NATIONAL AND INTERNATIONAL PROGRAMMERS
Check out the programmers accompanying MITbr – Platform Brazil 2022 and which festivals they represent:
Check out the programmers accompanying MITbr – Platform Brazil 2022 and which festivals they represent:
Alaôr Rosa is an actor, producer, director and curator. He started in the performing arts in São Paulo, in 1980, with Paulo Betti, Miriam Muniz, Beto Martins and Antônio Abujamra. Since 1986 lives and works in the cultural scene of the Federal District.
His restlessness made him a multiple artist, with several experiments, including the fine arts, cinema, music, theatre and dance. Among the successful projects are Temporadas Populares (seven editions); CONAE – National Education Conference; Cerrado Sempre Vivo, with actions in all cities of the Federal District; “O Guarani”, opera by Carlos Gomes, directed by Joãozinho Trinta; I National Youth Festival; Brasília Film Festival; I International Festival of the Arts of Brasília; Brasilia International Theater Festival – Contemporary Scene, where he worked for 20 years, in the production direction and in the last four years, also in artistic direction.
He excels in music projects with the concerts of Cássia Eller; Renato Matos; Ney Mato Grosso; Rita Lee; Tetê Espindola; Renato Teixeira; Moraes Moreira; Chico César; Mestre Ambrósio; Zeca Baleiro; Lenine; Maria Bethânia; Daniela Mercury; Confederations Cup; Fifa FanFest and others.
He has been the Artistic Director of Arteviva Productions since 1987 and execute the continuous projects of Mostra de Interpretes Criadores, of Cia Alaya Dança (eight editions); Hilaridade Fatal – Festival do Bom Humor Brasileiro [Fatal Hilarity – Brazilian Good Humour Festival] (three editions).
In 2021 he created and produced Travessia – Festival Internacional de Artes Performáticas [Crossing – International Festival of Performing Arts].
Arteviva Artistic Productions
Arteviva Produções is a company from the artistic scene of Brasilia, founded in 1987, with the objective of creating, in the city, an efficient infrastructure that supports the conducting of national and international projects, guided by serious organization, dedication to work and quality of the projects presented.
In addition to production, it focus on creating relevant projects for the development, in the cultural, social, educational and environmental areas of the Federal District.
Alina Buchberger (she/her) is a curator for performance, discourse and dance at the Kampnagel – International Center for Finer Arts in Hamburg, Germany, with a focus on queer feminism, activist practice and knowledge transfer in the arts, theater as a space of antifascist memory politics, institutional change, and critical reflection of artistic canonization. She has lived in Portugal and France, studied literature, languages and theater. Before turning to the performing arts, she worked in book publishing.
Kampnagel – International Production House
Kampnagel – International Center for Finer Arts (Hamburg, Germany) is one of the biggest production houses in Germany. The program includes performance, dance and theater, conferences, concerts and parties, visual arts, and architecture; connecting local, national and international artists, activists and researchers.
Aline Olmos graduated in Performing Arts from the State University of Campinas (Unicamp), Master in Performing Arts from the same institution and graduated in Cultural Management at the Research and Training Center of SESC. She studied at Sorbonne Nouvelle University in 2010 and Théâtre du Soleil 2014. In 2016, she carried out an exchange of artistic deepening on the Indian theater Kathakali, in India. She regularly taught classes in the Professional Theater Course at the Dramatic Conservatory of Tatuí and in the Theater Technical Course at SENAC-SP. She is a member of the ultraVioleta_s collective where she works as artistic co-director and actress. She participates in the artistic internationalization platform Brasil Cena Aberta (BCA) in which she works as international relations and curator assistant.
Brasil Cena Aberta
Brasil Cena Aberta is an initiative that aims to open paths and encourage discussion about new modes of artistic production in the country. To this end, it promotes a platform for the internationalization of Brazilian performing arts (dance, theater and performance) that includes an annual festival with the presence of international programmers; idealizes, produces and selects artists for national and international artistic residencies; carries out co-productions and acts as a promoter of urgent discussions for the sector. Created in 2019, BCA has already held three editions and is designed and directed by Andrea Caruso and Ricardo Muniz.
Allen Moon’s career in the performing arts includes experience in presenting, performing, management, and production. For the past twenty years, Moon has worked at David Lieberman Artists’ Representatives, currently serving as Director of Touring & Artist Management for a roster of internationally acclaimed ensembles and working with performing art centers and festivals from around the world. Current touring roster includes the Kronos Quartet, Circa Contemporary Circus, Los Angeles Master Chorale, Bang on a Can All-Stars, Brooklyn Rider, Spectrum Dance Theater, Indian Ink Theater Company, Eighth Blackbird, The Triplets of Belleville, Wild Up & Compagnia TPO. Past tours include Merce Cunningham Dance Company, Meryl Tankard’s The Oracle, The Actors’ Gang, Richard Alston Dance Company, Diavolo and Tectonic Theater Project. Regions toured include the United States, Canada, Spain, Germany, Italy, Brazil, Colombia, Ecuador, Chile, Mexico, Australia, New Zealand, Netherlands, Germany, Belgium, Japan, Austria, South Korea and Hong Kong. As a performer, Moon toured for nationally and internationally with the Mehmet Sander Dance Company and Diavolo Dance Theater.
