Dance and Music: The 21^st Century Direction.

Manjunan Gnanaratnam.

Brief:

The Avant-Garde of any art form is spearheaded by its Artists, and then documented by its Scholars, Theorists & Historians. During the 20^th Century, Dance [Concert Dance], with the Kinesthetic Body as its instrument, Deconstruction as its primary process for investigations, Movement Vocabulary as its language, and Choreography as its creative outlet, examined its inherent Multi-Disciplinary identity extensively resulting in the development of Modern Dance, followed by Post-Modern Dance, leading us into the 21^st Century. Music/Sound, an integral component of this Multi-Disciplinary identity of Dance, negotiated these developments through both period’s into the latter part of the last century establishing a direction in Music that is now specific to Dance. However Scholars and Theorists on this are yet to emerge, leaving the discourse on the subject to those from both Music and Dance fields to collaborate on viewpoints when called upon, deferring to each other for conclusions. Hence, until Dance Music Theorists and Scholars emerge, those who don’t have to collaborate on the subject for analysis, my below diagram, incorporating Yvonne Rainer’s from 1980, reflects the extensive developments in this collaborative art form of Dance and Music that occurred during the 20^th century, beyond the situational Micro Cycles of Limited Affect/Effect through the ubiquitous, conventional Dance and Music collaborations, to the extensive Macro Cycles of Complex Affect/Effect of the feedback loops and pathways of symbiotic artistic flow of influence, and of extensive Multi-Disciplinary explorations that occurred between some of the critical figures from both Music and Dance. This in turn influenced both art forms, including extending the creative capabilities of the Artists beyond the conventional practices of their Art, while establishing a specific, complex lineage and practice of Dance Music and pointing to where future directions of it will come from. The discourse on this specific subject doesn’t have to begin at point A, it can continue from point R..

 ©2019. Manjunan Gnanaratnam

Link: 9 Evenings

Original Post: https://www.linkedin.com/posts/manjunan-gnanaratnam_it-has-been-50-years-since-the-landmark-activity-6555114958806401024-CEGd

Call for Provocations & Panelists: 

What aspects of your practice/research are invisible to your collaborators? 

Extended Deadline for Panelists: October 5th, 2019

Extended Deadline for Provocations shared at MOCO: October 9th, 2019

Provocations are also accepted on a rolling basis, before, during, and following MOCO 2019.

We invite succinct provocations addressing the above question from diverse perspectives. We want to hear from artists and scientists, philosophers and robots, professionals and students, and everyone in between and beyond. 

The goal of the provocations is to incite dialogue about the ways in which tension within collaborative and cross-disciplinary work can be at once challenging and generative. We aim to draw out and mobilize critical differences between the motives and methods of various disciplinary communities as a source of mutual inspiration and innovation. 

Provocations may take a range of forms (text, images, audio, video, etc.), and should be max 250 words or 60 seconds for time-based media. Co-authored and multilingual provocations are encouraged, and multiple submissions are welcome.  All provocations will be posted online (moco19.provocations.online) and shared  via social media platforms on a rolling basis. Provocations submitted in advance of September 30, 2019 will also be shared in the context of the Conference on Movement and Computing (MOCO) 2019 to take place in Tempe, Arizona from October 10-12, 2019. 

Those who plan to attend MOCO 2019 may also indicate their interest in being selected to participate in a 90-minute panel discussion on “Generative tension in cross-disciplinary collaboration” during the conference. Following MOCO 2019, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please see the Call for Panelists, and  submit your provocation by September 30, 2019. 

In the provocations, as well as the panel, contributors are asked to draw on their own experiences to address questions such as:

• What is included and excluded, intentionally or not, from the representations of time, movement, bodies, interaction, gestures, etc. which are integral to your practice/research? In what ways do these exclusions matter to you?
• How does that which is invisible or excluded also iteratively shape your practice with regard to movement and computing?
• Who gets to claim expertise and ownership of knowledge and know-how related to movement versus computing—or alternately, in both areas—and what are the implications of acting as a representative of your disciplinary community in a cross-disciplinary context?
• What is the role of collaboration, both implicit and explicit, in projects related to movement and computing? In past MOCO proceedings, who becomes implicated (beyond stated authors and participants) in papers related to transmitting choreographic knowledge, producing software platforms to support learning in dance and music, and movement analysis more broadly?

