GT Pesquisa em Dança no Brasil – Anais da VI Reunião Científica da ABRACE
ACCIOLY, Cecília Bastos da Costa. Por uma
Reconciliação de Saberes nas Licenciaturas das
Artes da
Cena. Salvador: Programa de
Pós-Graduação em Artes
Cênicas da Universidade Federal da Bahia; Doutoranda;
Lúcia Fernandes Lobato. Professora, Dançarina,
Bailarina
e Coreógrafa.
RESUMO
Este artigo apresenta e analisa as recorrências emergentes
das
formas de inserção das
noções de
Territorialidades e Saberes Locais nos atuais currículos das
Licenciaturas em Dança e em Teatro da Universidade Federal
da
Bahia – campo de observação escolhido
por serem as
primeiras escolas específicas destas artes no Ensino
Superior no
país – vinculando-as ao percurso
histórico das
instituições em questão, ao Ensino
Superior no
Brasil, e às hierarquizações de
saberes a partir
da construção da tradição
Ocidental.
Ressalta a necessidade de uma revisão da
concepção
de universidade e da formação do professor a
partir de
propostas para uma reformulação da
Dança e do
Teatro no ambiente da graduação sem
hierarquização dos saberes. Aponta estas artes
como
elementos passíveis e constitutivos do conhecimento humano
e,
ainda, um local privilegiado de religação dos
saberes
formadores da cultura para a efetivação e
construção da complexidade. Ressalta o momento da
dicotomização do conhecimento, devido a
incompreensões e equivocos determinantes do cientificismo e
do
academicismo. Assume a atual discussão sobre a
reconciliação dos saberes sob a ótica
de uma
epistemologia do cotidiano.
PALAVRAS-CHAVE: Territorialidades. Saberes Locais.
Currículos.
Dança. Teatro. Formação de Professores.
ABSTRACT
This paper presents and analyzes the emergent patterns on emergent ways
of Place-based and Local Knowledge on the current curricula on Teacher
Training on Dance and Theatre at the Federal University of Bahia. It
does thus through these institutions’ historical process,
High
Level Teaching in Brazil, and through knowledge hierarchies from
Western Tradition. The text highlights the need for a revision of
university concepts and teacher training proposals for a
re-organization of Dance and Theatre programs without knowledge
hierarchies. This research relates the performing arts as constructing
parts of human knowledge and as a privileged place for reconnection of
knowledge, culture and complexity. The article spotlight the moment
that began the knowledge dichotomy because of the interpretation of
Scientism and other academic ways of thinking, and resumes the present
discussion about the reconnection of knowledge under a daily
epistemology point of view
KEYWORDS: Territoriality. Local Knowledge.Curricula.Dance. Theatre.
Teacher Training
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ALVARENGA, Arnaldo Leite de. Os anos 1980 e a explosão da
dança cênica brasileira. Belo Horizonte:
Universidade
Federal de Minas Gerais; Prof. Adjunto. Bailarino e Professor.
RESUMO
Os anos 1980 coincidem com um período intenso para a
dança brasileira em geral marcados por muitos acontecimentos
importantes. As iniciativas, tanto estatais como privadas, deram novo
impulso a diversos setores ligados à dança no
Brasil. As
muitas ações vão desde a
criação em
dança, passando pelos tipos de
formação livre e
acadêmica, pela constituição de novos
grupos e
companhias, produção editorial,
organização
de mostras e festivais, bem como pela maior
circulação
das produções e de artistas de dança
nos palcos
nacionais e internacionais. Um país que, no senso comum,
sempre
se reconheceu como tendo “a dança no
corpo”, mas
que, por outro lado, nunca deixou de manifestar dificuldades em
perceber a dança como uma atividade profissional
possível
e respeitável, tem nos anos 80 um período de
maior
visibilidade nesse campo e o reconhecimento mesmo de que os bailarinos
constituem uma categoria de trabalhadores no contexto
artístico
brasileiro. Este artigo ao dar visibilidade a esses fatos procura
localiza-los num contexto maior dos quadros político e
social
brasileiro do período.
Palavras chave: Dança Brasileira.
Criação.
História da Dança.
Alvarenga, Arnaldo Leite de. Les années 80 et
l’explosion
de la danse de scène brésilienne. Belo Horizonte:
Universidade Federal de Minas Gerais. Professeur Assistant. Danseur et
enseignant.
RESUME
L’année 1980 coïncide avec une
période intense
de la danse brésilienne généralement
marquée par plusieurs événements
importants. Les
initiatives, tant publiques que privées, ont
donné un
nouvel élan à de nombreux secteurs de la danse au
Brésil. Les plusiers activités de la
création en
danse, à travers les types de formation libre et
académique, la formation de nouveaux groupes et entreprises,
la
production éditoriale, l’organisation
d’expositions
et de festivals, ainsi que les plus presentation des artistes de la
danse sur scène nationales et internationales. Un pays
où, dans le sens commun, toujours été
reconnue
comme ayant «la danse dans le corps», mais
d’autre
part, a toujours exprimé la difficulté
à
comprendre la danse comme une activité professionnelle
délai possible et respectable, a dans les 80
années une
plus grande visibilité et la reconnaissance dans ce domaine
que
même les danseurs forment une catégorie de
travailleurs
dans le contexte brésilien artistique. Cet article doit une
visibilité à ces faits dans un contexte plus
large du
Brésil dans les cadres politiques et sociaux de la
période.
Mots-clés: Danse Brésilienne.Création.
Histoire de
la danse.
————————————————————-
ARAUJO, Lauana Vilaronga Cunha de. Ruptura às avessas: os
diálogos estéticos na
invenção da
dança cênica em Salvador. Salvador: Universidade
Federal
da Bahia; CAPES; Doutoranda do Programa de
Pós-Graduação em Artes
Cênicas;
Orientação: Profa. Dra. Eliana Rodrigues Silva.
RESUMO
A historiografia da dança no Ocidente, com seus processos de
radicalização e ruptura estética
interferiram no
perfil da dança cênica desenvolvida em Salvador
nas
décadas de 1950 a 1970, entretanto sem a sobrecarga
político-cultural que às conformaram nos seus
ambientes
de origem. Com intensidade, também influenciaram a
dança
cênica soteropolitana, as manifestações
da cultura
local, valorizadas e impulsionadas notadamente pelo olhar estrangeiro,
dentro e fora do ambiente acadêmico. Deste modo, o artigo
pretende analisar o nível de
integração das
estéticas local e estrangeira a partir de referenciais dos
estudos pós-coloniais e da Teoria Geral dos Sistemas, com
tendência a afirmar uma consistente resistência e
afirmação das referências culturais
locais sobre a
interferência considerada colonizadora, num processo
ímpar
de configuração das
manifestações
coreográficas nas suas características
técnicas,
expressivas e temáticas.
PALAVRAS-CHAVE: História da dança.
Diálogo
estético.Cultura popular.
ABSTRACT
The history of dance in the West, with its processes of radicalization
and aesthetic changes had affected the profile of stage dance developed
in Salvador in the 1950s to 1970, but without the political and
cultural overload that conformed to in their home environments. With
intensity, also influenced the stage dance in Salvador, demonstrations
of local culture, valued and promoted mainly by foreign look, inside
and outside the academic environment. Thus, the article analyzes the
level of aesthetic integration of local and foreign references from the
post-colonial studies and General Systems Theory, which tends to affirm
a consistent resistance and affirmation of cultural references to local
interference considered colonizing, a unique procedure for setting up
the choreographic demonstrations in its technical, expressive and
thematic.
KEYWORDS: Dance History. Aesthetic dialogue.Popular culture.
————————————————————-
ARAÚJO, Siane Paula de. Imagem,
percepção e tempo
em Nazareth. Belo Horizonte: Programa de
Pós-Graduação em Estudos de
Linguagens- CEFETMG;
mestranda, bolsista do POSLING-CEFETMG. Orientadora: Dra. Olga Valeska.
Bailarina.
RESUMO
Esse trabalho analisa, à luz da semiótica
peirciana, as
diferentes temporalidades percebidas na
composição do
espetáculo Nazareth do Grupo Corpo Cia de Dança
em
vídeo. A obra representa uma tradução
da vida do
compositor carioca Ernesto Nazareth e de algumas de suas obras
–
adaptadas por José Miguel Wisnik – junto
às
referências da literatura de Machado de Assis para a
dança. Retrata um período histórico
brasileiro
republicano do início do século XX transposto em
modernas
tecnologias da contemporaneidade. A cada olhar, seu conteúdo
audiovisual permite estabelecer novas
interpretações e
impactos diferenciados mesclando passado, presente e futuro e
integrando corpos virtuais em imagens diversas e sons dentro de um
único ambiente de informação digital.
Palavras-chave: Nazareth. Vídeo. Semiótica
ABSTRACT
This work seek a review in the light of semiotics peirciana, different
temporalities perceived in the composition Nazareth of the Grupo Corpo
Cia de Dança spectacle in video. The work represents a
translation of the life of composer carioca Ernesto Nazareth and some
of his works-adapted by José Miguel Wisnik – along
with
references from the literature of Machado de Assis for dancing. Depicts
a Brazilian Republican history period of the early 20th century
transposed into modern technologies of contemporaneity. Every look,
your audiovisual content allows you to establish new interpretations
and differentiated impacts by merging the past, present and future and
integrating virtual bodies in various images and sounds within a single
environment of digital information.