David Lieberman Agentes
We support a carefully curated roster of fine performing artists from a diverse collection of disciplines. We work to facilitate meaningful Dialogue between these artists and the presenters who would engage them to work on their stages and in their communities.
We serve artist-driven organizations who occupy themselves most naturally in making new work and may also require support in the development of dynamic, dependable administrative structures to see their work properly realized. We serve presenting organizations by supporting their ambitions to engage their communities through the arts. We do this by allowing them to clearly communicate their goals with artists and allowing artists to likewise clarify their institutional agendas with presenters. We strive to make the conversations between artists and presenters as transparent and authentic as possible.
Andréa Alves founded Sarau Agência when she was completing her studies in journalism at Faculdades Integradas Hélio Alonso and cultural production at Universidade Cândido Mendes. She is the author of two books on Brazilian music icons: “Tempos de Outrora – Vida e Obra de Babaú da Mangueira” and “O Samba é meu Dom” (Interviews with D Ivone Lara, Luiz Carlos da Vila, Monarco, Nelson Sargento, Walter Tailor, Wilson Moreira, and Xangô da Mangueira). She built a solid trajectory in management, achieving recognition in Brazil, with the idealization and realization of successful shows such as Gota D´água [a Seco], by the work of Chico Buarque and Paulo Pontes, directed by Rafael Gomes; “Elza”, by Vinícius Calderoni, directed by Duda Maia, and all the shows by Barca dos Corações Partidos, “Gonzagão – A Lenda”, “Ópera do Malandro”, “Auê”, “Suassuna – O Auto do Reino do Sol ” and the most recent “Jacksons do Pandeiro”. She was the founder of Escola Portátil de Música, having been director of production and planning. She works as a phonographic producer and maintains the Selo Sarau. In 2018, the newspaper Folha de São Paulo sought her out to do an article about the originality and Brazilianness of her productions, which reinvented the musical market in Brazil: http://bit.ly/AndreaFolhaSP_POR
Anna Helena Polistchuk
Cultural producer, researcher in curatorship and internationalization of the performing arts. She is currently a Cultural Activities Analyst at SESI-SP, being curator, programmer and programme producer of FIESP Cultural Centre and the SESI-SP Theatres in São Paulo state.
Daniele Carolina Lima
She is a producer and cultural programmer at the cultural venues of Sesi-SP and at Fiesp Cultural Centre. Currently, she is part of SESI performing arts team, working at the Training, Dramaturgy and Performing Arts Experimental Centres, and also in projects and circulation of theatrical shows.
SESI São Paulo
SESI-SP, in its Culture Management, presents a broad range of programs promoting multiple aesthetic experiences and with a wide thematic repertoire. Its mission is to foster cultural diversity, democratize access to art and information, build audiences and establish continuous dialogue between work and public, community and society.
Interdisciplinary artist, curator, art director, set designer, consultant, artistic director is a managing partner of the creative and production studio Arquitetura do Efêmero [Architecture of Ephemeral]. She lived 11 years in France, where she worked with Bob Wilson, Tadeuz Kantor, Patrice Chéreau, Joseph Svoboda and the Paris Opera. Since her return, she has been creating works and sensory installations and being nominated and awarded in theatre and cinema, some of which are the set of works made in 2016, awarded by APTR and Cesgranrio Foundation. She represented Brazil in the last Prague Quadrennial (2015 – 2019) and is part of the curatorship for the 2023 edition. She taught at École Supérieure du Spectacle-Paris, coordinated courses at Getúlio Vargas Foundation and taught at Funarte, SP Theatre School, International Film Academy (AIC) and EBAC – British School of Creative Arts. She took part in the World Cultural Forum 2004, and is part of national and international symposiums and forums about curatorship, cultural cooperation, dissemination and creative spaces. Jury of Shell Theatre Award from 2013 to 2019, she was the international jury of Divine Komedy International Festival – Krakow, Poland (2013 and 2014). She is the curator at RIOFESTIV.AL online festival, creator, general director and curator of riocenacontemporanea and TEMPO_FESTIVAL.
Architecture of the Ephemeral
Started as a producer company specialized in developing and presenting concepts and spatial projects in dialogue with art, architecture, stage, and image. The research and concepts developed in their projects and the relation with the audience resulted in the creation, completion and production of multidisciplinary cultural and artistic projects, in consultancies, and to create artistic and institutional partnerships with other producers and organizations. Among them, French cultural centre FRAC LORRAINE, Janela para Mulheres, Adam Mickiewiicz Institute, Funarte, Sesc Rio, Disney Channel, Fome Zero Campaign. Bringing new knowledge, tools, provoking encounters and experiences, whether in creation or for audiences, are goals in the completion and dissemination of their projects. Such as the Sintoclimas Sensory Installations for Green Nation Fest. Which led it to provide services in training, planning and coordination of courses such as for FGV- Fundação Getúlio Vargas. The company was founded by Bia Junqueira, when she returned from France, where she lived and worked with theatre, visual arts, audiovisual and events for 11 years and with which she keeps professional relationships.
