A Minha História da Dança
My Dance History

Ana Borralho & João Galante

Espaço da Penha, Lisboa PT, December 7, 2017

Subtitled in English

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© Bruno Simão

Biography

Ana Borralho (Lagos, 1972) & João Galante (Luanda, 1968) met as visual arts students at AR.CO (Lisbon). As actors/co-creators they worked regularly with theatre company OLHO and director João Garcia Miguel between 1992 and 2002.

Since 2002, they have worked together in the fields of performance art, dance, installation, photography, sound, and video. Recurring themes in their work are: body|mind, inside|outside, emotion|feeling, me|others, private|public, social|political. Their recent piece “Atlas” takes these ideas a step further by bringing 100 people of different professions on stage. Co-creation highlights include: “Mistermissmissmister” (2002), “I love you” (2003), “No Body Never Mind 001, 002 and 003” (2004-06), “sexyMF” (2006), “I put a spell on you” (2007), “Meatphysics” (2008), “Untitled, Still Life” (2009), “World of Interiors” (2010), “Atlas” (2011), “Linha do Horizonte” (2012), “Purgatório” (2013), “Aqui estamos nós” (2014), “Só há uma vida, nela quero ter tempo para construir-me e destruir-me” (2015), “Vão Morrer Longe” (2016), and “Gatilho da Felicidade” (2017). With Mónica Samões, they developed “No Jogo do Desejo ou o Choque Fronta”l (workshops for young people – 2008), the video documentary “Eu Não Tu” (2009), and a performance for young audiences “A Linha ou O Deserto já não é uma casa vazia” (2009). In 2010, Teatro Municipal Maria Matos presented a small anthology of their performances with the title “The Wonderful World of Ana Borralho & João Galante”.

Since 2004, their work has been presented at international festivals in Portugal, France, Spain, Switzerland, Scotland, Brazil, United Arab Emirates, Japan, Germany, Austria, UK, Italy, Slovenia, Slovakia, Iceland, Czech Republic, Finland, Hungary, Estonia, Poland, Sweden, and Greece.

They are founding members of the band of non-musicians Jymmie Durham, co-founders of the cultural association casaBranca, and artistic directors of the performing arts festival Verão Azul.

anaborralhojoaogalante.hotglue.me/

André Lepecki

Edifício Lx Factory, Lisboa PT, March 15, 2012

Subtitled in English

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Photo by Malthe Stigaard ©Studium Generale Rietveld Academie

Biography

Works and researches at the intersection of critical dance studies, curatorial practice, performance theory, contemporary dance and visual arts performance. Selected curatorial work includes Chief Curator of the festival IN TRANSIT (2008 and 2009 editions) at Haus der Kulturen der Welt, Berlin. Co-curator of the archive “Dance and Visual Arts since 1960s” for the exhibition “MOVE: choreographing you” (Hayward Gallery, 2010). Curator of the lecture series “Points of Convergence: performance and visual arts” (2014) and “Off-Hinge Off Center: alternative histories of performance”, for the Museum of Modern Art (Warsaw, 2014 and 2015). Also for MoMA-Warsaw he curated the series “Performance in the Museum” (2015). He also curated the project “The Future of Disappearance” for Sydney Biennial 2016, and co-curated with Adrian Heathfield the symposium “Afterlives of Performance” at FiAFF and MoMA 2015. In 2008 he received the AICA Award for Best Performance as co-curator and director of the authorised re-doing of Allan Kaprow’s “18 Happenings in 6 Parts” (commissioned by Haus der Kunst, Munich 2006, presented at Performa 07). Selected lectures include Museo Reina Sofia, MoMA-NY, Museu de Arte Moderna, Rio, MACBA, Para Site (Hong Kong), Haus der Kulturen der Welt (Berlin), WIELS, The Gauss Seminars at Princeton University, Freie Universität (Berlin), Brown University, UC-Berkeley, Federal University of Rio de Janeiro, École Superiore des Hautes Études en Sciences Sociales (Paris). In 2009 he was Resident Fellow at Institute Interweaving Performance Cultures at Freie Universität (Berlin). In 2015 he was Artistic Professor at Stockholm University of the Arts, where he helped develop the research profile area on Concept and Composition.

He is the editor of the anthologies “Points of Convergence: alternative views on performance” (MoMA-Warsaw and Chicago Univ. Press 2016, with Marta Dziewanska), “Dance” (Whitechapel, 2012), “Planes of Composition: dance, theory and the global” (Seagull press, 2009, with Jenn Joy), “The Senses in Performance” (Routledge 2007, with Sally Banes), and “Of the Presence of the Body” (Wesleyan University Press, 2004).

His single authored books are “Exhausting Dance: performance and the politics of movement” (Routledge 2006), currently translated in 13 languages, and “Singularities: dance in the age of performance” (Routledge 2016).

António Pinto Ribeiro

Biblioteca de Alcântara, Lisbon PT, July 15, 2021

Subtitled in English

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Biography

Pinto Ribeiro has an Undergraduate Degree in Philosophy (1980, UCL), a Master in Communication Sciences (1995, UNL), and a PhD in Cultural Studies (2015, UCL). He has taught at several Portuguese and Foreign Universities, and was Artistic Director and Curator in charge of several Portuguese cultural institutions, namely Culturgest and the Calouste Gulbenkian Foundation. He was General Commissioner of “Past and Present-Lisbon Ibero-American Capital of Culture 2017”. His main research interests are in the field of contemporary art, specifically African and South American. Of his sixteen book publications, mention goes to: “África os quatro rios – A representação de África através da literatura de viagens europeia e norte-americana” (Africa the four rivers – The representation of Africa through European and North American travel literature, 2017), “Peut-on décolonizer les musées?” (2019). As an editor he highlights: “A urgência da Teoria” (The urgency of theory, 2007), “Lições, I e II” (Lessons, I and II, 2008), “O Desejo de Viver em Comum” (The Desire to Live in Common, 2018).

Christine de Smedt

Videoconference, April 20, 2020

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© Chris Vander Burght

Biography

The artistic work of Christine De Smedt is situated between dancing/performing, choreographing, coordinating, organising and curating artistic projects. Being a member of the company Les Ballets C. de la B. (Gent, Belgium) from 1991 until 2012, she created her own work since 1993, a solo, “La force fait l’union, fait la force”; a travelling project in the Balkans, “Escape Velocity” (1998) and a large scale mass choreography, “9×9” (2000-2005). In 2012 she premiered a series of performed portraits of different artists, titled “Four Choreographic Portraits” (“I would leave a signature”, “The son of a priest”, “A woman with a diamond” and “Self-reliance”).

She collaborated for several years with Meg Stuart – Damaged Goods (1995-1999) and engaged in various artistic collaborations with Mårten Spångberg, Mette Edvardsen, Philipp Gehmacher, Vladimir Miller, Jan Ritsema, Xavier Le Roy amongst others. From 2005 until today she was engaged in projects with Eszter Salamon, creating “Nvsbl”, “dance#1/driftworks”, the group project “Transformers” and “Dance#2”. De Smedt was the curator of an artist residency project “Summer Intensive”. She was collaborating with and performing in Le Roy’s Project, “Low Pieces” and “Temporary Title”, 2015 and the choreography by Mette Ingvartsen “Artificial Nature Project”.

In 2014 she presented, together with Bojana Cvejic “spatial confessions” in the Turbine Hall in Tate Modern. She was pedagogical coordinator for P.A.R.T.S. in 2013-2016.

Clara Andermatt

Biblioteca Camões, Lisboa PT, June 2, 2016

Conference not available

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© Ivo Canelas

Biography

Born in Lisbon, Clara Andermatt is considered one of the pioneers of Nova Dança Portuguesa (New Portuguese Dance). Throughout the years, Andermatt’s career has revealed a singular artistic identity, both on the national and the international dance scenes, doubtlessly leaving her imprint in the history of Portuguese contemporary dance.

At an early age, Andermatt began her formal training in dance with her mother Luna Andermatt. Clara Andermatt also studied piano, until she went to London in 1980 to continue her studies in dance at the London Studio Centre, where she graduated in 1984. She received a Bridget Espinosa scholarship, awarded yearly to one single student, and was also distinguished with The Best Student Award. In that same year, Andermatt obtained her Advanced Diploma from the Royal Academy of Dance, in London.

