Cia Vatá (cia de brincantes Valéria Pinheiro)

“Bagaceira cana and engenho” (Sugar Cane Poup)

Length: 30 minutes

 

“Bagaceira- a place where the bagasse comes together.  In the northeast the term also represents furdunço, gossip, nice mess”.

 

Release:

 

The spectacle “Bagaceira, cana and engenho” sails by codes and rhythms of the children’s games from the Brazilian northeast, mixing the American tap dance to coconut, to baiao, to frevo, to maracatu to cabaçal and other folk manifestations.  Mateus and Catirina’s dramaturgy and the codes from the cowboy’s body also take part in this composition, directed by the experienced Valeria Pinheiro.  On the scene the performers of Cia Vata act as real players, sharing the scene with zabumbas, pifanos and rabecas rhythms.  This spectacle is a rich example of the possibilities of traffic between the popular and the erudite.  The dancer and choreographer cearense Valeria Pinheiro has been developing her choreographic work based on an intense research about the universe of the Brazilian traditional rhythmic manifestations.   Unheard of in Rio de Janeiro, Bagaceira, which was directed by Andréa Bardawil is one of her most recent creations.  In 2002, this setting was showed in the II New York City Tap Festival, one of the most important international tap dancing contemporary international events.  Being invited by the Brazilian embassy in Germany, Cia Vata represented Brazil with the play Brazil of all rhythms, at Expo 2000, in Hanover (Germany).  Two years later, the choreographer was invited to manage workshops in Amsterdam (Holland) and Paris, where she also showed Bagaceira in the meeting of corporal theatre, organized by the Arts contemporary foundation in Paris.  Nudobarro was the work showed as conclusion of her choreography course in the dance school of Ceara.  For this composition, the creator inspired in the work of Mater Vitalino.

 

“Bagaceira, , the Orixá´s dance”

Length: 50 minutes

 

Release

 

The spectacle “Bagaceira,  the Orixá´s dance” was the result of several years of research in the Brazilian tradition of dance and rhythm.  Our research in this universe started by the Masters of Northeastern traditions, that reached the top with “Bagaceira”, and now we approach the body in the aria’s ritual, with conviction in field researches and a cut for the body in the rhythms manifestations, dances and beliefs in the afro-Brazilian universe.  The conception of the text of the spectacle was based in researches of the Yoruba language, where the cuts from mythology of this universe was showed through the body and onomatopoeia, the rhythm and sound of the shoes from tap dances recreated “Bagaceira”: the party offered to the gods by them worshiped.  If the memory is knowledge, the construction of an esthetic proposal has in us a probability to rescue the printed value of our bodies through the culture. In each fraction of the body is the structure of it.  Knowing what makes us a singular part of the whole is to understand better the truth about our body.  We understand however that there are no possibilities to flee from these impressions of space, rhythm and places that allow and create.  Besides presentations inspired by the afro-Brazilian rhythms and its music memories and a possibility of a body inside the ritual, this musical is a tribute to the black race, which contributes and contributed in a destructive way in the formation of identity of the Brazilian people.

 

 

                                                                                              Valéria Pinheiro

“NudoBarro”

Length: 30 minutes

Release:

 

A choreography conception inspired by the work of Master Vitalino, one of the biggest exponents of clay craftsmanship of the northeast.  Brings to surface the cheerful and happy spirit present in the craftsmanship of the master of all times.  In the study of his work, we face the possibility of a game or joke.  Here are represented games as common as the construction of a house of taipa as the manufacture of a sculpture, in the feelings awakened by both doings.  Our concern is at feeling as well as moving, letting yourself mould and play, where the body lends its place to clay.  In the nakedness of this clay we find out the way that a body can take over several duties.

