2025

#### The world is the home of the body.

##### The body as a matter of common heritage. A body that listens and acts; a place of dance, from this and other worlds.

##### As Estúdios Victor Córdon enter a new cycle, we are firmly committed to continuing to support the independent artistic community, with a primary focus on dance. We also reiterate our dedication to promoting initiatives that help young artists start their careers, that intensify the circulation of artists from and within the Portuguese-speaking African countries, that provide a space where immigrant communities and their descendants living in Portugal can be represented, and that, in general, are an example of the increased democratic access to cultural institutions. When fundamental values are reversed, it is essential to multiply actions that directly impact on the lives of the people affected by this reversal, while it is true that many different approaches are needed to respond to the reality of our times.

##### The 2024 Season aims to reflect the state of a world in (dis)aggregation, about which we urgently need to think and on which we must act. As Portugal celebrates half a century of liberty and democracy, we need to reaffirm universal humanist values, because a transformation in the political context won't change the fact that such work has to be carried out. Establishing these values always involves a constant effort, starting at the core of one's individual life. Our time must be a time of continuous action to counter oblivion, which remains an eternal enemy of civilizations, and to respect and recognize the dignity of every person.

##### The voices and needs of creators and performers. The recording and transmission of these voices, coming from many different places in the world. Thinking about artistic creation and its impact on social reality. The routes of the Portuguese language as spaces for meeting, sharing and establishing networks where artists can travel, proposing to bring North and South closer together. Migrant communities living in Portugal and the role of artistic creation in the process of drawing different cultures together.  Communities of African descent and their presence in cultural institutions and society in general. To support artists, festivals and educational institutions, as well as to give assistance to young performers and creators who are starting their careers. These are the main lines guiding the nearly twenty programs we are proposing for 2024.

##### We launch this season knowing that the path can shape our intentions, making them more suited to the needs of those who can benefit from it, and while it is true that not all projects will reach the point where we initially imagined them, when driven by a creative and conciliatory spirit they will certainly bring about change.

##### This is where we propose to meet. In a home of the world.
##### ⎯
##### Rui Lopes Graça
##### January 2024

##### .

#### EVC: Other spaces
##### While researching the archive of choreographer Paula Massano at the National Museum of Theatre and Dance, I came across the file “Proposal for the Organisation of a Minimum Support Structure for a Workshop”. This document was sent to the National Ballet of Portugal (CNB) a year after its foundation, in 1978, as an attempt to establish a permanent choreographic experimentation project. The document opened with a description of what a workshop is, a term that wasn’t used at the time: “a workshop is a place where a group of people gather around a common work with the aim of, within a given field of artistic practices (in this case, dance), developing it in order to discover new forms and necessarily, new content.”

##### Paula Massano’s proposal was not adopted by the CNB. Was it discussed? It might have seemed radical, on the one hand, or naïve, on the other, at a time when the company had just been founded and was trying to become, essentially, a classical corps de ballet. If we propel it into the present, this proposal prompts a reflection on the mission of a state dance company. Although CNB’s statutes have always ensured a coexistence between classical and contemporary dance, this balance has always seemed complicated. What could a permanent movement research workshop do for the company, in particular, and to dance, in general?

##### The history of Estúdios Victor Córdon (EVC) is inextricably linked to the CNB and emerged as a project by Luísa Taveira (director from 2010 to 2017), with the intention of promoting the career transition of dancers who were no longer performing. Opening its doors in 2016 under the coordination of Bruno Cochat, EVC began as an “educational, community and creative centre” with dance classes for children and adults, masterclasses, workshops and other projects. In 2017, the choreographer, former dancer and CNB special projects coordinator Rui Lopes Graça was appointed to lead the project. Despite maintaining a concern for the dancers’ professional transition, another direction was set out.

##### Described as a “platform”, Estúdios Victor Córdon are a place for practice, research, experimentation and choreographic creation without a defined aesthetic line. Being one of the few places in Lisbon with the right conditions for dance practice – i.e. spacious studios with wooden flooring, sprung floor, linoleum covering and heating –, the EVC provide vital support to the independent dance community by offering proper studios to work and rehearse.

##### One of their core initiatives is to offer daily dance classes for professionals at a fee of three euros. The classical dance classes are usually taught by former dancers from the CNB and Ballet Gulbenkian, among others, ensuring intergenerational transmission. The classes are attended by a wide variety of people, and in the same studio you might come across a retired dancer from the Paris Opera who has bought a house in Lisbon, a choreographer of the New Portuguese Dance movement, a young dancer who has just graduated from the Conservatory, a former student of Forum Dança, a researcher at c.e.m – centro em movimento, an amateur doing a PhD in sociology, a dancer who works abroad, is on vacation in Lisbon and is attending a vogue ball in the evening, dancers who either are between projects, have an audition or want to warm up before rehearsing. The contemporary dance classes are taught by a younger community – active dancers aged between 20 and 40, who also have the opportunity to share their practice with others. With a pedagogical and professionalising focus, the EVC have also been working to create opportunities for young performers, either through collaboration between dance schools across the country and foreign choreographers, or by establishing collaborations between art schools from different fields, such as music.

##### The EVC have understood that, in order to have a comprehensive discourse, it can't always be the same people doing things. Power cannot be pyramidal; on the contrary, it has to be shared, to be a dialog, to be a bridge. Part of EVC’s programs involve inviting different people to curate, opening up the spectrum of collaborations to do what might not have been within their reach.  What comes out is not the voice of a director, but different voices that show and nurture the diversity of the dance scene in its multiplicity. This openness should also be seen as a space of responsibility for when, occupying places of power and decision making, institutions pursue the task of continuously repairing the structural injustices that continue to divide the world in two.

##### The world needs new and renewed institutions. Institutions that make us believe in them, that are transparent, open, with spirit, and that inspire us, represent us and make us want to be represented. Institutions that aren’t machines for sucking up heads and taxpayers, nor launching pads for their directors. The EVC have become a home for many. They are a place where we know we are well looked after, where we feel welcomed, appreciated and respected, regardless of the kind of dance we practise. This transversal dimension, promoting different perspectives, fosters communication between peers who often don’t cross paths, no longer cross paths or don’t want to cross paths. It’s a place of encounters, where one can meet new people or people we admire but never actually see. We never know who’s going to cross the hallway and that brings us a mixture of flutter and excitement.

##### Many of EVC’s actions are invisible and involve muscular, psychological and legal support or, in other words, care. Care which isn’t protocol, but that comes from an experienced team who are devoted to their daily practice: dance. This attitude proves that institutions, despite being created by decree, are made by people and out of love, attention and dedication. Although the EVC emerged as an attempt to solve a problem within the CNB, it became an inspiration for the dance scene in general, and an example of what a national dance project could be. That project would be, in addition to a corps de ballet, and in Paula Massano’s words, a place to develop the field of dance permanently, in its form and substance. Through the actions of the EVC it is possible to see a large spectrum of the dance field, its networks, subjects, aesthetics, concerns, desires and needs, but the way it operates allows us more: it allows us to collectively imagine how to make of an institution one other space.
##### ⎯
##### João dos Santos Martins
##### January 2024

2024 SEASON - The world is the home of the body.

The Support for Auditions Program continues to provide artists with the necessary conditions to participate in selection processes for training programs or casts. Thus, the studios open their doors to performers who need a space to record audiovisual materials for auditions or academic tests.

The EVC open its doors to universities or equivalent institutions in some of their training programs. With this initiative, we aim to consolidate the relationships established with these institutions for the benefit of new generations of dance artists.







Support for Dance Education Institutions

###### Support for Auditions

The Support for Auditions Program continues to provide artists with the necessary conditions to participate in selection processes for training programs or casts. Thus, the studios open their doors to performers who need a space to record audiovisual materials for auditions or academic tests. Applications can be submitted online on our website throughout the year.

###### Support for Dance Education Institutions

We open our doors to universities and other higher education institutions in some of our training programs. With this initiative, we aim to consolidate the relationships established with these institutions for the benefit of new generations of dance artists.

###### **partners** Escola Superior de Dança (ESD) — Master’s Degree in Choreographic Creation and Professional Practices (modules 4 and 6) | Forum Dança — PACAP (intensive module)

Other Supports

Support for Auditions

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being. The monthly schedule of these practices is available in the monthly schedule.


###### Classical Dance
Mondays and Wednesdays: 6:30 pm - 8:00 pm

###### Price
10€ / class (insurance required)

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition. 
 
###### Classical Dance
Mondays: 6:15 pm - 7:45 pm

###### Price
7,5€ / class (insurance required)

Dance Classes for Adults

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition. 

###### CLASSICAL DANCE
Mondays: 6:15 pm - 7:45 pm 

###### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ APRIL

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

##### CLASSICAL DANCE
Mondays: 6:15 pm - 7:45 pm

##### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ March

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and wednesdays
##### 6:15 pm - 7:45 pm

###### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ MAY

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and Wednesdays
6:15 pm - 7:45 pm

###### PRICE
##### 7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ JUNE

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and Wednesdays
##### 6:15 pm - 7:45 pm

###### PRICE
##### 10€ / class (insurance required)

Dance classes for adults ⎯ October

Dance classes for adults ⎯ November

DANCE CLASSES FOR ADULTS ⎯ DECEMBER

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.
 
###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ February

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ March

Dance classes for Adults — April

##### Come on and dance with us!
##### Next April 29th marks International Dance Day and Estúdios Victor Córdon are organizing a ball evening open to everyone who wishes to celebrate the body and the joy of dancing.

##### The ball at the EVC starts with a workshop by Miguel Ângelo, in which participants will learn the basic steps of two Latin ballroom dances.

