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Encontros para o Futuro VI

A series of talks focusing on the situations of migrant communities living in Portugal and the role of culture in their path to become fully integrated into society. This year, the program will unfold over three weeks, in the form of three talks that will reveal different realities that are part of our society but are not properly acknowledged. 

###### _pari passu_

##### “What good is it to know the past without acknowledging the present, thus compromising possibilities for the future? In recent years we have witnessed, both in politics and in dance, the celebration of a historical systematization without critical positioning and filtered by a hierarchy of values that often prevents the acknowledgement of the diverse and vague contemporaneity.

##### Cultures evolve thanks to migrant communities and various forms of knowledge. Who was Herculano Mercês? Who sewed Almada’s clothes? How many steps took someone who couldn't take steps? These questions are just as important as: When was the last time you saw someone dancing an Iranian dance? Wasn't it yesterday, right next door to your house?

##### Invited by Estúdios Victor Córdon, Teatro Praga proposes the cycle 'Pari passu', dedicated to the acknowledgement of migrant artists and their movement practices which, although present in the public space, are still made invisible by multiple social factors. ‘Pari passu’ finds in the cultural manifestation in its many forms the shaping of a future. Against the mythification of the past, we call for the valorization of other presents.”

##### Teatro Praga


Ciclo de conversas dedicado à realidade das comunidades migrantes residentes em Portugal e ao papel da cultura no seu caminho para alcançar uma presença plena na sociedade. Nesta edição, o programa desenrola-se ao longo de três semanas, através de três conversas que darão voz a várias realidades presentes na nossa sociedade, mas ausentes no seu devido reconhecimento.

###### _A par e passo_
##### «De que nos serve conhecer o passado sem reconhecer o presente, comprometendo, assim, possibilidades de futuro? Nos últimos anos temos assistido, tanto na política como na dança, à celebração de uma sistematização histórica sem posicionamento crítico e filtrada por uma hierarquização de valores que muitas vezes impede o reconhecimento da contemporaneidade variada e informe.
##### As culturas desenvolvem-se com as comunidades migrantes e com diversas formas de saber. Quem era Herculano Mercês? Quem costurou as roupas de Almada? Quantos passos deu quem não podia dar passos? Estas perguntas são tão importantes como: Quando foi a última vez que viu dança iraniana? Não terá sido ontem, mesmo ao lado de sua casa?
 
##### A convite dos EVC, o Teatro Praga propõe o ciclo “A par e passo” sobre o reconhecimento de artistas migrantes e das suas práticas de movimento que, estando presentes no espaço público, são ainda invisibilizadas por múltiplos fatores sociais. “A par e passo” encontra na presença e nas formas de manifestação cultural a construção de um futuro. Contra a mitificação do passado, a valorização de outros presentes.»

##### Teatro Praga

The conference  **Meetings for the Future IV** brings to the centre of the reflexion the **transition of careers in the performing arts**. 
With an analytical look at the pilot experience developed in the EVC over a period of three months and the current situation in Europe and Portugal, future possibilities concerning the career transition of performing arts professionals are envisaged. 
More than finding answers in the present, the aim is to produce a tangible and clear reading of the current situation that allows us, collectively, to glimpse ways to act in the future. It is, therefore, with our gaze directed towards the future that we intend to propose this reflection and, above all, to stimulate a dialogue committed to the effective implementation of practices in the field of career management and transition - projecting into the future a permanent mechanism that will have the capacity to leverage and facilitate this process. 

###### Documents
[Program](https://issuu.com/estudiosvictorcordon/docs/evc_encontros_futuro_iv_transi_o_de_carreiras_nas)

###### Target Audience
Performing arts professionals

###### Free access

###### Accessibility
Simultaneous Translation and Portuguese Sign Language (LGP)

Conference ⏤ Meetings for the Future IV

**Contemporary dance(s) - diaspora and Afro-descendants in the Portuguese artistic context**

On this day dedicated to dialogue at EVC, we will hear from African and African descent whom we have invited to share with us their experiences and reflections on their artistic, research and pedagogical practices, as well as on the presence of black people and narratives from the African diaspora in the context of contemporary dance in Portugal. Here, 'contemporary dance' is understood as a concept that encompasses dances of contemporaneity, such as street dances, clubbing and social dances, whose presence in cultural institutions and academic contexts is a subject for debate.

Thus, we intend to raise questions around the documentation, transmission, dissemination and support of these contemporary dances, and to do so with the people who practice them - and through their narratives - in spaces of visibility. 

What dances from the African diaspora remain in Portugal, and how are they being transformed? What relationships are possible between street dances, social dances and academic dances in an institutional system of artistic education and production? 

What role can dance play in a broader reflection on Portugal's relationship with the countries it colonized?

###### Guests and program [HERE](https://estudiosvictorcordon.pt/en/events/contemporary-dance-s-diaspora-and-afro-descendants-in-the-portuguese-artistic-context-1)

###### Public in general, but specially directed to arts professionals

###### Free access

###### Portuguese sign language translation

Conference Meetings for the Future V

Curator

Meetings for the Future VI

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>_**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).



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

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

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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

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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Support

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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 



Schedule

Partner 

Area

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Residências Artísticas

With the aim of supporting independent artistic creation, this program welcomes creators in the field of dance and other areas of artistic intersection, at national and international level, for a maximum period of two weeks.

Applications are accepted continuously and residencies are scheduled in our calendar on a first-come, first-served basis. Since their beginnings, the EVC have been a space where multiple languages coexist, responding in direct proportion to the needs of the artistic community.

Stabat Mater com aroma a pêssego ⎯ Beatriz Garrucho

Home.M ⎯ Daniela Andana

Mono-no-aware ― Rafael Alvarez

Rh ― CiM

_Borte_ is a poetic performance for children aged 4-5 and their adults. In a universe of red birds, the ensemble opens up for philosophical wonder about what is lost and never returns, narrated through dance, music, animation, and text.

Borte ⎯ Siri Dybwik

O meu corpo não é só uma instância ― Yola Pinto & Simão Costa

Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx.

[installation - performance - oniric | political occupation of the space]

_Are we living through the failure of utopia or a reformulation of previously ( mis)dreamed dystopias? If there is a temporal dimension, it's because things happen only in the experience, transforming abstract time into real duration, with harmony and a break from vertigo being an enemy of capitalist production. Can we dream and have it be concrete reality?_

_As if the body were not a border, as if history were not full of absences, with the certainty that imagination is absolutely essential. The ancestry of a present future. Strength may indeed lie in the ability to imagine. It's really about questioning. It's poetic. And there's pleasure. There's confrontation, I don't know about comfort._ Piny


##### Credits

##### Creation | Piny
##### Performers | Piny, Violet Scrap, Adrielle Mendes
##### Sound design | Carincur
##### DJ | Leo Soulflow
##### Dramaturgy support | Teresa Coutinho
##### Text support | Teresa Coutinho and Chullage
##### Outside look / advice | Patrícia Portela, Rita Diamond, Pedro Coquenão, other guests
##### Set design | to be determined
##### Costume design | to be determined
##### Light design | to be defined
##### Advice on color and installation | to be confirmed
##### Production | Produção d'Fusão | Filipe Metelo and Patrícia Soares

ÓNYX 

_KRUMP Session_ delves into the roots of the KRUMP culture, which originated in the African-American and Latin American communities of Los Angeles (USA) in the late 1990s. Born as a response to the adversities faced in these communities, such as gang warfare and police oppression, the KRUMP style became a form of abstraction from reality, a celebration of life and an expression of resistance to the socio-political context marked by racism and economic discrimination. Thus, the need for artistic expression as a means of resistance is central to the history of KRUMP.

In Portugal, this movement found its own space in 2006/2007, through clandestine sessions in places like the Lisbon-Oriente Station. Despite keeping out of the public eye (due to the movement's expressive and energetic nature), the sessions have continued over the years, allowing the KRUMP culture to be kept alive.

The piece _KRUMP Session_, being rehearsed at the EVC and presented at the end of January in Teatro do Bairro Alto (TBA), aims to pay homage to national krumpers from different generations, bringing to the stage a style that usually doesn't find its way into mainstream venues.

The show proposes a ritualistic experience of liberation, acceptance and resistance, providing a space for genuine and raw artistic expression. It aims to create an environment of mutual support and sharing, challenging stigmas and offering an authentic glimpse into KRUMP culture.


######Credits

######Author |  Dougie Knight
######Artistic direction, choreography and performance | Dougie Knight
######Choreography, performance and host |Carlos Zagalo aka BIG Z
######Assistant director and production support | Lúcia Afonso
######Dj | Morf
######Light design | Pedro Guimarães
######Video |Pedro Jafuno
######Photography | Pedro Jafuno
######Performance | Aires Lion, Julien Wrestler, Nádia P. Futur, Inês Martins, Jéssica Costa, Inês Bernardo, Maria Ribeiro, Hélio Sango KAÔ, Vagner Beef, Emerson West, Stevan Bright, Gonçalo Carrapiço Boy KAÔ, Gilberto KAÔ Ujima and Maria Costa Lady KAÔ
######Artists invited for residency at the EVC | Dougie Knight, Carlos Zagalo, Inês Martins, Jéssica Costa, Inês Bernardo, Maria Ribeiro
######Production | MOSJAM Associação Cultural e Artística


KRUMP Session ⎯ Dougie Knight

_Esteira_ ["straw mat"] is a contemporary dance duet in which the expression of the bodies, the mat and the space feed into each other, bringing to light a reflection on various moments in history.

