##### 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

large_EVC 2024 

medium_EVC 2024 

small_EVC 2024 

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EVC 2024 

##### Enquanto investigava o espólio da coreógrafa Paula Massano no Museu Nacional do Teatro e da Dança, encontrei um dossier intitulado Proposta de Organização da Estrutura Mínima de Suporte de um Workshop. Este documento foi endereçado à Companhia Nacional de Bailado (CNB) um ano após a sua criação, em 1978, como tentativa de integrar um projeto permanente de experimentação coreográfica. O documento começava com uma descrição do que é um workshop, palavra que não circulava na altura: «um workshop é um local onde um grupo de pessoas se reúne à volta de um trabalho comum com o objetivo de, dentro de um dado campo das práticas artísticas (neste caso, a dança), o desenvolver no sentido de descobrir novas formas e, necessariamente, novos conteúdos.»

##### A proposta de Paula Massano não foi acolhida na CNB. Terá sido discutida? Poderia parecer radical, por um lado, ou ingénua, por outro, num momento em que a Companhia se tinha acabado de formar e procurava constituir-se como corpo de baile de matriz essencialmente clássica. Se a catapultarmos para o presente, esta proposta instiga um questionamento sobre a missão de uma companhia da dança estatal que importa invocar. Se os estatutos da CNB sempre preservaram o convívio entre dança clássica e dança contemporânea, esse equilíbrio sempre pareceu complicado. O que é que um workshop de pesquisa de movimento permanente poderia servir à companhia, em particular, e à dança, em geral?

##### A história dos Estúdios Victor Córdon (EVC) é indissociável da CNB e surge enquanto um projeto de Luísa Taveira (diretora de 2010 a 2017), com a intenção de contribuir para a recondução da carreira de bailarinos que não estariam no ativo na companhia. Abertos em 2016 com coordenação de Bruno Cochat, os EVC iniciam-se como um «Centro educativo, comunitário e criativo» com aulas de dança para crianças e adultos, masterclasses, oficinas e outros projetos. Em 2017, seria nomeado para o projeto o coreógrafo, ex-bailarino e coordenador de projetos especiais da CNB Rui Lopes Graça, cujo foco de ação, apesar de manter uma preocupação com o reenquadramento profissional dos bailarinos, foi noutra direção.

##### Caracterizados como uma «plataforma», os Estúdios Victor Córdon são um lugar de prática, pesquisa, experimentação e criação coreográfica sem uma linha estética definida. Sendo um dos poucos lugares em Lisboa com condições próprias para a prática de dança — isto é, estúdio espaçoso com chão de madeira, caixa de ar, linóleo e aquecimento —, os EVC dão um apoio fulcral à comunidade da dança independente através da disponibilização de estúdios dignos para trabalho e ensaios.

##### Uma das ações centrais é oferecer aulas de dança diárias para profissionais com o custo de três euros. As aulas de dança clássica são dadas geralmente por ex-bailarinos da CNB e do Ballet Gulbenkian, entre outros, garantindo uma transmissão intergeracional. As aulas são frequentadas por uma grande variedade de pessoas, e no mesmo estúdio podem estar: uma bailarina reformada da Ópera de Paris que comprou casa em Lisboa, uma coreógrafa da Nova Dança Portuguesa, um jovem acabado de sair do Conservatório, uma ex-aluna do Forum Dança, uma investigadora do c.e.m., uma amadora que faz doutoramento em sociologia, um bailarino que trabalha no estrangeiro, está a passar férias em Lisboa e tem um baile de vogue à noite, bailarinos que estão entre projetos, que têm uma audição ou que querem «aquecer» antes dos seus ensaios. As aulas de dança contemporânea são orientadas por uma comunidade mais jovem – bailarinos ativos entre os 20 e 40 anos que têm aqui também a oportunidade de partilhar a sua prática com outros. Com um enfoque pedagógico e profissionalizante, os EVC têm ainda tentado criar oportunidades para jovens intérpretes, quer através da colaboração entre escolas de dança, em todo o país, e coreógrafos internacionais, quer estabelecendo colaborações entre escolas artísticas de áreas distintas, como música.

##### Uma das coisas que os EVC entenderam é que, para ter discursos abrangentes, não podem ser sempre as mesmas pessoas a fazer as coisas. O poder não pode ser piramidal; pelo contrário, tem de ser partilhado, tem de ser um diálogo, tem de ser uma ponte. Parte dos programas dos EVC acontece através de convites a diferentes curadorias, abrindo o espectro de colaborações para fazer o que talvez não estaria ao seu alcance. O que sai para fora não é a voz de um diretor, mas diferentes vozes que expõem e cultivam a diversidade da cena da dança na sua multiplicidade. Esta abertura deve ser vista também como um espaço de responsabilidade para quando, ocupando lugares de poder, as instituições prossigam o seu papel de reparação das injustiças estruturais que continuam a dividir o mundo em dois.