##### This event is open to anyone, regardless of their dance experience.

###### WHEN
APRIL 29
###### SCHEDULE
6.30—8.30pm
###### FREE ENTRY
subject to registration
###### INSTRUCTOR
Miguel Ângelo


BALL AT EVC ⏤ International Dance Day

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)


Dance Classes for Adults ⏤ May

Dance Classes for Adults ⏤ June

Dance Classes for Adults ⏤ July

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:30 pm ─ 8:00 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ September

Dance Classes for Adults ⏤ October

Dance Classes for Adults ⏤ November

Dance Classes for Adults ⏤ December

Dance Classes for Adults ⏤ January

###### CLASSICAL DANCE
##### Mon – Wed – Fri
##### 10am – 11:15am

###### CONTEMPORARY DANCE
##### Tue – Thu
##### 10am – 11:15am

###### PRICE
3€ / class (insurance required)

Daily Classes ⎯ February

Dance Classes ⏤ Adults

Daily classical and contemporary dance practice designed for professional dancers and those in the process of becoming professional dancers. The diversity of the teachers' proposals is intended to mirror our approach to what a dance practice can be today. The monthly schedule of daily practices is available in the schedule.

###### Classical Dance
Mon - Wed - Fri: 10am – 11:15am

###### Contemporary Dance
Tue - Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


Daily Practice

##### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am

##### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am

##### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ March

###### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am 

###### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am 

###### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ APRIL

###### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am

###### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am

###### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ MAY

Daily Classes ⎯ July

###### CLASSICAL DANCE
##### Mon – Wed – Fri: 10am – 11:15am

###### CONTEMPORARY DANCE
##### Tue – Thu: 10am – 11:15am

###### PRICE
##### 3€ / class (insurance required)

DAILY CLASSES ⏤ JUNE

Daily Classes ⎯ October

Daily Classes ⎯ November

Daily Classes ⎯ December

###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)

Daily Classes ⏤ February

Daily Classes ⏤ March

Daily Classes ⏤ April

Daily Classes ⏤ May

DAILY CLASSES ⏤ July

Daily Classes ⏤ September

Dance Classes ⏤ Professionals

##### _At Home_ is a space dedicated to dance artists who, throughout the year, are invited to develop their projects at the EVC and make them their creative home. After having been introduced to the work of Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas and Victor Hugo Pontes in previous years, in 2024 we welcome Teresa Silva, who will show us her work in all its facets and different formats.

##### Over the course of a year, various projects by her or in collaboration with others will be developed at the EVC.

##### Teresa Silva (Lisbon, 1988) has dedicated herself to research, creation and performing in the fields of contemporary dance and performance since 2008. She sees dance as something that goes beyond the physical body, resulting in a work of attentiveness and sensitivity, as well as a multidisciplinary approach to movement.

##### The artist will bring to the EVC a series of very different proposals, in collaboration with Sara Anjo, David Marques, Kristina Norman, and Mathieu Bouvier, among others.

###### Oráculo expandido [“Expanded oracle”] — towards an investigation into practices of care, attention and connection

Since 2017, Sara Anjo and Teresa Silva have been researching the potential of the body as a place of knowledge and revelation, and have designed workshops and created a piece based on the premise “can the body be an oracle?” There is a great diversity of people who share a curiosity for practices aimed at a holistic awareness of the body, and _Oráculo expandido_ is an invitation to continue this research, opening it up to other people and expanding the research to other languages, practices and perspectives. 

» 23 Nov, 4pm - 7pm, EVC

###### Fazer falar o fazer [“Making the making speak”] — devices for creating speech about artistic practices

This project, conceived and developed by David Marques and Teresa Silva, arises from the desire to make the work of their generation more visible and to bring the community together around the issues that move and engage them in their artistic practices. In this sense, the artists will develop different devices that encourage thinking, speaking and listening, and which provide encounters between artists and between the artists and the audience. In this _Making the making speak_'s edition, Teresa and David invite Ana Rita Teodoro, Andresa Soares and Francisco Rolo to an openly exchange.

» 30 Nov, 2:30pm - 8pm, EVC

###### Carnation

After collaborating on _Orchidelirium — An appetite for Abundance_, a project presented at the 2022 Venice Biennale, Estonian visual artist Kristina Norman has partnered with Teresa Silva to conceive a new piece. This time, the artists use the red carnation as a symbol of power and freedom, seeking to bring into dialogue the culture and history of their respective countries.

###### Ah! — Experimentation sessions for a transformative artistic practice

In this project driven by Teresa Silva, the artist aims to show how artistic practice generates states of attention, self-knowledge and transformation that intensify human potentialities. In these individual sessions, each person will be invited to listen to what affects them in the present moment and therefrom work together on a sensitive and experimental path, through exercises, tasks and actions. To prepare the sessions, Teresa Silva draws on her research with Sara Anjo around the question "can the body be an oracle?" and finds inspiration in the work of artists such as Anna Halprin, Lygia Clark (Relational Objects), Alejandro Jodorowsky (Psychomagic) and Valentina Desideri (Fake Art Therapy), who have made and continue to make their artistic practice a place of affection, ritual and healing.

In these sessions, which will be individual, each person will be invited to listen to what affects them in the present moment and, from there, work together on a sensitive and experimental path, through exercises, tasks and actions.

» 10 - 20 Dez, 45 minutes individual sessions, 11am - 7pm, EVC

» Registration | By completing this form: [https://forms.gle/UPdi27jWqwR45hZD6](link)


"Throughout our careers, we have felt a lack of occasions that encourage reflection and speech about artistic practice, and we have noticed how scarce the records are which might document and make more lasting and geographically widespread what artists like us are doing. "Fazer falar o fazer" thus arises from the hope that the work of our generation can claim a place of its own and the desire to bring the community together around the issues that move and engage us in our artistic practice, and which we believe to be a source of fundamental knowledge. In this context, we have been developing, in residence at the Estúdios Victor Córdon, different devices that encourage thinking, speaking and listening, and which provide an encounter between artists and between artists and the public.

On November 30, 2024, at the EVC, we invite Ana Rita Teodoro, Andresa Soares and Francisco Rolo to join us and activate 3 different conversation devices, from 2:30pm to 8pm. 
We hope you can join us and help us make sense of this 'speaking about the making' with your listening."

Teresa Silva e David Marques

###### Programa
- 2:30pm - 3pm: Presentation of the project and the artists involved in the first edition 
- 3pm - 4:30pm: First conversation device: “Hidden Questions”
- 4:45pm - 6:15pm: Second conversation device: “Objects of doing”
- 6:30pm - 8pm: Third conversation device: “Circle conversation”

###### Credits
##### A project conceived and developed by David Marques and Teresa Silva
##### Invited artists | Ana Rita Teodoro, Andresa Soares and Francisco Rolo
##### Support | Estúdios Victor Córdon as part of the At Home — Teresa Silva program

AT HOME — Fazer falar o fazer ["Making the making speak”]

"Since 2017, we've been interested in researching the potentialities of the body as a place of knowledge and revelation. We have designed workshops and created a piece based on the premise “can the body be an oracle?”, and we have been developing a card deck as a tool for the record and activation of physical, mental and emotional experiences. Concurrently, we have noticed a diversity of people who, each with their distinct methods and approaches, share this curiosity for practices aimed at a holistic awareness of the body and which foster the possibility of transformation, taking as a starting point a collective and relational experience. In this way, _Oráculo expandido_ is an invitation to continue this artistic research, opening it up to other people and expanding the research to other languages, practices and perspectives.

On November 23rd, 2024, starting at 4 pm, at the Estúdios Victor Córdon, we will welcome into the studio anyone who wishes to join this research. Performance experience isn't required, just curiosity and an interest in these subjects and in taking part in the practical proposals or simply in watching them."

— Teresa Silva and Sara Anjo

###### Credits
##### A research project by Sara Anjo and Teresa Silva
##### Guest researcher | Mathieu Bouvier
##### Collaborators in the labs | Catarina Câmara, Catarina Vieira, Joana Leal, Margarida Bettencourt and Romain Teule
##### Picture | Martina Manyà from a drawing by Sara Anjo
##### Support | Estúdios Victor Córdon, as part or the program AT HOME – Teresa Silva


AT HOME — Oráculo Expandido [“Expanded oracle”]

“In these sessions, I would like to show how artistic practice generates states of attention, self-knowledge and transformation that intensify human potentialities. More and more I feel a need to create a practice that takes care of the various dimensions of the human body and puts them into dialogue, and which combines what I learn from dance, in my experience as a performer and choreographer, with practices of attention and care for oneself and for what surrounds oneself.

These will be individual sessions guided by me, where I invite each person to listen to what affects them in the present moment, and therefrom we will work together on a sensitive and experimental path, through exercises, tasks and actions.

To prepare these sessions, I draw on my research with Sara Anjo around the question “Can the body be an oracle?”, and I find inspiration in the work of artists such as Anna Halprin (Life/Art Process), Lygia Clark (Relational Objects), Alejandro Jodorowsky (Psychomagic) and Valentina Desideri (Fake Art Therapy), who have made and continue to make their artistic practice a place of affection, ritual and healing."

Teresa Silva

###### About the event

Individual sessions will be 45 minutes long and will take place from Monday to Friday, from 11am to 7pm, between December 10 and December 20, 2024, at the Estúdios Victor Córdon.

##### **Price** | Free of charge upon prior registration.

##### **Registration** | By completing the form avalaible on the above button **SIGN UP ONLINE**. Please select only one date and time for the session. You will receive an email confirming your registration. Registrations will not be accepted less than 24 hours in advance. If you are unable to attend on the scheduled date and time, please send an email at least 24 hours in advance to info.projeto.ah@gmail.com.