Keywords: Nazareth. Video. Semiotics
AQUINO, Rita Ferreira de. O desenvolvimento de processos criativos em
dança no ensino superior: uma discussão a partir
da
noção de experiência. Salvador:
Universidade
Federal da Bahia; Programa de
Pós-Graduação em
Artes Cênicas; Doutorado; Orientanda da Profa. Dra. Denise
Coutinho; Bolsista CAPES DS; Artista e educadora em dança.
RESUMO
Discussão dos componentes curriculares que objetivam o
desenvolvimento de processos criativos em cursos de ensino superior em
dança no Brasil. Tais componentes explicitam o cruzamento de
dinâmicas do campo artístico com o ambiente
acadêmico. Apresentariam, portanto, espaços para
experiências artísticas em que é
possível
vivenciar o fazer como algo que acomete o sujeito, expondo-o de modo a
reinventar a si mesmo. Identifica-se como problema o fato de que os
agentes envolvidos no contexto freqüentemente ocupam
posições conservadoras, reduzindo-o ao tratamento
de
conteúdos em estrutura disciplinar. A hipótese
é
que a condição de experiência possa se
potencializar através de deslizamento de papéis
usualmente desempenhados em direção ao
estabelecimento de
relações de colaboração
artística e,
conseqüentemente, de emancipação.
Palavras-chave: Dança. Ensino Superior. Processos Criativos.
Experiência. Processos Colaborativos.
ABSTRACT
Discussion of curriculum components aimed at developing creative
processes in dance courses at Brazilians universities, which underscore
the cross-dynamics of the artistic field with the academic environment.
They would present, therefore, spaces for an artistic experience in
which it is possible to affect the subjects, exposing it in such a way
that would reinvent itself. The fact that those involved in this
context often occupy conservative positions is identified as a problem,
reducing it to contents in a disciplinary structure. The hypothesis is
that the experiencial condition may be potentiated by sliding roles
towards the establishment of relations of artistic collaboration and,
consequently, of emancipation.
Keywords: Dance. University.Creative Processes.Experience.
Collaborative Processes.
————————————————————-
BANOV, Luiza R. F.. Ensino da dança:
relação
transitante entre mestre e discipulo. Piracicaba: Universidade Estadual
de Campinas, UNICAMP; FAPESP; mestranda em artes cênicas.
Dançarina e coreógrafa.
RESUMO
O presente estudo propõe uma analise diante da
relação entre mestre e discípulo no
estudo e
aprendizado da dança. Para tanto, realiza um recorte da
pesquisa
de mestrado intitulada “Dança Teatral:
reflexões
sobre a poética do movimento e seus
entrelaços” na
qual aborda histórica e reflexivamente tópicos
sobre a
dança moderna alemã e seus desdobramentos desde
seus
primórdios; entre o século XIX e XX. Neste
recorte, a
autora investiga três pedagogos e mestres da dança
moderna
alemã: Hans Züllig (*1914 †1992), Jean
Cébron
(*1938) e Lutz Förster (*1953) e utiliza-se como ponto de
encontro
destes protagonistas a escola Folkwang, inaugurada em 1929 por Kurt
Jooss (*1901†1979) desde então, se estabelecendo
como
referencia mundial em dança moderna. A metodologia utilizada
para esta pesquisa foi elaborada a partir dos preceitos propostos pela
pesquisa-ação (Thiollente, 2007) e
observação participante. Afinal, de que maneira o
aprendizado da dança se estabelece na memória e
corpo dos
bailarinos? Como se elabora nos corpos o fazer desta arte
efêmera?
Palavras Chave: Ensino da dança. German Dance.
Dança
Moderna. Mestre e discipulo
ABSTRACT
The objective of this study is to analyze the relation between master
and disciple in the study and learning of dance. For that, it is
considered a piece of the master research named “Tanztheater:
reflections on the poetic of movement and its interlaces”
which
studies a reflective and historic view of the topics about German
modern dance and the universe from where it emerged, since its
beginning; between the XIX and the XX centure. Therefore three masters
of German dance are studied: Hans Züllig (*1914
†1992),
Jean Cébron (*1938) e Lutz Förster (*1953) and it
is used
as a common point the Folkwang Hoscschule, which started in 1929 by
Kurt Jooss (*1901†1979) and since then it has been
considered
the world reference in modern dance. The methodology used in this study
is the “research-action” (Thiollente, 2007) and
participative observation. In which way is stablished the learning of
dance in the memory and body of dancers? How does it elaborates in
their bodies this ephemera art?
Keywords: Teaching dance. German Dance.Modern Dance.Master and Disciple.
————————————————————-
BITTAR, Adriano. As Células Corporais e o Uso das
Manipulações em Ação no
Processo
Composicional de “Corpo Edificado”.
Brasília:
Universidade de Brasília; bolsista Programa de Fomento
CAPES;
doutorando; Professora Orientadora Dra. Maria Beatriz de Medeiros.
Dançarino e coreógrafo.
RESUMO
A comunicação pretende expor o processo
composicional em
andamento utilizado na criação do
espetáculo de
dança “Corpo Edificado”. O trabalho
pretende pensar
uma forma de criação coreográfica na
qual
representações imagéticas chamadas de
células corporais e estímulos táteis
específicos, as manipulações em
ação, fazem parte do repertório de
ferramentas
utilizadas para a composição das cenas.
Utilizam-se
conceitos base para esse estudo, dentre eles o de
epigenética e
o de propriocepção afetiva.
Palavras-chave: dança contemporânea. processos
composicionais. imagens. manipulações.
ABSTRACT
The Body-cells and the Manipulations in Action on the Dance Composition
Process of “Built-Body”. This talk is about the
dance
composition process used to create the piece
“Built-body”.
While creating this piece, the dancers and choreographers used the
so-called body-cells and the manipulations in action in order to
conceive the movements and dance. This research was based on different
concepts, such as epigenetics and affective proprioception.
Key-words: contemporary dance. dance composition. imagery. touch.
————————————————————-
BORGES, Naranda. A Danç(a)tar: Estratégias para
uma
Autopoieses Feminina. Salvador: Universidade Federal da Bahia;
Mestranda; Profa. Dra. Lúcia Fernandes Lobato;
Dançarina
e Coreógrafa.
RESUMO
O artigo propõe uma possibilidade de Autopoieses Feminina a
partir do que intitula a Danç(a)tar, com base numa pesquisa
observacional de experiências profissionais realizadas com
grupo
de mulheres. A abordagem parte dos arquétipos das figuras
mitológicas da Eva e da Lilith, apontando-as como
oposições assumidas e ressignificadas na figura
da Santa
Mãezinha do período colonial brasileiro que ainda
marcam
os conflitos da mulher atual. Levanta como problema motivador a
necessidade da autoconstrução feminina como
resposta aos
desafios e solicitações da contemporaneidade. A
fundamentação se apoia principalmente em Maturana
e
Varela, Carl G. Jung, Jacques Derrida, Gilbert Durand, Michel
Maffesoli, Zygmunt Bauman, David Le Breton e Mary Del Priore. Como
resultado, assume que a Dança tem um potencial desvelador
que
faculta a mulher encontrar seus rastros e suas
identificações através de suas
narrativas
corporais. Ao final são apresentados os
Princípios da
Danç(a)tar.
Palavras-chave: Dança. Imaginário Feminino.
Autopoieses.
ABSTRACT
This article aims to present the female self-poiesis possibility from
the process called Danç(a)tar, grounded on a
observation-based
research of professional experiences carried out with a group of women.
The approach comes from the myths-characters archetypes of Eve and
Lilith, pointing them as assumed oppositions and re-signified on the
character of the Holly Mother from Brazilian Colonial Period what still
mark the present woman’s conflicts. The motivation problem
for
this research is the need of female self-construction as an answer to
the challenges and requests of contemporaneity. The fundamental
references are: Maturana and Varela, Carl G. Jung, Jacques Derrida,
Gilbert Durand, Michel Maffesoli, Zygmunt Bauman, David Le Breton and
Mary Del Priore. For results, this work assumes that the Dance has a
potential way of reveal that allows the woman to find your traces and
identifications through your body-narratives. This text also presents
the principles of Danç(a)tar.
Keywords: Dance. Female Imaginary.Self-poiesis.
BUARQUE, Isabela Maria A. G. Entre memórias e personagens: o
caso das Companhias profissionais de Dança da cidade do Rio
de
Janeiro. (1970-1990). Rio de Janeiro: Universidade Federal do Rio de
Janeiro; Professor Assistente; Universidade Federal do Estado do Rio de
Janeiro; Doutorando (PPGMS); Dra Andréa Lopes. Bailarina.
