RETURN TO PALESTINE | Freedom Theatre - palestine | 13 apr | 9.30pm
Cine-teatro Louletano | 60 minutes | over 12 | price 5€ | information and reservations 289 414 604
is the result of true story sharing, of testimonies in a sarcastic, comic and tragic style, told by the inhabitants of refugee camps. It is a way of reporting that helps in resist segregation, and the harshness it is to live under the Israeli occupation in Palestine, an “out of this world” reality.
Jad, a Palestinian born in America, decides to go to Palestine for the first time in his life. Wanting to know more about his people and identity, he finds out that reality is very different from what he has seen in the news. Return to Palestine is directed by Micaela Miranda and devised together with an ensemble of graduated students of The Freedom Theatre School. It was created after extensive story-gathering through playback theatre with the communities engaged in The Freedom Theatre’s annual Freedom Ride. The play includes stories from Jenin refugee camp and city, Fasayel, Dheisheh refugee camp, Mufaqara and Gaza. In a sarcastic, comic and tragic style, the actors create the physical and emotional space they live in with their bodies on a very small stage – as small as Palestine.
director and dramaturg Micaela Miranda
artistic advisor Nabil Al-Raee
music consultant Antonio Serginho
europe tour coordinator Andy Cummins
playback theatre tutor Ben Rivers
producer Mustafa Sheta
cast Ahmed Tobasi, Amir Abu Al Rob, Ihab Talahmeh, Motaz Malhees, Raneen Odeh, Samah Mahmoud
musicians Samer Abu Hantash & Nabil Al-Raee
technical & logistical Adnan Naghnaghiye
theatre
Bruno Vieira Amaral
writing
Fidel Évora
digital drawing
Teresa Férin
reading
ROMNIA | Belén Maya - spain | 14 apr | 9.30pm | Teatro das Figuras
60 minutes | over 12 | price 7€ | information and reservations 289 888 110
to be a gipsy woman (“Romania”) is to be doubly segregated. To the sound of a vigorous soundtrack, which was the starting point of this creation, one speaks on slavery, Holocaust, ethnic cleansing, forced sterilization and dance. There is a lot of dancing, with the joy of the resistant.
Romnia, women, in Romany, is a celebration of Gypsyness, without feeling victimized, but with a sometimes compassionate, sometimes joyful look at the plight of women, whose courage to survive
has led them to a new ethical and aesthetic commitment. In Romnia we have the Romany biophilia,
the “duquelas" (sorrows), the historic cold, the pain and the joy of the future of the Romany people, through the women who have so often been and continue to be doubly discriminated against:
Gypsy women who are still suffering, fighting, singing and dancing. Belén Maya has done a retro-progressive artistic exercise: her movements –her roots and her wings- are simultaneously going back
to the beginnings and towards the future. And she is, dancing alone, paradoxically more Belén Maya than ever before, being many women at the same time: the “romnia” to be and the ones who have been andwhoselaughter and mourninghave become movement and beauty. The music of the
Romany people of Eastern Europe, the a cappella singing of an old Gypsy woman or the latest electronic sounds, lead the artist, who doesn’t believe that there is a “women art”, to refine and universalize the ethnic and the female in a transforming catharsis and an initiatory experience for
this shared journey towards her Gypsyness.
Joaquín López Bustamante
choreography and interpretation Belén Maya
choreography of the piece Asfalt Tango Israel Galván
original idea and musical direction Joaquín López Bustamante
scenic direction Marilia Samper
light design Ana Yacobi
costume design Belén Maya
tailoring Andrés González and Macarena Hernández
technitian on tour Ana Yacobi, Carmen Mori
press Manuel Moraga
production director Guiomar Fernández Troncoso
production assistant José Manuel Navarro
booking Pablo Leira
produced by Compañía Belén Maya
distributes Endirecto FT S.L.
thanks to Javier Centeno and Maritxell Yanes
dance
28 apr |9.30pm | Cine-teatro Louletano
60 minutes | over 12 | price 5€ | information and reservations 289 414 604
FIEND | Tim Casson - united kingdom
ATTRACTION | Cie Kham - laos. france
It is a surprisingly solo that draws inspiration from Nijinsky’s L’après-midi d’un faune. It is as disconcerting as it is poetic. It works as a mirror, a game of doubles, drawing from digital and new technologies, where real and imaginary, memory and magic come across...It is a unique opportunity! Using Nijinsky's 'Afternoon of a Faun' as a starting point, Fiend is a solo performance exploring how we connect, how we see and how we are seen. A collaboration between dance artist Tim Casson and video technician Tom Butterworth, Fiend, uses innovative manipulation of live video to reveal a magical world where the performer is multiplied. His actions relocated in time and re-told in new contexts, Fiend reveals a very human character, searching for connection in his virtual world.
