Around that “galego” dancer everything gained a sort of euphoric vibration. Him and his beautiful wife were fresh and new, in a city where the ideal model of education for the elite still included classical ballet (piano classes had become few and far between and french classes had been switched out in favor of english) offered to girls in traditional academies in Recife (op. cit., p. 6) However, this research approach eventually shone light on a fraction of the history of dance in Brazil, as well as that of Recife, in its gestures of daring in proposing an association between dance and its professionalisation. Even so, these episodes also revealed some tight limits in the context in which they occurred. That of a scenario
hostile toward the professionalisation of dance, such as Recife in the 1980s and 90s, in which there was no basic structure that would systemise teaching, research, production and consumption of artistic creation — reveals hidden potential, creativity and a will to produce. To the traditional and amateuristic scene he came upon, Zdenek added to contemporary dance the capacity to create from observing everyday activities, the common gesture, parody, laughter and the (apparent) spontaneity and simplicity of movement (idem, p. 6) With this work, we achieve a set of studies regarding dance history in Recife that followed the course of dance in the city from 1920 to 2002. From the teaching of dance in formal schools and social clubs followed by non-formal private courses, dance groups and their assemblies up until we reach a counterpoint to these remote origins, configuring in different proposals of associative initiatives and professionalisation (namely, companies). With regards to acuity, as much in the process of teaching as in artistic creation, one remembers how an ex-professor at the dance course at UniverCidade (Rio de Janeiro), Airton Tenório, a pernambucano, had disagreements with Roberto Pereira, then the director of the institution’s dance course. The latter said that Airton’s dance classes, formatted by decades of uninterrupted activity, had components and methodology lacking in study and analysis. Together with the fact that Airton had been, without doubt, the person responsible for establishing contemporary dance in Recife, notably in its phase of professionalisation, these are elements that make this a fertile field of research for the development of a judicious study. The careers of the aforementioned personalities make clear a positive aspect of the transitivity of presential artistic information, as well as the reciprocal co-implication of
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