 

Technical card:

 

General direction:                                                                           Valéria Pinheiro

Choreographic direction and discussion:                       Valéria Pinheiro

Executive production:                                                                     Mário Alves

Original music:                                                                                Edmar Cândido

scenery:                                                                                           Valéria Pinheiro

fashion:                                                                                                        Ruth Aragão

Fashion assistant:                                                                          Gil Braga

Musical conception:                                                                   Valéria Pinheiro Photography:                                                                               Delfina Rocha

Press advisor: impressions                                                              Valéria Pinheiro

Filming / Editing:                                                                            Leonardo Jucá

  Cia. Vatá:                                                                                        Aspásia Mariana

                                                                                                          Edmar Cândido

                                                                                                          Gerlane Pereira       

                                                                                                          Heber Stalin

                                                                                                          Laya Lopes

                                                                                                          Luciano Costa         

Paulo José

Tiago Teixeira

                                                                                                          Wellington Calaça

                                                                                                          Valéria Pinheiro

 

 

Authors of the songs:                                                          Edmar Cândido, Manassés, Cego Oliveira Cabroeira  and Wilson Café.

 

“Letters from the asylum”

Length: 30 minutes

 

Release:

 

Letters from the asylum is a spectacle inspired by the letters of Camille Claudell to her brother Paui during the period where she was hospitalized in an asylum for crazy people.  To talk about Camille Claudell is to talk a little about the feminine strength, that in a revolutionary way underlined the history of last century.  Camille, still very young found herself to be an artist plastic, and in a very short time she manages to get internship with one of the most well known names in plastic art of the time, Mr. Roudin.  During the period that Camille was beside Mr. Rodin, she manages to participate in the most important works of this memorable sculptor.  But Camille also falls in love with him.  Absolute prohibited passion at that time.  Setting aside the age difference, Mr. Robin was a married man.  For some years they manage to combine the work with a destructive passion, until this passion is discovered by Camille’s family that sends her away from her house.  Camille, still very young discovers with life the survival necessity and with the help of some friends, among them the well known conductor and composer Debussy, she still manages to live for some time her passion “hidden and forbidden” for Rodin.

The society then discovers this forbidden passion, and here begins hell in Camille’s life.  Camille’s family and Rodin decide that the best would be to hospitalize Camille in an asylum for crazy people.  And so they do.  Camille still very young finds herself locked in an asylum from crazy people, a place where she couldn’t by any chance be, because she had always had perfect mental health.  Her only “sin” had been to fall in love with a married man.  Camille finds on her brother Paul’s shoulder a way out for her loneliness, and she starts frequently to write to him about the treatments and the mistreats that were being given to her by the hospital. It’s about this forbidden passion, about the strength of this woman in an asylum for crazy people that “Letters from the asylum” will talk about.  We will use three phases of Camille, played by three dancers, Marina who plays the phase that Camille discovers her passion for plastic art and completely free from any prejudice prints in her works the irreverence about the young woman at that time. Janaina, who plays a second phase where Camille falls in love with her instructor, Mr. Rodin, such passion that puts her in a small home imprisonment, she didn’t participate on the society cultural life anymore, but even so Camille manages to be very happy in this forbidden passion. And finally, Karin, plays the phase that Camille is excluded by her family and society and finally is interned in an asylum for crazy people, where she is kept until the last day of her life.  Rejane Reinaldo plays Camille in her several phases and through her magnificent understanding of Camille’s letters, we can trace in time these several phases lived by Camille Claudell.

 

This spectacle is wrapped up by the compositions of Debussy, the only friend of Camille in her exclusion phase, where we recover an allegro made especially by Debussy to honor his friend Camille.   My whole research was based on the book about the life of “Camille”, Camille Claudell, a woman “written by the author Anne Delbée and translated to Portuguese by Martins Fontes publishing from Sao Paulo in 1995, also researches made in the museum of arts in Paris in 2000 and where I had access to some letters written by Camille during her exclusion in the asylum for crazy people”.  I decided to use a track from Debussy, for he translates with beauty and passion all this period in which Camille lived whether in love, or very happy and finally very lonely in an asylum for crazy people.