Two bodies in one story use dance and rhythmic movements, as well as other forms of bodily expression, to observe and question how the body reacts and manifests itself to each challenge and cultural experience it encounters.

The idea is to stimulate conflicts between bodies in space, recovering the primordial utility of the straw mat and its place in Mozambican culture. Through architectural (scenographic) and choreographic thinking, Fernando Machaieie and Martins Tuvanji intend to question the relationship between the increasing rhythm, the usefulness of the objects in question, their socio-cultural role and their aesthetic aspect in everyday life.

Esteira ⏤ Fernando Machaieie & Martins Tuvanji

"Corpo do Tempo" is the first piece by Pulsar - Companhia Do Corpo, focused on a multidisciplinary approach. The piece combines music, dance and theater through a single instrument: the body.

###### Credits
##### Creation and Direction | Marco Santos
##### Support to movement | Miguel Oliveira
##### Dramaturgy assistance | Yola Pinto
##### Production | Marco Santos, Rui Aires, Margarida Soares
##### Cast | Ana Sofia Sequeira, André Tasso, Cristina Clara, Denys Stetsenko, Eva Parmenter, Gonçalo Pereira, Marco Santos, Mariana Camacho, Mariana Frazão, Margarida Soares, Miguel Oliveira, Nazaré Pinto, Poliana Tuchia, Rafaela AmoDeo, Rui Aires, Ulisses Ruedas
##### Acknowledgements | Manuel da Luz Santos, Clara Andermatt, Simão Costa, Yola Pinto, Silvia Real
##### Support | Antena 2; Real Pelágio, MATT image & design; Menu das Artes; Companhia ACCCA; EVC - Estúdios Victor Cordon; UartM - United Art Movement; Musibéria.

PULSAR ― Corpo do Tempo

_"The Stone, the Sorrow"is based on the observation of abandoned quarries in Portugal, analyzing the acceleration of the decomposition of spaces into images and comparing them to the social conception of the notion of Family. Positioning himself on the border between the public and the private, the choreographer seeks a speed that leads the viewer to a mythological space of hospitality and disruption, where contemplation is made possible through thousands of frames per second._

###### Credits
##### Artistic Direction, Creation and Plastic Conception | Daniel Matos
##### Performers and Co-creators | Lia Vohlgemuth, Elia Pangaro and Joana Simões  
##### Artistic Collaboration, Archive, Photography and Video | João Catarino 
##### Original Soundtrack (from Debussy) | João Galante aka Coolgate 
##### Artistic consultancy | Beatriz Marques Dias
##### Technical Direction | Ana Carocinho 
##### Light Design | Manuel Abrantes
##### Stage design | Daniel Matos 
##### Costume design | Marina Tabuado
##### Communication | Maria Tsukamoto
##### Production Direction | Joana Flor Duarte
##### Production | CAMA a.c.
##### Co-Production | Teatro das Figuras, Cine-Teatro Louletano, Casa Varela/Cine-Teatro de Pombal - Município de Pombal, Município de Lagos
##### Co-Production Residency | O Espaço do Tempo, Teatro Municipal Baltazar Dias / Estúdio de Criação Artística do Funchal
##### Support | Estúdios Vítor Córdon / OPART, Espaço Alkantara, Casa da Dança de Almada, CAMADA - Centro Coreográfico, O Rumo do Fumo, A Piscina, Estúdio CAB


THE STONE, THE SORROW ― DANIEL MATOS

Mawaru ⏤  Matilde Barbas & Miguel Santos

###### Credits
##### Author | João dos Santos Martins
##### Performers | Adriano Vicente, Ana Rita Teodoro, Connor Scott, João dos Santos Martins, Natacha Campos, Noel Quintela, Sofia Kafol, Teresa Silva
##### Costumes | Constança Entrudo
##### Light | Filipe Pereira, Joana Mário
##### Vocal support | Joana Nascimento
##### Music from Horse Sings from Cloud (1975), by Pauline Oliveros
##### Production and management | João dos Santos Martins, Lysandra Domingues, Sofia Lopes | Associação Parasita
##### Coproduction | Associação Parasita, Culturgest, Teatro Municipal do Porto
##### Residencies | Espaço Parasita, Estúdios Victor Córdon, O Espaço do Tempo, PRO.DANÇA
##### Acknowledgements | Dani Issler 

João dos Santos Martins ― vida e obra

##### IMERSÃO is an annual interdisciplinary project created by QUEER ART LAB, which presents itself as an artistic creation laboratory aimed at LGBTQI+ people. This year, the IMERSÃO Art Labs will be mentored by Brazilian director, dancer, actress and producer Gaya de Medeiros. 

##### Queer Art Lab will work with 4 emerging artists, each of whom will create a piece lasting at least 20 minutes over the course of a 6-week residency. This piece will be a first approach to what the artist wants to develop or a continuation of the process. Phase 3 of the project takes place between March 25 and April 24, 2024 in Lisbon, and in the first week of creation the artists will be in residence at the EVC, with mentor Gaya de Medeiros.


##### The pieces created will be presented in October 2024 at the IMERSÃO Festival.


###### A QUEER ART LAB project
###### Mentoring 
##### Gaya de Medeiros
###### Artists
##### Dai, Izabel Nejur, Luan Okun, Suh Pat
###### Creative Direction 
##### Ary Zara


IMERSÃO Art Laboratories ― Queer Art Lab + Gaya de Medeiros

###### Credits
##### Creator / performer | Eríc Santos
##### Dramaturgy | Maurícia Neves
##### Sound design | Rui Lima and Sérgio Martins
##### Production assistant | Catarina Corujeira

 Eríc Amorim dos Santos ― Prima rosa

Este programa de apoio à criação artística independente acolhe criadores(as) na área da dança e noutras áreas de cruzamento artístico, a nível nacional e internacional, por um período máximo de duas semanas. 

As candidaturas são recebidas em contínuo e as residências são integradas na agenda dos Estúdios por ordem de chegada das respetivas propostas. Desde a sua génese, os EVC são um espaço de coabitação de múltiplas linguagens, respondendo em proporção direta às necessidades da comunidade artística.

This program supports independent artistic creation, welcoming Portuguese and international dance artists and creators from other artistic areas, for a maximum period of two weeks. Since its inception, EVC is a space of cohabitation of multiple languages, acting in direct response to the needs of the artistic community.


Artist Residencies 2023

Artist Residencies

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_Coreografia para uma santificação_ arises from mythological and biblical figures, such as Salome, Mary Magdalene, Helen of Troy. A work that questions the connection between the sacred and the profane, the body as a place of annunciation, miracle, sin, desire. Dance as a privileged space for ritual and the search for ecstasy. The sexual glow as revolutionary prayer, of resistance and search for everyday miracles. A ballet to approach the inexplicable, the transcendent.
Thus, and in the words of Giorgio Agamben, this collaboration is intended to be a “work of salvation [that] coincides here point for point with the work of creation: the former undoes and decreates the latter at the very same moment it carries and accompanies it into being.” And the body, the performer, is asked for transcendence, “the created being, because it is lost, because it cannot but be lost (…) creation and salvation coincide in the unsavable”. 
 
Artistic direction | Mélanie Ferreira and Tiago Vieira
Choreography and Performance | Mélanie Ferreira
Coaching | Tiago Vieira
Scenography, sound, light and costumes | Tiago Vieira
Video and Photography | Bruno Simão
Production | Mélanie Ferreira and Self-mistake
Support for artistic residencies | Latoaria (Lisbon), C.e.m. (Lisbon), Estúdios Vítor Cordon (Lisbon), Teatro Viriato (Viseu), TRUST Collective (Arganil) and Cisterna da Faculdade das Belas Artes (Lisbon) 
Support| Self-Mistake

Coreografia para uma santificação

_Lulu_, Alban Berg's incomplete opera, is the first dodecaphonic opera to be composed. It premiered in 1937 and in 2023, Marlene Monteiro Freitas and conductor Maxime Pascal revisit this opera, in a joining of forces between MusikTheater an der Wien, Wiener Festwochen, Estúdios Victor Córdon, O Espaço do Tempo, and Dgartes.


