Clara Andermatt's SENSORIANAS is a celebration inspired by Persian culture, incorporating various contributions from the Iranian diaspora living in Portugal. The show focuses on the female universe and moves through a space of dialog and reflection on aspects of daily life, freedom and cultural diversity, reinterpreting dance, poetry and music from Iran.

This creation is part of OUTROS MUNDOS, a program by Estúdios Victor Córdon which cyclically chooses a country on focus and, throughout its duration, aims to highlight the culture of that country through the eyes of dance creators.

###### Tour

#### 2025
##### [Premiere] January 31 - February 1 | Teatro Camões (Lisbon)
##### February 13 | Festival GUIdance (Guimarães)
##### March 5 | Teatro Aveirense (Aveiro)
##### April 29 | CineTeatro Louletano (Loulé)
##### May 16 | Teatro Viriato (Viseu)

###### CREDITS
- Artistic Direction | CLARA ANDERMATT
- Performance and Creative Collaboration | BEATRIZ VALENTIM, HELIA BANDEH, LEONOR ALECRIM, MARIA FONSECA, RITA CARPINTEIRO
- Art Consultant | HELIA BANDEH
- Musical Direction | JOÃO LUCAS E CLARA ANDERMATT
- Artistic Assistance and Research | MARGARIDA BAK GORDON
- Creation Support | AMÉLIA BENTES, FÉLIX LOZANO
- Support for Dramaturgy | JOÃO LUCAS
- Lighting Design and Operation | WILMA MOUTINHO
- Set Design | ERIC DA COSTA
- Costume Design | JOSÉ ANTÓNIO TENENTE
- Helia Bandeh's Selection of Costumes created by | HELIA DANCEWEAR
- Costume Design Assistant | RITA MONIZ PEREIRA
- Mirrors | GOLSHAN CHAHIAN
- Sound Design and Operation | RICARDO FIGUEIREDO
- Scenic Space Construction | JOSÉ PEDRO SOUSA
- Executive Production | ACCCA — MIGUEL PEREIRA, RUANA CAROLINA
- Communication Partnership | ANTENA 2, COFFEEPASTE
- Co-production | OPART / ESTÚDIOS VICTOR CÓRDON, A OFICINA / CCVF
- Residency support | OPART / ESTÚDIOS VICTOR CÓRDON
- Support | REPÚBLICA PORTUGUESA — CULTURA / DIREÇÃO-GERAL DAS ARTES, CÂMARA MUNICIPAL DE LISBOA, INTERPRESS HUB CRIATIVO DO BAIRRO ALTO
- Partnership | PLANO NACIONAL DAS ARTES - INICIATIVA IR À ESCOLA
- Special Thanks | JOÃO BICHÃO,  JOÃO HENRIQUES (Observatório do Mundo Islâmico),  MARTINHO VILLANI, RITA FONTES, SEPIDEH RADFAR, TEATRO DO BAIRRO
- A special thank you to all the Iranian people or people of Iranian origin who told us about themselves, their culture and their country | AIDA SIGHARIAN, GOLSHAN CHAHIAN, HODA MADAD, ISMAIL BOALI, MARYAM SHAMS, MEHRNOOSH AFSHARI, NAHID SANGANIAN, NIKDEL FARHAD, OMID BAHRAMI, RAHMAN HAGHIGHI, REBECCA MORADALIZADEH, ROHAM TORABI, ROUZBEH AKHBARI, SEPIDEH RADFAR, SINA SHIRAZI, SOMAYEH GHOLAMI, VAHID RASOULI

Events

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SENSORIANAS de Clara Andermatt é uma celebração inspirada na cultura persa, incorporando várias contribuições da diáspora iraniana radicada em Portugal. O espetáculo foca o universo feminino e move-se num espaço de diálogo e reflexão sobre aspetos de vida quotidiana, da liberdade e da diversidade cultural, reinterpretando dança, poesia e música do Irão.

Criação integrada no OUTROS MUNDOS, um programa dos Estúdios Victor Córdon que elege ciclicamente um país-alvo, onde se pretende, ao longo da sua duração, dar destaque à cultura desse país através do olhar de criadores da área da dança.