##### **Target public** | People over the age of 18, with or without artistic experience, of any gender, nationality and profession/occupation. It is essential to be curious and interested in the proposal.

###### Details
##### **A proposal by and with** | Teresa Silva
##### **Support** | Estúdios Victor Córdon as part of the program AT HOME — Teresa Silva

EM CASA — Ah!

Following Miguel Moreira, João dos Santos Martins and Jonas&Lander, this time EVC welcomes Marlene Monteiro Freitas to be EVC’s 2022 season AT HOME artist.

The program provides a continuous workspace, giving each artist the freedom to use the various facilities of the Estúdios for artistic creation projects and any other initiatives they develop.

###### Marlene Monteiro Freitas 
She was born in São Vicente, Cabo Verde, where she was co-founder of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). She worked with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. She created the works _ÔSS_ (2022), _Ri te / Paris Intermission_, in collaboration with Israel Galván (2022), _Bacchae - Prelude to a purge_ (2017), _Jaguar_, in collaboration with Andreas Merk (2015), _Of ivory and flesh - statues also suffer_ (2014); _Paradise - private collection_ (2012-13); _(M)imosa_ (2011), a project developed with Trajal Harell, François Chaignaud and Cecilia Bengolea; _Guintche _(2010); _A Seriedade do Animal_ (2009-10); _A Improbabilidade da Certeza_ (2006);_ Larvar_ (2006); and _Primeira Impressão_ (2005). The common denominator of these works is openness, impurity and intensity. In 2017, the Portuguese Society of Authors (SPA) awarded _Jaguar_ the prize for best choreography. In the same year, the artist was honored by the Government of Cape Verde for her cultural achievements. In 2018, the Venice Biennale awarded Marlene Monteiro Freitas the Silver Lion in the Dance category, and, in 2021, the artist was awarded the Chanel Next Prize in its first edition. In 2022, as part of the Portugal-France Crossed Season, the Festival d'Automne à Paris dedicates a cycle to the artist's work, presenting a vast retrospective and two new creations. She is co-founder of P.OR.K, a production structure based in Lisbon, and has an ongoing collaboration with O Espaço do Tempo (PT).



At Home ⏤ Marlene Monteiro Freitas

Celebrating 20 years since he began his artistic path, Victor Hugo Pontes is the artist invited to be _At Home_ in 2023. It will be a year of commemoration in which EVC will be the choreographer's temporary home. Here, new works of his will be conceived, and encounters with various formats will be held, through various ways of approaching and promoting a meaningful reflection about his path. 

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

###### Performance lecture ⎯ _Unique physical parts_

###### Book edition ⎯ _For a happiness like this_ 
Victor Hugo Pontes, 20 years of artistic creation
(provisional title)




At Home ⏤ Victor Hugo Pontes

At Home is a project designed for dance artists, inviting them to develop their work throughout the year at the EVC. Having welcomed Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas, Teresa Silva and Victor Hugo Pontes in previous years, we now invite Sofia Dias and Vítor Roriz into the various spaces of the EVC with their installations and performative projects: _Arrumar a casa_ ["Putting the House in Order"], _Da desordem das paixões_ ["On the Disarray of the Passions"], _Labirinto_ ["Labyrinth"], _À distância de um braço_ ["Within Arm’s Reach"], and _Dueto_ ["Duet"].

_Once “at home”, we will start with some housekeeping—sorting out our archive of nearly 20 years, which urgently needs to be reviewed and organized. MiniDV cassettes, DVDs, CDs, program notes, handouts, posters, notebooks, hard drives, pen drives… materials of all kinds that were scattered around our house and which we are now bringing to the EVC, finally deciding what to preserve and what to discard. But there’s more to this project, **ARRUMAR A CASA**, than housekeeping. Along with the intense work on our archive, we will try to share some bits from our rediscovery of it as we infiltrate the spaces of the EVC in an ever-changing way. Don’t be surprised, then, if throughout the next months you come across some videos, photographs, sounds, or texts in the nooks and crannies of the EVC. Later, in June, during the Popular Saints’ Festivals, we will organize an event with an **installation** now in plain view, and we will share with you the results of a **research laboratory** focused on various performative devices and/or materials from some of our performances._

_As we look back at our past as a duo, we are also turning our gaze to our collective past through **four projects** to be developed over the course of the year. Two of these projects, albeit developed with different collaborators, share a focus on the Baroque, specifically on the connection between dance and music that characterizes this period. The first one, **DA DESORDEM DAS PAIXÕES”, will be co-created with the music group Músicos do Tejo, and will premiere in 2026. **LABIRINTO** ["Labyrinth"], a typical metaphor in the Baroque period, is the title of the second project, with no premiere date yet, but born from a desire to experiment with musicians Helena Raposo (lute) and Ana Castanhito (harp). The two other projects are not focused on the Baroque, yet they aim to further the reflection about the past in connection with museum spaces. The third one, **À DISTÂNCIA DE UM BRAÇO**, has been shelved for at least three years, and we are finally able to resume it through a partnership with Museu Nacional de Arte Antiga. With this project, we aim to challenge the settled way of looking at works of art in a museum by creating a performance that seeks to shorten the distance between the “past” that is presented and the spectator’s “present”._

_All these projects will include periods of rehearsal and research at the EVC, and, in some of them, we will open to the public to share materials, reflections, or simply to exchange views on the state of the world._

_Lastly, we will move on to the creation of a **DUETO**. Our last duet for the stage, _O que não acontece_, was created in 2018, and we already miss being alone together in a studio. The duet is the artistic form through which we come together, in which we come closer to who we are, closer to our path in shaping our identity as artists and to our collaboration throughout the last 20 years. It is in this format that we allow ourselves to share with the audience what is most intimate and contradictory about us. So, we will lock ourselves in one of the EVC studios doing what we love most, in order to share it with you afterwards._ — Sofia & Vítor 

At Home ⏤ Sofia Dias & Vítor Roriz

At Home ⏤ Teresa Silva

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

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


_The flaw that suspends or transforms the continuity of any surface is like a pattern disrupted by a new element that triggers a new pattern. One of renewal, reconstruction, and overcoming. The visual and emotional effect of a scar creates an asymmetry, a wear that leads us to an idea of impermanence, of constant change. Once present, it takes root and asserts itself as having a story to tell. The trace of damage, harm, or simply of a limit connects to the timeless mark and to the changing physical and behavioral pattern. Is it worth hiding? Or revealing?_

 Ci.ca.triz ⎯ Cátia Esteves 

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

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


In Transit 2023

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

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


In Transit — 2025

In Transit 2024

The entrance to the EVC building has become an exhibition space, welcoming proposals on an ongoing basis by visual artists whose work has a connection to performing arts in general and dance in particular. This year, we welcome a curatorial idea by choreographer Carlota Lagido, who invited three dance artists who have a strong connection to the visual arts -  Luís Guerra, João Galante and Elizabete Francisca.


### _brain, eyes, hands and paper_
##### Curated by Carlota Lagido

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido


_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

###### Curator
#### Carlota Lagido

###### Artists
#### Elizabete Francisca
#### João Galante
#### Luís Guerra


BRAIN, EYES, HANDS AND PAPER

_The works presented here were born out of the desire to imprint bodies on sheets or canvases; they were born out of the desire to adorn dead bodies as was the case, for example, of the mummies in ancient Egypt. Some of these works have been presented in a school context. The artist is studying at ArCo, where he attends the Year 2 of the Advanced Course in Visual Arts. Other works integrated the performance _Almada Negreiros, o bailarino_ [“Almada Negreiros, the dancer”], presented last October at the Gulbenkian Foundation. The solution to the challenge of presenting a work in the movement temple-space that is Gulbenkian came precisely from these works, since the essence of the place leads the author to the very act of living and dying, i.e. dancing, reinventing oneself, being present and being reborn._ ― Luís Guerra

### brain, eyes, hands and paper

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

#####
##### 

###### VERNISSAGE
##### FEB 24 at 7pm
##### Estúdios Victor Córdon

Luís Guerra ― Múmias ou como homenagear um corpo

Luís Guerra, invited by Carlota Lagido to be part of the series of solo art exhibitions "brain, eyes, hands and paper", will be teaching a workshop entitled "Drawing with the whole body" in connection with his exhibition proposal _Múmias ou como homenagear um corpo_.

―

_In this masterclass, aimed at people who are both passionate about dance and drawing, exercises will be proposed that could possibly instigate a broader awareness of the body when drawing and painting that doesn't stop at the wrist.  Participants are invited to bring their own drawing instruments, like pencils, charcoal bars or other materials - with which they intend to leave a mark on their bodies._
― Luís Guerra

DRAWING WITH THE WHOLE BODY ― WORKSHOP

### Divã

_When I paint I try to do the same as when I play or compose music. To find a place where I have no responsibilities towards society. A place where I can either meditate on the world or not at all. A state of surrender. A state of rest._ — João Galante

### brain, eyes, hands and paper

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

#####
##### 

###### VERNISSAGE
##### MAY 24 at 6.30pm
##### Estúdios Victor Córdon

João Galante ― Divã

### _ELLES DISENT_
##### _Since I started dancing, my drawing practice vanished. I had to focus on learning something entirely new, and already at a late stage, considering the conventional path of a professional dancer. Now I was drawing only at very sporadic, rarefied, stray and even arbitrary moments. In 2021, while we were making the film MINA, Carlota got me moving, but also drawing. In Alfafar, with 12 women sitting around a table, among food, books and conversations, she gave me a bird. And there I was. Slowly testing pencils, reviving this magical connection between seeing and putting down on paper, with mixed feelings of fear and excitement. Returning to something that had belonged to me, not knowing whether it still did, whether I still had it in me. Recently, Carlota challenged me once more: to exhibit some of my drawings, here at the EVC. I would say that this is someone’s gesture who indeed sees the other, beyond what is obvious, beyond what is known. Who gives that little push which helps us see the different facets we all hold within, at any risk. And looking, or taking the time to see, is truly what drawing gives me. A fullness of being, a profound presence and connection, which is something I find extremely necessary in these times, be it only for some minutes._
##### _With this in mind, this exhibition includes drawings from different time periods, thus marking diverse occupations and moods, but also photographs, because they were conceived in Alfafar. And because they, too – the photographs –, got me handling materials of various kinds, other materialities. Making things with my hands again. And how happy that made me. Knowing that there’s still this world for me to be busy with if ever dance fails me or I fail it. This world of the hands that drag everything else along._ — Elizabete Francisca
#####
_____________________
#####
##### *The photographs were conceived in collaboration with artist Larissa Lewandowski and feature Wicca Magda Ferreira/ PWUD activist.



