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[Michelle Benitone]

Thispaper calls into question the central tenets of the Dancer-Researcher-Performer (BPI) method taught at the Universidade Estadual de Campinas (Unicamp) in Brazil. The analysis problematizes the underlying assumption that students lack an awareness of their own Brazilianness, which they must find through BPI, and questions a choreographic methodology where students are coached to be possessed by the dance. The paper draws attention to the power imbalances inherent in BPI's co-habitation experience, where students research marginal others who are understood as the source of authentic Brazilian culture. The paper invites BPI students and teachers to reconsider the ethics of this research methodology, and to consider the possibility of choreographic research that engages both mind and body critically and consciously.

Cet article remet en question les principes fondamentaux de la mthode Danseur-Chercheur-Interprte (BPI), enseigne a l'Universidade Estadual de Campinas (Unicamp), au Brsil. L'analyse questionne la supposition d'un manque de prise de conscience des lves par rapport leur propre brsilit, laquelle ils doivent chercher travers la BPI. Elle remet en question galement une mthodologie chorgraphique o les tudiants sont entrans tre possds par la danse. L'article attire l'attention sur les dsquilibres de pouvoir inhrents l'exprience de cohabitation propose par la BPI, o les tudiants mnent une recherche sur l'autre, ceux aux marges de la socit, compris comme la source d'une culture brsilienne authentique. L'article invite tudiants et enseignants de la BPI reconsidrer l'thique de cette mthodologie de recherche, et envisager la possibilit d'une recherche chorgraphique qui engage la fois l'esprit et le corps, de manire critique et consciente.

Este trabalho15 15 Gary Wilkinson (2007), no ttulo do artigo que debate os perigos do financiamento privado na educao pblica da Inglaterra, usa o termo "possudo" como o oposto de "despossudo" (isto , sem recursos). Eu utilizo o termo da mesma forma, mas tambm em referncia possesso espiritual ou religiosa. Os dois ttulos, meu e de Wilkinson, derivam do j clssico livro Pedagogia do Oprimido, de Paulo Freire (2011), publicado pela primeira vez em 1970. prope um questionamento dos princpios fundamentais do mtodo Bailarino-Pesquisador-Intrprete (BPI) ensinado na Universidade Estadual de Campinas (Unicamp), no Brasil. A anlise problematiza a suposio de que os alunos no tm conscincia da sua prpria brasilidade, a qual eles devem buscar atravs do BPI, e questiona uma metodologia coreogrfica na qual alunos so ensinados a serem possudos pela dana. O trabalho chama a ateno ao desequilbrio de poder inerente na experincia de co-habitar do BPI, em que alunos pesquisam outros s margens da sociedade, que so entendidos como fonte de uma autntica cultura brasileira. O trabalho convida alunos e professores de BPI a reconsiderar a tica dessa metodologia de pesquisa e a considerar a possibilidade de pesquisas coreogrficas que sejam capazes de engajar mente e corpo de uma forma crtica e consciente.

In this paper, I invite teachers and students of the choreographic method known as BPI to reflect upon its central tenets and practices, many of which have long been called into question in the humanities, such as the ethnographic study of impoverished and racially marked others, whose cultural practices become reduced to fodder for artistic production. I urge Brazilian dance educators to bring a critical stance to a practice that, as I propose, romanticizes and fetishizes marginal communities as a source for their student's cathartic choreographic movement explorations. I briefly compare BPI to an early twentieth-century nationalist dance project in order to contextualize this practice historically and ideologically. I analyze in detail the three axes of BPI: Inventory of the Body, Co-habiting with the Source, and Character Structuring, focusing on the socio-political implications of these axes and questioning their place in the curriculum of a research university. I problematize the assumption that students lack an awareness of their own Brazilianness, which they must find through BPI, and question a choreographic methodology where students are coached to be possessed by the dance. Instead, I call for a conscious and critical dance pedagogy and dance research.

As a Brazilian dance scholar trained in the United States,I approach this research methodology from the outside, never having studied it; however, my knowledge of Portuguese allows me access to the vast number of texts published by BPI practitioners, not yet available in translation. I base my analysis on writings by Graziela Rodrigues, the founder of BPI, as well as theses, dissertations, and articles written by Rodrigues's disciples.1 1 To my knowledge, all publications on BPI to date are authored by Rodrigues and her disciples (Rodrigues herself often appears as a co-author in papers written by her former students), and these are descriptive reflections on the method and/or accounts of research and choreographic experiences employing BPI; I am unaware of any texts that approach BPI critically. Although I am an outsider to BPI, I bring to my analysis my own embodied Brazilianness, which includes fifteen years of ballet training in Brazil as well as twenty years of capoeira training in both Brazil and the United States. My analysis is also informed by my own lived knowledge of growing up with class and race privilege in Brazil, a country mired in deep socio-economic inequality. I offer a critical perspective and a few bibliographic resources for what I hope will be the beginning of a re-thinking of this well-intentioned choreographic research practice which, nevertheless, perpetuates colonialist, racist, and classist research practices that date back to the early twentieth century.