RESUMO
Pensar em estudar a dança a partir de prerrogativas
históricas e de memória ajuda a entender as
configurações do campo profissional em
dança e
ampliar as visões, estabelecer diálogos e
fomentar
discursos e saídas para os principais desdobramentos. A
memória das companhias de dança profissionais no
Brasil,
que foram criadas em sua maioria na cidade do Rio de Janeiro, pode
apresentar panoramas e conflitos, fazendo o diálogo com os
conceitos e discursos elaborados no campo. A
relação
entre história e a memória do campo permite
perceber as
realidades atuais e preservar os discursos dos principais atores do
campo, para que seja possível analisar os
benefícios e
malefícios que os traumas gerados pelas
inovações,
perdas e mudanças de discursos geram no campo da
dança e
de uma forma mais abrangente na própria sociedade. Assim, a
fim
de perceber as primeiras manifestações de grupos
profissionais em dança na cidade do Rio de Janeiro buscando
suas
memórias, o aprofundamento nas décadas de 1970,
1980 e
1990 permitiria mergulhar na história de uma
construção de campo profissional em
dança, que no
Brasil teria mesmo seus primeiros passos profissionais a partir da
década de 1970. Somente na década de 1980 o campo
profissional se estabelece. Nesse momento pode-se perceber as primeiras
manifestações mais concretas no sentido de
ações para o reconhecimento deste campo e dos
atores
envolvidos. Entender como e por que a cidade do Rio de Janeiro foi
fundamental nesta construção do profissionalismo
em
dança é importante para mapear a
trajetória
profissional da dança no Brasil e buscar suas
memórias de
forma a entender não somente como a dança se
profissionalizou, mas como o espaço no qual ela ia se
inserindo
era propicio para tal. As décadas apresentadas
são
relevantes para a cultura brasileira, especialmente para a
produção artística, o que trouxe
ganhos e perdas
aos diversos campos das artes e suas
manifestações. O
objetivo central deste estudo é investigar a
memória das
companhias de dança do Rio de Janeiro, analisando seus
discursos
para construção do campo profissional em
dança,
buscando as permanências e inovações no
estabelecimento deste campo. Neste projeto, o foco de estudo
são
as companhias de “dança cênica
contemporânea” (SIQUEIRA, 2006), criadas e
residentes no
Rio de Janeiro, aquelas onde os grupos se organizam para ter como
resultado de um processo um espetáculo a ser veiculado.
Palavras – Chaves: Dança –
Memória –
Profissionalismo – Rio de Janeiro.
ABSTRACT
Consider studying dance from the historical powers of memory and helps
you understand the settings of the professional dance and expand
visions, establish dialogue and encourage discourse and outputs for
major developments. The memory of professional dance companies in
Brazil, which were created mostly in the city of Rio de Janeiro, can
present views and conflicts that make the dialogue with the concepts
and elaborate speeches in the field. The relationship between history
and memory of the field allows us to understand the current realities
and preserve the speeches of the main actors in the field, so you can
analyze the benefits and drawbacks that the trauma generated by
innovation, change and loss of speech generated in the field of dance
and a more comprehensive way in society itself. Thus, in order to
realize the first demonstrations of professional dance groups in the
city of Rio de Janeiro seeking his memoirs, deepening in the 1970s,
1980s and 1990s would delve into the history of construction of a
professional field of dance, which in Brazil would even have his first
professional steps from the 1970s. Only in the 1980s the professional
field is established. At this point we can see the first signs of more
concrete actions for the recognition of this field and the actors
involved. Understanding how and why the city of Rio de Janeiro was
instrumental in the construction of professionalism in dance is
important to map the career of dance in Brazil and search their
memories in order to understand not only how the dance went
professional, but as space in which she would be entering was conducive
to such. Decades presented are relevant to Brazilian culture,
especially for artistic production, which brought gains and losses to
the various fields of art and its manifestations. The aim of this study
is to investigate the memory of the dance companies of Rio de Janeiro,
analyzing his speeches for the construction of the professional dance,
seeking to establish continuity and innovation in this field. In this
project, the focus of study are the companies’ theatrical
contemporary dance “(Siqueira, 2006), established and
resident in
Rio de Janeiro, where those groups are organized to have as a result of
a show being aired.
Words – Keys: Dance – Memory –
Professionalism
– Rio de Janeiro.
————————————————————-
CÁLIPO, Nara de Moraes.O Co-habitar com as mulheres
quebradeiras
de coco babaçu e o Terecô. Campinas: UNICAMP;
Mestrado;
Graziela Rodrigues.
RESUMO
O presente artigo traz um recorte da pesquisa de mestrado em andamento,
“Confluindo Co-habitares no Corpo do Intérprete
formado na
metodologia BPI (Bailarino-Pesquisador-Intérprete): Estudo e
Análise”. O método BPI é
sustentado sobre
seus três eixos: Inventário no Corpo (aonde o
intérprete vai de encontro com suas origens), Co-habitar com
a
Fonte (pautado na pesquisa de campo com segmentos sociais a margem da
sociedade, em que há a apreensão
sinestésica do
outro em si), e Estruturação da Personagem
(nucleação dos sentidos do intérprete
trabalhados
após o Co-habitar). É abordado aqui, o Co-habitar
com a
Fonte realizado com as mulheres quebradeiras de coco babaçu,
e a
manifestação religiosa presente em tal contexto,
o
Terecô (o culto aos encantados, nunca estudado sob a
perspectiva
da dança). Obteve-se desdobramento sobre o corpo destas
mulheres
em diversas camadas de seu cotidiano, da técnica corporal
para o
oficio de quebrar coco, à organização
e
dinâmica do Terecô. Será trazido
à tona a
descrição destas atividades analisadas sob a
perspectiva
da dança, fazendo-se uso do BPI.
Palavras-chave: Terecô, Quebradeiras de Coco
Babaçu,
Bailarino-Pesquisador-Intérprete.
ABSTRACT
This paper presents part of a research master’s in progress,
“Converging Cohabits in the Interpreter Body formed in the
DRP
(Dancer-Researcher-Performer) method: Study and Analysis”.
The
DRP method is supported on its three axes: Inventory in the Body (where
the artist looks for his origins), Co-habiting with the Source (guided
by field research with marginal groups in society, where there is
synesthetic perception of other bodies on himself), Structuring of the
Character (nucleation of the senses of the interpreter worked after the
Co-habit). The Co-habitingwith the Source made with the babassu coconut
breaker women, and religious expression present in this context, the
Terecô (the worship of the Enchanted, never studied from the
perspective of dance), is discussed here. Was achieved the unfolding of
the body of these women in various layers of everyday life, the
technical office for the body to break coconuts, the organization and
dynamics of Terecô. These activities will be described and
analyzed from the perspective of dance, using the DRP method.
Keywords: Terecô, Babassu Coconut Breakers,
Dancer-Researcher-Performer.
CAMARGO, Giselle Guilhon Antunes. Antropologia da Dança: um
campo teórico e metodológico em
consolidação, no Brasil. Belém: UFPA;
professora
adjunta.
RESUMO
A presente comunicação tem por objetivo
apresentar o
campo epistemológico da Antropologia da Dança
à
comunidade de pesquisadores em Dança da ABRACE, revelando-a
como
um campo teórico e metodológico em processo de
consolidação, no Brasil. Durante muito tempo, a
Antropologia tratou a “dança”
– em
comparação com outros elementos da cultura,
considerados
mais essenciais – como um fenômeno
supérfluo de
observação. Mas graças aos
esforços de
alguns pesquisadores e, principalmente, pesquisadoras –
dentre os
quais/as quais citamos Franz Boas, John Blacking, Gertrud Kurath,
Adrienne Kaeppler, Joan Kealinohomoku, Annya Peterson Royce, Judith
Lynne Hanna, Suzanne Youngerman, Brenda Farnell, Sandra Francis, Drid
Williams, Theresa Buckland, Andrée Grau, Andriy Nahachewsky,
entre outro/as –, reconheceu-se, finalmente, que um estudo
mais
sistemático da dança é de fundamental
importância não apenas para a
compreensão da mesma
em seu próprio contexto cultural como também e,
principalmente, para o entendimento da estrutura mais profunda da
sociedade a qual ela pertence. A partir de uma revisão
detalhada
das contribuições desses/as pesquisadores/as,
pretende-se
apresentar aqui as principais correntes teóricas da
Antropologia
da Dança, circunscrevendo, inclusive, sua
influência em
alguns trabalhos realizados no Brasil. Palavras-chave: Antropologia da
Dança. Etnocoreologia.Coreologia.
ABSTRACT
This communication has as an objective to present the epistemological
field of the discipline Anthropology of Dance to the academic community
of ABRACE’s dance researchers, revealing it as a theoretical
and
methodological field in process of consolidation, in Brazil. During
long time, Anthropology used to treat “dance”
– in
comparison to others elements of culture, considered more essentials
– as a superfluous phenomenon of observation. But graces to
the
efforts of some researchers – among them Franz Boas, John
Blacking, Gertrud Kurath, Adrienne Kaeppler, Joan Kealinohomoku, Annya
Peterson Royce, Judith Lynne Hanna, Suzanne Youngerman, Brenda Farnell,
Sandra Francis, Drid Williams, Theresa Buckland, Andrée
Grau,
Andriy Nahachewsky, among others –, one finally recognized
that a
more systematic study of dance is fundamental not only to its
comprehension in its cultural context as well as to understand the
deeper structure of the society in which dance is inserted. After a
detailed revision of the contributions of those authors, we pretend to
present the mainly theoretical approaches of the Anthropology of Dance,
tracing, still, its influence in some works made in Brazil. Key-words:
Anthropology of Dance. Ethnocoreology.Coreology.
————————————————————-
CAMPOS, Flávio. O método BPI e a Harmonia dos
afetos:
olhando as relações intrapessoais do
intérprete.
