Né Barros - Dia Maior (Bigger Day- short version) Born in Oporto, in 1963, early training in classic dance. In 1985 she interrupted her studies with the Faculdade de Ciências do Porto (Faculty of Sciences of Oporto) to study dance in the Smith College in Massachusetts,USA, thereafter completing a theatre degree course at Escola Superior Artística, and in 1990 obtained a Masters in Dance Studies at Laban Centre. Co-founder and a member of Balleteatro. 1992 saw the start of her creative works with the company. In April of 1999, she received the Prémio de Melhor Coreografia por Passos em Branco for ‘Steps in White’, created for the Companhia Nacional de Bailado ate Estúdio Coreográfico 99.
Daniel Cardoso - No Começo...(In the Beginning) - cannot verify that the following information relates to this Daniel but am about 99% sure. Daniel was educated at the National Conservatory Dance School of Lisbon in 1996. After his education he joined Martha Graham Dance Company in New York. In 1997 he received the Coca-Cola Foundation Award for artistic excellence. In his time in USA he danced the principal as the prince in Nutcracker together with different solo roles in The Harlem Nutcracker by Donald Byrd and in Snow On The Mesa by Robert Wilson. He danced and choreographed also in the film Altar Dance directed by Joe Clifford. In June 2001 Cardoso restaged Martha Graham’s Maple Leaf Rag
in The Teatro Municipal in Rio de Janeiro. He taught also at the Martha Graham Dance Centre., In August 2001 he became a member of the PSB.
César Moniz - Trovão (fragmentos) (Thunder - fragments) His choreography has strong classical influences, his distinctive style is inspired by his interest in oriental arts and practices - a combination of original movement with a new physical vocabulary. Born in Lisbon (1963) Cesar trained at Ballet Gulbenkian and Escola Centre de Danse Rosella Hightower in Cannes, thereafter joining Ballet Gulbenkian. He developed an early interest in choreography and Nacho Duato’s influence contributed enormously to his choreographic development and interpretation of dance. He has gained recognition as a young choreographer creating pieces for Escola Superior de Dança, Escola de Dança do Conservatório Nacional, Companhia de Dança de Lisboa, Companhia Nacional de Bailado, Ballet Gulbenkian and Lisboa Ballet Contemporâneo. His most recent work has sparked a growing international interest.
António Tavares - K’mê Deus - Cape Verdean dancer and choreographer. António started dancing in Cape Verde, where he was born. He came to Portugal with a scholarship and started dancing with Olga Roriz and Francisco Camacho. In 1997 he realised his first full evening choreographies, Fou-Naná (Centro Cultural de Belém), which is still being presented, and SOBREtudo (DANÇAS NA CIDADE 97). Since 1996 António Tavares has also been a dancer-choreographer with the orchestra Sons de Lusofonia.
Tânia Carvalho - Explodir em silêncio nunca chega a ser perturbador (A Silent explosion is not quite disturbing) Tânia Carvalho is one of the founders of the Lisbon dance and live art collective, Bomba Suicida. Driven by a creative bond between them Tânia and Portuguese writer Patricia Caldeira, devised this piece with Patricia writing stories throughout the conception and rehearsal period. The performance does not aim to illustrate the written stimuli, but rather express sensations that remain in the body after and during Tânia’s reading of the work. She has toured in the UK with Movimento4 and 5 an annual showcase of the best Portuguese contemporary choreography; supported by the Calouste Gulbenkian Foundation and produced by the hub.
Olga Roriz - Jardim de Inverno (Conservatory) Olga began her studies at the National Theatre School of San Carlos She also learnt contemporary dance with Joana Woodbury and Vasco Wellekamp. Among the choreographers who have most influenced her are Christopher Bruce, Lar Lubovithc and Louis Falco. In 1983, she received a scholarship from the Gulbenkian Foundation, and could therefore take part in a course for composers and choreographers in Guildford directed by Alvin Nikolais. In 1978 she began to create choreographies in the Choreography Studio of the Gulbenkian Ballet, for which she created five works in consecutive years. Her most recent work was with Ballet Gulbenkian. She has created fifteen choreographies for the repertoire of this company, amongst others: Three Songs (Nina Hagen 1985), Empty Space (A. Emiliano, 1987), Thirteen gestures of a body (A. Emiliano, 1989), Isolda (R. Wagner, 1990), and so on. She has also created choreographies for National Company of Bailado, Dança Group and Grands Ballets du Monaco. She received the First Prize in Choreography of the Dance Meeting of Osaka. Her repertoire includes soloist roles in the following choreographies created by her: Travessia, Winter Garden, In Fracçoes and Situaçoes Goldberg. She has collaborated in the staging of operas and plays directed by Joao Loureano, Carlos Aviles, Ricardo Paris and Joao Perry. She has also directed several seminars at the Main School of Dance and the Academy of Dance in Setúbal.
Rui Horta – Broken Rua’s duet "Broken" is an unusual piece set against a backdrop on which is projected a black and white film of what seem like millions of moving tree branches. The effect of these shifting branches is mesmerizing but creates a desolate maze-like infinitum which traps our gaze. "Broken" seems to be about two people who do not 'fit.' They are two misfits who meet each other in off balance, chaotic movements and touch each other but with resistance. Rui is among Europe's best known choreographers. Principally renowned for his work with the Frankfurt company S.O.A.P., Rui Horta’s choreographic career has seen him work with companies from NDT2 and Phoenix dance Theatre to the Ballet Gulbenkian. Variously described as a dance maverick and innovator.