 

Technical card:

Direction and Choreography:                                                        Valéria Pinheiro

Cia. Vatá:                                                                                        Rejane Reinaldo

                                                                                           Karin Virginia

                                                                                           Janaína Santos

                                                                                           Marina Carleal

Light conception:                                                                            Fernando Peixoto

Music:                                                                                              Debussy

 

 Technical structure:

 

The spectacle “Letters from the asylum” is compound scenically  by a table 3.0 x 2,5 meters, a iron chair, a desk and cloth hanging from a pole from rudiment, that will have as a structural function, the dancers will hang on it.  In this sound structure, a lapel (Shure).

 

Spectacles in circulation

 

“Bagaceira, Cana e Engenho”

length: 20 minutes

 

“Bagaceira- a place where we put together the bagasse.  In the northeast the term also represents furdunço, gossip and nice mess”.

 

The spectacle “Bagaceira, cana and engenho” sails by codes and rhythms of the children’s play from the Brazilian northeast, mixing the American tap dance to coconut, to baiao, to frevo, to maracatu to cabaçal and other folk manifestations.  Mateus and Catirina’s dramaturgy and the codes from the cowboy’s body also take part in this composition, directed by the experienced Valeria Pinheiro.  On the scene the performers of Cia Vata act as real players, sharing the scene with zabumbas, pifanos and rabecas rhythms.  This spectacle is a rich example of the possibilities of traffic between the popular and the erudite.  The dancer and choreographer cearense Valeria Pinheiro has been developing her choreographic work based on an intense research about the universe of the Brazilian traditional rhythmic manifestations.   Unheard of in Rio de Janeiro, Bagaceira that was directed by Andréa Bardawil is one of her most recent creations.  In 2002, this setting was showed in the II New York City Tap Festival, one of the most important international tap dancing contemporary international events.  Being invited by the Brazilian embassy in Germany, Cia Vata represented Brazil with the play Brazil of all rhythms, at Expo 2000, in Hanover (Germany).  Two years later, the choreographer was invited to manage workshops in Amsterdam (Holland) and Paris, where she also showed Bagaceira in the meeting of corporal theatre, organized by the Arts contemporary foundation in Paris.  Nudobarro was the work showed as conclusion of her choreography course in the dance school of Ceara.  For this composition, the creator inspired in the work of Mater Vitalino

 

Technical card

 

Choreographic direction and argument:                          Valéria Pinheiro

Poems:                                                                                 Ascenso Ferreira

Fashion:                                                                               Marcelo Marques                                                                                                               Lino Villa Ventura e

                                                                                              Sílvia Moura

Light conception:                                                                 Fernando Peixoto

Musical conception:                                                         Valéria Pinheiro Original music:                                                                  Orlângelo Leal

                                                                                              Valéria Pinheiro / Edmar Cândido

Visual programming:                                                          Paulo Amoreira

Photography:                                             Beatriz Pontes / Paulo Amoreira

and Marcelo Holanda

Cia. Vatá:    

                                                                                             Edmar Cândido

                                                                                             Orlângelo Leal

                                                                                             Paulo José

                                                                                             Ângelo Márcio

                                                                                             Valéria Pinheiro

                                                                                             

 

“Bagaceira”

length: 55 minutes

 

This spectacle won two prizes: “Em Cena Brasil”2001 (MINC and FUNATE) and “PREMIO DE INCENTIVO AS ARTES CENICAS DO CEARA DA SECULT(montagem).