Campinas: UNICAMP; FAPESP; bolsista de mestrado; Professor Orientador
Drª. Graziela E. F. Rodrigues. Ator, bailarino e performer.
RESUMO
Este artigo dá continuidade aos estudos sobre a Harmonia dos
Afetos no método BPI. Pretende-se descrever a metodologia
utilizada no projeto de mestrado em andamento, bem como, apresentar os
resultados alcançados até o presente momento.
Tendo como
ponto de partida as relações intrapessoais
vivenciadas
pelo intérprete no processo proposto pelo BPI, intenta-se
discorrer sobre a importância do contato do
intérprete com
ele mesmo na criação cênica e na
formação do
bailarino-pesquisador-intérprete. Ao
analisar esta relação, o caráter
sistêmico
deste Método é reafirmado, já que o
ato de o
intérprete revelar-se a si mesmo está diretamente
conectado e é ampliado pelo seu contato com o outro. Assim,
este
trabalho apresentará uma reflexão que indica as
relações afetivas, de caráter inter e
intrapessoais, como o elemento fundamental para a expressividade
cênica vislumbrada pelo método BPI.
Palavras-chave: Método BPI. Relações
intrapessoais. Metodologia de pesquisa.
ABSTRACT
This paper continues the studies by the author on the Harmony of
Affects in the DRP method. The main objective is to describe the
methodology used in the master’s project now in progress,
presenting the results achieved. Using the perspective of intrapersonal
relationships in DRP process, it seeks to discuss how important is the
self-contact of the performer in the scenic creation and in the
training process of dancer-researcher-performer. During this analysis
of relationships the DRP’s systemic character was reaffirmed,
because the performer’s self-revelation is directly connected
with the interpersonal relationships. Therefore, this work will present
a reflection about the affect’s relationships like a
fundamental
element to the scenic expressivity propose by the DRP method.
Keywords: DRP method. Intrapersonal relationships.Research methodology.
CERBINO, Beatriz; CAMPOS, Igor Nunes. Jaques Corseuil e a
construção de um pensamento em dança.
Niterói: Universidade Federal Fluminense; Professora
Adjunta;
Bolsista PIBIC/CNPq; graduação; Professora
orientadora
Beatriz Cerbino.
RESUMO
Em textos publicados em periódicos cariocas como
Ilustração Brasileira, Brasil Musical, Rio,
Cinearte, O
Globo e Correio da Manhã, na primeira metade do
século
XX, o jornalista e crítico de dança Jaques
Corseuil
(1913-2000) construiu não só um pensamento
legitimador da
dança como também afirmou a necessidade de
elaborar uma
identidade nacional por meio do balé. Ao escrever sobre a
urgência de criação de um bailado
nacional, com
temas, música e bailarinos brasileiros, Corseuil apontou
como
deveria ser o profissional a atuar nesses espetáculos,
buscando
com isso criar um parâmetro para a dança
cênica
brasileira da época. Um dos primeiros a escrever
exclusivamente
sobre dança no Brasil – a prática da
época
era que críticos de outras áreas, como
música,
teatro e artes plásticas, escrevessem sobre o tema
–
Corseuil apresentou ao longo de duas décadas, 1940 e 1950,
uma
intensa produção e um olhar perspicaz acerca da
dança e de seus processos de
organização. Na
pesquisa desenvolvida sobre Corseuil, seus textos foram divididos em
três tipos: matérias, críticas e perfis
de
bailarinos. Essa tipologia permite entender como o crítico
construiu sua carreira e as diferentes frentes de diálogo
que
estabeleceu com seu público leitor. Essa
comunicação objetiva, a partir de referenciais
teóricos da história cultural e da filosofia,
apresentar
uma reflexão acerca da produção
crítica de
Corseuil e como sua percepção pessoal acerca da
dança cênica, em especial o balé,
contribuiu para a
discussão do que então se chamava bailado
nacional.
PALAVRAS-CHAVE: Jaques Corseuil. Crítica de
dança.
Bailado nacional.
ABSTRACT
In texts published in periodics such as
Illustração
Brazileira, Rio, Brasil Musical, Cinearte, O Globo e Correio da
Manhã, on the first half of the twentieth century,
journalist
and dance critic Jaques Corseuil (1913-2000) not only built a
legitimizing thought of dance as also stated the need to develop a
national identity through the ballet. When writing about the urgency of
creating a national ballet, with themes, music and Brazilian dancers,
Corseuil pointed that professionals should act in these performances,
thereby seeking to create a parameter for the Brazilian stage dance.
One of the first to write exclusively about dance in Brazil –
the
practice of that time was that critics of other areas such as music,
theater and art, wrote about the subject – Corseuil presented
throughout two decades, 1940 and 1950, an intense production and a keen
eye about dance and its organizational processes. In a current research
conducted about Corseuil, his texts were divided into three types:
texts, reviews and profiles of dancers. This typology helps to
understand how the critic has built his career and the different
aspects of the dialogue he established with his readers. This
communication aims, through the theoretical framework of cultural
history and philosophy, to present a critical reflection on the
production of Corseuil and how his personal perception about the dance
stage, especially ballet, contributed to the discussion of what was
then called national ballet.
KEY-WORDS: Jaques Corseuil. Dance review. National ballet.
ABSTRACT
This communication is going to treat the body as an art object that is
materialized in the perceptual and dialectic aesthetic flows of images,
sounds, gestures, colors, intuitions and emotions, captured and set in
the drumming and dancing of the Maracatu Nação de
Baque
Virado in Pernambuco-Brazil. A cultural manifestation which
symbolically represents the Coronation of the Kings of Congo. The issue
is to propose a different view of the Maracatu dance considering the
complexity of its configuration. The study seeks to understand the
meaning of the turns made by the damas do paço and baianas
at
the moment of the thud turn in the Maracatu
Nação. The
pressuposition considers the spiral and circularity as foundational
senses for the dances of African matrices (ASANTE, 1996) that is
materialized in the body of the dancer narratives of African ancestry
regarding them as political art and multicultural education for
citizenship, linking systems and subsystems, indicating clues of
ancestry as “Nation Movement.” Movement that
appears as a
focus on the figure of the Dama do Paço and Calunga,
symbolic
elements of strength and dynamics that extends and expands into other
dimensions. The Nation Movement will be approached through the analysis
of the body technique of the turns at the thud turn, circumscribed by:
situations of common life, philosophy of ancestry, educational
principles of ethics and pedagogical actions of enchantment, and the
characteristics of African dance systematized by Asante (2002). The
methodological aspects point to a study of ethnographic inspiration
that analyzes and describes scenes from the interpretation of the
discourse (narrative of the Maracatu Leão Coroado dancers),
observation of the body that dances (dance / drumming), the space-time
relations with the urban landscape and the space-time relations with
the memory. Therefore, it is necessary to understand what Baque Virado
is and how it constitutes the moment of Virada de Baque in the Maracatu
Nação. The study is justified by the importance
of
building an afro-brazilian theoretical reference, taking from the
empirical field epistemological basis for reflection and understanding
of African descent body as a system that operates knowledge and
invigorates, in the cortege, the fight of significations.
Key-words: Body. Dance. Ancestry, Circularity.Spiral
ABSTRACT
Coming from a doctor’s degree research (2010) on empathy and
contagion among the concepts and procedures of contemporary dance,
somatic approaches and the artist Lygia Clark, the present article is
to examine the emergence of a notion – the dance as an event
– a gathering of presuppositions from some forms of dancing
and
ways of thinking about the dance in the Twentieth century that are
still guiding the training of performers-creators. The phenomenon was
in the midst of some artistic and educational activities of the project
“Why Lygia Clark?”. The locus of this investigation
was a
class offered in an undergraduate course of Dance in São
Paulo
city between the years of 2007 and 2010, where through the exploitation
of relational objects, subjects-participants were invited to body
investigation through the senses, sensations, renewal of the
perception, and imaginary awakening. In a clear dialogue with the
notion of event that underlies the Clark’s poetic an ideology
which crosses and configures the nature of these experiences. Going
through the labanian thought and through the contributions from the
movement analyst Hubert Godard (2002), improvisation is seen as a
creation in the dancing act that challenges the dancer to put together
remembrance and forgetfulness for, paradoxically, become present,
interfering in the historicity of one’s own body. Moving on,
the
dance is considered as a relational act where the dancers can
rediscover and reinvent themselves in the communion of their bodies,
dialoguing through touch, or by sharing the management of gravitational
contact dances, as proposed by Steve Paxton. The possibility of a
collective body is also shown, (LOUPPE, 2006), the dancer is able to
conceive the creation of a dance, as a collective act. Finally, the
body in a dancing state is presumed as a manifesto, a manifestation of
its perception, as a manifestation itself. If the dance is prone to the
phenomenom of kinesthesic contagious among dancers and audience, some
forms of dancing go towards this direction, exposing the scene to the
refinement and to the perceptual plasticity of the dancer, invoking the
audience to feel their own bodies (SUQUET, 2008), pointing out the
dance as an event itself. This path turns out to be an esthetic,
ethical and political aspects of dance, indicators of the historical
transformations on the notion of body, movement, dancer, and artist.
Keywords: Lygia Clark. Perception.Creation.Collective Body. Event.