### cérebro, olhos, mãos e papel (“brain, eyes, hands and paper”)
_What’s this capacity of the body to take what we observe and encase it in a sheet of paper? I am speaking of the body transmuting itself into a drawing, in an intricate fusion of eyes, hands and paper. It is like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamic. There are performance artists who draw even before using their bodies as instruments. Luís Guerra, João Galante and Elizabete Francisca are some of these artists. These exhibitions reveal three different ways of using the mental musculature, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. Just like dance._  ― Carlota Lagido

#####
##### 

###### OPENING
##### SEPTEMBER 13th at 6:30 p.m.
##### Estúdios Victor Córdon

Elizabete Francisca ― ELLES DISENT

In 2024, the EVC's Foyer became an exhibition space, welcoming proposals on an ongoing basis by visual artists whose work has a connection to the performing arts in general and to dance in particular. After the first edition of a cycle of exhibitions curated by Carlota Lagido, during which we welcomed works by Luís Guerra, João Galante and Elizabete Francisca, we present a new edition with artists Flávio Rodrigues, Miguel Bonneville and Ana Caetano.

#### cérebro, olhos, mãos e papel [“brain, eyes, hands and paper”] — 2nd edition

&nbsp;

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I’m talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It’s like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It’s like dancing. In this second edition, drawing turns into action with Flávio Rodrigues, into sculpture with Miguel Bonneville, and into movement with Ana Caetano._ ― Carlota Lagido

Exhibitions — 2025

Exhibition space

The _Wording Dances_ podcast proposes a lecture series where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. Curated by Carlos Manuel Oliveira, it is a co-production between EVC and Parasita Association.

Alongside the singularity of each artist's work, lines of thought will be exposed in relation to politics in dance, social choreography, the relationship between dance and language, creative processes and their respective products, or even in relation to the cognition of corporealities. By posing questions such as _What can choreographic thinking do?_, we hope to summon up unique answers, based on what each artist is most dedicated to. In short, the word is given to those who dance and make others dance, but who also question dance and make others think.


###### The series is published in the following platforms: 
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=0CAMQ4aUDahcKEwi48K2uxuKEAxUAAAAAHQAAAAAQAQ), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ), [Soundcloud](https://shorturl.at/fvJK9) and [Amazon Music](https://rb.gy/olashn).

###### You can also access translated episodes (PT - EN) [HERE](https://youtube.com/playlist?list=PLAO_nJtqGJzGPOnQvAth35cyIRcrYdZj3&si=gMDanTDNPeplDW27).


_Wording Dances_ presents a series of episodes, both in English and Portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, it is curated by Carlos Manuel Oliveira.

In this episode of _Wording Dances_, English dancer and choreographer Siobhan Davies reads to us _Postcards from a life which dances_, a text which she wrote exclusively for this occasion. 

Davies is engaged with image gathering, drawing, writing and conversation as extensions of dance and choreography. She has been active for over 50 years, making work for both theatres and galleries and, in 2006, together with architect Sarah Wigglesworth, created the Siobhan Davies Dance Studios, in London. She retired from the studios in 2020, but remains an associate professor at Coventry University (Cdare).

###### The series is published in the following platforms: [Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://podcasts.apple.com/us/podcast/falar-as-danças-wording-dances/id1712582713), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwith6_ezoGCAxXmTqQEHbk5B6kQ9sEGegQIARAC), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://radiopublic.com/falar-as-danas-wording-dances-6BDkPo), [Castbox](https://castbox.fm/channel/id5638500?utm_source=website&utm_medium=dlink&utm_campaign=web_share&utm_content=Wording%20Dances%20(Falar%20as%20Danças)-CastBox_FM&country=pt) e [Soundcloud](https://soundcloud.com/estudios-victor-cordon).

###### You can also access translated episodes (PT - EN) [HERE](https://youtu.be/Ay_n3M7BU-w).



Wording Dances ⏤ Siobhan Davies

_Wording Dances_ presents a series of episodes, both in English and Portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, the project is curated by Carlos Manuel Oliveira.

In this episode of _Wording Dances_, Brazilian dancer and choreographer Marcelo Evelin invites Neguxa Uau, an artist, performer and influencer from Teresina, to read to us _Life is life, and life is babado_, a text which he wrote at our invitation. 

Marcelo lives between Teresina and Amsterdam, and works in Brazil, Japan and many European countries as an independent artist. He coordinates the Demolition Incorporada Platform, based in CAMPO, a Performing Arts Residency and Resistance space in Teresina, Piauí. Marcelo began working as a choreographer in 1989 and has a body of work comprising more than 30 pieces, of which _Barricada_, _A Invenção da Maldade_ [The Invention of Evilness] and _ai, ai, ai_ are still touring. He teaches at the Amsterdam University of the Arts since 1999 and is responsible for artistic creation projects at universities and master's courses, such as ISAC (Higher School of Arts and Choreography of Brussels), the Reina Sofia Museum (Madrid), EXERCE (Montpellier) and Centre National de la Danse (Paris). In 2019, he was awarded a Doctor Honoris Causa by the Federal University of Piauí. His works are performed in theatres and festivals all over the world, such as Festival d'Automne (Paris), Kunsten Festival des Arts (Brussels), Teatro Rivoli (Porto) or Festival Alkantara (Lisbon), where this year he presented Demolition Incorporada's latest piece, _UIRAPURU_.

###### The series is published in the following platforms: [Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://podcasts.apple.com/us/podcast/falar-as-danças-wording-dances/id1712582713), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwith6_ezoGCAxXmTqQEHbk5B6kQ9sEGegQIARAC), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://radiopublic.com/falar-as-danas-wording-dances-6BDkPo), [Castbox](https://castbox.fm/channel/id5638500?utm_source=website&utm_medium=dlink&utm_campaign=web_share&utm_content=Wording%20Dances%20(Falar%20as%20Danças)-CastBox_FM&country=pt) e [Soundcloud](https://soundcloud.com/estudios-victor-cordon).

###### You can also access translated episodes (PT - EN) [HERE](https://youtu.be/G1ANKE-uCWA).



Wording Dances ⏤ Marcelo Evelin & Neguxa Uau

_Wording Dances_ presents a series of episodes, both in English and Portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, the project is curated by Carlos Manuel Oliveira.

In this new episode of “Wording Dances”, we welcome deufert&plischke, the Artistwin, to read to us from a text which they wrote exclusively for this occasion, entitled “Grand Opening”. Dr Kattrin Deufert and Thomas Plischke have formed the artistwin deufert&plischke in 2001, and in the last 22 years they have realised over 50 theatre projects that deal with artistic production situations and the complex social dynamics of artistic processes. They have created the Anarchiv series, the Emergence Rooms, the Entropic Institutes, the DURCHEINANDER series, and the dance history project Just in Time, to name a few of their many outputs. All series of works span thematically wide arcs from the origins of Greek mythology to the pressing questions of our time: How do we communicate in a community of strangers? How do we make decisions together? How do we take responsibility for ourselves and for others? Their works go beyond the boundaries of dance and theatre and deal with individual participation and the social everyday in artistic events. 

###### The series is published in the following platforms: [Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://podcasts.apple.com/us/podcast/ep-3-artistwin-deufert-plischke/id1712582713?i=1000648246359 ), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=0CAMQ4aUDahcKEwi48K2uxuKEAxUAAAAAHQAAAAAQAQ), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://castbox.fm/episode/Ep.-3---artistwin-deufert%26plischke-id5638500-id680529870?utm_source=website&utm_medium=dlink&utm_campaign=web_share&utm_content=Ep.%203%20-%20artistwin%20deufert%26plischke-CastBox_FM) [Soundcloud](https://soundcloud.com/estudios-victor-cordon/ep-3-kattrin-deufert-thomas-plischke?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing) and [Amazon Music](https://rb.gy/olashn).

###### You can also access translated episodes (PT - EN) [HERE](https://www.youtube.com/watch?v=m2Qh76sXMno&t=824s).

Wording Dances ⏤ Ep. 3 with Deufert & Plischke

_Wording Dances_ presents a series of episodes, both in English and Portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, the project is curated by Carlos Manuel Oliveira.

In this new episode, we are joined by Jonathan Burrows for a reading of his texts _Rhythmm_, _Traces_ and _History_, which he wrote in recent years and which were also compiled in a book published by Varamo Press in 2022, entitled _Writing Dance_. Jonathan Burrows' main focus is an ongoing body of pieces with the composer Matteo Fargion, with whom he continues to perform around the world. He is the author of _A Choreographer's Handbook_ (Routledge 2010) and _Writing Dance_ (Varamo 2022) and is currently an Associate Professor at the Centre for Dance Research, Coventry University.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=0CAMQ4aUDahcKEwi48K2uxuKEAxUAAAAAHQAAAAAQAQ), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) [Soundcloud](https://shorturl.at/fvJK9) e [Amazon Music](https://rb.gy/olashn).

