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Em Trânsito 2023

1990, Barreiro, Portugal.

André Cabral

Lisboa, Portugal, 1979.

Joana Sá

France, 1992.

Jessica Guez

_In Transit_ establishes connections with numerous festivals that have a preponderant and essential role for the future of dance in Portugal. Through this program, EVC supports artistic practices in a continuous collaboration with partner festivals and contributes to their consolidation as spaces for artistic creation, mediation, promotion and internationalization. 

The program also invites structures that promote dance initiatives to develop some of their activities in collaboration with EVC. 


_Dois Chorões e um dente-de-leão_ is the first creation of André Cabral in residence at the EVC under the program In Transit, in a partnership with the Materiais Diversos Festival. Aimed at a children and youth's audience, _Dois chorões e um dente-de-leão_ seeks to work on a fable that initially starts from growing pains and moves on to a fantastic and lively imaginary, making use of movement and text to allude to physical and mental growth.

>"Is it pain, or discomfort? How much does it cost to grow? What are these pains, that come and go almost as fast as all the questions I have that give rise to other questions? After all, I don't feel like such a child anymore, I guess... in the meantime I fell asleep and woke up in a vase! And in it I discover that I can talk to myself more seriously, and that I'm not the only one asking questions." André Cabral


Dois chorões e um dente-de-leão

_A dancer who couldn't dance, a singer who couldn't sing, an actor who couldn't act, a writer who couldn't write, a painter who couldn't paint. A dancer who sang, a writer who painted, an actor who wrote. One had to know how to do in order to know how to be. While the fine lines separating being from doing, self from action, thing from subject, are blurred, there is something that remains unfit and dysfunctional. A monster that does not fulfill the function._

_Está visto (Interlúdio lírico, 2023)_ is the provisional title of a new solo piece by João dos Santos Martins in collaboration with pianist and composer Joana Sá and visual artist Ana Jotta. Based on the song cycle _Dichterliebe_ [A Poet's Love] composed by Robert Schumann in 1840, the piece is presented as a recital, with the intention that the practices of singing, piano playing, and dancing interact and overflow into each other. 

The romantic-style songs with poetry by Heinrich Heine speak of unrequited love. This lack of reciprocity of the emotions is reflected in the idea of dance that is disarticulated from language through gesture, splitting between resonance and dissonance with both the lyrics of the songs and the sound.

###### Credits

##### Conceived and performed by João dos Santos Martins
##### Pianist | Joana Sá
##### Scenery | Ana Jotta
##### Light Design | Filipe Pereira
##### Coproduction | BoCa Bienal, Museu de Arte Contemporânea de Serralves, Vaga
##### Residencies | Estúdios Victor Córdon, Casa da Dança, DeVIR CAPa, Grand Studio (Brussels), Vila Sul Goethe Institut Salvador (Salvador da Bahia)
##### Production | Sofia Lopes / Associação Parasita

Está visto  ⏤ João dos Santos Martins

Between the exhibition and the show, "Looking From a Window Above" draws inspiration from the various places where I develop my artistic practices: the bedroom, the studio, and the scene. It was born from a very simple desire: to dance with my paintings.

This piece materializes fantasies coming from inner and sometimes intimate places like memory and imagination. These fantasies or inner images also come from traditional and pop music, and works from the past, in particular an Italian baroque painting from 1522 (i.e. from its low-quality photographic reproduction).

I wish to share and promote forms of physical and personal relationship with artistic objects: from the poster in the bedroom to the painting in the museum. In exposing this intimacy on stage and at the same time as the exhibition of the paintings happens, I try to let the fragility and vulnerability - linked in part to the everyday, the human - circulate within the forces that are produced in the convention or cultural habit that is a show, an audience watching an artistic form.

###### Credits
##### Concept, chorégraphie et interprétation | Jessica Guez
##### Dramaturgie et accompagnement artistique | Maša Tomšič et Bernardo Chatillon
##### Regard extérieur | David Marques
##### Interprète participant dans le processus | Xavier Ovidio
##### Régie et adaptation lumière et son | Tiago Gandra
##### Costumes | Jessica Guez avec des éléments récupérés de la collection de Daniel Larrieu
##### Soutiens et coproductions | Self-Mistake, Temps'Images Lisboa, Festival ZOA et DGArtes - Ministère de la Culture de la République Portugaise
##### Résidences | Estúdios Victor Córdon, Honolulu-Nantes, Trust Collective, Companhia Portuguesa de Bailado Contemporâneo, Gaivotas, et Companhia Olga Roriz
##### Remerciements | Nuno Bernardino, Delfim Sardo, Milton Pereira, Daniel Pizamiglio, Elisa Pône, Rita Barreira, Nuno Marques et José-Maria &Marta

Looking from a window above ⎯ Jessica  Guez

Gaya de Medeiros, Brazilian artist living in Portugal, uses dance to transform her concerns into emotion, beauty and sweat. Her performance “Atlas da Boca”, co-created with Ary Zara, was considered one of the best shows of 2022. Invited by BoCA to enter the universe of Pina Bausch, Gaya de Medeiros engages in her militancy of affections to investigate in this new project forms of hope or the effort _to hope_. Based on the environment proposed in Pina Bausch’s emblematic show _Café Müller_ (1978), which curiously was last danced in Lisbon, and those characters who have a very fragile relationship with life, the Brazilian choreographer and dancer weaves a multigenerational reflection on depression, ageing and the future. 

By revisiting Bausch’s classic, Gaya explores the expressive paradox of dance as a communication tool and a mysterious, opaque force. Thus, by traversing that morbid, distressing and sometimes convulsive universe, the performer invites the audience to dive into their pulsions of life and death, and to desacralise the act of being alive – less a duty than a choice.

This public sharing takes place in the Victor Córdon Studios, precisely where Pina Bausch rehearsed her 1998 creation about Lisbon, _Masurca Fogo_.

