in a project launched by N\u00facleo de cria\u00e7\u00e3o do dirceu called \u201cMapas do Corpo\u201d (Maps of the body).<\/span><\/p>\n

We all know that any well built construction depends on partnerships and conditions that create more concrete possibilities of successful realizations. In the case of Musicanoar, I \u2013 Helena Bastos \u2013 and Raul Rachou had the availability of the director of Vapor<\/strong>, Vera Sala. On the part of N\u00facleo de Cria\u00e7\u00e3o do Dirceu we counted on the coordination of Marcelo Evelin (choreographer\/creator\/performer) in this project, production by Regina Velloso and Klayton Amorim and administrative direction by Francisco de Castro. In the circuit, there was the hand of \u201cIta\u00fa Cultural \u2013 Rumos Dan\u00e7a 2006\/2007\u201d, which managed our payment, our coming and going, always with the presence of dance project manager S\u00f4nia Sobral.<\/span><\/p>\n

When we map these relationships, we want to draw attention to the fact that any thought, in order to exist, needs visibility, which will always be linked to temporality in surroundings and is co-dependent on the way the relationships articulate themselves in a given space, focused and available in directions that promote the creative act. In Teresina, it was talking about dance, creation, dramaturgy, contemporarity in dance, from the meeting, the intention was a joint reflection, in which artists, teachers and beginners on scenic language research moved their actions and were able to expand ways of thinking the organization of the dancing body.<\/span><\/p>\n

Art, in the \u201cDirceu\u201d project, goes through the understanding of other forms of knowledge. All knowledge is a form of vital education. It is important to point out the pertinence of the encounter with Musicanoar. Although we live in cities far apart, like S\u00e3o Paulo and Teresina, part of what nurtured our meeting was the perception that there was a proximity in conceptual issues inserted in our contemporary investigations.
\nIn the sixteen years of work, Musicanoar has widened the understanding about composition and choreography in the contemporary environment. Today, the profile of the artist in relation to a choreographic work demands a different intervention in the moment of construction, production and execution of the show.<\/span><\/p>\n

Musicanoar presents a profile that deals with an investigating conduct, in which certain movement patterns are formalized, from the way I build a space within this environment step by step. For those involved in this environment as a performer-creator, this is a very difficult way to work. In conversations, during the work or after a choreography is concluded, many of these performers vented with me or with others, that one of the biggest difficulties was the feeling of moving in a dark and unknown space \u2013 they had trouble naming this \u201cdancing\u201d, they lost reference about the ground of this dance. The concatenation of this speech was received with uneasiness and consequently generated worries, how and where would all this lead them?<\/span><\/p>\n

This way of working demands great availability. The initial ground is the idea of choreographic research that comes up with a pattern of movement. From this step, a network process starts \u2013 the idea amplifies, the initial movement pattern starts to get more precise within the space, spatial drawings in displacement come up in\u00a0 conversations and a musical ambience is configured. The choreography moves forward, in spite of feelings that deal with loss, gains, advances and withdrawals. These partners, performer-creators, made their mark in Musicanoar with acts of extreme generosity with the purpose of creating other worlds, filled with meaning, in an environment in which nothing is previously configured.<\/span><\/p>\n

Since 1993, Raul Rachou set foot in Musicanoar and, gradually, his long legs contaminated my walk with Musicanoar. He is my great scene partner. Without\u00a0 premeditation, simply\u00a0 a mutual, continuous construction of a huge walk. Although Raul had, in the course of his life, gone through many dance classes, it was from 1990 on that he launched in a profound and systemized dedication of his body development.<\/span><\/p>\n

In 1999, I decided that my next work would involve the participation of few performers. This choice arose from my need to examine the body more deeply, what happens when we provoke other movement patterns, I could have chosen the direction of a choreographic solo, however, I like to share the scene with someone. In that case, I asked Raul if he agreed that the next venture would be just him and me. Together, we decided to go beyond, deeper in the search of other understandings of the body that deal with creation and investigation of the contemporary scene in dance.<\/span><\/p>\n

The time I spent with Raul increased my understanding about the role of the performer-creator. In fact, creating the shows, in the beginning of the time I spent in the Communication and Semiotics Program, I thought that a mixture of references could be enough for the contemporary conduct. Nowadays, it has become more than clear that it is not enough to mix and remain in the level of countless collages. Dance critic Laurence Louppe tells us about the idea of hybridization: \u201cMixture evokes an idea of universality that is in tune with the type of cultural opening offered by international thought currents and their ideas of otherness, group identity and inter-group dialogue. Opposing all that, is the hybrid. This hybrid is not situated anywhere, it is nothing. Often, it is totally isolated and atypical, the result is a unique and accidental combination. Hybridization works more on the side of loss. Hybridization acts more in the nucleation of genes, subverting and dislocating.\u201d (2000: L. Dan\u00e7a2).<\/span><\/p>\n

