O corpo em movimento na capoeira

Abstract

Through this research we propose to investigate the body in movement on capoeira, highlighting the practices of constitution/invention of the capoeirista (the capoeira player). We have researched groups of capoeira Angola and Regional, in the cities of São Paulo, Piracicaba, Botucatu and Jaú. The principles of cartography (DELEUZE;GUATTARI, 1995a) have mobilized this investigation, making possible the start of the initial proposal within an implication field, in which researcher and individual plus intention and to becoming have gotten involved with capoeira. From this involvement the reports have been forged (daily and recorded interviews), witnessing an implicated visibility between researcher and individuals. The research writing have gotten deep in the relations and singularities discovered in the reporting that have been produced, making possible the emerging of ideas and multiplicities. We have observed that the capoeira can not be reached as a practice of existence if the capoeirista do not dedicate his efforts and potentialities in the movement experience with the capoeira, what asks for a disposition and cultivation of this practice. The cultivation grows with a listening of a learning will, what gets the individual attention to worry about self along with the practice that encourages him. From this irreducible reference-the body that worries about self-the individual projects himself into a relation with the master and the group. Therefore, collectively the capoeira pops up as movement while makes the capoeirista face the challenges that cross the relationships, alerting him about the necessity of coping with the unexpected. During the initial levels, the learner shows difficulties to deal with this necessity. The body fitness and technical skills try to control it, but the relationships demand a certain disposition to face the unexpected, which only a receptive body can handle. The swing (ginga) rouses the receptive body performance; the rhythm and music intensifies it, exposing the movement against the relationships coming. The vagrancy, the malice and dissimulation learning feed themselves in this exposition; the circle introduces it in a ritual field. When the capoeirista is worrying about the receptive body he lapidates himself, inventing the grace of his living along with the practice he has chosen for his life. The receptive body is the furtive agent of this invention for it moves the power that runs under the trained and automatized abilities, dislocating them indefinitely.

Coletivo da música

“…"A obra é vista como um viés condutor do mundo interno, capaz de simbolizar em imagens os conteúdos inconscientes" (Tomazoni e Fonseca, 2011, p.614) Mediante essas parcerias, os trabalhos realizados nos ateliês foram conectados ao mundo das artes, possibilitando outros olhares, perspectivas que imprimissem outros significados, ganhando novos sentidos, visibilidade de gestos tangíveis por traços e linguagens que escapavam às expertises da medicina(14). Pois, com seu diálogo aberto e conectivo ao campo das artes, sua verdadeira paixão pela arte e pela vida, dariam lhe forças necessárias para deslocar a problemática da loucura, em particular, do campo da psicopatologia médica para o campo da cultura, colocando em questão, num profundo enfrentamento, "a univocidade da fala e do saber médicos sobre a loucura"(14,21) 58. Decorre deste intenso laboratório de praticas e pesquisa, a criação do Museu de Imagens Inconsciente.…”

“…"A pesquisa não investe em domínio, em controle da experiência pesquisada, mas em cultivo desta experiência. Como desdobramento, o pesquisador aprende, e o curso deste aprendizado, faz pesquisa" (FlavioAlves 2011) essa característica de indefinição entre os contornos específicos de uma instalação, de uma obra. E assim, nos instalamos no campo, da Saúde, do trabalho vivo cotidiano, dos diversos equipamentos que percorremos.…”