_A project of_ Wiener Festwochen and Theater an der Wien
_Music_ 
Alban Berg
_Text_ 
Frank Wedekind, based on Earth Spirit and Pandora's Box tragedies
_Concept and Direction_ 
Marlene Monteiro Freitas
_Maestro_ 
Maxime Pascal
_Orchestra_ 
ORF Radio-Symphonieorchester Wien
_With_ 
Vera-Lotte Boecker (Lulu), Bo Skovhus (Dr. Schön), Edgaras Montvidas (Alwa), Cameron Becker (Maler), Anne-Sofie von Otter (Gräfin Geschwitz), Kurt Rydl (Schigolch), Katrin Wundsam (Garderobiere / Gymnasiast), Martin Summer (Tierbändiger, Athlet), Paul Kaufmann (Prinz, Kammerdiener)
_Light design_ 
Yannick Fouassier
_Stage set_ 
Marlene Monteiro Freitas, Yannick Fouassier
_Dramaturgy_ 
Armin Kerber
_Research_ 
João Figueira
_Musical assistant_ 
Cláudio Silva
_Choreography assistant _
Andreas Merk, Hsin-Yi Hsiang
_Executive production_
Joana Costa Santos, Soraia Gonçalves
_Support_
Wiener Festwochen
_Production_
Wiener Festwochen, Theater an der Wien
_Collaboration_
P.OR.K (Lisbon)
_Residences _
Estúdios Victor Córdon (Lisbon), O Espaço do Tempo (Montemor-o-Novo), CN D Centre national de la danse (Paris), Fabbrica del Vapore (Milano)

LULU ⎯ Marlene Monteiro Freitas

_NEON 80_ traces its labyrinth, inspired by the concepts of cyberpunk, cyberspace, cyborgbody and video game. It extols the marginal side of the human being, the side of survival, of opposition to the rules, of the possibility of choice and the place of freedom of the individual, overturning the binary gender and defending a prosthesis as an integral member of the human body.


_Concept & Performance_ Beatriz Dias
_Sound Creation _ Miguel Lucas Mendes
_Scenographic Work_ André de Campos & Miguel Justino
_Costumes_ Beatriz Dias & Miguel Justino
_Dramaturgy Support & Light Design _ André de Campos
_Production & Diffusion _ Filipe Metelo and Patrícia Soares
_Production House _ Produção d'Fusão 
_Co-production _ Centro Cultural de Belém, Cine-Teatro Louletano and Companhia Olga Roriz 
_Creative Support _ Victor Córdon Studios, GDA Foundation, O Espaço do Tempo


NEON 80

_Violência das coisas insensíveis_ is the new creation of choreographer Nuno Labau in residence at EVC. The piece starts from the idea of tiredness and routines inherent to the dynamics of big cities. Representative of routine, the work focuses on haste, impermeability to others, repetition of gestures and, above all, the fatigue it causes. 
Nuno Labau graduated at the Escola Profissional de Artes e Ofícios do Espectáculo (Chapitô) and graduated in Dance at Escola Superior de Dança. He trained at the Portuguese Contemporary Ballet Company, where he worked with Benvindo Fonseca, André Mesquita and Vasco Vallencamp. He is currently president of the cultural association Vaca Magra.


Violência das coisas insensíveis

The symbolism of the giant Adamastor, created by Sidónio Apolinário and famous by Camões in "Os Lusíadas", is the starting point for Ricardo Ambrozio's new creation. In this work the Adamastor is representative of the individual fight of each performer who is confronted with the fears and doubts. As each performer fights their own battle the audience are invited to immerse themselves in the stories of resistance, overcoming challenges and accepting change as the work encourages us to change the course of the ship we sail each day. The work is intended as a reflection on today's younger generations approaching topics of resilience and choice.

###### Concept and direction
Ricardo Ambrózio & Gonçalo Ferreira

###### Interpretation and performance
António Bollaño, Clémence Peytoureau, Emilio Bagnasco, Francisca Rodrigues, Teodora Vuijkov

###### Dramaturgy
Ali Clarke

###### Light Design
Goncalo Ferreira & Clémence Peytoureau

###### Production and administration
Martina R. Ambrózio, Bernarda Bernardo

###### Coproduction
Ilú Association, Untamed Productions 

###### Support
Camara Municipal de Torres Vedras





Adamastor ⎯ Ricardo Ambrozio

_Chance It_ is a European research and creation project, promoted by the Italian dance structure "e.artES cum panis" (San Benedetto del Tronto) in partnership with the project "Dançar com Parkinson/Dance for PD Portugal and the contemporary dance structure BODYBUILDERS with artistic duration of Rafael Alvarez. The project is supported by the European program Erasmus Plus. _Chance It_ is born from the motivation to offer methodological support to artists in the dance/movement fields, affected by chronic and autoimmune diseases (CAP), in order to contribute to their professional reinsertion in the artistic sector.

Chance It

Alongside their individual artistic paths, artists Marta Cerqueira and Simão Costa have worked as a duo since 2016. Marta Cerqueira is a dancer and choreographer and Simão Costa is a pianist and composer.

Their collection _Dança de Materiais Inertes_ takes off from the body on stage, opening itself to the expanded field of dance and music in a transdisciplinary spectrum, and also unfolds in the form of an installation / exhibition. Thus, this collection of pieces (performances and/or installations) proposes a choreographic, kinetic and musical look at inert things. The pieces seek to explore and investigate the dimensions in which Sound is Movement and Movement is Sound.

The collection is made up of the following pieces: _#1Vento_, _#2PlacasTetónicas_, _#3Movediço_, _#4Ar_, _#5Balancé_, _#6Propagação_ and _#7Untitled_.


Marta Cerqueira and Simão Costa

The ATLAS of this atlas, the titan who carries the world and its maps, the
ATLAS artist who collects roles. Three performers will carry all the roles a performance involves, the resistance as a breath of life, the sociopolitical
manifestation through performance. 

In _ATLAS/DIY_, we address the theme of resistance through the saturation of the task, the embodiment of systemic pressure, the imbalance resulting from the accumulation of roles relating to stage production. We propose an artistic object focused on the manipulation of technical elements, such as the light table, light projectors and sound table, and on the inherent continuous juggling.

This is the first collaboration between Duarte Valadares and Maria Antunes in an artistic creation process. Both graduated from the Escola Superior de Dança and with a _background_ in street dancing and clubbing, the two artists have developed a career in the performing arts and collaborated, as performers, in several projects, namely _BROTHER_, by Marco da Silva Ferreira.

Duarte Valadares e Maria Antunes

With a background in theater, philosophy and movement, Joana Pupo has a path as actress and director, researching in the field of movement and new dramaturgies. She follows training with the Suzuki and Viewpoints methods, with the SITI Company of Anne Bogart (USA) and with the Suzuki Company of Toga (Japan), since 2010, which she applies to her own artistic work and to pedagogy. She has collaborated with several companies in Portugal, Spain and Italy. In 2020, she founded Companhia Mente de Cão along with Pepa Macua and Catarina Sobral, with whom she develops transdisciplinary projects, with a commitment to research and a strong relationship with the audience.

_O Corpo Inominável _is a research proposal based on a choreographic reading of Samuel Beckett's _The Unnameable_. It features performers from the fields of contemporary dance, theater and circus, and is rooted in the language of the _Viewpoints_ method. The residency at the EVC will be the incubator of a new creative project directed by Joana Pupo, with the artistic collaboration of the choreographer Maria Ramos.

The Unnameable can also be the space itself and all the elements with which the performer works. Within a logics of response, one tries to invert the idea of a director "in control", but the director/creator tries to transform themselves into a "medium", as if through them Space, Time, a chair, a leaf, or another element could speak. Just like the voice of the Unnameable who seems to be led by the thing itself, which does not allow itself to be revealed. Questions for research arise: can space be the creator? Can Beckett's text be the choreographer and the director of this play? How is the tension between manipulation and free response expressed?

O Corpo Inominável ⏤ Joana Pupo

Establishing a relationship between Ovid's mythological literary work, dance and electronic sound composition, Pedro Ramos departs from the myth of Orpheu to create an operatic piece. 

Through the interaction of several Orphic characters, he reflects on the dichotomies between the tangible and the intangible, the present and the absent time, the individual and the collective, exploring new aesthetic oppositions and corporal languages.

Orpheu ⏤ Pedro Ramos

Vera Mantero studied classical dance with Anna Mascolo and joined the Ballet Gulbenkian. She became one of the central names of the New Portuguese Dance movements, having started her choreographic career in 1987 and shown her work throughout Europe, Argentina, Uruguay, Brazil, Chile, Canada, South Korea, USA, and Singapore.

_I'm in the habit of not doing major plays every year, just as a writer doesn't write a novel every year, just as a filmmaker doesn't make a film every year. In this micro-play I intend to continue the work of the last few group plays,  in "chamber" format._

Vera Mantero

MICRO-PEÇA ⎯ Vera Mantero

It is a triptych so that edges become visible and a floating core is possible. A triptych where the making of beauty is also the allusion of disaster. This ecstasy leads to the desire for contemplation, for the body, for existence through disaster. There is, thus, a desire that is reflected in an attempt to deprive the body of its movements, of its garments "to make it exist as pure flesh; it is an attempt to incarnate the body of the other" (Giorgio Agamben).

