For the new piece for a young audience (aged 3+) _PAPUSI_ , which is set to premiere in November 2026, Jill Crovisier would like to explore the relationship between objects connected to the heritage of marionette craft and contemporary dance. 

In this contemporary puppetry / dance piece for two performers, the choreographer will develop a story inspired by a traditional tale, exploring the notions of transformation and diversity. 

From small finger puppets to three dimensional moving objects and human bodies, _PAPUSI_ offers a surprising encounter and gently remind us that everything has its own value and meaningful story simply by existing. 

Artist Residencies

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Para a nova peça destinada ao público infantil (a partir dos 3 anos), _PAPUSI_ , com estreia prevista para novembro de 2026, Jill Crovisier pretende explorar a relação entre objetos ligados ao património da marionetaria e a dança contemporânea. 

Nesta peça contemporânea de marionetas/dança para dois intérpretes, a coreógrafa desenvolverá uma história inspirada num conto tradicional, explorando as noções de transformação e diversidade. 

Desde pequenas marionetas de dedo a objetos tridimensionais móveis e corpos humanos, _PAPUSI_ proporciona um encontro surpreendente com uma lembrança gentil de que tudo tem o seu próprio valor e uma história significativa simplesmente por construir.

Papusi ― Jill Crovisier

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 — 2026

2026

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I-HÓN emerges as a solo piece that straddles the boundary between the comic and the tragic, the intimate and the political. It is a performative reflection on what persists and what transforms when the body attempts to dance between worlds, languages, and memories.

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I-HÓN surge como um solo que se constrói na fronteira entre o cómico e o trágico, o íntimo e o político. É uma reflexão performativa sobre o que persiste, e o que se transforma, quando o corpo tenta dançar entre mundos, línguas e memórias. 

I-HÓN ― Natacha Campos

_What do cavalry and youth corps have in common? To be perfectly honest, I don't know, but these are the first three images that come to mind when I hear Maurice Ravel's “Pavane for a Dead Princess.” A pavane is a slow dance, associated with a procession of melancholic characteristics, with a weight and slowness that I feel carries a hidden speed. The truth I find in this time-consuming task of carrying a body tells me that I am looking to delay the burial of youth as long as possible. Perhaps because I realize that I have left things behind, or because I feel that I did not live slowly through an adolescence that should have been eternal, I now find refuge in this time of the pavane to generate an endless, uncontrollable choreography. A fleetingness that never slows down from the beginning to the end of this procession, thus questioning what is really the durability of the absence of pause, using time to its maximum exponential. Can a body dribble itself on the field? Can wild horses and mares gallop backwards as an escape from a destructive future?_
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Life is like the plague, and youth is like the mountain. And we climb to the top of the mountain not to enter, but to leave ourselves behind, to let the horses and mares run free, toward death or purification. I believe the time has come to breathe less and sweat more._

— Daniel Matos

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_O que é que uma cavalaria e o corpo da juventude têm em comum? Sendo o mais honesto possível também não sei, mas são estas as três primeiras imagens que me surgem quando oiço a "Pavana para uma Infanta Defunta" de Maurice Ravel. Uma pavana é uma dança lenta, associada a um cortejo de características processionais e melancólicas, com um peso e uma lentidão que sinto que carregam uma velocidade escondida. A verdade que encontro neste tempo demorado de transportar um corpo diz-me que ando à procura de demorar o enterro da juventude tanto quanto possível. Talvez por me aperceber que deixei coisas para trás, ou por sentir que não vivi vagarosamente uma adolescência que deveria ser eterna, encontro agora um refúgio neste tempo da pavana para gerar uma coreografia interminável, incontrolável. Uma fugacidade que não desacelere nunca do início até ao fim deste cortejo, questionando assim qual é realmente a durabilidade da ausência de pausa, utilizando o tempo no seu exponencial máximo. Poderá um corpo driblar-se a si próprio em campo? Poderão os cavalos e as éguas selvagens galopar para trás como fuga de um futuro destrutivo?_