##### O mundo carece de novas e renovadas instituições. Instituições que nos permitam acreditar nelas, que sejam transparentes, abertas, que tenham espírito, que nos inspirem, que nos representem e que nos façam querer ser representados. Instituições que não sejam máquinas de sugar cabeças e contribuintes, nem plataformas de lançamento para os seus diretores. Os EVC tornaram-se uma casa para muitos. São um lugar onde sabemos que somos bem tratados, onde nos sentimos acolhidos, prezados, respeitados, independentemente do tipo de dança que fazemos. Esta dimensão transversal, que promove diferentes visões, fomenta a comunicação entre pares que muitas vezes não se cruzam, que deixaram de se cruzar ou não se querem cruzar. É um lugar de encontros, tanto de pessoas novas, como de pessoas que admiramos e nunca vemos. Nunca sabemos quem vai atravessar o corredor e isso dá-nos um misto de nervosismo e entusiasmo.

##### Muitas das ações dos EVC são invisíveis e prendem-se com apoio muscular, psicológico e jurídico ou, por outras palavras, cuidado. Um cuidado que não é protocolar, mas que advém de uma equipa experiente e devota naquilo que é a sua prática diária: a dança. Esta forma de estar prova que as instituições, por mais que sejam criadas por decreto, são feitas por pessoas e são feitas de amor, atenção e dedicação. Se os EVC surgiram como tentativa de solucionar um problema na CNB, tornaram-se uma pequena inspiração para a dança em geral, e uma extensão do que poderia ser um projeto para a dança no país, que, além de um corpo de baile, seria, nas palavras de Paula Massano, um lugar para desenvolver o campo da dança em permanência, na sua forma e no seu conteúdo. Pelas ações dos EVC é possível entender um espectro da dança que se faz, as suas redes, sujeitos, estéticas, preocupações, vontades e necessidades, mas o seu modo de funcionamento permite mais do que isso: permite imaginarmos coletivamente como é possível fazer de uma instituição um outro lugar.
##### ⎯
##### João dos Santos Martins
##### Janeiro, 2024


EVC: Outros lugares

#### 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

The world is the home of the body.

2024

EVC: Other spaces

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

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

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

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

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

medium_Uma Coleção para Amanhã ● Eixo Atlântico 

small_Uma Coleção para Amanhã ● Eixo Atlântico 

thumbnail_Uma Coleção para Amanhã ● Eixo Atlântico 

Uma Coleção para Amanhã ● Eixo Atlântico 

Chegada à sua 3ª edição, que sucede uma série de conversas dedicada a artistas e ativistas culturais de Moçambique, a série _Uma Coleção para Amanhã – Eixo Atlântico_ transporta-se para 2024, com o lançamento de seis novos episódios, dedicados dedicadas a conhecer criadores de Angola, Cabo Verde e São Tomé e Príncipe.  

Luciene Cabral [nome artístico Luciény Kaabral] nasceu na praia, Cabo Verde, em 2001. Começou a sua carreira de bailarina na companhia Raiz Di Polon e conheceu o coreógrafo Nuno Barreto num laboratório de investigação sobre movimento, expressão corporal e danças tradicionais. Em 2020 integra o elenco da produção do Sadler’s Wells, Fundação Pina Bausch e École Des Sables “A Sagração da Primavera”. É bailarina do Tanztheater Wupperttal, de Pina Bausch, desde 2023.

Djamilson Barreto dos Santos (nome artístico Nuno Barreto) nasceu na Praia e tem 43 anos. Bailarino há mais de uma década, é ativista cultural e faz parte da companhia de dança Raiz Di Polon. Criou e também interpreta as peças Linhas di Kommuni, Torna Liga, Dos Porta, Cisne Pretu, Stratus di Sociedadi e Izulamentu20.

Luciény e Nuno cofundaram juntos o projeto “Badju Kabu Kaba” com o objetivo de promover a dança em Cabo Verde.

###### Podes assistir à terceira conversa da Coleção [aqui](https://youtu.be/1nU8_0NUdf8?list=PLAO_nJtqGJzE8V97xnoWXDWPoRV5nRbs9)



Uma Coleção para Amanhã ● Eixo Atlântico ⏤ conversa com Luciény Kaabral e Nuno Barreto

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

##### ⎯

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

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

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



A Collection for Tomorrow ⏤ Atlantic Axis

Curator

Directed by

Guest artists

Capture and editing

 Translation and subtitles

Design 

Support

Production

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

#### 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
##### JAN 2024



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small_Temporada 2024

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Temporada 2024

#### O mundo é a casa do corpo.

##### Corpo enquanto matéria de herança comum. Corpo de escuta e ação; lugar de dança, deste e de outros mundos.
  
##### No início de um novo ciclo dos Estúdios Victor Córdon, confirmamos o compromisso de apoio à comunidade artística independente, com especial enfoque na área da dança. Confirmamos igualmente a dedicação à promoção de iniciativas que apoiem o início de carreiras, que intensifiquem o movimento de artistas dos e nos PALOP, que proporcionem espaços de presença das comunidades imigrantes e descendentes residentes em Portugal e que, de forma geral, sejam um exemplo da democratização do acesso às instituições culturais. Quando se invertem valores fundamentais é imperativo que se multipliquem ações com impacto direto na vida das pessoas afetadas por essa inversão, apesar das muitas frentes necessárias para responder às realidades que se anunciam pelo decorrer dos dias.