For further thematic guidance, please see the Extended Abstract: http://www.moco19.provocations.online/abstract.

If you have any questions, please contact Jessica Rajko, Teoma Naccarato and John MacCallum at: moco19.provocations@gmail.com

Submit your provocation here: https://forms.gle/B484eGpmEvMVrMvn7

For more, visit:

http://www.moco19.provocations.online/

Hi!

Its been a while, but I wanted to share the link to download this past year's Contemporary Performance Almanac 2018. The Contemporary Performance Almanac 2018 is a crowd-funded and open-source overview of contemporary performance created or presented during the 2017/18 season available for touring now.

Here is the link!

https://contemporaryperformance.com/2019/04/09/free-download-contemporary-performance-almanac-2018/

Best,

Caden Manson

============================

Big Art Group

Contemporary Performance Network

Special Effects Festival

============================

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Bad Resume Objective Samples

Obtain a challenging customer service position at a progressive company where I can advance to more rewarding positions.

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Purpose of the Resume Objective Statement

The objective statement is your chance to tell your potential employer how your goals align with theirs. Sure you can use it to give them an idea of what your own goals are but you want to keep the focus on them.

Read the samples above again. Do you see anything in those statements that benefit the company? No. It's all about the job seeker and what they want.

https://vimeo.com/300041122

Thanks to Dancing Opportunities I'm happy we have been selected to FIDCDMX (Mexico City)

with my last work The Rebellious Body (Connecting Fingers Company)interpreted by Nicola Campanelli.

You can read the entire article here:

Call for Provocations: What escapes computation in interactive Performance?

SUBMIT A PROVOCATION - OPEN TO EVERYONE!

We are inviting short, succinct provocations addressing a question of vital importance to those interested in the intersection of movement and computing: What escapes computation in interactive performance? All provocations will be posted online in advance of the Conference on Movement and Computing (MOCO) from June 28-30, 2018 in Genoa, Italy, and will serve as the basis for a panel discussion at the conference.

We encourage submissions from professionals and students, artists and scientists, philosophers and robots, and everyone in between and beyond.  You are welcome to submit a provocation regardless of plans to attend MOCO 2018. ALL PROVOCATIONS WILL BE SHARED ONLINE.

The provocation should be max 250 words or 60 seconds for time-based media (e.g. video, audio, slides, ?). If you wish to include media other than text, files up to 100MB can uploaded via the google form: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1.

Those who do plan to attend MOCO may indicate their interest in being selected to participate in a 60-minute interdisciplinary panel during the conference. Following MOCO, we plan to invite submissions for a peer-reviewed publication that elaborates themes from the event. If you wish to be considered as a panelist, please submit a provocation by June 15th, 2018. Additional provocations will be accepted on an ongoing basis, leading up to and following MOCO 2018.

SUGGESTED TOPICS:

Contributors may wish to consider ways in which bodies, gestures, movements, and interactions are described, inscribed, and prescribed via:

• the design of hardware and software for interaction;

• interaction mappings that generate sonification, bio-feedback, and bio-control (including with machine learning and artificial intelligence); and

• choreographic and compositional approaches to interaction design.

We are interested in diverse disciplinary motives, methods, and modes of articulation on this topic. EVERYONE IS WELCOME TO SUBMIT, regardless of disciplinary background, plans to attend MOCO 2018, or interest in being a panelist. For further thematic guidance, please read the full panel abstract.

BE A PANELIST @ MOCO - SUBMIT A PROVOCATION BY JUNE 15!

Building from these provocations, at MOCO 2018 choreographer Teoma Naccarato and composer John MacCallum will host a 60-minute interdisciplinary panel to probe aspects of movement that escape computation in performances with sensor technology, and ask if, and if so, how and why these exclusions matter differently to different communities. The panelists will be selected based on their provocations, with emphasis on: highlighting a range of disciplinary perspectives; demonstrated depth of engagement with the theme; and attendance at MOCO 2018. The panelists will be asked to take part in an email exchange, and in a video call with the convenors in advance of the conference. The panel is scheduled for Friday June 29th from 10:15-11:15 am.

***

SUBMIT A PROVOCATION HERE: https://goo.gl/forms/wZ6Ed1gkWT0QrpYu1

VISIT THE PROVOCATIONS BLOG: https://moco18provocations.wordpress.com/

If you have any questions, please contact Teoma Naccarato and John MacCallum at: moco2018.provocations@gmail.com

Call for Provocations:

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Also seeking submissions that consider dance, media and disembodiment....