performer Tim Casson
computer programming and operation Tom Butterworth
music Called Debussy and Jamie McCarthy
costumes Jay Barry Matthews
lighting David Salter
photography Alisa Boanta
supported by dancedigital & University of Bedfordshire, Greenwich Dance,
DanceEast Jasmin Vardimon Company and Arts Council England
dance
FIEND | Tim Casson - united kingdom
ATTRACTION | Cie Kham - laos. france
the de-multiplied image of the performer projected on screen in real time, with resource to new technologies, becomes an extension of the movement he produces, it works as a reverberation,
an “attraction” to our senses where west and east come across in each movement.
the confluence between two arts, dance and digitals arts. An interactive union where the movement create the image, where the video inspires the dance. A match around Southeast Asia, from its traditionnals arts (dances, music, masks) to the rice field work, flowing by hip hop and contemporary dance technics, and generative graphic creations offered by new technologies. A story, a balancing game built between the choreographer and the digital artist, between performance and visual arts, between natural and urban, between tradition and modernity. They suggest an oeniric atmosphered journey, at the heart of a personal quest on the origins, the forces involved in the universe and on ATTRACTIONs reign over our faiths.
choreographer & performer Olé Khamchanla
vjing VJ ZERO – Rochel Mancip
music Léo Jourdain
light Jessica Farinet
production KHAM
support Drac et Région Auvergne Rhône Alpes, Département de la Drôme,
Communauté de Communes de Porte DrômArdèche
dance
LIBERTAÇÃO | Hotel Europa - portugal | 4 may | 9.30pm | Cine-teatro Louletano
90 minutes | over 14 | pice 5€ | information and reservations 289 414 604
it is a journey into the traumatic years of colonial war, into Overseas’ discourses, archives and memories. It is talking about colonialism, about defeat, about segregation and liberty. ⁃ It is talking of an otherwise unspeakable Portugal. the performance Liberation (original title: Libertação) addresses the most traumatic issue of Portuguese recent colonial history: the wars of independence in Africa. This performance looks at these historical events from the point of view of the African freedom fighters and their actions in Angola, Guinea-Bissau and Mozambique. It also discusses the impact that these wars had on the Portuguese fascist regime - Estado Novo (New State) that led to the downfall of the dictatorship. The performance is devised from the real live testimonies of ex-soldiers of the wars, interwoven with material extracted from a rigorous archival research on this subject and also analyzing the political discourses from the sides of the war, particularly at the speeches of António Oliveira Salazar, Amílcar Cabral, Marcello Caetano, Eduardo Mondelane, Agostinho Cabral, Holden Roberto, Jonas Savimbi, Samora Machel. Liberation reflects upon the post memory transmitted across generations and analyses how colonialismo is seen today.
devised and directed André Amálio
co-devised movement Tereza Havlíčková
performers André Amálio, Lucilia Raimundo, Nelson Makossa
dj Nelson Makossa
light design Joaquim Madaíl
set design and costumes Maria João Castelo
production Hotel Europa
co-production Maria Matos Teatro Municipal
Liberation is a project financed by Governo de Portugal - Ministério de Estado da Cultura | DGArtes support to the artistic residency Alkantara, O Espaço do Tempo, DeVIR/CaPA, LARGO Residências
theatre
ONE STEP BEFORE THE FALL | Spitfire Company & Damúza - czech republic
5 may | 9.30pm | Teatro das Figuras
50 minutes | over 12 | price 7€ | information and reservations 289 888 110
in a boxing ring, a powerful dance accompanied by live music deals with a kind of segregation that
is as violent as it is uncontrollable: the body v. the disease. Human suffering and hope associated with winning are present in “a step before the fall”,
a creation dedicated to Muhammad Ali and to all those who fight. a hypnotic wave of voice and sound by Lenka Dusilová and powerful dance by Markéta Vacovská converge in a single moment in the boxing ring. This multi-genre project deals with the themes of fighting, exhaustion, the symptoms of Parkinson's Disease, and collapse. Dancer Markéta Vacovská performs an extraordinarily captivating solo and to the live ethereal vocal and devastating guitar of singer Lenka Dusilová, winner of several Czech Grammy awards. The character of Ali and his fight against an incurable disease is, however,
just an initial metaphor where the spectators can place their own opponent, be it illness, tragic death, gender, social or racial limitations. The resulting work is primarily about human suffering and the associated hope in victory. The archetypal nature of Ali's struggle, in terms of the content of the performance, becomes a symbol of human destiny. "Thanks to this performance, I realized that under certain circumstances, raising a glass of water gets to the level of an epic tragedy," says Petr Boháč,
the art director of Spitfire Company. One Step Before the Fall is approaching 100 reprises, has been seen by audiences from Stockholm and Barcelona to Beijing and has been awarded several accolades, such as The Herald Angel Award, TOP 10 Aerowaves Priority Companies, DNA Award and Czech Dance Platform Award. “Float like a butterfly, sting like a bee. The hands can't hit what the eyes can't see.” - Muhammad Ali. Dedicated to Muhammad Ali and all the fighters around us.
