{"id":227051,"date":"2016-11-22T18:13:43","date_gmt":"2016-11-22T20:13:43","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/en\/?p=227051"},"modified":"2016-11-22T18:13:43","modified_gmt":"2016-11-22T20:13:43","slug":"dancing-in-the-street","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/dancing-in-the-street\/","title":{"rendered":"Dancing in the street"},"content":{"rendered":"
\"Scenes

Public domain images<\/span>Scenes from a performance of Suportar<\/em>…Public domain images<\/span><\/p><\/div>\n

In 1989, after eight years working as a ballerina and choreographer in Sweden and as a dancer with established companies in the U.S., Holly Carvell left for Brazil on a visiting Fulbright research scholarship to the Department of Performing Arts of the Arts Institute of the University of Campinas (IA-Unicamp) to find an environment that she now describes as \u201cbrutal.\u201d\u00a0 Carvell noticed in Brazil a lack of continuity between educational practices and activities outside the university.\u00a0 Her own work became, to a large extent, an effort to bridge this divide.<\/p>\n

Rising from visiting (from 1989 to 1998) to full professor at the university, where she has been head of the Department of Performing Arts since 2012, Carvell never severed her ties with Unicamp.\u00a0 During her first few years, Carvell discovered, when meeting with students, that she could apply the methods she had developed abroad and, rather than seek homogeneity, tap into the unique background and technical qualities of each individual for the key elements of the dance piece she was composing.<\/p>\n

\u201cI never intended to have a conventional company,\u201d says Carvell.\u00a0 \u201cIn the beginning of the 1990s, I began trying out games and improvisations with a group of dancers and it started to work out.\u201d\u00a0 Before these exercises, the choreographer usually suggests theme-based readings and visual material to the group.\u00a0 \u201cOften, the conversation takes other directions, or new suggestions come up for us to try out in subsequent meetings,\u201d she explains.<\/p>\n

\"...where

Public domain images<\/span>…where dancers draw on their own experiencesPublic domain images<\/span><\/p><\/div>\n

The experiments reached a public beyond Unicamp in ongoing fashion in 1995, with the birth of the Dom\u00ednio P\u00fablico Company, composed of undergraduate and graduate students from the performing arts department but with no formal ties to the university.\u00a0 For approximately 10 years, the 11-member cast has been together, performing, creating and collaborating on new projects.\u00a0 Calculating the budget, writing, and thinking about new costume designs, for example, are all examples of shared tasks.\u00a0 \u201cIt\u2019s a very heterogeneous group,\u201d says Carvell.\u00a0 \u201cIn common, each one finds his own tools to be an individual dancer and creator.\u201d<\/p>\n

When directing a performance, Carvell prefers to work with a suggested roadmap rather than choreographed, movement-to-movement sequences.\u00a0 \u201cThis allows for real-time intervention and invention\u2014even welcome accidents\u2014things that happen unplanned but that bring out an organic quality,\u201d she explains.\u00a0 The group\u2019s performances (in which the art that is put into practice reflects learning through research) including Suportar<\/em> (Endure) from 2013 and Posso dan\u00e7ar para voc\u00ea?<\/em>\u00a0 (Can I dance for you?)\u00a0 from 2012, take place in the public squares, streets, bus terminals and other open-air venues.<\/p>\n

Carvell, born in New York in 1955, grew up in a household that cultivated a taste in art, including dance.\u00a0 Her father, Otis Carvell, was a filmmaker and attended Black Mountain College, which, throughout its 24-year existence from 1933 to 1957, focused primarily on the arts.\u00a0 There, he studied under Alwin Nikolais (1910-1993), an experimental artist whose works are characterized by the interaction between dance and scenic elements of the stage, such as intense lighting and a play of mirrors.\u00a0 Until his death in 1982, the elder Carvell was a member of the board of the Alwin Nikolais Company.\u00a0 Carvell\u2019s mother, Jean Carvell, was a graduate of the Old Vic Theater School in London, where one of her teachers was Selma Jeanne Cohen, a dance historian who edited the first encyclopedia of dance.<\/p>\n

\"Posso

Public domain images<\/span>Posso dan\u00e7ar para voc\u00ea?<\/em>, with choreography created especially for open-air performancesPublic domain images<\/span><\/p><\/div>\n

Through their effort to get their daughter \u201cout of the house and from in front of the television on Saturday mornings,\u201d Carvell\u2019s parents encouraged her to take up dance classes when she was eight years old.\u00a0 Later, she enrolled in a preparatory program of dance and music classes at the Julliard School in New York.\u00a0 After beginning her professional career in Martha Graham\u2019s (1894 \u2013 1991) dance company at the age of 17, Carvell joined the dance group led by Paul Sanasardo, a former Graham student and partner of German ballerina \/ choreographer Pina Bausch (1940-2009), a prominent name in the world of contemporary dance.<\/p>\n

Dando corpo \u00e0 hist\u00f3ria <\/em>(Embodying history), the doctoral dissertation, which Carvell defended at Unicamp in 2012 and went on to publish through Prismas publishers in 2015, tells the story of this trajectory.\u00a0 The study not only analyses the relationship that has existed through the ages between dance artists and their various milieus, but relates Carvell\u2019s experience researching dance.\u00a0 As she says in her dissertation, \u201cmapping out that great history from which my own experience is derived is a way of situating myself in the past, as well as a way of tracing that past in myself.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Dance company employs games and improvisation in its performances ","protected":false},"author":593,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[154],"tags":[221],"coauthors":[1579],"class_list":["post-227051","post","type-post","status-publish","format-standard","hentry","category-arts","tag-dance"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/227051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/593"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=227051"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/227051\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=227051"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=227051"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=227051"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=227051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}