 

Release

 

“I have been researching the Brazilian traditional rhythmic manifestations for some years now and in this past four years I’ve had the opportunity to see and live closer to these northeastern rhythmic traditions.   It was love at first sight!  The zambubas, alfaias, triangles and tambourine hypnotized me, the movements danced by masters and their followers soon caught my attention.  And so I continued my work “sucking on these powerful tits of the masters of the northeastern traditional manifestations”.  I spent a few months decoding codes that I managed to print in my body, in my dance, and read again in my language what is “tap dancing”, and as I was getting to read the rhythms from the tap dancing, the need of transforming so much information in one spectacle began to grow, and in 2000 I produced and choreographed “Brazil of all rhythm”, a spectacle that make my first incursion in European land.  It was there that I first thought of Andrea Bardawil to direct my work, my crazy ideas about my thought about the northeastern traditional manifestation, unfortunately at that time I couldn’t have her, but the invitation to direct again “Brazil of all rhythms”, but immediately we understood that we would keep the argument and would try to create a new spectacle from the experimentations and a lot of lab work, we already had as an allied the work of a great poet from Pernambuco Ascenso Ferreira and so: on one hand my race to pass to Cia Vata codes of my language and on the other hand master Andrea directing and taking us to “Bagaceira”.  The new is what fascinates me most in this spectacle; I think here I started a new phase of my work, where the balance between languages, what I’ve always tried to do in my works, is more clear and balanced.  “Bagaceira” is a joy to do!  It’s almost like playing ring-a-ring o’roses on my father’s piece of land in the country; it’s like playing blind man’s bluff without fearing the fall. “Bagaceira” I dedicate to all the integrants of my Cia Vata that along these 20 years went through my ideas and accomplishments and to my parents, everlasting encouragement to my art”.

 

Technical card:

Poems:                                                                                 Ascenso Ferreira

Acting direction:                                                                  Andréa Bardawil

Choreographic direction and discussion:                        Valéria Pinheiro

scenery:                                                                                André Scarllazzari

Fashion:                                                                               Ruth Aragão

Fashion assistant:                                                               Gil Braga

Light conception:                                                                    Carlos Benevides

 Musical conception:                                                              Valéria Pinheiro

Original music:                                                                    Orlângelo Leal

e Valéria Pinheiro

visual programme:                                                              Paulo Amoreira

 Directing assitant:                                                              Sâmia Bittencourt

Scene Director:                                                                   Eugênio Neto

 Vocal training:                                                                    Sandra Chrisóstomo

Photography:                                                                     Beatriz Pontes

                                                                                  Paulo Amoreira

Press advisor:                                                                   Valéria Pinheiro And  Thais Andrade

Filming / Editing::                                                                Alpendre – Casa de Arte,

Research and production:                                                  Eduardo Dias

Project:                                                                                 Thais Andrade

resources capture:                                                              Valéria Pinheiro

 

Cia. Vatá:                                                                           

 Aspásia Mariana

                                                                                              Ângelo Márcio

                                                                                              Edmar Cândido

                                                                                              Felipe Gadelha

                                                                                              Heber Stalin

                                                                                              Ystatille

                                                                       Orlângelo Leal

                                                           Paulo José

                                                                                              Wellington Calaça

                                                                                              Valéria Pinheiro

“Bagaceira, , the Orishas´s dance”

Length: 50 minutes

 

Release

 

The spectacle “Bagaceira,  the Orixá´s dance” was the result of several years of research in the Brazilian tradition of dance and rhythm.  Our research in this universe started by the Masters of Northeastern traditions, that reached the top with “Bagaceira”, and now we approach the body in the aria’s ritual, with conviction in field researches and a cut for the body in the rhythms manifestations, dances and beliefs in the afro-Brazilian universe.  The conception of the text of the spectacle was based in researches of the Yoruba language, where the cuts from mythology of this universe was showed through the body and onomatopoeia, the rhythm and sound of the shoes from tap dances recreated “Bagaceira”: the party offered to the gods by them worshiped.  If the memory is knowledge, the construction of an esthetic proposal has in us a probability to rescue the printed value of our bodies through the culture. In each fraction of the body is the structure of it.  Knowing what makes us a singular part of the whole is to understand better the truth about our body.  We understand however that there are no possibilities to flee from these impressions of space, rhythm and places that allow and create.  Besides presentations inspired by the afro-Brazilian rhythms and its music memories and a possibility of a body inside the ritual, this musical is a tribute to the black race, which contributes and contributed in a destructive way in the formation of identity of the Brazilian people.