Created in 2009, TEMPO_FESTIVAL is the International Festival of Performing Arts of Rio de Janeiro. At each edition, curators and directors Bia Junqueira, Cesar Augusto and Márcia Dias offer the public the chance of an immersion in the arts universe, in order to establish a space for the dissemination of knowledge and trends in the performing arts. A high-quality artistic programme, extremely diverse. The idea is to bet on the innovation of local and global scene, through a dialogue between artistic manifestations, focusing on theatre, performance and dance. Investing in “time of creation” – processes, residencies, co-productions, meetings, panels, workshops – and follow the artistic development in all its stages: from idea to presentation.
Carmen Mehnert was born in Lima, Perú, and holds an MA in Applied Theatre Science from the University of Giessen, Germany. From 1994-1999, she was head of organization at the Int. Sommertheater Festival Hamburg and from 1999-2000 head of organization and programme collaborator at the Festival Theaterformen of the World Expo in Hannover. From 2009-2018 she was programme director for Performing Arts in Hellerau – European Center for the Arts in Dresden. In 2019, she founded PLAN B – Creative Agency for Performing Arts in Hamburg.
PLAN B – Creative Agency for Performing Arts
PLAN B – Creative Agency for Performing Arts is an office for production and distribution of Carmen Mehnert and Anne Schmidt based in Hamburg. PLAN B mediates productions of different sizes by internationally renowned artists and creates and produces innovative projects worldwide. PLAN B collaborates with artists according to their individual needs, from networking and distribution to the organisation and management of tours.PLAN B focuses on internationalisation and is active in Europe and beyond.
Producer, cultural manager, translator and journalist. Director of OFF Produções Culturais. Creator and Editor of “OFF Guia de Teatro” [OFF Theatre Guide] Creator of Espaço OFF – space for theatrical and musical performances. FIT / Recife – Reside curator (since 2018). Member of Movimento Artigo Quinto [Fifth Article Movement].
OFF Produções Culturais focuses on the production, circulation, exchange of works and avant-garde artists and new languages. In the last 30 years, OFF has executed and created projects in partnership with Brazilian and foreign artists and institutions. In 1996, OFF Theatre Guide was created, a free distribution print media, which publishes monthly a detailed list of concert halls and their schedules.
RESIDE.FIT/PE – International Theatre Festival which main objective is collaboration and training, sharing of experiences and knowledge, debates of ideas and creative processes, through training meetings, presentations and artistic residencies.
Cynthia Margareth is a cultural manager, actress and founder of AFLORAR CULTURA. She coordinates large projects, mobilizes cultural actions through different regions of Brazil, seeking to integrate the power of creation and production as pillars for the promotion of works from different territories.
For 10 years offers actions and training in cultural production, through lectures, courses, residencies in production and organization of Performing Arts Seminars.
For 15 years she was production coordinator of LUME Teatro – Unicamp and general coordinator of Feverestival- Campinas International Theatre Festival.
She currently presents the solo desmontagem cênica “4, 5, 4, 3 …Um passo por vez” [scenic disassembly – “4, 5, 4, 3 …A step at a time] integrating her performance as a producer and actress. Besides coordinating the production of large projects from idea to enactment, through public notices, funding incentive laws, institutional partnerships and independent funding.
Aflorar Cultura [Flourish Culture] and Fimc – Cariri International Festival of Masks.
Aflorar Cultura was created on October 15, 2018, as a collective focused on production as a creative axis, which drives collaborative actions, network building, training and coordination of work teams. It offers actions and training in cultural production, through lectures, courses, production residencies and group advice. It is the result of Cynthia Margareth’s years of dedication on other areas, such as production coordinator of LUME Theatre and Director of FEVERESTIVAL – Campinas International Theatre Festival. Currently integrates and coordinates production teams of many actions and national and international groups and represents groups and festivals such as LUME Theatre (Brazil) and Grupo Cultural Yuyachkani (Peru) and “FIMC – Festival Internacional de Máscaras do Cariri”. Aflorar Cultura concept is of an artistic creation, production and cultural training collective aiming at the development of professionals from many artistic areas through the emerging of the skills of each individual or work group. The collective believes in a specific look at scenic practices and production awakening reflections that turn into actions.
FIMC – Cariri International Festival of Masks is a biennial Festival, which brings together groups, researchers and lovers around the subject of scenic mask. Conceived by culture manager Dane de Jade, the festival is in partnership with Quebec Mask Festival, Canada, Mask’alors and FIMBÓ – International Festival of Bologna/Italy. It aims to develop the exchange of knowledge between the masking of Cariri with those of other states in Brazil and countries. In addition, FIMC also seeks to promote Cariri communities’ engagement in local culture.
