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Urutau-cinza verde-mata: corpo travessia, memória ancestral e a dança brux(t)a como ferramentas de criação poética e da resistência
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Urutau-Cinza Verde-Mata é uma pesquisa coreográfica que dança entre a forma e a palavra, atravessa territórios e se expande para além de sua origem institucional. Partindo de questões individuais e globais que movem um corpo imigrante na criação de um solo autobiográfico e autoficcional, refletindo as experiências de quem precisa ou escolhe desnortear- se: perder o rumo, deixar o Norte — neste caso, a Amazônia brasileira — sair de dentro para fora em um percurso espiralar de constante perder-se e encontrar-se; a performer mapeia sua mitologia pessoal por meio de narrativas, imagens e memórias da infância de seu território, buscando manter vivo seu cordão invisível ancestral. Em solo seu corpo habita o entre-lugares, caminha em direção futura com a cabeça voltada para o passado, que se transforma à medida que é revisitado. Evoca a imagem do pássaro mítico Sankofa, que avança para frente com firmeza, mas tem sua cabeça voltada para trás (san=retornar; ko=ir; fa=buscar). Retornar ao passado para adquirir sabedoria de si e dos caminhos, tudo que se perdeu pode ser reescrito; e ainda a imagem de Goofus, o pássaro que constrói o ninho ao contrário e voa de costas ao encontro da casa, reafirmando o eterno retorno às origens como gesto de sabedoria e cura. A pesquisa e a escrita assumem um desenho espiralar, no entrelaçamento não hierárquico entre memória, teoria, sonhos e ficção, entendidos como matérias do processo criador. Nesse voo, o ser-pássaro amazônico Urutau (fantasma, em Tupi), ave protetora da floresta, camuflada no seco cinza da mata morta, transita entre duplos poéticos e ritualiza códigos dançados entre o chão que arde e o céu que insiste em não desabar, apesar de toda destruição e ameaça constante. A dança retoma a floresta como fêmea e última sobrevivente, oscilando entre luto e festa, orgânico e sintético, luz e sombra, traçando caminhos do caos ao cosmos. O que se afirma é um rito de esperança: um corpo em estado brux(t)o, político e mitológico, a dramaturgia do si mesmo por meio da performance e do improviso no encontro com o público, sustentada por uma cosmovisão própria das epistemologias amazônicas que atravessam este corpo-pesquisa-criação-vida.
Abstract: Urutau-Cinza Verde-Mata is a choreographic research that dances between form and word, crossing territories and expanding beyond its institutional origin. Grounded in both individual and global questions that move an immigrant body in the creation of an autobiographical and autofictional solo, it reflects the experiences of those who must - or choose to - become disoriented: to lose one’s direction, to leave the North - in this case, the Brazilian Amazon - and to move from inside outward through a spiraling path of constant losing and finding oneself. The performer maps her personal mythology through narratives, images, and childhood memories of her territory, seeking to keep alive her invisible ancestral cord. In solo, her body inhabits the in-between places, walking toward the future with her head turned to the past, which transforms as it is revisited. She evokes the image of the mythical bird Sankofa, which moves forward with firmness while keeping its head turned backward (san = return; ko = go; fa = seek). Returning to the past in order to acquire wisdom of the self and of the paths—everything that was lost can be rewritten. She also evokes the image of Goofus, the bird that builds its nest backwards and flies in reverse toward home, reaffirming the eternal return to origins as a gesture of wisdom and healing. The research and writing take on a spiraling design, through a non-hierarchical intertwining of memory, theory, dreams, and fiction, understood as materials of the creative process. In this flight, the Amazonian bird-being Urutau (ghost, in Tupi)—a protective bird of the forest that camouflages itself in the dry gray of the dead woods—moves between poetic doubles and ritualizes danced codes between the burning ground and the sky that stubbornly refuses to collapse, despite destruction and constant threat. The dance reclaims the forest as female and as the last survivor, oscillating between mourning and celebration, organic and synthetic, light and shadow, tracing pathways from chaos to cosmos. What is affirmed is a rite of hope: a body in a state of witch-dance, political and mythological, the dramaturgy of the self through performance and improvisation, in encounter with the audience, sustained by a worldview rooted in Amazonian epistemologies that traverse this body-research-creation-life.
Abstract: Urutau-Cinza Verde-Mata is a choreographic research that dances between form and word, crossing territories and expanding beyond its institutional origin. Grounded in both individual and global questions that move an immigrant body in the creation of an autobiographical and autofictional solo, it reflects the experiences of those who must - or choose to - become disoriented: to lose one’s direction, to leave the North - in this case, the Brazilian Amazon - and to move from inside outward through a spiraling path of constant losing and finding oneself. The performer maps her personal mythology through narratives, images, and childhood memories of her territory, seeking to keep alive her invisible ancestral cord. In solo, her body inhabits the in-between places, walking toward the future with her head turned to the past, which transforms as it is revisited. She evokes the image of the mythical bird Sankofa, which moves forward with firmness while keeping its head turned backward (san = return; ko = go; fa = seek). Returning to the past in order to acquire wisdom of the self and of the paths—everything that was lost can be rewritten. She also evokes the image of Goofus, the bird that builds its nest backwards and flies in reverse toward home, reaffirming the eternal return to origins as a gesture of wisdom and healing. The research and writing take on a spiraling design, through a non-hierarchical intertwining of memory, theory, dreams, and fiction, understood as materials of the creative process. In this flight, the Amazonian bird-being Urutau (ghost, in Tupi)—a protective bird of the forest that camouflages itself in the dry gray of the dead woods—moves between poetic doubles and ritualizes danced codes between the burning ground and the sky that stubbornly refuses to collapse, despite destruction and constant threat. The dance reclaims the forest as female and as the last survivor, oscillating between mourning and celebration, organic and synthetic, light and shadow, tracing pathways from chaos to cosmos. What is affirmed is a rite of hope: a body in a state of witch-dance, political and mythological, the dramaturgy of the self through performance and improvisation, in encounter with the audience, sustained by a worldview rooted in Amazonian epistemologies that traverse this body-research-creation-life.
Descrição
Relatório Final de Projeto apresentado à Escola Superior de Dança com vista à obtenção do Grau de Mestre em Criação Coreográfica e Praticas Profissionais na Especialidade em Coreografia
Outubro 2025
Palavras-chave
Creative process of solos Body-crossing Ancestrality Amazonian personal mythology Witch-dance (raw dance) Processo criativo de solos Corpo-travessia Ancestralidade Mitologia pessoal amazônica Dança-brux(t)a