Ato: fundamentos de feitura para danças negras teatrais
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Data
2023-03-07
Autores
Paula, Franciane Salgado de [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Neste trabalho, proponho a sistematização do fazer-saber para a criação artística em dança a partir de princípios de existência presentes nos modos de vivência e saberes da comunidade-terreiro Inzo Musambu Hongolo Menha – Casa do Arco-Íris, nas reminiscências bantu-kongo presentes nela e num repertório estético de dança teatral contemporânea que perpassa toda a formação e vivências artísticas por mim experienciada. Tendo como pressupostos a compreensão de que somos muntu (ser humano para povos banto); de kalunga (força da criação) como motriz dramatúrgica para apreensão das complexas sutilezas motriciais das danças da tradição de matrizes africanas e das danças teatrais contemporâneas; e da encruzilhada como espaço de amálgama dos gestos, foi elaborada uma série de aulas-laboratórios nomeadas de “Ntoto” (terra), para o despertar de muntu da(o) artista da dança, artista cênico; de “Maza” (água), para assentar seu estado de movência rítmica; de “Ntubudí“ (ventarola), para a sua expansão corporal e de suas ações rítmicas com/no espaço e, por fim, “Nzila” (sistema), para o encontro de todo o conjunto de procedimentos de investigações técnicas e criativas vividas para o ato de dançar cenicamente. Para a corporificação da tese partindo desta sistematização, deu-se a criação do ensaio poético coreográfico Ato. O chão metodológico para o desenvolvimento desta pesquisa foi a proposta pluricultural Corpo e Ancestralidade, que abarca concomitantemente as instâncias da prática artística, da pesquisa de campo e vivências comunitárias-familiares, considerando relevante as experiências da pesquisadora em suas práticas artísticas, artístico-pedagógicas e em sua comunidade-terreiro na relação com as experiências das(os) intérpretes-criadoras(es) de Ato, aproximando os aprendizados artísticos dos aprendizados na comunidade-terreiro, o espaço de criação artística com o processo iniciático regido pelo segredo e o jogo. Ao entrelaçar as várias encruzilhadas artísticas, estéticas, culturais e de modos de vida no presente trabalho, busquei instaurar um rito cênico e fundamentar uma prática de dança negra teatral evidenciando a sua poética cosmogônica das relações concretas entre mundos visível e invisível na espiral do espaço-tempo-ser, circunscrevendo abordagens éticas, artísticas e estéticas afrorreferenciadas e fomentando nas(os) interpretes-criadoras(es) de Ato modos de vivência em arte numa perspectiva da poética da presentificação oriunda das artes tradicionais africano-brasileiras.
In this thesis, I propose the systematization of the process of making-knowing for artistic creation in dance based on principles of existence present in the ways of living and knowledge of the community Inzo Musambu Hongolo Menha – Casa do Arco-Íris, in the bantu-kongo reminiscences present in it and in an aesthetic repertoire of contemporary theatrical dance that permeates all the training and artistic experiences I experienced. Having as presuppositions the understanding that we are muntu (human being for Bantu peoples); of kalunga (force of creation) as a dramaturgical motive for apprehending the complex motive subtleties of traditional dances with African matrices and contemporary theatrical dances; and from the crossroads as a space for the amalgamation of gestures, a series of laboratory-classes named “Ntoto” (earth) was created to awaken the muntu of the dance artist, scenic artist; of “Maza” (water), to establish its state of rhythmic movement; of “Ntubudí“ (blower), for its corporal expansion and its rhythmic actions with/in the space and, finally, “Nzila” (system), for the encounter of the whole set of procedures of technical and creative investigations lived for the act of scenic dancing. For the embodiment of the thesis based on this systematization, the choreographic poetic essay Ato was created. The methodological basis for the development of this research was the pluricultural proposal Corpo e Ancestralidade, which simultaneously encompasses instances of artistic practice, field research and community-family experiences, considering the researcher's experiences in her artistic, artistic-pedagogical and in their terreiro-community in relation to the experiences of the interpreters-creators of Ato, bringing artistic learning closer to learning in the community, the space of artistic creation with the initiatory process ruled by secret and the game. By intertwining the various artistic, aesthetic, cultural and lifestyle crossroads in the present work, I sought to establish a scenic rite and found a practice of theatrical black dance, evidencing its cosmogonic poetics of the concrete relations between visible and invisible worlds in the spiral of space-time-being, circumscribing ethical, artistic and Afro-referenced aesthetic approaches and fostering in the interpreters-creators of Ato ways of experiencing art in a perspective of the poetics of presentification arising from traditional African-Brazilian arts.
