Dança de salão: cartografia de uma abordagem feminista

Abstract

Traditionally, in ballroom dances men/Leaders lead the women/Followers, deciding the steps, the musical interpretation and the displacement. This model emerged in a patriarchal historical context where women were subjugated. Currently, leading is questioned by dancers for maintaining a sexist pattern in ballroom dance (CORDEIRO, 2012; DALAZEN, 2013; DINZEL, 2012a; 2012b; FEITOZA, 2011; 2012; IKUNO, 2016; NOGUEIRA, 2012; SANTOS, 2016; SILVEIRA, 2013; SIQUEIRA, 2012; STRACK, 2013; VALLE, 2008; ZAMONER, 2011a; 2011b; 2011c; 2013a, 2013b; 2013c). Thus, the general goal of this research was to propose ways of break leading without mischaracterize the ballroom dances. As specific goals, I sought to: describe how leading occurs in its traditional form; find the main problems arising from leading; point out ideas and models that no longer use leading; propose ways to help those professionals who seek to do an equity ballroom dance, aligned with feminist ideals. As methodology, cartography was used, a method that aims to follow processes and to collect the cartographer's experience (PASSOS; KASTRUP; ESCÓSSIA, 2015). As result, I traced seven territories through which I went on my journey in search for an equity ballroom dance, they are: traditional leading, with ornaments, silences in the leading, influence of the follow, queer tango, corporal dialogue and communion (leading dissolution). In addition to these, I also pointed out ten paths or clues, for those who wish to use a feminist approach in their ballroom dance classes. They are: valuation of the preexisting body repertoire; error as possibility; men and women learning both sides of step/movement; possibility of exchange or absence of roles; new terminology; self-connection; connection with the partner; connection with space (including other pairs); and connection with music. The territories and paths pointed out are related to my cartographic experience, experience that I intend to give continuity, especially in practical terms. Thus, from this dissertation the first developments that emerged were the creation of a study group in bodily dialogue for ballroom dances, changing the way I teach my beginner students and the future publication of a book in partnership with Be Hoppers, a lindy-hop group that promoted an anti-sexist campaign on social networks.