She was contemplated with scholarships from the Jacob’s Pillow Dance Festival (Lee, Massachusetts, 1988), from the American Dance Festival’s International Choreographers Residency Program (Durham, 1994), and from the Bates Dance Festival (Maine, 2002).

Her interest in theatre led her to study “Method acting” with Michael Margotta and Robert Castle. She joined Companhia de Dança de Lisboa, under the direction of Rui Horta (1984-1988), and Ramón Oller’s Compañía Metros, in Barcelona (1989-1991).

In 1991 she settled in Portugal and founded her own dance company, a cultural association that carries her name: Companhia Clara Andermatt (ACCCA).

In 1994, the choreographer started a close collaboration with Cape Verde, creating several projects with local artists from various artistic backgrounds, which included artistic residencies, workshops, and performances. Andermatt established an intensive collaboration during seven consecutive years, persisting to this day.

Cláudia Dias

Biblioteca Palácio Galveias, Lisboa PT, October 20, 2021

Subtitled in English

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© Alípio Padilha

Biography

Cláudia Dias is a choreographer, performer and teacher. She created “One Woman Show”, “Guided Tour”, “From things, things are born”, “Will To Have Will” and “Not everything we say has to be done nor does everything we do have to be said”. She is currently working on “Seven Years, Seven Works”, a long-term project that aims to contradict the idea that the future must be precarious or absent.

Eszter Salamon

MACBA - Museo de Arte Contemporáneo de Barcelona, Barcelona ES, November 13, 2021

Presented in partnership with La Poderosa, in the framework of the Cycle Hacer Historia(s) vol 4. Ciclo de Danza Contemporánea y Performance.

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© Bea Borgers

Biography

Artist and performer who lives and works between Paris, Berlin and Brussels. Since 2001, she has been creating solo and group works that have been presented in performing arts venues and festivals throughout the world including Centre Pompidou, Centre Pompidou Metz, Festival dʼAutomne, Avignon Festival, Ruhrtriennale, Holland Festival, The Kitchen New York, HAU Berlin, Berlin Documentary Forum, Kunstenfestivaldesarts, Kaaitheater Brussels, Tanzquartier Wien, Kampnagel Hamburg, steirischer herbst, Dance Triennale Tokyo, Manchester International Festival, PACT Zollverein, Nanterre-Amandiers, FTA Montreal.

She is frequently invited to present her work in museums, including MoMa, Witte de With, Fondation Cartier, Serralves, Museum der Moderne Salzburg, Akademie der Künste Berlin, Museo Reina Sofia. Her exhibition “Eszter Salamon 1949” was presented in 2015 at Jeu de Paume as part of “›Satellite‹” curated by Nataša Petrešin-Bachelez.

Eszter Salamonʼs work revolves around choreography employed as a means of navigating between different media such as sound, text, voice, image, bodily movements and actions.

In 2014, she started a series of works exploring both the notion of monument and the practice of speculating on history making.
Eszter Salamon is the laureate of the Evens Art Prize 2019.

Francisco Camacho

Edifício Lx Factory, Lisboa PT, November 23, 2013

Conference not available

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Biography

Studied dance at the schools of Companhia Nacional de Bailado (1982/83) and Ballet Gulbenkian (1983/4), later joining the company as an apprentice (1984/86). In New York, he attended different workshops and studied dance at the Merce Cunningham Studio and acting at the Lee Strasberg Theatre Institute. He studied screenplay writing with Luís Falcão and creative writing with José Luís Peixoto. He has been studying voice with Lúcia Lemos.
He danced with several choreographers in Portugal and in New York. Namely with Paula Massano; Meg Stuart in “Disfigure Study”, performing in Europe and USA; with Alain Platel in “Bonjour Madame, comment allez-vous aujourd’Hui, il fait beau, il va sans doute pleuvoir, etc”, in Europe and Canada; and Carlota Lagido in “Lilith” and “Self”. He is still touring with “Blessed” and “All Together Now”, both directed by Meg Stuart.
Since 1988, Francisco Camacho’s work has been presented in several countries in Europe, America and Africa. He choreographed and performed the solos “O Rei no Exílio/The King in Exile” (1991), “Nossa Senhora das Flores/Our Lady of Flowers” (1992, Special Mention of the Award ACARTE/Maria Madalena de Azeredo Perdigão 1992/93), “Superman” (2000), “Hitch” (2003) and “coup d’état” (2006). He directed and choreographed the group pieces “Com a morte me enganas/With Death you fool me” (1994), “Primeiro Nome: Le/First Name: Le” (1994, Award ACARTE/Maria Madalena de Azeredo Perdigão 1994/95), “Dom São Sebastião” (1996), “GUST” (1997), “More” (1998), “Em Troca/In Exchange” (2001, for Companhia Nacional de Canto e Dança of Mozambique), “My Name is Wilde… Oscar Wilde.” (2001) and “Silence so Sexy” (2002). His latest group piece is “Live/Evil – Evil/Live” co-directed with Herwig Onghena. He presented performances in co-authorship with Mónica Lapa (“Bimarginário” 1990), Vera Mantero (“Blá;-blá;-blá;” 1990) and Carlota Lagido (“Sporting Decadence” 2000). Works for non-conventional venues include: “O Príncipe da Rua/The Street Prince” (1999) for a piece by visual artist Pedro Cabrita Reis in the Museum of Bonn, “Laughter To My Heart” (2003) for the exhibition of Francis Bacon in Museu de Serralves, “Performers Anónimos” (1999) for a main street in Lisbon, and “Danças Privadas/Private Dances” presented in different spaces in Portugal, UK and The Netherlands.

Gil Mendo

Espaço da Penha, Lisbon PT, November 30, 2017

Conference available soon

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Biography

Born in Oeiras (1946), Gil Mendo studied dance at the Center for Ballet Studies of “Instituto de Alta Cultura” (High Culture Institute) between 1966 and 1972, and graduated in Choreology from the Benesh Institute of Choreology (London, 1972/1975). 

He was a professor at the Dance School of the National Conservatory (1976/86), a member of the Installing Committee of Escola Superior de Dança (Higher School of Dance) from 1983 to 1989, where he later was Coordinating Professor (1986/2014). In 1990 he was one of the founders of Forum Dança. 

He actively participated in the IETM – Informal European Theatre Meeting network since 1990, having been a member of its Executive Committee from 1991 to 1993.

He was a consultant for Dance at Comissariado Europalia 91-Portugal from 1990 to 1991, and a consultant for Dance at Fundação das Descobertas/Centro Cultural de Belém from 1993 to 1995.

He belonged to the Installing Committee of Portuguese Institute of Performing Arts – Ministry of Culture, between 1996 and 1998, and was Coordinator of its Dance Department from 1998 to 2001.

In 1999, he was a founding member of Fonds Roberto Cimetta.

He was the Dance Programmer at Culturgest, from 2004 to 2018 .

Gustavo Ciríaco

Edifício Lx Factory, Lisbon PT, February 21, 2011

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Biography

A Brazilian performing and contextual artist. He started his career in Political Sciences and then drifted to dance-making and convivial works. Ciríaco works internationally in Europe, Asia, Latin America and the Middle East on projects, artistic collaborations and workshops.
In his projects he dialogues with the historical, material and affective context one is immersed within in any given situation. In terms of art forms, Ciriaco’s work moves from multimedia staged conceptual work, through to urban walks and convivial open-air projects. His works tend to involve the spectator in a shared production of both present and presence.

He has been present in major national and international festivals, galleries and venues (San Art Gallery/Saigon; Tanz im August/Berlin; Paris Quartier d’Été, Galerie Michel Journiac/Paris; Battersea Arts Centre/London; Taipei Digital Art Center/Taipei; Prague International Festival; Casa Encendida/Madrid; Bienal de Danza del Caribe/Havana; Alkantara and Culturgest/Lisbon; CENEART/Mexico City; Panorama/Rio; Metropolis/Copenhagen; Constelaciones, Buenos Aires; Serralves Museum, Porto, among others). He has been artist-in-residence at PAR-Programa Artistas en Residencia (Montevideo); Les Récollets (Paris), Casa Encendida (Madrid), Alkantara and ZDB Galeria (Lisbon); BCS (Taipei), Al Mamal Foundation (Jerusalem) and Tokyo Wonder Site (Tokyo). He was the artistic director of Manifesta! (Rio) and guest curator for the festival ENTRE Lugares (Rio | London) with Chelsea Theatre. In 2012, he was part of Rio Occupation London, the Brazilian Artistic Mission under London Cultural Olympiad with the project where the horizon moves at V22, in partnership with Battersea Arts Centre.

