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Palestra "A Minha História da Dança", por Mark Tompkins
1 March, 2024

Mark Tompkins

28 March 2024, at 18h30
Espaço da Penha – Lisbon
Approximate duration: 2 hours

Free entry, subject to capacity.

 

An American dancer, choreographer, singer and teacher, he founded the I.D.A. Company in 1983. His way of making unidentified performance objects, mixing dance, music, song, text and video, has become his signature. Solos, group pieces, concerts and improvised performances are all elements of this journey, which began in the 1970s, with the complicity of set and costume designer Jean-Louis Badet in 1988. His passion for real-time composition has led him to collaborate with dancers, musicians, light designers and video makers. Recognised for his teaching, he travels all over the world. In 2008, he was awarded the SACD Choreography Prize for his work as a whole (Society of Dramatic Authors Composers).

 

Fascinated by the frictions and resonances between high and low entertainment, his shows are inspired by popular forms such as cabaret, music hall, musicals and burlesque, as well as themes of ambiguity and ambivalence. She sings and dances in the concerts of Sarah Murcia & musicians, NEVER MIND THE FUTURE and MY MOTHER IS A FISH, and collaborates with choreographer Mariana Tengner Barros in A POWER BALLAD and RESURRECTION. He recently published ONE SHOT dialogues on real time composition, with Meg Stuart and the images of Gilles Toutevoix at Editions L’œil d’or. His most recent performances: a solo STAYIN ALIVE (2018) and a trio CELEBRATION (2021).

 

Photo © Denise Luccioni

1 March, 2024

10 years
Espaço da Penha

Celebrate with us!

March 16, Saturday from 4pm to midnight
Espaço da Penha, Travessa do Calado 26B, Lisboa
Free entry

A workspace can also be a home. Home in the sense of welcome, warmth and well-being. Espaço da Penha is our home. A house that has been in existence for 10 years. And everyone who passes through here understands the importance of this designation. Espaço da Penha is a house for dance, for those who make dance. Despite the problems and difficulties that a house always entails, we’ve always tried to give the best welcome to those who come to us.

 

Currently, Espaço da Penha is home to O Rumo do Fumo, Forum Dança, Theory-Fiction and the group of artists from Piscina. But several other structures and artists have passed through here, including Teatro do Vestido, Teatro do Eléctrico, Causas Comuns, casaBranca, Frame Colectivo, Stró, Carta Branca, Miguel Loureiro and João Tuna.

 

We want this to continue to be a place for encounters and sharing. And there’s nothing like a party to announce our desire to continue this project, so O Rumo do Fumo and Forum Dança invite everyone to come along on 16 March, starting at 4pm, at Espaço da Penha. We’ve prepared several surprises. There are performances to watch, cake to sing happy birthday, sparkling wine to toast, music to dance to. And a house with open doors to welcome you today and, we hope, for many more years to come.

 

Artistic proposals by

 

  • Teresa Silva & Mestre André
  • Márcia Lança, Andrei Bessa, Barbara Cordeiro e Nicole Gomes
  • PACAP 7 / Forum Dança
  • Vera Mantero, Mark Tompkins, Mariana Tengner, Miguel Pereira & Nuno Rebelo
  • Djset Os Grilos
Real Time Composition, João Fiadeiro / Forum Dança
29 February, 2024

TECER | CTR 1

Time | Study | Composition | Experimentation | Real 2

“If we observe the spider at work, what it eventually weaves first (…) is not the web; what eventually happens is that the little pearl that it weaved, suspended on the end of the thread carried by the wind, finds a branch [a wall, a corner]. (…) Is it possible to say that the spider has the project of weaving its web? I don’t think so. It’s better to say that the web has the project of being woven.”

 

Fernand Deligny, O Aracniano

Presentation

TECER | CTR is a project directed by João Fiadeiro as part of his role as artist-researcher in residency at Forum Dança. Through this platform, João Fiadeiro intends to transmit the study (and study the transmission) of Real Time Composition*, a (theoretical) practice and a (practical) theory that offers itself as a “field”, a place-territory that aims to welcome and host the forces at play in what we conventionally call the present. Within this present and from RTC’s perspective, an expanded time moves, simultaneously “no more” and “not yet”. A non-linear time, experienced like a Möbius band, with no inside or outside, with no before nor after. A time where the shadow, the margin and the fragment have the same prominence as what is in the light, in the center and in the whole. A time when positions are taken so that com3 -positions can take place.

 

To share Real Time Composition from the potency within the “not-knowing” and not from the power carried by the “knowing”. To share Real Time Composition, reducing the distance and the split between theory and practice, process and product, action and observation, action and procrastination, memory and forgetting, teaching and learning.

 

This is TECER | CTR ambition as a center for the study and experimentation of Real Time Composition.

1 TECER | CTR is the Portuguese acronym for Weaving Real Time Composition.
2 Time, Study, Composition, Experimentation, Real.
3 In Portuguese, the preposition “com” means “with” and taking a position-with instead of com-posing (arriving with a readymade “with”) is the performer’s main challenge in this practice. Following and repeating this modus operandi will eventually give place to a set of relations between positions (position-with-position-with-position-with- position…) which is how an emergent system can be generated within this practice.

Contextualisation

Select each of the sections below to find out more.

Sensitivity to Initial Conditions

In Real Time Composition, the rules of the game are defined as the game is played and not, as in most games (including the game of life) before the game begins. Before beginning the practice of Real Time Composition, what is established as common ground are the premises and principles that govern the game, in a kind of collective ethical commitment where its singularity is circumscribed, its cardinal axes are defined, and the conceptual framework of this practice is established. In general terms, the three premises that guide this commitment can be summarized using simple coordinates:

  1. You don’t explain your move.
  2. You don’t play twice in a row.
  3. You don’t correct the previous move.

Following (and as a result of) these initial restrictions, the game unfolds in a fine and meticulous management by the players, of the doses of repetition and difference that, at each move, are introduced into the system.

 

Another key concept in this practice is the principle of “non-linearity”. In Real Time Composition, it is always the subsequent action that retroactively establishes the rules of the game (of that game is being played, because as soon as the game in question ends, the rules are instantaneously obsolete). That’s why you can only really talk about a game when you are halfway through. In other words, for most of the time Real Time Composition experience isn’t spent playing the game but finding the game. This encounter takes place a) when, from a position, you establish a relation; and b) when, from that relation you establish an operation. This process takes place in three stages:

  1. The time when a “position” takes place.
  2. The time when a “com (with)” takes place (creating a “positioning-with” type of relationship).
  3. The time when a “positioning-with” takes place (creating a “positioning-with-positioning” type of operation).

The resulting “positioning-with-positioning” operation works like an equation, a fractal that expands into what we call instant, moment or present. Developing a sensitivity to this triad – positioning-with-positioning – is the necessary condition to play Real Time Composition’s game.

*Real Time Composition

* Real Time Composition is a term used in a wide range of artistic interactions and contexts, most commonly in the field of electronic music and its relationship with computer science. In the field of contemporary dance, it is used by many artists as a synonym for the practice of “improvisation” (a term somewhat “hijacked” by common sense as an arbitrary, disorganized or chaotic experience), in order to emphasize the complexity and rigor involved in the act of improvising, especially when presented publicly.

 

When João Fiadeiro began his research into improvisation in the 1990s, the expression most often used to claim this rigor was “instant composition”. Intuitively João Fiadeiro decided to adopt the notion of ” real time composition” to designate his research, because it was the term that best corresponded to the experience of expanded, distended and plastic time that he had when “colliding” with the unknown, whether when improvising or composing. He was later able to better formulate this resistance to the term “instantaneous” when he realized that an important part of the hypothesis he put forward as a researcher, on the performer’s experience with time, was based on the premise that the idea of an “instant” is made by the human being, who has decided, out of interest (and profit) that an instant is the thinnest slice of time and that successive instants replace the previous one.