_A vida como a peste e a juventude como a montanha. E vamos ao topo da montanha não para entrar, mas para sair de nós mesmos, para deixarmos os cavalos e as éguas correrem em liberdade, em direção à morte ou à purificação. Acredito que chegou a hora de respirarmos menos e suarmos mais._

— Daniel Matos

A Luminosa Violência da Perfeição ― Daniel Matos

At Home is a program designed for creators working in the field of dance, inviting them into the EVC to develop their work over the course of a season. Having welcomed Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas, Teresa Silva, Victor Hugo Pontes, and Sofia Dias & Vítor Roriz, we now invite Daniel Matos, who will be sharing with us a series of initiatives that characterize his unique career.

_Busting down the door, opening the windows, rummaging through drawers, scrubbing linoleum with your hands, licking banisters, falling backwards down the stairs, getting stuck in the lift, singing in the lift while you're stuck, taking hot showers in winter and cold showers in summer, shouting at the draughts and staring endlessly at the river._

_They welcome me HOME this year, and being at home, for me, means being alone - very alone - and accompanied - as accompanied as possible._

_I have always enjoyed being home alone, being able to play different music in each room, walking with the lights off and feeling my way through the corridors at night, finding comfort in the silence like a cosy blanket and, above all, having the space and time to think about what I do or try to do. That is why, throughout this year, I have been dedicating myself to two authorial projects that branch out into different ways of thinking and making possible dances: **A Luminosa Violência da Perfeição**, a large-scale stage creation that seeks to understand how to contemplate an absolute pause in the middle of a hurricane driven by horses and mares, and **PESO PESO PEITO**, an authorial publication in collaboration with artist João Catarino, which starts from the play Pedra, a Mágoa (The Stone, the Sorrow) and explores in book form the family relationships of the performers who were part of the processes of creating and presenting the show, delving into photographic and written landscapes of each person's intimacy, compiled in a physical archive collection._

_But being AT HOME also means welcoming people into your home and making it a space for sharing and socialising, for dinners filled with thoughts and ideas that don't fit inside living rooms. That is why I invite some of the artists I admire to share proposals and practices in this AT HOME, clearing the space, pushing the furniture against the wall and joining hands so that we can all feel butterflies in our stomachs together: from jams to music listening, from conversations around the table to a film session that can be a pyjama party, if we so desire._

_All this while always opening the door to anyone who wants to come in, take a peek, stay and leave. All this so that the occupation is as real as we are, who do not exist, if we want to.
Being a body at home in a house that is the body._

_It's so good to be AT HOME._

Daniel Matos


At Home ⏤ Daniel Matos

_Feito à Mão_ (Handmade) is a contemporary dance project that explores and activates ways of reconnecting with wild nature—inner life and the intrinsic wisdom of each individual. It will emerge from a space of research into what it means to belong to life, recognizing the interdependence that sustains all existence. 

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Feito à Mão é um projeto em dança contemporânea que vem explorar e ativar caminhos de reconexão com a natureza selvagem — interioridade e a sabedoria intrínseca de cada um. Vai nascer de um espaço de pesquisa sobre o que significa pertencer à vida, reconhecendo a interdependência que sustenta toda a existência. 

Feito à Mão ― Sofia Brito/AORCA

_RÉMANENCE — do efémero à memória_ explores gesture as a form of invisible writing. The result of a one-year photography residency at the EVC, this exhibition does not seek to document dance itself, but rather the traces that remain when the body has already disappeared. Using movement photography altered through layering, erosion and erasure processes, Estelle Valente creates images that build a narrative of dissolution, where gestures break apart, evaporate, and become traces and visual memory.

The exhibition is open Monday through Friday, from 10:00 a.m. to 6:30 p.m. 

Free entry.