concept and direction by Petr Boháč
choreography Markéta Vacovská
dance Markéta Vacovská
music, vocals Lenka Dusilová
scenography Petr Boháč, Jeník Bubal
light design Martin Špetlík
producers Tereza Havlíčková, Barbora Kalinová
production Studio Damúza o.s., Bezhlaví o.s.
co-producers UFFO – SCT, Experimental Venue Roxy / NoD
dance
Slave reminds us that what once was, and we thought it was forgotten, still is. We are absurdly forced to revisit the past, which we thought “dead”, in the daily news that are brought to us from the most different geographies. The 2016 Global Slavery Index report accounts for 45,8 million people enslaved all over the world.
We ask ourselves what our place in today’s society is, and look for a meaning to life, and for answers that are beyond the individual self. One can lose one’s self in a swirl of seemingly intricate, absurde or cynical values and ideologies. Our century’s youth may find some answers in the past, and make of History a form of representation for the experiences of mankind. The main difficulty dwells in accepting this heritage, and making it one’s own. Thus begins the struggle.
The white man’s responsabilities often catch up with his resistance, and weighs heavily on his shoulders, like a long- forgotten debt. Man’s alienation repeats itself, each of us is responsible for our acts and their consequences, as if there was no stopping violence and each of us was to become the lonely bearer of a history we cannot free ourselves from.
choreography David Llari
performance Thomas Barbarisi
music Franck II Louise || Konnecting Souls
light design Didier Le Marec
lights Laurent Verite
18 may | 9.30pm | CAPa Centro de Artes Performativas do Algarve
70 minutes | over 12 | price 6€ | information and reservations 289 828 784
19 mayi | 21h30 | Centro Cultural de Lagos
70 minutes | over 12 | price 6€ | information and reservations 282 770 450
SLAVE | Cie Sun of Shade france
Gula Bird | Vincent Mantsóe south africa
Ani-Ma | Roni Chadash israel
Goofy | Roni Chadash israel
dance
Slave | Cie Sun of Shade france
Gula Bird | Vincent Mantsóe south africa
ANI-MA | Roni Chadash israel
Goofy | Roni Chadash israel
dance
Slave | Cie Sun of Shade france
GULA BIRD | Vincent Mantsoe south africa
Ani-Ma | Roni Chadash israel
Goofy | Roni Chadash israel
Gula was drawn from Vincent Mantsoé’s memories. The freedom of the birds in Soweto, one of Johannesburg’s largest neighborhoods, a symbol of the apartheid, a synonym of racial segregation, was in contrast with the condition of many of those fighting the regime that was in force between 1948 and 1994. Unreal! Deserving of the many awards and all the distinctions that were attributed to it.
This work was nominated and won the FNB VITA Choreography Award in 1993. The work was extended to a group piece, Gula Matari, which won 1st Prize at the 1st Dance Encounters of Contemporary African Dance in Luanda, Angola 1995. In 1996 the extended work won the Prix d'auteur du Conseil Général de Seine-Saint Denis at the Vth Rencontres Choregraphiques Internationales de Seine-Saint- Denis (France). When it was performed in Abidjan at MASA 99, the press said the following: "Masterpiece of the company, "Gula Matari" ("The Birds") choreographed by the Associate artistic director and fabulous dancer Vincent S.K.Mantsoe makes each dancer into a bird-being. One can only be fascinated by the simplicity and the accuracy of their disjointed and staccato gestures and by one of the most beautiful solos of the global contemporary repertoire" Ayoko Mensah, Africultures.