Mu kikalakalu kiki, ngibheka kibhangelu kya kubanga-kwijiya ni ufunu wa dikinu tunde ima yala mu ifwa ni jingijiye ya sanzala Inzo Musambu Hongolo Menha - Casa do Arco-Íris, mu ima ya akwa-Bantu-Kongo yaxalele kuna anga nzungule ya sunya-sunya ya dikinu mu kumoneka mu izuwa ya lelu ya mwenyu wami woso. Tunde kwijiya kwila etu oso tu “muntu” (muthu mu Kimbundu); “kalunga” kuma dimatekenu dya ufunu wa kumoneka ku kutetuluka ima yofele yavulu ya sunya-sunya mu dikinu dya akwa-Afidika ni dikinu dya ufunu wa kumoneka mu izuwa ya lelu; anga “phambu njila” kuma kyonge kya ifwa, twakexile ni nzungule ya madisa-kikalakalu amexane "Ntoto" (mutoto) mu kutonesa o "muntu" wa mukwa-ufunu wa dikinu, mukwa-ufunu wa kumoneka; "Maza" (menya) mu kuxikamesa sunya-sunya ye; “Ntubudí“ (kibukidilu), mu kukula o mukutu ni sunya-sunya ye mu mulenge anga we "Nzila" (ukexilu), o kusangela kwa kibuka kyoso kya ibangelu mu kutokwesa o jingijiye ja athu mu mwenyu we kyoso kyamateka o dikinu dye. Mu kukituka mukutu ku mukanda kutokwesa yu tunde ukexilu yu, twabange o kikalakalu wa mukumbi ni mukutu Ato. O kayula ka ifwa yavulu Corpo e Ancestralidade wexile ixi ya ulongesu mu kukula o kutokwesa kuku, kwila kongeka ithangana ya ikalakalu ya ufunu, kutokwesa bhu kanga dya dixilu anga mwenyu mu jisanzala ni miji, mu kubana valolo ku misoso ya mukwa-kutokwesa ni ikalakalu ye ya ufunu ni ya ulongesu ni moxi ya jinzu ja umbanda ni misoso ya akwa-ufunu abangele Ato, mu kuzukama o ulongesu wa ufunu ku ulongesu wa jinzu ja umbanda, kididi kya kibangelu kya ufunu ni mukanda kwa kikutu ni kuzambula. Mu kufunga phambu njila javulu ja ufunu, mukutu, ifwa ni ukexilu mu kikalakalu kiki, ngakolokota mu kubanga kifwa kya kumoneka mu kutena kulombolola kikalakalu kya ufunu wa ambundu mu komoneka kala kiki mukumbi wa mundu yalungi ni yoso tutena kumona ni kitutena kumona moxi ya dikende dya kididi-kithangana-kukala, mu kubhinga maka ma ifwa, ufunu ni mukutu ma akwa-Afidika ku kukula mu akwa-ufunu a Ato, mawukexilu mu mwenyu ni ufunu tunde mukumbi walungu ni kulondekesa kwa mawufunu ma ifwa ya akwa-Afidika mu ixi ya Brasil.
In this thesis, I propose the systematization of the process of making-knowing for artistic creation in dance based on principles of existence present in the ways of living and knowledge of the community Inzo Musambu Hongolo Menha – Casa do Arco-Íris, in the bantu-kongo reminiscences present in it and in an aesthetic repertoire of contemporary theatrical dance that permeates all the training and artistic experiences I experienced. Having as presuppositions the understanding that we are muntu (human being for Bantu peoples); of kalunga (force of creation) as a dramaturgical motive for apprehending the complex motive subtleties of traditional dances with African matrices and contemporary theatrical dances; and from the crossroads as a space for the amalgamation of gestures, a series of laboratory-classes named “Ntoto” (earth) was created to awaken the muntu of the dance artist, scenic artist; of “Maza” (water), to establish its state of rhythmic movement; of “Ntubudí“ (blower), for its corporal expansion and its rhythmic actions with/in the space and, finally, “Nzila” (system), for the encounter of the whole set of procedures of technical and creative investigations lived for the act of scenic dancing. For the embodiment of the thesis based on this systematization, the choreographic poetic essay Ato was created. The methodological basis for the development of this research was the pluricultural proposal Corpo e Ancestralidade, which simultaneously encompasses instances of artistic practice, field research and community-family experiences, considering the researcher's experiences in her artistic, artistic-pedagogical and in their terreiro-community in relation to the experiences of the interpreters-creators of Ato, bringing artistic learning closer to learning in the community, the space of artistic creation with the initiatory process ruled by secret and the game. By intertwining the various artistic, aesthetic, cultural and lifestyle crossroads in the present work, I sought to establish a scenic rite and found a practice of theatrical black dance, evidencing its cosmogonic poetics of the concrete relations between visible and invisible worlds in the spiral of space-time-being, circumscribing ethical, artistic and Afro-referenced aesthetic approaches and fostering in the interpreters-creators of Ato ways of experiencing art in a perspective of the poetics of presentification arising from traditional African-Brazilian arts.