###### You can also access translated episodes (PT - EN) [HERE](https://youtube.com/playlist?list=PLAO_nJtqGJzGPOnQvAth35cyIRcrYdZj3&si=7hKHMyZVRYaJdhf1).

Wording Dances ⏤ Ep. 4 with Jonathan Burrows

_Wording Dances_ presents a series of episodes, both in English and Portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, the project is curated by Carlos Manuel Oliveira.

In this new episode, we invited the essayist and curator André Lepecki to read us a text of his, entitled “The dispute for movement and the non-time of struggle: a delirium in four movements”. Lepecki works and researches at the intersection between critical dance studies, curatorial practice, performance theory, contemporary dance and performance in visual arts. He is a full professor at New York University, where he coordinates the Department of Performance Studies. He has authored "Exhausting Dance: Performance and the Politics of Movement", published by Routledge in 2006, which has since been translated into 13 languages, and, by the same publishing house, "Singularities: Dance in the Age of Performance", in 2016. 

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=0CAMQ4aUDahcKEwi48K2uxuKEAxUAAAAAHQAAAAAQAQ), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) [Soundcloud](https://shorturl.at/fvJK9) e [Amazon Music](https://rb.gy/olashn).

###### You can also access translated episodes (PT - EN) [HERE](https://youtube.com/playlist?list=PLAO_nJtqGJzGPOnQvAth35cyIRcrYdZj3&si=7hKHMyZVRYaJdhf1).

Wording Dances ⏤ Ep. 5 with André Lepecki

Wording Dances presents a series of episodes, both in english and portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, it is curated by Carlos Manuel Oliveira. 

In this new episode of Wording Dances, we invited Ana Borralho and João Galante to write and read us a text entitled “Dark Room”. 

Borralho and Galante work together on their own performance, dance, installation, photography, sound and video art projects, which they present all around the world. They met when they were studying visual arts at the Ar.Co, in Lisbon, and in the 90s they worked regularly together as actors/co‑creators in the theater group OLHO in Cacilhas/Almada. They co-founded the non-musicians band Jimmie Durham and the cultural association casaBranca, they were co-curators of the Electrolegos electronic music festival in Lagos, and they direct the Verão Azul festival in Lagos and Loulé. They live and work in Lisbon and Lagos.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Google Podcasts](https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9lYjQzNWQ3OC9wb2RjYXN0L3Jzcw?sa=X&ved=0CAMQ4aUDahcKEwi48K2uxuKEAxUAAAAAHQAAAAAQAQ), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) [Soundcloud](https://shorturl.at/fvJK9) e [Amazon Music](https://rb.gy/olashn).

###### You can also access translated episodes (PT - EN) [HERE](https://youtube.com/playlist?list=PLAO_nJtqGJzGPOnQvAth35cyIRcrYdZj3&si=7hKHMyZVRYaJdhf1).

Wording Dances ⏤ Ep. 6 with Ana Borralho & João Galante

_Wording Dances_ presents a series of episodes, both in english and portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, it is curated by Carlos Manuel Oliveira. 

In this new episode of Wording Dances, we invited Bojana Cvejić to read to us an adapted excerpt from a book chapter in manuscript, titled: “We work with the materials that resist us”.

Bojana is the author of several books, such as “Choreographing Problems”, from 2015, and “Toward a Transindividual Self: A Study in Social Dramaturgy”, co-written with Ana Vujanović. Since 1996, she has made, performed and collaborated on numerous works of opera, dance and theater in Europe as co-director, dramaturg or performer. Bojana also co-authored several videos and video-installations exploring dance and choreography, such as “…in a non-wimpy way…”, with Steve Paxton, in 2013; “Yvonne Rainer’s WAR”, from the same year, and “Spatial Confessions”, for Tate Modern, in 2014. Her research in social choreography, transindividuality, and critical theory drives her politically to organize collective platforms of self-education and experimental production, such as PAF – Performing Arts Forum in St. Erme. And since 2017 she divides her time between Oslo, where she is Professor of Dance Theory at the Oslo National Academy of Arts, and Brussels, where she teaches at P.A.R.T.S.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) e [Soundcloud](https://shorturl.at/fvJK9).

###### You can also access translated episodes (PT - EN) [HERE](https://youtu.be/q2W-IR8bacQ).

Wording Dances ⏤ Ep. 7 with Bojana Cvejić

_Wording Dances_ presents a series of episodes, both in english and portuguese, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. 

In a co-production between Estúdios Victor Córdon and Parasita Association, it is curated by Carlos Manuel Oliveira. 

In the eighth episode of the Wording Dances podcast, we invited Ivana Müller to read us a text written for this occasion, titled “Thoughts on Togetherness”.

Ivana is a choreographer, artist and writer. Through her choreographic and theatre work, she rethinks the politics of spectacle and the spectacular, revisits the place of the imaginary and imagination, questions the notion of “participation”, investigates the idea of value and its representation, and is continuously inspired by the relationship between performer and spectator. Besides her artistic practice, she curates artistic and discursive encounters and lectures in different contexts. She currently lives in Paris and works internationally.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) e [Soundcloud](https://shorturl.at/fvJK9).

###### You can also access translated episodes (PT - EN) [HERE](https://youtu.be/uLSDnIcD_-k).

Wording Dances ⏤ Ep. 8 with Ivana Müller

In this ninth episode of the _Wording Dances_ podcast, we invited Angela Guerreiro to read us a text written for this occasion, titled “The Decolonial in the Arts, Museums, and THE ART OF BEHAVING BADLY”.

Guerreiro is a mother, an independent artist, dance mentor, producer, researcher, activist, festival and conference curator, movement therapist and somatic movement educator. She was a resident choreographer at Kampnagel Hamburg between 1995 and 2002, her works touring internationally. She is currently a PhD candidate in the “Postcolonialisms and Global Citizenship” program at the Center for Social Studies of the University of Coimbra, a member of UNA-União Negra das Artes, and president of the board of Natureza Arte Corpo e Alma Association.

_Wording Dances_ presents a series of episodes, both in Portuguese and English, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. A co-production between Estúdios Victor Córdon and Parasita Association, hosted by Carlos Manuel Oliveira.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) e [Soundcloud](https://shorturl.at/fvJK9).

###### You can also access translated episodes (PT - EN) [HERE](https://www.youtube.com/watch?v=UDMjFb-HspU&t).

###### Image
© Tina Ruisinger

Wording Dances ⏤ Ep. 9 with Angela Guerreiro

In the final episode of _Wording Dances_, we invited Sofia Dias and Vítor Roriz to drift through thoughts and situations of their choreographic work, amid “The Noise of the Chairs”.

Dias and Roriz are a duo of artists and choreographers, collaborating since 2006. The hybrid nature of their research, connected with their curiosity and need for experimentation, has led them to the creation of various shows, performances, audio tracks, videos, podcasts, and installations, crossing different contexts and blurring the boundaries between artistic areas. Their performances conceived for stage, mainly performed by the two of them, employ a refined choreographic language combined with text and voice. In 2011, they were awarded the Prix Jardin d'Europe and won the first place at Aerowaves Spring Forward 13 for their performance “Um gesto que não passa de uma ameaça”. They served as curators for PACAP (Advanced Program for Creation in Performing Arts) at Forum Dança in 2018 and 2023, and during the 2023/2024 biennium, they are artists in residence at the Champalimaud Foundation.

_Wording Dances_ presents a series of episodes, both in Portuguese and English, where renowned artists from the international contemporary dance scene discuss matters which make of dancing and choreographing an inexhaustible terrain of experimentation, problematization and thinking. A co-production between Estúdios Victor Córdon and Parasita Association, hosted by Carlos Manuel Oliveira.

###### The series is published in the following platforms:  
[Spotify](https://open.spotify.com/show/2PHvgkPmXnidSDjLB8p2bo), [Apple Podcasts](https://shorturl.at/lsuZ5), [Pocket Casts](https://pca.st/kkj0nozt), [Radio Public](https://shorturl.at/ovyW0), [Castbox](https://shorturl.at/dmyGJ) e [Soundcloud](https://shorturl.at/fvJK9).

###### You can also access translated episodes (PT-EN) [HERE](https://www.youtube.com/watch?v=UDMjFb-HspU&t).

###### Image
© Joana Linda

Wording Dances ⏤ Ep. 10 with Sofia Dias & Vítor Roriz

Wording Dances

One-week program for dance professionals proposing intensive dance training at the "rentrée" right after summer holidays, this year diving into the artistic universe of Akram Khan.

###### Target Audience
Dance professionals

###### Price
220€

###### This program has the support of GDA Foundation

###### Online registration

###### Personal accident insurance is required








This year's _KickOff'24_, an intensive training program for professional dancers, delves into the artistic world of Akram Khan. In 2024, the program will last one week and, as usual, will take place just after the summer season, at the EVC.

This coming edition will be held from September 2 to 6, 2024, and Nico Ricchini will be the trainer.


###### Schedule
##### SEP 2 — 6
##### 10am-1:30pm
##### BREAK
##### 2:30pm-5:30pm

###### Target audience
Dance professionals

###### Maximum number of participants
30 people

###### Price ⎯ 220€

###### This program has the support of GDA Foundation

###### GDA Foundation grants available
##### The GDA Foundation supports this training by providing grants for attendance*.
##### 9 Grants for GDA Cooperators (70€)
##### 13 Grants for Non-Cooperators (130€)
##### * GDA Foundation grants are allocated in accordance with the order in which registration is confirmed.