 
###### Credits
##### Creation and artistic direction: Gaya de Medeiros
##### Co-creation and interpretation: Gaya de Medeiros, Jo Bernardo, Lívia Espírito Santo and Helena Baronet
##### Dramaturgy support: Ana Rocha
##### Musical composition: Ricardo Almeida
##### Light design and scenic space: Tiago Cadete
##### Costume design: Raphael Fraga
##### Administration: Gustavo Monteiro / Sekoia – Artes Performativas
##### Production: Luísa Teixeira / Sekoia – Artes Performativas
##### Comission: BoCA – Biennial of Contemporary Arts
##### Coproduction: BoCA – Biennial of Contemporary Arts, Sekoia – Artes Performativas

"Cafezinho" by Gaya de Medeiros

##### Autonomy – that condition that allows us to relate freely to the Other, in other words, what happens by relating the various planes of time and space. This free relationship that can go deep; like the abyss that terrifies and seduces, but doesn’t paralyse. This universe that understands complexity and is open to any direction that the present demands. This particularity, stripped of paradigms, principles, moralities and limits that predefine the encounter with the other and their future.
##### Tamara Cubas invites us to experiment and analyse the action of certain practices and logics in order to uncover some points that she considers useful in this quest for autonomy. Where is the place of force, desire or drive located? What is the relational strategy? What worlds does it integrate? What logics does it move away from? What are its limits? What are its starting points? What universes does it integrate?
##### Tamara Cubas is a choreographer, visual artist and cultural manager born in Uruguay, internationally recognised mainly for her work Trilogia Antropofágica. Her work has travelled through various disciplines, from the performing arts to the visual arts, including group and solo exhibitions and installations. One of the predominant themes throughout her authorial career is the last military dictatorship in Uruguay, which marked her childhood and family history.

###### TARGET AUDIENCE
+16, dance students and professionals, curious people about the performing arts, people interested in the body and the reflection associated with it.

###### PRICE
Normal ⏤ 120€
GDA Foundation Co-operating Artists ⏤ 60€

###### REGISTRATION
Register by filling in the form.
Max 15 participants. Entries will be taken in order of receipt.

###### Public sharing
30.09, 5 pm, São Luiz Teatro Municipa

IN SEARCH FOR AN AUTONOMOUS BODY ⏤ TAMARA CUBAS

Em Trânsito estabelece ligações com vários festivais que têm um papel preponderante no presente e essencial para o futuro da dança em Portugal. Através deste programa, os EVC apoiam a criação artística numa colaboração contínua com os festivais parceiros e contribuem para a sua consolidação enquanto espaços de criação, mediação, promoção e internacionalização artística. 

O programa também convida estruturas promotoras de iniciativas na área da dança a desenvolverem algumas das suas atividades em colaboração com os EVC.


_In Transit_ establishes connections with numerous festivals that have a preponderant and essential role for the future of dance in Portugal. Through this program, EVC supports artistic practices in a continuous collaboration with partner festivals and contributes to their consolidation as spaces for artistic creation, mediation, promotion and internationalization. 

The program also invites structures that promote dance initiatives to develop some of their activities in collaboration with EVC. 




In Transit 2022

Through the _In Transit_ Program, the EVC establish partnerships with numerous festivals that play a fundamental role in promoting artistic creation and the access to the performing arts in Portugal. By maintaining a continuous collaboration with the partner festivals, we contribute to their strengthening as spaces for creation, mediation, promotion and internationalization of the arts, as well as to the movements of social transformation driven by the topics highlighted in their respective programmes. 

_In Transit_ also encourages partner institutions to develop some of their dance projects in collaboration with the EVC.


In Transit

Festivals

Confirmed Artists

In Transit 2023

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The 2nd edition of _A Collection for Tomorrow_, curated by Cristina Peres and directed by João Afonso Vaz, dedicates 10 conversations to the dance scene in Mozambique.
A program in partnership with Camões - Portuguese Cultural Center in Maputo, with the institutional support of Camões, I.P. and decor support by Around the Tree.


>The imposition of social distance brought us other possibilities to generate improbable encounters. It revealed ideas and questions we hadn't asked yet - about the resonance of experiences beyond the time when they took place - and suggested that we talk.
>
>So, we perfused the months of 2021 with _A Collection for Tomorrow_ - ten conversations with ten people invited to reflect on creation, world, art, and politics and to follow this unique movement taking place over the last thirty or forty years and bringing us here. 
>
>Along the way, we have influenced each other. In 2022, and because dance travels, goes back and forth, and makes comparisons, we want to transform the imaginary bridge standing between Lisbon and Maputo, as well as going through the inverse route, by publishing the second collection of conversations. When do we discover things which are better than ourselves, at the same time that we discover in ourselves traces of what we imagined to be others'?
>
>Lisbon and Maputo are cities connected by the marks of those who have woven invisible threads associating the body's memory to all the other memories we will bring together, now in a systematized way, resulting in a new collection of conversations.
>
>Cristina Peres, 2022   


###### Part  I
Quito Tembe
_[I am a mirror of the issue of professionalization of art in Maputo](https://youtu.be/zbotY1zKE8Q)_


###### Part  II
Maria Helena Pinto
_[Dance has become a political path](https://youtu.be/VTJb-0sEjz0)_


###### Part  III
Panaibra Canda
_[This Mozambique is full of diversity](https://youtu.be/ity6XkBApzU)_


###### Part  IV
Edna Jaime
_[Artivism - my work impacts the world](https://youtu.be/5tgS7SvNP40)_


###### Part  V
Pak Ndjamena
_[Persist, insist, go back, and...it happens!](https://youtu.be/WGh2FDx40I0)_


###### Part  VI
Ídio Chichava
_[Emancipate Mozambique](https://youtu.be/LBWqP24clvY)_


###### Part  VII
Horácio Macuácua
_[I didn't choose dance. Dance chose me.](https://youtu.be/hoe7NGAJWfs)_


###### Part VIII
Mariana Tembe
_[To keep a dialogue with the world](https://youtu.be/1yrZ76TDYoo)_


###### Part IX
Edivaldo Ernesto
_[My whole life influences what I do on stage](https://youtu.be/jfMu_LFSSFg)_


###### PART X
Yuck Miranda
_[What drives me in art is indignation](https://youtu.be/arlTEH7gWwg)_

###### More information
You can see the whole collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzGzfNRxgzkwgeuMzDvE8nQU).