##### A Temporada 2024 pretende refletir o estado de um mundo em (des)agregação, acerca do qual é urgente pensar e agir. No ano em que se comemora meio século de liberdade e democracia em Portugal, precisamos de confirmar valores humanistas universais, pois estes não se estabelecem por si próprios através de uma qualquer mudança de regime ou contexto político. Estabelecer estes valores implica sempre um esforço permanente que se inicia no âmago da vida individual. O nosso tempo deverá ser um tempo de ação continuada no combate ao esquecimento, eterno inimigo das civilizações, bem como no reconhecimento de cada pessoa com dignidade e respeito.

##### As vozes e necessidades de criadores e intérpretes. O registo e a transmissão dessas vozes, vindas de muitas geografias. O pensamento em torno da criação artística e o seu impacto na realidade social. As rotas da língua portuguesa como lugares de encontro, partilha e estabelecimento de redes para a circulação de artistas, propondo avizinhar Norte e Sul. As comunidades migrantes residentes em Portugal e o papel da criação artística no processo de aproximação de culturas. As comunidades afrodescendentes e a sua presença nas instituições culturais e na sociedade em geral. O apoio à criação a artistas, festivais e instituições de ensino, assim como o suporte dado a jovens intérpretes e criadores em início de carreira. Estas são as principais linhas que norteiam a vintena de programas que trazemos em 2024.

##### Lançamos esta programação sabendo que o caminho pode moldar as intenções, tornando-a mais adequada às necessidades de quem dela pode usufruir, e, sendo certo que nem todas as propostas chegam ao ponto onde à partida as imaginamos, quando movidas por um espírito criativo e conciliador serão seguramente portadoras de mudança.

##### É neste lugar que propomos encontrar-nos. Numa casa do mundo.
##### ⎯
##### Rui Lopes Graça
##### Janeiro, 2024


TEMPORADA 2024

2024 SEASON

##### _Fazer falar o fazer [“Making the doing speak”] - tools 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 tools to encourage thinking, speaking and listening, and provide encounters between artists and between the artists and the audience.

large_"Fazer falar o fazer", de Teresa Silva e David Santos

medium_"Fazer falar o fazer", de Teresa Silva e David Santos

small_"Fazer falar o fazer", de Teresa Silva e David Santos

thumbnail_"Fazer falar o fazer", de Teresa Silva e David Santos

"Fazer falar o fazer", de Teresa Silva e David Marques

"Fazer falar o fazer — dispositivos para criar discurso sobre práticas artísticas", pensado e desenvolvido em colaboração com David Marques, é o primeiro projeto residente da artista convidada para estar EM CASA ao longo de toda a temporada 2024. 

"Ao longo dos nossos percursos, temos sentido falta de ocasiões que promovam a produção de reflexão e discurso sobre a prática artística e assistido à escassez de registos que documentem e façam existir, por um tempo mais lato e por uma geografia mais alargada, aquilo que, artistas como nós, andamos a fazer. Fazer falar o fazer surge assim da vontade de que o trabalho da nossa geração tenha um lugar para se inscrever e do desejo de juntar comunidade em torno das questões que nos movem e nos ocupam na nossa prática artística, que confiamos serem fonte de produção de conhecimento fundamental. Neste contexto, iremos desenvolver diferentes dispositivos para fomentar o pensamento, a palavra e a escuta, e proporcionar o encontro entre artistas e entre artistas e público. — Teresa Silva e David Marques

EM CASA — Fazer falar o fazer

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, Mathieu Bouvier and Loic Touzé, 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. 

_Fazer falar o fazer [“Making the doing speak”] - tools 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 tools to encourage thinking, speaking and listening, and provide encounters between artists and between the artists and the audience.

_Carnation_
After collaborating on _Orchidelirium - An appetite for Abundance_, a project presented at the Venice Biennale (2022), 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! - Experimental sessions for a transformative artistic practice_
In this project led by Teresa Silva, the artist aims to show how artistic practice generates states of attention, self-knowledge and transformation that intensify the human being’s potential. In these individual sessions, each person will be invited to look at what affects them in the present moment and, from there, work together on a sensitive and experimental path, intersecting the artistic and therapeutic fields.

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 into places of affection, ritual and healing.


At Home ⏤ Teresa Silva

AT HOME — Fazer falar o fazer

_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


large_fotos TreinoEVC_ABR2023_La Veronal ©Guilherme Gouveia � EVC 2023 GGOUVEIA_EVC 05.04.23-99.jpg

medium_fotos TreinoEVC_ABR2023_La Veronal ©Guilherme Gouveia � EVC 2023 GGOUVEIA_EVC 05.04.23-99.jpg

small_fotos TreinoEVC_ABR2023_La Veronal ©Guilherme Gouveia � EVC 2023 GGOUVEIA_EVC 05.04.23-99.jpg

thumbnail_fotos TreinoEVC_ABR2023_La Veronal ©Guilherme Gouveia � EVC 2023 GGOUVEIA_EVC 05.04.23-99.jpg