Events

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_RÉMANENCE — do efémero à memória_ explora o gesto como uma forma de escrita invisível. Resultado de um ano de residência artística de fotografia nos Estúdios Victor Córdon, o projeto da exposição não procura documentar a dança, mas revelar os vestígios que permanecem quando o corpo já desapareceu. Através da fotografia de movimento, transformada por processos de sobreposição, erosão e apagamento, as imagens constroem uma narrativa de dissolução, em que o gesto se fragmenta, se evapora e se transforma em rasto e memória visual.

A exposição pode ser visita de segunda a sexta-feira, entre as 10h e as 18h30. 

Entrada livre.

RÉMANENCE: do efémero à memória — Estelle Valente

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

2025

Classical ballet 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. No level of experience is required to participate. The difficulty is adapted to each group of participants, with two levels available: Beginner (Mondays) and Continuing (Wednesday).

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

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

Classes

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Performer, choreographer, teacher

Sara Schürmann

classical dance class

Dancer

Inês Moura

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, dando continuidade a uma prática como meio para o seu bem-estar. Não existe um grau de experiência requisitado — o grau de aprofundamento é adaptado a cada grupo de participantes, existindo dois níveis: Iniciar (Segunda-feira) e Continuar (Quarta-feira).

###### Dança Clássica
##### 2.ª feira — Iniciar
##### 4.ª feira — Continuar
##### 18h30 ⏤ 20h00

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

Aulas de dança para adultos ⏤ Março

###### <u>Daily practice for professionals</u>

Daily classical and contemporary dance practice designed for professional dancers or those in the process of becoming professional dancers. The diversity of the invited teachers’ proposals aims to mirror our approach to what can constitute a dance practice today. 

###### Classical dance
Mon / Wed / Fri: 10:00 to 11:15 a.m.

###### Contemporary dance
Tue / Thu: 10:00 to 11:15 a.m.

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

###### <u>Classical dance classes for adults</u>

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

No level of experience is required to participate in the Classical Dance Classes for Adults. The difficulty is adapted to each group of participants, with two levels available: Beginner (Mondays) and Continuing (Wednesday).

###### Classical dance
Mon / Wed: 6:30 to 20:00 p.m.

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

Dance Classes at Estúdio 1 — 2026

Photography

Dance Classes for Adults ⏤ March

Our daily practice classes are designed for professional dancers or those in the process of becoming professional dancers; prior knowledge and experience of the classical and contemporary dance vocabulary is therefore expected.

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

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

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

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Dancer, choreographer, teacher

Maria Karla Araujo

Artist

Turtle

contemporary dance class

Rita Ferreira

Performer, choreographer and teacher

Loïc Perela

Performer

Francisco Rolo

Performer, dancer, contemporary circus artist

Tiago Martins

Abel Rojo

Rehearsal Director

Rui Alexandre

Na Prática Diária, que se destina a profissionais da dança ou em vias de profissionalização, pressupõem-se um conhecimento e uma experiência anterior do vocabulário de dança clássica e contemporânea.

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

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

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

Prática Diária ⏤ Março

Daily Practice ⎯ March

_As If to Say_ is a vivid portrait of an intimate process of self-construction. It gives rise to a premeditated improvisation that establishes, destroys, and recomposes the body and language. In a white desert, forms emerge and transform under a fixed gaze that invites us to reconsider what we took for granted. In the space where expression finds meaning, what is revealed, what is obscured, and what remains unsaid?


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_Por Assim Dizer_ é o retrato vivo de um processo íntimo de autoconstrução. Dá lugar a uma improvisação premeditada que estabelece, destrói, e recompõe o corpo e a linguagem. Num deserto branco, formas surgem e transformam-se sob um olhar fixo que convida a rever o que tomávamos como certo. No espaço onde a expressão encontra sentido, o que se manifesta, o que se confunde e o que fica por dizer?