A 2ª edição de _Uma Coleção para Amanhã_, com a curadoria de Cristina Peres e realização de João Afonso Vaz, dedica 10 conversas à cena da dança em Moçambique.
Um programa realizado em parceria com o Camões - Centro Cultural Português em Maputo, com o apoio institucional do Camões, I.P. e o apoio no _décor_ pela Around the Tree.

>A imposição da distância social trouxe-nos outras possibilidades de provocarmos encontros improváveis. Deu-nos ideias sobre as perguntas que ainda não tínhamos feito, sobre a ressonância das experiências para lá do tempo em que aconteceram e sugeriu-nos que conversássemos.
>
>Preenchemos os meses de 2021 com _Uma Coleção para Amanhã_. Foram dez conversas com dez pessoas convidadas a refletir sobre criação, mundo, arte, política, seguindo em conjunto esse movimento que se organizou de forma tão singular nos últimos 30 ou 40 anos e nos trouxe até aqui. 
>
>Pelo caminho, influenciámo-nos uns aos outros. Em 2022, e porque a dança viaja, vai e volta e se compara, queremos transformar a ponte imaginária entre Lisboa e Maputo, bem como o percurso inverso, numa segunda coleção de conversas.  Em que momento descobrimos coisas melhores do que nós ao mesmo tempo que descobrimos em nós vestígios daquilo que imaginávamos ser dos outros?
>
>Lisboa e Maputo são cidades ligadas pelas marcas dos que teceram fios invisíveis associando a memória do corpo às outras todas que vamos reunir, agora de forma sistematizada, numa nova coleção de conversas.
>
>Cristina Peres, 2022    
   
   
###### I Parte
Quito Tembe
_[Sou um espelho da profissionalização das artes em Maputo](https://youtu.be/zbotY1zKE8Q)_

###### II Parte
Maria Helena Pinto
_[A dança tornou-se um percurso político](https://youtu.be/VTJb-0sEjz0)_

###### III Parte
Panaibra Canda
_[Este Moçambique está cheio de diversidade](https://youtu.be/ity6XkBApzU)_

###### IV Parte
Edna Jaime
_[Artivismo - o meu trabalho impacta o mundo](https://youtu.be/5tgS7SvNP40)_

###### V Parte
Pak Ndjamena
_[Persistir, insistir, ir atrás e... acontece!](https://youtu.be/WGh2FDx40I0)_

###### VI Parte
Ídio Chichava
_[Emancipar Moçambique](https://youtu.be/LBWqP24clvY)_

###### VII Parte
Horácio Macuácua
_[Não escolhi a dança, ela escolheu-me a mim](https://youtu.be/hoe7NGAJWfs)_

###### VIII Parte
Mariana Tembe
_[Continuar a falar com o mundo](https://youtu.be/1yrZ76TDYoo)_

###### IX Parte
Edivaldo Ernesto
_[A vida inteira influencia o que faço em palco](https://youtu.be/jfMu_LFSSFg)_

###### X Parte
Yuck Miranda
_[O que me move na arte é a indignação](https://youtu.be/arlTEH7gWwg)_

###### Mais informação
Podes ver toda a coleção [aqui](https://www.youtube.com/playlist?list=PLAO_nJtqGJzGzfNRxgzkwgeuMzDvE8nQU).







Uma Coleção para Amanhã ⏤ Lisboa · Maputo

Coming to its 3rd edition, which follows a series of conversations dedicated to artists and cultural activists from Mozambique, _A Collection for Tomorrow_ will travel the Atlantic axis in 2023 and early 2024. Cristina Peres invites creators from Angola, Cape Verde and São Tomé and Príncipe, in a total of seven episodes. 

##### ⎯

##### Few people remember the social distance imposed by the pandemic that in 2020 and 2021 forced us to imagine other possibilities to communicate and provoke unusual encounters. The positive part of these limitations was the way we overcame them and how we got quite far. We gained the perspective that allowed us to ask the questions we had not yet asked, and we listened to the resonance of the experiences far beyond the time in which they happened. **We decided to engage in conversation**.
##### 2021 was the first year of _A Collection for Tomorrow_, ten conversations with ten people invited to reflect on artistic creation, world, art, and politics, bringing together a whole of experiences that contributed to and constituted the movement which, organized in such a unique way over the last 30, 40 years, brought us here.
##### Along the way, **we have influenced each other**. In 2022, and because dance travels, it moves, comes back and compares itself, we invented a way of building a two-way bridge connecting Lisbon to Maputo. Actually, it already existed; what we did was invite those who made the journey from here to there and from there to here to tell us all about it in a new collection of ten conversations. At what point did we discover things that are better than ourselves while at the same time finding in ourselves traces of what we imagined would be from others?
##### The invisible threads that link the body's memory to all other memories are not easily exhausted - this was the conclusion of these new ten conversations that we gathered at a distance. So, why not spread the discussion, moving from the Indian Ocean to the Atlantic, and propose again in 2023 a new _Collection for Tomorrow_? Lisbon - Cape Verde, Angola and S. Tomé and Príncipe are waiting for a connection.
##### Cristina Peres, 2023