Espaço Expositivo

Múmias ou como homenagear um corpo — Luís Guerra

Divã — João Galante

_Que capacidade é essa do corpo que transporta o que observamos e o encerra numa folha de papel? Falo do corpo a transmutar-se em desenho, numa fusão intrincada entre olhos, mãos e papel. É como o desenvolvimento de um músculo mental que de forma misteriosa se prolonga pelo braço, chega à mão e percorre o papel. Transforma-se em movimento e dinâmica. Há pessoas das artes performativas que desenham mesmo antes de usarem o corpo como instrumento. Luís Guerra, João Galante e Elizabete Francisca são algumas dessas pessoas. Estas exposições revelam três formas diferentes de usar a musculatura mental, cada uma com a sua identidade e beleza. O desenho é um ato físico que requer tempo, memória, foco, prática, vontade, resistência e liberdade. É como dança._
― Carlota Lagido

###### Curadoria
#### Carlota Lagido

###### Artistas convidados(as)
#### Elizabete Francisca
#### João Galante
#### Luís Guerra

cérebro, olhos, mãos e papel

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 - and an exhibition by Guilherme Gouveia, who will show us the result of the photography residency he undertook at the EVC in 2023.


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

### Photography exhibition
##### by Guilherme Gouveia




Exhibition space

BRAIN, EYES, HANDS AND PAPER

### 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

large_"Divã", de João Galante

medium_"Divã", de João Galante

small_"Divã", de João Galante

thumbnail_"Divã", de João Galante

"Divã", de João Galante

Vernissage

### Divã
_Quando pinto tento fazer o mesmo que quando toco ou componho música. Criar um espaço onde não tenha responsabilidades perante a sociedade. Um espaço onde possa refletir sobre o mundo ou nem por isso. Um estado de entrega. Um descanso._ — João Galante


### cérebro, olhos, mãos e papel
_Que capacidade é essa do corpo que transporta o que observamos e o encerra numa folha de papel? Falo do corpo a transmutar-se em desenho, numa fusão intrincada entre olhos, mãos e papel. É como o desenvolvimento de um músculo mental que de forma misteriosa se prolonga pelo braço, chega à mão e percorre o papel. Transforma-se em movimento e dinâmica. Há pessoas das artes performativas que desenham mesmo antes de usarem o corpo como instrumento. Luís Guerra, João Galante e Elizabete Francisca são algumas dessas pessoas. Estas exposições revelam três formas diferentes de usar a musculatura mental, cada uma com a sua identidade e beleza. O desenho é um ato físico que requer tempo, memória, foco, prática, vontade, resistência e liberdade. É como dança._  ― Carlota Lagido

#####
##### 

###### INAUGURAÇÃO
##### 24 MAIO às 18h30
##### Estúdios Victor Córdon

João Galante ― Divã

Invited artist

Next exhibition

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. 

large_DSCF0108 ©JOSEFA SEARLE 2021.jpg

medium_DSCF0108 ©JOSEFA SEARLE 2021.jpg

small_DSCF0108 ©JOSEFA SEARLE 2021.jpg

thumbnail_DSCF0108 ©JOSEFA SEARLE 2021.jpg

DSCF0108 ©JOSEFA SEARLE 2021.jpg

O _KickOff'24_, formação intensiva dirigida a bailarinos(as) profissionais, mergulha este ano no universo artístico de Akram Khan. Em 2024, o programa terá a duração de uma semana, e, como habitualmente, acontecerá logo após a época estival, nos EVC.

A próxima edição do programa acontece entre 2 e 6 de setembro de 2024 e conta com Nico Ricchini como formador.


###### Horários
##### 2 SET — 6 SET
##### 10:00-13:30
##### PAUSA
##### 14:30-17:30

###### Público-alvo
Profissionais da dança

###### Limite de participantes
30 pessoas

###### Preço ⎯ 220€

###### Este programa tem o apoio da Fundação GDA 

###### Bolsas Fundação GDA disponíveis
##### A Fundação GDA apoia esta formação atribuindo bolsas para a frequência*
##### 9 Bolsas para Cooperadores GDA (70€)
##### 13 Bolsas para Não Cooperadores GDA (130€)
##### * as bolsas da Fundação GDA são cedidas por ordem de confirmação da inscrição.

###### Inscrições online

###### Seguro de acidentes pessoais obrigatório

###### Sobre o formador
##### Formou-se em Ballet em Lyon e em Dança Contemporânea em Barcelona, na Varium. Nos últimos dez anos, trabalhou com diversos artistas e companhias, tais como Pepe Hevia Danza (Cuba), Fernando Madagan (Nederlands Dans Theater), Tupac Martir em Londres, Emma Martin Dance, Akram Khan Company para a Cerimónia de Abertura dos Jogos Olímpicos de 2012, La Taimada, CLOD Ensemble e Lali Ayguadé Company, entre outros.
 
O facto de ter interpretado o solo Chotto Desh para a Akram Khan Company, numa digressão internacional de três anos, representou um ponto alto da sua carreira: uma obra traduzida em seis línguas, apresentada em 85 cidades e vista por mais de 110 000 espectadores. Também foi ator, juntamente com Lali Ayguadé, na curta-metragem Timecode, de Juanjo Giménez, vencedora de vários prémios e nomeada para um Óscar.
 