 

More recently, by accessing the writings of authors who think about the concept of time, this reasoning has gained even more ground. In particular through the formulation of “operative time” that Giorgio Agamben uses in “The Time That Remains”. To defend his hypothesis, Agamben relies on the linguist Gustave Guillaume (1883-1960) who states (in his book Temps et Verbe) that “all mental experience, however rapid [it may be], requires a certain amount of time, which may be very brief, but is no less real”. What Guillaume defines as “operative time” (and João Fiadeiro as “real time”) is exactly “the time that the mind uses to realize an image-time”. Agamben complements this reasoning when he says that “a careful examination of the phenomena of language shows that languages organize their verbal systems not according to the preceding linear scheme (…) but through the reference of the constructed image in the operative time of its construction.” Operative time (or, as Fiadeiro would say, “real time”) “is neither the line – representable but unthinkable – of chronological time, nor the instant – equally unthinkable – of its end, and even less a segment extracted from chronological time (…). It is rather the operative time that urges on chronological time and works and transforms it from within, time that we need in order to bring time to an end – in this sense: the time that remains.”

 

When discussing the term “instant” or “real time” to designate the type of “improvisation” João Fiadeiro researches, he is not referring to the time shared between improviser and spectator, but to the internal time of the performer, in the management of the experience that mediates the identification, circumscription and processing of stimuli; the selection and choice of relation possibilities; and their consequent manifestation in the form of gesture and action.

 

João Fiadeiro’s use of the expression Real Time Composition to describe his research and practice must be understood in the light of this reflection.

João Fiadeiro

Forum Dança | PACAP 5 - João Fiadeiro
João Fiadeiro © Ana Viotti

João Fiadeiro (1965) belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to Nova Dança Portuguesa [New Portuguese Dance], a movement highly influenced by the Judson Dance Theater in America and New Dance scene in Europe.

 

Between 1990 and 2019 he was Atelier RE.AL’s artistic director, a venue that played a major role in the development of contemporary dance and trans-disciplinary initiatives in Portugal, both within art and between art, science and society. Among the projects organized by this association, the LAB/Moving Projects (1992-2006), a work-in-progress platform from emergent artists; “Restos, rastos e traços” (Leftovers, tracks and traces) and “G.host” (2009-2011), two residency programs focused on documentation practices for contemporary art; and the project AND_Lab (2011-2014), a research laboratory working on the relationship between ethics, aesthetics and politics, are among the initiatives that had the biggest impact in the community.

 

João Fiadeiro has toured extensively throughout Europe, North America and South America with his solo and group works. His pieces navigate in-between disciplines (performance, dance and theater), contexts (theaters, museums or site-specific) and formats (choreographies, happenings or lecture-performances), in an attempt to maintain a “radical sensitivity” towards the present and remain vigilant against any form of stagnation or loss of critical discourse.

 

Between 1995 and 2003 he collaborated with Artistas Unidos (United Artists), a Lisbon based theater company, where he was responsible for the movement of the actors in pieces from Silva Melo, Shakespeare, Brecht, Goethe, etc.. For this company he also staged plays by Samuel Beckett (Waiting for Godot), Sarah Kane (Psychosis 4’48’’) and Jon Fosse (Nightsongs).

 

Parallel to his work as a choreographer, theater director and curator, João Fiadeiro studied and practiced intensively Contact-Improvisation in the 90’s which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition. This research, which started as a tool to support his own creative practices, has since been used by researchers from art and science (coming from fields as diverse as anthropology, complex systems sciences or economy), as a theoretical-practical platform to study decision-making, representation and collaboration. This work has led him to teach extensively in different independent venues in Europe and South America (Brasil, Uruguay, Argentina and Chile) and to lead workshop sessions in the most important master programs and schools in Europe that relate to contemporary dance like PACAP/Forum Dança; EXERCE Master, MA in Arts Practice and Visual Culture at Rainha Sofia Museum; SoDA MA Program; Performing Studies at the Hamburg University; Amsterdam Master of Choreography; Master of Theatre DasArts; a.pass_advanced performance and scenography studies; MA Theatre Academy of the University of the Arts Helsinki; Villa Arson; Centre National de la Danse, etc.

 

The Real Time Composition tool has since expanded its application outside the artistic field with initiatives like “Soft Skills for Hard Decisions”, designed in collaboration with the economist António Alvarenga and applied in human resources departments of foundations; or the discipline “Social Stigmergy” designed for the PhD program at ISCTE University in Lisbon with the complex system scientist Jorge Louçã.

 

In 2018 João Fiadeiro published his book “Anatomy of a Decision” where he synthesized his life long research on Real Time Composition and in 2019 co-curate (with Romain Bigé) the exhibition Drafting Interior Techniques at Culturgest Gallery, the first retrospective look taken at Steve Paxton work and legacy.

General Note

For those wishing to take part in any of our CTR transmission and practice programmes

 

Even though we are committed to creating a safe place of practice, sustained by a work ethic based on principles of care and mutual respect, the experience of improvisation and performance, by definition, can take performers to places of intense sharing, often vulnerable and emotionally charged, where doubt and error have a prominent place. When signing up, bear in mind that in this practice you may find yourself in situations of experimentation that shake up your comfort zones, even if only temporarily.

TECER activities

Núcleo - Programa de Residências Artísticas do Forum Dança
17 January, 2024

Núcleo 2024

Núcleo emerges as a project that fulfils one of Forum Dança’s objectives: to host artistic residencies and the informal presentations that result from them, under the care of a specific programme line.

It has a self-reflexive impulse in Forum Dança’s history, referencing the Núcleo de Apoio Coreográfico (NAC) – Choreographic Support Centre -, which in the 1990s was an important platform for supporting the creation and internationalization of Portuguese dance.

It is a place of experimentation, where the craft of creating, showing, reflecting, creating circularity with the artistic community and its public side in the creation and mediation of audiences is taken care of.

Artistic Residencies 2024

Open Call deadline: February 4, 2024

As one of Forum Dança’s objectives is to support residencies, in accordance with the programme outlined by its artistic direction, the Residency Programme is designed to create a space that allows for a period of experimentation and research through action, linking creation with transmission to the artistic community.

This year’s programme will support three projects in the field of contemporary dance or performance. We will favour projects that are at an early stage of development.

The programme offers rehearsal space, artistic supervision by Forum Dança’s associate artist-researcher João Fiadeiro and a support grant of €750 (seven hundred and fifty euros).

Periods

  • Residency 1: October 7 to 18
  • Residency 2: October 28 to November 8
  • Residency 3: November 18 to 29

Conditions

  1. Support for 3 projects selected by Forum Dança’s management;
  2. A grant of €750 (seven hundred and fifty euros) per residency, upon submission of a green receipt or equivalent (in the case of artists not resident in Portugal, must present a tax residency certificate issued by the authorities in their country of residence.);
  3. Support for publicising the project in Forum Dança’s media;
  4. Final public sharing, in the residency space, in the form of an informal show, talk or similar, with João Fiadeiro as mediator;
  5. Mandatory mention of “Support for Creation – Forum Dança” and insertion of the logo in all the project’s promotional material;
  6. Provision of the record of the presentation of the supported project, where applicable, for archiving in the Forum Dança Documentation Centre;
  7. The organisation of travel, accommodation, meals, and medical assistance during the period of the residencies is the sole responsibility of those taking part.

Artistic supervision

These artistic residencies will be overseen by João Fiadeiro.

Forum Dança | PACAP 5 - João Fiadeiro
João Fiadeiro © Ana Viotti

Born in 1965, João Fiadeiro is part of a generation of choreographers that emerged in the late 1980’s and gave rise to the Nova Dança Portuguesa (New Portuguese Dance).

His career, both as a choreographer or performer and as a researcher or curator, has centered on creating conditions for experimentation, for laboratorial practices and for the intersection between artistic and scientific research. This activity was developed as much by coordinating programming and artistic research projects at Centro Cultural da Malaposta [1990-95], Espaço Ginjal [1995-98], Lugar Comum [1999-2000], Espaço A Capital [2000-2002] and Atelier Real [2004-2019] as by his artistic practice through his choreographies and the research workshops on and around Real Time Composition.

In all these different platforms João Fiadeiro was always accompanied by artists that participated as creators, performers, researchers and programmers, contributing in a decisive manner to the existence of this project through thirty years of non-stop activity.

Process

Applications must be submitted by February 4, 2024.

The results will be announced by email, by April 1, 2024.

Application form

All fields marked with * are mandatory.

Applications are closed.