A man turns as a Bird and the Bird turns to a man, Birds are an eternal source of inspiration. They fascinate us not only with their flight, but also their distinctive body language, the consonance of their sounds with nature, their precious harmony and restlessness. All this is captured in the masterful solo GULA. "It is a distillation of an avian spirit in which rapid head turns, rippling fingers like wind-blown feathers, thigh slaps and crouching leaps remind one most of the pent up power of an eagle." Mr. Mantsoe performed and still perform the solo Gula in many countries, for schools’ outreach projects and matured audience.
choreography Vincent Sekwati Koko Mantsoe
performed by Vincent S.K.Mantsoe
music Gabrielle Roth and The Mirrors
costumes Vincent S.K.Mantsoe
dance
there is a true will for transformation in this creation, much like Fernando Pessoa’s poem that originated it. It’s like magically inverted, producing twisted images and entangled movements to get to another body, to another place.
"I try to shed what I’ve learned,
I try to forget the way I was taught to remember,
And scrape off the ink they painted my senses with,
Unpack my true emotions,
Unwrap myself to be me,
A human animal created by nature"
Fernando Pessoa
Fernando Pessoa
choreography & performance Roni Chadash
music Raime, Bohern & Der Club Of Gore
custome Jul Davidovich
set Miki Patish, Guy Moses
Slave | Cie Sun of Shade france
Gula Bird | Vincent Mantsóe south africa
Ani-ma | Roni Chadash israel
GOOFY | Roni Chadash israel
in Goofy there is a feminine body with no identity, conditioned, segregated, tense, articulated, that exposes itself and shuts itself down. It is a truly surprising creation, translated into a very powerful performance, raw and intense, subtle, intelligent, and irrepressible.
"To the woman he said... and your desire shall be to your husband, and he shall rule over you." Genesis 3:16
‘Goofy’ in Hebrew means MY body. I wanted to raise a question mark on that, and check if we could really own our bodies. In our modern reality, where people are treating each other like a piece of meat, it becomes even more relevant to me. ‘Goofy’, is an attempt to understand how a body can lose its innocence, and how something so amorphous can transform into the known and common creature called “A WOMAN”.
choreography & performance Roni Chadash
lighting design Amir Castro
rehearsal manager Dana Shoval
set Adam Gorlizki
music Arvo Part, Nicolas Jaar, Chopin
dance
Dulce Maria Cardoso
writing
Manuela Pimentel
illustration
Teresa Férin
reading
18 may | 9.30pm | CAPa Centro de Artes Performativas do Algarve
19 may | 9.30pm | Centro Cultural de Lagos
João Pinto Coelho
writing
JAS
illustration
Teresa Férin
reading
BROTHER | Marco da Silva Ferreira - portugal
25 may | 9.30pm | Cine-teatro Louletano
60 minutes | over 16 | price 5€ | information and reservations 289 414 604
Brother is also a bother. A common beat attempt, a feeling of belonging and affection, an echo of external forces and deep down an assumed frailty by the acknowledgement of loss and finitude. Yellow houses, bodies in sync and a lot of movement. A lot of beat and a movement that spreads and infects those who watch and those who produce it. Is a creation for 7 performes which establishes a complementarity relation with the previous work HU(R)MANO. On both, the focus is the dance that exists in a group context, however, they detach from each other in the temporal references and composition process. In brother I look for a common ancestrality and I research for affinity and similarity points which survived through generational transfer and are still reminiscent in the bodies and in the nowadays dance. What do we look for together through dance? Brother is choreographed by a constant mimecry between the performers that are the generators of movement, behaviors and patherns. Non-verbal vocabulary appears and over time, it becomes regenerated and transformed by the individual commitment or unlocker manifestations. Movable bridges emerge and fade away between the now and the faraway. At the macroscale it is a thought about heritage, memory, codes, learning and transmission processes. Brother is also a “bother”. An attempt of a common pump, a feeling of belonging and affection, an eco of an outsider force, and indeed an assumed fragility by the finitude and loss statement. An overnight stay for this place which it is done by doing.
artistic direction and choreography Marco da Silva Ferreira
artistic assistance Mara Andrade
performers Anaísa Lopes, Cristina Planas Leitão, André Cabral, Marco da Silva Ferreira, Vítor Fontes, Filipe Caldeira, Max Makowski
technical direction and light design Wilma Moutinho
musicians (live act) Rui Lima e Sérgio Martins
technical operation Cláudia Valente
executive producer Célia Machado
production Pensamento avulso, associação de artes performativas
partners (residencies) Centro cultural Vila-Flor, o espaço do tempo, Quinta do Rio
coproduction Teatro Municipal do Porto (PT); Teatro Municipal São Luiz (PT)
Centre Choéographique National de Rillieux-la-Pape | Direction yuval Pick (FR)