As a lecturer, he has held talks at San Art Gallery (Vietnam), Tokyo Fine Arts University (Japan), V&A Museum, Chelsea Theatre (United Kingdom), Ramallah Fine Arts University (Palestine), Opéra de Lyon (France), Fnac Lisbon (Portugal), Museo Reina Sofia, Casa Encendida (Spain), Taipei Digital Arts Center (Taiwan), Itau Cultural, Centro Cultural Banco do Brasil, Panorama Festival (Brazil), Teatro Solis, (Uruguay), Bilbao University (Spain), among others.

Since 2009, Ciríaco collaborates with Fernanda Eugénio in site-specific projects and workshops in Portugal, Brazil, Vietnam and more recently in the USA. In 2015, they started the project “Steaming Cities” in New York, hosted by the Hemispheric Institute for Performance and Politics/New York University (April 2015).

Jennifer Lacey

Espaço da Penha, Lisbon PT, April 3, 2014

Conference not available

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Biography

American choreographer now based in Paris. During the 90’s in New York City, Lacey was a member of the Randy Warshaw Dance Company as well as a dancer with Jennifer Monson, DD Dorvillier, John Jasperse, Yvonne Meir and Ellen Fisher among others. At the same time she began developing her own work which was presented at PS 122, Movement Research Danspace St Marks as well as at many European venues and Festivals notably the Kaai theatre, Menagerie de Verre and the Szene Salzburg Festival. In 2000 Lacey moved to Paris, founded Megagloss with Carole Bodin and began what became a longstanding collaboration with artist Nadia Lauro. Their collaboration has produced many works including “$Shot”, “Chateaux of France”, “Mhmmmmm” and “Les Assistantes”. A monograph of their work was published in 2007. In addition to her work with Lauro, Lacey has founded a number of projects with ambiguous borders: “Projet Bonbonnière” – a research and living project designed to rehabilitate Italianate theatres; “Prodwhee” – a disposable series of performances using the dance residency as currency; “Robinhood” – a mythic and invisible performance with artist Cerith Wyn Evans; “Robinhood – The Tour” – an act of theft perpetuated with composer/musician Hecker, presented recently at the Tate Modern; and “Transmaniastan” – a work commissioned for “a choreographed exhibition” at the Kunsthalle, St. Gallen. She has also produced several solos: “Two Discussions of an Anterior Event” (2004), “Tall” (2007) and “Ouch” (2007) (a tap version of Carolee Scheeman’s Internal Scroll). In 2009 she presented “Culture & Administration”, a duet in collaboration with Antonija Livingstone. For the past two years she has been in residence at the Laboratoires d‘Aubervilliers in Paris. During this time she has produced two projects, “Ma premiere fois avec un dramaturge”, and “I heart Lygia Clark”. These projects are performative but fall outside the standard modes of dance production and spectacle. This past fall Lacey premiered a collaboration with American choreographer Wally Cardona and Jonathan Bepeler, “Tool Is Loot”.

Jeroen Peeters

Espaço da Penha, Lisbon PT, February 23, 2015

The book “Through the Back: Situating Vision between Moving Bodies”, was launched in Lisbon on the occasion of this lecture. About the book: http://sarma.be/pages/Through_the_Back 

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"Anarchiv #1: I am not a zombie" (2009), by Kattrin Deufert, Thomas Plischke, Jeroen Peeters and Marcus Steinweg

Biography

Essayist and dramaturge working across the media of writing, performance and publication. He has published widely on contemporary dance and performance, art theory and philosophy, including the book on spectatorship in contemporary dance “Through the Back: Situating Vision between Moving Bodies” (2014). Interested in documenting the “languages of making”, Peeters set up several dialogical projects with artists in the field of contemporary dance, which resulted for instance in a book in collaboration with Meg Stuart, “Are we here yet?” (2010). Other publications include the artist’s book “We don’t know what free jazz is” (2015), the essays “Reseeding the library, gleaning readership” (2018) and “Bookmarks of sorts” (2021), and the monograph on Mette Edvardsen “Something Some things Something else” (2019). Peeters regularly engages in artistic collaborations with deufert+plischke, Jack Hauser, Sabina Holzer, Sara Manente, Martin Nachbar, Meg Stuart, David Weber-Krebs and Jozef Wouters, among others. He is co-founder and editor of Sarma (Laboratory for discursive practices and expanded publication) and Varamo Press. As a researcher, he’s interested in ecologies of attention, embodied knowledge, material literacy, readership, commoning and sustainable development. Since 2020, Peeters is a research fellow at Hasselt University, Faculty of Architecture and Arts and PXL-MAD School of Arts.

A large selection of Peeters’ writings is available at http://sarma.be/pages/Jeroen_Peeters 

sarma.be/pages/Jeroen_Peeters 

João Fiadeiro

Estúdios Victor Córdon, Lisbon PT, November 4, 2021

Subtitled in English

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© Ana Viotti
© Cristiano Prim

Biography

Born in 1965, João Fiadeiro belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to Nova Dança Portuguesa (New Portuguese Dance), a movement highly influenced by the Judson Dance Theatre in America and New Dance scene in Europe. Between 1990 and 2019 he was Atelier RE.AL’s artistic director, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal, both within art and between art, science and society. Among the projects organised by this association, the LAB/Moving Projects (1992-2006), a work-in-progress platform from emergent artists; “Restos, rastos e traços” (Leftovers, tracks and traces) and “G.host” (2009-2011), two residency programs focused on documentation practises for contemporary art; and the project AND_Lab (2011-2014), a research laboratory working on the relationship between ethics, aesthetics and politics, are among the initiatives that had the biggest impact in the community. João Fiadeiro has toured extensively throughout Europe, North America and South America with his solo and group works. His pieces navigate in-between disciplines (performance, dance and theatre), contexts (theatres, museums or site-specific) and formats (choreographies, happenings or lecture-performances), in an attempt to maintain a “radical sensitivity” towards the present and remain vigilant against any form of stagnation or loss of critical discourse. Between 1995 and 2003 he collaborated with Artistas Unidos (United Artists), a Lisbon based theatre company, where he was responsible for the movement of the actors in pieces from Silva Melo, Shakespeare, Brecht, Goethe, etc.. For this company he also staged plays by Samuel Beckett (“Waiting for Godot”), Sarah Kane (“Psychosis 4’48’”’) and Jon Fosse (“Nightsongs”). Parallel to his work as a choreographer, theatre director and curator, João Fiadeiro studied and practised intensively Contact-Improvisation in the 90’s which led him to pursue and systematise his own research on improvisation under the designation of Real Time Composition. This research, which started as a tool to support his own creative practises, has since been used by researchers from art and science (coming from fields as diverse as anthropology, complex systems sciences or economy), as a theoretical-practical platform to study decision-making, representation and collaboration. This work has led him to teach extensively in different independent venues in Europe and South America (Brazil, Uruguay, Argentina and Chile) and to lead workshop sessions in the most important master programs and schools in Europe that relate to contemporary dance like PACAP/Forum Dança; EXERCE Master, MA in Arts Practice and Visual Culture at Rainha Sofia Museum; SoDA MA Program; Performing Studies at the Hamburg University; Amsterdam Master of Choreography; Master of Theatre DasArts; a.pass_advanced performance and scenography studies; MA Theatre Academy of the University of the Arts Helsinki; Villa Arson; Centre National de la Danse, etc. The Real Time Composition tool has since expanded its application outside the artistic field with initiatives like “Soft Skills for Hard Decisions”, designed in collaboration with the economist António Alvarenga and applied in human resources departments of foundations; or the discipline “Social Stigmergy” designed for the PhD program at ISCTE University in Lisbon with the complex system scientist Jorge Louçã. In 2018 João Fiadeiro published his book “Anatomy of a Decision” where he synthesised his life long research on Real Time Composition and in 2019 co-curated (with Romain Bigé) the exhibition Drafting Interior Techniques at Culturgest Gallery, the first retrospective look taken at Steve Paxton work and legacy.