The Luso-Swiss dancer and choreographer Mélanie Ferreira joins actor and director Tiago Vieira and photographer and actor Bruno Simão to create _Do Êxtase_, a piece where the three bodies engage in verbal and corporal dialogue.

**Credits**

**Artistic Direction** Mélanie Ferreira
**Staging** Tiago Vieira
**Performers** Bruno Simão, Mélanie Ferreira and Tiago Vieira
**Stage design, costumes, sound and light** Tiago Vieira
**Photography and video** Bruno Simão
**Production** Mélanie Ferreira and Self-Mistake
**Support** Fundação GDA
**Support to Artistic Residencies** Latoaria (Lisbon), c.e.m. (Lisbon), Estúdios Victor Córdon (Lisbon), Oficinas do Convento (Montemor-o-Novo)

Do Êxtase ⏤ Mélanie Ferreira


##### Curatorship, research and edition: Ana Bigotte Vieira, João dos Santos Martins and Carlos Manuel Oliveira
##### Reserach support: Pedro Cerejo, Sílvia Pinto Coelho
##### Design: Ana Schefer e Teo Furtado
##### Set up: Pedro Lagoa
##### Production: Associação Parasita
##### Supports: República Portuguesa: Cultura/ DGArtes Direção-Geral das Artes, Fundação Calouste Gulbenkian, Teatro Sá da Bandeira - Santarém, Teatro Viriato, Livraria Tigre de Papel
##### Partnerships: Instituto de História Contemporânea, Centro de Estudos de Teatro
##### Acknolodgements: Paula Caspão, Maria José Fazenda, Daniel Tércio, Maria João Brilhante, Luísa Roubaud
##### Contributors: Alexandra Balona, Ana Cristina Vicente, Ana Mira, André e. Teodósio, António Cascais, António Laginha, Cristiana Rocha, Cristina Grande, Cristina Santos, Daniel Tércio, Duarte Bénard da Costa, Elisabete Paiva, Ezequiel Santos, Gil Mendo, Joclécio Azevedo, Luísa Roubaud, Magda Henriques, Margarida Bettencourt, Maria José Fazenda, Mariana Brandão, Mariana Pinto dos Santos, Mónica Guerreiro, Paula Caspão, Rita Natálio, Rogério Nuno Costa, Sílvia Pinto Coelho, Tiago Bartolomeu Costa

FOR A TIMELINE TO BE  — Geneaologies of dance as artistic practice in Portugal

_O Ser Inumano_ is a performance for two bodies, two animals and two pieces of flesh, where the death of the Sun is worked out as a memory book idea about humanity and its _errors_ or fatalities.

_O Ser Inumano_ is a space of infinite dematerialization of our inner self and our thought, a place where ideas are deconstructed and concepts are built around physical death/life of the spirit and death of the spirit/death of memory and echo and dematerialization of the body and thought, thus creating inhuman matter.

##### Artistic direction and conception | Hugo Cabral Mendes 
##### Artistic Collaboration | Romeu Runa 
##### Co-Creation and interpretation | Hugo Cabral Mendes and Guilherme Barroso
##### Dramaturgy Support | Adriana Xavier
##### Text Support | Guilherme Filipe
##### Video and Photography | Guilherme Gouveia
##### Promotional Video | Hugo Pedro and Hugo Cabral Mendes
##### Sound Design | David Taylor
##### Costumes | Samuel Arguinzones
##### Technical Direction and Light Design | Jorge Rosado
##### External Look | Miguel Moreira, Xandro Alvarez, Maria Inês Roque
##### Production and Diffusion | Hugo Cabral Mendes
##### Administrative Management | Teatro Levantado a 2 - Associação Cultural
##### Co-Production | Teatro Cine Torres Vedras
##### Residency Support | Estúdios Victor Córdon, A Bela Associação- Belalab
##### Hosting Space | Festival Cumplicidades-Largo das Residências, Instituto da Vinha e do Vinho




O Ser Inumano ⎯ Hugo Cabral Mendes

_Call Me Three Times_ is a piece that explores eroticism as an ambiguous territory through the construction of dream-states, fantasy, and illusion. These elements are touched on with the fictional life of Clarissa Genosis, a contemporary dancer turned cabaret performer whose story serves as a baseline structure for the piece. The piece is an accumulation of images, fantasies, and fragmented stories which push the audience to confront their own mechanisms of desire and disgust in relationship to Clarissa’s social portrait.

This piece as it is came to its form in the context of the Programa Avançado de Criação em Artes Performativas 5 (PACAP). It is an exploration of self-produced image, erotic dance, and the auto-fabrication of desire through the lens of music-videos, pop stars, and video work. The process was about localizing, formulating, and searching for fantasies, their limits, and their consequences. The author is both the star of the show, the technical team, the director, and the back-up dancer all-in-one. Through segments articulated with live-video projection, pre-recorded video, and live-action, I invite the audience to explore the multiple facets of my individual questions, vulnerabilities, and their falsification.


>Throughout the process, I have been engaged in studying the artificial construction of beauty with the use of video material, stage tools, and dance technique. How is femininity fabricated and how do mechanisms of desire latch on to these fabrications? I'm interested in the motivations to be on stage, the desire and lust associated with the performing body in pop culture and experimental contexts as well. I am interested in the stories we tell ourselves to keep going towards an artistic goal despite the ever-accumulating rational list of why not to. Lights, Camera, Action! And Then What? Go home girl! the camera stopped working.

This piece attempts to bring you along for the ride into dreams and fantasy, only to pull you back out when the lights come back on, or the actress removes her mask. With the use of poetics, joy, and humor _Call Me Three Times _ultimately aims to be an encounter between a person and a camera. Between the different facets of the dancing body. Between a film and a stage, a dancer and her client. Within the context of contemporary dance, this work introduces cinematographic elements such as simple dialogue, action, and décor to set a series of scenes which paint social realities as well as impossible fantasies.

Call Me Three Times

What is this sound that defines a language and comes with so many meanings? Can a soundscape define the background of our lives? _ÃO_, referring to a specific nasal diphthong in the Portuguese language, is a work that brings together choreographer Ana Rita Teodoro, musician João Neves and performer and writer André e. Teodósio. The starting point, in the footsteps of artists as different as Meredith Monk or Fátima Miranda, is the creation of a sensorial experience where narrative and visual narrative and visual aesthetics do not overpower sound. Thus, the sound of the piece will be made up of original compositions that use this diphthong, which is so difficult to pronounce for those who do not master the Portuguese language. The sound and the words, which involve the tongue, the lungs, the skeleton and the relationship with the surrounding environment, materialize into ideas, languages, impelling towards order and recreation. _ÃO_ is a choreographic, musical and, in a certain way, ethnographic show that inscribes in the present the meanings generated from a sound experience of the past, when someone said, _ÃO_.


###### -ÃO (working title)
(Latin ending -o, -onis or -anus, -a, -um)

###### suffix
1. indicates an augmentative value (e.g., mulherão; paredão; salão).
2. It indicates diminutive value, with uncommon use (e.g.,
calção; caravelão; escotilhão).
3. Indicates origin or provenance (e.g., aldeão; cidadão;
coimbrão).
4. Indicates action or result of action (e.g., puxão;
rasgão; repelão).
5. Indicates agent of the action (e.g., berrão; mandão; saltitão).
6. Indicates age (e.g., quatrocentão; trintão).
7. Indicates container (e.g., embalão; papelão; vidrão).
8. Indicates instrument (e.g., esfregão; picão; segão).

-ÃO ⏤ Teatro Praga

_GRACELESS_ is a solo performance which uses dance, storytelling, and feminist folk music to embody and narrate the experience of being a genderqueer lesbian in a small community. This interbiographical solo dialogues with the histories of lesbian artists and activists throughout the last century, while also reflecting on my own roots, migration, and the conflict of longing for one's culture while simultaneously being oppressed by it.  

Graceless ⏤ Rachel Mauney

An original creation in contemporary dance, _A Flor da Liberdade_ is inspired by poetry and music used as passwords in the Carnation Revolution, in an artistic symbiosis where the narrative evokes the value of Liberty and Democracy. In this performance poetry is danced, dance is played, and music is recited, in a salute to the Freedom won in the April Revolution.
##### During her career as a dancer, Nilsen worked with internationally renowned choreographers such as Rudy vanDantzing, Hans van Mannen, Toer van Shaik, Jorge Trincheira, Armando Jorge, Dalal Achcar, among others. As a dance teacher, she has taught in various schools, and is the coordinator of Escola Municipal de Ballet de Portimão (Portugal), a position she has held since 1986. In 2007, she obtained a Masters degree in Linguistics from UALG. Currently, she is a PhD student in International Relations at Universidade Nova de Lisboa.