Results

The following projects were supported:

 

  • Residency I – 28 October to 8 November: Clarissa Rêgo Teixeira
  • Residency II – 18 to 29 November: Herlandson Duarte
  • Residency III – 9 to 20 December: Inés Sybille Vooduness

 

The residencies will always have an informal show on the last day (Fridays).

In addition to filling in the form at the bottom of this page, you must send us a filled-in project sheet in pdf format (up to 2 MB). The project sheet is available at this link:

 

Project Sheet | Application Núcleo 2024

Foram apoiados os seguintes projetos:

 

  • Residência 1 (7-18 Agosto): Ana Renata Polónia com o projecto VERBAL IMAGES
  • Residência 2 (21 Agosto-1 Setembro): Inês Cartaxo com o projecto SUPERADAPTATION
  • Residência 3 (21 Agosto-1 Setembro): Sara Manubens e Ves Liberta com o projecto NOSFERATU: A SYMPHONY OF HORROR
  • Residência 4 (16 – 27 Outubro): Djam Neguin com o projecto Tx@bet_a
  • Residência 5 (30 Outubro – 10 Novembro): Sara Bernardo com o projecto Efemérida
  • Residência 6 (13 – 24 Novembro): Andrei Bessa e Acauã El Bandide Shereya com o projecto URRO – Parte 3 – Para não caber no mundo
Forum Dança - Workshop Butoh 2023 - Yael Karavan
28 October, 2023

Workshop Butoh
Yael Karavan

9 and 10 December 2023 | 11h00 – 17h00

Butoh fu – Composition with images, the mysterious language of Ankoku Butoh

 

Butoh is an avant-garde, radical, revolutionary dance of transformation, which emerged at the end of the 50ese in Japan, it is not a technique but rather a method and a philosophy, an approach to dance that is born within us and connects us to our essence, nature, the universe and the cycles of life and death.

Tatsumi Hijikata, the main Ankoku Butoh Dance Founder (Ankoku Butoh- dance of Darkness) used imagery to choreograph his dancers. Butoh-Fu is something that Yukio Waguri, one of his long time dancers, put together from his own notes of the words used by T.Hijikata when he choreographed his dancers at Asbestos-kan, the studio he led in Tokyo.

In this workshop, Karavan introduces, explores and gives experience of numerous original Butoh-Fu, taking us onto a journey through the origins researching for new ways of writing dance / movement scores. Butoh-Fu allows us to encounter the absurd, dadaist and obscure realms of Tatsumi Hijikata, Kazuo Ohno and Ankoku Butoh.

The main elements that will be explored in the workshop are metamorphoses, dance through imagery, presence, awareness, and the tension between opposites with the aim to free the body from its mundane preconceived set of gestures and movements and thus allowing us to access a deeper and more authentic essence of movement and archetypal expression.

Questioning how Butoh can be translated into a European Body and why Butoh is still extremely relevant nowadays, Karavan shares more than 25 years of Butoh experience, during which she had the opportunity to work with founders of Butoh in Japan, Kazuo Ohno and Motofuji San – wife of T. Hijikata – as well as with Tadashi Endo and MAMU dance theatre, Yumiko Yoshioka and Ten-Pen-Chi, Sankai Juku, Minako Seki, Carlota Ikeda, Akira Kasai, Ko Morobushi and Natsu Nakajuma among others.

 

Photo © Raul Bartolome

General Information

Dates: 9th and 10th December (Saturday and Sunday) 2023
Time: 11.00 a.m. to 5.00 p.m.
Venue: Forum Dança – Espaço da Penha, Lisbon
Target audience: Professionals, students and people with previous experience in movement, dance and/or theatre.
Maximum number of participants: 20 people

Pré-inscrição

Pre-registration is made using the form available on our website and will be validated once proof of payment has been received and sent to our email address.

Pre-registration process

  1. Pre-register online using the form provided;
  2. Wait for our email with payment instructions;
  3. Pay your registration fee as indicated in the email sent to you;
  4. Send us proof of payment by email;
  5. Your registration will only be validated once we have received your receipt.

Participation Fee

  • Until 2nd December: €75.00
  • From 3 December: €85.00
  • 10% discount: for people who attend or have attended Forum Dança long-term courses (PACAP/CGPAE/PEPCC/etc.);

Bio

Yael Karavan
Yael Karavan

International performer, dancer and Artistic director of the Karavan Ensemble, Yael was born in Israel and grew up in Florence, Paris and London. In her dance research she travelled across Europe, Japan, Russia and Brazil searching for a physical language of expression bridging between East and West dance and theatre. Her work is often described as visual poetry, drawing on elements of Butoh, dance, mime, clown, physical and visual theatre she explores themes of Memory, Metamorphosis, the invisible and the notion of repetitive cycles, as well as current urgent socio-political issues such as climate change, immigration, diversity and inequality. Karavan’s work is presented worldwide in theatres, galleries and museums, often in a site-specific context. She studied and worked with Butoh masters such as Kazuo Ohno, Tadashi Endo, Carlotta Ikeda, Yumiko Yoshioka, Akiko Motofuji, Ko Morobushi, Natsu Nakajima, Akira Kasai, Yuko Kaseki, Minako Seki, Atsushi Takenuchi and sankai Juku amongst others. She was a member of Tadashi Endo’s MA-MU Dance Theatre for nearly 8 years and of Ten-Pen-Chi led by Yumiko Yoshioka for 3 years and has been teaching workshops internationally since 1999.

 

More information: www.yaelkaravan.com

Pre-registration form

Registrations are now closed.

Palestra "A Minha História da Dança", por Cristina Planas Leitão
26 October, 2023

Cristina
Planas Leitão

18 January 2024, at 18h30
Camões Library – Lisbon
Approximate duration: 2 hours

Free entry, subject to registration.

 

Choreographer, performing arts programmer and teacher. She is co-artistic director of Ágora’s Performing Arts Department (Teatro Municipal do Porto, DDD – Festival Dias da Dança, CAMPUS Paulo Cunha e Silva), having taken over as interim artistic director in July 2022, and the performing arts programme, under the artistic direction of Tiago Guedes, since 2019. In 2011, she was one of the initiators of the desNORTE meetings (2011-2017) and was a member of the Braga’27 consultancy group.

Her aggregative curatorial practice focuses on the development of sustainable creative formats, new narratives and caring relationships in the performing arts. She approaches her choreographic work as an act of resistance and affection, researching themes connected to social and political movements, and their relationship to the performing body in the intimacy of the theatre. She created The very delicious piece and The Very Boring Piece, with Jasmina Krizaj, bear me, FM [featuring mortuum] and UM [unimal], chosen as one of the best pieces in 2018 by JN and Expresso. In 2023 he premieres [O SISTEMA] in a co-production with 23 Milhas, TM Faro and TAGV.

Her work is documented in the RTP2 series Portugal que Dança. She has a degree in contemporary dance from ArtEZ, where she is a mentor and regular teacher. She teaches internationally, using a somatic and unconventional approach.

 

Photo © José Caldeira

Palestra "A Minha História da Dança", por Margarida Bettencourt
23 October, 2023

Margarida Bettencourt

2 November 2023, at 18h30
Camões Library – Lisbon
Approximate duration: 2 hours

Free entry, subject to registration.

 

Margarida Bettencourt was born in 1962 in Johannesburg, South Africa, where she started dance classes as a child while also taking part in sporting activities such as swimming, gymnastics and tennis. She moved with her family to Portugal in 1973. She is a dancer-choreographer and dance teacher who is considered one of the pioneers of Portuguese New Dance.

She attended the Calouste Gulbenkian Foundation’s dance training courses and then joined the company where she danced from 1980 to 1993. She soon began working independently, solo and in collaboration with other artists, namely the dancer and choreographer João Natividade with whom she formed the group Aparte. She maintained a close creative relationship with composers Carlos Zíngaro and Constança Capdeville, with works commissioned by the Calouste Gulbenkian Foundation’s Acarte Service, Culturgest, Forum Dança and the Danças na Cidade Festival.

Her solo work is characterised by an emphasis on the body as a potential for expression and communication – in 2009 the adaptation of ‘At Once’ by American choreographer Deborah Hay, in collaboration with artist João Tabarra, was another stage in this research.

From 1997 to 2012 she taught at various dance teaching institutions, namely the Escola de Dança do Conservatório Nacional, Escola Superior de Dança, Forum Dança, and was a member of various reflection groups on dance teaching in Portugal.