###### Digressão

#### 2025
##### [Estreia] 31 janeiro - 1 fevereiro | Teatro Camões (Lisboa)
##### 13 fevereiro | Festival GUIdance (Guimarães)
##### 5 março | Teatro Aveirense (Aveiro)
##### 29 abril | CineTeatro Louletano (Loulé)
##### 16 maio | Teatro Viriato (Viseu)

###### FICHA TÉCNICA
- Direção Artística | CLARA ANDERMATT
- Interpretação e Colaboração Criativa | BEATRIZ VALENTIM, HELIA BANDEH, LEONOR ALECRIM, MARIA FONSECA, RITA CARPINTEIRO
- Consultoria Artística | HELIA BANDEH
- Direção Musical | JOÃO LUCAS E CLARA ANDERMATT
- Assistência Artística e Investigação | MARGARIDA BAK GORDON
- Apoio à Criação | AMÉLIA BENTES, FÉLIX LOZANO
- Apoio à dramaturgia | JOÃO LUCAS
- Desenho de Luz e Operação de Luz | WILMA MOUTINHO
- Cenografia | ERIC DA COSTA
- Figurinos | JOSÉ ANTÓNIO TENENTE
- Parte dos figurinos de Helia Bandeh criados por | HELIA DANCEWEAR
- Assistente de Figurinos | RITA MONIZ PEREIRA
- Espelhos | GOLSHAN CHAHIAN
- Desenho e operação de som | RICARDO FIGUEIREDO
- Construção Espaço Cénico | JOSÉ PEDRO SOUSA
- Produção Executiva | ACCCA — MIGUEL PEREIRA, RUANA CAROLINA
- Parcerias de Comunicação | ANTENA 2, COFFEEPASTE
- Coprodução | OPART / ESTÚDIOS VICTOR CÓRDON, A OFICINA / CCVF
- Apoio à Residência | OPART / ESTÚDIOS VICTOR CÓRDON
- Apoios | REPÚBLICA PORTUGUESA — CULTURA / DIREÇÃO-GERAL DAS ARTES, CÂMARA MUNICIPAL DE LISBOA, INTERPRESS HUB CRIATIVO DO BAIRRO ALTO
- Parceria | PLANO NACIONAL DAS ARTES - INICIATIVA IR À ESCOLA
- Agradecimentos | JOÃO BICHÃO, JOÃO HENRIQUES (Observatório do Mundo Islâmico), MARTINHO VILLANI, RITA FONTES, SEPIDEH RADFAR, TEATRO DO BAIRRO
- Um agradecimento especial a todas as pessoas iranianas ou de origem iraniana que nos falaram de si mesmas, da sua cultura e do seu país | AIDA SIGHARIAN, GOLSHAN CHAHIAN, HODA MADAD, ISMAIL BOALI, MARYAM SHAMS, MEHRNOOSH AFSHARI, NAHID SANGANIAN, NIKDEL FARHAD, OMID BAHRAMI, RAHMAN HAGHIGHI, REBECCA MORADALIZADEH, OHAM TORABI, ROUZBEH AKHBARI, SEPIDEH RADFAR, SINA SHIRAZI, SOMAYEH GHOLAMI, VAHID RASOULI

Sensorianas - Digressão

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Sensorianas - Tour

### Drawings | Self-portraits

_In the first stage of the creative process, as happened in earlier projects, I come across materials as I walk or wander about. On these exploratory paths, materials stand out—cards, sheets of paper, paint, pens, and other materials thrown in the garbage or left outside shops and warehouses. They are assembled as fragments of a urban landscape that is visible, yet often overlooked, marginalized, or deemed undesirable._

_These materials constitute the basis for creation. For sketching, I use two pencils that I got from my father, whose trade is joinery. It’s the traditional red, rectangular-shaped pencil, widely used in workshops and construction, known as carpenter pencil. In my creative process, I also handled a sewing machine, reusing threads and other materials, like paint or pens, also found at the joiner’s workshop or among discarded things. Once in my room, my most intimate space, the sketches prompt reflection on self-representation. Here, I see my body inscribed on the lines and shapes. Physical presence reveals itself not only in action or in a gesture, but also in the traces beyond the body’s own outlines. Each drawing thus materializes as both a source and an extension of that presence, a certain way of capturing it that oscillates between corporeality and its absence—resting in an “in-between”. A naked body, laid bare. Finally, I draw a continuous, uninterrupted line to logically connect all these elements to one another. This stroke is constantly unfolding, as if flowing rhythmically, pulsating. The line, even though it must eventually come to an end and break, reveals in its path a potentially infinite circularity, one that redefines itself at each turn—a tension between permanence and transformation._ — Flávio Rodrigues

