Beirando o mar, fluindo em movimento: um experimento de dança

• Autor(a) principal: Carranza, Vanessa Hagenbeck
• Data de Publicação: 2023
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da UFS
• Texto Completo: https://ri.ufs.br/jspui/handle/riufs/18404
• topic: Dança; Corpo como suporte da arte; Movimento; Praias; Dance; Bodyenvironment; Expression; Improvisation; LINGUISTICA, LETRAS E ARTES::ARTES::DANCA

This work aims to report an experience based on an investigation of movements at the seaside. I have experience in different body techniques and dance languages, but since before and during my training as a dance graduate I was aware that my vocabulary was finite. Wanting to create something more authentic from what I had already experienced, I went to the sea, but it bothered me that when improvising I was repeating gestures that for me were everyday, empty and mechanized. The seaside led me to try new movements, it was 2021, I was studying for a Dance Degree at the Federal University of Sergipe (UFS) and I was approaching the Body and Environ mentStudy Group (GECA), which encouraged me to wantto research more aboutthat. Sincethe beginningofthe process, along with readings about the expanded understanding of the body (Greiner, 2006), I have been learning about movement while I am in movement. Regarding improvisation, I understood that I needed protective stimuli (Gouvea, 2012), and with experience I was able to discern what paralyzed me, what prevented the movement from flowing. I changed the methodology and experimented with Laban's movement factors (1978) and some action verbs to generate gestures that led me to improvise. Taking this path was important, because today I understand that I was not so open to playing with chance, to improvising freely at that time. As the factors study the quality of movement in general, I was able to experience something new, every day small changes, experiencing different nuancesof movement. It seemed to me that having a methodological routine could be limiting in free improvisation, but it showed me possible paths. Improvising is not just a conscious awareness of movements, but it is a permissive state of body, willing to play with the uncertainties of the moment. To face uncertainty you need to disarticulate your vocabulary, learn to make new connections with what you already dance (Katz, 2006). To find your authentic movement, we must not deny repetitive patterns in our dance, we must know them well and, if necessary, repeat them until a change appears. This process at the seaside taught me that I am learning to flow in movement in an improvisation; I continue trying to discover my own expressiveness with each practice, understanding the experience as Iife itself, unpredictable, but full of possibilities