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Como a concepção de novas realidades passa pela reinvenção da linguagem: uma perspectiva a partir de vivências na Omì Ateliê de Dança e na Omì Cia de Dança
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Esta dissertação parte da pergunta como pensar corpo e dança a partir dos atravessamentos que me ocorreram ao passar pela Omì Ateliê de Dança e pela Omì Cia de Dança. O objeto de pesquisa – pensar corpo e dança – é visto a partir de lógicas não hegemônicas e fora de uma forma clássica de pensar, como se delineia ao longo do texto. Isso começa desde o recorte escolhido: a partir das experiências e dos atravessamentos que me ocorreram ao passar pela Omì, grupo localizado em Fortaleza (Brasil) que habitei enquanto pesquisadora e aluna de dança presencialmente de 2017 a 2019 e de forma online em 2020 e 2021. Tal experiência me trouxe novos modos de ver e de pensar corpo e dança – novas realidades, como denominado nesta pesquisa –, muitos deles aqui descritos. O estudo traz um breve olhar ao contexto das realidades anteriores, para então situar o que chama de novas realidades – isto é, realidades alternativas às hegemônicas –, bem como a importância de concebê-las. Três estratégias são apontadas para conceber novas realidades: por meio do pensamento a partir do corpo, por meio da reinvenção da linguagem e por meio de contar as histórias não hegemônicas. Uma estratégia em cada capítulo, sempre com exemplos práticos do contexto da Omì. É uma pesquisa de caráter qualitativo que se aproxima da etnografia, incluindo como base de dados um caderno de campo com vastas anotações do período vivido na Omì. Para dialogar com os modos de ver e pensar corpo e dança aqui apresentados, privilegiou-se convocar autores não hegemônicos, a exemplo de autores e autoras vindos de contextos negro, indígena, feminino, brasileiro e africano. Dentre as novidades que esta pesquisa desvela estão o conceito de desanestesiamento como alternativa e recurso de conceber novas realidades no corpo e a partir do corpo; e nomenclaturas inventadas e adotadas na Omì (como tradançação, clãxção, eliseu, ativo proponente, ativo receptor e antropologia inventiva). Considero esta dissertação-inspiração como o início de uma investigação que pode vir a ter muitos desdobramentos.
This dissertation starts from the question on how to think about body and dance from the crossings that occurred to me when I experienced Omì Ateliê de Dança and Omì Cia de Dança. The research object – thinking about body and dance – is seen from nonhegemonic logics and outside a classic way of thinking, as outlined throughout the text. This starts from the chosen clipping: from the experiences and crossings that occurred to me when passing through Omì, a group based in Fortaleza (Brazil) that I inhabited as a researcher and dance student in person from 2017 to 2019 and online in 2020 and 2021. Such experience brought me new ways of seeing and thinking about body and dance – as new realities, as I call them in this research, many of which are described in this dissertation. The study takes a brief look at the context of previous realities, and then explains what is meant by new realities – that is, alternative realities to the hegemonic ones – as well as the importance of conceiving them. Three strategies are pointed out to conceive new realities: through thinking from the body, through the reinvention of language and through telling non-hegemonic stories. A strategy is given in each chapter, always with practical examples from the Omì context. It is qualitative research that approaches ethnography, including as a database a field notebook with extensive notes from the period lived in Omì. In order to enter dialogue with the ways of seeing and thinking about body and dance presented here, non-hegemonic authors were summoned, such as female and male authors from black, indigenous, female, Brazilian and African contexts. Among the novelties that this research reveals are the concept of deanesthesia as an alternative and resource to conceive new realities in the body and from the body; and nomenclatures invented and adopted in Omì (such as ‘tradançação’, ‘clãxção’, ‘eliseu’, ‘active proponent’, ‘active receiver’, and ‘inventive anthropology’). I consider this dissertation-inspiration as the beginning of an investigation that could have many ramifications.
This dissertation starts from the question on how to think about body and dance from the crossings that occurred to me when I experienced Omì Ateliê de Dança and Omì Cia de Dança. The research object – thinking about body and dance – is seen from nonhegemonic logics and outside a classic way of thinking, as outlined throughout the text. This starts from the chosen clipping: from the experiences and crossings that occurred to me when passing through Omì, a group based in Fortaleza (Brazil) that I inhabited as a researcher and dance student in person from 2017 to 2019 and online in 2020 and 2021. Such experience brought me new ways of seeing and thinking about body and dance – as new realities, as I call them in this research, many of which are described in this dissertation. The study takes a brief look at the context of previous realities, and then explains what is meant by new realities – that is, alternative realities to the hegemonic ones – as well as the importance of conceiving them. Three strategies are pointed out to conceive new realities: through thinking from the body, through the reinvention of language and through telling non-hegemonic stories. A strategy is given in each chapter, always with practical examples from the Omì context. It is qualitative research that approaches ethnography, including as a database a field notebook with extensive notes from the period lived in Omì. In order to enter dialogue with the ways of seeing and thinking about body and dance presented here, non-hegemonic authors were summoned, such as female and male authors from black, indigenous, female, Brazilian and African contexts. Among the novelties that this research reveals are the concept of deanesthesia as an alternative and resource to conceive new realities in the body and from the body; and nomenclatures invented and adopted in Omì (such as ‘tradançação’, ‘clãxção’, ‘eliseu’, ‘active proponent’, ‘active receiver’, and ‘inventive anthropology’). I consider this dissertation-inspiration as the beginning of an investigation that could have many ramifications.
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Novas realidades Reinvenção da linguagem Corpo Dança Omì Ateliê de Dança New realities Reinvention of language Body Dance