### Cérebro, olhos, mãos e papel
[“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. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It’s like dancing. In this second edition, drawing turns into action with Flávio Rodrigues, into sculpture with Miguel Bonneville, and into movement with Ana Caetano._ ― Carlota Lagido

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### Desenhos | Auto-retratos

_Numa primeira etapa do processo criativo, à semelhança de projetos precedentes, emerge o contacto com os materiais por meio da caminhada e da deriva. Nesses percursos exploratórios, os materiais assumem proeminência — cartões, folhas, tintas, canetas e outros suportes descartados no lixo ou deixados à porta de lojas e armazéns —, recolhidos como fragmentos de uma paisagem urbana visível, mas frequentemente negligenciada, marginalizada ou considerada indesejada._

_Esses materiais constituem a base para a criação. Ademais, utilizo para a demarcação dois lápis oferecidos pelo meu pai, cujo ofício é a marcenaria. Trata-se do tradicional lápis vermelho de forma retangular, amplamente utilizado em fábricas e na construção civil, conhecido como lápis de carpinteiro. Também recorri, no processo, à máquina de costura, reutilizando linhas e outros materiais, como tinta ou canetas, igualmente encontradas na marcenaria ou em contextos de lixo. Subsequentemente, no meu quarto, enquanto espaço de maior intimidade para mim, as demarcações dão azo a uma reflexão sobre a auto-representação. Aqui, o meu corpo inscreve-se nos traços e nas formas. A presença física revela-se, não apenas na ação ou no gesto, mas também nas marcas que se expandem para além dos contornos do próprio corpo. Cada desenho se concretiza, assim, como uma matriz e extensão dessa presença, traduzindo uma possível captação que oscila entre a corporeidade e a sua ausência — habitando um “entre”. Um corpo nu e a nu. Por fim, a lógica que permeia todos esses elementos é o uso de uma linha contínua e ininterrupta. Este traçado desdobra-se de forma constante e incessante, como um fluxo rítmico e pulsante. A linha, embora finde por necessidade de conclusão, revela no seu percurso uma circularidade potencialmente infinita, que se reinventa a cada volta — uma tensão entre permanência e transformação._ — Flávio Rodrigues

### 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. 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. Nesta segunda edição, o desenho transforma-se em ação com Flávio Rodrigues, em escultura com Miguel Bonneville e em movimento com Ana Caetano._ ― Carlota Lagido

Desenhos | Auto-retratos — Flávio Rodrigues

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

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

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

Exhibitions — 2025

2025

Drawings | Self-portraits — Flávio Rodrigues

Sofia Dias & Vítor Roriz are in residence at the EVC with the project _À distância de um braço_ ["Within arm's reach"] as part of the At Home Program. With this project, which had been shelved for at least three years and is now finally resumed through a partnership with Museu Nacional de Arte Antiga, the artists aim to challenge the settled way of looking at works of art in a museum by creating a performance that seeks to shorten the distance between the “past” that is presented and the spectator’s “present”.

Artist Residencies

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No âmbito do Programa Em Casa, Sofia Dias & Vítor Roriz encontram-se em residência com _À distância de um braço_. Neste projeto, que esteve "na gaveta" pelo menos três anos e que é agora finalmente ativado através de uma parceria com o Museu Nacional de Arte Antiga, os artistas vão tentar contrariar a forma cristalizada como vemos as obras de arte de um museu criando uma performance que procura reduzir a distância entre o “passado” representado e o “presente” de quem o olha.

À distância de um braço — Sofia & Vítor

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

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

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

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

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

Sofia Dias & Vítor Roriz is a structure funded by the Portuguese Republic - Culture I DGARTES - Directorate-General for the Arts and Lisbon City Council.

At Home ⏤ Sofia Dias & Vítor Roriz

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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.