Joclécio Azevedo

Biblioteca Camões, Lisbon PT, November 22, 2018

Conference not available

Por lapso é mencionado na conferência que as Jornadas de Arte Contemporânea foram uma iniciativa da Fundação de Serralves quando, na verdade, se tratou de uma iniciativa da Câmara Municipal do Porto, comissariada pelo João Fernandes e com assessoria da Ana Cristina Vicente na área da dança.

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© Susana Neves

Biography

Brazil, 1969. Lives in Porto since 1990. His artistic practice develops around choreography, curatorship, performance and pedagogy, looking for different principles of collaboration. His work tries to articulate the different roles that writing can assume in artistic practice, whether as a performative gesture, as a way of appropriating reality, as a visual material or an instrument for activating and recording performance. He was artistic director of Núcleo de Experimentação Coreográfica between 2006 and 2011. He is a member of the plenary board of GDA (Cooperativa de Gestão dos Direitos dos Artistas) since 2008 and of the Board of Trustees of the GDA Foundation since 2010. Resident artist of Circular Associação Cultural from 2012 and coordinator of the association’s educational program from 2018. He is currently studying for a PhD in Contemporary Art at Colégio das Artes (University of Coimbra).

nenhum.org/

La Ribot

Espaço da Penha, Lisbon PT, 7 Abril 2016

Subtitled in English

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© Anne Maniglier

Biography

Coreógrafa, bailarina e artista visual. O seu trabalho surge no final da transição democrática em Espanha na década de 1980 e mudou profundamente o campo da dança contemporânea. Desafia as estruturas e formatos do palco e do museu, apropriando livremente os vocabulários do teatro, arte visual, arte performativa, filme e vídeo para alcançar uma mudança conceptual na coreografia. Os seus solos, explorações colectivas, experiências com amadores, instalações e imagens em movimento são as muitas facetas de uma prática multiforme que se concentra constantemente nos direitos do corpo.

Em 2000, foi-lhe atribuído o Prémio Nacional de Dança e, em 2016, a Medalha de Ouro de Mérito em Belas Artes, prémios concedidos pelo Ministério da Cultura de Espanha.

laribot.com

Lia Rodrigues

Edifício, Lx Factory, Lisboa PT, March 22 2012

Conference not available

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Biography

Born in 1956, in São Paulo, Brazil. Rodrigues studied Classical Ballet, and completed the course in History at the University of São Paulo. In 1977, she was one of the founders of the independent contemporary dance group Andança, winner of the award from the Associação Paulista de Críticos de Arte, in 1978. Between 1980 and 1982, she worked at Compagnie Maguy Marin, in France. In 1990 she founded her own company – Lia Rodrigues Companhia de Danças – with training activities, repertoire, research and creation of new works.

Since 2018, she has been an associated artist at the Théâtre National de Chaillot and Le 104, both in Paris. In 2005, she won the medal of Chevalier des Arts et Lettre, by the French government. She received the Prince Claus Foundation Award, in the Netherlands, in 2014, for her artistic and social work. In the same year she received the AFIELD Fellowship for her initiative at Centro de Artes da Maré. In 2016, she received the Choreography award by the Société des Auteurs et Compositeurs Dramatiques – SACD, and in 2017, she received the Itaú Cultural-30 years award in the Create category.

http://www.liarodrigues.com/

Lisa Nelson

Biblioteca Palácio Galveias, Lisbon PT, October 27, 2021

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© Mandoline Whittlesey

Biography

Dance-maker, improvisational performer, and collaborative artist who has been exploring the role of the senses in the performance and observation of movement since the 70s. From an investigation of video and dance, she developed an approach to real-time editing and collaborative performance she calls “Tuning Scores.” Nelson travels widely to perform, teach, and create dances and maintains long-term collaborations with other artists, including Steve Paxton, Daniel Lepkoff, and Image Lab—Scott Smith, KJ Holmes, and Karen Nelson. She co-edits Contact Quarterly dance journal since ’76 (www.contactquarterly.com), was encouraged by a Bessie Award in 1987 and an Alpert Award in 2002. Currently creating a real-time video editing application and 3D graphic computer game with Contredanse in Brussels.

movementresearch.org

Loïc Touzé

Edifício, Lx Factory, Lisbon PT, November 10 2011

Conference not available

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Biography

Dancer, choreographer and teacher. Though he has created stage pieces since the mid-nineties, such as “Morceau”, “Love”, “La Chance”, “Fanfare”, “Forme Simple”, his work can take various forms. “Around the Table”, for example, created with Anne Kerzerho, or the film “Dedans ce monde”, are alternative ways of letting dance appear outside of the perimeter of the stage, outside or at the edge of the choreographic field.

Most of the dancers that share his work are themselves choreographers and have greatly contributed to the pieces through their talent and their commitment over the last 20 years.

For several years, Loïc Touzé has done research on the notion of the figure in dance with researcher and artist Mathieu Bouvier, resulting in a series of professional workshops and the creation of a website: pourunatlasdesfigures.net

Touzé is regularly invited to participate in research activities at La Manufacture, in Lausanne.

Loïc Touzé develops a considerable teaching practice, teaches regularly for professional dance and theatre education (Exerce Master’s degree, National Theatre School of Strasbourg and La Manufacture). He was one of the founding members of the pedagogical college of the CNDC – Angers, between 2004 and 2007, and was associate professor at the Nantes School of Architecture, between 2016 and 2019.

Since 2011, Touzé directs Honolulu, a space for residency, creation and teaching in Nantes.

All of these ways and means of action, creation, research, teaching and collaboration are connected without hierarchy. What presides over the work is the conviction that a danced gesture is an adventure, a promise of transformation and of emancipation.

loictouze.oro.fr/

Madalena Victorino

Espaço da Penha, Lisbon PT, November 20, 2014

Conference not available

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Biography

Teacher, programmer and choreographer. Born in 1956, Madalena Victorino left Portugal for London after the 25th of April of 1974 (the Carnation Revolution) to study contemporary dance. Victorino ended up dedicating herself to the study of movement associated with dance pedagogy. On her return to Portugal, started to develop many community oriented projects, such as her time in the small villages of Viseu to introduce Pina Bausch to rural women. For 12 years, Victorino was the lead programmer of the Pedagogy and Animation Center, at Centro Cultural de Belém, and currently programmes for Festival Todos. Victorino has created multiple choreographic pieces that often involve people of very different ages and life experiences with professional performers, her work is recognized for its humanistic nature and has won several awards with her projects. Her work is recognized for its humanistic nature. SShe is always concerned about the importance of artistic education for each and every person.

Marcela Levi

Videoconference, November 12, 2020

Subtitled in English

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Choreographer and performer. Over the last 20 years, she has been developing projects that dissolve the boundaries between dance and the visual arts creating a zone of ambiguity and displacements. Graduated from the Angel Vianna Dance School (Rio de Janeiro), Levi has been a resident artist at the Art Center Les Recollets (France), at the Artistas en Residencia – Casa Encendida / Aula de Danza Program (Spain), at Espacio Cultural Azala (Spain), at the Laboratório de Criatividade Urbana ON.OFF, Guimarães 2012 – European Capital of Culture (Portugal), guest artist at the Rio Occupation London program, at the London Cultural Olympiad promoted by SEC RJ (London) and received the Batiscafo scholarship (Cuba). Her projects: “Image” (2002), “Mass of Senses” (2004) – included as one of the ten best dance works of 2004 in O Globo newspaper list – , “In-organic” (2007) – included by the English Artsadmin organisation in “The top 40 illustrated guide to 2008”, cited in the 2008 yearbook of the German magazine Ballettanz and included as one of the ten best dance works of 2007 in the list of Jornal do Brasil – and “Around the hole everything is edge” (2009) – included among the highlights of dance in 2009 by the specialised critics of the newspaper O Globo, awarded the ZKB Recognition Award / Zürcher Theater Spektakel, Zurich 2010 – were presented at various festivals and art centres as: Impulstanz Festival (Vienna), Les inaccoutumés – Ménagerie de Verre (Paris), in Transit (Berlin), In Presentables (Madrid), Rencontres chorégraphiques internationales de Seine-Saint-Denis (Paris), Kunstenfestivaldesarts (Brussels), Nottdance (Nottingham), Arnolfini (Bristol), Teatro Solís (Uruguay), COCOA Festival (Buenos Aires), International Dance Biennial of Ceará, Casa França Brasil, MAM RJ, among others. Levi has collaborated with the artists Lia Rodrigues, Vera Mantero, Guillermo Gomez-Peña, Laura Erber, Manuel Vason, Cristina Moura, Dani Lima and Gustavo Ciríaco, and others.