Como empreendedor na área da dança, Nico tem lançado projetos inovadores de educação em dança contemporânea em Barcelona, como o FREE BODIES (desde 2018) e o FREE ROOTS (desde 2022), programas que co-dirige com Nadine Gerspacher. Desde 2018, está à frente da Big Story Productions, que produz e comercializa produções e projectos de dança contemporânea, bem como representa artistas ousados e audazes. Em 2020, voltou a trabalhar com a Akram Khan Company como diretor de ensaios e intérprete de Chotto Xenos. Desde 2022, fundou o espaço criativo FREEZONE para apoiar a criação, o movimento e a performance em Barcelona.


###### Sobre Akram Khan
##### Akram Khan (ele/dele) é um artista essencial e mundialmente reconhecido no campo da dança na atualidade. Ao longo dos últimos 23 anos, as suas obras têm contribuído significativamente para as artes no Reino Unido e também fora do país. De entre as suas obras mais famosas, são de destacar _Jungle Book Reimagined_, _Outwitting the Devil_, _XENOS_, _Until the Lions_, _Kaash_, _iTMOi (in the mind of igor)_, _DESH_, _Vertical Road_, _Gnosis_ e _zero degrees_. 

Khan tem colaborado com artistas de outras culturas e disciplinas, tais como o Ballet Nacional da China, Juliette Binoche, Sylvie Guillem, Kylie Minogue, Florence + The Machine, Anish Kapoor, Antony Gormley, Tim Yip, Hanif Kureishi, Steve Reich, Nitin Sawhney, Jocelyn Pook ou Ben Frost. 

A obra de Khan é considerada profundamente comovente, chegando mesmo a poder ser lida como ritual, dada a influência que a dança clássica Kathak tem nela. “Vejo as coisas com a lente do kathak”, ouvimo-lo dizer. Os primeiros solos de Khan atraíram rapidamente a atenção, pois não só era ousado e inventivo nas suas experiências com o Kathak, como mostrava ser um bailarino magnético e hipnotizante, capaz tanto de uma quietude cativante como de uma velocidade galvânica.

KICK OFF'24

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








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

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

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

Chegada à sua 3ª edição, a série _Uma Coleção para Amanhã – Eixo Atlântico_ traz-nos conversas com criadores(as) de Angola, Cabo Verde e São Tomé e Príncipe. Depois de António Tavares, Bibiana Figueiredo e Luciény Kaabral & Nuno Barreto, Mano Preto, Aneth Silva e Miguel Carlos, e Mónica Anapaz, a série encerra com um último episódio em que a convidada é a artista angolana Ana Clara Guerra Marques.

###### Ana Clara Guerra Marques
##### Ana Clara Rodrigues Guerra Marques é Mestre em Performance Artística – Dança e Licenciada em Dança na especialidade de Pedagogia. Bailarina, coreógrafa e investigadora, tem vários artigos publicados em periódicos angolanos e revistas de especialidade estrangeiras. Trabalhou durante 37 anos no Ministério da Cultura angolano, onde foi directora e professora da Escola Nacional de Dança. Membro das comissões do Instituto Superior de Artes e do Instituto Médio de Artes. Foi também Consultura do Vice-Ministro e da Ministra da Cultura de Angola. A implementação da Dança Inclusiva é outra das suas contribuições para uma diversificação do olhar sobre a dança no país. É membro individual do Conselho Internacional da Dança da UNESCO e professora convidada em diversas universidades fora de Angola.

###### Podes assistir à sétima e última conversa da Coleção [aqui](https://www.youtube.com/watch?v=RYdoeMgGS2k), com legendas em inglês.



Uma Coleção para Amanhã ● Eixo Atlântico ⏤ conversa com Ana Clara Guerra Marques

Director

Invited guest

Recording and editing

Translation and subtitles

Design

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

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).

large_Ana Borralho & Joãoo Galante

medium_Ana Borralho & Joãoo Galante

small_Ana Borralho & Joãoo Galante

thumbnail_Ana Borralho & Joãoo Galante

Ana Borralho & Joãoo Galante

_Falar as Danças_ apresenta uma série de episódios, tanto em português como em inglês, em que artistas da cena internacional da dança contemporânea discutem questões que fazem da dança e da coreografia um terreno inesgotável de experimentação, problematização e pensamento. 

Uma co-produção entre os Estúdios Victor Córdon e a Associação Parasita, com curadoria de Carlos Manuel Oliveira.

Neste novo episódio, convidámos Ana Borralho&João Galante a escrever e ler-nos um texto seu, intitulado “Quarto Escuro”. 

Borralho e Galante trabalham juntos nos seus próprios projetos de performance, dança, instalação, fotografia, som e videoarte, que apresentam por todo o mundo. Conheceram-se enquanto estudavam artes visuais no AR.CO, em Lisboa, e trabalharam juntos regularmente nos anos 90 como actores/co-criadores no grupo de teatro Olho em Cacilhas/Almada. Cofundaram a banda de não-músicos Jimmie Durham e a associação cultural Casa Branca, foram cocuradores do festival de música eletrónica Electrolegos em Lagos e dirigem o festival Verão Azul em Lagos e Loulé. Vivem e trabalham em Lisboa e Lagos.