###### Invited artists:
##### Ana Clara Guerra Marques (Angola)
##### Aneth e Miguel Carlos (Angola)
##### António Tavares (Cape Verde)
##### Bibiana Figueiredo (São Tomé e Príncipe)
##### Lucièny Cabral & Nuno Barreto (Cape Verde)
##### Mano Preto (Cape Verde)
##### Mónica Anapaz (Angola)

###### You can watch the program [HERE](https://youtu.be/VqGBXj5Xl00).



A Collection for Tomorrow ⏤ Atlantic Axis

>_**A Collection for Tomorrow**_
>##### (the people we are going to be)
>Before the world underwent the great change that 2020 brought us globally and almost simultaneously, dance was no longer just the art of the virtuous, aerial, indisputable body outside the canons that allowed it to fly, but at the same time locked it in a code that removed it from the larger discussion of the body. 
>The dancing body opened the way to the expression of many other bodies and to a diversity of experiences that created a mixture. Cutting short the story, which is after all recent, we decided to add the word and reflection to formulate in another way, and in parallel, the discoveries that the bodies led us to make.
>
> The imposition of social distance brought us other possibilities of having or provoking unlikely encounters. It gave us ideas about the questions we hadn't yet asked, about the resonance of experiences beyond the subject matter dealt with at the time. 
> 
> For the collective memory, thousands of themes that made us the people we are today remain unnamed. We want to know more about the paths of the people who, in the past, led to breakthroughs in Portuguese performing arts, whether that time was ten, 20 or 30 years ago. We want to know who they are today and why they are like that. And to discover who we are after having come across them.  
> 
> Dance in Portugal has traveled. It went outside and came back, it compared itself. To compare oneself to the reality of the other is the greatest and most essential experience in the construction of the self. At what point do we discover things that are better than us at the same time that we discover in ourselves traces of what we imagined to be in others?
> 
> Dance relates to a multiplicity of "layers" of all people and, therefore, of the public too. We might be more used to resorting to reason to discuss what we saw in a performance, but our muscles "saw" us at the same time. Did the muscles "talk" about the experience? Probably not. Hence, the series of interviews promoted by the EVC will be dedicated to the questions that were never asked to people who were there at the time, and are here again. Maybe they were headliners then, yet now they will be reflecting. And they are going to transform those who were not headliners into protagonists of the change that made us as we are. 
> 
> I, Cristina Peres, will ask the questions and lead people to question themselves. I was there ten, 20, 30 years ago, but I haven't seen everything, either. As we can never have a clear notion of the present, the past, and the future in a single moment, we will try to look at the trace that remained, valuing our being a point of arrival. And, even more, serving as a bridge to what is to come.
> 
> One or two guests. One theme. A conversation that is meant to travel as far as dance can go. Without limits of time or space, building a collection for tomorrow.
>
> Cristina Peres, 2021



###### Part I 
Marlene Monteiro Freitas
_[Pieces are living entities](https://youtu.be/yCN27S_SjtA)_

###### Part II
Clara Andermatt
_[To choose the best surprises](https://youtu.be/HSFdhAxJWOE)_

###### Part III
André Guedes
_[Generating spontaneous complicity](https://youtu.be/nJey-jEeWI0)_

###### Part IV
Vera Mantero
_[The party of conjugation](https://youtu.be/WebwaqDphyE)_

###### Part V
António Pinto Ribeiro
_[We are willingly going blind](https://youtu.be/BHMMcPDdneg)_

###### Part VI
Mark Deputter
_[The first impulse is to be fascinated by the work](https://youtu.be/ZyyeX25WT3U)_

###### Part VII
João Fiadeiro
_[Suspending Certainty](https://youtu.be/XJGYv6y2zP8)_

###### Part VIII
João Lucas
_[Discovering the world beyond what it is](https://youtu.be/-clcK1BzGUo)_

###### Part IX
Miguel Abreu 
_[The non-coexistence of diversity destroys culture](https://youtu.be/ClpbpwFFmkw)_

###### Part X
Olga Roriz
_[The soul of the shoe is me](https://youtu.be/_J9gBSiY9Co)_

###### More information
You can watch the entire collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzH_jYr9EMTjIhDVFfMK-oZS).



A Collection for Tomorrow


In the new edition of the series A Collection for Tomorrow, Cristina Peres collects short statements by choreographers on fundamental questions about the state of the world.

“Almost everything has changed in the world today, but many modus operandi remain unchanged. Faced with two active wars, a significant increase in the planet's average temperature, a continent of plastic waste drifting in the oceans, an economic model based on growth that is leaving millions more people on the margins every year and global consumption that is exhausting the earth of natural resources earlier and earlier in the year, we want to hear from the artists. Do these issues weigh on the choices they make? Do they go into the studio with them everyday? What kind of questions do they ask themselves when a member of their team is barred entry to their country of work? Is art safe from aggression? Is it immune to xenophobia? If not, how can it be strengthened? What are they doing to keep art a bastion of humanity?”

This program is designed to question renowned choreographers  and hear what they have to say about current events. In addition to the reflection process involved in creating a piece, we want them to tell us how they perceive the world. We went after their words so that we could turn them into short and quick messages adapted to the frenetic rhythm of our times.”

Cristina Peres

- Complete series on our [YouTube Channel](https://www.youtube.com/@estudiosvictorcordon). 

A Collection for Tomorrow ⏤ À la Minute

A Collection for Tomorrow ⏤ Lisbon | Maputo

On International Dance Day we want to celebrate together this unique form of expression that stimulates, brings us together and moves us every day. In a risky "adventure without a map", in Pina's words, we discover a world with each new project and build emotional, social and artistic bridges that enrich our cultural landscape.

It is because dance holds a fundamental place in the context of performing arts that Estúdios Victor Córdon decided, together with journalist and critic Cristina Peres, to create the cycle of conversations A Collection for Tomorrow, dedicated to the life and work of contemporary creators connected to the field.