In 2006 she was a tutor on the Choreography Course organised by the Calouste Gulbenkian Foundation.

In 2007, she completed her training as a therapeutic chi kung instructor at the Escola Superior de Medicina Tradicional Chinesa – where she now regularly teaches this discipline in various contexts.
She has continued her research into the development of a relationship with the body as a potential transformative, therapeutic and inspiring force – exploring the integration of her personal history and experience as a dancer, training and practice with anatomy, the physiology of the body, processes and rituals of creation.

After accompanying her father during his last year of life, she trained as a volunteer to accompany people at the end of their lives – with AMARA, an association whose mission is dignity in life and death. All these experiences have fuelled the way she develops and shares her practice with passion and devotion for the body and movement as a vital force.

 

Photo © António Rebolo

Palestra "A Minha História da Dança", por Sofia Neuparth
29 September, 2023

Sofia Neuparth

12 October 2023, at 18h30
Camões Library – Lisbon
Approximate duration: 2 hours

Free entry, subject to registration.

 

Sofia Neuparth has a unique career in Contemporary Art in Portugal. It is her understanding of the body as an event in relationship that determines all her actions, from the training work she has been doing since the early 1980s to the programming of the professional structure she co-created and directs. This is how, at the end of the 1980s, he created a space for research, experimentation, training, creation and artistic documentation that supports practices in the study of the Body, Movement and the Common: c.e.m-centro em movimento. The c.e.m organisation’s regular programming includes the Experimental Space (in existence since 1993), the work with the city since 2005 (Pedras – practices with people and places), the research / creation / training programmes (such as O Risco da Dança, FIA or DEMORA) that have been taking shape since the late 1990s, and the constant side-by-side monitoring of paths of experimentation and creation.

 

A teacher, researcher and creator, she nurtures the continuous reflection to which she dedicates herself, exercising the generation of possible worlds and practising Art as a fundamental form of Knowledge. Active and critical in relation to the recurrent implementation of policies (not just cultural ones) that tend to stifle the vitality of existence, she was involved in the creation of APPD (Portuguese Association for Dance) and REDE (Association of Structures for Contemporary Dance), which she co-directed for several years, continuing to be attentive and involved in the generation of implicated and vibrant ways of being.

 

She keeps the experience of dance open in the encounter with other forms of knowledge such as embryology or philosophy, from which creations such as ‘mmm – a physical poem’ (2005), ‘practices for seeing the invisible and keeping it a secret’ (dance-book 2010), ‘1 or 2 comedidos contentments’ (2011), or ‘Sopro’ (2017 – with Margarida Agostinho and Bruno de Azevedo) or publications (‘written in a state of dance’) such as ‘movimento’ 2014 or ‘Criação’ 2020, the latter with Margarida Agostinho, have emerged.

 

For more information: www.c-e-m.org

 

Photograph © Valentina Parravicini

Composição em Tempo Real, João Fiadeiro / Forum Dança
15 September, 2023

Real Time Composition
Open Sessions 2023/2024

Mondays, from 6pm to 8pm

Facilitated by João Fiadeiro, Márcia Lança,

Cláudia Dias, Carolina Campos and/or Daniel Pizamiglio

During the period in which REAL (a structure run by João Fiadeiro from 1990-2019) ran Atelier Real, open sessions were organised for the community to practice Real Time Composition, free of charge. These were unpretentious sessions, somewhere between a jam and a master class, which had an important impact on the community of artists at the time and on research into (and around) this tool. They were also very important sessions as a meeting place and for the creation of professional and emotional networks that continue to this day.

 

Over the next few months, as part of the programme of activity developed within the framework of Forum Dança’s Resident Research Artist position, we will replicate these sessions to share our experience, but also to allow ourselves to be contaminated by discourses, perspectives and practices outside our comfort zone. These sessions are open to anyone – artist or non-artist, with or without experience of improvisation, with a background in practice or theory – as long as the premises and principles of this practice arouse curiosity.

 

“The ‘object of study’ of Real Time Composition is the interval that emerges when linear time is interrupted and the sense of continuity is suspended (via accident, incident or ‘just because’). The space that opens up as a result of this interruption is where Real Time Composition research takes place. Within this space, time has that rare quality of being simultaneously ‘no more’ and ‘not yet’. Within this space, time is not linear (or even circular), but ‘twisted’ (like the topological surface of the ‘Möbius Tape’), governed by laws that do not respect the conventional notions of before and after, inside and outside or far and near.”

João Fiadeiro

Participation is free, just show up!

TECER activities

Forum Dança | Ciclo de Apresentações PACAP 6 | Culturgest | TBA - Teatro do Bairro Alto
1 July, 2023

PACAP 6 Presentations

6, 8 and 9 of July | Culturgest (Inside Out)

14 to 16 and 21 to 23 of July | TBA-Teatro do Bairro Alto (8 Works)

After an intense creative process, we arrived at the public presentations of the projects of each participant in this sixth edition of PACAP – Performing Arts Advanced Programme, which is curated by the artist duo Sofia Dias & Vítor Roriz. In this edition, the presentations take place in two different cycles, in two cultural institutions in Lisbon: a first cycle within the scope of the “Inside Out” program by Culturgest and a second cycle at TBA-Teatro do Bairro Alto, with the program “8 Works PACAP 6 / Forum Dança”.

 

Culturgest | Inside Out
Four projects developed with unconventional spaces in mind are presented, namely outdoor spaces (gardens, street, open-air auditorium, etc.).
Projects of María Ibarretxe (ES), Silvana Ivaldi (PT/IT), Connor Scott (UK) and Estrellx Supernova (EUA/GUAT).

 

TBA – Teatro do Bairro Alto | 8 Trabalhos PACAP 6
Eight projects that fit into the theatrical space are presented.
Projects of Bobby Brim (FR), Lorea Burge (UK/ES), Lucas Damiani (UY), Marcelo Castro (BR), Mariana Catalina Iris (UY), Rafaela Santos (PT), Vanessa Lonau (DE) e o coletivo de Camilla Morello (IT), Tarlie Lumby (UK) and Victor Lattaque (FR).

 

“This diversity of presentation contexts and the respective technical and logistical support of the teams of these cultural institutions seeks to meet the diversity and specificity of the proposals of each participant. Thus, the presentation formats depend exclusively on the creation process and the artistic intentions of each participant, which can either result in a show or performance or in a lecture, collective practice, installation, sound experience, guided tour, among many other options. PACAP’s public presentations are a moment of celebration, of expanding the relations of this temporary community and of collective reflection.”

Sofia Dias & Vítor Roriz

Creation (PACAP 6 participants) Bobby Brim (FR), Camilla Morello (IT), Connor Scott (UK), Estrellx Supernova (US), Lorea Burge (UK/ES), Lucas Damiani (UY), María Ibarretxe del Val (ES), Marcelo de Castro Pereira (BR), Mariana Catalina Iris (UY), Rafaela Santos (PT), Silvana Ivaldi (PT), Tarlie Lumby (UK), Vanessa Lonau (DE) and Victor Lattaque (FR).

Artistic accompaniment Sofia Dias & Vítor Roriz

Light and Technical Direction Leticia Skrycky and Santiago Rodriguez Tricot

Producer Forum Dança

Coproducer TBA-Teatro do Bairro Alto and Culturgest

COMPLETE PROGRAM

Culturgest | Inside Out

Several venues | Free admission to all presentations with ticket pick-up from 4:30pm (box office)

More information at Culturgest website here

July 6

17h00 e 18h00

Room 1 and Foyer of Emílio Rui Vilar Auditorium

Maria Ibarretxe

VERMELHO BEATS/Sculpturing the white

 

19h00

Culturgest garden pond

Silvana Ivaldi

Please Kick Me Out Before I Get In

 

20h30

Culturgest Garage

Connor Scott

POOF

July 8

17h00 e 18h00

Room 1 and Foyer of Emílio Rui Vilar Auditorium

Maria Ibarretxe

VERMELHO BEATS/Sculpturing the white

 

19h00

Culturgest garden pond

Silvana Ivaldi

Please Kick Me Out Before I Get In

 

20h30

Culturgest Garage

Connor Scott

POOF

July 9

12h12 – 20h00

Culturgest/Garden of the Galveias Palace Library

Estrellx Supernova

Animate, Intimate (AI): Cycle 1 – Points of Encounter/Puente de Encuentros or [[Before Wonderland Fell, We Fell in Touch]]

 

Attention: Capacity limited to 40 people simultaneously.