###### A série é publicada nas seguinte plataformas:
 [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).

###### Também podes ter acesso aos episódios traduzidos (PT - EN) [AQUI](https://youtube.com/playlist?list=PLAO_nJtqGJzGPOnQvAth35cyIRcrYdZj3&si=QVHV3gqgq_vtLqzl).



Falar as Danças ⏤ Ep. 6 com Ana Borralho & João Galante

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

Music (intro)

Music (episode)

Sound engineering and distribution

Design and video

Co-Production

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

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

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

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

Chegada à sua 3ª edição, a série _Uma Coleção para Amanhã – Eixo Atlântico_ traz-nos conversas com criadores(as) de Angola, Cabo Verde e São Tomé e Príncipe. Depois de António Tavares, Bibiana Figueiredo e Luciény Kaabral & Nuno Barreto, Mano Preto, e Aneth Silva e Miguel Carlos, é a vez de Mónica Anapaz, artista da dança angolana.

###### Mónica Anapaz
##### Mónica Anapaz no Instagram é “@dansaddicted”. Ilustra o quanto a dança ocupa a vida desta angolana nascida em Luanda, cidade onde estudou dança seguindo depois para a Escola Superior de Dança de Lisboa. Faz estágios profissionais e participa em espetáculos fora de Angola aprofundando conhecimentos com vários coreógrafos. Começa a criar coreografias a partir de 1993, integra a Companhia de Dança Contemporânea de Angola como bailarina e professora de composição coreográfica em 1996 e co-funda e dirige, três anos mais tarde, a companhia de dança contemporânea Dançarte. Também ensinou e dirigiu a Companhia de Dança da ZAP (canal de televisão). Em 2010 integrou como bailarina um espetáculo da companhia EDIT de Irène Tassembédo, no Burkina Faso. Em 2013 trabalha no Centre de Danse du Marais, Paris. 

###### Podes assistir à sexta conversa da Coleção [aqui](https://youtu.be/6VH-YogjoJo), com legendas em inglês.



Uma Coleção para Amanhã ● Eixo Atlântico ⏤ conversa com Mónica Anapaz

A Collection for Tomorrow ● Atlantic Axis⏤ with Mónica Anapaz

#### 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

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Território VII no MFAL

#### Regressam as noites de verão, regressamos ao Largo de São Carlos.

Os Estúdios Victor Córdon encerram mais uma edição do Millennium Festival ao Largo nas noites de 31 de julho e 1 de agosto com o espetáculo da 7ª edição do programa _Território_.

##### A 16ª edição do Millennium Festival ao Largo decorre de 11 de julho a 01 de agosto, com programação da Companhia Nacional de Bailado, do Teatro Nacional de São Carlos e convidados e dos Estúdios Victor Córdon.

Programação completa do festival [aqui](https://www.festivalaolargo.pt).

#####

##### _Julho é o mês de encontro no Largo. Regressamos ao Largo de São Carlos para mais um momento de celebração, que já faz parte da agenda e das noites de verão lisboetas. No coração de Lisboa, o Largo transforma-se, durante cerca de um mês num espaço de encontro, onde a dança e a música se cruzam. Numa combinação entre o clássico e o contemporâneo, celebramos a Liberdade e os 50 anos da sua história. Foi no coração de Lisboa que Abril nasceu e é nesta celebração da memória e do passado que transformamos o Largo em Liberdade. Um Largo de Liberdade. Um Festival e um Largo em que a música e a dança poderão assim, uma vez mais, ser desfrutadas em total liberdade e em plena alegria._

##### _O Millennium Festival ao Largo mantém o espírito de partilha e de uma cultura acessível e gratuita a todos, no cumprimento da missão que nos tem guiado desde a primeira edição. Aos espetáculos e concertos, juntamos nesta 16ª edição ateliers para crianças e famílias dedicados à exploração da dança e da música._

##### _O Festival é um conceito desenvolvido e produzido pelo OPART e pelas três estruturas artísticas que gere ⏤ o Teatro Nacional de São Carlos, a Companhia Nacional de Bailado e os Estúdios Victor Córdon ⏤ que fazem do Largo um espaço comum de celebração e participação. O Millennium bcp é o patrocinador principal do Festival._

##### _Um regresso ao lugar de sempre, um Largo de Liberdade, encontro e arte._


###### Território VII

##### Em 2024, e em linha com a restante programação da temporada, propomos um espetáculo que traz pistas de caminhos possíveis para a dança na contemporaneidade. Por um lado, convidámos o coreógrafo consagrado britânico-bangladechiano Akram Khan, que, ao transportar elementos da dança clássica indiana Kathak para as suas criações, contribui para uma redefinição da nossa ideia do que é dançar. E, por outro lado, receberemos nos EVC Jermaine Spivey, coreógrafo norte-americano em clara ascensão, que, a par de uma brilhante carreira enquanto intérprete, convoca ativamente a ideia de uma prática colaborativa nos seus processos de criação.