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

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

Classes

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Dancer and ballet teacher

Oriana Jimenez

classical dance class

Performer, choreographer, teacher

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, dando continuidade a uma prática como meio para o seu bem-estar. 

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

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

Aulas de dança para adultos ⏤ Maio

###### <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.

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

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

Dance Classes in Studio 1

Dance Classes for Adults ⏤ May

###### 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 and teacher

Susana Matos

Dancer, actor and dance teacher

André Cabral

contemporary dance class

Filipe Macedo

Dancer and musician

Vasco Alves

Choreographer, Dancer, Researcher

Pedro Ramos

Dancer

Aurélia Bellet

Dancer and choreographer

Patrícia Henriques

Performer, dancer, contemporary circus artist

Tiago Martins

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

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

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

Prática Diária ⏤ Maio

Daily Classes ⎯ May

_Agonia no jardim_ ["Agony in the garden"] marks M̶i̶g̶u̶e̶l̶ Bonneville's debut in the world of ceramics—a practice he began after quitting his trajectory in the performing arts. This exhibition sets the beginning of the serial project _Animais Paisagens e Santos_ [Animals Landscapes and Saints], which investigates the lives and legacies of different saints, while exploring the intersections between the study of mysticism, the relations between human and non-human animals, and the tensions between civilization and nature.

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_Agonia no jardim_ marca a estreia de M̶i̶g̶u̶e̶l̶ Bonneville no universo da cerâmica — prática iniciada após a suspensão da sua trajetória nas artes performativas. Esta exposição inaugura o projeto serial _Animais Paisagens e Santos_, que investiga as vidas e os legados de diferentes santos, ao mesmo tempo que explora as intersecções entre o estudo da mística, as relações entre animais humanos e não humanos e a tensão entre civilização e natureza.

Agonia no jardim — Miguel Bonneville

"_Islands are apparently isolated places, detached on the surface, but at bottom connected through the seabed, through land itself. Taking this metaphor as a starting point—which reminds us, we mothers, that, if we may sometimes feel isolated on the surface, we are always connected at bottom—,_ Motherland _gives visibility to motherhood as the oldest and most natural job in the world. The proposal to immerse oneself in this creative space is also a way of asserting that it is possible to remain active as a performing arts professional while being a mother of two young children. This space builds on the contradiction inherent to not wanting to do or to prove anything, not wanting to entertain, but merely to be together, inevitably entertaining and creating anew at the same time._ Motherland _is also a chaotic place, but where life unfolds at its own pace, questioning and reformulating expectations of work times and productivity. Imagination seeks to open new ways of sharing this space as a set, but also as a place of rest, nourishment, study, and care, inviting everyone to engage in the questions that drive us._" — Francisca Pinto

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"_Ilhas são lugares aparentemente isolados e desconectados à superfície, mas que partilham, em profundidade, uma ligação: o fundo do mar, a terra. Partindo desta metáfora — que nos recorda que, se nos sentimos, por vezes, isoladas à superfície, estamos sempre unidas nas profundezas —,_ Motherland _(em português, “terra-mãe”) dá visibilidade à maternidade como o trabalho mais antigo e natural do mundo. A proposta de mergulhar neste espaço de criação é também uma reivindicação da possibilidade de continuar a existir como profissional das artes performativas enquanto se é mãe de duas crianças pequenas. É um espaço que vive da contradição inerente ao nada querer fazer, ou provar, não querer entreter, mas apenas estar-com, inevitavelmente entretendo e recriando ao mesmo tempo._ Motherland _é também um lugar caótico, mas onde a vida acontece a um ritmo próprio, questionando e reformulando expectativas de tempo de trabalho e produção. A imaginação procura abrir novos modos de partilhar o espaço da cena, que é também de descanso, de alimentação, de estudos e de cuidados, convocando o envolvimento de todos nas questões que nos movem._" — Francisca Pinto

Motherland — Francisca Pinto

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

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

Artist Residencies — 2025

On one side, a wall of people; on the other side, a wall of stones; somehow “between a rock and a hard place”, a stage. In this enchanted valley, a miniature performance, designed to fit large spaces. It is shaped like a fable, the result of an assemblage of various tales, some of love, others of war, travel tales, bestial tales. These are weapon-like tales that ensure their narrator’s survival, in a duel between imagination and a heart turned to stone. These are mourning tales that commemorate those who are absent, in a duel between life and death, prison and freedom, vice and virtue, reality and desire. In this stone-upon-stone and person-upon-person architecture, an imaginary mirror. A multiplying, projecting, alienating, enchanting artifact, which will turn the stage into an onion night after night. Layer upon layer, surrounded by scents and invisible sprinkles, the “teller’s mouth” exposes itself to both the rock and the hard place, contributing another tale to the endless store of tales.