ABSTRACT
This paper proposes a reflection about the dance that happens in
College Estadual Thales de Azevedo in the workshops proposed by the
school in turn opposite lesson. The project “Raising our gaze
to
the dance” took place in this school between April and May
2011
and its main intended to provide bodily experiences in dance from (re)
understanding of the uniqueness, diversity of bodies in the context of
classroom dance. Were used with different students proposed body with
emphasis on Creative Processes and reflection systematically on the
practice.Utilized the method (self) biographical perspective on
teaching and learning. It is observed that when teaching in dance
promotes discussion about the body in contemporary addition of body
experiences, a esthetic and significant artistic, students tend to show
interest experienced by the creative processes and other methodologies
applied. The socialization of educational experience in dance can
contribute to the professional dancers, in general, to encourage
reflection on teaching practice, but also to serve parameter for the
development of dance in the school and its definitive recognition as a
field / area of expertise.
Key Words: Teaching Dance. Art Education. Public School.
Colégio
Estadual Thales de Azevedo.
ABSTRACT
The present study proposes the use of performative elements in creative
work in dance. Thus, it wants to discuss how proposals developed by the
art of performance can be addressed in the training process of the
dancer-creator. It sees the training as a process for an acute and
intimate listening of oneself where there is an overflow; it goes
beyond a specific piece of art expanding out rehearsal room and time.
This immersion in the process of oneself relates to a choice of a
technique and a vision of the body that finds its place in the
performer’s deep relationship with his/her own movement.
Through
experimentation the performer seeks new possibilities and wants to
explore risks, limits, colors, and realizes his/herself always in
relation. The research proposes to the dance work possibilities of
exercises-experiences that are built around performative elements such
as: the autobiographical matter, authorship, the body at risk, the
absence of illusion in the scene, the close relationship with the
public, the explosion of space and the use of technology.
Key words: Dance. Performance.Training.Creation process.
ABSTRACT
The use of techniques of traditional dances to feed the body work in
theater and dance has been discussed with greater emphasis after the
propositions of Theatre Anthropology (Barba & Savarese, 1995)
and
Ethnoscenology (Pradier 1995). This paper reports the main findings of
the research project that investigated the Samba chula in the region
northest of Bahia with focus on the study of the body, highlighting the
processes of mestizage and presents a result of using the principles
observed for creating new dances.
Key words: Samba chula; Theatre Anthropology; Métissage
ABSTRACT
The relationship between dance and education, at the present context of
expansion of graduation in Dance at the brazilian universities,
indicates possibilities of intensifying an artistic experience at the
schools and fortifies the figure of the artist-teacher. Up to the year
2000 there were only seven superior level courses in Dance. For the
last decade it has been raised up to twenty-five. The persisting trace
in a good range of initiatives is the implantation of Licentiates in
public institutions. Which direction does the Culture Ministry seem to
choose? Dance and university: which artistic and pedagogical
relationships are evident? Does who dance know how to teach? Does who
teach, dance? With which notions of dance and education the graduates
in Dance get into the classroom? How do they dance with their students?
Different of the Ruling Law and Bases (LDB) of 1971, that betted in the
polyvalent professional for the teaching of Artistic Education, the
licensee in Dance, ruled by LDB of 1996, is a specialist professional.
A change that provokes redistribution of content and methodologies, be
it in the formal teaching (in schools) or yet in informal (in projects
as a Second Time, NGOs, social projects). To think dance and education
under a historic perspective and in consonance with the challenges of
the contemporaneity, that articulation of thought is made with the
educator from the State of Rio Grande do Sul, Tomaz Tadeu da Silva, and
the artist and educator Isabel Marques. The objective is to point
modifications regarding the ways of teaching, to analyze that dance is
possible to affirm in pedagogical situations. They are approaches
starting at the traditional education, plenty of contents, in dance,
passing by the education through dance, focusing the processes, up to
the teaching with dance, where the technical knowledges shuffled and
reordained so as to give way to new knowledges, potentiating the
creation. For the French thinkers Gilles Deleuze and Félix
Guattari, art in its creation potency, is one of the ways of
subjectivity which points out processes of singularization, facing the
processes of modeling the behaviors. The art acts, for them, changing
the order of a thought, facilitating a replacement in the world
starting from a relationship which happens daily to amplify the
meanings given life. A way of thinking close to Isabel Marques when she
proposes the figure of the artist-teacher as a professor that, from an
experience as an artist that researches and investigates, shares his
knowledge with the students and uses the school environment as a scenic
space, where teachers and students dance, choreography, make up
procedures, without border between artist and academic, classroom and
scene, teacher and taught, between artistic and pedagogical procedures.
Keywords: dance. teaching. artist-teacher.
ABSTRACT
Expressionism in painting itself as an anti-bourgeois art, popular,
mystical, in which the psyche gives way to rationalism. With this
indiscourse that contaminate the current avant-garde art in Germany,
spreading through their associations, manifestos, exhibitions and
publications of groups such as Die Brücke (1905), Der
Sturm(1910),
Blaue Reuter (1911), which widely disseminated their ideas in the years
preceding the Great War. The move opens the idea of resonance or inner
necessity, confined to subject the existence of subjective field and
relates directly to the creation give rise to onewhere the presence of
the unconscious imagination is sealed. The new art of German modern
dance would also take some of its precepts and would soon be linked to
the movement, and even transfer some of these influences on the modern
dance world.
Key words: Dance, History and Art.
ABSTRACT
This paper presents considerations resulting from a field
investigation, descriptive and qualitative. The propose of the study is
identify the formation and training of Arts Teachers’ at
Municipal Elementary School in Porto Alegre, RS, and verify if them
teach dance classes. According to the National Curriculum Parameter
dance subject must be included at School in the Physical Education and
Arts disciplines, being task of these disciplines teachers’
provide this contents. But often, this is not happen, because of
Physical Education and Arts Teachers’ lack training and
experience and/or interest in the area, being dance excluded at School.
So far, 17 Municipal Elementary Schools at North and East Zone in Porto
Alegre were contacted, of which 11 Arts teachers agreed to participate
on this research. The partial results indicate that 1 Art Teacher work
with dance. Thus, realizes that dance teaching in the Arts classes at
the Municipal Schools of Porto Alegre, RS, is unexplored and needs to
be inserted into this context, reflecting about the importance of
working this type of content with students.
Key-words: Dance Education. Elementary School.Teacher.
ABSTRACT
This work is a synthesis of the artistic-theoretical dance research
titled Trilogy of Deconstructivistic Architecture. It describes and
reflects on its three phases, which envolved an interwoving between
choreographic research (with the participation of dancers
Cláudio Lacerda, Juliana Siqueira e Jefferson
Figueirêdo),
the theory of deconstruction by Jacques Derrida, Architecture, Minimal
Art and Dance Studies. For this particular research, the inspiration
started from the contact with works of architecture from the
deconstructivistic strand, whose key words are deformation and
displacement. The proposal consisted in making a crossover between the
mediums of dance and architecture: having space as a common factor,
bring to dance the materiality, the functionality, the staticality and
the functionality, proper to architecture, and bring to architecture
the body, the movement, the temporality, the ephemerality and the
aesthetics, proper to dance. The place for this crossing of proprieties
was the body(ies) in space. The work establishes a continuity of the
dance making produced by the author, whose work front has been movement
research, showing a preoccupation with bringing the body and movement
to their place of importance in dance, with all their potential for
subversion and transgresssion, and whose principal motto for research
is the deviation from what is considered mainstream and the
deconstruction in relation to identity, body and movement.
Keywords: Dance. Choreography.Creative process.Architecture.
Deconstruction.
ABSTRACT
The present work initiates an investigation about the construction of
sense in a dance dramaturgy creation. The description of the creative
process of the choreographic work “City in Plan” of
Anti
Status Quo Dance Company from Brasília-DF is the starting
point
to understand the creative artistic procedures involved in the approach
of the theme (the body’s relationship with the city of
Brasília) which inspired the conceptions of the
choreography.
Interdisciplinary is discussed analyzing how movement research happens
in a collaborative process in which there is a conjugation of many
branches of learning and perceptions. The influence of mutual
interaction between costume, set, light design, soundtrack in the
construction of meanings and how the composition with all this elements
in a scene create a context for body in movement is analyzed. The
investigation also discusses the implications of some notions of body
and movement that orientate dancers and creators of contemporary dance
in search of a development of expressive skills to create and present a
specific dance work. In order to develop all this issues we refer to
the Choreological Perspective on Choreography of Valerie Preston-Dunlop
(1998), the de John Blacking’s Anthropology of the Body
(1977),
and Notions of Body’s Technique of Marcel Mauss (1974) and
Merleau-Ponty’s Phenomenology of Perception (1999).
Keywords: Contemporary Dance. Dramaturgy.Choreography.Creative Process.
Interdisciplinary.
ABSTRACT
This paper aims to present “Playful Culture” as a tool for de-construction of the “Serious Man Myth”, a paradigm constructed during the Modernity when the Scientism did not consider other ways of knowing, including specifically the “know-how” learned by oral traditions, and customs as everyday life tasks. Play, games and laughter were condemned habits that belonged to idle men, who lounging and did not take the life seriously. The subject-matter defends the importance of play, laughter and party to the continual (re)balancing of social life. This research also shows that our ethinic crossroads make us heirs of this festive behavior ancestry and the severity was imposed by a predatory colonization. It also shows the “Playful Culture” as an artistic estrategy, as is the case of Dance, as a pathway for the development of the ludus-biografical-body. This emerges from its lost dimensions, recognizing on itself its own laws and potential for self-poiesis. This research is referenced by authors such as Caillois, Duvignaud, Huizinga and Maffesolli.