 

 

 

Chronogram

 

 

Stages of development of the project

 

I-                   Research

 

1.1 – Academic Research (May, June and July 2004)

 

We’ll go through the Academic work in this universe, besides appointment with anthropologists and sociologists of the federal University of Ceará and of the Federal University of Bahia.  We understand that the knowledge about the academic thought in this universe will prepare us better for the field research.  We already began this study in January 2002 that was stretched by the group of studies with Cia. Vatá during the whole year of 2003, when we studied deeply Camdomblé rituals,  Santeria and xamanismo, research that had as a final product “Bagaceira, the Orixá´s dance”.

We studied deeply Reginaldo Prandi´s work, Bastide and Pierre Vergê, having as the counselor of the research the professor Descartes Gadelha.  During the months of May, June and July of 2004, we’ll study deeply about the universe of the Kariris and Tapuais Indians, through the work given by the public library of the state of Ceara, MIS (museum of image and sound), material given by Professor Oswald Barroso, Dr. Lucio Alcantara´s work, Professor Pablo Assuncao´s work and thesis and some other thesis and articles published along the years about the universe of the Kariris.  We will have here the important help of the film maker or cineaste Rosembergue Cariri, who will guide us through the research about the universe, besides the valuable guide of the Professor Peregrina Cavalcante who will guide us through the socio-cultural research of these ancestral called Kariris and the continuous partnership with the plastic artist Descartes Gadelha who helps and guides us in the academic research about this universe, since our first work about this trilogies.

 

We will separate a part of this study to be followed on a field research.

 

I.2. Field research

 

Our research will begin around the state of Ceara.  We intend to visit the Indian communities, that keep in direct contact with its background and that still maintain in the party traditions their gods, that here, in a poetic form we will call “Bagunceira”, because for the people who live in the northeast: “Bagaceira” means party, nice mess, furdunço, what we believe to be the mirror of the coming manifestations of this universe.  We will take part in this kind of party in several Indian communities in several cities of the state of Ceará which have in its culture the maintenance of these traditions together with its descendant’s cities like Almofala, Crato, Barbalha, Juazeiro do Norte and Nova Olinda.  We will spend the months of August, September and October 2004 in direct contact with these communities that for sure will teach us, among many things, a lot about the mythology of these Indians, so present in the manifestation of cearenses cabacais bands.  The direct involvement with these communities will give us the opportunity to print from this cultural body that in the future or later will serve as an idea to draw the esthetics that we intend with is work.  It will be here where we’ll first get in touch with the Tupi/Guarani language that will be present in our first spectacle.   As an example of our last spectacle “Bagaceira, the dance of the Orixas”, where all the text and the music were composed by us, in Yorubá, the language of the Orixa´s.

 

We will follow our researches by the Cariri cearense, region that keeps good part of the manifestations and cearense’s children plays.  Through the approach with the master of the traditions, and here in this phase we will have the opportunity to visit Reisados masters, Rabecas masters, cabacais band masters, once in our earlier researches we found out that all of them had as ancestral the Kariri´s Indians so their costumes and culture are still very present, an example that we can quote at the moment: they keep in their “backyards” the cult of their Indian gods that blend with their head Orixa, while in their main rooms the cult to the catholic saints is what dictates the religion so present in their children’s plays.  This approach doesn’t seem to be so easy, the social imposition to the cult of the Orixas, that from our preview research already guaranteed us the certainty of the difficulty of the approach in this universe, because this social imposition makes this cult practiced by them, one secret among the community, as an example of our preview research about the Orixas, will be along the days that we will conquer their trust and then their stories in this universe.  We believe to be possible to learn a lot with the masters about their background with direct life’s experiences