Other day, talking to Raul and Cleide Martins, our improvisation advisor, we questioned ourselves about what is it about our partnership that collaborates in this configuration of two as optimal working conditions, driven towards producing investigating and scene thought? I raised the following hypothesis: the need to occupy. In this way, my eyes deal with composition. I seek to decipher, in relation to a thought that is released into the open, possibilities of diverse occupations in the environment that deal with different levels of creation. In this case, I speak of vectors, displacements, acceleration, productions of other patterns of movement and drawings in space, for example. It is as if I were creating an entire geography in this place with its countless reliefs and pointing to the needs of those diverse relations.<\/span><\/p>\n

Raul has the hands of a surgeon. The moment I propose to investigate the movement patterns of the body, his dive generates a deep obsession of self-investigation in relation to all that starts to populate our thoughts. Such rigidity contaminates all his scene actions. He releases interactions in this environment, in which a whole exploratory work with his own body illuminates the needs of my solicitations, releasing a poetic and philosophical aspect. During the time I worked together with this partner of mine, his dedication to teaching the technique of the \u201cPilates\u201d method sharpened his understanding of the human body. Nowadays, he teaches me subtleties in that level of physical availability, in a path filled with differences. Every time I propose a line, the first ignition is the need of a great dive into experimentation.\u00a0 The conversation between words comes up later. We realized that, even for my strangest solicitation as a choreographer, the formulation of any doubts will become more precise after different experimentation and elaborations in this time consuming creative process.<\/span><\/p>\n

As Musicanoar advances in its projects, trough the years, we have inserted ourselves in representative movements of dance professionals that offer different strategies of working together in the city of S\u00e3o Paulo. If we, as artists, do not get involved and elaborate other collective organization strategies of organization and conduct that answers our needs, who will do it? In our case, one example is to fight for public subventions and laws that ensure the subsistence and maintenance of different groups in creation, circulation and production projects.<\/span><\/p>\n

During these 16 years, many dance movements were created, dismantled, merged in different ways, demanding conversations and strategies for permanence from their members in the contemporary dance reality. This is not the place to talk about them, however, there is one common aspect to them all \u2013 each one of these groups and artists deal with an investigating production and language research in the contemporary act. I understand that N\u00facleo de cria\u00e7\u00e3o do Dirceu is also connected to these reflections. To expand ways of organization in order to generate a compromise of the government for the elaboration of Culture Public Policy in a more efficient way and more appropriate to our contemporary needs.<\/span><\/p>\n

It is important to clarify that the contemporary term is not associated here with a dance technique or style. The contemporary term translates an investigating action in relation to our choreographic proposals that happen trough thinking and the singular way in which each group or choreographer builds their shows. The shows that are generated by those different creators are never finished products, I mean, the public presentations are opportunities for them to test their investigations. Since these creators seek inventions with other constructing ways, usually, their shows work as laboratory protocols, resulting from research directed to scene language.<\/span><\/p>\n

\"Espet\u00e1culo<\/a><\/span>

Espet\u00e1culo Vapor \/ Foto divulga\u00e7\u00e3o<\/p><\/div>\n

All knowledge is a form of vital education. We live because we know. For that reason, we understand that art is a co-evolutionary mechanism in which aesthetics is part of a concrete reality. Nature is also aesthetics. Aesthetics is dealing with efficiency and, not by chance, things need to adapt in order to survive. The pertinence of art acts in relation to a need to expand a given reality to remain (or to survive), to know and to build, in a same time scale, other possibilities of thinking about organization processes.
\n\u201cCentro de Cria\u00e7\u00e3o do Dirceu\u201d was created in august 2005 by the government of Teresina, in response to persistent demands from the community of \u201cGrande Dirceu\u201d, the most populated district of Teresina. This action answers the urgency brought out by the inhabitant of the district. This is an official initiative with many possibilities for success, since it is shared and supported by a community that wishes to investigate art. This enterprise has been mobilizing and reshaping the public space as a space for discussion, exchange, transit, interaction, research, bringing together artists from different places in Brazil and abroad to foment the thought of an aesthetic act in a contemporary direction.<\/span><\/p>\n