###### Online registration

###### Personal accident insurance required

###### About the trainer
##### Nico Ricchini (he/him) trained in Ballet in Lyon and in Contemporary Dance in Barcelona in Varium. Over the past ten years, he has worked with artists and companies such as Pepe Hevia Danza (Cuba), Fernando Madagan (Nederlands Dans Theater), Tupac Martir in London, Emma Martin Dance, Akram Khan Company for the Opening Ceremony of the 2012 Olympic Games, La Taimada, CLOD Ensemble and Lali Ayguadé Company among others.

His performance of the solo Chotto Desh for Akram Khan Company on a three-year international tour was a highlight of his career: a work translated in six languages, hosted in 85 cities and seen by more than 110,000 spectators. He has also been an actor, together with Lali Ayguadé, in the multi-award winning and Oscar nominee shortfilm Timecode by Juanjo Giménez.

As a dance entrepreneur, Nico has initiated innovative projects in Barcelona for the education of contemporary dance such as the FREE BODIES (since 2018) and FREE ROOTS (since 2022), programes that he co-directs together with Nadine Gerspacher. Since 2018, he directs Big Story Productions which produces and sells contemporary dance production and projects as well as represents bold and audacious artists. In 2020, started working again with Akram Khan Company as a rehearsal director and performer for Chotto Xenos. Since 2022, he’s founded the creative venue FREEZONE to support creation, movement and performance in Barcelona.

###### About Akram Khan
##### Akram Khan (he/him) is an essential and world-renowned artist in the field of dance today. In just over 23 years he has created a body of work that has contributed significantly to the arts in the UK and abroad. His most famous works include _Jungle Book Reimagined_, _Outwitting the Devil_, _XENOS_, _Until the Lions_, _Kaash_, _iTMOi (in the mind of igor)_, _DESH_, _Vertical Road_, _Gnosis_ and _zero degrees_. 

Khan has been a magnet to world-class artists from other cultures and disciplines, including the National Ballet of China, actress Juliette Binoche, ballerina Sylvie Guillem, singer Kylie Minogue, indie rock band Florence and the Machine, visual artists Anish Kapoor, Antony Gormley and Tim Yip, writer Hanif Kureishi and composers Steve Reich, Nitin Sawhney, Jocelyn Pook and Ben Frost.

Khan's work is considered deeply moving, and can even be read as ritual, given the influence that classical Kathak dance has on it. "I see things through kathak eyes," we heard him say. Khan's first solos quickly caught the eye, as not only was he daring and inventive in his Kathak experiments, but he also proved to be a magnetic and mesmerizing dancer, capable of both captivating stillness and galvanic speed.

Throughout his career, Khan has received numerous awards. He has received two Laurence Olivier Awards, the Bessie Award - New York Dance and Performance, the ISPA Distinguished Artist (from the International Society for the Performing Arts), the Fred & Adele Astaire Award, the South Bank Sky Arts Award and nine Critics' Circle National Dance Awards, among many others. 

KICK OFF'24

An intensive week targeting dance professionals, with workshops led by the João Cardoso and Edivaldo Ernesto. 
 
###### Target Audience
Dance professionals


KICK OFF’22 

A one-week program dedicated to dance practice for professionals that proposes an intensive training in the restart of activities after the summer season. 

This year we will welcome the prestigious Belgian company Peeping Tom, founded by Gabriela Carrizo (Argentina) and Franck Chartier (France).

Brandon Lagaert joined Peeping Tom in 2013 for the creation of _Vader_, and has also created _Moeder_, _Kind_, _Dido & Aeneas_ and _La Visita_. It is at the company that he has crafted his signature style as a multidisciplinary performer.

In his work, Brandon combines elements from different disciplines, such as urban and contemporary dance, theatre, and film. As a director, he often starts from the perspective of a performer to lay down a certain foundation, before tackling the overall structure. He does this under the name of his company KAIHO of which the award-winning performances Subdued and Mondo Fuso have been an integral part.


###### Target Audience
Dance professionals

###### Price
220€

###### GDA Scholarships
GDA Cooperators ⎯ 70€ (amount to be paid by the cooperator) 
> Non GDA Cooperators ⎯ 130€ (amount to be paid by the non cooperator)

> _(GDA Grants are assigned in order of registration confirmation)_

###### Limit of 20 participants

###### Personal accident insurance is required

KICK OFF'23 

With the aim of promoting complementary training for professional dancers or those in the process of becoming professional dancers, focusing on technical development, dance language diversity, and knowledge exchange, we established the EVC Training Program and the Kick-Off Program with the support of GDA. The three invited instructors for this year’s editions have established their own language and methodology over the past few years, and they are unanimously recognized by their peers.

### Kick Off ’25

_Falling Into Movement in Connection_, with João Cardoso

In recent years, both as a dancer/performer and as a teacher, João Cardoso has shown a growing interest in contact improvisation techniques and in their application to both horizontal floorwork and vertical movement in contemporary dance classes. Connection with music plays a crucial role in this class model, for it serves as a vehicle for practicing a playful body, one that enjoys moving energetically. Practice itself begins with shared or individual moments of “resetting the body”, whether through breathing exercises, by exploring fatigue, or by improvising from points of contact. On the one hand, practice evolves into movement research patterns, focusing on touch as a tool to awaken forgotten parts of the body. On the other hand, it engages in floorwork techniques, fostering awareness of transitions between horizontal and vertical settings and challenging the concept of a “collective mind”. Sprinkled with a touch of expressive drama, this practice invites the development of bodies and minds that are capable, gentle, humble, curious, aware, and intimately connected to the sheer pleasure of dancing and moving.

_Práticas Anímicas_ [“Soul Practices”], with Pedro Ramos

These movement practices assemble a series of techniques linked to the body, both inside and outside an artistic context, and which combine choreographic experiences, yogic and somatic techniques, alchemical studies, and tuning strategies. Experiences in which the body, as a psycho-physical unity, is engaged and is brought to the foreground in a dialogue with space, breathing, and its own inner dimension. The body as a “piece of nature” to be rediscovered as its movement becomes conscious. Through the shaping of presence is thus explored a set of perceptual tasks which lead to movement and sound, and which might result in other forms of expression: words, visual writing, or sound writing.

Kick Off ’25

Artist residencies network that promotes works by artists from Portuguese-speaking countries and their circulation between Africa and Portugal. The artists taking part in the first edition come from Mozambique, São Tomé and Príncipe, Angola, Cape Verde and Portugal.

Over the course of 5 weeks, these artists will develop collaborative work in the several artist residencies taking place in the cities of Lisbon, Porto, Viseu and Guimarães. The program also includes showcases presenting the work developed in each residency, talks, dance workshops taught by the guest artists, where they'll share dances from their countries of origin, and interactions with local artists. This year’s edition of the program wraps up in Maputo with a final public presentation.


This initiative is supported by Direção-Geral das Artes.

PROGRAM'S CALENDAR:

- LISBON
Workshop-auditon at Estúdios Victor Córdon — 23-28 SEP

- VISEU
Residency at Teatro Viriato — 30 SEP-4 OCT

- OPORTO
Residency - CRL-Central Elétrica/Circolando — 7-12 OCT
Presentation of work results - 12th, 19:00pm

- GUIMARÃES
Residency at Centro de Criação de Candoso — 14-19 OCT

- LISBON
Rehearsals at Estúdios Victor Córdon — 21-23 OCT
Presentation of work results - 22th, 18:30pm

- MOZAMBIQUE
Rehearsals at Cine Teatro Scala (Maputo) — 26-30 OCT (CANCELED)*
Final presentation integrated in the Dance Week's Program: 27th, 18:30pm (CANCELED)*

* Due to the current political situation in Mozambique and for the artists' safety, the Dance Week, which included the final performance in Maputo, was canceled.


Network of Artistic Residencies for Portuguese-Speaking African Countries 

Extending a series of collaborations we have had since 2020 with Portuguese-speaking countries in Africa and promoting creation and mobility of artists, this year’s PALOP 2025 Program is organized around two main axes:

## Guinea-Bissau: _Kurpu di Mundu_
&nbsp;
- **coordinator** Pedro Ramos
- **co-production** Estúdios Victor Córdon, Camões Bissau, Ballet Nacional da Guiné, Ordem do Ó

This project arises from a series of artist residencies and training programs between Guiné-Bissau and Portugal, from choreographers Ernesto Nambera and Pedro Ramos’ creative partnership, and from the exchange between collaborating dancers from Ordem do Ó and Ballet Nacional/Grupo de Dança Contemporânea da Guiné-Bissau. In _Kurpu di Mundu_, the aim is to reflect on some of the main concerns of today’s world at a political, social, and environmental level, but also on the potential of dance and the body to foster reflection on the possible meanings that engaging with others and with what surrounds us can have. Between past and present times, we propose an attunement to the multiple biological and spiritual realities, aligned with the feeling of belonging and of being connected to the earth.

## Mozambique: _Other Directions_ 
&nbsp;
- **coordinator** David Marques
- **coproduction** Estúdios Victor Córdon, Camões Maputo

In 2025, the EVC and the Portuguese choreographer David Marques will travel to Maputo in search of new connections and to meet again dance artists with whom they have already collaborated. These meetings are to be understood as a free space for dialogue, devoted both to the sharing of ways of doing and work tools and to the dance community’s concerns and needs. With these meetings, we wish to provide the occasion and time to conceive new possibilities of cooperation for the future, taking into account the challenges and the social, cultural, and political circumstances in present-day Mozambique and Portugal.