Culturgest | Inside Out: PACAP 6 New Creations

Forum Dança | Inside Out: María Ibarretxe - STUDY 9/VERMELHO | Sculpturing the darkness | Apresentações finais PACAP 6 / Culturgest
MarÍa Ibarretxe
Forum Dança | Inside Out: María Ibarretxe - STUDY 9/VERMELHO | Sculpturing the darkness | Apresentações finais PACAP 6 / Culturgest
+ INFO
Forum Dança | Inside Out: Silvana Ivaldi - PLEASE KICK ME OUT BEFORE I GET IN | Apresentações finais PACAP 6 / Culturgest
Silvana Ivaldi
Forum Dança | Inside Out: Silvana Ivaldi - PLEASE KICK ME OUT BEFORE I GET IN | Apresentações finais PACAP 6 / Culturgest
+ INFO
Forum Dança | Inside Out: Connor Scott - POOF | Apresentações finais PACAP 6 / Culturgest
Connor Scott
Forum Dança | Inside Out: Connor Scott - POOF | Apresentações finais PACAP 6 / Culturgest
+ INFO
Forum Dança | Inside Out: Estrellx Supernova - Animate, Intimate (AI): Cycle 1 - Points of Encounter/Puente de Encuentros or [[Before Wonderland Fell, We Fell in Touch]] | Apresentações finais PACAP 6 / Culturgest
Estrellx Supernova
Forum Dança | Inside Out: Estrellx Supernova - Animate, Intimate (AI): Cycle 1 - Points of Encounter/Puente de Encuentros or [[Before Wonderland Fell, We Fell in Touch]] | Apresentações finais PACAP 6 / Culturgest
+ INFO

TBA – Teatro do Bairro Alto | 8 Works

Main auditorium | Tickets: 2 € for each presentation (box office)

More information at TBA website here

July 14

19h00

Marcelo Castro

O Amor da Rua

 

21h00

Mariana Catalina Iris

Entre uma Brisa e uma Sudestada

July 15

16h30

Mariana Catalina Iris

Entre uma Brisa e uma Sudestada

 

20h00

Rafaela Santos

Sorry I Missed Some Parts

 

21h00

Bobby Brim

The Infrastructures of Cavities

July 16

16h30

Rafaela Santos

Sorry I Missed Some Parts

 

19h00

Bobby Brim

The Infrastructures of Cavities

 

20h30

Marcelo Castro

O Amor da Rua

July 21

19h00

Lucas Damiani

Hydra

 

21h00

Camilla Morello, Tarlie Lumby e Victor Lattaque

Pthst’ N

July 22

16h30

Camilla Morello, Tarlie Lumby e Victor Lattaque

Pthst’ N

 

20h00

Vanessa Lonau

As If I Was a Road

 

21h00

Lorea Burge

B Field

July 23

16h30

Lorea Burge

B Field

 

19h00

Vanessa Lonau

As If I Was a Road

 

20h30

Lucas Damiani

Hydra

TBA – Teatro do Bairro Alto | PACAP 6 / Forum Dança: 8 Works

Forum Dança | 8 Trabalhos: Marcelo Castro - O AMOR DA RUA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Marcelo Castro
Forum Dança | 8 Trabalhos: Marcelo Castro - O AMOR DA RUA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Mariana Catalina Iris - ENTRE UMA BRISA E UMA SUDESTADA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Mariana Catalina Iris
Forum Dança | 8 Trabalhos: Mariana Catalina Iris - ENTRE UMA BRISA E UMA SUDESTADA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Rafaela Santos - SORRY I MISSED SOME PARTS | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Rafaela Santos
Forum Dança | 8 Trabalhos: Rafaela Santos - SORRY I MISSED SOME PARTS | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Bobby Brim - THE INFRASTRUCTURES OF CAVITIES | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Bobby Brim
Forum Dança | 8 Trabalhos: Bobby Brim - THE INFRASTRUCTURES OF CAVITIES | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Lucas Damiani - HYDRA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Lucas Damiani
Forum Dança | 8 Trabalhos: Lucas Damiani - HYDRA | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Camilla Morello, Tarlie Lumby e Victor Lataque - PTHST’ N | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Camilla Morello, Tarlie Lumby
and Victor Lattaque
Forum Dança | 8 Trabalhos: Camilla Morello, Tarlie Lumby e Victor Lataque - PTHST’ N | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Lorea Burge - B FIELD | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Lorea Burge
Forum Dança | 8 Trabalhos: Lorea Burge - B FIELD | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO
Forum Dança | 8 Trabalhos: Vanessa Lonau - AS IF I WAS A ROAD | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
Vanessa Lonau
Forum Dança | 8 Trabalhos: Vanessa Lonau - AS IF I WAS A ROAD | Apresentações finais PACAP 6 / TBA-Teatro do Bairro Alto
+ INFO

Top banner image credit © Lucas Damiani

Coproducers and Support

Coproducers PACAP 6: Teatro do Bairro Alto and Culturgest

Support PACAP 6: Casa da Dança – Almada, Fundação GDA, O Rumo do Fumo, Alkantara, OPART | Estúdios Victor Córdon, O Espaço do Tempo, Piscina.

Forum Dança | Parcerias e Apoios PACAP 6
Real Time Composition, João Fiadeiro / Forum Dança
21 June, 2023

Workshop II
CTR

Immersive Real Time Composition practice

August 28th to September 1st

Invited guest: Márcia Lança

This proposal will privilege the access to this tool through an immersive practice, mediated by a set of “performative devices” that provide different speeds, sensibilities, and intensities. These devices are, in many cases, extracted from performative experiences that João Fiadeiro has been developing over the years, where he used the theatrical apparatus (in the architectural and ideological sense) to investigate the limits and perceptual protocols of what we call “real” or “fiction”; “private” or “public”; “inside” or “outside”.

 

During this week the ambition will be to “grow into” this practice in order to access a quality of presence (and participation) dear to Real Time Composition: to understand how to relinquish control and orientation (indispensable to access what affects us) without losing rigor and lucidity (indispensable to share what affects us).

João Fiadeiro

Forum Dança | PACAP 5 - João Fiadeiro
João Fiadeiro © Ana Viotti

João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator.

 

He belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to the New Portuguese Dance movement.

 

In the 90’ João Fiadeiro studied and practiced intensively Contact-Improvisation which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition. This research has led him to coordinate workshops in Masters and PhDs programs in several schools and universities throughout the world.

 

He has toured extensively throughout Europe, North America and South America with his solo and group works.

 

His path, whether as a choreographer or performer, as a researcher or curator, was centered on creating conditions for experimentation, laboratory practice and interdisciplinary intersection.

 

This activity was carried out both as part of the management of programming and artistic research projects, which included the Malaposta Cultural Center (1990-95), Espaço Ginjal (1995-1998), Lugar Comum (1999-2000), Espaço A Capital (2000-2002) and by Atelier Re.AL (2004-2019), as well as within the framework of his artistic practice, through creations and research workshops organized around Real Time Composition.

 

Atelier Re.AL was a structure that played a major role in the development of contemporary dance and transdisciplinary initiatives in Portugal.

 

On all these different meeting platforms, João Fiadeiro was always accompanied by artists who actively participated as creators, performers, researchers and programmers, making a decisive contribution to the existence of this project during 30 years of uninterrupted activity.

Márcia Lança

Forum Dança | PACAP 5 - Márcia Lança
Márcia Lança

Márcia Lança was born in Beja and lives in Lisbon. In 2008 she founded VAGAR of which she is the artistic director.

 

She has worked as a choreographer and performer in a variety of collaborative settings. She moves in territories where the boundaries between the fictional and the real are tenuous and diffuse.

 

Her interest in the poetic materiality of concrete actions and tasks is at the heart of her creative processes. She is passionate about emerging collective compositions, thinking as action, and situated constructions. More info here

Real Time Composition, João Fiadeiro / Forum Dança

Performer: Gustavo Sumpta

Informations

Select each of the sections below to learn about all the specifications of the application and selection process.

