A Minha História da Dança
My Dance History

Susan Klein

Estúdios Victor Córdon, Lisbon PT, September 29, 2022

Conference not available


© DR


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).


Loïc Touzé

Edifício, Lx Factory, Lisbon PT, November 10 2011

Conference not available



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.


Marcelo Evelin

Espaço da Penha, Lisbon PT, February 20 2022

Conference not available

Lecture supported by Casa da Dança.


© Marc Domage


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.


Lia Rodrigues

Edifício, Lx Factory, Lisboa PT, March 22 2012

Conference not available



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.


Mark Tompkins

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

Conference not available


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”.

Vânia Rovisco

Biblioteca Camões, Lisbon PT, November 15, 2018

Conference not available



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.

Sónia Baptista

Biblioteca Camões, Lisbon PT, November 14, 2019

Conference not available


© Mariana Smania


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.

Rui Horta

Biblioteca Palácio Galveias, Lisbon PT, June 23, 2022

Conference not available



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.

Olga Roriz

Biblioteca Camões, Lisbon PT, November 21, 2019

Conference not available


© Estelle Valente


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.

Nadia Lauro

Biblioteca Camões, Lisbon PT, December 6, 2018

Conference not available



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.


Meg Stuart

Espaço da Penha, Lisbon PT, 18 Julho 2019

Conference not available


© Edouard Jacquinet


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.


Madalena Victorino

Espaço da Penha, Lisbon PT, November 20, 2014

Conference not available



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.

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.


© Susana Neves


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).


Jennifer Lacey

Espaço da Penha, Lisbon PT, April 3, 2014

Conference not available



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”.

Francisco Camacho

Edifício Lx Factory, Lisboa PT, November 23, 2013

Conference not available



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.

Clara Andermatt

Biblioteca Camões, Lisboa PT, June 2, 2016

Conference not available


© Ivo Canelas


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.

Sofia Dias & Vítor Roriz

Biblioteca Camões, Lisbon PT, July 7, 2016

Conference not available


© S_V


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).



“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