Belly Dance Studies
SENAC University Center
Visual Communication Design
MY WORK AT THIS PROJECT
Isaura da Cunha Seppi (supervisor)
ABDOUNUR, O. J. Matemática e música: pensamento matemático na construção de significados, São Paulo:
Escrituras Editora, 1999. (Série Ensaios Transversais)
ANDRADE, M. Aspectos das Artes Plásticas no Brasil. São Paulo: Martins. 1975.
BAGGOT, A. Rituais Celtas: a roda céltica da vida. Os poderes sagrados da Natureza. São Paulo:Madras, 2002.
BENCARDINI, P. Dança do Ventre: ciência e arte. São Paulo: Textonovo, 2002.
EDWARDS, B. Desenhando com o lado direito do cérebro. Rio de Janeiro:Ediouro, 1984.
ELIADE, M. O sagrado e o Profano. São Paulo: Martins Fontes, 1992.
ETAPA, material de aula parte de HISTÓRIA, ano 2008.
FLUSSER, V. O mundo codificado: por uma filosofia do design e da comunicação, São Paulo: Cosacnaify, 2007.
GARAUDY, R. Dançar a Vida, Rio de Janeiro: Nova Fronteira, 1981.
GLEISER, M. A dança do universo: dos mitos de criação ao Big- Bang. São Paulo: Companhia Das Letras, 2006.
LABAN, R. O domínio do movimento. São Paulo: Summus, 1978.
MIRANDA, R. O movimento expressivo. Rio de Janeiro: Funarte, 1979.
MONT”ALVÃO, C. (org); DAMAZIO, V. (org) . Design, ergonomia e emoção. Rio de Janeiro:Mauad X:FAPERJ,2008.
POZZOLI. Guia teórico-prático para o ensino do ditado musical.São Paulo: Ricordi, 1983.
RONAN, C. A. História ilustrada da ciência, vol.1: das origens à grécia. Rio de Janeiro: Jorge Zahar Editor,1987.
SASPORTES, J. Pensar a dança:a reflexão de Mallarmé a Cocteau. : Imprensa Nacional, 1983.
The Belly Dance Studies were the theme for my Bachelor's Degree final term project. I wanted my final project to be amazing, to explore the unusual and to delight me all the way through it (one whole year devoted to one single project...It should be AWESOME!). I wanted to understand the essence behind this beautiful middle-eastern art and to be able to translate it into graphic elements.
When I chose the theme I was inspired by it and began to explore some techniques. I like to share this early drafts because they reflect just how far from the main goal I was. Even though they might seem as beautiful figures they do not express the movements and their meanings.
The strenght of the lines
My research brought me to study music and movement in a way I never realised was possible. I tried to keep expressing myself all through the year, so while I was learning more and more about music structure, movement theory and belly dance history, I kept on trying to translate all this newfound meanings into graphic elements. At this point, I was obsessed with the dancers shapes (which I somehow translated into the strength of the dancers body shapes) and the hardness of the drums. The result, as you may see, may seem somehow fluid, but too heavy.
It has always been easier for me to work in black and white. Although I new that, someway along the road I'd have to come back to the colours, this intermediate study was black and white on purpose. As I mentioned before, I was obsessed with shapes and I needed to see and to feel where the body was while it was dancing.
When I became more secure about the concepts I had to translate, it all came to life. There's a direct relation between the qualities of the music and the qualities of the dancer's movements. Hard and deep drums are translated into the dancers body as stiff and deep hip shakes. The light and cheerful cymbal sounds are translated into wavy and jolly movements. The beauty of belly dance is that hardness and lightness combine perfectly the melodies and the dancer share this combined emotions with her audience. My job then was to translate hardness into more cold colours and heavy strokes while the lightness would be translated into warm colours and freely gestured strokes.
Want to check out my complete work?