##### _Território VII_ contará ainda com um filme do realizador João Sanchez, vencedor do prémio Território | Estúdios Victor Córdon na categoria de Melhor Realizador Português do InShadow – Lisbon ScreenDance Festival 2023. 

###### Datas
##### 31 de julho de 2024
##### 1 de agosto de 2024

###### Local
Largo de S. Carlos, Lisboa

###### Horário
##### 22h

Território na 16ª edição do Millennium Festival ao Largo

_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. 


TERRITORY VII

Territory Program at the 16th Millennium Festival ao Largo

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

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

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

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Prática Diária

classical dance class

Portugal, 1985.

André de Campos

contemporary dance class

Lisbon, Portugal, 1990.

Maria Fonseca 

1990, Barreiro, Portugal.

André Cabral

1993, Leiria, Portugal.

Francisco Rolo

Cuba, 1992

Abel Rojo

###### Dança Clássica
2ª – 4ª – 6ª feiras
10h00 / 11h15

###### Dança Contemporânea
3ª – 5ª feiras
10h00 / 11h15

###### Preço
3€ / aula (seguro obrigatório)



Prática Diária ⏤ Julho

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)


Dance Classes ⏤ Professionals

DAILY CLASSES ⏤ 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
##### 6:15 pm ─ 7:45 pm

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

Portugal

Anadélia Giscafré

Leiria, Portugal.

Sara Schürmann

As aulas de dança clássica para adultos destinam-se a quem pretende iniciar a sua aprendizagem ou a quem mantém uma ligação à dança clássica desde sempre e quer continuar essa prática como meio para o seu bem-estar. 

###### Dança Clássica
##### 2.ª feira
##### 4.ª feira
##### 18h15 ⏤ 19h45

###### Preço
10€/aula (seguro obrigatório)

Aulas de dança para adultos ⏤ Julho

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: 6:15 pm - 7:45 pm

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

Dance Classes ⏤ Adults

Dance Classes for Adults ⏤ July

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.

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Territorio VII

O OPART e a Fundação Millennium bcp criaram um Prémio de INCENTIVO A INÍCIO DE CARREIRA, que será atribuído a um(a) dos(as) jovens participantes do Programa Território VII – 2024, dos Estúdios Victor Córdon.

Este incentivo, patrocinado pela Fundação Millennium bcp, traduz-se no apoio à participação num estágio com a duração de duas semanas. Na sua primeira edição, o estágio será realizado no NDT 2, a companhia do Nederlands Dans Theater para bailarinos(as) com idades compreendidas entre os 18 e os 23 anos, com a qual o OPART, E.P.E. | Estúdios Victor Córdon estabeleceram um Acordo de Colaboração para este fim.

A indicação da pessoa selecionada ocorrerá no final do penúltimo espetáculo do Programa Território VII, que terá lugar no Millennium Festival ao Largo, no dia 31 de julho de 2024.

Prémio Território Millennium bcp

MILLENNIUM BCP FOUNDATION TERRITORY AWARD

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

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

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

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

Chegada à sua 3ª edição, a série _Uma Coleção para Amanhã – Eixo Atlântico_ traz-nos conversas com criadores(as) de Angola, Cabo Verde e São Tomé e Príncipe. Depois de António Tavares, Bibiana Figueiredo e Luciény Kaabral & Nuno Barreto, e Mano Preto, é a vez de Aneth Silva e Miguel Carlos, artistas angolanos da dança.

###### Aneth Silva
##### Bailarina, professora, coreógrafa, produtora cultural, radialista, Aneth Silva nasceu em Luanda, Angola. Licenciou-se na Faculdade de Dança Angel Vianna, no Rio de Janeiro. Bailarina nos espetáculos _Roda_, _Aquarela do Brasil_ e _Ocupar o Corpo_ do Centro de Movimento Débora Colker.
Integra a Palasa Dance Company com Miguel Carlos e dirige a Plataforma de Dança Kijingo


###### Miguel Carlos
##### Fundador, coreógrafo e diretor artístico da Palasa Dance Company, Miguel Carlos nasceu em Luanda, Angola. Estudou na Tshwane University of Technology, em Pretória, África do Sul. Trabalha na Casa das Artes, Talatona, Luanda. _Banana com Ginguba_ é uma das suas criações mais recentes, ainda em digressão.

###### Podes assistir à quinta conversa da Coleção [aqui](https://youtu.be/h0n0ehyv2cI), com legendas em inglês.



Uma Coleção para Amanhã ● Eixo Atlântico ⏤ conversa com Aneth Silva & Miguel Carlos

Invited guests

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

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

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

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

Chegada à sua 3ª edição, a série _Uma Coleção para Amanhã – Eixo Atlântico_ traz-nos conversas com criadores(as) de Angola, Cabo Verde e São Tomé e Príncipe. Depois de António Tavares, Bibiana Figueiredo e Luciény Kaabral & Nuno Barreto, é a vez de Cristina Peres ir ao encontro de Mano Preto, bailarino e coreógrafo cabo-verdiano que fundou a companhia de dança Raiz di Polon.