Por Assim Dizer ― Lara Peres Rocha

The EVC TRAINING is a complementary intensive program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

This year, we invite João Cardoso with _Falling into Movement in Connection_, a practice that begins with shared or individual moments of "body reset," whether through breathing exercises, exploring fatigue, or improvising from points of contact. On the one hand, the practice develops into patterns of movement research, paying attention to touch and the awaken of forgotten parts of the body. On the other hand, it develops in the use of floor work techniques, bringing awareness to the transitions between horizontal and vertical and challenging a concept of "collective mind." 

Sprinkled with a touch of expressive drama, this practice presents itself as an invitation to the development of capable, gentle, humble, curious, alert bodies and minds, connected to the inherent pleasure of dancing and moving.

###### Target Audience

 - Dance professionals or those in the process of becoming professionals

*Up to 25 participants.

###### Price

- € 45,00 - GDA collaborating artist grants (8 slots)
- € 90,00 - GDA non-collaborating artist grants (12 slots)
- € 150,00 - Value without GDA grant  

*Fundação GDA grants will be conceded by order of confirmation of registration.

**Personal accident insurance required.

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O Treino EVC é uma formação complementar intensiva para profissionais da dança que permite o contacto com linguagens fundamentais da dança na contemporaneidade à escala universal. 

Este ano, convidamos João Cardoso com _Falling into Movement in Connection_, uma prática que parte de momentos compartilhados ou individuais de “_reset_ do corpo”, seja por meio de exercícios de respiração, seja pela exploração do cansaço ou pela improvisação a partir de pontos de contacto. Por um lado, a prática vai-se desenvolvendo em padrões de pesquisa do movimento, com atenção ao toque utilizado para despertar partes do corpo esquecidas. Por outro, desenvolve-se no uso das técnicas de trabalho de chão, trazendo consciência para as transições entre o horizontal/vertical e desafiando um conceito de “mente coletiva”. 

Salpicada com um toque de drama expressivo, esta prática apresenta-se como convite para o desenvolvimento de corpos e mentes capazes, curiosas, em alerta e conectadas com o prazer próprio de dançar e de se mover.

###### Público-alvo

 - Profissionais da dança ou em vias de profissionalização

*Até 25 participantes.

###### Preço 

- € 45,00 - Cooperadores GDA (8 vagas)
- € 90,00 - Não Cooperadores GDA (12 vagas)
- € 150,00 - Valor sem apoio GDA 

*As bolsas da Fundação GDA são cedidas por ordem de confirmação da inscrição.

**Seguro de acidentes pessoais obrigatório.

TREINO EVC '26 ⏤ Formação Intensiva

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.

### EVC TRAINING

A complementary intensive training program for dance artists that gives them the opportunity to get acquainted with the fundamental languages of contemporary dance worldwide.

### _Falling into Movement in Connection_, with João Cardoso

As both dancer/performer and teacher, João Cardoso has been interested in contact improvisation techniques and how to apply them to horizontal floor work and vertical work in a contemporary dance class. The connection with music plays an essential role in this class model, as it stimulates the practice of a playful body that enjoys moving through energetic approaches. The practice itself begins with shared or individual moments of "body reset," whether through breathing exercises, exploring fatigue, or improvising from points of contact. On the one hand, the practice develops into patterns of movement research, paying attention to touch and the awaken of forgotten parts of the body. On the other hand, it develops in the use of floor work techniques, bringing awareness to the transitions between horizontal and vertical and challenging a concept of "collective mind." Sprinkled with a touch of expressive drama, this practice presents itself as an invitation to the development of capable, gentle, humble, curious, alert bodies and minds, connected to the inherent pleasure of dancing and moving.

EVC Training '26

Trainer

EVC TRAINING '26 ⏤ Intensive Training

ENCRUZA explores Yorùbá metaphysics as an epistemological device in Afro-Brazilian dance. Based on Exu, the work constructs scenic-ontological strongholds that articulate body, diaspora and memory, bringing myth and contemporaneity into dialogue in choreographic production.

