Teacher at the Superior Dance School of the Polytechnic Institute of Lisbon, teaching different subjects in areas like Interpretation / Creation and Project. She Is currently a PhD student in the PhD program at the Faculty of Human Kinetics, specializing in Human Movement - Dance Branch.
Has a Master in Communication Sciences - Contemporary Culture and New Technologies, at the Faculty of Social and Human Sciences, from New University of Lisbon. Between 2003 and 2004 she attended and completed the course of Audiovisual Professionals – at Restart School of Creativity and New Technologies. In 2001 she graduated in Dance – Dance Performance Branch, at the Superior Dance School of the Polytechnic Institute of Lisbon. Holds the Diploma Course of Professional Dancers from Dance School of the National Conservatory (1997).
Professionally worked as an interpreter with choreographers like Frédéric Flamand - Charlerois Danses, Ana Rita Barata, Rui Lopes, among others. Choreographed, "Adormece que o sonho aparece" (2014), "quantos podemos ser" (2013), "Estar de Fora Para Ver" (2004), "The End and Then"(2004), "Super-heróis"(2006), "Qualquer Um"(2007), "A possibilidade de" (2009) e "Entro, atravesso, percorro, meço" (2011).
Methods and Processes of Contemporary Choreographic Creation – a proposal for a Dance Intervention
Starting from the (un)certainty that characterizes the contemporary dance and its methods and processes of creation, and which can be recognized as fundamental to develop a singular way and procedures, we intend to reflect on the need to contribute to the development of creative abilities of contemporary creators-interpreters in training contexts. Based on the characterization and analysis of the methods and processes of reference choreographers of Portuguese Contemporary Dance, we seek to reflect on aspects of the relationship between choreographer and dancer, research and materialization of moving in creation contexts.
The problem we seek to address is translated into the following question:
In terms of training in the Contemporary Dance how the methods and processes of choreographic creation can be reflected in learning and teaching of dance composition?
We intend to emphasize the importance that we recognize the teaching-learning the choreography in the formation of the interpreters-creators and the need to rethink the proximity to current artistic practices.
Keywords: Contemporary Choreographic Creation; Teaching-Learning Choreographic Composition; Creativity