<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2182-8474</journal-id>
<journal-title><![CDATA[Sisyphus - Journal of Education]]></journal-title>
<abbrev-journal-title><![CDATA[Sisyphus]]></abbrev-journal-title>
<issn>2182-8474</issn>
<publisher>
<publisher-name><![CDATA[Instituto de Educação da Universidade de Lisboa]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2182-84742023000300080</article-id>
<article-id pub-id-type="doi">10.25749/sis.28560</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Places of Encounter in Dance, Education and Creation]]></article-title>
<article-title xml:lang="pt"><![CDATA[Lugares de Encontro na Dança, na Educação e na Criação]]></article-title>
<article-title xml:lang="es"><![CDATA[Lugares de Encuentro en Danza, Educación y Creación]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cid Neto]]></surname>
<given-names><![CDATA[Ângelo]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Instituto Politécnico de Lisboa Escola Superior de Dança ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>10</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>10</month>
<year>2023</year>
</pub-date>
<volume>11</volume>
<numero>2</numero>
<fpage>80</fpage>
<lpage>93</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2182-84742023000300080&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2182-84742023000300080&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2182-84742023000300080&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This text intends to think about contemporary choreographic creation in an educational plane. Thus, in the context of theatrical dance and contemporary choreographic creation practices, it establishes a set of axes of reflection on the methods and processes of choreographic creation. It is an investigation that promotes meeting places, as places that relate artistic and pedagogical practices. Methodologically, the field of investigation, is in the interstices of the artist, teacher, and researcher. Therefore, artistic practice is thought as a cartography of experiences in dialogue with an investigative writing to maintain the life and the immanent movement of these unique processes. Where the teacher-choreographer and the student-interpreter are two crucial figures who share the infinitive form of the verb &#8216;to create&#8217;. Thus, the choreographic work is problematized as a place of dialogue between the agents of creation. Namely, the importance of the body and its indeterminacy on the path of encounter. How the unknown destabilizes the process, giving it a valuable fragility in the field of artistic education and the resistance of choreographic work. The creator-interpreter enshrines the possibility of entering a creative process towards a minor world, in a horizontal and collaborative relational scheme. Creation and education are ways of awakening attention to the unfolding of the body and, consequently, to its autopoietic and self-transforming mechanism proposing a new geographical landscape.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo pretende pensar sobre a criação coreográfica contemporânea num plano educacional. Assim, no contexto das práticas de dança teatral e de criação coreográfica contemporânea, estabelece um conjunto de eixos de reflexão sobre os métodos e processos da criação coreográfica. É uma investigação que promove os lugares de encontro, enquanto lugares que relacionam práticas artísticas e pedagógicas. Em termos metodológicos, o campo de investigação está nos interstícios do artista, professor e investigador. Assim, a prática artística é pensada enquanto cartografia de experiências em diálogo com uma escrita investigativa para manter a vida e o movimento imanente destes processos únicos, em que o professor-coreógrafo e o estudante-intérprete são duas figuras essenciais que partilham a forma infinitiva do verbo &#8216;criar&#8217;. Assim, o trabalho coreográfico é problematizado enquanto lugar de diálogo entre os agentes criativos - nomeadamente, a importância do corpo e a sua indeterminação no caminho do encontro. A forma como o desconhecido desestabiliza o processo, atribuindo-lhe uma fragilidade valiosa no campo da educação artística e na resistência do trabalho coreográfico. O criador-intérprete consagra a possibilidade de entrar num processo criativo a caminho de um mundo menor, num esquema relacional horizontal e colaborativo. A criação e a educação são formas de despertar a atenção para o desenrolar do corpo e, consequentemente, para o seu mecanismo autopoiético e auto-transformador, propondo uma nova paisagem geográfica.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Este artículo se propone pensar la creación coreográfica contemporánea a nivel educativo. Así, en el contexto de la danza teatral y de la creación coreográfica contemporánea, establece un conjunto de ejes de reflexión sobre los métodos y procesos de creación coreográfica. Es una investigación que promueve los lugares de encuentro como lugares que relacionan prácticas artísticas y pedagógicas. Metodológicamente, el campo de investigación está en los intersticios del artista, profesor e investigador. Por tanto, la práctica artística es pensada como una cartografía de experiencias en diálogo con una escritura investigativa para mantener la vida y el movimiento inmanente de estos singulares procesos, donde el profesor-coreógrafo y el alumno-intérprete son dos figuras cruciales que comparten la forma infinitiva del verbo &#8216;crear&#8217;. Así, se problematiza el trabajo coreográfico como lugar de diálogo entre agentes creativos, a saber, la importancia del cuerpo y su indeterminación en el camino del encuentro. Cómo lo desconocido desestabiliza el proceso, otorgándole una valiosa fragilidad en el campo de la educación artística y en la resistencia del trabajo coreográfico. El creador-intérprete consagra la posibilidad de adentrarse en un proceso creativo hacia un mundo menor, en un esquema relacional horizontal y colaborativo. La creación y la educación son formas de despertar la atención sobre el desdoblamiento del cuerpo y, en consecuencia, sobre su mecanismo autopoiético y autotransformador, proponiendo un nuevo paisaje geográfico.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[art education]]></kwd>
<kwd lng="en"><![CDATA[dance]]></kwd>
<kwd lng="en"><![CDATA[choreographic process]]></kwd>
<kwd lng="pt"><![CDATA[educação para a arte]]></kwd>
<kwd lng="pt"><![CDATA[dança]]></kwd>
<kwd lng="pt"><![CDATA[processo coreográfico]]></kwd>
<kwd lng="es"><![CDATA[educación artística]]></kwd>
<kwd lng="es"><![CDATA[danza]]></kwd>
<kwd lng="es"><![CDATA[proceso coreográfico]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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