 

We will go through the country of the state of Pernambuco, and here we will visit Caboclinho, Sea Horse (Cavalo Marinho) and Maracatus masters, that were here that in preview researches we found in a destructive form the cult to the ancestral.  Each of these children’s games and manifestations has a direct connection with the ancestral gods, and the Tapuias were in certain way were injured, responsible by part of this history.  We found our biggest source of research in Salustiano Master (Lumiara – Zumbi) of Pernambuco in Pernambuco.  We had the opportunity to be present in one of the cults to the ancestral when the Maracatus were going out to the profane party of Pernambuco´s carnival.  We learned a lot about the music and rhythms, having the opportunity to exchange information with the “ogans” – men who play the atabaques to the Orixas and ancestral gods.

 

We will go to Goiania, here we will get in touch with the Congadas, one of the manifestations of the divine that like in  Cariri, keep the cult of the Orixas and the Indian gods in their backyards.  We will watch here several “saint depart” parties, where we will be able to observe the manifestation of the body in predicament.

 

 The recording of image and sound acquired by us- will be the result to be used when the investigation and practical research to be made in studio.

 

II -Introduction to the circense technique, Tap dance and contemporaneous technique in the corporal preparation (January and February 2005)

 

We will enter the rehearsal studios in January 2005.  Our priority will be to make corporal researches through the circense technique, tap dance and contemporaneous dance techniques, having as reference the body already printed by information from the field research. We will prepare the body of Cia Vata to take over several duties.  Several hours of investigation of these bodies that will be printed with the information collected in the field researches will take us to paths still beyond description, but for sure they will point out the esthetics to be followed until the final result of this work.  We will spend two months on this investigation, using as incentive to these bodies, the sound of atabaques and drums also rhythms learned in these fields’ researches.  This phase will be responsible by the construction of several body cells that later will be part of the choreographic composition, as said.  We intend to invite to the preparation of aereos Renato Oliveira, member of the Intrepida trupe of Rio de Janeiro, who will give us subsidy to introduce in these bodies the circense technique (cloth and trapeze), the matrixes of the contemporary dance and the tap dance will be taught by me, Valeria Pinheiro, who signs the direction and the choreography of this show.  We will build a body, which architecture of tensions, will allow us to take multiply derives of this ritualistic body, that we will speak in this spectacle.

We intend to approach the hybridism, where the matrixes of traditional northeaster’s dances, the circus technique, the contemporaneous  and tap dance that will make bridges with the elementary  (air, water, forest, earth and fire) that of romantic and poetic form, will approach us of that hybrid body – research aim of Cia. Vatá. In this phase of assembling, we will open to the public area and Association for - children and teenager of Horizonte, six vacancies for trainees, where the six chosen will follow the assembling of all the assembly of this musical.

 

III CONSTRUCTION OF TEXT AND SOUND TRACK 

 

This will be for me, one of the most beautiful phases by those we will pass along the construction of this spectacle. We will study the TUPI, and here we will be in touch with what the most beautiful that the universe has: the songs and prayers (specie of pray to the indigene gods). It will be in these hymns and prayers of popular domain and the Tupi language knowledge that we will start building our text. We opted for the metric of SEXTILHAS, well present in our last in the trilogy spectacles “BAGACEIRA” and BAGACEIRA, the Orixá´s dance, where the popular poems and poesy of Ascenso Ferreira, Patativa do Assaré, also built in SEXTILHAS, dictated the text and music. All Vatá Cia will be instigated to be the creator of the track and text, that will compose our spectacle, we will build many onomatopoeias in tupi guarani, having as an inspiration the of hymns and prays in this universe, that along of the spectacle will punctuate our track, besides the musical compositions written by me (Valeria Pinheiro) and by two participants of Cia Vatá (Paulo José and Edmar Cândido), that already created the original track “BAGACEIRA, the Irixá´s dance”, with me. We intend to use all the artistic deeds of Cia Vatá (percussion, flute, string instruments in special the Rabeca, all already well present in our work.