###### Credits

##### Artistic director, concept and choreography | Nilsen Jorge
##### Choreographic assistant | Thora Nadeshka
##### Performers, co-creators | Thora Nadeshka, Miguel Querido, Catarina Marques, Tiffanie Millenka
##### Actor | Rafael Couto
##### Trainee dancers | Daniela Afonso, Maria João Barata, Mariana Justino, Sofia Afonso
##### Guitarist, singer | Paulo Viegas
##### Guitarist | Martim Marreiros
##### Technical director | Jorge Fonseca
##### Light design | Nilsen Jorge
##### Costumes | Dancenema Cultural Association
##### Production | Dancenema Cultural Association
##### Co-production | Teatro Municipal de Portimão, Câmara de Portimão
##### Artist residencies | Centro de Artes de Lisboa, OPART - Estúdios Victor Córdon, Pólo Cultural Gaivotas | Boavista, Casa das Artes de Portimão


Nilsen Jorge ⏤ A Flor da Liberdade

_H_ is a contemporary dance piece created by a collective of artists recently graduated from Escola Superior de Dança (Amélia Caldas, Ana P. Silva, Francisca Poças, Luís de Oliveira e Mariana Tiago), and arises from their need to express themselves and present themselves as new artists.


###### Credits

##### Co-creators and performers | Amélia Caldas, Ana P. Silva, Francisca Poças, Luís de Oliveira and Mariana Tiago 
##### Stage manager | Miguel Querido 
##### Creation assistant | Camila Poças 

H ⏤ Após a sopa

The work in creation during the residency, _Letters from Isadora_ was inspired by the book _The Art of the Dance_, a compilation of essays written by Isadora Duncan on art, poetry, philosophy, and bringing dance into the modern world. This piece strives to honor Isadora’s legacy by allowing each performer the space to express themselves in their truest sense while reflecting and responding to Isadora’s essays on what is dance, what does it bring to our lives, and why its existence is important.  

The work is co-choreographed by Mary Sano with the constant collaboration of the dancers involved in the piece, Alexandra Zeidan, Julie Dubois, and others. The music is a contemporary piano piece specifically composed for this work by Tony Chapman.


Letters from Isadora ⏤ Mary Sano

It is practically unknown that Fado used to be danced during almost half of its existence. In 19th century Lisbon, this dance with strong social expression was called "Fado Batido", a name that comes from the act of tapping, of hitting the ground with the feet to the sound of fado.

_Maçã de Adão_ presents a powerful contribution to the reconstruction of an episode in our history that suffers from a collective memory obliteration. Is the sad fado of our days, which is so distant from the bohemian fado of the 19th century, crying the nostalgia of its dance? 

This is a project that has the potential to re-awaken and bring back to light one of the pieces that make up the very rich and complex puzzle of Portuguese identity.  It includes the release of an album composed entirely by Jonas with songs that revive the Fado dance, and a live show, to be presented on tour, featuring four musicians, two dancers and the fado singer himself. The concert will take the audience to revisit the origins of Fado with a contemporary look that characterizes Jonas' career.


###### Credits

##### Artistic Direction | Jonas 
##### Dramaturgical Support | Lander Patrick 
##### Choreography | Jonas&Lander 
##### Performers | Acácio Barbosa, Bernardo Romão, Jonas, Lander Patrick, Lewis Seivwright, Tiago Valentim, Yami Aloelela 
##### Technical Direction and Light Design | Rui Daniel 
##### Sound Operation | João Pedreira 
##### Stage props | Rita Torrão 
##### Costumes | Fábio Rocha de Carvalho 
##### Production | Associação Cultural Sinistra 
##### Production and Diffusion Direction | Inês Le Gué 
##### Administrative and Financial Management | Gabriel Lapas 
##### Coproduction | Teatro José Lúcio da Silva, Município de Alcanena, Cineteatro Louletano 
##### Creation Support | Casa Varela - Município de Pombal, Estúdios  CAB, Largo Residências, OPART | Estúdios Victor Córdon, O Espaço do Tempo 
##### Project supported by the Portuguese Republic - Direção-Geral das Artes.

Maçã de Adão ⎯ Jonas&Lander 

_Roda-viva (a menina e o círculo)_ , the new work by Cláudia Nóvoa, combines circus, dance, drawing, and music.

The relationship of dance and circus with geometry is strong and intrinsic. Body and space are always intimately connected, in an imaginary drawing of lines that hover in space, released by the body as it moves.  How can geometry be apprehended from the body, thinking and imagining stories that connect with sensation? 

Thus, the idea arose to create a show that would give birth to a book, which would tell the story of a girl and a circle. 

_Each turn, a blank page, a new beginning, the freshness of novelty, the first time._

_Carolina likes to go in circles. As she walks, she thinks. She thinks better if she walks, even better if she twirls. And she dreams, dreams of circling the world in somersaults, dreams of birds flying in circles and volcanoes racing her heart, of blood rushing through her body and water flowing in whirlpools. She thinks, dreams, and spins._

_The circle is a perfect shape, and the girl is part of that circle - she steps into it, melts into it._

_Endless stories, new beginnings. Ideas generating more ideas, thought as a continuous line that is constantly mutating. How many thoughts can a single turn generate? Thought and imagination, the infinite possibilities that thinking gives us._

_A girl of the world, each turn to a new place, new encounters, different friends, new feelings._

_Show and book will be created simultaneously, resulting from a common practical experimentation._


##### Credits
 
##### Original idea and Artistic Direction | Cláudia Nóvoa 
##### Performance | Carolina Vasconcelos   
##### Performance and Live Drawing | Rachel Caiano 
##### Original Music and Performance | Sílvio Rosado 
##### Text | Sandro William Junqueira 
##### Choreography | Cláudia Nóvoa
##### Scenography | Joana da Matta
##### Costumes | Rachel Caiano  
##### Costume Design | Isabel Telinhos 
##### Light Design | Tasso Adamopoulos 
##### Photo and Video Recording | Susana Chicó
##### Graphic Design | Sebastião Rebolo (from an image by Rachel Caiano)
##### Production | Hipótese Contínua, Associação Cultural

Roda-viva  ⏤ Cláudia Nóvoa

_We are in a hurry to become, and what I am screams here and now. It's time to put my dreams in my mouth, to run through all my detours, catapult myself. To become another place of myself. Frenetic, somewhat naive, a body hostage to crooked, hard-edged dreams._ 
_We are in a hurry to become, I want to hang on my daydreams and not be a mere someone, a sea of impositions, dogmas, and just the time that's left. My age is hollow, hollow what it brings me, and for knowing what I want, I long to witness the time to be._ 
(from the diary of Marco Olival)_

Starting from the question "What is it to be young?" and the idea of "being in a hurry to become", _Indomado_ is born out of the urge to want to do everything instantly and the confrontation with the dangerous inconstancy of expectations. Let's imagine a place where the struggle against time is constant, where dreams are catapults or traps, and where all decisions to be made are uncertain. A place where will and reality collide and the body and voice emancipate this clash.

_Indomado_ is part of the 1st Edition of a program entitled IMPULSO, a project supported by Funchal City Council, committed to giving young artists the opportunity to develop their first projects at Teatro Municipal Baltazar Dias, and aiming to create a sense of identity, belonging and affinity among young public.

INDOMADO ⏤ Marco Olival

_A Morfia_ is a dance project that draws on scientific concepts to merge art with a dreamlike fiction. Starting from the narrative of a formless creature that finds itself in an extremely inhospitable environment, it intends to confront the real and the fictional, placing the present before an aporia, when the performative plasticity speculates on the evolution and transformation of matter.

An undefined being, extremophile, which adapts to various extreme environments and whose morphology transforms as it passes through each of these habitats, suffers mutations that allow it to survive in each of the habitats. We are thus inspired by real deserts, such as Danakil, in Ethiopia, or Vostok, in Antarctica, where we can find life forms, like extremophile organisms, that this creature can resemble, as well as morphologies that in a more affable environment can allow the creature to expand and become more vulnerable.

We intend, based on research and analysis of certain natural elements, to construct a speculation around organicistic evolutions, in a biological alienation of ecosystems and creatures, to experiment in the performing body an investigation around natural systems and their post-human transformation. We present a dystopian reality to generate spaces for reflection and dialogue about the impact of humans on ecosystems. 


###### Credits

##### Artistic conception and scenic space | Mariana Ramos and Pedro Ramos
##### Performance | Pedro Ramos
##### Artistic Assistance | Sandra Rosado
##### Musical Composition | Pedro Carneiro
##### Light design | Zé Rui
##### Scenic objects construction | Silveira Cabral
##### Communication and Design | Nádia Carmo
##### Executive Production | Matilde Anjos
##### Management and Production | Bruno Esteves
##### Accompaniment and Documentation | David Cachopo and Luís Margalhau
##### Creation support | Estúdios Victor Córdon
##### Support | Câmara Municipal de Lisboa, Performact, Trilhos Verdes, Junta de Freguesia das Avenidas Novas 

A Morfia ⎯ Ordem do Ó

For the project's 2022/2023 season, Queer Art Lab invited dance artist Marco da Silva Ferreira, who will be at EVC throughout the week developing a new work.

_IMERSÃO - Artistic Laboratories_ is an annual interdisciplinary project, created by Queer Art Lab, which presents itself as a laboratory of artistic creation, with different spaces and various focuses of artistic expression. They aim to comprehend different ways of using art as a means of generating social debate on contemporary issues. 

