A Minha História da Dança
My Dance History

Ligia Lewis

Biblioteca Camões, Lisbon PT, 27th April 2023



Ligia Lewis (born in the Dominican Republic) lives and works in Berlin. As an experimental choreographer, her work is often marked by physical intensity and humour. In her work, sound and visual metaphors meet the body, materialising the enigmatic, the poetic and the dissonant.

Lewis has received the Tabori Award for Distinction (2021); the Foundation for Contemporary Arts Grants (2018); a Bessie Award for Outstanding Production for minor matter (2017); a Factory artist residency at tanzhaus nrw (2017-19); and a Prix Jardin d ‘Europe from ImPulsTanz for Sorrow Swag (2015).

Her work has been presented across Europe and in the United States, at venues such as HAU Hebbel am Ufer in Berlin; Tanzquartier in Vienna; Arsenic in Lausanne; MCA – Museum of Contemporary Art in Chicago; Hammer Museum in Los Angeles; Walker Art Center in Minneapolis; Kaaitheater in Brussels; High Line Art in New York; Performance Space in New York; OGR Turin; Stedelijk in Amsterdam; TATE Modern in London, among others.


Mette Edvardsen

Biblioteca Palácio Galveias, Lisbon PT, May 19 2022


© Antero Hein


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.


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.


© Bea Borgers


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.

Xavier Le Roy

Biblioteca Camões, Lisbon PT, March 5, 2020


© Emma Picq


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.

Vera Mantero

Biblioteca Camões, Lisbon PT, November 5, 2019

Subtitled in English


© José Caldeira | TMP
© Pedro Figueiredo
© Tuna


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


Lisa Nelson

Biblioteca Palácio Galveias, Lisbon PT, October 27, 2021


© Mandoline Whittlesey


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.


La Ribot

Espaço da Penha, Lisbon PT, 7 Abril 2016

Subtitled in English


© Anne Maniglier


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.


João Fiadeiro

Estúdios Victor Córdon, Lisbon PT, November 4, 2021

Subtitled in English


© Ana Viotti
© Cristiano Prim


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.

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 


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


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 


Gustavo Ciríaco

Edifício Lx Factory, Lisbon PT, February 21, 2011



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).

Gil Mendo

Espaço da Penha, Lisbon PT, November 30, 2017

Subtitled in English



Born in Oeiras (1946-2022), 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 .

Cláudia Dias

Biblioteca Palácio Galveias, Lisboa PT, October 20, 2021

Subtitled in English


© Alípio Padilha


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.

Panaibra Gabriel Canda

Videoconference, November 26, 2020



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.

Marcela Levi

Videoconference, November 12, 2020

Subtitled in English


© Lucia Russo


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.

Christine de Smedt

Videoconference, April 20, 2020


© Chris Vander Burght


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.

António Pinto Ribeiro

Biblioteca de Alcântara, Lisbon PT, July 15, 2021

Subtitled in English



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).

André Lepecki

Edifício Lx Factory, Lisboa PT, March 15, 2012

Subtitled in English


Photo by Malthe Stigaard ©Studium Generale Rietveld Academie


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).

Ana Borralho & João Galante

Espaço da Penha, Lisboa PT, December 7, 2017

Subtitled in English


© Bruno Simão


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.


Miguel Pereira

Biblioteca Camões, Lisbon PT, December 12, 2019

Subtitled in English


© Lais Pereira


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.



“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



Ligia Lewis
27 April, 6:30pm
Palácio Galveias Library

Margarida Bettencourt
2 November, 6:30pm
Camões Library


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.


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.

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