David Cabecinha is the co-artistic director of Alkantara, a performing arts organisation and festival based in Lisbon, Portugal. He is a graduate of the Lisbon Film and Theatre School, where he studied acting. He has worked regularly in the performing arts field since 2008, with Portuguese theatre companies such as Mala Voadora, and artists such as Dinis Machado. He has also worked regularly in film with the director Jorge Jácome, as co-script writer, actor, producer and director’s assistant. Between 2016 and 2017, he directed the Lisbon festival Temps d’Images. He joined the Alkantara Festival team in 2018.
Alkantara is a Lisbon-based performing arts organisation dedicated to supporting artists and audiences in engaging with critical ideas in arts and society. Its annual festival — Alkantara Festival — brings people together for dance, theatre, live performance, parties, and conversations around the work of artists from Portugal and abroad. Like its predecessor Danças na Cidade (1993-2004), the festival coproduces and presents Portuguese and international artists of different generations and is an important meeting place for arts professionals. Year-round, Espaço Alkantara is a place for residencies and research, meetings, workshops, and other public programmes.
Dries Doubi (1990, Sint-Niklaas) has Belgian-Algerian nationality and lives and works in Brussels. He studied visual arts at the Royal Academy of Fine Arts (KASK) in Ghent and followed the preparatory program for Master in Philosophy at the Vrije Universiteit Brussel (VUB). Since 2017 he has been the performing arts programmer at the Beursschouwburg (Brussels), where he conceptualizes and organizes focused programs and mini-festivals (The Future is Feminist, Mind The Gap, Poetic Practices). Since 2012 he has been co-programmer and curator of the Bâtard Festival, supporting young European creators in their artistic development. In recent years he was involved in numerous artistic projects and productions, both as a curator (Lesfest, INFINI 1-15) and as a dramaturge (In Many Hands – Kate McIntosh, Mikado Remix – Louis Vanhaverbeke, Cuckoo – Jaha Koo).
KFDA – Kunstenfestivaldesarts
The Kunstenfestivaldesarts is an international arts festival dedicated to contemporary creations: theatre, dance, performance, film, and visual arts. It takes place in May of every year and lasts for three weeks, with presentations in some 20 theaters and arts centres, as well as in public spaces throughout Brussels. The Kunstenfestivaldesarts comprises a selection of artistic works created by Belgian and international artists: remarkable new projects that translate the artists’ personal visions of the world, communicating them to audiences prepared to challenge and broaden their perspectives. The Kunstenfestivaldesarts is a cosmopolitan city festival. Part of a complex network of communities, it serves to increase the porosity of territorial, linguistic, and cultural divides. The city is an environment par excellence in which to experience such a multifarious event. The Kunstenfestivaldesarts happens in Brussels, the only city in Belgium inhabited by the country’s two largest language communities. Several Flemish and French-speaking institutions are involved in the project. Fundamentally conceived as a bilingual undertaking, the festival contributes to encouraging dialogue. The Kunstenfestivaldesarts also runs a series of encounters and workshops alongside its program that are aimed at putting this artistic project at the heart of the city, inspiring the people who live there.
He is creator, producer and curator of Festival de Teatro do Agreste (FETEAG), and pedagogical coordinator of Theatrical Initiation Course kept by Teatro Experimental de Arte (TEA), group in permanent performance since 1962, in Caruaru, Pernambuco. He is a participating member of the international dance programmers list on digital platform Mercadança.
She is a teacher-artist and curator of Festival de Teatro do Agreste (PE). She is currently a Lecturer at the Arts Department and coordinator of the Theatre Course – Bachelor’s Degree, at the Federal University of Pernambuco.
Agreste Theatre Festival (FETEAG)
Created in 1981, in Caruaru, Pernambuco, it was conceived as a tool to promote theatrical culture at schools, contributing to public policies for the democratization of teaching and practice of artistic activities among the students of the formal education network. Later, in 2004, it included in its schedule a Professional Festival seeking to establish a local connection with worldwide contemporary production in performing arts.
Born in 1974, Federico Irazábal got an M.B.A. in Performing Arts in the Universidad de Buenos Aires. As a theater critic, he has worked in press, radio and television. Currently, he directs Funambulos, a magazine on theater, and his work is published in La nación, one of the main Argentine newspapers, as well as in Los inrockuptibles, the local venue of the prestigious Les inrockuptibles magazine. Previously, he has published in several newspapers and magazines, including El cronista, Magazine literario, El atajo, Vea más. In radio, he co-hosted El refugio de la cultura, Funámbulos. Los viudos de la certeza and Náufragos. In television he hosted the show Ciudad Cultura and he is currently the theater critic in Liliana de regreso, a role he has perfomed before in other shows, including El refugio de la cultura and Tomá nota.
He has published the books El giro político. Una introducción al teatro político en el marco de las teorías débiles [The Political Turn. An Introduction to Political Theater in the Context of Weak/Weakened Theories], Por una crítica deseante. De quién, para quién, qué, cómo [For a desiring critique. From whom, to whom, who, what, how] and Teatro Anaurático. Espacio y representación después del fin del arte [Anauratic Theater. Space and Representation after the end of the Arts]. He has been also the Editorial Chief of the Festival Internacional de Teatro de Buenos Aires (FIBA).