Maicom Souza is an artist who is part of the Emaranhado Collective. 


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ENCRUZA pesquisa a metafísica _yorùbá_ como dispositivo epistemológico da dança negro-brasileira. A partir de Exu, a obra constrói redutos cênico-ontológicos que articulam corpo, diáspora e memória, colocando em diálogo mito e a contemporaneidade na produção coreográfica.

Maicom Souza é artista parte do Coletivo Emaranhado. 

ENCRUZA ― Maicom Souza

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Aulas de dança para adultos ⏤ Abril

Dance Classes for Adults ⏤ April

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Dancer, Teacher

Lewis Seivwright

Dancer, performer and choreographer

João Cardoso

Dancer and teacher

Susana Matos

Dancer and choreographer

Patrícia Henriques

hip hop dance class

Prática Diária ⏤ Abril

Daily Practice — April

A performance disguised as a sleepover. It explores heartbreak—understood not only as romantic heartache, but as a metaphor for the frustration that defines our times. In an informal setting, the audience and performers share the stage in a flow of conversation, improvisation, and vulnerability. Each performance is unique: an invitation to take risks and find the courage to experiment through imperfection. 

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Uma performance disfarçada de festa do pijama. Parte do heartbreak, entendido, não só como desgosto amoroso, mas como metáfora da frustração que marca o nosso tempo. Em cenário informal, público e performers partilham o palco num fluxo de conversa, improvisação e vulnerabilidade. Cada apresentação é única: um convite ao risco e à coragem de experimentar a partir da imperfeição. 

Slumber Party: Heartbreak Edition ― João Oliveira & Mariana Pontes Barbosa

_Skiagrafia: Uma Fantasmática do Corpo_ is a performative installation created by **AnaVitória**, inspired by the _Teatro de Sombras_ of Portuguese visual artist Lourdes Castro (1930–2022), in a conceptual and aesthetic dialogue with the works of Ana Vieira (1940–2016) and Helena Almeida (1934–2018). The project addresses themes such as shadows, the presence of absence, and female invisibility, creating a poetic space that moves between the intimate and the universal.

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_Skiagrafia: Uma Fantasmática do Corpo_ é uma instalação performativa criada por **AnaVitória**, inspirada no _Teatro de Sombras_ da artista plástica portuguesa Lourdes Castro (1930-2022), em diálogo conceitual e estético com as obras de Ana Vieira (1940-2016) e Helena Almeida (1934-2018). O projeto aborda temas como as sombras, a presença da ausência e a invisibilidade feminina, criando um território poético que transita entre o íntimo e o universal.

Skiagrafia: Uma Fantasmática do Corpo ― AnaVitória

ANDAR DORMIR COMER FALAR (WALK SLEEP EAT SPEAK) is a “performance experience” by Apneia Colectiva that explores everyday actions—walking, sleeping, eating, speaking—as a starting point for subverting social and personal conditioning. Through psychophysical and sensory practices, the project questions the norms of daily life, proposing new ways of being and creating. With a multidisciplinary approach, the artists explore different states of consciousness, nonverbal communication, and the intimate relationship between the body and space, creating an immersive environment that expands perception and invites the audience to a transformative experience.

This performance features Ana Trincão, Andresa Soares, Elizabete Francisca, Joana Levi, Julia Salem, and Tiago Gandra.

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ANDAR DORMIR COMER FALAR é uma “performance experiência” da Apneia Colectiva que explora as ações cotidianas — andar, dormir, comer, falar — como ponto de partida para subverter condicionamentos sociais e pessoais. Através de práticas psicofísicas e sensoriais, o projeto questiona as normas do cotidiano, propondo novas formas de estar e criar. Com uma abordagem multidisciplinar, as artistas exploram diferentes estados de consciência, a comunicação não verbal e a relação íntima entre o corpo e o espaço, criando um ambiente imersivo que expande a percepção e convida o público a uma vivência transformadora. 