Who is it for

This cycle of Workshops in Composition in Real Time is made up of two different weeks, each one of them aimed at people with different practices:

 

    • Workshop I / Introduction – artists-researchers with experience in improvisation (in dance, performance, or theater). It is open to anyone but we will prioritise applications from those who have not yet had contact with João Fiadeiro’s Real Time Composition;

 

    • Workshop II / Immersive Practice – artists-researchers with previous experience with João Fiadeiro’s Real Time Composition.

 

You can apply for the two-week frequency (Introduction and Immersive Practice), or for just one of them (Introduction or Immersive Practice), bearing in mind that:

 

    • Anyone who attends Workshop I / Introduction can later attend Workshop II / Immersive Practice, but must submit now the application for the two weeks;
    • If you already have previous experience with Real Time Compositing (you must indicate in your CV or Motivation Letter where, when and with whom you had this prior contact), you can apply directly for the Workshop II / Immersive Practice.

 

Maximum number of participants: 16 people.

Timetable

Workshop I / Introduction: From the 21st to the 25th of August 2023, from 2:30 pm to 7:30 pm.

Workshop II / Immersive Practice: From August 28th to September 1st, from 2:30 pm to 7:30 pm.

Venue

Forum Dança / Espaço da Penha
Travessa do Calado, 26B
1170-070 Lisboa

Participation fee

    • Until July 15: One week: €90 (ninety euros) / Two weeks: €150 (one hundred and fifty euros);
    • After July 15th: One week: €120 (one hundred and twenty euros) / Two weeks: €180 (one hundred and eighty euros);
    • Discount: 25% discount on the total amount, for people who have already attended any edition of PACAP – Advanced Program for Creation in Performing Arts;
    • Scholarship: A scholarship will be awarded for free attendance of the workshop, to those who provide logistical support to the workshop (opening and closing of doors, preparation of studios, etc.). If you wish to apply for the scholarship, indicate this information in your Motivation Letter.

Applications

The application is made using the form available on this page.

 

You must submit your Curriculum Vitae with updated data and a Letter of Motivation, stating your reasons for attending this workshop (not to exceed one A4 sheet). If you wish to apply for the scholarship, indicate this information in your motivation letter. If you wish to apply for the scholarship, indicate this information in your Motivation Letter.

 

If you are one of the selected persons, only after receiving proof of payment, which you must send to our email, will your registration be considered validated.

Application process

 

      1. Make your application online using the form indicated for this purpose, until the 4th of August;
      2. Do not forget to attach your curriculum vitae and motivation letter in PDF format to the form;
      3. All selected persons will be contacted by the 11th of August;
      4. Wait for our email indicating that you were one of the selected persons, along with the payment instructions;
      5. Proceed to pay your registration, as indicated in the email sent, by the 15th of August;
      6. Send us the respective proof of payment to our email;
      7. Your participation is only validated after receipt of proof of payment.

Application form

All fields are required. You must send your CV and Motivation Letter in “.pdf” format.

Files cannot exceed 1 MB/each.

Do not forget

 

      1. Applications with a submission deadline of August 4th;
      2. Results communicated to all selected persons by August 11;
      3. Payment must be made by August 15th, after completing the selection process and being accepted to the workshop.

Applications are closed.

© Uncredit photos from João Fiadeiro.

TECER activities

Real Time Composition, João Fiadeiro / Forum Dança
21 June, 2023

Workshop I
CTR

Introduction to the Real Time Composition practice

21 to 25 of August

It is a “practical” workshop, in the sense that it will be through experimentation that the attendees will access the premises and principles that guide this proposal, but the transmission will be made in a “frame by frame” mode, privileging the detail and the specificity of each tool-concept that sustains the doing-thinking of Real Time Composition.

 

In this regard there will be a special care and attention to the multiple dimensions that compose the body of work of this way of operating, isolating each of its valences through situated exercises (that underline certain aspects of its composition); the presentation and discussion of examples (via videos from the archive and works by other artist-researchers); and diagrams that translate through graphics the way Real Time Composition manifests itself.

João Fiadeiro

Forum Dança | PACAP 5 - João Fiadeiro
João Fiadeiro © Ana Viotti

João Fiadeiro (1965) is a Portuguese performer, choreographer, researcher, teacher and curator.

 

He belongs to the generation of artists who emerged in the late eighties in Portugal and gave rise to the New Portuguese Dance movement.

 

In the 90’ João Fiadeiro studied and practiced intensively Contact-Improvisation which led him to pursue and systematize his own research on improvisation under the designation of Real Time Composition. This research has led him to coordinate workshops in Masters and PhDs programs in several schools and universities throughout the world.

 

He has toured extensively throughout Europe, North America and South America with his solo and group works.

 

His path, whether as a choreographer or performer, as a researcher or curator, was centered on creating conditions for experimentation, laboratory practice and interdisciplinary intersection.

 

This activity was carried out both as part of the management of programming and artistic research projects, which included the Malaposta Cultural Center (1990-95), Espaço Ginjal (1995-1998), Lugar Comum (1999-2000), Espaço A Capital (2000-2002) and by Atelier Re.AL (2004-2019), as well as within the framework of his artistic practice, through creations and research workshops organized around Real Time Composition.

 

Atelier Re.AL was a structure that played a major role in the development of contemporary dance and transdisciplinary initiatives in Portugal.

 

On all these different meeting platforms, João Fiadeiro was always accompanied by artists who actively participated as creators, performers, researchers and programmers, making a decisive contribution to the existence of this project during 30 years of uninterrupted activity.

Real Time Composition, João Fiadeiro / Forum Dança

Performers: Carolina Campos and Daniel Pizamiglio

Informations

Select each of the sections below to learn about all the specifications of the application and selection process.

Who is it for

This cycle of Workshops in Composition in Real Time is made up of two different weeks, each one of them aimed at people with different practices:

 

    • Workshop I / Introduction – artists-researchers with experience in improvisation (in dance, performance, or theater). It is open to anyone but we will prioritise applications from those who have not yet had contact with João Fiadeiro’s Real Time Composition.;

 

    • Workshop II / Immersive Practice – artists-researchers with previous experience with João Fiadeiro’s Real Time Composition.

 

You can apply for the two-week frequency (Introduction and Immersive Practice), or for just one of them (Introduction or Immersive Practice), bearing in mind that:

 

    • Anyone who attends Workshop I / Introduction can later attend Workshop II / Immersive Practice, but must submit now the application for the two weeks;
    • If you already have previous experience with Real Time Compositing (you must indicate in your CV or Motivation Letter where, when and with whom you had this prior contact), you can apply directly for the Workshop II / Immersive Practice.

 

Maximum number of participants: 16 people.

Timetable

Workshop I / Introduction: From the 21st to the 25th of August 2023, from 2:30 pm to 7:30 pm.

Workshop II / Immersive Practice: From August 28th to September 1st, from 2:30 pm to 7:30 pm.

Venue

Forum Dança / Espaço da Penha
Travessa do Calado, 26B
1170-070 Lisboa

Participation fee

    • Until July 15: One week: €90 (ninety euros) / Two weeks: €150 (one hundred and fifty euros);
    • After July 15th: One week: €120 (one hundred and twenty euros) / Two weeks: €180 (one hundred and eighty euros);
    • Discount: 25% discount on the total amount, for people who have already attended any edition of PACAP – Advanced Program for Creation in Performing Arts;
    • Scholarship: A scholarship will be awarded for free attendance of the workshop, to those who provide logistical support to the workshop (opening and closing of doors, preparation of studios, etc.). If you wish to apply for the scholarship, indicate this information in your Motivation Letter.

Applications

The application is made using the form available on this page.

 

You must submit your Curriculum Vitae with updated data and a Letter of Motivation, stating your reasons for attending this workshop (not to exceed one A4 sheet). If you wish to apply for the scholarship, indicate this information in your motivation letter. If you wish to apply for the scholarship, indicate this information in your Motivation Letter.

 

If you are one of the selected persons, only after receiving proof of payment, which you must send to our email, will your registration be considered validated.

