É preciso dançar ou Como fazer acontecer
- Vânia Rovisco
REACTING TO TIME, portugueses na performance, 2017
- Carlota Lagido
1999 (25’ | M/6)
- Sónia Baptista
(10’ | M/6)
- Daniel Pizamiglio
Dança Concreta, 2016
(10’ | M/6)
- Talk with the artists,
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’.