 

As the final result of this phase, we intend to record a CD or DVD with the "making of” of several phases of this work construction.

 

IV – CHOREOGRAPHIC COMPOSITION

 

Once built this cartography of body cells and many other musical and rhythms options searched so far, the choreographic composition properly said will be done in not less than two months (March and April 2005). We will opt for a dramaturgy that comes close to the academic research and the search in loco in a romantic and poetic form. We will start talking about Tupi, the oldest of the tupis gods who has a body curved by the years as characteristic. It will be in these corporal ideas that we fix our anchor, from Tupi, we will tell the connection of these gods (“The enchanted” and their mythologies) with the elementary, and having as intended dramaturgy the chronology of these gods and their connection to nature. We will build bridges with the Xamanismo, that will approach us rhythmically to Tupi (Torém – rhythm present in the worship to gods, practiced in almost all the Indian communities still alive in Ceará backwoods), besides the flutes and pifanos of Xamanismo,   we will opt here to talk about the animals of power, making bridges with the Orient when this underline the worship to the ancestral gods, approaching us to the BUTÔ and oriental techniques of the theater NÔ (we will emphasize the personal mythology).

With total conscience of that spectacle doesn’t have any compromise in showing or bring to the stage the religious worship of any of these rituals, we will keep ourselves in the manifestation of these worship provoking in the body and music, making the “Bagaceira, the ancestries dance” a musical that will approach us to the universal, where astron signs here present will transport in a singular form to the plurality of these ritualistic bodies cearenses, northeastern, Brazilians…. Universals!

 

V- Creation of scenery, visual programming, clothing and light

 

The partnership with the government of ceara, through this prize, and the search for partnerships together with the private companies, will give us a chance to work from the beginning of the choreographic composition with the team of creators of this spectacle, as an example of what we did with “ Bagaceira, , the Orixá´s dance”, but there we had the partnership of Petrobas.  We will have as initial ideas  for the creation of scenery the rich universe and the vary craftsmanship from these communities, Andre Scarlazzari will create the spiral metallic structures, that will allow us to expand even more the corporal and the options of the body researched so far.  The introduction of these structures will make us think, in a way to keep the dramaturgy by us established, the choreographic space.  We will begin to think about the scenic space like plans (floor, medium and high), allowing us to get even closer to the elementary bridges (air, fire, forest, water and earth).  The scenery intends to connect us to the space, where in one hand it dictates the movement and on the other hand it is pushed to compose the dictated by the body.  The creator of the light (Walter Façanha) will guide us during all the creation and the choreographic composition,

It may also become a scenic element, when the bodies will be able to be underlined by a specific light, in this phase the clothing made by Ruth Aragao and Cabeto, that in an academic immerse in this universe will create subject matter and practical to underline these bodies and above all keep us closer to the “human” in each of us, having the light as responsible by the texture and color along the spectacle.  Our visual programming (Paulo Amoreira), intends to follow all the phases, and will also be present in the field researches, gathering with Cia Vata elements and signs that will compose all the visual programming.  The efficient result of this crew of creation is what we intend to accomplish carrying on this spectacle “Bagaceira, the ancestries dance  We believe and want to continue investing in the thought “ company”, where the whole crew of creation is together since the beginning of this creation process.  We think and work with this crew since the beginning of the creation of Cia Vata in Ceara, in January 2000 when our first spectacle: “ Brazil de todos os ritmos” followed by  “Bagaceira”, “nudobarro”, “ritos”, “ letters from the asylum”, “ Bagaceira, cana and engenho” and “bagaceira, , the Orixá´s dance”.  We intend to continue reassuring this team idea in “Bagaceira, the ancestries dance”.