Application process

 

      1. Make your application online using the form indicated for this purpose, until the 4th of August;
      2. Do not forget to attach your curriculum vitae and motivation letter in PDF format to the form;
      3. All selected persons will be contacted by the 11th of August;
      4. Wait for our email indicating that you were one of the selected persons, along with the payment instructions;
      5. Proceed to pay your registration, as indicated in the email sent, by the 15th of August;
      6. Send us the respective proof of payment to our email;
      7. Your participation is only validated after receipt of proof of payment.

Application form

All fields are required. You must send your CV and Motivation Letter in “.pdf” format.

Files cannot exceed 1 MB/each.

Do not forget

 

      1. Applications with a submission deadline of August 4th;
      2. Results communicated to all selected persons by August 11;
      3. Payment must be made by August 15th, after completing the selection process and being accepted to the workshop.

Applications are closed.

© Uncredit photos from João Fiadeiro.

TECER activities

ARTE JOVEM 2023
5 June, 2023

Arte Jovem 2023

We return to the summer workshops!

Creative Dance, Artistic Creation Laboratory, Theater and Video for children from 7 to 12 years old.

We return to another Arte Jovem and to the activities that mark the beginning of the summer holidays.

In these artistic ateliers of creative dance, artistic creation lab, theater and video you will: dance, sing, write, play, learn, create, think, interpret and create stories with new friends.

On Friday you can invite all your family and friends to the final presentation of the works developed during the week!

This year’s activities will focus on the book “O Protesto” by Eduarda Lima, published by Orfeu Negro for the Orfeu Mini collection, a story about the impact of human action on the environment.

Arte Jovem 2023 Poster
Arte Jovem 2023 Poster

Program from July 10th to 14th

 

  • Creative Dance, with Carla Ribeiro, from 10:15 am to 11:30 am
  • Artistic Creation Lab, with Márcia Lança, from 11:45 am to 1:00 pm
  • Theater and Video, with Manuela Pedroso and João Pinto, from 2:30 pm to 5:15 pm
  • Final presentation: Friday, July 14th at 5 pm

 

Important informations

 

  • Arte Jovem takes place from the 10th to the 14th of July, with activities between 10:15 and 17:15.
  • The age group of the participants is between 7 and 12 years old.
  • All participants must have completed at least the 1st year of compulsory school education.
  • We welcome participants from 9:30 am and they can stay until 6:30 pm.
  • Every day there will be a break for lunch and play, which takes place between 1:00 pm and 2:30 pm.
  • Participants bring lunch and snacks from home (don’t forget bring cutlery too). Forum Dança ensures the heating of meals and monitoring of children/young people
  • Friday, July 14th at 5:00 pm: invitation to family members to attend the presentation of the work developed throughout the week.

Participation Fee

  • Full day – €130,00
  • Morning periods – €75,00 (midday)
  • Afternoon periods – €75,00 (half-day)

 

Discount

Minus 10% for siblings, residents of Penha de França and Forum Dança students in the current academic year (2022/23).

 

Registration and more information

Registrations are made using the form available on our website (below, on this page) and requests for more information should be sent to our email.

Activities Calendar

10h15 – 11h15
Creative Dance workshop,

With Carla Ribeiro

11h45 – 13h00
Artistic Creation Lab,

With Márcia Lança

LUNCH & PLAY

14h30 – 15h45 / 16h – 17h15
Theater and Video Workshop,

With Manuela Pedroso and João Pinto

10h15 – 11h15
Creative Dance workshop,

With Carla Ribeiro

11h45 – 13h00
Artistic Creation Lab,

With Márcia Lança

LUNCH & PLAY

14h30 – 15h45 / 16h – 17h15
Theater and Video Workshop,

With Manuela Pedroso and João Pinto

10h15 – 11h15
Creative Dance workshop,

With Carla Ribeiro

11h45 – 13h00
Artistic Creation Lab,

With Márcia Lança

LUNCH & PLAY

14h30 – 15h45 / 16h – 17h15
Theater and Video Workshop,

With Manuela Pedroso and João Pinto

10h15 – 11h15
Creative Dance workshop,

With Carla Ribeiro

11h45 – 13h00
Artistic Creation Lab,

With Márcia Lança

LUNCH & PLAY

14h30 – 15h45 / 16h – 17h15
Theater and Video Workshop,

With Manuela Pedroso and João Pinto

10h15 – 11h15
Creative Dance workshop,

With Carla Ribeiro

11h45 – 13h00
Artistic Creation Lab,

With Márcia Lança

LUNCH & PLAY

14h30 – 15h45 / 16h – 17h15
Theater and Video Workshop,

With Manuela Pedroso and João Pinto

17h00
Final presentation to family and friends.

Teachers

Carla Ribeiro

Carla Ribeiro
Carla Ribeiro

Carla Ribeiro starts studying Classical and Modern dance with Igor Ivanoff and Madalena Victorino.

She graduated from Escola Superior de Dança and took the Dança na Comunidade course at Forum Dança. In her further training she works with Carolyn Carlson, Ann Papoulis, Stephanie Skura and Mestre Noro.

As a performer, highlights include shows performed with Olga Roriz Companhia de Dança, Susana Vidal, Marina Nabais Dança, John Mowat, Tânia Carvalho/Aza Companhia, Companhia Paulo Ribeiro, Ricardo Pais, O Útero, Pigeons International, Nuno Carinhas, Teatro O Bando , etc.

In addition to her artistic activity, she teaches Contemporary Dance at Forum Dança and Creative Dance at Colégio Cesário Verde.

As a teacher, she took classes in Contemporary Dance at Forum Dança, Inclusive Dance at Fundação Liga, Creative Dance at Colégio Cesário Verde (and current Cesário Verde International School) and Body Classes at AMA.

João Pinto

Forum Dança - João Pinto
João Pinto

João Pinto (aka PTV), director, editor & image manipulator. Completed the superior film school in 1993. He collaborated with numerous creators in the field of contemporary dance, music, theater and cinema:

Aldara Bizarro, Filipa Francisco, Paulo Ribeiro, Vítor Rua, Nuno Rebelo, Carlos Barreto, Fernando Mora Ramos, Edgar Pêra, Miguel Seabra, among others, promoting their works and signing many original video creations.

He has produced video art projects, documentaries, and music videos. Pioneer of video jamming (VJ) from 1996 to the present day. He participated in educational and innovative Art projects in public schools: Projecto Respira (2009/10) and “Somos Nós” (2021). He has worked on several development projects with minorities (Alkantara Festival and Calouste Gulbenkian Foundation 2008/11), “Nu Kre Bai Na Bu Onda” and “Tapete”. “A Preguiça Ataca?”, documentary complement to the contemporary dance piece (2022). “A Mulher Azul”, directing a short film for RTP Palco (2022).

Manuela Pedroso

Manuela Pedroso
Manuela Pedroso

Manuela Pedroso has a degree in Theatre/Training of Actors and Directors by Escola Superior de Teatro e Cinema, in Lisbon. She attended the Community Dance Monitor Course organized by Forum Dança, in 1992/93.

Since 1986 she works as a professional actress in several theatre companies; Teatro Espaço, Teatro da Malaposta, Teatro do Século, Teatro Meridional, Casa Conveniente, among others; directed by the directors: Águeda Sena, José Martins, Figueira Cid, Rui Mendes, Mário Feliciano, Inês Câmara Pestana, Miguel Seabra, Layla Ripol, Mónica Calle, Inês Barahona, Giacomo Scalisi, Miguel Fragata, João de Brito, and Caroline Bergeron.

She participated as an interpreter in the Dance area in choreographic projects by Margarida Pinto Coelho, Paulo Henrique, and Madalena Victorino.

She has been working since 1991 as a trainer in the field of Theater and Creative Dance with various official entities that promote artistic education in Portugal.

Márcia Lança

Forum Dança | PACAP 5 - Márcia Lança
Márcia Lança

Márcia Lança was born in Beja and lives in Lisbon. In 2008 she founded VAGAR of which she is the artistic director. She has worked as a choreographer and performer in a variety of collaborative settings. She moves in territories where the boundaries between the fictional and the real are tenuous and diffuse. Her interest in the poetic materiality of concrete actions and tasks is at the heart of her creative processes. She is passionate about emerging collective compositions, thinking as action, and situated constructions. More info here

Registration form

About the book

Bookcover O Protesto (The Protest)
Bookcover O Protesto (The Protest)
Buy the book

O Protesto
de Eduarda Lima

 

The birds stopped singing. The cats no longer meowed. And the cows refused to give milk. The animals seemed to have made a pact…

Eduarda Lima’s debut album, O PROTESTO is a silent scream. From the tiny insects to the pets at home, from the virgin forest to our city’s river, silence echoes everywhere. Can you hear? This is a story and a call to unite today against pollution and waste, and to sow what others will later reap.