Call for Papers: SLSA 2018 (Toronto) PANEL: The Disembodied Woman in Digital Art and Culture

“Invisible” is a word that haunts histories of the technologized body. From the popularity of the late-19th century magic trick, the “Vanishing Lady,” to the advent of photography, in which “the body itself appeared to be abolished, [and] rendered immaterial” (Gunning), and the invention of the television (another kind of ‘body’), which Jean Baudrillard writes, “is now intangible, diffuse and diffracted in the real." The threat (and thrill) of this concept is magnified in the digital age, where the body is both immaterial and networked, and where the inscrutability of computational architecture hides itself behind pretty software interfaces that masquerade as perfectly clear and easy to understand.

That the vanishing lady is a lady is no accident. In the new media era there is a simultaneous turn towards invisibility (omnipresent surveillance; dispersed identities) and a return to the material world of things (as evidenced by the recent academic trend towards speculative materialism and object oriented ontology). In this oscillation between absence and presence, it is important to ask: which objects get to be seen and which are made to disappear? The female body seems to be one object that is always in the process of dematerialization (Apple’s digital assistant Siri and CGI Instagram model Lil Miquela, for example).

In keeping with the SLSA conference theme (“Out of Mind”), I hope to construct a panel that both challenges Cartesian dualism (in which the rational is privileged over the corporeal) and demonstrates its problematic perseverance as a structuring principle in art and design. I invite submissions that take up the following questions: Where does the organic human body exist (or persist), especially in relation to “bodies” such as avatars, digital renderings and filmic or animated traces? What are the procedures that construct and govern mechanical and digital bodies, and do these procedures differ substantially from those that govern organic bodies? How do lived conditions of difference such as race and gender factor into digital representations of the body?

I am particularly interested in submissions that explore representations of the female body in relation to:

-       (Dis)embodiment

-       VR / AR (and other immersive media)

-       Digital and algorithmic choreography/dance

-       Visual and screen media

-       Posthumanism

-       Kinaesthetics and sensation

-       Interactivity

-       Affect and emotions

-       Interfaces and software

-       Mind-Body Dualism

-       Sound studies



Abstracts of 250 words should be sent to hilary.bergen@gmail.com along with a short bio by April 1st.



NOTE: This is a call for papers for a panel to be submitted for consideration for the SLSA conference in Toronto, Canada, November 15-18, 2018. The conference theme is “Out of Mind.”  The SLSA general call for papers, as well as more information about the conference, can be found here: https://litsciarts.org/slsa18/

Technology, the Body, and Choreography

Free residency at Lake Studios Berlin sponsored by TroikaTronix – Mark Coniglio

We invite dance makers invested in the field of technology to apply for this special 4 - 6 week residency hosted at Lake Studios Berlin between July 1 – August 15 2018

We are searching for artists who consciously use elements of technology to affect the choreographic process and performance. We look for work that uses technology to expand or intervene in the body’s performative and choreographic possibilities while keeping the human body in the foreground of the work. The role of the technology should be integral to the choreographic expression: it should connect, organize or disrupt the body or bodies aesthetically, socially, or politically.

To apply please submit the following (please use the provided application form provided if possible!):

-  An artist statement (no more than 200 words) about how you define, perceive and work with the element of technology in your 

   performance work.

-  A description (no more than 500 words) of what you would like research and develop during the residency

-  Supporting video and documentation material of current and/or past work

-  Your CV and the CVs of any collaborating artists

We will provide:

• a private room and access to a shared kitchen, and bathroom in the Lake Studios Complex for one person. A second bed is available in the room.

• 100 hours of studio space divided between our small and large studios

• Technical equipment: 2 beamers, selected stage lights/light board, sound system and mixer, microphones, sound recorder, video camera to record rehearsals, etc.

• A presentation of the first stage of the work for feedback in our performance series Unfinished Fridays on July 27

• 2 hours of coaching by Mark Coniglio (creator of the media programming software Isadora)

• 50€/ week stipend

The selected resident must provide his/her own transportation and meals.

Lake Studios would like to thank TroikaTronix, maker of Isadora, for their generous financial support of this residency.