Keywords: body – playfulness – dance
ABSTRACT
The doctoral research “The discovery of the culture veiled
and
vital gestures: a deepening of the axis Inventory in the Body Method
DRP (Dancer- Researcher-Performer)” deepened the axis
Inventory
in the Body, through its application to a group student volunteers. The
subjects were students at the University of Campinas (UNICAMP). The
development of the axis Inventory in the Body was conducted during the
year 2009 and consisted of 120 hours. This project was approved by the
Ethics Committee of the School of Medical Sciences (CEP Opinion No.
679/2008). The clay bodies were one of the instruments for measuring
the body development of research subjects. The dynamics of clay bodies
was carried out at the beginning and end of the development axis
Inventory in the Body and was an exercise in which the participants
should allow their hands in the clay shape freely your body accurately.
The aim was to evaluate the body development of research subjects. We
use Content Analysis, talking with an Expression Analysis, through the
DRP Physical Structure and Technical Senses for the analysis of clay
bodies.
Keywords: Dancer-Researcher-Performer. Dance Brazil. Inventory in the
body.
ABSTRACT
Dance instruction at Brazilian university presents recurrently a
Cartesian logic that divides theory and practice. However, the everyday
life of some contemporary dance groups appears to be advancing in
another way, in which the idea of artistic experience as a knowledge
form is taking place this dichotomy between theory and practice. The
expectation of this research project is to demonstrate the possibility
of identifying parameters, possibilities or methodological approaches
that can overcome the problem of the dichotomy between theory and
practice in process of instruction in dance, and artistic experience of
dance groups as useful field of observation. In this way we find
resonance in the investigative work of writers like John Dewey,
Hans-Georg Gadamer and Jorge Larrosa, with regard to the concept of
experience beyond current proposals on instruction in Arts, Performing
Arts and Dance, presents the reflections of Cayo Honorato, Ana Cristina
D’Andrea Galmarino and Márcia Strazzacappa.
Keywords: Art. Dance. Artistic Experience.Instruction.Theory-Practice.
ABSTRACT
This is the analysis of a creative process in dance by the method
Dancer-Researcher-Performer (BPI), created by Prof. Dr. Graziela
Rodrigues. The emphasis is on the third axis method, called The
Structuring of the Character. A character in the DRP method is
discovered from the confrontation between the recorded archive of life
in the body of the dancer (drafted in the first axis of the method,The
Inventory in the Body) and the field of research chosen by him (or
second axis, The Co-inhabit with Source). This relationship closes a
gestalt, always unique, which will be polished in its power dancer.
What happens when in vertical dive proposed by this method of creation,
is the negation of the inner contents that emerge through the body? In
our case, we discuss the birth of the character Vera, an
actress-prostitute and circus juggler. The clash with the
interpreter’s character is analyzed as a creative process
“backwards”. Seeking to transcend the experience of
subjectivity, are revealed intricacies of body ruled by crossing dark
aspects of humanity, brought to light by the awareness of the senses in
every move until the blooming of a dance that is the capacity to
overcome.
Key-words: Dance. Character.DRP method.
RESUMEN
El texto trata temas de lo efímero y la permanencia en la
danza,
a partir de aspectos de la actividad de consultoría del
investigador en el programa de TD-TEATRO DE DANÇA
(Secretaria de
Estado da Cultura, São Paulo-2006-2011). La
mediación
(relación entre el arte y el público) es la
topología donde surge “el arte efímero
de la
danza”, diferentemente de los discursos que encuentran este
efímero en la “obra de arte en sí
mismo”,
constituese como base de la discusión de la importancia de
locales específicos donde “el ejercicio de la
circulación” (ADOLPHE, 1997) –
dramaturgia de la
danza se estructure a cada noche y de maneras distintas Em contraste
con el punto de vista fenomenológico del
espectáculo,
que, de acuerdo con Pavis (2007) se centra em el público, la
construcción del sentido de la danza, el texto trabaja la
“difusion directa” de la obra desde el punto de
vista de la
mediación, fenômeno lleno del efímero,
topologizado
pó lo choque de polos de emisión (escenario /
escena /
coreografía) y recepción (público).
Contextualizar
las condiciones en que este “entre” puede ser
acogido, por
ejemplo, em um espacio de programación exclusiva para la
danza,
mientras que topus de mediación artística y
política, es hablar de
“efímero” y
“concreción” de la obra de danza, como
en Adorno
(1988), apuntandose también para discusiónes de
estrategias de formación y audiencias públicas.
Palabras clave: danza contemporánea, teorías de
la
recepción, creación
ABSTRACT
In 1970, Ariano Suassuna led a Brazilian cultural movement called
Armorial. Since then several artists took part in the proposal to
develop a high art inspired on traditional and popular culture.
Aesthetic renovation can be seen on music, visual arts, literature,
theatre, cinema and television. However, attempts to compose an
Armorial dance were unsuccessful. To create original songs, Armorial
composers used classical instruments to play and recreate traditional
music from the Northeast of Brazil. In the same way Suassuna invited
classical dancers to create an ideal original dance, as if human body
was a musical instrument. This article is about the misconception of
body as an instrument and its influence in the failed attempts to
create Armorial dance aesthetics.
Keywords: Dance. Body.Armorial Movement.
ABSTRACT
This study aims to understand how consumer behavior for dance
performances relate to them, through their bodily reaction and
perception. Synthetic analysis because the audience applauds in
general, all shows at the end, standing. The question that this study
seeks to answer is: The audience applauds the performance end of the
same standing because of their quality or because it has to run in a
hurry to get to the parking lot? . Through field research conducted by
the author with the public at the Dance Theatre in São
Paulo, as
well as by concepts of Patrice Pavis, Walter Benjamin and Flavio
Degranges, it is a brief account of the applause, relati ng it social
behavior of the viewer.
Keyword: clap, spectator, dance, behavior.
Keywords: Dance. Choreography composition. Body. Heterogeneity
ABSTRACT
This proposal analyzes the choreographies
“Cerimônia do
Padê” by BFBA and “Auto do Estudante que
se vendeu ao
Diabo” by Grupo Grial de Dança. Its aims to reveal
the
appropriation of the mythical figure of devil in Jewish-Christian
tradition and of Eshu in Afro-Brazilian, as much as the
aesthetic-dramaturgic-choreographic treatment given. The methodology
here employed is set on a theoretic-methodological reference in which
phenomenology is the base for studying the aesthetical language in its
inherently analogical links. At first, this study points out the
differences in the companies’ choreographic dramaturgies
revealed
in the discourse and political action that are made present from the
body that dances, sculpts, recites and poeticizes stories. Those
stories bring the habitat settings of those bodies, whether they are
set in the city of Salvador or in the semi-arid area of Pernambuco.
Bodies which, through their dances, are made equal and different by the
dynamic, existential principle of Eshu in communication and in becoming.
Key-words: Aesthetic-Dramaturgic-Choreographic.
Jewish-Christian.Eshu.Afro-Brazilian.
ABSTRACT
Rolf Gelewski, german dancer and coreographer who taught in the School
of Dance UFBA in the 60s and 70s, widely used improvisation as a
teaching resource to develop the capacity of reaction, concentration
and sensitivity, to develop the qualities of expression, imagination
and creation of his art students. However the true art of Gelewski was
the use of improvisation as an expressive resource in their dance
creations. This article proposes a reflection on the importance of
improvisation for the creative processes, addressing issues about
freedom and rules, consciousness and unconsciousness. It discusses also
about Gelewski´s art of improvising from structured
improvisations (“creative dance”) and free
improvisations
(“spontaneous dance”).
Keywords: Improvisation. Creation process. Dance. Rolf Gelewski.
ABSTRACT
The Social Representations play a crucial role in the human behavior
and forms of knowledge that manifest as cognitive elements (images,
concepts, categories, theories) and are also social phenomena that
contribute to shared construction of a common reality. Thereafter, this
research focused on the social representations of the elements
constituting the practice of teaching dance to students of the
extension course at the School of Fine Arts, UFMG – Pedagogy
of
the Movement for the Teaching of Dance created to meet the growing
demand for continuing education for dance teachers in Belo Horizonte.
We decided for a qualitative approach, based on the Theory
Representations of Moscovici (2005) and ABRIC (2001) and the concept of
teaching practice of TARDIF (2000). Thus, we sought to understand how
the relationship between theory and practice occurs from the importance
of representations on matters regarding teacher-student, the kind of
teaching, content, method, teaching resources, assessment, learning
artistic expression, since all students, with or without graduation,
had at least five years proven experience as dance teachers. Data were
collected from 2006 to 2009, in the discipline Mediation of Educational
Processes in Dance I, through narratives and images (drawings,
collages, illustrations) of social representations of modalities such
as classical, jazz, ballroom dancing, modern, belly dance, among
others. The results of this study should contribute to the teaching of
dance, since they show reflective knowledge arising out of the teaching
practices of the interviewed teachers of dance.
Keywords: social representation. teaching practice. teaching dance.