In 2010, Marcela Levi (1973, Rio de Janeiro, Brazil) and Lucía Russo (1975, Patagonia, Argentina) founded in Rio de Janeiro an independent space of training, research and creation called Improvável Produções (Improbable Productions). Levi & Russo are committed to a polyphonic direction in which different inventive positions intertwine in a process that embraces deviant lines, dissent and internal differences as a constructive critical force and not as self-exclusive polarities.

Improvável Produções is responsible for the conception, creation and production of the dance pieces “Monstrous Nature” (2011), “Mordedores” (2015) – included in the list of the newspaper O Globo as one of the outstanding dance shows in 2015 – ,”Iron Mouth” (2016) – included in the list of the newspaper O Globo as one of the outstanding dance performances in 2018 and nominated for the Cesgranrio Dance Prize in the categories “best choreography” and “best dancer” – , “Let it Burn” (2017) – included in the list of the newspaper O Globo as one of the outstanding dance performances in 2017 – , “HARM-ONY” (2019), with the coproduction of Iberescena Fund and NAVE (Santiago do Chile), and the urban intervention “Sandwalk with me” (2012/13), with the coproduction of Panorama Festival (Rio de Janeiro). Levi & Russo projects have been presented in many theatres, festivals and arts centres in Latin America and Europe as: Kunstenfestivaldesarts (Brussels), Rencontres chorégraphiques internationales de Seine-Saint-Denis (Paris), Julidans (Amsterdam), Zurich Moves!, Side Step Festival (Helsinki), Tanzquartier (Vienna), MIT (São Paulo), Festival de Curitiba, Sala Hiroshima (Barcelona), MAM (Rio de Janeiro), Sophiensaele / Performance Platform: Body Affect (Berlin), Zürcher Theater Spektakel Festival, Fundação Calouste Gulbenkian (Lisboa), Spring Performing Arts Festival (Utrecht), among many others.

Marcelo Evelin

Espaço da Penha, Lisbon PT, February 20 2022

Conference not available

Lecture supported by Casa da Dança.

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Marcelo Evelin was born in Teresina, Brazil. He is a choreographer, researcher and performer, living and working between Amsterdam (The Netherlands) and Teresina (Brazil). In Europe, since 1986, works with dance having collaborated with artists from different disciplines and backgrounds in projects also including physical theater, music, video, installation and site-specific performances. Evelin is an independent creator with his Platform Demolition Incorporada, created in 1995, and teaches at the Mime School in Amsterdam, where he also guides students in their creative processes. He coordinates workshops and collaborative projects in various countries of Europe, America, Africa, Japan, South America and Brazil, where he returned in 2006 and since then has been working also as a curator, having deployed in Teresina, Piauí, the Núcleo do Dirceu, a collective of artists and a platform for independent research and development of the Contemporary Performing Arts, which he coordinates until 2013. He created “The Who of Things” for Carte Blanche, the Contemporary Dance Company of Norway; and “All the Women in the World” for Dancebox, in Kobe, Japan. His performances “De repente fica tudo preto de gente” (2012), “Batucada” (2014) and “A Invenção da Maldade” (2019) are being shown in theaters and festivals in Brazil and abroad. He currently teaches at CND in Paris, DAS in Amsterdam and EXERCE in Montpellier. He coordinates the Residency Center Campo Arte Contemporânea in Teresina, Piauí , Brazil. In 2019 received the title of Doctor Honoris Causa by the Federal University of Piaui.

www.demolitionincorporada.com

Mark Tompkins

Edifício, Lx Factory, Lisbon PT, July 9, 2011

Conference not available

Biography

American dancer, choreographer, singer and teacher, Mark Tompkins founds the Company I.D.A. in 1983. He creates solos, group pieces, concerts and performances that mix dance, music, song, text and video. His way of fabricating unidentified performance objects has become his signature. Sa passion for real time composition takes him around the world, teaching and performing with many dancers and musicians. In 2008, he receives the SACD Choreography Prize for his work (Society of Dramatic Authors & Composers).

Fascinated by the friction between high and low entertainment, his performances are inspired by popular forms like music-hall, vaudeville, musicals, burlesque, and the ambivalence of gender: “Black’n’blues”, “Opening Night”, “Showtime”, “A Wind Of Madness”, “Le Printemps”, “Bambi”. He sings and dances in the concert “Never Mind the Future” with Sarah Murcia, and collaborates with the Portuguese choreographer Mariana Tengner Barros in “A Power Ballad” and “Resurrection”.

Meg Stuart

Espaço da Penha, Lisbon PT, 18 Julho 2019

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Meg Stuart, born in New Orleans, is a choreographer, director and dancer who lives and works in Berlin and Brussels. With her company Damaged Goods, founded in 1994, she has created over thirty productions, wandering freely between the genres of dance, theatre and visual arts. Her work is driven by a sense for experiment and artistic cross-pollination, challenging the limits of the body and expanding our perception of reality. She uses fiction and shifting narrative layers to expose the scripts that are written not only on our bodies, but also on the spaces and landscapes that we move in. Stuart’s work questions how we can rewrite these histories of ourselves and others not by looking back, but by harnessing the potential of the moment and rebalancing the future. Through her practice she explores dance as a source of healing, a pathway through the invisible field of energies and forces that connect us, and a way to transform the social fabric and gather communities.

www.damagedgoods.be

Mette Edvardsen

Biblioteca Palácio Galveias, Lisbon PT, May 19 2022

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Choreographer and performer. Although some of her works explore other media or formats, such as video, books, and writing, Edvardsen’s interest is always in relation to the performing arts as a practice and a situation. She has worked since 1994 as a dancer and performer for a number of companies and projects and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box Theatre (Oslo, 2015), and in the focus programme Idiorritmias at MACBA (Barcelona, 2018). Her project “Time has fallen asleep in the afternoon sunshine” is ongoing since 2010, was presented twice at Kunstenfestivaldesarts (Brussels, 2013 and 2017), Sydney Biennale (2016), Index Foundation (Stockholm, 2019), Oslobiennalen First Edition (2019/2020), Trust & Confusion at Tai Kwun Arts (Hong Kong, 2021), and São Paulo Biennale (2021). Edvardsen will present several pieces at Amant, (New York, 2022), and develop a project in residence at Les Laboratoires d’Aubervilliers (Paris 2022/23).

Mette Edvardsen is structurally supported by Norsk Kulturråd (2021/2025) and BUDA Arts Centre Kortrijk (2017/2021). From 2019 to 2021, was an associated artist at Centre Chorégraphique National de Caen en Normandie (France). She is currently finalizing her research as a Phd candidate at Oslo National Academy of the Arts.

www.metteedvardsen.be/

Miguel Pereira

Biblioteca Camões, Lisbon PT, December 12, 2019

Subtitled in English

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Biography

Attended The National Conservatory Dance School and the Higher School of Dance (ESD), in Lisbon. Received a scholarship from the Portuguese Ministry of Culture to continue his studies in Paris (Théâtre Contemporain de la Danse) and in New York.
As a performer he worked with, among others, Filipa Francisco, Francisco Camacho and Vera Mantero. He was part of the theatre play and film “António um rapaz de Lisboa” by Jorge Silva Melo, worked with Jerôme Bel in the piece “Shirtologia/Miguel” in 1997, and as a performer in “Les Inconsolés” by Alain Buffard, in the remake of 2017.

Of his choreographic work special mention goes to: the esteemed work “Antonio Miguel” for which he received the Revelation Prize José Ribeiro da Fonte/Ministry of Culture and an honour for the prize of Acarte/Madalena de Azeredo Perdigão (2000), “Notes for an invisible show” (2001), the performance that is only announced by date and place (2002), “Corpo de Baile” (2005), “Karima meets Lisboa meets Miguel meets Cairo” a collaboration with the Egyptian choreographer Karima Mansour (2006), “Doo” (2008), “Antonio & Miguel” (2010) a collaboration with Antonio Tagliarini, “Op. 49” (2012), “WILDE” (2013) a collaboration with Jorge Andrade/mala voadora, “Repertoire for chairs, costumes, and extras” (2015) for Ballet Contemporâneo do Norte and “Piece for Business” and “Happy piece” (2017), “Era um peito só cheio de promessas” (2019), and “False Friends” (2021) a collaboration with Guillem Mont de Palol.
In 2003, 2007 and 2014 Miguel created for the repertoire of Transitions Dance Company/Laban Centre the pieces “Transitions”, “Transitions II” and “Transitions III” that integrated the national and international tour of the company (2003/2004, 2007/2008 and 2014/2015).

