Thais Gonçalves is a doctorate student in Human Motricity Branch in the Dance Specialization from the Faculty of the Human Motricity at the University of Lisbon – FMH/UL, under the guidance of Professor Doctor Daniel Tércio. Master in Public Policy and Society, Department of Sociology at the State University of Ceará – UECE. Degree in dance from the State University of Campinas – UNICAMP (Bachelor and Licentiate) and Social Communication/Journalism from the Pontifical Catholic University of Campinas – PUCCAMP. Teacher of the course of Graduation in Dance (Bachelor and Licentiate) of the Institute of Culture and Art of the Federal University of Ceará – ICA/UFC, in Techniques and Practices in Dance Studies sector. Search the following topics: dance and education, public policy in dance, philosophy and history of dance. The current research topic within the PhD is Anthropophagic sensorialities: knowledge of the South in contemporary dance. Among recent publications are the following articles: "Dancities of a history in videodance" in Antônio Costa Valente and Rita Capucho (Eds.) Avanca Cinema: International Conference (2014) and "Compositions between dance and post-critical teaching by the apples of Cézanne, or how to produce difference in art in contemporanity" in Solonildo Almeida da Silva (Ed.) Art: dialogues IFCE and UFC (2014). Collaborating since 2014, on the Editorial Council of the aSPAs Magazine, of the Post Graduation Program in Performing Arts at the University of São Paulo (USP). Coordinated the Extension Project Living Memory: histories of dance of Ceará, by the Federal University of Ceará, with the realization of four documentaries about artists and dance teachers (2012/2013). Issued the two volumes put out of OlharCE Magazine, a publication of the International Dance Biennial of Ceará (2008 and 2011), available at digital version olharce.com.
Anthropophagic sensorialities: knowledge of the South in contemporary dance
The sensoriality and knowledge of/in the body as a condition for the production of a antropophagy subjectivity. The doctoral project Anthropophagic sensorialities investigates Brazilian breeders whose artistic procedures have sensory states as a starting point for creating their works. What we want to query is: what effects of world are present in how bodies move in the dance? Would this sensoriality be of anthropophagy’s order – devour, digest, assimilate the other? Is it possible to update the concept of anthropophagy, thrown by the Brazilian modernist movement in the 1920s to treat the dance scene at contemporarity, regarding a dance that makes forward in its own time, as queries us the phylosopher José Gil? In other words: is there in the south of the scene, the production of a dance whose antropophagy sensoriality empowers the art in the contemporary world? Among the ways of the research are: 1. investigate the concept of anthropophagy upgraded by Brazilian artists Lygia Clark and Hélio Oiticica, between the years 1960 and 1980, which show the body as a place of art, process, experimentalism and encounter among artist, work art and the public; 2. understand the notion of sensoriality, from the aesthetic experimentation of Ana Terra, Juliana Moraes, Mariana Muniz and Luiz de Abreu, dance artists in Brazil, as well as authors of somatic education, as Hubert Godard; 3. dialogue with the notion espistemologies of southern of sociologist Boaventura de Sousa Santos; and 4. point out the ways in which sensoriality potentiates the dance to rub the notion of contemporary art, from a review historical, aesthetic and conceptual.