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New-Old Dance: Session at Incubadora d'Artes
Incubadora d'Artes
Masterclass and performances
20 May 2017
4 PM

Third part of the cycle 'New-Old Dance', that will run from February to June 2017, and that proposes to explore the diverse aesthetic and social contexts that have framed Portuguese choreographic production in its recent democratic history.


20 MAY
16:00 - Masterclass, with Verónica Metello: É preciso dançar ou Como fazer acontecer
18:30 - Performances

Vânia Rovisco & Verónica Metello
Reacting to Time, Portuguese in performance, 2017
with the students of the Curso Profissional de Artes do Espetáculo – Interpretação da Escola Secundária Dr. Ginestal Machado.

Carlota Lagido
notforgetnotforgive, 1999

Sónia Baptista
Moustachu, 2002-16

Daniel Pizamiglio
Dança Concreta, 2016

Conversation with the artists: António Olaio, Clara Menéres, Ana Bigotte Vieira, and Verónica Metello


Throughout the 2000s dance practice was heavily shaped by the desire to salvage archives, discourses, aesthetics and corporeality. Since then, there has been a persistent number of re-enactments, revivals and reactivations that reclaim a trans-historical present traversed by memory and reflections concerning its role in contemporary performing arts. This because numerous stories were left untold and many things were left to record, events that are currently perceived by official history as unexpressed counterculture.
In 1984, ten years after the Carnation revolution, António Olaio presented his performance Il faut danser Portugal, which literally translates as Portugal Must Dance. Created a decade before Alexandre Melo questioned the absence of body narratives in Portuguese society, Il faut danser Portugal was already announcing, or asserting, as claimed by researcher and dramaturge André Lepecki, a set of reconfigurations concerning the experience of "national" corporeality. The work by multidisciplinary artist and dancer Vânia Rovisco, associated with a time-reaction-project based on her research on Performance Art in Portugal, predominantly investigates corporeality transmission forms. In this cycle, the artist will transmit Olaio’s performance to the students attending the Vocational Performing Arts Course at Dr. Ginestal Machado Secondary School, and present the results of this experience in the main programme of the cycle. In continuity with the "Portugal Must Dance” motto, the cycle invited three choreographers from distinct generations to establish a reflection concerning the processes of performance in their own practice.
Carlota Lagido, an archive-dancer that has channelled the work of several generations of makers, presents one of her first choreographic experiments, notforgetnotforgive, a site-specific piece created in 1999 for a men’s toilet. Sónia Baptista - choreographer, dancer and writer - revisits one of her haikus (俳句), a short form of Japanese poetry, from her homonymous 2002 performance. Moustachus, The lament of the non-bearded woman or A woman is free to grow her own body hair unavoidably brings to mind Duchamp’s LHOOQ (1919) in which the artist drew a moustache and beard on a reproduction of Leonardo Da Vinci’s Mona Lisa.Lastly, Daniel Pizamiglio, a dancer and choreographer born in Fortaleza (Brazil) and currently based in Lisbon, will present Concrete Dance, his final project at Fórum Dança’s choreographic research program, where he met Vânia Rovisco and Sónia Baptista. The piece evokes key ideas present in concrete poetry and particular ontological concerns associated with the idea of dance as an ephemeral event. The above program will be accompanied by a lecture on the history of Performance Art in Portugal given by researcher Verónica Metello, which will also involve an extended debate with several guests, including two key figures of this movement - António Olaio and Clara Menéres - concerning the heterogonous nature of the concepts ‘dance’ and ‘performance’.



About this cycle:

NEW—OLD DANCE is a 5-month long cycle of performances, exhibitions, talks and workshops that will parasitize Santarém's cultural activity. The programme of events, organized by local cultural association 'Parasita', takes advantage of several existing institutions and resources in the city. Although events will be held at Sá da Bandeira Theatre and INcubadora d'Artes, as part of the project’s contribution towards a widespread access to the arts, the cycle will also extend its activities to involve Dr. Ginestal Machado Secondary School through a pedagogical programme.

Taking place from February to June 2017, the cycle proposes to explore the diverse aesthetic and social contexts that have framed Portuguese choreographic production in its recent democratic history. Although the cycle presents pivotal works from the New Portuguese Dance movement (1980s/90s), it simultaneously supports contemporary production by showing productions done in the last decade by a generation of choreographers working predominantly in the independentscene.

In parallel to the above programme, the theatre’s Gallery will host the exhibition/installation “A Timeline To Be”, a singular exercise of periodization and collective mapping concerning dance as an artistic practice in Portugal during the second half of the 20th century. Under the guise of various conversations and performative activations of the chronological apparatus, this project complements the overall cycle with a discursive content that generates a bridge between ways of seeing and doing.

NEW—OLD DANCE intersects research, transmission and creation, resulting in a privileged moment to closely observe the contemporary panorama of Portuguese dance, questioning both the past and present of that practice.


See the full programme for this cycle HERE (PDF).