His work has been presented across Europe and Brazil, Uruguay and Chile and in 2003 was the subject of a mini-retrospective in Caldas da Rainha, as part of the cycle “Mapas” organised by Transforma-AC in collaboration with ESTGAD.

Miguel is regularly invited to teach in composition labs and workshops in Portugal and abroad.

In 2000 Vera Mantero invited him to become an associated artist of the company O Rumo do Fumo, which he continues to be involved in.

www.orumodofumo.com

Nadia Lauro

Biblioteca Camões, Lisbon PT, December 6, 2018

Conference not available

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Biography

As a visual artist and set designer, Nadia Lauro has been developing her work for several decades in various contexts (scenic spaces, landscape architectures, museums). She has conceived set designs, environments, and visual installations with strong dramaturgical power, thus generating new ways of seeing and being together.

Nadia Lauro has collaborated with the following international choreographers and performers: Vera Mantero, Benoît Lachambre, Frans Poelstra, Barbara Kraus, Emmanuelle Huynh, Fanny de Chaillé, Alain Buffard, Antonija Livingstone, Latifa Laabissi, Jonathan Capdevielle, Laeticia Dosh, and with Jennifer Lacey with whom she co-authored numerous projects.

nadialauro.com

Olga Roriz

Biblioteca Camões, Lisbon PT, November 21, 2019

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Biography

Olga Roriz was born in the North of Portugal, had an artistic training in dance in the course of S. Carlos National Theatre Dance School with Ana Ivanova and in the course of Lisbon National Conservatory Dance School.

From 1976 to 1992, she was part of the Gulbeinkian Ballet cast under the direction of Jorge Salavisa, where she was a first dancer and main choreographer.

She worked with renowned choreographers such as: Alvin Nokolais, Jiri Kylián, Louis Falco, Hans Van Manen, Vasco Wellemkamp, Karine Saporta, Lar Lubovitch, Peter Sparling, Elisa Monte and Christopher Bruce.

In 1992, she took the lead of the Lisbon’s Dance Company artistic direction. In 1995 she founded the Olga Roriz Company, in which she is both director and choreographer. 

Her dance, theatre and video repertoire is formed by more than ninety works. She has created and re-established works to several national and international companies, among them the Gulbenkian Ballet, and the National Ballet Company (Portugal), Ballet Teatro Guaira (Brazil), Monte Carlo Ballets (Monaco), National Ballet Company (Spain), English National Ballet (England), American Repertory Ballet (USA), Maggio Danza and Alla Scala (Italy).

Internationally her works were presented in the main European capitals, as well as in the USA, Brazil, Japan, Egypt, Cape Verde, Senegal, Thailand, Macao, Mozambique and South Korea.

She has a vast path in creation and movement in Theatre and Opera. In the video area she directed three films and several of her works are edited in DVD by the Real Films production, directed by Rui Simões. An extensive biography about her life and work was published by Assírio&Alvim publisher and written by Mónica Guerreiro.

Since 1982, Olga Roriz is distinguished with relevant awards, both nationally as internationally. Among these it stands out the 1º Prize of The Dance Contest in Osaka, Japan (1988), The Dance Choreography Award of the London Time Out Magazine (1993), Almada Award (2004), Commendation with The Order of Infante D.Henrique insignia – Grand Officer by the President of the Republic (2004), Portuguese Society of Authors and Milleniumbcp Grand Prize (2008), Latinidade Award (2012), among others equally important.

Panaibra Gabriel Canda

Videoconference, November 26, 2020

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Biography

Born in Maputo, Mozambique, Panaíbra Gabriel Canda is one of the most influential choreographers in Africa who reflects the country’s postcolonial upheavals as ambiguously as no other. He studies theatre, dance and music in Mozambique and Portugal. Since 1993 he develops his own artistic projects. His work has been presented all around the world and has won distinct prizes. In 1998 he founded CulturArte – Cultura e Arte em Movimento, perhaps the first and only production space for contemporary dance in Mozambique. Panaibra´s dedication as artistic director and choreographer lies in supporting and developing the local and regional dance scene, including creations, performances and training programmes. He also develops collaborations with artists in southern Africa and Europe as well as collaborating with artists of other disciplines.

Rui Horta

Biblioteca Palácio Galveias, Lisbon PT, June 23, 2022

Conference not available

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Biography

Born in Lisbon, began dancing at the age of 17 in ballet courses at the Ballet Gulbenkian, having later lived for several years in New York, the city where he completed his training and developed his career as a performer and teacher. In 84 he returned to Lisbon, being one of the most important drivers of a new generation of Portuguese dancers and choreographers.

During the 90s he lived in Germany where he directed the SOAP Dance Theater Frankfurt, his work is considered a reference of European dance and presented in the most important theaters and festivals around the world, namely at the Théâtre de la Ville, a regular coproducer for over a decade.

In 2000 he returned to Portugal, and funded O Espaço do Tempo in Montemor-o-Novo, a multidisciplinary center for residencies and artistic experimentation.

In addition to his intense work as an independent creator, Horta created, as a guest artist, a vast repertoire for renowned companies such as the Cullberg Ballet, Gulbenkian Ballet, Ballet du Grand Théâtre de Genève, Ballet National de Marseille, Nederlands Dans Theatre, Gothenburg Opera Dance Company, Iceland Dance Company, Scottish Dance Theatre, Random Dance, Carte Blanche, Ballett des Staatstheaters am Gärtnerplatz, Ballet du Nord, Landestheater Linz Ballet, Nuremberg Ballet, Tanzmainz, etc.

Throughout his career he received important awards and distinctions such as the Grand Prix de Bagnolet, the Bonnie Bird Award, the Deutsche Produzent Preis, the Acarte Award, the Almada Award, the degree of Officer of the Order of Prince Henry, the degree of Chevalier de l’Ordre des Arts et des Lettres, by the French Ministry of Culture.

His choreographic creation has been classified as Heritage of German Dance. In the performing arts, his work as a director extends to theatre, opera, the new circus, and experimental music, as well as being a light designer and multimedia researcher, a universe he frequently uses in his works.

Sofia Dias & Vítor Roriz

Biblioteca Camões, Lisbon PT, July 7, 2016

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Duo of independent dancers and choreographers. They began collaborating in 2006 on the research and creation of performances that have since been presented in over 17 countries. In their works words, voice, sound and objects become the focus of their research: thus throwing another light on the connection between movement and gesture. In 2011 they ha’ve been awarded the Prix Jardin d’Europe and given the first place of Aerowaves Spring Forward 13 for their performance “A gesture that is nothing but a threat” that questions the hierarchy between words and movement.

Since the beginning of their collaboration they had the support of different structures such as Bomba Suicida 2009-2016, they’ve been Associated Artists from O Espaço do Tempo 2009-2016 and from Materiais Diversos 2012-2016. They have been supported by various European Networks such as Looping, TRANSFER, Open Latitudes, Modul Dance, ONDA and Départs.

They have been invited to collaborate with different artists such as Catarina Dias, visual artist and long time collaborator, Lara Torres, Marco Martins, Clara Andermatt, Mark Tompkins and since 2014 they’ve been performing “Antony and Cleopatra” by Tiago Rodrigues and “Sopro” (2017) by the same director. They regularly teach workshops and classes and have been organising residencies and reflection groups for artists in different contexts. They made the curatorship for the second edition of PACAP – Advanced Program of Creation in Performing Arts, Forum Dança (2018/2019).

sofiadiasvitorroriz.com

Sónia Baptista

Biblioteca Camões, Lisbon PT, November 14, 2019

Conference not available

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Studied Contemporary Dance at Forum Dança. In 2001, she was awarded the Ribeiro da Fonte Prize for Revelation in the area of ​​Dance, by the Ministry of Culture, for “Haikus” (her first work). She obtained, with distinction, the degree of Master Researcher in Choreography and Performance from the University of Roehampton (London). In her work, she explores and experiments with the languages ​​of Dance, Performance, Music, Literature, Theatre and Video. Besides poems dispersed in several publications, she is the author of 6 published books. Collaborates with CNB, Forum Dança and ESTC (Lisbon’s Film and Theatre School). In 2016 she premiered, at the Alkantara Festival, “Assentar Sobre a Subida das Águas” and, in 2017, “Querer do Corpo, Peso”, at São Luiz. Throughout her artistic career, her work has been supported by the Ministry of Culture, Calouste Gulbenkian Foundation and National Culture Centre. Her work has been presented at various Festivals and Theatres, in Portugal and abroad. Sónia Baptista is Associate Artist at AADK Portugal.