In research, he took part in the Centro de Investigación en Historia y Teoría Teatral [Center of Research on History and Theory of Theater] del Centro Cultural Rector Ricardo Rojas, and was the Coordinator of the Jornadas Nacionales de Teatro Comparado de la Universidad de Buenos Aires. In 1999 he obtained a scholarship from the Fondo Nacional de las Artes [National Fund for the Arts] and in 2001 another from the Instituto Nacional del Teatro [National Theater Board]. He has published several articles in the academic magazines Teatro al sur, Teatro San Martín, Puentes and in several books, including Poéticas argentinas del siglo XX, Eduardo Pavlovsky’s Micropolítica de la resistencia, Nuestras actrices (I, II and III), Samuel Beckett en la Argentina, Cuadernos de historia y teoría teatral, Escenas interiores.
He currently teaches in the local programme of California Pepperdine University (USA), in University of Buenos Aires and he is the Artistic Director of FIBA (International Festival of Buenos Aires).
International Festival of Buenos Aires
FIBA proposes itself as a fundamental tool to accompany and encourage artists to create within the framework of a pandemic stage. In order to do so, stage and performative proposals of different magnitude were generated under different formats, and they are presented as cultural content of consumption for the neighbors of the City of Buenos Aires, as well as a source of work and recovery for a large part of the sector.
After a 2020 pierced through by such measures as isolation and social distancing, performance arts become a central vector for the recovery of social and artistic instances that had been put on standby, but always attending to the new needs and perspectives.
That is why, attentive to what is happening and fostering the logic of the Festival, this edition seeks to accompany the redesign of the theatrical device, site-specific productions, playing with the alternatives offered by the different spaces of the City of Buenos Aires, various outdoor spaces and a large amount of non-conventional spaces, always abiding by the measures of social distancing. An enormous amount of outdoor content and in independent theaters, both public and private, always respecting social distance and health protocols in force.
FIBA is the first large festival in Argentina’s cultural scene to return with new ways of approaching presential performing arts and a strong wager for virtuality, with proposals that reach the entire country in such an unusual context.
He has a degree in theatre by Teatro Escola de Porto Alegre – TEPA / November 2005. Also he has a degree in Social Communication, focused in journalism, by PontifíciaUniversidade Católica do Rio Grande do Sul – PUCRS / August 2010. Since 2006 he has been the producer of the performing arts international festival: Porto Alegre em Cena, for which he has been programming since 2012 and of which he has been director since 2017. From 2017 to 2020 he was the Performing Arts coordinator of Porto Alegre’s Municipal Secretariat of Culture. In 2012 he opened the producer Artworks Produções, in charge of putting on theatre, dance and music shows, tour with these and other productions and create performing arts actions with diverse shows. Produced works such as Class Enemy by Nigel Williams, Marxism, Ideology and Rock’n’Roll by Tom Stoppard, O Lugar Escuro [The Dark Place] by Heloisa Seixas. He has worked with Marcio Abreu’s Cia. Brasileira de Teatro, Sarau Productions and events such as Canoas Tango, Canoas Jazz, Bibi Ferreira in concert and Elza Soares and the premiere of Godspell, Esperança [hope]. In recent years he has participated in festivals, seminars and meetings in Germany, France, Spain, UK, Australia, Peru, Chile, Argentina, Colombia and the U.S.
Canard is a producer of artistic projects related to contemporary art, in its various languages mainly moving through between performance, music and visual arts. It is responsible for the idea and production of publications such as the annual art magazineCorpo Futuro which has emerged in 2020, amidst the pandemic, in order to provide a space for debate between several artists and scientists about the relations between humanity and nature to reflect on the possibilities of our bodies to inhabit the future. Corpo Futuro is an art print festival. Canard is also launching Porto Alegre International Contemporary Art Exhibition seeking to schedule artistic works which dissolve the boundaries between theatre, dance, performance, music and visual arts. The first edition will be in August 2022 and, from 2023 on, will always happen between March and April of each year. Today, Fernando Zugno, director of Canard, is also curator of Canoas Jazz, Virada Sustentável de Porto Alegre, Museu de Arte Contemporânea 4D de Porto Alegre, among other events and art institutions.
Gabriel Zayat graduated from the Faculty of Philosophy and Languages of University of Buenos Aires and, in parallel to his academic studies, began his training in performing arts, first as an actor and then as a producer in theatre and performance. He worked with some of Buenos Aires most influential directors in different roles. Today, he works as a programmer at San Martín Cultural Centre, part of the Ministry of Culture of BA, coordinating and managing programming in performing arts, cinema and visual arts.
El Cultural San Martín
Throughout its history, El Cultural San Martín stands out as an innovative, broad, diverse and inclusive institution, with a strong pluralistic and multicultural mystique.
