Entre pontas, coques e pliês: aprendizagem da dança clássica no contexto do Centro de Formação Artística do Palácio das Artes

Abstract

This paper aims to register, describe and analyse what and how the practitioners learn in a context of practice of the classical dance. For this, we conducted an ethnographic research at the Center for Artistic Training (Cefar) Palácio das Artes, during the year of 2010. Taken as a cultural practice, classical ballet was highlighted in this context, since the mode is offered in the first half of the course in basic dance, and it is still being worked on in the rest of the course. The learning of ballet in this context was described and analyzed based on the theory of school form (VICENT, LAHIRE and THIN, 2001), Situated Learning (LAVE and WENGER, 1991) and the education of attention (INGOLD, 2000, 2001a, 2001b). This research sought to give prominence to the set of elements that involve the learning of dance - the embodiment of skill (INGOLD, 2000, 2001a, 2001b), its meanings, bodily dispositions, types of attention, knowledge and emotions that characterize the practice. The fieldwork revealed that learning the dance, much more than a sequence of movements, involves the formation of bodily dispositions, ways of acting and express ourselves, which happens through the imitation of the teachers, colleagues, students from other classes, the intense repetition of exercises and movements. Thus, learning to dance is incorporated from the engagement in the practice, the immersion in the context, the participation, in a context that is formed by a network of relationships where these itens are present: the space, music, own body, the body of the other, the instruments