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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).

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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.

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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.

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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”.

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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.

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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.

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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.

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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.

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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.

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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.

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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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).

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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.

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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.

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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).