Beatriz Baião, 2001, Setúbal. She began her artistic life with ballet classes at Vitória FC’s gymnastics centre, where she stayed for 8 years.

However, the search for something more led her to the theatre.

With a degree in Theatre from the Caldas da Rainha School of Arts and Design, she is now looking to discover herself more and more as an actress/dancer, director and perhaps artist.

Carlota Mantecón (Tenerife, Spain).

In my artistic practice I relate to the sound or the tactile, developing somatic and perceptive sensitivities as a starting point from which to explore other ways of coexisting.

I fabulate with choreographies between the singular and the plural, in an attempt to displace the normative individualistic gaze.

Damien Najean. Trained as an architect, I turned away from conventional project management to seek alternative paths in architecture.

Joining architectural collectives, I experimented various connections between architecture, urban planning, events and open construction sites.

Learning raw earth masonry enabled me to link the hand that designs to the hand that builds, while integrating a criticism of relationships of domination.

Today I’m convinced that it’s through dance that I can connect and makes my approaches of architecture evolves in order to nourish a freedom that takes power over our livelihoods and interdependencies.

With background studies in dance and architecture, Giulia Romitelli is fascinated by merging movement, visual, and plastic arts.

Her current research delves into the body as a repository of memories and probes the existential features of humankind.

Guillermina Gancio Bertoletti. Born in Uruguay in 1994. Graduated from the National School of Dance of Uruguay in its contemporary dance division.

She has participated in seminars with national and foreign artists.

She works as a teacher and choreographer with children, young people and adults; as a photographer of scenic projects, and since 2013, she has been working professionally as a performer of pieces that combine dance and performance.

Hernie Harmon is a multidimensional artist, exploring life through the expressive body of performance, nature and Butoh.

Jakob von Kietzell is a multidisciplinary creative at the intersection of movement, visual arts, and design, based in Berlin and around Europe.

He is passionate about cross-collaborations, exploring human interactions and site-specific work.

Joana Duvet began in visual arts at the Artistic School António Arroio.

Later, curious about textile plasticity, she dedicated herself to handcrafted embroidery at the Royal School of Needlework.

In Portugal, Joana graduated in fashion and textile design.

Her fascination with dance led her to classical ballet and contemporary dance.

Currently, she explores body practices.

Katerina Giannouli (she/her) is a performance artist and choreographer based in Athens. She has graduated in Psychology (UK) and Dance Studies (Greece).

Her artistic practice is often fueled by introspection and personal challenges, interweaving autobiographical elements to deepen her exploration of the self and the threshold between the personal and the collective. Her thematic explorations include among others, internal dialogues on fear and loss, the complex process of transformation, and the delicate interplay between pleasure, intimacy, and the struggles of caregiving. In crafting her creative vision, she utilizes a variety of tools and media, such as the body and its senses, movement, found objects, writing, and drawing. In her choreographies, she frequently integrates elements of repetition, linearity, and bouncing to establish structure and rhythm.

She is a founding member of M54 Collective, an independent space that aims to support the Athenian dance community and art scene, by hosting performances, workshops, and interdisciplinary art projects.

As an independent artist, she has choreographed and performed in solo pieces and duets, while also presenting site-specific and improvisational performances. Namely, 4/1 Capriccio (2015), Lamento (2016), Moving Sound (2017), Red Ghost (2018), Having One No Idea (2018), and The Other Things That You Say (2018).

Αs a member of the Underscore Collective, an independent dance group, she has collaborated on research projects, such as Open Field (2021) and Caring as Pleasure: Brush Me Before I Go To Bed (2022).

As a teacher, she delivers improvisation classes. Through this shared experience she aims to empower participants to develop their connection to their bodies, self-expression, and each other.

I am dedicated to creation, production, and performance, actively participating in various projects and collectives in Montevideo, such as TIGRE, HYPED, RAREO, among others.

My explorations are influenced by music, celebration, and sensitive experiences.

My creative process unfolds through collaboration, curiosity, discovery, and intuition, engaging in artistic endeavours that manipulate ideas to create scenic experiences and foster communal interactions.