Cultural is a private space with a very special connection with independent culture, which produces unique experiences in the performing arts, as we are motivated by experimentation and work in formats that can hardly be seen in other venues in Argentina. Therefore, our interest revolves around much of what is created here, so it transcends to El Cultural.
Here the most heterogeneous experiences in dance, music, cinema, literature and digital culture also flourish. We work together with artists from our country and from many parts of the world, offering them spaces that allow creations that are often unique and unrepeatable. Cultural provides monitoring, as this is not done in other spaces of Culture. Our co-production model allows each person who comes to share their art to receive comprehensive attention: from the wide possibilities offered by our unconventional rooms to support in each area of production and communication.
El Cultural is also a Thought and Contemporary Expressions Centre. Proof of this are the Artistic Residencies started last year and which, in some cases, will be part of the 2022 and 2023 program. They were designed so that artists have a space of containers for research, experimentation and innovation, achieving proposals that reflect on art, in order to fulfil our main objective: the promotion of culture in all its forms.
Following years of experience as a singer and guitarist, as Maître D of the renowned Cabaret Lion d’Or in Montreal, and as assistant to the directors at the RUBBERBANDance Group, Geoffroy Faribault is currently head of international development for Nadère arts vivants, an interdisciplinary company he co-founded with Andréane Leclerc in 2013. His objective is to build long-term collaborations with like-minded presenters, managers, and cultural workers. He is passionate about facilitating cross-cultural encounters between artists, producers, presenters and audiences, through performances, collaborations, workshops, and other artistic events. Geoffroy travels internationally to attend festivals and conferences including IETM, IPAM, ENARTES, PAMS, CINARS, and has secured tours for Nadère arts vivants in Canada, the U.S.A., France, Italy, Spain, Denmark, the Czech Republic, Brazil, Uruguay, and in Egypt.
Nadère Arts Vivants
Through an interdisciplinary approach, Nadère arts vivants creates innovative and singular performative, choreographic, dramaturgical and circus piece that actively questions form and genre. Nadère contributes to the advancement and influence of live art both in Montreal and internationally, by focussing on fundamental research and by encouraging unusual artistic collaborations. Under Andréane Leclerc’s artistic vision, Nadère provides an independent testing platform, born of a non-conformist, experimental approach, open to other artistic practices. The interdisciplinary company Nadère arts vivants was created in 2013 to support Andréane Leclerc’s vision by placing fundamental research in new body practices at the heart of its mission. Since then, the repertory works of Andréane Leclerc – Nadère arts vivants have been presented on five continents, including Montreal (La Chapelle), Rouyn-Noranda (Musée d’Art de Rouyn), Cairo (D-CAF Festival), Tokyo (Official Selection of TPAM), Florence (Fabbrica Europa), Olot (Sismogràf), Tenerife (Tetro Lleal), Copenhagen (Teatre RePublique), Paris (La Briqueterie), Guadalajara (Festival Internacional de Danza Contemporánea Onesimo Gonzalez), Sao Paulo (Circos), Montevideo (FIDAE), New York (Skirball Center), to name a few. The repertoire includes 6 major works including the in situ performance Di(x)parue (2009), the interdisciplinary solo Cherepaka (2011), the short piece Mange-Moi (2013), the interartistic creation with Dany Desjardins Sang Bleu (2018), the large-scale piece The Whore of Babylon featuring The Tiger Lillies (2015-2020), and the current transdisciplinary creation À l’est de Nod (2022). Andréane offers master classes in contortion, contemporary scenic writing or artistic approach from Colombia to Japan, through Mexico and Italy, and of course, for the Montreal artistic community of Tio’tia:ke. At the same time, Nadère arts vivants is developing an artistic bivouac and an accompaniment and residency program. In October 2020, Nadère arts vivants produced the local Montreal event of IETM Multi Locations.
GIOVANA SOAR, is an actress, director, programmer and translator. She is graduated in Performing Arts, from PUC/PR, since 1991, with a qualification in Theatre Direction. She holds a bachelor and MA in Theatre from University of Paris III – Sorbonne Nouvelle. She has training and specialization courses in performance, script and theatre direction. He worked as an interpreter and assistant to numerous French directors, such as: Claude Regy, Georges Lavaudant, Sotigui Kouiaté, and Benoît Lambert. As a French translator, she is a translation team member of the Maison Antoine Vitez, in France. She has many texts published in Brazil. Between 1999 and 2002 she was a member of the Programming team of Teatro Alfa de São Paulo. Between 2003 and 2006 she was the creator of Mostra Coletiva de Teatro, within Fringe at Curitiba Festival. She has been Artistic Director of Mostra Novos Repertórios, Curitibano theatre festival, since 2017. Since 2017 she has also been Curator and Coordinator of Mostra Interlocuções within Curitiba Theatre Festival.