 

Premiere foreseen to May 2005 at SESC Emiliano Queiros de Fortaleza, with season for a month (Fridays and Saturdays at 9pm and Sundays at 8pm)

 

 

VI – Divulgation plan

VI. 1 – Graphic material:

-         Invitations;

-         Posters;

-         Programs;

-         Flyers or brochures;

-         Bus doors;

-          

VI. 2 – Newspaper ads:

-         Newspaper ads: 08 units.

-          

VI. 3 – MÌDIA:

-         Partnership with the Unibanco net of movies

-         Partnership with TV União;

-         Printed mídia  - Jornal "O POVO, Jornal DIÁRIO DO NORDESTE and  Jornal O ESTADO (vide annexed material);

-         Television Programs: TV Verdes Mares (GLOBO) - news, TV Diário (Programs: Talk Show with Fernanda Quinderé, Ponto de Encontro, Ceará em Cena, jornalístico, Agenda, Studio Arte)

-         TV União - Talk Show com Karina Alexandrino

-         TV Jangadeiro – Journalistic

-         TV Ceará (Cultural) - Talk Show com Aline Castro e journalistic

-         TV Record - journalistic

 

VII – Back to the Sponsors

VII. 1 - Logomarca of the participator, com chancel: “presented” or “cultural support”, in all material of divulgation:

-         500 invitations;

-         1.000 posters;

-         1.000 programs;

-         15.000 flyers or brochure;

-         08 newspaper ads;

-         10 out bus

-          

VII. 2 - Quota of tickets, for presentation, during the season and for the premiere;

 

VII. 3 – closed show for guests from the sponsoring company;

 

VII. 4 - Citation of the support in all material handed for the press advisor

 

VII. 5 - Mention to the sponsor in locos before each presentation;

 

VII. 6 – one sample video in VHS for the sponsored company with its logo;

 

VII. 7 - Six free shows for public schools, to take place  in partnership with José de Calendar Theater (800 seats) and Secretaria de Cultura do Estado do Ceará (SECULT), that in case of the sponsor of cultural SECULT

 

VII. 8 – Availability of  06 places in the accompaniment of the setting of the spectacle for internship from the association prochild and teenager of Horizonte and social organization cultural center Tasso Jereissati, from the city of Horizonte besides two internship chosen from the public chain of education through a performance.

 

 

 

 

Human resources

 

Main helpers

 

- in the academic research we will have the guideline and the soundtrack biography of DESCARTES GADELHA AND PEREGRINA CAVALCANTE in the deep study in the Indians Tapuias and Kariris universe, also the precious guideline of Professor Oswald Barroso who already gave us part of the bibliography that we have so far for the academic research.

- in the field research, we already have the partnership with Fundaçao casa grande (Nova Olinda, ce), that will receive us and lend us  a pre-established team that will guide us to the Kariri´s towns, we also have the partnership with moraca, an association that studies and reinvents the tradition of Cariri and will receive us when we visit Crato, Juazeiro do norte and Barbalha, besides the residency in CENTRO COREOGRAFICO DO SERTAO (Mãe D’agua) that will receive Cia. Vata and will work as our head office during the months of field research;

- in the construction of the instruments phase, Agua (association of the art friends of Guaramiranga) will receive us in exchange for favors, here we will exchange experiences;

- we also have the partnership with SESC – Fortaleza, SESC- Crato,  Federal University of Bahia, Federal University of Ceara, MIS (museum of sound and image of the state of Ceara), besides the collection from Boca Rica´s teather, home of Cia. Vatá: these entities will give us titles, images (sound and thesis about this universe);

- in the corporal preparation phase, we will have the help of the partnership Intrépida Trupe from Rio de Janeiro, that will lend us Renato Oliveira for the preparation and construction of the circense body that we intend to use in this work, besides the partnership  with the actor Danilo Pinho who will prepare us in the corporal universe of Etenne Decroix.