I am part of the FIDCU team and firmly believe that art is a state of encounter – a way for me to connect with others.

When I create, I engage in a dialogue with my inner darkness, beasts, and places. I pour myself into the performance, allowing what moves me to manifest.

Marina de Moraes. Artist and Researcher in the Arts of the Body, with an emphasis on Creation Processes and Dramaturgies in Dance and Decolonial, Feminist and Political-Cognitive Studies.

She currently is studying for a master’s degree in Dance at PRODAN-UFBA in the line of Artistic Experiences, Production and Management in Dance, where her research has been awarded a Fabesp research grant and also a PIBEXA 2023 notice (for the production of the piece she has been developing); she has a degree in Visual Arts from the Institute of Arts – UFRGS, and has undertaken ANDIFES academic mobility in Visual Arts at the Centre for Art, Humanities and Letters – UFRB.

Marusya Byzova (born in 1998) was raised in Saint Petersburg, Russia, before moving to Yerevan, Armenia, in 2022.

A dancer and performer with diverse backgrounds, she began with ballroom dance competitions, then explored contemporary dance, theatre, somatic practices, and vogue.

Over the past year, ballroom culture has been a significant influence and main focus for her.

Maria holds a BA degree in architectural environment design (2016-2021).

Currently, she is intrigued by exploring movement through an ironic lens, incorporating elements of games, pop-culture references, and personal memories into her artistic expression.

Maud Buckenmeyer (France, 1996) navigates through different performative layers and mediums in order to create narrations where dance, storytelling, voicing and burlesque can merge.

She is dealing with the topics of loss and grief and is interested in dance as a place of invocation and imaginary.

She studied literature, theatre, and clown before graduating from the inter-university of dance in Berlin (HZT) in July 2022.

Minjin Lee (1995) is a dance artist based in Seoul, Korea. After finishing her studies in dance at Kookmin University, she started her practice as a dancer by performing with Lee K. Dance company. She also collaborated in depth with choreographers such as Lyon Eun Kwon (KR) and Mårten Spångberg(SE).

Recently her research is about the authorship of dance and body as a political statement. Based on her experience and memories as a dancer and a performer, she is reinvestigating the role and the position of being a dancer as a mediator between the viewer (audience, choreographer and more) and the dance itself, which no one owns and cannot be owned.

She explores dancing with (the) others to capture the moment when the dynamic of hierarchy reverses in the process of making dance.

She also cofounded Femifloor, which is a feminist community organization based in Seoul. We organize events such as lectures, workshops, and festivals to create a continuous discourse of feminism within the dance scene in Korea.

Renan Capivara (Brazil, 1993) is a body and stage artist, yoga instructor and dancer with a degree in Dance Education from the Federal University of Ceará (BR).

He directs his research, creation, and pedagogical sharing around the body in movement, states of presence and dramaturgical composition.

He works on creative projects of collective and solo authorship that focus on choreographic research, bodily practices, and imaginative and fictional elaborations.

Sèrge, Sérgio Diogo Matias (1985) began his studies in the visual arts and in 2008 and 2010 he took a degree in Interpretation/Creation at the Escola Superior de Dança.In the final year of his degree, he attended the ArteZ Hogeeschool in Arnhem on an Erasmus scholarship. In 2013/2014 he took the Forum Dança PEPCC course.

As a performer, he has collaborated with Amélia Bentes, Miguel Pereira, Ballet Contemporâneo do Norte, Vânia Rovisco and Henrique Furtado, among others.

His creations and collaborations include Insólido (2014), MASS|MESS (2018), GEMINIS (2019) and LOOP (2019).

During 2020/2021 he was a student on the Composition and Musical Performance course at Restart, which culminated in the presentation/concert of the original themes developed during the course.

In 2023 he played the role of Mário de Sá Carneiro in the play “A Morte do Corvo”, directed by Nuno Moreira, with actors by Ana Padrão and choreography by Bruno Rodrigues.

He is currently a student on the PACAP7 course, directed by Miguel Pereira and Nuno Lucas, at FORUM DANÇA.