ABSTRACT
“See, Hear, Move” presents two methods of
improvisation
dance, describing each phase of each method step by step. Both methods
are based on the use of musical material. The first part of the gradual
exploration of body movements, with an increasing complexity, based on
exploration of the structure of the piece, in its most simple to the
most elaborate. Musical analysis proposal happens, but only through
hearing the direct and concrete piece, and not from a prior knowledge
of conventional music theory. The second method starts with a
completely free improvisation on a piece of music, and develops into a
structure improvisation in connection with structural aspects of the
movement as much as the music, with which they are working, to finish
again with another completely free improvisation. This last free
improvisation occurs as the result of awareness on the trial of the
appropriate structures, their assimilation and finally letting go of
them, its abandonment.
Key-words: movement, improvisation, music, musical perception.
ABSTRACT
This article presents the dance solo as an independent aspect of dance
that is developed in modernity. By analyzing some dance-solos, we can
realize that the movements include many characteristics proceeding from
the calligraphy developed by the author’s work, his
experience,
and different complexities. Either the consolidation of modern dance,
its development and popularity in various situations and relevant
twentieth century, have great influence on the dance solo, which
reaches to the present day reflecting the condition of contemporary
human beings,and probably will continue influencing the work of later
generations.
Keywords: Solo Dance. The genus.German Dance.Modern Dance. Dance in the
contemporaneity
ABSTRACT
Considering movement, the main interface between dance and cinema
languages happens where the relation body-camera, in a bidimensional
perspective, takes place in relevant cinematographic productions
throughout the twentieth century, having birth in 1930. This relation
can be found in Busby Berkeley`s revolutionary camera, in Fred
Astaire`s perfectionism and Maya Deren`s experimentalism extremely
diverse approaches concerning cinema and dance interface. This study
aims to reflect the choreographic and cinematographic relation brought
up by this works considering its historical periods and genders: the
classical representative cinema, the musical cinema or the experimental
cinema. Striving to analyse the choreographically choices nuances, the
movement analyses proposed by Rudolf Laban relating with the concepts
of image-movement by Gilles Deleuze and duration by Henri Bergson. If
cinema did have influence and changed the relation between man and his
body, with time and space perception, therefore this project indicates
a relevant study, because of the possibility of identification trough
the thirty’s works, places where dance could reinvent itself.
Keywords: Cine-dance. Movement.Language.Composition.
ABSTRACT
This article has the purpose of presenting some of the
“encounters” between students and teachers of the
Free
School Dance, which was created in 2007 by the Center for Dance of the
Government of the City of Porto Alegre and that it’s aims is
to
offer free classes to artists who want to deepen their knowledge in
dance. The theme presented in this article is part dissertation
“Policies of encounter: creation and collaboration in the
processes of Experimental Group of Dance to Porto Alegre “,
defended at UFRGS, in april 2011. The first chapter of this research
presents the “encounters” experienced, in Free
School, in
different styles of dance during the years 2008 and 2009. A study was
carried out based on ethnography, through interviews and participant
observation. Here will be presented reflection on the
“encounters” in somatic education classes, more
specifically, in 2008, with teacher Tatiana da Rosa and in 2009 with
the teacher Bia Diamante, through testimonies of the students
interviewed on the experience in question. In this space singular that
it constitutes the Free School of Dance in Porto Alegre, the students
have been able to experience the somatic education through the
encounter with oneself – self-knowledge and encounter with
the
other, through the constant exercise of otherness.
Keywords: Encounter. Somatic Education.Experimentation.
ABSTRACT
This job intends to show the results of a research that was concluded
in 2010, which had as an objective to investigate how musical education
is present at professional dance courses in São Paulo. To
reach
this objective, it was first made a small literature in the area of
music and dance, with emphasis in the relationship between them in some
historical periods, and an analysis of the National Curriculum for
Professional Education Level Technical Arts, which brings some guidance
on the courses in this paper. Among the prominent authors to this work
are Bourcier (2006), and Palisca GROUT (1997), Madureira (2008) and
Fonterra (2008). A second time, it was observed some music classes in
two different courses for a period of time, and it was analyzed some
specific points, such as space, curriculum components and methods that
teachers used in their classes, with the aim to reflect on the
efficiency of this musical education for those students. Music teachers
were interviewed and the students answered a questionnaire, data that
complemented the information gathered during observations. Two types of
music classes were observed by this research: one in the style
“Conservatory”, and another more diverse, which
make use of
various resources and methods to achieve their objectives. The result
of field research was confronted with the bibliography collected
initially, and how the ideas of Jaques-Dalcroze, Dupuy, Wosien and
Pederneiras were instrumental in achieving the objectives of this work.
It was possible to understand, for example, the concept of music
education for musicians should not be the same for dance artists, and
also the important role of music educator, should know that direct the
activities intended to enhance the knowledge that are needed to form a
complete dance artist. Then it was possible to start a discussion about
how it’s important musical knowlegment for dancers, as we
know
that when these dancers are graduated they will have a relation with
the music such as with the dance, so they will have to know both dance
and music in a satisfactory way.
Keywords: musical education, dance, dancers
RESUMEN
A partir de la investigación de doctorado en Artes que tiene
como objeto de estudio los aspectos cognitivos presentes en la
experiencia de la Rítmica Corporal de Ione de Medeiros, fue
analizada la proposición de la práctica de
Rítmica
de Jaques-Dalcroze.Jaques-Dalcroze trató el cuerpo y sus
movimientos expresivos como contenido, medio y fin del aprendizaje
musical, o sea como condición y proceso para este
aprendizaje.
Su propuesta de corporificación de la enseñanza
de la
música tuvo fuerte repercusión en pedagogos
musicales,
terapeutas corporales, actores y bailarines. El objetivo con este texto
es presentar algunos indicios de la probable resonancia de su sistema
en la danza moderna del siglo XX. La metodología utilizada
fue
la pesquisa de referencias realizada en libros del referido
artista-pedagogo, teses de doctorado y sites específicos.
Como
resultado, se localizó tres probables diseminadoras de los
principios dalcrozianos en la danza del inicio del siglo XX.,
además del impacto obtenido por medio de las presentaciones
de
la Rítmica por la Europa. De esa manera se puede considerar
que
los principios e ideas dalcrozianas acerca del cuerpo y sus movimientos
expresivos son pasibles de ser percibidos en la génesis de
las
teorías y prácticas de la danza moderna.
Palavras-chave: Jaques-Dalcroze, presença, danza moderna.
ABSTRACT
The work makes a investigation of the cultural universe of
“benzedeiras” and “benzedores”
of Rio Grande do
Norte. It´s combines a field study from etnografic, living in
these spaces impregnated with different knowledge, symbolic building,
culture of myth, ritual, prayer and faith in their social and culture
context. Belives that all this pieces of life in the brazilian popular
context are poetic and esthetic reference to the scene for the process
of dance creations. In that way we search, through this wealth of
repertoire for the artist-researcher who uses a theatrical production
of “fertile ground” of popular field that will be
reread
and re-signified in the processes of artistic creation, considering the
dialogue with others and meeting themselves as possible fields of human
relations more porous and dilated. We believe that the poetic and
symbolic work in these spaces is the territory of cultural and social
training, which generates a (re) affirmation of values and creative
power of art spaces while new meaning for our times, through the
creation of dance here.
Keywords: scenic creation. Benzedeiras/benzedores.Popular culture.
Dance.
ABSTRACT
In this year the field research were resumed in an Umbanda yard, more
specifically the re-encounters with a female power that unfolds in
several names. They are Pomba Gira Maria Mulambo, Pomba Gira Cigana,
Tata Mulambo, among others, and those known for a long time as Maria
Padilla and Maceio. It has been more than three decades since the first
research on the topic was performed and then was return to this same
research field various times. It had the opportunity to follow the
trajectory of a Pomba Gira, called Maceió, up to hers
phalanx
change, when she no longer occupied the medium’s body with
the
same representation and frequency. Just when Maceió left the
medium’s body to hers new crossing, he embodies a Maria
Padilha.
It was described the re-encounters with theses Pombas Giras. The
dynamics of the yard was established with its rituals to enable such
entities to manifest themselves. There is no way to isolate the entity
from the audience. It is the interaction between them that make up the
structure of a Pomba Gira. Sociology of body image. The process of an
enbodied entity in Umbanda – the result of the dynamics of
the
yard – elucidates important aspects of the character included
into the DRP method. The research takes place really in another place,
in the yards also called “macumba.” Then you can
assign new
meanings to this word “macumba”, such as depth body
of
embodied character. It raises some fragments that it revealed by this
theme.
Keywords: Dance Brazil. Umbanda.Dancer-Researcher-Performer.
ABSTRACT
Considering screendance as an artistic form based on video, this
article approaches the ways of sharing ideas in net during its stages
of elaboration. Through the ideas of Keith Sawyer on group creativity,
it establishes a discussion on the ways where different roles,
typically present in the artistic process of screendance, can interact
in synchronous or diachronic form. This process frequently involves
corporal actions captured by the lens of a camera, filed, arranged and
articulated during the edition. The look of the director, who can
incorporate a series of other functions such as choreographer and video
editor, is responsible for the decision making. It is considered,
however, that screendance is a result, over all, of a collaborative
practice depending frequently on the interaction of the participants in
its creative dimensions where dance can be present: the interpreters,
through the creation and selection of the movements; the use of the
space and the time through the shots; and in the form the captured
material is organized during the edition. Here the screenvideo is not
understood as end item, but as open process. At the same time while
deconstruct the traditional aesthetic and methodologies of the dance
being shifted to a new technological artistic support, can show in its
process structures with different levels of openness for participation
accordingly to the possible degrees of contribution. This point of view
has the potential to contribute for a deepened discussion on the forms
of interaction of the diverse functions in a group of screendance
production.