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De um lado, um muro de pessoas; do outro, um muro de pedras; como que “entre a espada e a parede”, um palco. Neste vale encantado, um espetáculo em miniatura moldado para caber em grandes espaços. Tem a forma de uma fábula, resultado da acumulação de vários contos, alguns de amor, outros de guerra, alguns de viagens, outros bestiais. São contos-arma que garantem a sobrevivência do seu narrador, num duelo entre a imaginação e um coração petrificado. São contos-lamento que celebram ausentes, num duelo entre vida e morte, prisão e liberdade, vício e virtude, realidade e desejo. Nesta arquitetura de pedra-sobre-pedra e de pessoa-sobre-pessoa, um espelho imaginário. Artefacto de multiplicação, projeção, alienação e encantamento que, noite após noite, transformará o palco numa cebola. De camada em camada, envolta em odores e salpicos invisíveis, a “boca contadeira” oferece-se à espada e à parede, adicionando um conto à infinitude dos contos.

NÔT — Marlene Monteiro Freitas

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

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

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

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


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

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

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


Daily Practice

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

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

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

DAILY CLASSES ⏤ March

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

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

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

DAILY CLASSES ⏤ APRIL

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

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

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

DAILY CLASSES ⏤ MAY

Daily Classes ⎯ July

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

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

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

DAILY CLASSES ⏤ JUNE

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

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

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

Daily Classes ⎯ October

Daily Classes ⎯ November

Daily Classes ⎯ December

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

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

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

Daily Classes ⏤ February

Daily Classes ⏤ March

Daily Classes ⏤ April

Daily Classes ⏤ May

DAILY CLASSES ⏤ July

Daily Classes ⏤ September

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

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

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

Dance Classes for Adults ⏤ February

Dance Classes ⏤ Professionals

First Stage is a program dedicated to young, recently graduated artists, with the aim of supporting the creation of their first works. This season, the EVC will support artistic creation at a national level, promoting partnerships with various educational structures linked 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_ is a program dedicated to young, recently graduated artists, with the aim of supporting the creation of their first works. This season, the EVC will support artistic creation at a national level, promoting partnerships with various educational structures linked 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 Fórum Dança.


First Stage 2023

First Stage is a residencies program dedicated exclusively to young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the production of their first works in a professional context. To this end, the EVC promote partnerships with several educational institutions linked 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 Fórum Dança.


First Stage 2024

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 — 2025

First Stage 2022

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

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

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



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

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

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

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




At Home ⏤ Victor Hugo Pontes

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

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

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

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

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

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

» 23 Nov, 4pm - 7pm, EVC

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

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

» 30 Nov, 2:30pm - 8pm, EVC

###### Carnation

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

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

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

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

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

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


At Home ⏤ Teresa Silva

At Home ⏤ Marlene Monteiro Freitas

_Itineraries_ is a program that encourages artistic creation, aimed at Mozambican creators in the field of dance, in a partnership between OPART E.P.E. | Estúdios Victor Córdon and Camões – Instituto da Cooperação e da Língua, through the Portuguese Cultural Center in Maputo. 
Intending to create a network that links Mozambique, Portugal, and other partners in Europe, the project develops initiatives that connect the associated countries to promote the internationalization of artists. 
 
 ⏤

>"As a facilitator of this program, which is so important for the materialization (and creation) of perspectives about the need for collaboration between artists and cultural institutions in Portugal and artists from countries once colonized by Portugal, I wish we could, together, look at this project with curiosity and a sense of responsibility. So that the network can grow and expand, and these itineraries have as many meanings as there are individual and collective stories."  
> 
> David Marques


The incentive program for artistic creation _Itineraries_, aimed at Mozambican dance artists, will be held for the 3rd consecutive year. This is a partnership between Estúdios Victor Córdon and Camões - Institute for Cooperation and Language, through the Portuguese Cultural Center in Maputo. 

