Portuguese
“I would die happy, if I saw Brazil full of marches in its historical time. March of those who don’t have school, march of the disapproved, march of those who want to love and can’t…”.
Paulo Freire
At 100 meters from Capão Redondo subway, in the south of São Paulo city, places Ninho Sansacroma, headquarters of Cia. Sansacroma, a contemporary dance group of the city founded in 2002. The group develops works aiming to foment dialogues in pertinent scenes for a reflection on today’s society, especially bringing questions when they affect all directly – on the street, regarding personal conceptions of the world, in personal relations, the media and, including, affecting the development of arts in Brazil. Another characteristic of the group is the hybridism in contemporary dance, also using elements of words arts, such as poetry and theater.
Marches Spectacle
It was with this perspective that the group created the “Militantes do Ideal” trilogy, which has as research motto the militancy of personalities for justice and social equality, as Solano Trindade (Brazilian, poet, painter, filmmaker, ethnic-racial militant) and Patrícia Galvão (Brazilian, writer, director, journalist, designer, communist militant). From these studies were born three spectacles which compose the trilogy: “Solano em Rascunhos” (2008), “Angu de Pagu” (2010) and “Marchas” (2012). This last one is about the thought and work of Paulo Freire, closing the investigation on men and women that tried and succeeded, with their paths, change the look on the cause they militated.
The spectacle “Marchas” is freely inspired on the life and work of Paulo Freire. In this spectacle, the Cia, Sansacroma approaches the man for its completeness from the admission of its essences. From the aspects present in the freirean discourse, the spectacle brings an intense load of rebellion, unraveling through of a dramaturgic texture rich in symbols-images the primordial element of research: the idea of autonomy.
In the life of philosopher and educator Paulo Freire the word autonomy was always rule, not exception. The need of search by autonomy moved him, as a child, to initiate his own literacy using sticks and writing on the ground, under a mango tree. This condition of choosing the laws that ruled his own destiny is what inspired the artistic director Gal Martins. “With about 19 years old I attended workshops and courses within Unesp. And I realized that this language didn’t reach me, in the community”. Over 10 years, Gal created Sansacroma, that has as goal to bring dance to the periphery. “It is underestimate too much the communities of peripheries to think that contemporary dance, scenic dance, does not dialogue and communicates nothing to them. Our work is to bring a lot of reflection. Political and social reflections”, she says.
Freire’s path always called attention of Gal Martins. The several “contradiction” founded in the history of the philosopher and educator instigated the artist. Phrases such as “Marx for now and Jesus for eternity”, fed the inspiration for a spectacle. “Paulo was a practicing catholic and also Marxist, in my mind this is something hard to understand, bu at the same time charming. I consider myself freirean in all my actions, as citizen, artist, mother, daughter and educator”, explains the director.
The spectacle had its last official presentation in June, at “Serviço Social da Indústria – SESI” in the city of Rio Claro, and several isolated presentations in different locals and times. It was consider, in the and of 2012, by popular vote of “Folha de São Paulo” (newspaper of wide circulation and influence in São Paulo capital and throughout Brazil), the best spectacle of the year. The process of investigation lasted six months, involving research in books, language and corporal esthetics, and creation labs. Sandbags, hanging, invoke the works of Ernesto Neto, contemporary artist from Rio de Janeiro, who creates works that lie an amalgam of sculptures and installations. The costume, signed by the plastic artist Mariana Farcetta, Ivan Bernardelli and Gal Martins, had a look of worn parts, “by the time and struggle”, as defined by the trio.
The Project “Marchas”, homonym to the spectacle, includes other actions that go beyond research and setting of choreography, as the idea of “public formation”, promoting a set of actions for several agents in a way to articulate the solidification of an audience that may enjoy contemporary dance with more regularly and accessibility.
Cia. Sansacroma develops its projects many times with the support of public financing lines, such as the Municipal Program of Foment to Dance of São Paulo State, but at the same time function as thermometer for the lack of incentive to arts in the country: “Brazil is very poor regarding public policies and when we think on peripheral culture, it really intensifies”, affirms Gal Martins, and concludes: “I have the duty to give back to my community all that it gives to me. My inspiration comes from periphery. So, I can not see me producing directly in the big centers of the city, this is something far away from me”. In his Pedagogy of Oppressed, Paulo Freire said: “The more the popular masses unveil the objective and challenging reality on which they should focus their transforming action, the more they ‘belong’ it critically”. The critical insertion of peripheral agents in the building of a transforming reality, for both Paulo Freire and Gal Martins, justified by “(…) struggle for the humanization, free work, dis-alienation, for the affirmation of men as people, as ‘beings for themselves’ (…). This is only possible because the dehumanization, event a concrete fact in the history, is not, however, given destiny, but result of an unfair ‘order’ that generates violence of the oppressors, and this, the being less”.
For further information, please visit the website of the company: http://ciasansacroma.wordpress.com. To watch a patch of the spectacle, access: http://ciasansacroma.wordpress.com/2012/02/14/trecho-do-espetaculo-marchas.
CREDITS
Artistic Direction: Gal Martins
Conception and Choreographic Direction: Ivan Bernardelli
Choreography: Gal Martins, Ivan Bernardelli and elenco
Leader of Biographic Research: Siva Nunes
Corporal Preparation: Ivan Bernardelli and Priscila Lima
Costume and Scenography: Mariana Farcetta
Soundtrack: Cláudio Miranda and Ivan Bernardelli
Soundtrack Participation: Rodrigo Dias and Vanessa Teixeira
Graphic Art: Welton Silva
Photography: Erick Diniz and Jonatha Cruz
Direction of Production: Radar Cultural
Interpreters Creators: Thaís Antunes, Renato Alves, Thiago Silva, Rafael Edgar, Tamires Ballarini, Barbara Santos and Alex Guimarães
Duration: 55 minutes
Classification: 16 years old