Mu kikalakalu kiki, ngibheka kibhangelu kya kubanga-kwijiya ni ufunu wa dikinu tunde ima yala mu ifwa ni jingijiye ya sanzala Inzo Musambu Hongolo Menha - Casa do Arco-Íris, mu ima ya akwa-Bantu-Kongo yaxalele kuna anga nzungule ya sunya-sunya ya dikinu mu kumoneka mu izuwa ya lelu ya mwenyu wami woso. Tunde kwijiya kwila etu oso tu “muntu” (muthu mu Kimbundu); “kalunga” kuma dimatekenu dya ufunu wa kumoneka ku kutetuluka ima yofele yavulu ya sunya-sunya mu dikinu dya akwa-Afidika ni dikinu dya ufunu wa kumoneka mu izuwa ya lelu; anga “phambu njila” kuma kyonge kya ifwa, twakexile ni nzungule ya madisa-kikalakalu amexane "Ntoto" (mutoto) mu kutonesa o "muntu" wa mukwa-ufunu wa dikinu, mukwa-ufunu wa kumoneka; "Maza" (menya) mu kuxikamesa sunya-sunya ye; “Ntubudí“ (kibukidilu), mu kukula o mukutu ni sunya-sunya ye mu mulenge anga we "Nzila" (ukexilu), o kusangela kwa kibuka kyoso kya ibangelu mu kutokwesa o jingijiye ja athu mu mwenyu we kyoso kyamateka o dikinu dye. Mu kukituka mukutu ku mukanda kutokwesa yu tunde ukexilu yu, twabange o kikalakalu wa mukumbi ni mukutu Ato. O kayula ka ifwa yavulu Corpo e Ancestralidade wexile ixi ya ulongesu mu kukula o kutokwesa kuku, kwila kongeka ithangana ya ikalakalu ya ufunu, kutokwesa bhu kanga dya dixilu anga mwenyu mu jisanzala ni miji, mu kubana valolo ku misoso ya mukwa-kutokwesa ni ikalakalu ye ya ufunu ni ya ulongesu ni moxi ya jinzu ja umbanda ni misoso ya akwa-ufunu abangele Ato, mu kuzukama o ulongesu wa ufunu ku ulongesu wa jinzu ja umbanda, kididi kya kibangelu kya ufunu ni mukanda kwa kikutu ni kuzambula. Mu kufunga phambu njila javulu ja ufunu, mukutu, ifwa ni ukexilu mu kikalakalu kiki, ngakolokota mu kubanga kifwa kya kumoneka mu kutena kulombolola kikalakalu kya ufunu wa ambundu mu komoneka kala kiki mukumbi wa mundu yalungi ni yoso tutena kumona ni kitutena kumona moxi ya dikende dya kididi-kithangana-kukala, mu kubhinga maka ma ifwa, ufunu ni mukutu ma akwa-Afidika ku kukula mu akwa-ufunu a Ato, mawukexilu mu mwenyu ni ufunu tunde mukumbi walungu ni kulondekesa kwa mawufunu ma ifwa ya akwa-Afidika mu ixi ya Brasil.
Descrição
Palavras-chave
Ancestry, Dances, Theatrical dance, Muntu, Poetics, Ancestralidad, Danzas, Danza teatral, Muntu, Poética, Ukulu, Makinu, Dikinu dya kumoneka, Muntu, Mukumbi, Arte e dança, Negros - Dança, Dança - Influências africanas