Curitiba Theatre Festival
Curitiba Festival begins as a birthday gift to the city in 1992 and opens a brilliant chapter in Brazilian culture calendar. Since then, it has promoted arts and entertainment encounter in Paraná’s capital and reinforces in each edition the brand of LATAM largest performing arts Festival. In 1998 starts Fringe Showcase, an open, democratic space without curatorship hosting artistic companies from Brazil and the world that come to the festival in search of visibility, audience and specialized criticism. The festival today consists of several Showcases, such as Interlocuções, Mish Mash, Risorama, Guritiba and Gastronomix. Leandro Knopfholz is the General Director of the Festival, and Fabíola Passini is the Artistic Director. The Curatorship of the Official Shows is composed of guests, among artists and thinkers of Brazilian theatre, who has alternated frequently, over these 30 years of history.
She is a postgraduate student in Strategic People Management and has Event Technology training, she works as a creative director, advisor, curator, programmer, consultant to ethnic-racial based projects and research, cultural project analyst, jury, cultural producer, announcer and actress. She works with many artists, groups and collectives of theatre, music, dance, urban art, audiovisual and performance. She was part of the jury of the 1st Itabirito Music Festival/MG (2021), part of the curatorship team of the 10th Black Art Festival FAN-BH (2019), part of the local show selection committee of FIT-BH (2018), and participated in the jury of the Festival ¼ de Cena de Brasília (2017). She is the articulator of segundaPRETA – movimento-território-quilombo – a space for reflection, debate, artistic practice, fabulations and other stories. She is co-author and producer of the show “Violento” and has recently directed the namesake documentary. She is currently the Development and Institutional Articulation Director at Belo Horizonte Municipal Secretariat of Culture (SMC).
Belo Horizonte Black Art Festival/ Municipal Secretariat of Culture (SMC)
The Municipal Secretariat of Culture (SMC) is the managing body of the Municipal System of Culture of Belo Horizonte. The Secretariat is responsible for planning, organizing, directing, coordinating, executing, controlling and evaluating the sector actions carried out by the Municipality in cooperation with the other federated entities and with the different cultural segments, formulating democratic, transversal, participatory, transparent and decentralized cultural policies; ensuring the full exercise of cultural rights, the universalisation of access to culture and cultural and ethnic-racial diversity. In addition, it is responsible for protecting the material and immaterial cultural heritage, through the coordination of the municipal archives and memory policy, promoting research and training in arts, culture and cultural management.
The Municipal Culture Foundation – FMC is part of its structure, and SMC is responsible for the management of the Municipal Culture Fund, the Fund for the Protection of the Cultural Heritage of the Municipality of Belo Horizonte – FPPC-BH, having in its area of competence the Deliberative Council of the Cultural Heritage of the Municipality of Belo Horizonte – CDPCM; Municipal Council of Cultural Policy – Comuc and the Chamber for the Promotion of Municipal Culture – CFCM.
The FMC manages 32 venues, including libraries, cultural centres, reference centres, public archives, cinema, museums and theatres, distributed throughout the city’s regional areas, where training, promotion and artistic and cultural dissemination activities are offered. The Escola Livre de Artes Arena da Cultura, linked to FMC, promotes training in seven artistic areas, including people of all age groups, in the city’s nine regional areas. It also holds benchmark events such as Festival de Arte Negra [Black Art Festival] – FAN-BH, Festival Internacional de Teatro Palco e Rua de Belo Horizonte [BH International Theatre Festival Stage and Street] – FIT BH, Festival Literário Internacional [International Literature Festival] – FLI-BH, Festival Internacional de Quadrinhos [International Comics Festival] – FIQ-BH, Descontorno Cultural, Circuito Municipal de Cultura [Municipal Culture Circuit] and Belo Horizonte’s Virada Cultural.
Guylherme Almeida is a curator and cultural producer. He received invitations from the Department of Culture and Creative Economy of the Federal District to be part of the curatorship of several strategic events, such as: New Year’s Eve in Brasília, Carnival in Brasília and Anniversary of Brasília. Together, the events mentioned above attracted more than 1 million people. In cultural production, he has already conducted over 65 events in the positions of executive producer, production coordinator, decentralization and mobilization of major events and institutions, such as: Festival de Brasília do Cinema Brasileiro, Setor Carnavalesco Sul, Bloco Sereias Tropicanas, Cena Contemporânea – Festival Internacional of Teatro de Brasília, Musicar – Children’s Music Festival, Curta Brasília – International Short Film Festival, among others. Currently, he is the artistic director of the Ibero-American Festival of Integrated Arts in Brasília and the Fundão International Theater Show.
FIAIB – Ibero-American Festival of Integrated Arts
Presented by Banco do Brasil, FIAIB – Ibero-American Festival of Integrated Arts premieres in Brasília, Ibero-American Capital of Culture 2022. In its 1st edition, which takes place from June 21 to July 2, the audience will be able to experience dynamics that unite performing arts, cinema, dance and music with more than 100 national and international attractions throughout the 12 days of the event. The project is financed by the Department of Culture and Creative Economy of the Federal District through the Cultural Support Fund of the DF.Hanna Parry – Baltic Circle Festival – FINLAND
Hanna Parry has been artistic director of Baltic Circle International Theatre Festival since 2019. She has worked on several multidisciplinary festivals in Finland, the UK and the USA. Hanna worked as a senior producer at Baltic Circle Festival between 2014 and 2018 and as a curator and producer at Cirko – Centre of New Circus between 2016 and 2019. She is responsible for the creation of Cirko’s seasonal programme and the Cirko Festival, the largest circus festival in the Nordic countries. Between 2012 and 2016 she was a producer at Helsinki Festival with a focus on large-scale shows and events in public venues. Organizations with which she has collaborated include, for example: LIFT (London), American Realness (New York), DocPoint Documentary Film Festival and Tero Saarinen Company. She holds a MA in theatrical studies from the University of Helsinki.