Throughout the 1930s and 40s, dancer and choreographer Eros Volsia developed the bailado brasileiro, a ballet-based nationalist dance technique that allegedly brought together elements from Brazil's three races2 2 The notion that Brazil's racial and cultural make-up was a product of the mixture of three "races" - "the Portuguese, the Indian and the Negro", in the language of the time - derives from ideas disseminated by the writings of social Darwinist literary critic Silvio Romero during the late nineteenth century. to create a Brazilian dancing body that celebrated the nationalist ideology espoused by the dictatorial regime of Getlio Vargas known as the New State (1939-1945). Since 1937, Gustavo Capanema, Vargas's Minister of Education and Health, praised and supported Volsia's work. In 1939, he placed Volsia in charge of the dance classes offered through the National Theater Service in Rio de Janeiro (Volsia, 1939, p. 43). Embodying the ideology of whitening (branqueamento) that permeated racial thought at this time in Brazil, Volsia's bailado brasileiro employed ballet as a tool to improve the dances of Brazilian others, which she had learned through a somewhat haphazard ethnographic research practice that ranged from visiting her local macumba3 3 Macumba is one of many iterations of Afro-Brazilian religious practice. For a detailed analysis the continuum of Afro-Brazilian religions, see Stefania Capone's (2010) Searching for Africa in Brazil. temple to watching indigenous ceremonies staged for her. As other Brazilian modernist artists of her generation, Volsia used the dances of racialized national others as fodder for her own nationalist artistic production (Hfling, 2015HFLING, Ana Paula. Dancing slavery, mestiagem, and Brazilian national identity in Rio de Janeiro's Municipal Theater in 1943. In: INTERNATIONAL CONGRESS OF THE LATIN AMERICAN STUDIES ASSOCIATION, 33, 2015, San Juan. Paper... San Juan, Puerto Rico, 2015a.a)4 4 I have presented on the work of Eros Volsia at the Society of Dance History Scholars and Congress on Research in Dance joint conference in Athens (June 2015) and at the 23rd International Congress of the Latin American Studies Association in San Juan, Puerto Rico (May 2015). I analyze Eros Volsia's bailado brasileiro in relationship to the construction of race and nation in Brazil in my forthcoming article titled "Eros Volsia's choreographies of Brazilian mestiagem." .

As Brazil finally returned to a democratic government in the late 1980s, fifty years later, the nationalist search for a Brazilian dancing body pioneered by Volsia showed its tenacity in the now widely disseminated work of Graziela Rodrigues5 5 Rodrigues does not claim any connection to Volsia or bailado brasileiro - the parallel between the two is part of my analysis and not due to an actual continuity of training or lineage between these two educators. . Rodrigues began her academic teaching career in 1987 at the newly created dance department of the Universidade Estadual de Campinas (Unicamp), one of Brazil's top research universities6 6 The first dance department in a Brazilian university was founded at the Universidade Federal da Bahia (UFBA) in 1956 by Polish expressionist dancer Yanka Rudzka. Rudzka was intrigued by Afro-Brazilian culture and many of her works draw on Afro-Brazilian practices such as candombl. Rudzka's interest in Brazilian culture is relevant in light of Rodrigues's focus on dances of Brazil as a source for her technique and choreographic research methodology. However, Rudzka never attempted to create a pan-Brazilian dance technique, as did Rodrigues. For a brief history of the dance program at UFBA and theatrical dance in Salvador, see Luana Vilaronga Cunha de Arajo's (2008) master's thesis, Estratgias poticas em tempos de ditadura: a experincia do grupo experimental de dana de Salvador, BA. To my knowledge, a history of the dance program at Unicamp (Brazil's second dance department, created in 1985) has not yet been written. . Unicamp's dance department has since grown to become one of the most respected dance departments in Brazil, offering bachelor degrees as well as master's and doctoral degrees in dance. There, Rodrigues developed a dance technique and choreographic research methodology that have become not only part of the dance curriculum at this university but, through Rodrigues's disciples, has begun to spread to other dance departments in Brazil as well. Like Volsia's bailado brasileiro, Rodrigues's work draws from "bod[ies] located on the margins of Brazilian society" (Rodrigues, 1997RODRIGUES, Graziela. Bailarino, Pesquisador, Intrprete: processo de formao. Rio de Janeiro: FUNARTE, 1997., p. 27), defined as the other in the language of the method known as dancer-researcher-performer (bailarino-pesquisador-intrprete), or BPI.

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