Esta performance conta com Ana Trincão, Andresa Soares, Elizabete Francisca, Joana Levi, Julia Salem e Tiago Gandra.

Andar Dormir Comer Falar ― Apneia Coletiva

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With the aim of inviting the migrant communities residing in Portugal into institutional spaces, we return with the second edition of the Dancing the World program, which brings to the EVC dances shared in social meetings, from different cultures and traditions. Open to everyone, the initiative meets one of this season’s main objectives, namely, that of integrating communities in moments of sharing and interaction.

#### MOZAMBICAN DANCE PRACTICES: MARRABENTA 
- with Dinís Quilavei and José Jalane

Marrabenta is Mozambique's national musical rhythm and dance. It originated in the 1930s and 1940s, becoming established in the 1950s in the suburban neighborhoods of Lourenço Marques (now Maputo). Characterized by a contagious rhythm, fast tempo, and intense dance, it blends  traditional rhythms from the south of the country with Western influences. It evolved as a form of cultural resistance, becoming a vibrant symbol of Mozambican identity.  

 The name comes from the expression “rebenta” (from the verb “arrebentar,” meaning “to burst”), associated with the intense dance and the way the guitar strings, improvised at the time, would burst. Marrabenta served as a popular expression and cultural resistance during the colonial period, being considered subversive. It began with artists such as Fany Mpfumo and Dilon Djindji, gaining orchestration in the 1970s/1980s with the group  Orquestra  Marrabenta Star de Moçambique. 
 
The dance is characterized by a fast, lively, and contagious rhythm, with a strong influence from the guitar, intense percussion from drums and maracas, involving sensual and undulating movements, with sideways sliding of the feet. The lyrics were often sung in local languages, addressing everyday life, love, and social intervention. Marrabenta is the rhythm that best defines Mozambique, with a strong presence in national festivities and celebrations, influencing modern genres and remaining alive in contemporary Mozambican culture.

Dancing the World — 2026

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###### 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.

Other Supports — 2026

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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. The 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 ’26

One-week program for dance professionals proposing intensive dance training at the "rentrée" right after summer holidays.

### _KICK IN_, with Lander Patrick

_“In this edition of the Kick Off Program, apart from visiting previous repertories, we will approach musicality as the spark that ignites gestures. As we study rhythms, melodies, dynamics, we will transfer this knowledge to our muscles, nerves, eyes and teeth, placing the body in a symphonic field. Bringing it together with other symphonic bodies, we will study interaction strategies — exercises that strengthen camaraderie and collective spirit, fundamental bases of my work. Let’s sweat together!”_ 

— Lander Patrick


Kick Off ’26

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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 two editions curated by Carlota Lagido, during which we welcomed works by Luís Guerra, João Galante, Elizabete Francisca, Flávio Rodrigues, Miguel Bonneville and Ana Caetano, this year we hold _Arte Mágica_ (“Magical Art”), a third series of exhibitions curated by Luís Guerra in partnership with the dance company Dançando com a Diferença.

There are stories that begin quietly but become transformative along the way. Such was the case with Dançando com a Diferença, founded by Henrique Amoedo in 2001, in Madeira, as a pilot project which later became a benchmark in the contemporary dance scene, both nationally and internationally. Over the course of 25 years, the company has built a unique career, collaborating with renowned choreographers and developing new forms of interaction between performer, body and space.

In the context of the 2026 Exhibitions Program, the EVC and artist Luís Guerra challenge performers from this company with unique cognitive and physical characteristics to explore a process of visual creation starting from the concept of “outsider art” and evolving into “Magical Art”. In two different periods, works created by six to eight performers and characterized by unusual rhythmical choices and formal solutions, as well as by a profusion of visual elements, will be showing at the EVC’s Foyer. These works offer the public a sensory and reflective experience, transporting them to territories of the spirit rarely accessible through normative artistic practices, and reasserting both the singularity of the company’s work and the creative potential of each performer.

