Resumo:
The main goal of this dissertation is to investigate modes of collective composition
in dance improvisation generated by dreams. In order to do that I report and reflect
upon seven experiences – including workshops, residencies and classes conducted
by me over the last five years – analyzing its methodologies and developments.
These practices are based on the notion of night dreams as possible tools for
re-imagining worlds and dance works. Practice as Research – PaR (Fernandes;
Scialom, 2022) is the methodology that offers the base for the dissertation. The
goal of the study is to indicate various ways of proposing compositions from
the contents found on diverse bodies of knowledge about dreams, establishing
dialogues mainly with Davi Kopenawa and Bruce Albert (2015), Hanna Limulja
(2022), Sidarta Ribeiro (2019, 2022), Arnold Mindell (1993), Carlos Castañeda
(1993) and Robert Moss (1996). I also wanted to include in this dialogue some
Brazilian improvisation artists – Bárbara Santos, Gabriela Santana e Marcela Felipe
– as a way of identifying current thoughts and practices in Brazil, with a special
focus on making visible the specificities of African-indigenous dances. The study
expands the notion of dance dramaturgy proposing the term cosmo(com)position to
approach non-colonial dances and multi-perspective ways of creating a collective
work, exploring connections with the larger fields of improvisation and Africanindigenous
philosophies starting from Denetém Touam Bona (2020); Antonio Bispo
(2021); Oyèrónkẹ́ Oyěwùmí (2002); and Flor Guerreira Pataxó (2022).
