Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The poetic narrative of  XXXX and XXXX offers the readers stories about life and/or scene experiences that unfold through many meetings in pursuit of the communitarian construction of a dance in the permanent encounter of the senses for life guided on the traditional set of knowledge of the peoples and cultures from Brazil. By means of exchanged living experiences with the methodological proposition of XXXX in the sphere of the Federal Universities from Rio Grande do Norte (UFRN), from Sul da Bahia (UFSB) and from UFBA’s dance school, we point to meaningful questionings when thinking, feeling and living a decentralized dance that proposes researches in constant transformations that are born from the livingness, studies and critical thoughts in counterpoint to the logic of logocentric, meritocratic and subalternizing production that characterizes the order of the civilizational model in effect in a large part of the educational system.   Key words: Dances, Traditional knowledge, Poetics and Ancestry

Abstract: This text is the presentation of a bold proposal: to think of a post-genre society, in less categorizing ways of sharing existence, having the art of performance as a resource. Based on this premise and the theories proposed by Judith Butler (gender performativity) and Jacques Rancière regarding the construction of fictions and a “sharing of the sensible”, we analyzed Collective transperformance, which are group performances based on the process of poetic construction-experimentation of the trans image. And the goal? Fire the genre. In the identity. In the little box we never fit into.

Based on my experience as a capoeirista and researcher of the performing arts, this article elaborates a reflection on capoeira angola as an educational practice against hegemony. It is dedicated to reflecting on capoeira angola and its possible pedagogical relations contextualized in university spaces dedicated to training in performing arts. The study starts from the propositions of Luiz Rufino Rodrigues Júnior on Pedagogy of the Crossroads and finds similarities with the pedagogical conception of Bell Hooks, who defends education as a practice of freedom. Capoeira, as well as other knowledge versed by aphrodiasporic cultures, emerges as a border epistemology, where the body represents a fundamental element of production and sharing of knowledge.

The present work has a bibliographic, exploratory and experimental character, and aims to investigate the performance of clowns and clowns in hospital spaces from a view that dialogues with a Transpersonal view of Psychology. Therefore, in addition to a bibliographic review, we bring an experiential perspective, since we act as clowns in hospitals in Chapecó, together with the XXX group. The spaces in which we operate in 2019 were: Hospital do Oeste Catarinense and Hospital da Criança. When describing experiences in the field of hospital clowning from a Transpersonal view, we seek to investigate the similarities and convergences between the areas of the Performing Arts and Health.

This article articulates the dynamics transformability capture of bodies and genders diversities with the double bind manifestation of transface in Brazilian Performing Arts. To this end it: 1) Introduces my Transformational Body concept; 2) Characterizes transface, establishing theory against it; 3) Maps, through bibliographic analysis, notions of representation and representativity; 4) Investigates, through historiography, genealogies of this practice. These elaborations are transfeminist decolonial propositions.

Editorial do v.6, n.1 (2020)

Esse artigo tem o objetivo de compartilhar elementos discursivos para a estruturação de estratégias de combate ao racismo e, com isso, busca colaborar com o esforço de descentramento das perspectivas teóricas no ensino e na criação em dança no contexto universitário. Deste modo, partimos da premissa de que as universidades são espaços reprodutores de conhecimentos racistas e promotores de violências epistêmicas e culturais para tratarmos a possibilidade de uma experiência formativa contra-hegemônica em dança. Acreditamos que a estrutura social racista no Brasil fundamenta exclusões e privilégios no contexto do ensino de dança, sobretudo, àquele desenvolvido no ambiente universitário, por meio de conteúdos historiográficos hegemônicos, através de referencialidades que se pretendem universais, a partir de abordagens que fomentam a folclorização da presença negra nas artes. Nossa intenção, portanto, consiste em elaborar uma crítica ao que tem sido legitimado como padrão de ensino da dança e, para tanto, apresentamos a ideia da afrocentricidade como um paradigma descentralizador, capaz de desestabilizar as normas hegemônicas e redefinir novas prioridades nas práticas de ensino e criação em dança a partir de rupturas com projetos de reprodução e exploração colonial.

Etnografias da dança geralmente são construídas do ponto de vista de quem vê a dança e, assim, o que se move, como, aonde, quando e por que são algumas das perguntas que procuramos responder. Porém, quando o ponto de vista encontra-se no dançarino que dança, nos ocorre perguntar: o que de fato vemos quando a perspectiva sobre o movimento analisado está no corpo de quem dança? Do que é, e como é capaz de observar aquele que dança? Se a pessoa dança o que é e muito daquilo do que a pessoa é, é o que ela dança, o quê a dança vê, quando dança? Uma vez que as estranhezas suscitadas pelo encontro de culturas começa nos "limites da pele" (Geertz, 2009) e que "toda descrição é um ato de criação" (De Certeau, 1994) propomos aqui uma reflexão acerca de dois experimentos metodológicos derivados de uma preocupação sobre como realizar registros de dança em primeira pessoa e de que forma representá-los, considerando o processo de experimentação e aprendizado do movimento, no corpo e no espaço em que ele se dá. Trata-se de um diálogo com dançarinos de caboclinho, tradição popular da região da zona da mata de Pernambuco, que compartilham aqui questões e inquietações, num exercício de sinestesia e simetrização antropológica (Beaudet, 2010; Goldman, 2009).

The work aims to propose a thinkingdo processes of teachlearning in dance from a contemporary and decolonial perspective. It was possible to identify points of convergence between the contemporary dance perspective and the decolonial thinking of education, since both currents of thought criticize the traditional way of education and share the following pedagogical presuppositions: horizontality in the teacher- student relationship; dialogicity; inseparability between theory, defense of democracy and respect for the plurality of bodies and knowledge. The decolonial perspective of dance complements the contemporary perspective by questioning Eurocentrism in dance, expressed in the unequal appreciation of dance techniques and aesthetics of the European tradition when compared to dances that come from other cosmologies, such as dances of african-brazilian e indigenous origin. In this sense, thinkingdo processes of teachlearning in dance from a contemporary and decolonial perspective goes through the valuation of decolonial dance pedagogies, by the creation of an intercultural dance curriculum that contributes to the repositioning of Brazilian traditional dances in the formal spaces of dance teaching, as well as the equitable valorization of dance aesthetics from Europe and the USA when compared to the aesthetics of dances produced by Latin American countries. Keywords: dance; decolonial; interculturality; teachlearning; thinkingdo

Este texto da cuenta de un proyecto artístico de carácter teórico-práctico sobre la participación de audiencias en el campo de la danza contemporánea, realizado en Chile entre los años 2018 y 2020. En él se investiga la noción de arte relacional y los elementos a considerar en una propuesta dancística de estas características. Para ello se crea un modelo de dispositivo relacional que tiene como eje central la afectación del cuerpo de la audiencia, la que se favorece mediante diversas estrategias de participación. El proceso creativo y los resultados de la presente propuesta se trabajaron a través de una metodología de investigación dirigida por la práctica (practice led-research). Finalmente, este trabajo también es una reflexión en torno a las implicancias políticas y sociales de la danza relacional en el contexto en el que se inserta. Palabras clavesparticipación de audiencias; danza; arte relacional; cuerpo; dispositivo