The project was launched in 2021, during the pandemic, and had as its first guest the Cape Verdean choreographer Marlene Monteiro Freitas. From that first conversation emerged a possible name for the following invitation, and thus, in a surprising spontaneous sequence, the collection was born. It features key personalities of Portuguese dance who have led important innovations and breakthroughs in performing arts in our country over the last four decades.

It is a singular, varied collection that makes room for questions we had not yet asked and reveals us that the "dancing body has paved the way for the expression of many other bodies and a diversity of experiences that have created a mixture. Shortening the story, which is after all recent, we added words and reflection to formulate in another way, and in parallel, the discoveries that the bodies brought us." (Cristina Peres, 2021)

In 2023 we celebrate the International Dance Day by promoting the extraordinary encounters of A Collection for Tomorrow, seeking to learn and think together, in a fruitful sharing of experiences by and for the artistic community, open to anyone who wants to commemorate with us!

The entire Collection available [here](https://estudiosvictorcordon.pt/en/programs/a-collection-for-tomorrow-1).

Teatro Viriato, in Viseu, and Teatro José Lúcio da Silva, in Leiria, join us in this celebration.

International Dance Day ⏤ 2023

>_**Uma Coleção para Amanhã**_
>##### (as pessoas que vamos ser)
> 
> Antes de o mundo ter sofrido a grande mudança que 2020 nos trouxe a nível global e quase em simultâneo, a dança já não era apenas a arte do corpo virtuoso, aéreo e indiscutível fora dos cânones que lhe emprestavam voo, mas, ao mesmo tempo, o fechavam num código que o retirava à discussão maior do corpo. 
> 
> O corpo que dança abriu caminho à expressão de muitos outros corpos e a uma diversidade de experiências que criaram mistura. Encurtando a história, que é afinal recente, incluímos a palavra e a reflexão para formular de outra maneira, e em paralelo, as descobertas que os corpos nos levaram a fazer.
> A imposição da distância social trouxe-nos outras possibilidades de termos ou provocarmos encontros improváveis. Deu-nos ideias sobre as perguntas que ainda não tínhamos feito, sobre a ressonância das experiências para lá do assunto tratado na altura. 
> 
> Para a memória coletiva, ficaram por nomear milhares de temas que fizeram de nós as pessoas que somos hoje. Queremos saber onde está o lastro das pessoas que, no passado, fizeram as ruturas nas artes performativas portuguesas, seja essa altura há dez, há 20 ou há 30 anos. Queremos saber que pessoas são hoje e porquê. Que pessoas somos nós depois de as termos cruzado.  
> 
> A dança em Portugal viajou. Foi e voltou, comparou-se. A comparação com a realidade do outro é a experiência maior e essencial para a construção de si. Em que momento descobrimos coisas melhores do que nós ao mesmo tempo que descobrimos em nós vestígios daquilo que imaginávamos ser dos outros?
> 
> A dança relaciona-se com uma multiplicidade de “camadas” das pessoas todas e, por isso, dos públicos. Poderemos estar mais habituados a recorrer à razão para discorrer sobre o que vimos num espetáculo, mas os nossos músculos “viram-nos” em simultâneo. Os músculos “falaram” sobre a experiência? Provavelmente não. Daí que as entrevistas dos EVC se vão dedicar às perguntas que nunca foram feitas a pessoas que estavam lá na altura, e estão aqui de novo. Talvez elas fossem então cabeças de cartaz, porém agora vão estar a refletir. E vão transformar os que não eram cabeças de cartaz em protagonistas da mudança que nos fez como somos. 
> 
> Eu, Cristina Peres, vou fazer as perguntas e levar as pessoas a questionarem-se. Eu estava lá há dez, 20, 30 anos, mas também não vi tudo. Como nunca temos a noção do presente, do passado e do futuro num só momento, vamos tentar ver a marca que ficou, valorizando o ser ponto de chegada. E mais ainda ser ponte para o que aí vem. 
> 
> Um ou dois convidados. Um tema. Uma conversa que é destinada a viajar até onde a dança chegar. Sem limites de tempo nem de espaço, a construir uma coleção para amanhã.
> 
> Cristina Peres, 2021

   
   
###### I Parte
Marlene Monteiro Freitas
_[As peças são entidades vivas](https://youtu.be/yCN27S_SjtA)_

###### II Parte
Clara Andermatt
_[Escolher as melhores surpresas](https://youtu.be/HSFdhAxJWOE)_

###### III Parte
André Guedes
_[Gerar cumplicidades espontâneas](https://youtu.be/nJey-jEeWI0)_

###### IV Parte
Vera Mantero
_[A festa da conjugação](https://youtu.be/WebwaqDphyE)_

###### V Parte
António Pinto Ribeiro
_[Estamos voluntariamente a querer ficar cegos](https://youtu.be/BHMMcPDdneg)_

###### VI Parte
Mark Deputter
_[O primeiro impulso é o fascínio pela obra](https://youtu.be/ZyyeX25WT3U)_

###### VII Parte
João Fiadeiro
_[Suspender a certeza](https://youtu.be/XJGYv6y2zP8)_

###### VIII Parte
João Lucas
_[Encontrar o mundo para lá daquilo que ele é](https://youtu.be/-clcK1BzGUo)_

###### IX Parte
Miguel Abreu 
_[A não coexistência da diversidade mata a cultura](https://youtu.be/ClpbpwFFmkw)_

###### X Parte
Olga Roriz
_[A alma da sapatilha sou eu](https://youtu.be/_J9gBSiY9Co)_

###### Mais informação
Podes ver toda a coleção [aqui](https://www.youtube.com/playlist?list=PLAO_nJtqGJzH_jYr9EMTjIhDVFfMK-oZS).







Uma Coleção para Amanhã

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Nova edição da série _Uma Coleção para Amanhã_, agora com curtas intervenções de coreógrafos(as) acerca de questões fundamentais do estado do mundo, com base numa reflexão levada a cabo pela curadora do projeto, Cristina Peres, endereçada aos(às) artistas.

