A dança negra em São Paulo: dança afro, carnavais e outros palcos
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Data
2022-09-01
Autores
Rocha, Caroline Nicácio da [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Essa pesquisa desenvolve uma abordagem qualitativa teórico-prática no campo da Dança Afro, com percurso autoetnográfico entrelaçado com dados históricos e saberes estéticos trazidos pela Agremiação carnavalesca Afoxé Ilê Omo Dadá, juntamente com narrativas trazidas por entrevistas com importantes artistas, considerados mestres e mestras da dança negra paulistana. O trabalho teve o intuito de investigar o conjunto de signos codificados como Dança Afro, resultado de variadas experiências transmitidas em espaços da cidade, na sua maioria informais, escolas de capoeira e pelas agremiações de escolas de samba de São Paulo, formando e profissionalizando em dança diversos artistas negros da cidade. O Afoxé Omo Dadá é trazido na pesquisa pelo conjunto de saberes afrodiaspóricos que representa: estéticos, religiosos e artísticos. Ser integrante do Afoxé e filha de Santo da casa de candomblé a qual ele pertence, o Ilê Iya Mi Osun Muiywá, possibilitou que a autora, enquanto artista da dança e frequentadora do Afoxé há 15 anos, pudesse trazer hipóteses sobre os percursos de Danças Negras investigados. Dentro dessa agremiação destacam-se os caminhos de artistas e pessoas frequentadoras de terreiro, enfatizando a força da Dança Afro com suas matrizes de movimento e as possibilidades de (re)criação estética a partir das vivências para o desfile de carnaval do Afoxé. Os caminhos de criação com informações trazidas pelas mestras e mestres desvelam elementos estéticos presentes na Dança Negra, em especial como são organizados em aulas denominadas como Dança Afro, relacionados os princípios de movimentações advindas do terreiro e do carnaval para os contextos cênicos. Os autores trazidos para esta discussão são: Muniz Sodré, Leda Maria Martins, Nadir Nóbrega, Renata Lima, Boaventura Souza Santos e outros.
This research develops a qualitative theoretical-practical approach in the field of Afro Dance, with an autoethnographic path intertwined with historical data and aesthetic knowledge brought by the Carnival Association Afoxé Ilê Omo Dadá, together with narratives brought by interviews with important artists, considered masters of dance. black from São Paulo. The work aimed to investigate the set of signs coded as Dança Afro, the result of various experiences transmitted in spaces of the city, mostly informal, capoeira schools and the associations of samba schools in São Paulo, training and professionalizing in dance. several black artists in the city. The Afoxé Omo Dadá is brought to the research by the set of Afro-diasporic knowledge it represents: aesthetic, religious and artistic. Being a member of Afoxé and daughter of Santo of the Candomblé house to which he belongs, Ilê Iya Mi Osun Muiywá, made it possible for the author, as a dance artist and Afoxé frequenter for 15 years, to bring hypotheses about the paths of Black Dances investigated. Within this association, the paths of artists and people who frequent the terreiro stand out, emphasizing the strength of Afro Dance with its movement matrices and the possibilities of aesthetic (re)creation from the experiences for the Afoxé carnival parade. The creation paths with information brought by masters and masters reveal aesthetic elements present in Black Dance, especially as they are organized in classes called Afro Dance, related to the principles of movements arising from the terreiro and carnival for the scenic contexts. The authors brought to this discussion are: Muniz Sodré, Leda Maria Martins, Nadir Nóbrega, Renata Lima, Boaventura Souza Santos and others.
This research develops a qualitative theoretical-practical approach in the field of Afro Dance, with an autoethnographic path intertwined with historical data and aesthetic knowledge brought by the Carnival Association Afoxé Ilê Omo Dadá, together with narratives brought by interviews with important artists, considered masters of dance. black from São Paulo. The work aimed to investigate the set of signs coded as Dança Afro, the result of various experiences transmitted in spaces of the city, mostly informal, capoeira schools and the associations of samba schools in São Paulo, training and professionalizing in dance. several black artists in the city. The Afoxé Omo Dadá is brought to the research by the set of Afro-diasporic knowledge it represents: aesthetic, religious and artistic. Being a member of Afoxé and daughter of Santo of the Candomblé house to which he belongs, Ilê Iya Mi Osun Muiywá, made it possible for the author, as a dance artist and Afoxé frequenter for 15 years, to bring hypotheses about the paths of Black Dances investigated. Within this association, the paths of artists and people who frequent the terreiro stand out, emphasizing the strength of Afro Dance with its movement matrices and the possibilities of aesthetic (re)creation from the experiences for the Afoxé carnival parade. The creation paths with information brought by masters and masters reveal aesthetic elements present in Black Dance, especially as they are organized in classes called Afro Dance, related to the principles of movements arising from the terreiro and carnival for the scenic contexts. The authors brought to this discussion are: Muniz Sodré, Leda Maria Martins, Nadir Nóbrega, Renata Lima, Boaventura Souza Santos and others.
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Palavras-chave
Dança - Aspectos antropológicos, Cultura afro-brasileira, Arte negra, Carnaval, Coreografia, Dance - Anthropological aspects, Carnival, Choreography