The project aims to create a network between Mozambique, Portugal and other partners in Europe, developing initiatives that relate the various territories to each other, in order to promote internationalization in artistic creation. 

⎯ 

>_As a facilitator of this program - so important for the materialization (and creation) of a reflection on the need for collaboration between artists and cultural institutions in Portugal and artists from countries once colonized by Portugal - I wish that we could, together, welcome this project with curiosity and a sense of responsibility. For the network to grow and expand, and for these itineraries to have as many meanings as there are individual and collective stories._
>
##### David Marques


Itineraries 2023

Itineraries 2022

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

###### Target Audience
Performing arts professionals

###### Free access

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

The conference "Meetings for the Future IV" brings to the centre of the reflexion the transition of careers in the performing arts. 
With an analytical look at the pilot experience developed in the EVC over a period of three months and the current situation in Europe and Portugal, future possibilities concerning the career transition of performing arts professionals are envisaged. 

###### with
Pia Krämer, curator
Jorge Ramos do Ó, State of the Art and Conclusions
Sónia Baptista, moderator

###### Institutional partners
DGArtes and Fundação GDA 

###### Free access

Careers Transition in Performing Arts

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

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

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

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

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

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

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

###### Free access

###### Portuguese sign language translation

Conference Meetings for the Future V

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

###### Pari passu
##### _“On the flying carpet, facing Mecca,_
##### _I have but one certainty: my I is You”_ — Muhammad Rashid

At the invitation of Estúdios Victor Córdon, Teatro Praga proposes the series of meetings “Pari passu”, dedicated to the acknowledgement of migrant artists and various aspects of their cultures, which, although present in the public sphere, are still made invisible by multiple social factors. In this first series, dedicated to Islam, “Pari passu” will offer a talk and a lecture on each of three Saturdays in November, with the presence of guests with knowledge of Islam. The TALKS will deal with the relationship between Islamic art and tradition, the presence of Islamic art in the Portuguese public sphere, and contemporary Islamic art. The three LECTURES will be an attempt to bring us closer to Islamic art and culture in three ways: religion and culture; the historical presence of Islam in Portugal; and the Quran. On the afternoons, you will also be able to watch or take part in RECREATIONAL PRACTICE moments of dancing and music, while enjoying – _pari passu_ – food, books and much more at the LITTLE MARKET.

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

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

“Pari passu” is a space for the acknowledgement of Islam today, weakening the mythification of the past and looking particularity in the eye.

###### Dates
##### 2nd, 9th, 16th November, from 2:30 pm to 6:30 pm.
##### 2:30 pm — Lecture (1h)
##### 4 pm — Practice (40min)
##### 5 pm — Talk (1h + Q&A)

Meetings for the Future VI

The previous editions of Meetings for the Future have explored various themes and formats. In this edition, keeping in mind the key idea of transmission, the necessity arises of revisiting places, events, and characters that make up our historical narratives, seeing them in the light of the present. Between fact and expectation, we embark on a performative conference on the occasion of the 500th anniversary of Luís de Camões by Joana Craveiro, featuring dancers from countries on this well-known argonaut’s route.

#### _que bem posso escusar trazer escrito em papel o que na alma andar devia_
[“I may well forgo carrying on paper what within my soul should dwell”]

**created and authored by** Joana Craveiro

In this performative conference, Joana Craveiro and the multidisciplinary team from Teatro do Vestido set out to confront the life and work of Luís de Camões, troubadour and argonaut, the great Portuguese poet whose work will be revisited and read anew from a 21st-century perspective. The feats he describes, the adjectives he chooses to describe the encounter (or rather, the confrontation?) of cultures, his view of empires, the politics and ideology hidden or revealed in his words, his lyric poems, and love as sung by the Poet, are the threads from which this work of creative reflection will be woven. Also drawing on the ideas of travel and diaspora, this performative conference will feature dancers from the African and the Asian continents, seeking to trace signs of these cultures in their bodies and movements, and critically deconstructing Luís de Camões’ work in its relation to these bodies in space. This performative conference brings his work into dialogue with Edward Said’s thought as articulated in his book _Orientalism: Western Concepts of the Orient_, as well as with the thought of John Berger, Arundhati Roy, Sanjay Seth, among others, aiming for a poetic-political approach to his imaginary and literary universe.