Susan Klein

Estúdios Victor Córdon, Lisbon PT, September 29, 2022

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Biography

Klein has been developing and teaching Klein Technique™ since 1972, teaching in daily classes in New York City at her studio, The Susan Klein School of Movement and Dance, and during the last two years of the pandemic of Covid-19 on Zoom. Since 1989 she has been traveling throughout the world teaching intensive workshops in Klein Technique™.

Klein Technique™ is a result of a serious knee injury and developed out of Susan’s personal journey to get well. It serves as a way for people to work through their individual injuries, to understand and improve the workings of their bodies, to heal themselves and become better dancers. Her main influences in developing her work are Irmgard Bartenieff, Dr. Fritz Smith, and Professor J. R. Worsley.

Susan has a private practice as a Movement Therapist, Certified Zero Balancer, Senior Zero Balancing Teacher, and Traditional 5 Element Worsley Style Acupuncturist, L.Ac., B.Ac.(UK), M.Ac.,(USA), Dipl. Ac.(NCCAOM).

www.kleintechnique.com

Vânia Rovisco

Biblioteca Camões, Lisbon PT, November 15, 2018

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Vânia Rovisco performer and dancer, creator of installations and durational pieces through which explores and updates relational processes.
With a work strongly anchored in research and consequent creation of a procedural embodiment, made for, working with the public manufacturing experiences mediated spatial modeling, temporal and perceptual. To this end uses the simple articulation of meaning devices such as wording, the formal hybridity, the cadence and articulation of time, the use of inherited geometries of choreography’s use for affirmation or disruption of social standardization, such entries and projections are displayed on the body and modes.

Bringing the performative work towards the geography of affections and relations (framing, accelerating, intensifying the bodies), including it in the gallery space – requiring therefore a recasting of the guidelines, expectations and involvement, turning the public into a co-creator attainingr singular experience, mediator of the results, and living document of the process.

Considering as centered reference the body as meaning agent, embodiment as a result and co-creation (social, subjective or intimate), Vânia Rovisco makes these an operating resource and power generator of her work. The first assumes the conduct of time, the states of things and processes, the second expresses points, highlights and combines all (speed, genders, genres, moods, tenses, affections) that a body is, all in which continuously manifetate through how and what experience is portrayed..

Thus presenting vast sets of pieces that cover her research spectrum and recent works as: video installations, performance as a live installation, installation, music and performance. In all a common denominator prevails: the production of meaning as an encounter between and departing from bodies/movement.

Vera Mantero

Biblioteca Camões, Lisbon PT, November 5, 2019

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Biography

Studied classical dance with Anna Mascolo and danced in the Gulbenkian Ballet between 1984 and 1989. She started choreographing in 1987 and, since 1991, has become a benchmark of the New Portuguese Dance, and has been presenting her solo and group work all over Europe, Argentina, Uruguay, Brazil, Canada, Singapore, South Korea and the USA.

Of her solo work mention goes to “Perhaps she could dance first and think afterwards” (1991), “Olympia” (1993), “one mysterious Thing, said e.e.cummings” (1996), “What can be said about Pierre” (2011), “The Caldeirão Highlanders, exercises in fictional anthropology” (2012) and “Rich Bread” (2017). Her group pieces include “Under” (1993), “For Boring and Profound Sadnesses” (1994), “Poetry and Savagery” (1998), “k(ɘ) su’pɔɾtɐ i s(ɘ)ˈpaɾɐ i kõˈtɐj uʃ dojʃ mu’duʃ i õ’dulɐ” (2002), “Until the moment when God is destroyed by the extreme exercise of beauty” (2006), “We are going to miss everything we don’t need” (2009), “The Propitiatory Practices of Future Events” (2018), “Splendour and Dysmorphia” (2019) created with Jonathan Uliel Saldanha for Festival d’Avignon, “A fright is a whole word” (2021). Mention goes as well to the project “SURREPTITIOUS (clandestine body)” conceived with Ana Borralho & João Galante, Rita Natálio and Joclécio Azevedo.

In 2013 and 2014 Mantero created the performance installations “Shadows on offer” and “More or Less, but Less than More”, this last piece presented in two different versions: one occupying the whole space of the auditorium – seating and proscenium – in 2013, and other the creation of urban vegetable gardens for the final presentation of the project in 2014. “More or Less, but Less than More” was created in partnership with Culturgest and Maria Matos Teatro Municipal, under the scope of the Create to Connect project financed by the European Commission. These projects, as well as “The Clean and The Dirty” – which premiered in 2016 at Maria Matos Teatro Municipal in the framework of the cycle “The Three Ecologies” co-commissioned by Vera Mantero with Mark Deputter and Liliana Coutinho – clearly reflect the choreographer’s concerns for fundamental issues such as the environment, economic sustainability, social cohesion and inclusion, and Citizenship. In 2018, Mantero was elected by Esglobal and Fundación Avina to be in the List of the Most Influential Ibero-American Intellectuals, devoted that year to professionals who contributed in the fields of environmental, economic, political and/or social sustainability. In 2020, created the performance-conference “Jurisplâncton”, in the framework of the research developed at the Terra Batida network (proposed by Rita Natálio/Marta Lança) – to raise awareness of our individual and collective sense of ecology, the understanding of environmental crimes, and the role of the rights of nature; this piece is later presented as “All you need is plankton”.

Her artistic work has been recognized with institutional prizes such as the Prémio Almada (Ministry of Culture, 2002) or the Prémio Gulbenkian Arte for her career as a creator and performer (2009), as well as through initiatives such as the retrospective organized by Culturgest in 2009, entitled “Month of March, Month of Vera”, or the Portuguese representation at the 26th São Paulo Art Biennial (2004) with the work “Eating your heart out” co-created with the sculptor Rui Chafes. The influential Brazilian newspaper O Globo elected “The Caldeirão Highlanders, exercises in fictional anthropology” as one of the best 10 dance pieces presented in 2014. The city of Fundão dedicated a year to the artist (April 2015 – April 2016) with the project “Passage #2”, which included the presentation of several performances, a project with local students and the recreation of “Eating your heart out” for a treetop walkway in Fundão – this new version, entitled “Eating your heart out in the trees” was presented in 2016 at Jardim da Sereia in Coimbra, for which Rui Chafes created a new sculpture, in 2019 started to be presented in theatrical venues taking the name “Eating your heart out on stage”.

Since 2014, Vera Mantero, together with Jorge Andrade and Pedro Penim, is part of the cast of the Portuguese version of “Quizoola!” by Tim Etchells/Forced Entertainment. Vera Mantero was invited by Boris Charmatz to be part of “20 Dancers for the 20th Century”, a living archive of the defining choreographic solos of the 20th century, that took place at the Tate Modern (London) and at the Paris Opera/Palais Garnier (Paris) in 2015, at the Staatsoper, Tanzkongress (Hannover) and at the Museo Reina Sofía (Madrid) in 2016, and at the IVAM – Institut Valencià d’ Art Modern (Valencia) in 2019. Mantero participates regularly in international improvisation projects alongside improvisers and choreographers such as Lisa Nelson, Mark Tompkins, Meg Stuart and Steve Paxton.

Since the year 2000 Vera Mantero has also been exploring vocal work, either singing the repertoire of different authors or co-creating experimental music projects.

She regularly teaches composition and improvisation in Portugal and abroad.

 

“For me, dance is not a given fact. I believe that the less I acquire it, the closer I will be to it. I use dance and performance work to understand what I need to understand. I don’t see any sense anymore in a performer specialized in a single discipline (a dancer or an actor or a singer or a musician) and I now see some sense in a performer specialized in the whole. Life is a terribly complicated and rich phenomenon and I see the work I do as a continuous fight against the impoverishment of the spirit, both mine and others, a fight that I consider essential now and always.”