Please submit your application with the subject line “Dance/Tech Residency 2018”

by March 15, 2018 to lakestudiosberlin@gmail.com

​

We will notify all artists of the selection results by March 22, 2018.

So happy to serve as a guide during this two-week process at the Lake Studios Berlin, as we attempt to reconsider media and performance, to name the potentials and pitfalls as we seek to see our practice anew.

Digital Body Workshop Journal: Day 1 - Abandoning Preconceived Notions: What are our expectations about performance and media? What are the prejudices and stereotypes we carry inside, our points of excitement and our irritations? We spent several hours exploring these questions during the first day of the workshop. It is our attempt to see the digital materials with fresh eyes so we might put them to use in new and unexpected ways.

Digital Body Workshop Journal: Days 2 + 3: What is an Image? The word slips easily from the tongue, but what do we really mean? We dug in to that topic as Benjamin Krieg shared from his vast body of work with groups like She She Pop and others, as Marlon Barrios Solano pushed us inward and outward with several poetic provocations, and Armando Menicacci led us through a rigorous, analytic examination of the structural implications of the word itself. We responded to all of this by having each participant create and share rapidly improvised scenarios comprised only of a projector connected to a video camera in relation to the performer and audience – each of which led to long, rich discussions of the implications and possible meanings they portrayed. When thinking about performance, what does the word image conjure for you?

Foto: Benjamin Krie

Digital Body Workshop Journal, Week 1 – "What is it?": For the last six days, we have attempted to (re)encounter the image: to imagine it, to read it, to wrangle the hardware and software required to record and render it. We did this within the frame of our overarching goal: to abandon preconceived notions and see these materials in a new way. As we start week 2, I ask myself, "how did we do?"

In the end, it is impossible to ignore or deny thousands of years of seeing and making images, from cave paintings to virtual reality. It's in our bones. Yet, we managed to keep ourselves in a constant state of questioning. As Bebe Miller wisely advised us to do last night, we kept stepping back and asking ourself one question, over, and over, and over again.

"What is it?"

For me, embracing that question was the great success of this first week. Now we will see if we can do the same with "data."

Foto: Benjamin Krieg

Digital Body Workshop Journal, Days 7 & 8– Big Data: As we did with the word "technology" in the first week, we started the second week by asking "what is data?" This question could be debated ad infinitum, but here I will mention three crucial points: "data is interpretation and representation", "data is a reduction", and perhaps most importantly "data has value". But how does this apply to using data, from a performer or from the world, in a performance?

Our guest speakers Ruth Gibson + Bruno Martelli (https://gibsonmartelli.com), and Bebe Miller (https://bebemillercompany.org) helped us dig in to those points with presentations that touched on technologies ranging from virtual reality to motion capture, though they continuously kept their focus on aesthetics and expression.

With this in mind, we began to navigate "the gear": this is a sensor, this is the kind of data it measures and represents, this is how we get it into the computer, and this is what we can do with it – practical realities that can often seem at odds with the artistry.

To assimilate and balance the theory, the "how to", and the desire to express and share our artistic vision, remains the goal of this second week.

Benjamin Krieg

Digital Body No. 1 Journal - Day 9 - Data Invasion: Today's pictures feature only the participants of the lab, because we spent nearly two hours today vigorously responding to the works presented by our guest speaker Christopher Kondek. (https://doubleluckyproductions.org)

I cannot reproduce the incredibly well articulated points that so many of our intrepid explorers offered in a Facebook post. Suffice to say, thanks to Chris' presentation and the ensuing discussion, we could no longer pretend that data was just a stream of numbers captured from a performer's body. Losing control of your data, especially for those who live under authoritarian regimes, is not a game. It is a matter of life and death – a notion that will weigh strong on our minds as we continue through this week.

https://vimeo.com/576478142?fbclid=IwAR1ZsEsR9mwef_ZvG3cL97NzeJWcmc5LtBkURixz0DO5tpoin_aU9RHBxEw