PALOP — 2025 

Network of Artist Residencies in the Portuguese-speaking African countries

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.

Home.M ⎯ Daniela Andana

_"OVNI – unidentified visible object" is a disciplinary cross between image, dance and sound environment.Through the performer's body and its relationship with a tent, the piece/performance constructs through the notions of dwelling, living, sheltering and being born in the contemporary world. A desire to reflect cities, their territorial contours and ways of living on Earth and beyond, in which visual narratives are inspired from the poetic and political images of: folds, house, space, uterus, ufo and migrations._

###### Credits

##### Project conception | Dally Schwarz
##### Artistic direction | Dally Schwarz and Marcos Aganju
##### Choreographic creation, text and performance | Dally Schwarz
##### Sound creation and performance | Marcos Aganju
##### Costume Design | Erika Schwarz
##### Costume maker | Judite de Lima
##### Support - Studios for rehearsals and creation | c.e.m - centro em movimento/ Lisboa (2023/2024), CPBC / Lisboa (2023)
##### Support - work-in-progress open studio | Movement Research/ New York (2023), Festival Pedras 2023/ Lisbon (2023), Rede More Associação Cultural/ Lisbon, Festival Reunion 2022/ Lisbon
##### Support - Artist Residencies | Dansverkstæði/ Reykjavik (2024), Teatro Viriato/ Viseu (2024), Casa Cronópios / Salvador (2024), Oficinas do Convento/ Lisbon (2024), Devir Capa/ Faro (2024), Estúdios Victor Córdon (2024)

OVNI — Dally Schwarz & Marcos Aganju

_We often experience a quiver in the nose. The chin trembling. The bladder in our eyes filling up. 
The urge to cry. 
Because we're sad, because shampoo gets in our eyes, 
because we've been given good news or because laughing also makes us cry. 
As we grow up, we create a unique relationship with this urge._


###### Credits
##### Creation | Maria Abrantes
##### Performers | Pedro Matias, Ana de Oliveira e Silva, Laura Boque
##### Music | Noiserv
##### Artistic assistance | Sara Anjo
##### Artistic consultant |  Vânia Rovisco
##### Costumes and set design | Maria Abrantes and Rafael Dos Santos 
##### Light design | Tomé Ferreira
##### Audiovisual recording | João Sanchez
##### Support | Opart | Estúdios Victor Córdon
##### Hosting venues | ADDK Portugal,  Armazém 22

###### Bio note 
Maria Abrantes (Ereira, 1998) is a performer, creator and artist. She expresses her work through the body, choreography, illustration, writing, tattooing and sculpture. She is now developing her first piece for children, entitled _Que Vontade de Chorar_ [What an Urge to Cry].


Que Vontade de Chorar ⎯ Maria Abrantes

_NORMA_ ["norm"] is a dance, circus and performance piece that is site-specific and under constant construction. 
The spectator is invited to be part of the work, and the body acts as a discourse of intersection between art and life. The body is observed as a unique experience, in the duality of a gravitational space and a space without gravity. Witnesses to a game of resistance and risk, where limits are relative, in that they will always be restricted, but not restrained. 

The work is inspired by Heinrich Von Kleist's text _On the Marionette Theatre_ and reflects on the context of Portuguese eugenics, in which the Mitra asylum (abolished in 1960) served to institutionalize people who fell out of the norm. A piece that encourages us to look at history and reflect on the place of social violence that contributed to exclusion practices and the marginalization of communities that were not within the norm.


###### Credits

##### Artistic direction | Diana Niepce
##### Performers | Diana Niepce, Eric Santos, Lucas Damiani, Sara Garcia, Tarlie Lumby, Rebeca Mateus
##### Sound: Diogo Melo
##### Costumes | Silvana Ivaldi
##### Technical direction | Roger Madureira
##### Illustration | Maria Abrantes
##### Production | Joana Costa Santos
##### Pre-production | Produção d'Fusão
##### Co-production | As Niepce's, Teatro Nacional D.Maria II
##### Co-production in residence | O Espaço do Tempo, Estúdios Victor Córdon
##### Support | Directorate General for the Arts

NORMA ⎯ Diana Niepce 

_This quartet, is a choreographic explora8on that goes beyond tradi8onal boundaries, blending the technical precision of point work with the expressive freedom of contemporary dance. The choreography is a testament to the idea that, despite our diverse backgrounds, we dancers share a common ground._

_The choreography goes into the notion that despite external differences, we are united by our shared experiences and emotions. (...) Through the language of movement, my goal is to take apart preconceived notions and societal biases, creating a sense of shared humanity among performers and audience alike._

###### CREDITS
##### Performers | Beatriz Mira, Gonçalo Andrade, Lucas Ribeiro, Rita Ferreira
##### Music | TBD
##### Lights | Ana Isabel Casquilho
##### Costumes | TBD

Ana Isabel Casquilho — TBD

_Traces of memory, traces of blue. How do we create traces with dance, the most ephemeral of arts? How is it possible for blue to be linked to forgetfulness, memory and nostalgia? What traces has the color blue left in history? A performance around traces and memory, and the color blue._

###### Public event
## open rehearsal
###### APRIL 29
###### 8.30pm

Traces of Blue  ⎯ Helena Dawin

_This is a project that focuses on the search for sensibilities, a project about the non-binary trans body in search of its own masculinity. This is an autobiographical project, about my transition from the macho language I absorbed through hip-hop to finding a healthier masculinity within other forms of dance. This is a body that navigates memory and the construction of a new memory, the construction of a future. I work on blending various dancing styles. In waving, in Vogue, in ballroom dance, I find gender expressions that fit into a non-binary framework, and which consequently put forth a new way of living and of socially repositioning the body, in an attempt to answer the question: “How does a non-binary body dance? Why is it important to create a non-toxic transmasculinity, and what does that mean? Why are transmasculinities invisible? Why do we hide?_

##### _The name “primarosa” comes from “primrose”. The first flower to bloom in early spring. It means beginning, transformation, cure. A goodbye, a death, which brings forth something new, a rebirth, a new body. A desire to create new concepts and ideas._ — Eríc Amorim dos Santos

###### 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

##### 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
##### 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

Mawaru ⏤  Matilde Barbas & Miguel Santos

_"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

"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

_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

_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

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 

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

_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

Rh ― CiM

Mono-no-aware ― Rafael Alvarez

Stabat Mater com aroma a pêssego ⎯ Beatriz Garrucho

A body that listens. What can a body do? What can a listening body do? It listens to Prokofiev and listens to itself. A fleeing body. A body having fugitive visions. Phantasmagoria. The flight of bodies. What’s the point of fleeing? Where to search. Where to listen from. From the fog. A body of gas.

Escuta fugitiva ― Abel Rojo and Edgar Ariel

_Andar para trás_ ("Moving Backwards") builds a fable, a possible history of movement, moving backwards, from front to back. It outlines a path towards the future by looking at the past and reflecting on the invasive and infesting nature of the human race, which explores earth materials as capital, exhausting the ecosystem. 

This danced fable thus evokes an ecosystem inhabited by hybrid and symbiotic creatures whose allegorical and pictorial character reflects and creates possible points of view for the future. It also raises questions like: What is your environment? What is your horizon? What do you find out when you walk? What does the future tell you?

###### Credits

##### Staging: Sara Anjo
##### Performers: Sara Anjo, Mickaella Dantas
##### Sound design: Artur Pispalhas
##### Set design: Martina Manyà
##### Costume design: Marisa Escaleira
##### Technical direction and lighting design: Carin Geada
##### Outside perspective and voice training: Flora Détraz
##### Production: Sara Anjo and Agência 25 | Vítor Alves Brotas
##### Distribution: Pia Krämer | Cliff Catalyst
##### Residences: Opart | Estúdios Victor Córdon, Teatro Viriato, O Espaço do Tempo
##### Support: LU.CA, Teatro Viriato

Andar para trás ⎯ Sara Anjo

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

With the aim of supporting independent artistic creation, this program hosts artists and collectives working in the field of dance or in areas of artistic intersection, both national and international, for a maximum period of two weeks.

Applications are accepted continuously throughout the year, 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, directly meeting the needs of the artistic community.

Artist Residencies — 2025

Artist Residencies 2024

The Photography Artist Residency program provides a space for photographers who want to deepen their language in the performing arts and particularly in dance. Given the specificity of a photography program, the EVC provide the perfect setting, with a wide range of activities that are very enriching for participants in this initiative. Throughout the residency, photographers have the opportunity to propose images to the EVC team and to the artists being photographed through our communication channels, in a process of constructing discourse and promoting their work.

Between 2024 and 2025 we will welcome an exhibition by Guilherme Gouveia, titled "Sobre o Estúdio 1" that will show us the result of the photography residency he undertook at the EVC in 2023.

###### Exhibition runs from 13.12.24 to 21.02.25

_"Everything started at Studio 1, at the end of 2022, in conversation with the EVC team. My audacity flared up, and I asked, in the most spontaneous and determined possible way, whether there would be a place for a young photographer. That's how the invitation came to participate in the Photography Residency program, which would consist of capturing moments of dance and practice that are part of the various activities, programs and dynamics at the EVC. This invitation proved to be a launch pad, pointing towards a more authorial language in performing arts photography, as well as an important catalyst for my professional career. Today, I am exhibiting a manifesto on the environment and movement at the EVC."_ — [Guilherme Gouveia](https://estudiosvictorcordon.pt/en/artists/guilherme-gouveia-3)

###### Artists/creators in the photographs:

Amália Santos, Amélia Socovinho, Carolina Manuel, Carolina Soares, Carolina Vasconcelos, Catarina Campos, Fátima Brito, Francisco Freire, Gaya de Medeiros, Guilherme Barroso, Hugo Cabral Mendes, Jo Bernardo, Laure Fleitz, Lívia Espírito Santo, Luciene Cabral, Marco Olival and Paulina Santos.