_IMERSÃO_ invites emerging queer artists who will then have access to a scholarship and support / mentorship from more experienced artists. Marco da Silva Ferreira is one of the guests joining the project this year.

Queer Art Lab ⏤ Marco da Silva Ferreira

Vära is a choreographic object that emerges from the urgency of the encounter between bodies. On stage, seven bodies inhabit a space surrounded by plastic, alluding to the exposure of meat in a butcher shop. It is here that they seek and enhance the attempt at dialogue through repetition, accumulating mistakes and amplifying the confrontation with each one's reality.

Vära presents the body as a sensitive field of possibilities. Echoing references such as Homer's _Odyssey_ and Antonin Artaud's _The Theater and its Double_, the body is inscribed as a primordial place, as the transforming base of being and of its construction of reality. This naturalized, subjective, and solitary body reverberates its transforming power in the collective voice of the choreography. VÄRA is a work about the flesh.

_I'm looking for a laboratory that's very white and cold and blue, resembling a butcher's shop the moment the kitchen lights come on, where we can hang our skins. A place where we can kiss and play violin together, inside carcasses, barefoot, harvesting liver.... Where cool techno goes by in the middle of orthodox choral music and lots of flowers, lots and lots of blue flowers, so it can be beautiful and so we can be happy._

###### Credits

##### Artistic Direction, Choreography and Concept | Daniel Matos 
##### Performers and Co.creators | Adriana Xavier, Sofia Kafol, Joana Pinto, Jean-loup Gayrard, Lia Vohlgemuth, Mélanie Ferreira & Marco Olival 
##### Artistic Collaboration and Rehearsal Assistance | Beatriz Marques Dias 
##### Light Design | Manuel Abrantes 
##### Technical Direction | Raúl Seguro 
##### Original Soundtrack | João Galante aka Coolgate 
##### Space | Daniel Matos & Diogo Silva 
##### Photography | Rui Palma 
##### Theater Photography | Bruno Simão 
##### Textile Props | Marina Tabuado 
##### Communication | Maria Tsukamoto 
##### Production Direction and Administration | Joana Flor Duarte 
##### Production Assistant | Filipa Garcez  
##### Graphic Design | Sergiu Toma
##### Production | CAMA a.c.  
##### Coproduction | Câmara Municipal de Lagos, Teatro das Figuras. 
##### Artist Residencies in Co-production | O Espaço do Tempo, Verão Azul - Festival Internacional de Artes, CAMADA - Centro Coreográfico 
##### Support | Estúdios Victor Córdon / OPART, Musibéria, Companhia Olga Roriz, Teatro Experimental de Lagos, Companhia Portuguesa de Bailado Contemporâneo, Pro.Dança, Estúdio CAB, Casa da Dança de Almada, Casa das Laranjeiras, Herdade do Freixo do Meio, Escola de Dança de Lagos 
##### Acknowledgements | Sofia Soromenho, Francisco Pedro, Rui Horta, Mariana Malheiro, Hugo Cabral Mendes, Martim Alvarez. 
##### Tour Support | Fundação GDA

VÄRA is a funded project by the Portuguese Republic - Ministry of Culture / DGARTES and by Programa Garantir Cultura.

VÄRA ⎯ Daniel Matos

In the short story _Meu tio o Iauaretê_, Guimarães Rosa invites us to navigate in a narrative where a man, in isolation, upon receiving a visit from a stranger and feeling threatened, transmutes into a jaguar, devouring the visitor. It's about a strong, primitive, furious, wild, implacable, vengeful, enchanted nature.

In this performative study, Francisco and Francisca investigate unfinished gestures, tonic modulations, and presence activation within a fiction: we inhabit a forest of magical beings who are jaguars, who are people, who are jaguars, who are people. In this space of imagination, where audience and performers are very close to one another, we will die to the sound of cicadas.

###### Credits

##### Creation and Performance | Francisca Pinto and Francisco Thiago Cavalcanti 
##### Musicians | Domenico Lancelotti and Ricardo Dias Gomes  
##### Artistic Collaboration | Bárbara Cordeiro and Clara Kutner  
##### Videoinstallation | Clara Kutner 
##### Light Design | Santiago Tricot  
##### Technical Support | Bárbara Cordeiro  
##### Creative support | Fórum Dança and Casa da Dança 

Quando eu morrer me enterrem na floresta

Coffee is often associated with a break and the aromatic effect of its use on stage generates an atmosphere that invites this feeling. Adding music and narrative deepens this feeling, and so the duet ends when the feeling dominates and the emptiness becomes a place of excitement. 

Further developing their choreographic language together, this duet is currently being revisited and will have its premiere at the Blois Dance Festival in July 2023.

Beatriz Mira and Tiago Barreiros began their choreographic collaboration with a duet entitled _Corrente_, which emerged from their artist residencies at Companhia Portuguesa de Bailado Contemporâneo and Estúdios Victor Córdon. The first presentation of the work took place in Viseu, at Festival Lugar Futuro (2021), and was then incorporated into the CPBC repertoire, in the context of which it premiered in February 2022. The piece was also presented in Seteais, at Quinzena de Dança de Almada, at the RIDCC (Amsterdam), and received the "Partner Award" from the Dutch National Ballet - which gave them the opportunity to create for the junior company of the same institution, in August 2023. 

###### Synopsis
##### coffee is a place.
##### a dark place, a warm place.
##### a place of return.
##### it neither begins nor ends, it exists through repetition, in repetition it generates a sensation.
##### it lives only as a sensation.
##### coffee is a duet of looking for something new.
##### and finds something new in what one already knows. 

###### Credits
##### Coreography and Interpretation | Beatriz Mira & Tiago Barreiros
##### Original music | João Caldas
##### Music | Sound design based on the piece 'Concerto in B minor, BWV 979: V Andante', by Johann Sebastian Bach

Café ⏤ Beatriz Mira & Tiago Barreiros

_Imperfect Note to Creation_
Atopos is the figure that the being in love makes of the being they love. By being considered by the being in love as unique, the loved being is not comparable to any other. Because in its uniqueness it responds so completely to the particularity of the desire of the one who is bewitched by it, atopia is the elevated state of the human being. As in love, any opinion we make of the other is always a reflection of ourselves, an extension of our beliefs and taste.

_Atopos_ the piece is born from the encounter of two young choreographers with the desire to think about the gaze we direct at bodies and their value as part and expression of each being. Their artistic will grew once that interest intersected with the poetic perspective of focusing on the summit of our admiration (the loved one). Despite its significant value, the beloved being is more than the place created for them, it is also and always the hidden, it is always the relationship between the hidden and the enlightened space.

###### Credits
##### Direction and Choreography | Beatriz Mira, Miguel Santos
##### Performance | Beatriz Mira, Miguel Santos
##### Musical Composition | Beatriz Mira, Miguel Santos
##### Stage Design and Costumes | Luísa Cortez, Rafaela Santos Graça
##### Light Design | Ângela Bismark

Atopos ⎯ Beatriz Mira & Miguel Santos

_Stereotypes generated by obsolete ignorance are perpetuated and reproduced. But is there a common denominator? What is the "I" underneath all these constructions? Is there something underneath all these social colonizations? Or is the individual doomed to exist as an amalgam of pre-constructions?  How many structures inhabit the body that I assume to be mine?_

«The experience from which I start is personal, of a body and an identity in conflict among multiple pressures to be and to fight for a possibility of permanence, of an interiority in tune with an exteriority. Like in a visit to a Candomblé, like someone who dives into the mystery and magic of human existence and wants to go deeper, I start from the certainty of what I don't know. I don't know how a lot of bodies actually exist in a world that, for me, is a given fact. My world as a given fact is my experience: I grew up in Odivelas, I am of African descent, daughter of Angolan parents, I studied in a private school - my experience is limited. I want to research intensively and exhaustively the bodies that I don't know, that have contexts, identities, and experiences distinct from my own body.»

«In my dreamy imagination, I see the project as an ocean - full of curiosity and the need for reflection on these narratives - that expands into different channels that reach out to the various senses communicating: I will search together with others for the word that empowers those who want to make themselves heard; the images that open the lines, doors and windows in a horizon that tends to be closed; and the movement that touches the surrounding air, stirring it.»


###### Credits

##### Creation and performance | Natacha Campos  
##### Sound design | Diogo Melo  
##### Dramaturgy Support | Rui Catalão 
##### Light design | João Chicó (to be confirmed)  
##### External gaze and creative support | Joana Pinto  
##### Support | Self-Mistake, Espaço do Tempo and Rua das Gaivotas 6

ÍLA ⏤ NATACHA CAMPOS

This year, the EVC hosts Intensive Programs 3 and 6 of the Master in Choreography and Professional Practice from Escola Superior de Dança.

The Master in Choreography and Professional Practice from Escola Superior de Dança provides, as the name implies, the further development of choreographic skills. Thus, it focuses on the disciplines of choreography, performing and artistic mediation in dance, broadening and valuing the training in the field of performing arts. Promoting research through practice, it intends to strengthen the relationship between the latter and the conceptual dimension of artistic creation and to stimulate knowledge.