«Quase tudo já mudou no mundo de hoje, porém são muitos os modus operandi que permanecem inalterados. Perante duas guerras ativas, o aumento sensível da temperatura média do planeta, um continente de resíduos plásticos a vogar nos oceanos, um modelo económico baseado no crescimento que vai deixando mais milhões de pessoas à margem todos os anos e um consumo global que deixa a terra exaurida de recursos naturais cada vez mais cedo no ano, queremos ouvir os artistas. Pesam ou não estas questões nas escolhas que fazem? Entram elas em estúdio com eles na rotina diária? Que tipo de interrogações se lhes colocam quando um elemento da equipa vê barrada a entrada no seu país de trabalho? Estará a arte protegida das agressões? É ela imune à xenofobia? Caso não seja imune a ataques, como pode ela ser fortalecida? O que fazem para mantê-la um bastião da Humanidade?

Este programa foi pensado para interrogar os coreógrafos de primeira água e ouvir o que têm a dizer sobre a atualidade. Além do pensamento envolvido na criação dos espetáculos, queremos que nos digam como pensam o mundo. Fomos à procura das palavras deles para podermos transformá-las em mensagens curtas e rápidas como a velocidade do hoje.»

Cristina Peres

- Série completa no Canal de [YouTube](https://www.youtube.com/@estudiosvictorcordon) dos EVC.

Uma Coleção para Amanhã ⏤ À la Minute

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Uma Coleção para Amanhã ⎯ Eixo Atlântico

Now in its 3rd edition, which follows a series of conversations dedicated to artists and cultural activists from Mozambique, _A Collection for Tomorrow_ now dives into the Atlantic. The program's curator, Cristina Peres, invites artists from Angola, Cape Verde and São Tomé and Príncipe, making a total of seven episodes.

Luciene Cabral [stage name Luciény Kaabral] was born in Praia, Cape Verde, in 2001. She began her career as a dancer in the Raiz Di Polon company and met choreographer Nuno Barreto in a research laboratory on movement, body expression and traditional dances. In 2020 she joined the cast of the Sadler's Wells, Pina Bausch Foundation and École Des Sables production of "The Rite of Spring". She joined Pina Bausch's Tanztheater Wupperttal as a dancer in 2023.

Djamilson Barreto dos Santos (stage name Nuno Barreto) was born in Praia and is 43 years old. He has been a dancer for over a decade, is a cultural activist and is part of the Raiz Di Polon dance company. He created and also performs the pieces Linhas di Kommuni, Torna Liga, Dos Porta, Cisne Pretu, Stratus di Sociedadi and Izulamentu20.

Luciény and Nuno co-founded the "Badju Kabu Kaba" project with the aim of promoting dance in Cape Verde.

###### You can watch the third conversation [here](https://youtu.be/1nU8_0NUdf8?list=PLAO_nJtqGJzE8V97xnoWXDWPoRV5nRbs9)

A Collection for Tomorrow ● Atlantic Axis ⏤ with Luciény Kaabral and Nuno Barreto

Now in its 3rd edition, which follows a series of conversations dedicated to artists and cultural activists from Mozambique, _A Collection for Tomorrow_ now dives into the Atlantic. The program's curator, Cristina Peres, invites artists from Angola, Cape Verde and São Tomé and Príncipe, making a total of seven episodes.

In the first episode of this new season, we go to Cape Verde to meet and listen to António Tavares, a choreographer and cultural agitator based in Mindelo (São Vicente). In addition to being a choreographer and cultural agitator, António Tavares also works as a dancer, researcher, musician and designer. He thinks of his dance within the framework of decolonization and believes that Cape Verde is waiting for a "bodily revolution" to free itself from the bonds of colonial times. Considered one of the key figures in the history of contemporary dance, he argues that dance, more than artistic performance, is philosophy, politics and utopia. 

###### You can watch the program [HERE](https://youtu.be/VqGBXj5Xl00).


A COLLECTION FOR TOMORROW ⏤ ATLANTIC AXIS with António Tavares

A series of conversations guided by Cristina Peres and directed by João Afonso Vaz, broadcasted on EVC's Youtube channel, dedicated to artists from Angola, Cape Verde and São Tomé and Príncipe. The series, which began in 2023, moves into the new season with the release of six new episodes.

A Portuguese-Angolan artist living in São Tomé and Príncipe, Bibiana Figueiredo is a dancer, dance teacher, choreographer and founder of the RaizArte project. She studied at Balleteatro (Porto) and has a degree in dance from Escola Superior de Dança (Lisboa). RaizArte promotes dance and theater through artistic training, community involvement and by organizing cultural events. 

She is currently preparing the third edition of XÊ- Festa da Dança Contemporânea 2024, the first contemporary dance festival in the country. She has a degree in Education from Universidade Aberta, (Portugal), and integrates art and education into her development projects.


You can watch the new episode [[here]](https://www.youtube.com/watch?v=bZgtDVF8QlY)


A Collection for Tomorrow ● Atlantic Axis ⏤ with Bibiana Figueiredo

##### Now in its third edition, the series _A Collection for Tomorrow - Atlantic Axis_ features conversations with artists from Angola, Cape Verde and São Tomé e Príncipe. After António Tavares, Bibiana Figueiredo and Luciény Kaabral & Nuno Barreto, it's time for Cristina Peres to interview Mano Preto, a Cape Verdean dancer and choreographer and the founder of the Raiz di Polon dance company.

##### José Emanuel do Rosário Gonçalves Brandão, stage name Mano Preto, was born in Fogo Island, Cape Verde. Dancer, choreographer, producer, artistic director and co-founder of the "Raiz di Polon" Dance Company in 1991, he has had a hand in the development of contemporary dance in all its areas in the archipelago over the last few decades, from training to promoting tours around the world.