###### [Photography Residency program](https://estudiosvictorcordon.pt/en/programs/photography-residency-program-1)

The Photography Artist Residency program provides a space for photographers who want to deepen their language in the performing arts and particularly in dance. Given the specificity of a photography program, the EVC provide the perfect setting, with a wide range of activities that are very enriching for participants in this initiative. Throughout the residency, photographers have the opportunity to propose images to the EVC team and to the artists being photographed through our communication channels, in a process of constructing discourse and promoting their work.

Photography Exhibition "Sobre o Estúdio 1"

In this residencies program dedicated specifically to photography, EVC welcomes artists working in this field who are interested in performing arts and seek to capture movement through their medium of choice. In residency for a set period of time, each photographer is given the freedom to capture whatever they wish when they wish, in order to encourage as much as possible the relationship of these artists with the continuous flux and activities happening at EVC.

Aiming to value photography as an art form, but also to take it into consideration, in a freer and more comprehensive way, as a form of expression and communication, these residencies provide a space of freedom to experiment and develop one's own artistic eye. While the artist in residence challenges themselves and engages in authorial work, they are exposed to the performing arts in constant ebullition at the EVC and to the various movement and dance projects that are developed there. This constitutes a unique and significant way of learning about these arts, their characteristics and their own processes. Facing the stage, the photographer has a very unique role, where they will have to deal with challenges such as lighting, scenic space, rehearsals, and - equally essential - how to communicate with the performers.

Photography Residency Program 2023

The Photography Artist Residency Program provides a support space for photographers who want to deepen their language in the context of the performing arts and particularly in dance. Given the specificity of a photography program, the EVC provide the perfect setting, with a wide range of activities that are very enriching for participants in this initiative. Throughout the residency, photographers have the opportunity to propose images of artists or activities they captured to the EVC team through our communication channels, in a process of constructing discourse and promoting their work.

Between 2024 and 2025, we are showing an exhibition by Guilherme Gouveia, titled “Sobre o Estúdio 1”, which presents the result of the photography residency he undertook at the EVC in 2023.

This year, we welcome Estelle Valente, who proposes to explore the poetic movement of dance in author photography in her project _Faire Danser l’image_.

_How can we create a direct connection between photography and dance? How can we include the movement of dance in photography in a different way? How can we transcribe movement poetically? All this will be the starting point for my research in this residency. The idea is to develop my creativity and experiment with new techniques or concepts around movement photography, pushing my artistic limits. Poetry, either visual or written, will be at the center of my approach all the time._ — Estelle Valente

Photography Residencies ⏤ Estelle Valente

Photography Residency Program

_Territory_ is a program dedicated to young dancers aged between 14 and 18 from dance schools all over the country. Every year the program welcomes internationally renowned choreographers who share their works and creative processes with the group of young people selected for each edition.  

Over the course of its many editions, _Territory_ has welcomed more than 80 young dancers from across the country, coming from nearly 40 dance schools in over 30 Portuguese cities.

In 2024, and in line with the other programs of this season, we propose a show that hints at possible new paths for contemporary dance. On the one hand, we have invited the renowned British-Bangladeshi choreographer Akram Khan, who, by incorporating elements of classical Indian Kathak dance into his works, contributes to redefining our idea of what dance is. On the other hand, EVC will welcome Jermaine Spivey, an emerging American choreographer who, alongside a brilliant career as a dancer, actively promotes the possibility of collaborative practice in his creative processes.

_Territory VII_ will also feature a film by director João Sanchez, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director from InShadow - Lisbon ScreenDance Festival 2023. 


In its 7th edition, the _Territory_ program invites the renowned British-Bangladeshi choreographer Akram Khan, and the emerging American choreographer Jermaine Spivey. 

The program works as a platform for early career development, annually selecting up to twelve young dancers from dance schools across the country.

Applications must be submitted through an online form, to be filled out exclusively by the candidates' teaching institutions. All dance schools in the country can apply their students to the program, and each institution can propose a maximum of 5 candidates.

For more detailed information, institutions and candidates can consult the program regulation in the applications page [HERE](https://estudiosvictorcordon.pt/en/applications).



Territory VII  ⏤ Applications

Now in its 7th edition, the _Território_ program, dedicated to young dancers aged between 14 and 18 from dance schools all over the country, annually welcomes internationally renowned choreographers who share their works and creative processes with the group of young people selected for each edition.  

Inviting an established choreographer and an emerging choreographer to lead the program, this year we welcome Akram Khan and Jermaine Spivey. The participants will dance an excerpt from Akram Khan's iconic _Kaash_, and Jermaine Spivey will create a new piece. In addition to the choreographies, _Territory_ will also feature a film by director João Sanchez, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director from InShadow - Lisbon ScreenDance Festival 2023. 

Throughout the creation and learning process, the dancers who take part have the opportunity to benefit from the knowledge and aesthetic vision of the guest choreographers, in a professionalizing experience that fosters a diverse and inclusive outlook.

###### About Kaash
##### World premiere: March 28, 2002 at the Maison des Arts de Créteil (France)
##### Originally, Akram Khan teamed up with visual artist Anish Kapoor and composer Nitin Sawhney to explore aspects of the Hindu God Shiva, his cosmic violence, his meditative nature, and the eternal cycle of creation and destruction he initiates. They created Kaash, which in Hindi means ‘if only’, drawing on a fluid and powerful dialogue between the worlds of contemporary dance and the Indian classical dance form kathak. They created multiple universes from infinite possibilities, between black holes and Indian time cycles, theoretical physics and Hindu mythology.

Territory VII – CREATION

#### Summer nights are back, we're back in Largo de São Carlos.

Estúdios Victor Córdon will close another edition of the Millennium Festival ao Largo on the nights of July 31 and August 1 with the performance of the 7th edition of the _Territory_ program.

##### The 16th edition of the Millennium Festival ao Largo runs from July 11 to August 1, with a program produced by Companhia Nacional de Bailado, Teatro Nacional de São Carlos and guests, and Estúdios Victor Córdon.

Full program of the festival [here](https://www.festivalaolargo.pt).

##### The Festival is a concept developed and produced by OPART and the three artistic structures it manages ⏤ Teatro Nacional de São Carlos, Companhia Nacional de Bailado and Estúdios Victor Córdon ⏤ which make of Largo de S. Carlos a common space for celebration and participation. Millennium bcp is the Festival's main sponsor.

##### _A return to the place of always, a Largo of freedom, encounter and art._


###### Territory VII

##### In 2024, and in line with the other programs of this season, we propose a show that hints at possible new paths for contemporary dance. On the one hand, we have invited the renowned British-Bangladeshi choreographer Akram Khan, who, by incorporating elements of classical Indian Kathak dance into his works, contributes to redefining our idea of what dance is. On the other hand, EVC will welcome Jermaine Spivey, an emerging American choreographer who, alongside a brilliant career as a dancer, actively promotes the possibility of collaborative practice in his creative processes.

_Territory VII_ will also feature a film by director João Sanchez, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director from InShadow - Lisbon ScreenDance Festival 2023. 

###### Dates
##### July 31, 2024
##### August 1, 2024

###### Venue
Largo de S. Carlos, Lisbon

###### Schedule
##### 22h

###### About KAASH, by Akram Khan
##### World premiere: 28 March 2002, Maison des Arts, Créteil (France)
##### Akram Khan teamed up with visual artist Anish Kapoor and composer Nitin Sawhney to explore aspects of the Hindu God Shiva, his cosmic violence, his meditative nature, and the eternal cycle of creation and destruction he initiates. They created _Kaash_, which in Hindi means ‘if only’, drawing on a fluid and powerful dialogue between the worlds of contemporary dance and the Indian classical dance form kathak. They created multiple universes from infinite possibilities, between black holes and Indian time cycles, theoretical physics and Hindu mythology.

###### About BETWEEN OUTSIDE AND ME, by Jermaine Spivey
##### BETWEEN OUTSIDE AND ME is a piece that requires these young dancers to push beyond their comfort zones mentally and physically. Each one of them is responsible for completing multiple tasks unrelentlessly. They must see each other and respond to each other, breathe together, be in the rhythm of not just the music and the counts, but also of their collective action. The choreography requires precision and accuracy, and that accuracy is intentionally put into conflict because of the tempo being either uncomfortably fast or slow.
I have tried my best to create a work for them that is always just outside of what they are comfortable with, because I believe this is an important skill to practice in order to become an excellent professional dancer and artist.

###### About "Rebento", by João Sanchez
##### Rebento is a movie about repetition. Rebento is an essay about an essay. Rebento is a painting that’s still wet. Rebento is an essay about an essay. Rebento is a painting that’s still wet. Rebento is a movie about repetition. Rebento is a movie about repetition. Rebento is a movie about repetition.

Territory Program at the 16th Millennium Festival ao Largo

The OPART and the Millennium bcp Foundation are introducing a CAREER LAUNCH Award, which will recognize one of the young participants in Estúdios Victor Córdon's Territory VII Program – 2024.

Sponsored by the Millennium bcp Foundation, the Award provides support for a two-week internship, which, in this first edition, will take place at NDT 2, under a Collaboration Agreement established with OPART, E.P.E. and Estúdios Victor Córdon for this purpose.

The selected recipient will be announced at the end of the second-to-last performance of the Territory VII Program, which will take place at the Millennium Festival ao Largo on July 31, 2024.

Programs

2024