This program’s edition is part of the commemorations of Luís de Camões’ 500th anniversary.

Meetings for the Future VII 

Conference ⏤ Meetings for the Future IV

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


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

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

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

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


###### Target Audience
Dance professionals

###### Price
220€

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

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

###### Limit of 20 participants

###### Personal accident insurance is required

KICK OFF'23 

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








KICK OFF'24

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

### Kick Off ’25

_Falling Into Movement in Connection_, with João Cardoso

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

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

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

Kick Off ’25

KICK OFF’22 

Intensive training week for dance professionals, with Belgian choreographer Wim Vandekeybus.  

###### Target Audience
Dance professionals



EVC Training

Intensive and complementary KOVA training for dance professionals. KOVA is the language, practice and composition tool developed by the choreographer Marcos Morau, in which the focus of the movement is not so much the contact with emotions and feelings but a deep connection with the body and the search for shapes and volumes. 

Marcos Morau created in 2005 the company La Veronal, a collective of artists from dance, cinema, literature, and photography. His training and the tools he uses to develop his work are not limited to dance, extending to artistic disciplines such as photography and theater. 


###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA scholarships available

###### Limit of 30 participants

###### Online registration

EVC Training 2023

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

#### Movement Practice with Tiago Martins

The fundamental basis of Movement practice is the contrasting exposure of the body to unknown situations, situations of chaos and complexity, which can transform both the moment and the structure. In this confrontation, one learns to deal with the interconnectedness of seeing and doing, doing and feeling, feeling and being through paradigms, questions, and puzzles, while creating situations that foster mobility, organic strength, balance, coordination, and locomotion. As a whole, the practice of Movement empowers and enables the global development of a body that moves with increasing awareness and, above all, with greater humanity.

EVC Training — 2025

Complementary intensive training for professional dancers that gives them the opportunity to explore the fundamental languages of contemporary dance, this year focusing on the artistic language of Canadian choreographer Crystal Pite.

###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA grants available

###### Online registration




EVC Training 2024

EVC Training 2022

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


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


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


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


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


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


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


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


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


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


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


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

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


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

##### ⎯

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

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

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



A Collection for Tomorrow ⏤ Atlantic Axis

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



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

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

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

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

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

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

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

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

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

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

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



A Collection for Tomorrow


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

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

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

Cristina Peres

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

A Collection for Tomorrow ⏤ À la Minute

A Collection for Tomorrow ⏤ Lisbon | Maputo

As part of the program planned for the triennium 2021-2023 in partnership with Camões - Centro Cultural Português de Maputo, this workshop is developed to share with other dance professionals the work of Portuguese choreographer Victor Hugo Pontes.

###### Target Audience
Dance professionals


The result of a partnership between Estúdios Victor Córdon and Camões - Portuguese Cultural Center in Maputo, "Bantu" is a new work by choreographer Victor Hugo Pontes and features both Portuguese and Mozambican performers.
The audition for the play will take place on 3, 4 and 5 February at the EVC and at the Teatro Nacional São João.

Audition ⎯ Bantu

Workshop in Maputo

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


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

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

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

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

Dance Classes for Adults

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

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

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

DANCE CLASSES FOR ADULTS ⏤ APRIL

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

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

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

DANCE CLASSES FOR ADULTS ⏤ March

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

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

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

DANCE CLASSES FOR ADULTS ⏤ MAY

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

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

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

DANCE CLASSES FOR ADULTS ⏤ JUNE

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

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

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

Schedule

Sensorianas - Tour→

Drawings | Self-portraits — Flávio Rodrigues→

À distância de um braço — Sofia & Vítor→

Dance Classes for Adults ⏤ May→

Daily Classes ⎯ May→

Agonia no jardim — Miguel Bonneville→

Motherland — Francisca Pinto→

NÔT — Marlene Monteiro Freitas→