###### You can watch the Collection's fourth talk [here](https://www.youtube.com/watch?v=Z1BxwurZE3s&ab_channel=Est%C3%BAdiosVictorC%C3%B3rdon), with English subtitles.

A COLLECTION FOR TOMORROW ⏤ ATLANTIC AXIS with Mano Preto

##### Now in its third edition, the series _A Collection for Tomorrow - Atlantic Axis_ features conversations with artists from Angola, Cape Verde and São Tomé e Príncipe. After António Tavares, Bibiana Figueiredo, Luciény Kaabral & Nuno Barreto and Mano Preto, it's time for Cristina Peres to interview the angolan dance artists Aneth Silva e Miguel Carlos.

###### Aneth Silva
##### A dancer, teacher, choreographer, cultural producer, radio broadcaster, Aneth Silva was born in Luanda, Angola. She graduated from Angel Vianna Faculty of Dance in Rio de Janeiro. She danced in the performances _Roda_, _Aquarela do Brasil_, and _Ocupar o Corpo_ at Centro de Movimento Deborah Colker. She is part of the Palasa Dance Company along with Miguel Carlos, and she directs the Kijingu Dance Platform.

###### Miguel Carlos
##### Founder, choreographer and artistic director of the Palasa Dance Company, Miguel Carlos was born in Luanda, Angola. He studied at Tshwane University of Technology in Pretoria, South Africa. He works at Casa das Artes, in Talatona, Luanda. _Banana com Ginguba_, still on tour, is one of his latest creations.

###### You can watch the Collection's fifth talk [here](https://youtu.be/h0n0ehyv2cI), with English subtitles.

A Collection for Tomorrow ● Atlantic Axis ⏤ with Aneth Silva & Miguel Carlos

##### Now in its third edition, the series _A Collection for Tomorrow - Atlantic Axis_ features conversations with artists from Angola, Cape Verde and São Tomé e Príncipe. After António Tavares, Bibiana Figueiredo, Luciény Kaabral & Nuno Barreto, Mano Preto, and Aneth Silva & Miguel Carlos, it's time for Cristina Peres to interview the angolan dance artist Mónica Anapaz.

###### Mónica Anapaz
##### Mónica Anapaz is "@dansaddicted" on Instagram. That shows how much dance occupies the life of this Angolan born in Luanda, where she studied before enrolling at Lisbon School of Music. She did professional internships and performed outside Angola, deepening her knowledge with various choreographers. She began choreographing in 1993, in 1996 she joined the Contemporary Dance Company of Angola as a dancer and dance composition teacher, and, three years later, she co-founded and directed the contemporary dance company Dançarte. She also taught at and directed the ZAP (TV station) Dance Company. In 2010, in Burkina Faso, she took part as a dancer in a performance by Irène Tassembédo's EDIT company.

###### You can watch the Collection's sixth talk [here](https://youtu.be/6VH-YogjoJo), with English subtitles.

A Collection for Tomorrow ● Atlantic Axis⏤ with Mónica Anapaz

##### Now in its third edition, the series _A Collection for Tomorrow - Atlantic Axis_ features conversations with artists from Angola, Cape Verde and São Tomé e Príncipe. After António Tavares, Bibiana Figueiredo, Luciény Kaabral & Nuno Barreto, Mano Preto, Aneth Silva & Miguel Carlos, and Monica Anapaz, the series comes to an end with a last episode featuring angolan artist Ana Clara Guerra Marques.

###### Ana Clara Guerra Marques
Ana Clara Rodrigues Guerra Marques holds a M.A. in Artistic Performance (Dance) and a B.A. in Dance (Pedagogy). A dancer, choreographer and researcher, she has published numerous papers in Angolan journals and foreign dance magazines. She worked for 37 years in the Angolan Ministry of Culture, directing and teaching at the National Dance School. A member of the committees of both the Higher and the Middle Institute of Arts, she served as consultant to the Angolan Deputy Minister and Minister of Culture. The implementation of Inclusive Dance is another of her contributions to a diversified approach to dance in Angola. She's an individual member of UNESCO’s International Dance Council and a visiting professor at many universities outside Angola.

###### You can watch the Collection's seventh and last conversation [here](https://www.youtube.com/watch?v=RYdoeMgGS2k), with English subtitles.

A Collection for Tomorrow ● Atlantic Axis⏤ with Ana Clara Guerra Marques

Chegada à sua 3ª edição, que sucede uma série de conversas dedicada a artistas e ativistas culturais de Moçambique, _Uma Coleção para Amanhã_ irá em 2023 e início de 2024 viajar no eixo Atlântico. Cristina Peres convida criadores de Angola, Cabo Verde e São Tomé e Príncipe, num total de sete episódios. 

##### ⎯

##### Já poucos se lembram da distância social imposta pela pandemia que em 2020 e 2021 nos obrigou a imaginar outras possibilidades de comunicar e provocar encontros improváveis. A parte feliz dessas limitações foi a forma como as ultrapassámos e chegámos longe. Ganhámos o recuo que nos permitiu formular as perguntas que ainda não tínhamos feito e auscultámos a ressonância das experiências muito para além do tempo em que aconteceram. **Decidimos conversar**.
##### O ano de 2021 foi preenchido com _Uma Coleção para Amanhã_, dez conversas com dez pessoas convidadas a refletir sobre criação, mundo, arte, política, formando um todo de vivências que contribuíram e constituíram o movimento organizado de forma tão singular nos últimos 30, 40 anos, o qual nos trouxe até aqui.
##### Pelo caminho, **influenciámo-nos uns aos outros**. Em 2022, e porque a dança viaja, vai, volta e compara-se, inventámos uma forma de construir uma ponte com dois sentidos ligando Lisboa a Maputo. Na verdade ela já existia, o que fizemos foi convidar quem fez o percurso de cá para lá e de lá para cá a contar tudo numa nova coleção de dez conversas. Em que momento descobrimos coisas melhores do que nós próprios ao mesmo tempo que encontrámos em nós vestígios daquilo que imaginávamos que seria dos outros?
##### Os fios invisíveis que associam a memória do corpo às outras todas não se esgotam facilmente, foi a conclusão destes novos dez diálogos que reunimos à distância. Então, porque não espalhar a conversa do Índico para o lado do Atlântico e voltar a propor para 2023 a sistematização de uma nova coleção de conversas? Lisboa - Cabo Verde, Angola e S. Tomé e Príncipe aguardam ligação.
##### Cristina Peres, 2023