In the academic year 2022/2023, EVC hosts two parts of the course's intensive program. The Intensive Program 3 took place in January and was led by Professor Eva Lopez Crevillén, who taught Performing Choreography, choreographer Victor Hugo Pontes, guiding the course Methods and Processes of Creation, and art programmer Raquel Ribeiro dos Santos, who taught Art Mediation in Dance. 

The Intensive Program 6, which also takes place at EVC, happens between June and July 2023 and has Clara Andermatt, Amélia Bentes and Ana Trincão as instructors. 

Mestrado em Criação Coreográfica e Práticas Profissionais

_Homenagem_ is a theater-dance piece that addresses the problem of species extinction (flora and fauna), which has silent but harsh repercussions on the life on Earth. Emerging on the thin line between tragic and comic, it will reveal contradictions of human behavior in its interaction with the planet. The investigation, although exhaustive, will be endless, seeking to raise awareness of the existence of species that must also have a place here. 


###### Credits
##### Creators and performers | Yael Karavan, Naomi Silman
##### Physical training support | Vânia Rovisco
##### Dramaturgy | Andresa Soares
##### Costume design | Carlota Lagido
##### Objects and set design | João Ferro Martins
##### Soundtrack and sound design | Diogo Alvim
##### Light design | Luís Moreira
##### Artistic advice | Ana Cristina Colla and Raquel Scotti Hirson (LUME Teatro)
##### Scientific advice | Prof Dr Carlos Joly, Prof Andre Lucci Freitas and Prof Dr Thomas Lewinsohn (UNICAMP, Brazil)
##### Field research - Guarani villages - Itakupé and Kalipety (São Paulo's metropolitan area, Brazil)
##### Executive production | Academia de Produtores Culturais
##### Co-production | Teatro das Figuras (Faro) and LUME teatro (Brazil)
##### Funding | Calouste Gulbenkian Foundation, GDA, Iberescena
##### Support | Estúdios Victor Córdon, Olga Roriz Company (COR), Penhasco.

Homenagem ⎯ Yael Karavan

_CAUSA MAIOR_ is a project developed by Companhia Maior (2021-2023) and supported by the PARTIS program of the Calouste Gulbenkian Foundation and "la Caixa" Foundation. It aims to evaluate and reflect on the "social value" of Companhia Maior with the intention of demonstrating it publicly and amplifying the voices of people and the company's artistic and critical work. The aim is to explore other readings and other places of ageing and to contribute to the debate on more appropriate public policies for the health and well-being of older people, through the example of Companhia Maior. 

After the creations by Sofia Dias and Vítor Roriz and Ricardo Neves-Neves, in 2023 the company will begin a new creation with Aldara Bizarro.
In addition to the choreographic component, _CAUSA MAIOR_ develops a
a retrospective evaluation of the project's impact on the quality of life of its participants, complemented by a prospective aspect, based on a longitudinal study over three years.

The project ends with a new creation by Aldara Bizarro, a choreographer who has solid experience in inter-generational dialog and attention to the
non-professional community, in this case particularly older people who are less prominent in society.

Companhia Maior ⎯ Aldara Bizarro

In _A Pedra, a Mágoa_ the family entity is placed as an object of study, focusing on the hierarchical constructions that make it up, based on a traditionalist mentality in which parenthood assumes a mythological role as an untouchable heroic space. Questioning the limbo between public and private, the body is seen as an open-air excavation, a body left behind, a body of abandonment, a beast of burden similar to the 1,750 inactive quarries in Portugal.
In this new creation, Daniel Matos proposes to revisit and recompose Claude Debussy’s _Prélude à l’après-midi d’un Faune_, relating the concepts of destruction, myth and romanticism in a work dedicated to his parents.



AUDITION ⎯ “THE STONE, THE SORROW” BY DANIEL MATOS

_ESTUDOS DA VOZ [studies of the voice] - dissociation, ecstasy, ghosts and other sonic fictions_ is an expanded research project in dance that takes voice as an ancestral technology of enchantment, orality and memory. It studies the threshold spaces between language, sound, breathing, vibration, fable-making, sensory aspects of words and "hallucinated" anatomies and situates itself in the experience of being a non-binary trans body as a strategy to question some of the historical paradigms of visuality, founded in normative discourses of capture and evidence.

The project is made up of a series of studies (dissociation studies, hallucination studies, and ghost-studies) with which Alina Ruiz Folini addresses different strategies of physical practice, writing, and archiving, as well as specific collaborations, simultaneously - and entangled with the process of creation.


###### Credits

##### Creation and artistic collaboration | Alina Ruiz Folini, Juli Frodermann, Rita Natálio, Maura Grimaldi, Isis Andreatta, Aline Belfort 
##### Artistic direction | Alina Ruiz Folini


ESTUDOS DA VOZ ⏤ ALINA RUIZ FOLINI

##### João dos Santos Martins is looking for dance performers for his new play _É Obra_ to be premiered at the DDD festival in Porto, followed by performances at Culturgest in Lisbon in May 2024. Those interested should be available between February 12 and May 5 and from May 13 to 19, 2024.
##### João dos Santos Martins is an artist whose work encompasses various forms that permeate dance, exploring formats such as choreography, exhibition and publishing. In his practice, he values collaborative and cooperative ways of doing things, having created pieces such as _Projecto Continuado_ (2015) - SPA Authors Prize - and _Companhia_ (2018), with Ana Rita Teodoro, Clarissa Sacchelli, Daniel Pizamiglio, Filipe Pereira and Sabine Macher, or _Onde Está o Casaco?_ (2018), with Cyriaque Villemaux and Ana Jotta. She has performed works by Eszter Salamon, Xavier le Roy, Moriah Evans, Boris Charmatz and Jérôme Bel, among others. In 2019, she founded the biannual journal _Coreia_, dedicated to writings by artists.
##### _É Obra_ focuses on the idea of translating sound into body and landscape and questions the eternal problem of dance's autonomy in the face of its structural dependence on music. It seeks to emerge from a place of experimentation with dance as a creation of the body's expressiveness for its own sake, through an interaction between gesture, sound and sign, expanding the body to its most immanent social condition, on the one hand, and moving towards the flesh, on the other.

###### more info [HERE](https://parasita.eu/joao-dos-santos-martins/)

AUDITION WORKSHOP - "É OBRA" BY JOÃO DOS SANTOS MARTINS

_Here, I’m at the surface with me, there, I’m at the bottom with you. I left home in order to find myself with others, through meetings that are small moments of celebration. A thousand waters is a solo that ritualises and celebrates the cry on a continuity of endings. Fuck, let’s kill evil in the bud and also of course, have the courage to recognise the end.
I wanted it to be like a jubilee, a party, indulgence because I want it to end with a celebration. So that’s it, going to the rotten, and then the light, the rotten and then light again and again. All of this inside a bathtub, I enjoy it, if the water is super hot and our bodies are like a church up in flames._

Águasmil ⎯ Beatriz Garrucho

_O outro corpo_ ["the other body"] is a work based on the piece _O outro lado da dança_ (which premiered in Coimbra in 2022) and on research into the historiography of the body outside the norm in Portugal and abroad. It also includes a text to be presented at the exhibition _Para uma timeline a haver_. Operating in the fields of performance, Live Art and lecture-performance, the work seeks to give voice to the violence disseminated by the norm, allowing the political place of a new body to emerge. A body that is no longer a victim of its own history.

A dancer, choreographer and writer, Diana Niepce has a degree in dance from the ESD (Lisboa), completed the Erasmus program at Teatterikorkeakoulun (Helsinki), a Master's degree in Art and Communication at Universidade Nova de Lisboa, and completed the CPGAE training course at Fórum Dança. She is also a qualified hatha-yoga teacher. She is the author of the contemporary circus piece _Forgotten Fog_ (2015) and the dance pieces _Raw a nude_ (2019), _12 979 Dias_ (2019), _Dueto_ (2020), _T4_ (2020) and _Anda, Diana_ (2021). As a dancer and performer, she has collaborated with Bal-Moderne - Companhia Rosas, Felix Ruckert, Willi Dorner, António Tagliarini, Daria Deflorian, La fura del baus, May Joseph, Sofia Varino, Miira Sippola, Jérôme Bel, Ana Borralho and João Galante, Ana Rita Barata and Pedro Sena Nunes, Mariana Tengner Barros, Rui Catalão, Rafael Alvarez, Adam Benjamin, Diana de Sousa and Justyna Wielgus. She was artistic director and taught the Introduction to Performing Arts for Artists with Disabilities course at Marvila's Public Library (2020). She recently published the book _Anda, Diana_ (ed. Sistema Solar).