On the occasion of the celebrations for the 25th anniversary of Dançando com a Diferença Association.

Exhibitions — 2026

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With the Words and Practices Program, we aim to bring dance artists and the general public closer together. Over the course of one day structured into a practical part and a theoretical part, participants will have the opportunity to experience creation processes and what they are based on, thus helping to deepen readings of the invited artist’s works or performative proposals. Following a first edition of the program that featured Marco da Silva Ferreira, who shared with us the foundations of his creation process, presenting an intersection of styles, techniques and references where body, emotion and community intertwine, this year we welcome choreographer and multidisciplinary artist Tânia Carvalho.

We invite everyone to share in an intuitive process, where creation emerges from the interplay of light and shadow, traversed as it is by psychological, spiritual and oneiric dimensions that manifest themselves in the moving body.

Words and Practices with Tânia Carvalho

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In previous editions of the Meetings for the Future Program, various themes and formats have already been explored. In this edition, we go back to the performative conference format with the aim of fostering thought, speech, and practice, promoting meetings between artists, and between artists and the public. The focus will be on the art scene of Mozambique in dialogue with Portugal, with dancers from Mozambique and Portugal being featured in a new edition of David Marques and Teresa Silva’s _Fazer falar o fazer_ (“Making the making speak”), a project presented in 2024 as part of the At Home Program with Teresa Silva.

_“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 can document what artists like us are doing and make it more lasting and geographically widespread._ Fazer falar o fazer _thus arises from the will to let the work of our generation claim a place of its own, and from the desire to bring a community together around the issues that move and engage us in our artistic practice, which we believe to be a source of fundamental knowledge. In this context, we have been developing various devices that encourage thinking, speaking, and listening, and which provide the meeting between artists and between artists and the public.”_

Teresa Silva and David Marques


Meetings for the Future VIII

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Proposed by Plano Nacional das Artes (the National Plan for the Arts, PNA), this year’s edition of the Artist-in-Residence Project is once again co-organized by the EVC. Together, these partners will bring to two public schools in Lisbon two young choreographers, Joana Franco and Maria Abrantes. Over the course of three months, the choreographers will develop projects within the school community, giving students the possibility to experience the creative look from the world of dance. Filmmaker Alexia Fernandes will be accompanying the initiative, creating a film based on the program’s activities.

Artist-in-Residence Project '26 PNA

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Throughout the year, the Season Partners Program establishes partnerships with independent artistic production structures to share goals and to carry out projects of common interest. Having already collaborated with Associação Parasita, Ordem do Ó, Associação VAI (OU.kupa), and the online portal CoffeePaste in the context of this program, we have been expanding the space dedicated to the practices and research of the artistic community, promoting the sharing of responsibility in action and encouraging cooperation among structures.

## Sete Anos — Cláudia Dias
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- **The Gesture that Remains: Long-Term Writings**

_Throughout the 2026-2027 biennium, I will make Estúdios Victor Córdon (Victor Córdon Studios) my permanent home as a season partner. I bring with me Sete Anos (Seven Years Cultural Association) to, in this territory of duration, share tools, confront ideas, digging into the memory of the pieces I have constructed, and share new restlessness. 2026 will be organised around two work fronts:_

**1.  Memory and Action**

_I invite you to enter my archive, not to repeat gestures, but to reactivate the questions that generated them. In these workshops, the focus is not on the inheritance of forms, but on the investigation of processes. Starting from creations from the cycles Sete Anos Sete Peças (Seven Years Seven Pieces) and A Coleção do Meu Pai (My Father's Collection), we will use the repertoire as raw material to investigate new possibilities for action. I am interested in understanding how your present body dialogues with the artistic and political memory that I have been building over the last few decades._