 

O Protesto, by Eduarda Lima, already has two editions. It was awarded with the following prizes:

 

  • NATIONAL ILLUSTRATION AWARD 2021 | Special Mention
  • BIG ACQUISITION AWARD 2021 | Guimarães Illustration Biennial
  • IMAGE OF THE BOOK | Laureate – Original Picture Book

 

A small animation about the book can be seen here.

 

  • COLECTION Orfeu Mini
  • PUBLISHING YEAR 2.nd EDITION 2022 (1st ed. 2020)
  • PAGE NR. 40
  • FORMAT 22 x 28,6 cm
  • EAN 9789898868824

 

About the author

Eduarda Lima studied architecture and is dedicated to illustration and 2D animation, in an international and award-winning career. In 2019 she participated in the annual exhibition ILUSTRA 33 and her work was selected for the International Meeting of São João da Madeira. More information here.

19 May, 2023

Introductory Workshop
to Sensitive Dance

With Francesca Bertozzi and Claude Coldy

20 to 24 of september 2023

An original somatic movement practice by Claude Coldy

 

This is a workshop for letting us explore the fundamentals of Sensitive Dance, where the relationship with one’s own body and with another person is the central element to the work we will do.

 

Sensitive Dance is a practice which, through conscious movement, leads to greater awareness of oneself, one’s own body, and one’s perceptions and emotions. It is a practice that invites you to listen deeply to your body’s messages, and which gives access to unexpected, spontaneous responses, refreshing them with new qualities and possibilities of movement.

 

This practice proposes to revisit some fundamental stages of evolution through a phylogenetic path, consciously reliving various stages of the process of verticalization of the human being, to rediscover the meaning and potential contained in the form and structure of our bodies. Breathing, seeing, sensitive listening, and touching are some of the practices of Sensitive Dance. They allow us to welcome what is born in the density of our bodies and make its authentic quality tangible.

 

We will be guided to care for and deepen the discovery of movement, to express the dance of the present moment, creating a new language through a dynamic dialogue between breathing, feeling, internal movement and external movement. Sensitive Dance is a fundamental training for building the presence of the performative body, integrating movement and creation practices. It is an invitation to orient oneself in a changing of one’s internal paradigm, in which the performing artist enters full realization of himself through his art. Inhabited in this way, the artistic creation becomes an intimate and timeless space that the artist shares with the public, and to whom he offers his vision and his emotions within the scenic space.

 

Foto © Andrea Macchia

General Information

This Laboratory is being promoted by Francesca Bertozzi and is supported and hosted by Forum Dança.

 

People for whom it is intended: The laboratory is aimed at dance and theatre students and professionals, and people with solid experience in researching movement practices.

 

Maximum number of participants: 20 people.

 

Schedules

  • September 20, 21, 22, from 14:00 to 18:00 (Wednesday to Friday – 12 hours);
  • September 23, 24 from 10 am to 6 pm (Saturday and Sunday – 16 hours)
  • It is mandatory to be available to attend the laboratory every day it takes place – total duration: 28 hours.

 

Fee: 75,00 € (seventy five euros).

Venue: Forum Dança / Espaço da Penha | Travessa do Calado, 26B, 1170-070 Lisboa.

Applications

The application is made using the form available on our website, at the end of this page.

If you are one of the selected people, only after receiving proof of payment, which you must send to our email, will your registration be considered validated.

Application process

  1. Make your application online using the form indicated for this purpose, until the 21st of July;
  2. Do not forget to attach your curriculum vitae in pdf format to the form;
  3. All selected people will be contacted by July 31st;
  4. Wait for our email indicating that you were one of the people selected to attend this lab, along with payment instructions;
  5. Proceed to pay your registration, as indicated in the email sent, by the 7th of August;
  6. Send us the respective proof of payment to our email;
  7. Your participation in the laboratory is only validated after receipt of proof of payment.

Bios

Francesca Bertozzi
Francesca Bertozzi

Francesca Bertozzi. Dancer, performer and trainer. Graduated from the Escola Superior de Dança de Lisboa, in 2004. In 2020, she concluded her training in Sensitive Dance, a method that integrates experiences of conscious movement with elements of osteopathy, in Italy, under the direction of Claude Coldy.

As a dancer and performer, she worked with: Victor Hugo Pontes, Tiago Guedes, Inês Jacques and Mão Morta, Beatriz Cantinho and Ricardo Jacinto, Arte Pública de Beja; Gonçalo Lobato Ferreira; Ana Martins, Dançarte, Maria João Costa Espinho, Linda Valadas.

As an actress and dancer, she performed, in the main role of Inês, the immersive theatre show “E Morreram Felizes Para Sempre” (2015) by Nuno Moreira, staged by Ana Padrão and movement direction by Catarina Trota.

In 2021, she directed a group movement that integrates the performance “In Solitaria” by and with Claudio Gasparotto and musician Fabio Mina.
She is the interpreter and choreographer of the solos: “Naufrago” and “Pensando a Ofélia”. Since 2016 she has been working as a choreographer with the Almada Theatre Company in the plays: “O Feio”,“Noite da Liberdade”, “Bonecos de Luz” and “Migrantes”.

She has collaborated as a trainer with: Ar.Co, Festival Materiais Diverse, F.O.R., Teatro Maria Matos, Inimpetus, Quinta Ten-Chi, among others.
In parallel with her artistic projects, she has been developing pedagogical activities as a trainer, teaching classes and laboratories in contemporary dance, creative dance, movement for actors, somatic movement practices in the studio and in nature.

 

More info at: www.francescabertozzi.weebly.com

Claude Coldy
Claude Coldy

Claude Coldy. Trained from the age of 20 in classical contemporary dance and jazz in Paris, he also trained as an actor and has taken part in various theatre, television, and cinematic performances, as well as participating in international dance festivals.

Since 1982, he has concentrated on choreography and teaching, founding the Arbalete company of Genoa, which toured through Europe. In 1990, he created Sensitive Dance® with Jean Louis and Marie Dupuy, French osteopaths.

He has since dedicated himself to teaching and spreading Sensitive Dance®, mainly in Europe, collaborating with such institutions as L’Arboreto-Teatro Dimora Mondaino, Centro Internazionale per la Danza (CID), ICTGDS Bruxelles, and Wolfagang Universität Essen. He also conducts seminars in the studio and in the middle of nature: in the forest, among olive groves, in the desert, and by the sea. Since 2000, he has been teaching new generations of Sensitive Dance instructors.

 

Mais informações: www.danzasensibile.com

Application form

Registrations are closed.

Palestra "A Minha HistPalestra "A Minha História da Dança", por Ligia Lewis
31 March, 2023

Ligia Lewis

27 April 2023, at 18h30
Palácio Galveias Library – Lisbon
Approximate duration: 2 hours

Free entry, subject to registration.

 

Ligia Lewis (born in the Dominican Republic) lives and works in Berlin. As an experimental choreographer, her work is often marked by physical intensity and humour. In her work, sound and visual metaphors meet the body, materialising the enigmatic, the poetic and the dissonant.

Lewis has received the Tabori Award in the Distinction category (2021); the Foundation for Contemporary Arts Grants award (2018); a Bessie Award for Outstanding Production for minor matter (2017); a Factory artist residency at tanzhaus nrw (2017-19); and a Prix Jardin d ‘Europe from ImPulsTanz for Sorrow Swag (2015).

His work has been presented throughout Europe and in the United States, at venues such as HAU Hebbel am Ufer, in Berlin; Tanzquartier, in Vienna; Arsenic, in Lausanne; MCA – Museum of Contemporary Art, in Chicago; Hammer Museum, in Los Angeles; Walker Art Centre, in Minneapolis; Kaaitheater, in Brussels; High Line Art, in New York; Performance Space, in New York; OGR Turin; Stedelijk, in Amsterdam; TATE Modern, in London, among others.

For more information: www.ligialewis.com

 

Photo © Luis Rodriguez

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