Poéticas cinestésicas: experiências transfronteiriças em dança, inclusão e terapia

Abstract

This study investigates the experience lived in dance, in its artistic, pedagogical and therapeutic dimensions, This study investigates and reflects on the lived experience in dance, exploring its artistic, pedagogical, and therapeutic dimensions. It emerges from deepening and connections arising from cross-border experiences that extend through the intersection of dance, inclusion, and therapy. Furthermore, it reflects on the cross-border experiences that span the intersection between dance, inclusion and therapy. Intentionally and systematically, borders and territories existing between these different areas of knowledge are discussed and discussed, recognizing their characteristics, similarities and differences. The objective is to understand, interrelate, interconnect dance, inclusion and therapy as permeable borders based on the socio-historical construction of people with disabilities in dance and the artistic scene and on the relationships established with the concept of Inclusive Dance (Amoedo, 2002). The research territory covers the relationships established in/with the Diversus dance group(GDD), an extension project linked to the Faculty of Physical Education and Dance at the Federal University of Goiás (UFG), where, subsequently, the poetics of the dancing bodies intrinsic to the practice and artistic process experienced and constructed together with this dance collective. The investigation takes place in the in-between space of experiencing kinesthetic sensations, through the “practice as research” approach that is fundamental to this dance study. As methodological layers of qualitative research, bibliographic procedures, documentary and audiovisual collections, interviews and analysis of artistic works developed from 2018 to 2021 by the dance group are presented in an exploratory and descriptive scenario of body analysis. This entire archive results in reflections of the living body, in movement, of the encounter with subjects who dance their plural anatomies, awakening new perceptions that manifest themselves in the plurality of conception of the human being, in the emergence of kinesthetic poetics as poetics of bodies dancing at GDD. The aim is to promote perspectives that instigate plural and singular perspectives on academic research in different areas of knowledge, as well as on the different forms of expression of different bodies within the scope of the Performing Arts and in other fields that permeate the borders permeable from dancing