In the premiere of \u201cMapas do Corpo\u201d, N\u00facleo de Cria\u00e7\u00e3o do Dirceu was competent in articulating distant regions, proving that distance is not an obstacle to geting in touch. Any expansion of thinking other ways of organizing depends on imagination, inventiveness and courage to break routine and try paths that were not tried before. In Dirceu there was a beautiful encounter. If the way of articulating a dance thought was completely different from what Musicanoar believes, certainly the speech would have vanished in the wind. However, in Teresina, we realized that, although each of artists resolved their issues in the scene in different ways, they were discussing the same concepts. In other words, depending on our hability as contemporary artists to live with risks and to accept responsibility for the consequences: mutual care and help.<\/span><\/p>\n

In Dirceu, creativity is not available for an assembly line, but rather for actions that are activated in the collectiveness, thoughts that cross each other and stimulate encounters that reinforce other forms of thinking organization. With the projects Grupos Residentes (Resident Groups), N\u00facleo de Cria\u00e7\u00e3o do Dirceu and the workshops offered to the NDC and to the community, Mapas do Corpo (Maps of the Body), Projeto Instant\u00e2neo (Instantaneous Project), shows and seminars, Marcelo Evelin and his partners have raised Teresina to the level of reference place in the construction of new ways of thinking and sharing contemporary art.<\/span><\/p>\n

We cannot admit an understanding of contemporary dance that is borderline in meaning, daydreams of people with no practical sense or even something superfluous. As astro-physicist Jorge Albuquerque says, \u201cDance is the manifestation of complexity and evolution, it is a reflection of elevated values that humankind has been trying to experience. Thus, it is an attempt to make elevated forms of survival effective, forms that, as we all know, are pretty inaccessible to most human beings, but potential in all of them.\u201d<\/span><\/p>\n

We circulate in a temporal speech. Traces of praxis that is built at every instant. We experience action in real time. Thus, norms and forms confront each other. In our case, we walk paths that invest in other types of autonomy in dance. We perceive ourselves as activist artists that, under different ways of organizing dance, view co-adaptive actions in an emerging reality, of an urgent character. Professor and geographer Milton Santos reminds us: \u201cSome people would rather say that time unifies, but that is not it. What really happens, in our days is the possibility of knowing instantly about remote events and, in this way, the possibility of perceiving their simultaneity. The event is a corporeal manifestation of historic time, something as if the so-called arrow of time pointed and landed in a given point of the surface of the earth, populating it with a new happening. When, in the same instant, another point is hit and we can get to know the happening that placed\u00a0 itself there, we witness a convergence of moments.\u201d (2008:196)<\/span><\/p>\n

It was a privilege to temporarily inhabit the Dirceu world, a space blooming with experience as existence. As the waters of the rivers Poti and Parna\u00edba reminds us \u2013 a long process of encounters that flow into a great ocean.<\/span><\/p>\n

Helena Bastos is a dancer, choregrapher, professor at University of S\u00e3o Paulo and researcher.<\/span><\/p>\n

References:<\/strong>
\nGREINER, Christine (2005). O Corpo. Pistas Para Estudos Indisciplinares. S\u00e3o Paulo: Annablume.<\/span><\/p>\n

KATZ, H.(1994). Um, Dois, Tr\u00eas: A Dan\u00e7a \u00e9 pensamento do Corpo. FID: Belo Horizonte<\/span><\/p>\n

SANTOS, Milton (2008). A Natureza do Espa\u00e7o: T\u00e9cnica e Tempo, Raz\u00e3o e Emo\u00e7\u00e3o. 4\u00aaed. S\u00e3o Paulo: Editora da Universidade de S\u00e3o Paulo.<\/span><\/p>\n

VIEIRA, Jorge de Albuquerque (2006). Teoria do Conhecimento e Arte \u2013 Formas de conhecimento \u2013 arte e ci\u00eancia numa vis\u00e3o a partir da complexidade. Fortaleza: Express\u00e3o Gr\u00e1fica e Editora.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A bailarina e core\u00f3grafa Helena Bastos fala sobre sua parceria profissional com Raul Rachou e a experi\u00eancia de participar do projeto Mapas do Corpo, organizado pelo N\u00facleo de Cria\u00e7\u00e3o do Dirceu, em Teresina.<\/p>\n","protected":false},"author":43,"featured_media":8940,"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":[2,28],"tags":[2812,2051,2811],"yoast_head":"\nCorpos entre margens | Bodies between margins -<\/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\/corpos-entre-margens-2\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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