Vera Mantero

www.orumodofumo.com

Xavier Le Roy

Biblioteca Camões, Lisbon PT, March 5, 2020

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Xavier Le Roy holds a doctorate in molecular biology from the University of Montpellier, France, and has worked as artist since 1991. Since 2018 works as Professor at the Institute for Applied Theater Studies in Giessen (Germany).

He has performed with diverse companies and choreographers. From 1996 to 2003, he was artist-in-residence at the Podewil in Berlin. In 2007-2008 he was “Associated Artist”at Centre Chorégraphique National de Montpellier, France. In 2010 Le Roy is an Artist in Residence fellow at the MIT Program in Art Culture and Technology (Cambridge, MA).

In 2012, he begins a 3 years residency at Théâtre de la Cité Internationale, Paris. Through his solo works such as « Self Unfinished (1998) » and « Product of Circumstances (1999) », he has opened new perspectives in the field of choreography. At the same time, he initiated projects exploring the modes of production and collaboration in group works: “E.X.T.E.N.S.I.O.N.S.” (1999-2000), “Project” (2003) and “6 Months 1 Location” (2008).

His works such as the soli “Le Sacre du Printemps” (2007), “Untitled” (2014), the group piece “low pieces” (2011), and works for exhibition spaces such as “production” (2011) created together with Mårten Spångberg, “Untitled” (2012) for the exhibition 12 Rooms, “Retrospective” first realized in 2012 at the Tapiès Foundation-Barcelona, “Temporary Title, 2015” created at Sydney in the frame of John Kaldor Public Art Project or “For The Unfaithful Replica” (2016) in collaboration with Scarlet Yu at CA2M Madrid; produce situations that explore the relationships between spectactors / visitors / performers and the production of subjectivities.

In 2017, together with Ensemble Issho Ni they create for the Ensemble Modern in Frankfurt: the exhibition “Haben Sie “Modern” gesagt?”, and he developped, together with Scarlet Yu, “Still Untitled”, a work for public spaces commissioned by Skulptur Projekte Münster 2017. In 2018 at the invitation of the Biennale di Venezia he creates a new version of the “Le Scare du Prinmtemps” for 3 performers and works on a new edition of “Rétrospective” at the Museo Jumex in Mexico City. In 2019 this exhibition sees its 13th edition at the Hamburger Bahnhof – Museum für Gegenwart – Berlin and, in collaboration with Scarlet Yu and the team of Temporary Title, 2015 they choreograph the “Research Conversations” of the three days event: “Live Forms” at the Haus der Kultur der Welt – Berlin.

His works produce situations that question the relationships between spectators/visitors and performers and are attempt to transform or reconfigure dichotomies such as: object / subject, animal / human, machine / human, nature / culture, public / private, form / unform.

About

“All of us, dancers, choreographers or performers, receive somehow, through different means, more academic or more self-taught, an idea of the History of Dance, or the History of the Performing Arts, from which we feel we ‘descend’ (and perhaps we feel we descend from several Histories at the same time!). There were certainly choreographic or scenic creators that made us understand the art we make the way we understand it today. Each one has a specific idea of how this History unfolded, and for each one there are certain artists and certain artistic movements that helped shaping the idea of dance that one has and practices and that, somehow, is answering to that History. These lectures will give us the opportunity to know the History of Dance, that each person has created within her/himself.”

Vera Mantero

 

The lecture cycle My Dance History is a project develloped since 2011 by Forum Dança and O Rumo do Fumo. This project, initially implemented in Lisbon, has also been presented in Viseu, Funchal and Barcelona, in partnership with: Teatro Viriato, Dançando com a Diferença and La Poderosa. The cycle has been hosted by: Edifício (LX Factory), Espaço da Penha, Rede de Bibliotecas de Lisboa and Estúdios Victor Córdon/OPART.

Forum Dança and O Rumo do Fumo are financed by the Portuguese Republic – Culture / Direcção-Geral das Artes. This project is supported by Câmara Municipal de Lisboa / Direcção Municipal da Cultura / Divisão da Rede de Bibliotecas. Website co-financed by Garantir Cultura, Compete 2020, Portugal 2020 and European Union through European Regional Development Fund - ERDF.

Project summary

Agenda

2023 lectures to be anounced

Contact

Forum Dança

Webpage: forumdanca.pt

E-mail: forumdanca[at]forumdanca.pt

Phone: +351 213 428 985

 

O Rumo Do Fumo

Webpage: orumodofumo.com

E-mail: info[at]orumodofumo.com

Phone: +351 213 431 646

 

Address: Espaço da Penha, Travessa do Calado 26-B, 1170-070 Lisbon, Portugal

Forum Dança

Forum Dança is a non-profit cultural association, created in 1990, whose mission is to promote contemporary dance, through professional and artistic training, research, editing and documentation. It is a meeting platform for professionals and the public. It develops pedagogical projects, seminars, artistic residencies, informal presentations, workshops and regular classes aimed at professional audiences and amateurs, adults and young people.

Forum Dança is a structure recognized as a structure of public utility since 1998. Forum Dança is an independent structure funded by Portuguese Ministry of Culture / Directorate General for the Arts, the Lisbon City Council and the Calouste Gulbenkian Foundation. Forum Dança is one of the founding structures and is an associated member of REDE – Association of Structures for Contemporary Dance.

www.forumdanca.pt

O Rumo do Fumo

Founded in 1999 by Vera Mantero and supported since then by the Portuguese Ministry of Culture, O Rumo do Fumo is a creation, production, national and international tour managing, research, teaching and programming structure in the field of contemporary dance, which positions itself in an experimental and research artistic territory. Territory that also extends the field of dance and its horizons, characterized by the transversality of the artistic disciplines and where dance, music, theater, literature/poetry, visual arts and cinema intersect.

Since 2000, O Rumo do Fumo has been responsible for the production of works by several artists with the aim of creating the necessary means for development and consolidation of their careers, providing a greater continuity of their works and facilitating opportunities for national and international touring.

Between 2000 and 2002, O Rumo do Fumo supported 10 artists, namely André Guedes, João Samões, Margarida Mestre, Mário Afonso, Miguel Pereira, Paula Castro, Paulo Henrique, Rafael Alvarez, Teresa Prima and Vera Mantero. Since 2002, the accumulation of work, exacerbated by the increase of Vera Mantero’s and Miguel Pereira’s activities, led to the decrease of supported artists, and since 2004 the support was focused on four artists (André Guedes, João Samões, Miguel Pereira and Vera Mantero), allowing to define a more efficient strategy of production, promotion and touring of their works. Since 2008, O Rumo do Fumo started to support punctual projects by young artists, either by supporting the executive production, as in the case of Rita Natálio, Matthieu Ehrlacher and Pablo Fidalgo, or through various support programs for emerging artists. Currently, represents the associate artists Miguel Pereira and Vera Mantero, the supported artists Elizabete Francisca, Henrique Furtado Vieira and Nuno Lucas, and other artists through its emerging artists’ programmes.

In September 2008 O Rumo do Fumo and Forum Dança joined forces to create the EDIFÍCIO at LX Factory, in Lisbon, since then and for the first time the structure has its own studio. This project represented a new collaboration format within the Portuguese dance community, enhancer of new work dynamics, and hosted 102 creation and research projects, organised informal presentations, lectures, seminars, workshops, publication launches and several other events. The synergy created between these two production structures has been consolidated over time, updating strengths and skills with a new work space since 2014: the Espaço da Penha. This space has several studios, as well as spaces for other artistic structures, promoting a cluster that builds and advances together in a new and consistent work hub.

During its years of activity, O Rumo do Fumo has built a solid national and international network of contacts and partners (institutions, theaters and festivals) in four continents, with whom the structure maintains regular activity through the projects by its artists. This network allowed to produce a total of 115 new creations and 315 events (workshops, lectures, meetings, informal presentations, etc), showing 1169 performances, 515 in Portuguese cities and 654 in foreign cities.

Since 2003 O Rumo do Fumo is a co-founding member of REDE – Association for Contemporary Dance, in Portugal.

www.orumodofumo.com
Biblioteca Palácio Galveias, Lisbon PT, May 19 2022
MACBA - Museo de Arte Contemporáneo de Barcelona, Barcelona ES, November 13, 2021
Biblioteca Camões, Lisbon PT, March 5, 2020