_This memory is also materialised in the book Raio de Vida! (Ray of Life!), which will be released at EVC. The work records photographer Alípio Padilha's view of my work, serving as the basis for a multi-layered reflection. In my case, the written reunion with my creations transports me to the reasons behind my artistic decisions; in the case of journalist Gonçalo Frota, a search for possible readings of these images isolated from the shows; and in the case of illustrator António Jorge Gonçalves, an intervention through the trace, establishing new dialogues with the images, extending them beyond the limits of the photographic camera. In a field where objects that preserve their memory are rare, this book defies the ephemeral, transforming the original creation into an ongoing conversation._

**2.  Necessary Talks**

_We bring to EVC the echo of the Festival Mulheres em Marcha (Marching Women Festival), whose shows and workshops take place in Seixal. We want to bridge this distance between banks and ensure that the questions raised by the festival resonate in other geographies. We invite voices from diverse areas to debate the role of women in contemporary creation, transforming this journey into a sounding box for artistic activism and collective resistance. It is an invitation for the city centre to listen to what the periphery has been marching for._

_We also propose a reflection on the relevance of the repertoire. We will question, with different voices and experiences, how this work can expand connections, generate new perspectives, promote empathy and critical thinking, analysing the interrelationships between memory and action in the construction of a collective heritage._

_My work has been and continues to be about ‘us.’ In 2026 and 2027, I hope you will join me so we can continue to build lasting gestures._

— Cláudia Dias

Season Partners — 2026

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**MAR+
Collaborative Creation Residency EVC/FCG**

Extending a series of collaborations we have had since 2020 with Lusophone Africa (referred to in Portuguese by the acronym “PALOP”) and promoting creation and mobility of artists, a new partnership emerges in 2026 between the EVC and Fundação Calouste Gulbenkian (the Gulbenkian Foundation, FCG).

The Gulbenkian Foundation has also been supporting the arts in Lusophone Africa for many years. The Resident Artists’ Showcases, organized as part of the PROCULTURA PALOP-TL program in 2022, 2024 and 2025, marked an important occasion for the artists to demonstrate the evolution of their careers and creations.

It is in this context that the EVC and FCG will be joining forces to launch a Collaborative Creation Residency, coordinated by Marlene Monteiro Freitas. Six artists from Lusophone Africa will participate in the residency, which will take place between October 12 and 31 at the EVC. It will feature a presentation (also at the EVC) of work developed during this period to programmers, producers, and other cultural agents, and a conversation/moment of sharing between the artists and the public at CAM — Centro de Arte Moderna Gulbenkian, as part of the Live Art event.


PALOP — 2026

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First Stage is an art residencies program exclusively designed for young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the creation of their first works in a professional context. To this end, the EVC promote partnerships with various education institutions with a connection to the performing arts, namely Escola Superior de Dança (ESD), Escola Superior de Música e Artes do Espetáculo (ESMAE), Faculdade de Motricidade Humana (FMH), and Forum Dança.

First Stage — 2026

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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.


Schedule

Papusi ― Jill Crovisier→

I-HÓN ― Natacha Campos→

A Luminosa Violência da Perfeição ― Daniel Matos→

Feito à Mão ― Sofia Brito/AORCA→

RÉMANENCE: do efémero à memória — Estelle Valente→

Dance Classes for Adults ⏤ March→

Daily Practice ⎯ March→

Por Assim Dizer ― Lara Peres Rocha→

EVC TRAINING '26 ⏤ Intensive Training→

ENCRUZA ― Maicom Souza→

Dance Classes for Adults ⏤ April→

Daily Practice — April→

Slumber Party: Heartbreak Edition ― João Oliveira & Mariana Pontes Barbosa→

Skiagrafia: Uma Fantasmática do Corpo ― AnaVitória→

Andar Dormir Comer Falar ― Apneia Coletiva→