The one-year project series “OUR DANCE – What is your dance?”, funded by the Berlin Senate Department for Culture and Europe, since spring 2020 has been based on a setting that is concerned about our work and our constellations. In this setting we wanted to use the potentiality of the local to bring together different neighbors or non-neighbors and emerge from unlikely encounters with a shared or individual experience, with mixed or unambiguous feelings, energies, affects, anger and insight. We ask: How can a public space be curated through the collaboration of a group? How can different audiences be mixed through unexpected gatherings in this process?
Largely under the unexpected auspices of the pandemic caused by Covid-19, we have been searching for constellations of shared learning and unlearning for more than a year now. Instead of giving and taking, instead of outreach and receiving, we set up our work as an exchange of expertise of various kinds. This tangents to some, but not all. It opens to these, but not to those. Only in the overall view of the fluctuations and confusions did small tectonic shifts become apparent. Beyond a paternalistic ethos of gratification, which accompanies many activities in the intermediate area between art and cultural education, we asked what we ourselves want to know and what points of contact arise from this. How do we proceed, how does this world proceed through and as an embodiment of changeable structures? Therefore, seventeen months ago by now, we consciously started with a very simple question that is close to us, that takes the subjective extremely personally, but at the same time offers the possibility to be examined in its social, historical and cultural complexity. In this respect, the central question of OUR DANCE is: What is YOUR dance? And, even further, how do we then dance together?
The durational online event that concludes our project, “OUR DANCE - The living room edition”, inquires into biographical elements whilst exploring the hybridity of cultures and cultural techniques. It approaches embodiment as a shared memory space and offers connections to a biographical as well as socio-political and (inter)cultural exploration. Dancing is practiced here as a special case of what Stefano Harney and Fred Moten describe in “The Undercommons” (2013): They conceive learning at all levels as a collective act of knowledge exchange and knowledge production. For them, this collective learning means a practice against general disinterest or the hyper-individualized interest of individuals. Un/learning is about an interest beyond the individual search for self-interest. It crosses identities and generates new communities.
Given the abundance of dance happening in and around Uferstudios, we want to conclude with “OUR DANCE - The living room edition” together with our guests with a program series that examines dance in its various forms, as a practice that is in each case its own – biographically determined, acquired, deformed or found – along the following questions:
* What is the history, what are the cultures, politics, structures and preconditions of YOUR dance?
* How is YOUR dance embedded in the politics of its history and origins, what are the collectivizing and what are the individualizing forces that can be found in it? How and what does it embody and how does it produce a particular knowledge that cannot be found anywhere else?
* What is YOUR dance at all, how does it work and how can I – the other – dance it?
Different strategies and methods of investigation apply to different types of dance – be it street dance, dance history(s), Madonna videos, Irish social dances, theoretical practices or workshops. Whether as affirmation, as critical embodiment, or as techniques of individualization or communization: the various researches and an international conference which have been realized within the framework of our series questioned 'their dance' with their own methods and by drawing on different inputs from experts in other fields. In each case, specific decisions were made about what kinds of collaborations and what kinds of openings were needed.

PSR is a collective of Berlin-based artists and cultural workers (Lea Martini, Sheena McGrandles, Modjgan Hashemian, Stefan Hölscher, Mila Pavićević, Juli Reinartz and Simone Willeit) who have been collaborating since the 25h event “Househeating” at the Heizhaus of Uferstudios in October 2019. Most of the PSR artists are also active as cultural workers, mentors and teachers in addition to their artistic projects.
Production management: Monica Ferrari and Francesca Spisto. Technical support: Hanna Kritten Tangsoo.
Graphic design: Matrose Mantober.

Funded by the Berliner Senatsverwaltung für Kultur und Europa and the Bezirksamt Mitte. Supported by the Creative Europe Program of the EU, Life Long Burning and the Uferstudios.

Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

Organized by the Fritz Thyssen project “Collective Realization – The Workshop as an Artistic-Political Format” (Institute for Theatre Studies, Ruhr University, Bochum) in collaboration with the ICI Berlin and the PSR project “Our Dance” (Heizhaus/Uferstudios GmbH) in Berlin. Funded by the Fritz Thyssen Foundation and the Berliner Senatsverwaltung für Kultur und Europa.

Concept and Organization: Kai van Eikels and Stefan Hölscher.

Speakers: Zahra Ali Baba, Julia Bee, Sabeth Buchmann, Alice Chauchat, Bojana Cvejić, Diedrich Diederichsen, Gerko Egert, Konstantina Georgelou, Aernout Mik, Wadzanai Motsi-Khatai, Mila Pavićević, Hanna Poddig, Yvonne Rainer, Juli Reinartz, Xavier Le Roy, Heike Roms, Anne Schuh, and Sebastian Voigt.