###### Artistas convidados(as):
##### Ana Clara Guerra Marques (Angola)
##### Aneth e Miguel Carlos (Angola)
##### António Tavares (Cabo Verde)
##### Bibiana Figueiredo (São Tomé e Príncipe)
##### Lucièny Cabral & Nuno Barreto (Cabo Verde)
##### Mano Preto (Cabo Verde)

###### Pode assistir à Coleção [AQUI](https://youtu.be/VqGBXj5Xl00).


Uma Coleção para Amanhã ⏤ Eixo Atlântico

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The entrance to the EVC building will be transformed into an exhibition space that will host exhibitions and installations by artists whose work has a connection to the performing arts.

###### _For a hapiness like this_ 
Victor Hugo Pontes, 20 years of artistic creation through images 

###### _3 anos de Itinerários_ 
Ágata Xavier, Tamara Seilman and an artist to be announced 

 


The book at the source of this lecture - Como uma Raça foi Imaginada - researches the beginnings of the history of western Judeophobia, and challenges the idea that Christianity was built after and in opposition to Judaism. On the contrary, it is indeed Judaism that was formed under the pressure of Christianity, at the same time adapting to the terms of the trial that its enemies had brought against it for centuries.
The same book also challenges the misleading identification of anti-Zionism with anti-Semitism at the center of some contemporary debates. To what extent has Zionism, born as a distress response to modern Judeophobia, became its mirror? To what extent has Zionism inherited the ideological foundations that have always characterized the persecutors of the Jews?

Lecture ⏤ Antisemitism and the Imagination of a People-Race

#### _How the "Land of Israel" was Invented_

Shlomo Sand

S. SAND (b.1946) is a historian and Professor Emeritus at Tel Aviv University, where he taught Contemporary History. Son of Polish parents, Yiddish culture and Holocaust survivors, he spent the first two years of his life in a "camp for displaced persons" before his family emigrated to Israel, where he did his compulsory military service and fought in the Six Day War (1967). He received his PhD in 1982 from the École des hautes études en sciences sociales in Paris. His research has focused on modern cultural history, the Zionist movement and the construction of Israel. Translated into more than 30 countries, _How the Jewish People Were Invented _(2008), _How the "Land of Israel" Was Invented _(2012) and _How I Stopped Being Jewish_ (2013) have given him worldwide projection. He is also the author of _Le XXe siècle à l'écran_ (2004), dedicated to cinema. More recently he published _How a Race was Invented_ (2020), describing the process of racialisation of the Jews, taking place between Judeophobic Europe and nationalist Israel, denouncing in both cases the phobia towards the "other", who was once Jewish and with disturbing frequency now tends to be Arab.

Shlomo Sand sees Israel as a fait accompli, but calls for the transformation of the Jewish state into a state of all its citizens, regardless of ethnicity or religion.

Book launch ⏤ How the "Land of Israel" was Invented

#### _How a Rece was Imagined_

Shlomo Sand

S. SAND (b.1946) is a historian and Professor Emeritus at Tel Aviv University, where he taught Contemporary History. Son of Polish parents, of Yiddish culture and Holocaust survivors, he was born and spent the first two years of his life in a "camp for displaced persons" before his family emigrated to Israel, where he did his compulsory military service and fought in the Six Day War (1967). He received his PhD in 1982 from the École des hautes études en sciences sociales in Paris. His research has focused on modern cultural history, the Zionist movement and the construction of Israel. With translations in more than 30 countries, How the Jewish People Were Invented (2008), How the "Land of Israel" Was Invented (KKYM+P.OR.K, 2021) and How I Stopped Being Jewish (2013) have given him worldwide projection. He is also the author of Le XXe siècle à l'écran (2002), dedicated to cinema.

Book launch ⏤ How a Race was Imagined

_FOR A HAPPINESS LIKE THIS_
Victor Hugo Pontes, 20 years of artistic creation through images


Plastic, chameleonic, striking: these are adjectives commonly used to describe Victor Hugo Pontes' works, which are recognized for their visual power. The year 2023 marks two decades of continuous and challenging artistic creation, at the intersection between dance and theater, in a equilibrium that is in total articulation with set, costume, lighting and sound design. 

Victor Hugo Pontes is an artist of images, and has gathered over the years an extraordinary photographic - and artistic - archive of his pieces. He has invited or been challenged by great photographers to accompany his work, and it is a selection of these images that is now being shown to the public for the first time.

This exhibition is part of At Home program, of which Victor Hugo Pontes is the guest artist this year. 2023 is the year of celebration of 20 years of the Portuguese choreographer's career, and he will make the EVC his home for new projects and encounters with various formats, through multiple ways of approaching and promoting a reflection on his path.

###### Free entry




FOR A HAPPINESS LIKE THIS ⎯ Exhibition

A entrada dos EVC transformar-se-á num espaço expositivo que receberá exposições e instalações de artistas cujo trabalho tem uma ligação às artes performativas.


###### _POR UMA FELICIDADE ASSIM_ 
VICTOR HUGO PONTES, IMAGENS DE 20 ANOS DE CRIAÇÃO ARTÍSTICA 

###### _3 ANOS DE ITINERÁRIOS_ 
Ágata Xavier, Tamara Seilman e fotógrafo a anunciar 



InTransit2023