Narrativas corporais: tecendo perspectivas e processos

Abstract

The following research emerges from matters related to the body, to movement and to the creation process in Dancing. In this regard, the course – after changes due to the pandemic caused by covid-19 – considered the goal of weaving a reflection on creation processes in Dancing, having as a study basis the practices I developed as an artist/teacher and, also, two other artists/teachers' experiences, namely: Fernanda Beviláqua and Gandhi Tabosa. For the development of the research, I resorted to the qualitative methods of phenomenology and autoethnography. The autoethnographic writing enabled me, as an artist and researcher, to weave the reported experiences, where the experiences are nourished by sensations/thoughts. I also used, as a resource, the questionnaire and interviews in an attempt to provoke reflections based on the questions that led the research, being them: what are the challenges that the need for social isolation due to the pandemic presents to the artistic/pedagogical work of dance? How to create spaces for experimentation and reflection about the body and its poetics? To make these reflections, I made a proposal of sewing the reports brought by the invited artists/teachers and my own experiences, to weave several voices from different experiences about the same period, each one with its own perspective. To reach reflections about the creation processes, the "word-concept bodyconnectivity" helped me to bring understandings about the body, understanding the human being as an embodied being – an integral whole (bodymind acting synchronously) and how the dimensions of the body produce relations, such as: body and the cultural/historical, body and its singularities, body and space/collective, and how these relations stimulate/influence the creation process. From the reports of how the classes and/or processes occurred, I try to highlight key points of the artistic/pedagogical strategies we were able to develop, also seeking an approximation between theory and practice in a perspective of experimenting and reflecting, either during the classes or in the creation processes. Finally, I observe that these possibilities portray how each process was nourished by the relations of the body's dimensions, emphasizing the human being as an embodied being, a moving being, and a relational being, where everything that we are, what composes us, is in the process, be it visible or invisible.