José Emanuel do Rosário Gonçalves Brandão, nome artístico Mano Preto, nasceu na Ilha do Fogo, Cabo Verde. Bailarino, coreógrafo, produtor, diretor artístico e co-fundador da Companhia de Dança "Raiz di Polon", em 1991, teve mão em todas as áreas do desenvolvimento da dança contemporânea no arquipélago ao longo das últimas décadas, desde a formação à promoção de digressões por todo o mundo.


###### Podes assistir à quarta conversa da Coleção [aqui](https://www.youtube.com/watch?v=Z1BxwurZE3s&ab_channel=Est%C3%BAdiosVictorC%C3%B3rdon), com legendas em inglês.



Uma Coleção para Amanhã ● Eixo Atlântico ⏤ conversa com Mano Preto

Translation and subtitles reviewing

A COLLECTION FOR TOMORROW ⏤ ATLANTIC AXIS with Mano Preto

After the premiere at Teatro Nacional São João and the performance in Teatro Aveirense, in Aveiro, the “Territory VII” program, aimed at young dancers between the ages of 14 and 18, will be presented in Leiria next saturday, the 27th of July.

The twelve dancers involved in this year's edition will perform KAASH (excerpt), by Akram Khan, and BETWEEN OUTSIDE AND ME, by Jermaine Spivey. The show also features “Rebento”, a short film by João Sanchez, winner of the Território | Estúdios Victor Córdon award for Best Portuguese Director at InShadow - Lisbon ScreenDance Festival 2023.

###### Teatro José Lúcio da Silva (Leiria) 
- JULY  27 . 9.30pm . 

###### OTHER PERFORMANCES . TOUR
- JULY 31 and AUG 1 . 10pm . Millennium Festival ao Largo (Lisboa)

###### 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.


Depois da estreia no Teatro Nacional São João e da passagem por Aveiro, o programa _Território VII_, dedicado a jovens bailarinos(as) entre os 14 e os 18 anos,  sobe ao palco do Teatro José Lúcio da Silva já no próximo sábado, dia 237 de julho. 

Os doze bailarinos e bailarinas que integram a edição deste ano irão interpretar KAASH (excerto), de Akram Khan, e BETWEEN OUTSIDE AND ME, de Jermaine Spivey. O espetáculo conta também com "Rebento", um filme de João Sanchez, vencedor do prémio Território | Estúdios Victor Córdon na categoria de Melhor Realizador Português do InShadow – Lisbon ScreenDance Festival 2023. É um programa a não perder!

###### Teatro José Lúcio da Silva (Leiria)
- 27 JUL . 21H30

>>>> bilhetes [aqui](https://www.teatrojlsilva.pt/evento/territorio-vii/).

###### OUTRAS DATAS
- 31 JUL e 1 AGO . 22H00 . Millennium Festival ao Largo (Lisboa)

###### Sobre KAASH, de Akram Khan
##### Estreia mundial: 28 de março de 2002 na Maison des Arts de Créteil (França)
##### Akram Khan juntou-se ao artista visual Anish Kapoor e ao compositor Nitin Sawhney para explorar elementos do deus hindu Shiva, a sua violência cósmica, a sua natureza meditativa e o eterno ciclo de criação e destruição que inicia. Criaram _Kaash_, que em hindi significa "se ao menos", com base num diálogo fluido e poderoso entre os mundos da dança contemporânea e o kathak, a dança clássica indiana. Criaram múltiplos universos a partir de infinitas possibilidades, entre buracos negros e ciclos temporais indianos, física teórica e mitologia hindu.

###### Sobre BETWEEN OUTSIDE AND ME, de Jermaine Spivey
##### BETWEEN OUTSIDE AND ME é uma peça que exige destes(as) jovens bailarinos(as) que saiam das suas zonas de conforto, mental e fisicamente. Cada um(a) deles(as) deve completar múltiplas tarefas sem descanso. Devem ver-se e responder-se uns aos outros, respirar juntos, estar no ritmo não apenas da música e das contagens, mas ainda da sua ação coletiva. A coreografia exige precisão e exatidão, e esta exatidão é intencionalmente dificultada pelo facto de o tempo ser desconfortavelmente rápido ou lento.
Fiz o meu melhor para criar uma obra para eles e elas que estivesse sempre imediatamente fora daquilo com o qual estão confortáveis, pois acredito que esta é uma competência importante a desenvolver para se tornar um(a) bailarino(a) e um(a) artista profissionais de excelência.

###### Sobre "Rebento", de João Sanchez
##### Rebento é um filme sobre repetição. Rebento é um ensaio sobre um ensaio. Rebento é uma pintura que ainda está fresca. Rebento é um ensaio sobre um ensaio. Rebento é uma pintura que ainda está fresca. Rebento é um filme sobre repetição. Rebento é um filme sobre repetição. Rebento é um filme sobre repetição.


Território VII – Teatro José Lúcio da Silva

Choreographies

Transmission process and staging

Short film

Dancers

Rehearsal assistant

Technical director

Program's main sponsor

Partners

Territory VII — Teatro José Lúcio da Silva

###### 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)