A Câmera em mim: danças de mulheres que se autorretratam

Abstract

This research proposes to investigate women who record their issues in the relationship between dancer and camera in female self-portraits. Starting from the question, how does the creation of images of women who self-portray their individualities in the relationship between dancer and camera happen? I justify that the research is necessary due to the importance of questioning the female presence in more academic records and highlighting women in the artistic scene. The desire for this work arises from my interest in combining my two areas of training, Cinema and Dance, with historiographical, feminist, and autobiographical studies, guided by artistic practice (Fernandes, 2014) and (Scialom; Fernandes, 2022) with works in photo performances and video dances. The chapter that begins the text presents the first dancing images with cave paintings. (Marques, 2013). I then reveal that dance movements are constructed from a connection between the body and memory (Vianna, 2021). I show the pioneering women artists, such as Catharina Van Hemessen (1548), the first woman to do a self-portrait, already facing the macho milieu of the arts, along with Sofonisba Anguissola (1555) and Anna Waser (1691); Frida Kahlo, who imprinted her memories on her self-portraits; Tarsila do Amaral with her famous Abaporu (1928). To discuss the erasure and exploitation of women's bodies in the arts, I highlight Analívia Cordeiro with her video art, M3X3 (1973), the first Brazilian woman to combine dance and digital art using a computer; women in cinema, dance and photography such as Alice Guy-Blaché, Adélia Sampaio, Maya Deren, Celina Portella, Danny Bittencourt and Francesca Woodman; as well as research artists Daniela Guimarães, Dorotea Bastos, Ludmila Pimentel, Mirella Misi, Adriana Bittencourt Machado and Ciane Fernandes. Concepts such as BodyImage (Pimentel; Bittencourt, 2019) and (Bastos; Pimentel, 2021); Photochoreography (Mundim, 2021); Self-Photography (Savioli, 2022), among others, will be discussed. Finally, I reveal how I finalize my images using choreographic editing with overlapping effects and movement trails, and how the relationship between dancer and camera takes place to create the images of the female self-portrait.