Workshops and artistic presentations by: Jeanne-Jens Eschert, Bella Hager, Anne Mahlow, Lea Martini, Nana Melling, Aernout Mik, Marta Popivoda, and Doris Uhlich.

Assistant: Miedya Mahmod.
Graphic Design: Zahra Rashid.

Facebook: fb.me/e/ctZHBnxrp

Recordings are available via dance-tech on Vimeo: https://vimeo.com/showcase/8476725

Are you an artist and interested in the blockchain? Curious about the potential of the blockchain for socio-economic design and financial innovation for your communities of practice? Would you like to explore the NFTs and decentralized finances DeFi as a creative space? Are you interested in joining a group of artists researchers exploring these questions and tools? 

If you answer yes to any of these question or you are strongly curious about Crypto, we invite you to apply to participate  in a series of 4 Online workshops/labs for artists and makers offered by MotionDAO

These lab/workshop sessions will offer foundational concepts and tools to access the blockchain economic ecosystem and explore its potential for social and financial innovation. Creative explorations of the affordances of the blockchain will be  encouraged.

The four 90 minutes sessions will introduce the participants to the fundamentals concepts and practices of Web3: blockchain, smart contracts, crypto wallets, token economies, remittances, design and emergence of value, non-fungible tokens, DeFi and DAOs.

Each session will be divided in three parts: conceptual framework, a hands on practicum and a Q&A.

We will be using the  Near Protocol.

Six hours of online mentoring will be offered by appointment.

All levels of experience with crypto and the blockchain are welcome.

Lab will be facilitated in English by Marlon Barrios Solano

DATES:

September 19th and 26th

October 17h and 24th

1:00 PM EST

Important:

• Limited to 10 participant. Leave a brief replay to this post stating your interest and motivation.
• Participants must commit to attend all sessions.
• Participants will receive 10 Near Token (NEAR protocol utility token) as incentive for attending and participation. Check current Near Token Value.
• The last session culminates with the formal invitation to join the MotionDAO and to apply for the MotionDAO/Near Creative Grants 2022(TBA).

  The labs will use Zoom, dance-tech.net and Telegram messenger app as communication tools.

Interested?

1. Join www.dance-tech.net if you are not member.
2. Leave a brief replay to this post stating your interest and motivation.

Questions and more information: marlon(at)dance-tech.net

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Por Aníbal Zorrilla

Viernes de 18 a 20. Sarandí e Independencia, San Cristóbal, CABA.

Arancel general: $ 2.500.- mensuales.
Asistentes a los talleres y actividades del InTAD durante 2017: $ 2.000.-
Docentes y graduados del Departamento de Artes del Movimiento, UNA: $ 2.000.-
Estudiantes de posgrado del Departamento de Artes del Movimiento, UNA: $ 2.000.-
Estudiantes de grado del Departamento de Artes del Movimiento, UNA: $ 1.500.-
Asistentes a los talleres y actividades del InTAD durante 2018: $ 1.500.-

El taller consiste en la realización de proyectos escénicos concebidos desde el cruce entre el cuerpo performático y la tecnología digital interactiva.

Para eso se aborda en profundidad la programación en los lenguajes de programación visual Pure Data e Isadora, de manera de alcanzar el dominio necesario de las herramientas digitales interactivas para la escena.

No se requieren conocimientos previos. El taller no tiene un programa fijo, sino que los contenidos se adaptan al desarrollo de los proyectos y a las necesidades de los asistentes.

El estudio de la programación consiste en la realización de trabajos prácticos orientados a la realización de los proyectos que surjan en el taller o que propongan los asistentes, que pueden ser individuales o grupales

Following Quinzena de Dança de Almada’s organisation as a space for the presentation and sharing of experiences between contemporary dance artists, we are inviting choreographers, dance companies and professional directors to submit their projects for presentation on the International Platform for Choreographers and/or on the Video Dance Showcase.

The 31st edition of Quinzena de Dança de Almada - International Dance Festival will be presented in Almada (Lisbon, Portugal), from September 21 to October 8, 2023.

Interested parties can submit their proposals until January 22, 2023, for the International Platform for Choreographers and April 9, 2023, for the Video Dance Showcase. Conditions and online forms are available here.

For any question, please feel free to contact us via quinzena@cdanca-almada.pt.