###### Credits

##### Artistic Direction, Research and Performance | Diana Niepce
##### Technical Direction | Gonçalo Alegria
##### Costume Design | Silvana Ivaldi
##### Artistic Support | Pedro Barreiro
##### Video | Eduardo Breda
##### Photography | Alípio Padilha
##### Production company | Produção d'Fusão
##### Producers | Patrícia Soares and Filipe Metelo

O Outro Corpo ⎯ Diana Niepce

"I would like to be Maria, but there is La Callas who demands that I carry myself with her dignity." 

Art and culture unfold through traditions and pasts that become present. This way, one stone at a time, we build the home we come to. Celebrations awaken our existence, giving real meaning to the ground we stand on. In this musical and performative show, Amélia Bentes and her team intend to recreate, through a careful choice of opera arias, a biographical narrative of the great soprano Maria Callas. To do this, they invited the internationally renowned Portuguese classical singer Lara Martins to join the project, and she accepted the challenge.  

This is a collective work in which soprano Lara Martins, pianist Joana David and choreographer Amélia Bentes, together with Cecilia Kalogeropoulos' biographical narrative, will create a unique show.

###### Credits

##### Creation and choreography | Amélia Bentes
##### Soprano | Lara Martins
##### Pianist | Joana David
##### Costume design | Helena Medeiros
##### Set design and video | Ailéma Monteiro
##### Technical direction | Raúl Seguro
##### Photos and recording | Joaquim Leal
##### Production |  Operatejo Association,
##### Support | Opart|Estúdios Victor Córdon, Fábrica do Braço de Prata, Câmara Municipal de Sintra, Centro Cultural Olga Cadaval

A admirável Callas ⎯ Amélia Bentes

_Raio de ti_ is a piece that seeks to reflect on artistic appropriation while at the same time raising issues related to experience, memory and representation that are specific to this project: life history and place of speech.
Here, the emancipation and power of women's artistic creation is revealed.
The dancer appropriates images from the film, which was never completed, _Nether Ballerina of Rottingdam_, which had as its creative motive exchanges and tensions between two worlds: that of filmmaker Demetri Estdelacropolis and the then young contemporary dancer Rita Vilhena. The filmmaker's camera lens explored the image of the highly eroticised young woman, in mundane tasks such as doing her personal hygiene, sleeping or waking up, and at the other extreme in scenes of masturbation, in precarious jobs that the young dancer performed in order to survive as an artist or doing domestic work without underwear. All these micro-narratives emphasised the image of the ballerina as an eroticised character.
From the collection of around 150 hours of filmed images, the dancer now re-edits this period of her life to give way to a new reading of the rays that the film-maker left in her.
With this work, the dancer undertakes a creative exercise in self-representation in order to gain mastery over her own life story, her own identity and, distancing herself from the denouncing tone of second wave feminist performances, to carry out a healing work by constructing a new reality with the retelling of this story. 
Between the images of the past and the movements of her present body, the dancer transforms the gesture of the film into a new dance, giving it a new meaning. _
Raio de ti_, more than a reckoning with the past, is a new poetic-sensitive discourse on what the construction of memory can be and, successively, the possibility of contaminating a freer and more inclusive future.

###### Credits
##### concept, creation and performance | **Rita Vilhena**
##### playwriting | **Ana Vitória e Márcia Lança**
##### music | **Henrique Vieira**
##### video | **Demetri Estdelacropolis e Rita Vilhena**
##### lighting design | **Luís Moreira**
##### video projection | **Bianca Turner**
##### set design and costume | **Rita Vilhena**
##### production | **Partícula Extravagante, Mariana Dias**
##### support for residences | A GRÁFICA - Centro de Criação Artística, Mad Brook Studio, OPART | Estúdios Victor Córdon, DevirCAPa, C. E.M.

"Raio de ti" ⎯ Rita Vilhena

Developed through the perspective of two white, queer and non-binary bodies, of Portuguese and American origin, this interdisciplinary performance _Flóbér_ explores the concept of "internalized oppression", addressing the proliferation of dictatorial and colonial beliefs in contemporary society. _Flóbér_ asks: When do we become our own oppressor and the oppressor of others?

There is an "eternal return" of populist sentiment and colonial nostalgia, which exposes systematically neglected social traumas and fissures. _Flóbér_ exposes and reflects some of the historical traumas and fissures that drive people to reproduce and practice oppression, marginalization and prejudice.

_During the residency we will work on the concepts of the militarized body, the repressed body and the imprisoned body. We will study different military choreographies, religious and family rituals and other forms of choreographic socialization dating from imperial and dictatorial periods. These choreographies will be used to explore the concept of "internalized oppression" as a set of unconsciously repressive habits, ways of being and relating, transmitted and normalized from generation to generation._ ⏤ Telmo Branco

Flóbér ⎯ Telmo Branco

Based on a series of interviews and testimonies, which travel between the memory of the past and accounts of the present, Francisca Neves proposes a piece based on extensive research with young students, to create a performance that explores the violence and conflict that can result from an educational process.

_Cartografia do Crescimento_ is a piece for two performers, built on a biographical and documentary archive of children and young people between the ages of 6 and 16. Structured in the aesthetics of an unconventional conference, the piece is grounded in Marshall's interviews, child psychological and behavioral studies, Marianne Wex's study of the repercussions of patriarchal culture and Anne Teresa de Keersmaeker's concept of the embodiment of an abstraction and repetition.

The aim is to create a hybrid and informal performance space that can be transformed by the performers. An undefined malleable space in constant construction and deconstruction, presented as material to manipulate and rto eflect on child development processes. A speculative material (composed of bricks, clay, wood, paper, etc.) that can articulate some of the central dramaturgic ideas in _Cartografia do Crescimento_.


###### CREDITS

##### Direction | Francisca Neves
##### Performance and development | Leonor Alecrim, Francisca Neves
##### Set design | Ivana Sehic
##### Movement Support | Vânia Rovisco
##### Video | Anna Vanno
##### Light Design | Nuno Meira
##### Sound and Video Design | João Raposo
##### Photography | Alípio Padilha

Cartografia do Crescimento ⏤ Francisca Neves

Taking crying as the project's key concept, the idea is to study and understand different realities. To this end, the aim is to combine research into literature, photography, film and sculpture with an exploratory use of the sensorial body - the physical experimentation of "action-concepts" that allow us to deepen, intensify and lead the work through various themes. Among the themes to be addressed are the obligation not to cry and crying banned from public space; distances and limits, layers and transparencies; the mediatization and instrumentalization of crying; metamorphosis, death and rebirth.

Crying is one of the bodily expressions that we experience most viscerally, but it is still very absent from the life of cities, consigned to a solitary act. Is it repressed because it is private or is it private because it is repressed?

C(h)oro ⎯ Sara Garcia

_Morrer Pelos Passarinhos_, by Lígia Soares and Henrique Furtado Vieira, is primarily motivated by research into artistic movements that emerged in the 20th century following historical moments of social collapse, in order to create performative utterances that make us deal with today's end of the world. The project approaches theater as it being an interdisciplinary space, allowing it to be freely contaminated by other arts or artistic practices.

This way, the project aims to learn from past generations in order to express the "non-sense", the human being dissected by the disorder of the world, expressed in their mourning, opposing the ease with which we accept its degeneration.

As this project is strongly based on research into artistic movements of the last century and the participatory experience of theater, it will be developed through a series of residencies where there will also be the opportunity to work with different groups and communities, in order to broaden the performative gesture. At the end of each residency, there will be one more piece joining the collection, which may vary in form, subject, size and presentation context. _Morrer Pelos Passarinhos_ seeks a different way of promoting the performances, through participation and adapting the project to each location.

The research phase began in November 2023 and will continue throughout 2024, resulting in a collection of performance acts to premiere in May 2025 at Teatro Municipal do Porto.

###### CREDITS

##### Artistic Direction and creation: Lígia Soares and Henrique Furtado Vieira
##### Original idea by Lígia Soares and Maria Jorge
##### Production Director: Ana Lobato
##### Production: Romance Associação Cultural
##### Co-production: Teatro-Cine Torres Vedras and Teatro Municipal do Porto
##### Creation/presentation residencies: Gretua (Aveiro), Festival END (Coimbra), Rua das Gaivotas 6 (Lisboa), Teatro Viriato (Viseu), A Gráfica (Setúbal)
##### Residencies support: Polo Cultural das Gaivotas, O Rumo do Fumo, Centro Cultural da Malaposta/Minutos Redondos, LAMA Teatro, OPART|Estúdios Victor Córdon
##### Funding: República Portuguesa/DGArtes- Direção Geral das Artes

MORRER PELOS PASSARINHOS ⎯ Lígia Soares & Henrique Furtado Vieira

O que pisamos ⎯ Apneia Colectiva

Partes sensíveis ⎯ David Marques & Nuno Pinheiro

Programa de apoio à criação artística independente que acolhe criadores na área da dança e outras áreas de cruzamento artístico, a nível nacional e internacional, por um período máximo de duas semanas. Desde a sua génese, os EVC são um espaço de coabitação de múltiplas linguagens, agindo numa resposta direta às necessidades da comunidade artística.


MeetingsfortheFutureVI

Teatro Praga