Keyword: Screendance. Collaborative practices. Group
creativity.Choreography.
ABSTRACT
This article discusses issues related to the perception in Dance
Theatre spectacles, where aesthetic experience happens in an unique,
and not just contemplative, way. On the transmitter x receptor
binomial, the position of the viewer is understood as an active one,
taking into account his desire to find consistency, understand and
ascribe meaning to the work. The very nature of the Dance Theatre is
seen as a provoker of that position. To establish theoretical dialogue,
Luigi Pareyson, Jorge Bondia Larossa, Marco de Marinis and Norbert
Servos will be cited.
Keywords: Dance Criticism. Dance Theatre.Perception.
ABSTRACT
This article seeks to understand dramaturgical composition in
contemporary dance as a channel from which experience can emerge as
well as an agent that produces sense. Since the elaborations developed
by Jean-Georges Noverre during the 18th century until contemporary
researchers such as Patricia Cardona and Natalie Schulman, one of the
recurrent questions is associated exactly with the possible definitions
and functions fulfilled by dramaturgy in dance. In this respect, this
article intends to deal with the aspect in question relating it at the
same time with the concept of experience as well as with processes of
production of sense. In this case, such concept and processes are seen
as constitutive of the notion of dramaturgy in dance, which operate as
generators of some possible specificities in this field. Concerning
experience, some specific approaches will be pointed out, such as John
Dewey, Francisco Varela, Jorge Larrosa Bondía and Victor
Turner.
The production of sense will be examined through the theories
elaborated by the philosopher Gilles Deleuze.
Key-words: experience.dramaturgy. dance. sense.
ABSTRACT
Discusses the contributions of the Swiss music educator Emile
Jaques-Dalcroze for the educational and creative field of theatrical
dance. Presents structural components of his method of body rhythmic
education – the Rhythmic, or Eurhythmy, or Rhythmic Movement
– and discusses the influence exerted by his theory and
practice
in pedagogical and artistic work of emblematic representatives of
modern dance, as Rudolf Laban, Mary Wigman Ruth St. Denis, Ted Shawn
and Vaslav Nijinsky. Discusses aesthetic connections between the modern
dance and the genre of performance created by Dalcroze – the
Plastic Life, or Plastic Movement, or Plastic Animated.Shows a
relationship between the Dalcroze thought and the origins of the
somatic thought in the creative and teaching spheres of West scenic
dance.
Keywords: Emile Jaques-Dalcroze. Eurhythmy.Rhythmic.Rhythmic
Movement.History of modern dance.
ABSTRACT
The research describes part of the thesis Choreographic Workshop:
contraconduta as the creation of dance in higher education. It parts of
the teaching practice of the researcher who teaches a course component
titled Choreographic Workshop in which students are encouraged to
challenge themselves to do something different than they are
accustomed. In this sense, students are encouraged to contraconduta
creation instead of technical discipline. To question the constitution
of the subject of dance in contemporary higher education is proposed in
this cut, to discuss what contracondutas modes are possible in a
curricular component of choreographic creation. The idea is to raise
and multiply the possible relationships between creation, higher
education, building up themselves (self care) and true games. The
research approach is Foucault based and follows other authors in the
same line of thought.
Keywords: Dance. Foucault. Choreography.Creation.Contraconduta.
ABSTRACT
The research “Roots to fly – the capacity to be
present
through the sense of grounding” aims to investigate the
notion of
grounding during a process with a group of performers from Porto
Alegre. It has as the main goal, to develop a somatic approach about
the presence of the performer through the grounding. The notion of
grounding can be understood as “energy in
relation”: a
desire for connections inside/outside the body and an attitude that
allows communication with Earth. This sense of grounding is related to
the breath support, the energy that radiates from the center of the
body to the extremities, the movement from the pelvic floor, the
consciousness of the body weight and movement from the feet. Among the
varied functions of the foot in human movement, there is the ability to
cushion the impact and propel the body weight. This dual personality of
the foot promotes rooting necessary for the body to jump and suspend
its mass. In this sense, the grounding may be described metaphorically
as root to fly. Through movement labs, this study interweaves
procedures of theater, dance and somatic education, articulating the
experiences of the group with a theoretical reflection on the topic.
The experiences, recorded on video with accompanying reports, diaries
and interviews with participants, form the basis of reflection on the
process of ownership of each member, recognizing possible personal
transformations.
Key-words: grounding. presence. somatic education. dance.
ABSTRACT
This paper discusses, through the lens of visual culture studies and
semiotics, Matthew Bourne’s piece “Swan
Lake”. It is
examined meanings of images and signs that make up this piece. The
investigation is delimited to the dancers’ bodily movements,
gestures, gazes and territorial explorations in Act Two, A park in St.
Jame’s. By contrasting themes in classical ballets that are
conventional rather than challenging, this contemporary piece is an
example of avant-garde works. Indeed, avant-garde is often associated
with post-modernism and is frequently contrasted with mainstream or
traditional dance works, especially classical ballet. Hence, the piece
is at the forefront of artistic experimentation because it implicitly
affirms that traditional ballets can be reconstructed through the lens
of contemporary discussions about what is natural and conventional in
gender stereotypes.
Keywords: Dance. Images.Gender stereotypes.
ABSTRACT
This paper is part of a doctorate research made at Laborarte/UNICAMP
from which the main focus is the story of artistic life of Denise
Stutz, a brazilian dancer, and her way of acting since the 1970 until
today. The specific aproach of this work refers to a methodological
procedure in the qualitative research, the transcriation (MEIHY, 2005)
of her oral narratives and the movement analysis (LABAN, 1978)
integrated to the analysis of the spectacle (PAVIS, 2003) of reference
works (GERALDI, 2009) in the way of the dancer. Dealing with the
methodology and creation, and therefore open and unpredictable, allowed
a form of academic research considering the nature of the creative
artist-researcher approaching the fields of art and theory academic
research.
Keywords: contemporary dance. History of dance.research methodology.
ABSTRACT
The ephemeral nature of dance, its nature of being one of the arts of
the present moment, makes it a different nuance to every dance
performance. The record of the processes of creation and its end
product, the presentations is important for scenic artists,
researchers, academics, as it will contribute significantly to the
criticism and research in dance, as it becomes possible to preserve the
work, the issues and solutions involved in their creation for later
review. No less important, is to give society a chance to knew a
spectacle not seen, or being touched in their subjective memories about
it. Thus, among the objectives of this paper is to examine and document
the issues involved in dance as a research discipline. In this paper we
intend to explore a relationship of contents, which is linked to the
act of creating, describing and realize the ideas proposed until the
theatrical presentation of its results. Having realized this outline,
what surrounding it and delimits I’ll still articulate the
contents of a triad: the technical (skills of the interpreter), poetic
(literature and visual arts) and creation (submission procedures and
scenic), in order to investigate and develop, as the integration of
somatic practices, especially the technique Ideokinesis, in the
preparation of performers and creators can contribute to the creation
of dance.
Key-words: dance, creation, Ideokinesis,
RÉSUMÉ
Traditionnellement, il y a une forte valorisation du corps dans les
pratiques corporelles artistiques qui a souvent tendance à
renforcer une certaine vision moderniste de l’homme comme un
superhéros. Dans cette perspective, le corps doit aller
au-delà de ses limites, grâce à la
discipline et le
travail acharné, une vision progressiste et souvent
réductrice par rapport aux pratiques du corps, et surtout en
termes de pratiques artistiques. La représentation
d’un
corps glorieux s’inscrit dans une vision
dépassée
de l’homme nouveau en dépit de l’art
post-moderne
qui exalte la dégradation volontaire du corps. La tentative
d’invalider l’idée de
l’excellence humaine et
le corps réside dans l’échec historique
des
idéologies politiques et dans la crise de
l’humanisme. En
termes de représentation du corps, l’art pose
toujours de
nouvelles questions sur la forme de perfection stable. Dans la danse
conteporaine, certains artistes ont remis en question
l’idéalisation du corps glorieux,
discipliné,
souffrant et silencieux des pratiques corporelles artistiques
traditionnelles. Les corps dociles, comme souligne Foucault (1975),
sont de plus en plus indisciplinés. La danse contemporaine
dans
son discours plus raffiné s’interroge sur le
pouvoir qui
construit le corps dansant et ces modèles ; elle
s’interroge aussi sur l’establishment qui fixe
certaines
valeurs et modes de conduite. Il s’agit, par exemple, du cas
de
Luiz de Abreu, chorégraphe de Minas Gerais qui a
créé « Show», dont la
première a eu
lieu lors de la 7e Biennale Mercosul en 2009. Dans une critique directe
et réflexive sur certains aspects de la condition des Noirs
au
Brésil, Luiz Abreu montre certains
éléments qui
sont souvent associés aux noirs. Luiz de Abreu
présente
un discours du corps qui montre que la condition du peuple noir a
encore des marques fortes dans le contexte d’un pays
colonisé et inégal. C’est à
travers du corps
que ces marques sont exploitées.
Mots-clés: corps glorieux. discours du corps. danse
contemporaine.