Baltic Circle Festival
About Baltic Circle Festival: Baltic Circle is an international contemporary theatre festival held annually in November in Helsinki. Its next edition takes place from November 18 to 26, 2022. The festival brings intensity to the city, positions itself on urgent issues and encourages dialogue.
Baltic Circle believes in aesthetic and affective power of art and in social and politician power of performance. The works seen at the festival relate to the crucial phenomena and issues of our times and seek new forms in performing arts and production means. In addition to the festival’s production, Baltic Circle actively participates in networking both in Finland and internationally, engages in education initiatives, publications, organizes residencies and artistic exchanges, assists in the construction of the performing arts independent scene influencing local cultural policies.
Héctor Herrera a cultural manager dedicated to theater and the arts. Actually is Director Tramoya magazine of Veracruz University; and director-founder “The festival Emilio Carballido” in Veracruz state. This magazine has been recently nominated in by the CELCIT ( Iberoamerican festival of theatre in Cádiz, Spain). At the period 1988 to 1991 has dedicated to the study and training contemporary dance school the National Ballet of México, then studied at Martha Graham´s School in New York. Later 2000-2002, he traveled to Bubhaneshwar, India to participate in the sumner workshop´Odissi Dance. Around the Word Héctor Herrera has collaborated as well as dancer, choreographer and director of various theater, and recently he has take bachelor´s degree Theater. In 2018 he edited and compiled the book Emilio Carballido, from 2011 to 2014 was director of the Theater State of Veracruz.
Emilio Carballido Festival
The Emilio Carballido Festival, directed by Héctor Herrera, is a cultural project that offers a wide range of artistic and academic activities, with the purpose of reaching the population of the different social strata of the state of Veracruz through the presentation of plays, books, magazines and workshops related to the performing arts. The Carballido´s Theatre Festival has positioned itself as a space for the meeting of the Performing Arts in the world, witch will have its doors to publicize the highlights of the performing arts, both national and foreign groups. The Carballido´s Festival has featured actors with recognized careers such as the Catherine Delattres Company of France, Avante Group of the United States, University Theater of Costa Rica, National Opera Company of Peking, Lie Counters of Brazil, Natsu Nakajima of Japan.
Iva is university professor of Kinesiology, dancer, choreographer and stage director in dance and theatre. ART REPUBLIC is the agency for strategies and mobility in performing arts, that she founds and runs together with Elise Garriga.
Mentor and professor in management and distribution. Fellow professor at HKU, Hogeschool voor de Kunsten Utrecht. Leading mentor in Producers Development Programme Grand Theatre Groningen. “How to internationalise your project-landscapes and strategies in performing arts” is workshop she shared in Santiago a Mil (Chile), Santiago Off (Chile), Dramatic Arts Center (Iran), Institut del Teatre (Spain), HKU (Holland), Glej Theatre (Slovenia), Danseu Festival (Spain), Scena Europa (Italy), COPRODAC (Mexico), Dferia (Spain) ArteCale (Spain), MIT (Brasil), Athens and Epidaurus Festival (Greece), FITEI (Portugal), IETM (Portugal), IETM (Ukraine), Cena Contemporanea (Brasil), CAMBIO festival (Brasil), Porto Alegre em Cena (Brasil), TEMPO festival (Brasil), FIAC (Brasil), SIN Cultural Centre & MU Theatre (Hungary), Teatros del Canal (Spain), Kunstenfestivaldesarts CIFAS (Belgium), Grand Theatre Groningen (Holland), Nau Ivanov ( Spain), Teatro Abadía Madrid ( Spain).
Specialized in creative strategies and connections for circulation and touring in performing arts environments
Only original – relevant – innovative artistic projects.
With intuition and agility.
No quick results, no forced sales. no paper. no dvd.
We believe in long-term and strong relationships, based on transparency and trust.
Time to meet and talk. in person.
Always vicious to learn, share and teach.
We desire and move with passion. addicted to beauty in all forms.
It’s about people.
Let’s re-think, re-flect, re-late and put in practice. together.
Julia Gomes collaborates with the programmation of Núcleo dos Festivais Internacionais de Artes Cênicas do Brasil, SESC (Serviço Social do Comércio), Consulado Francês de São Paulo, among others. In 2011, she was awarded with the title of “Chevalier de l’Ordre des Arts et des Lettres” by the Ministry of Culture and Communication of France.
Studied German literature and political science at the University of Heidelberg. He writes as a freelance theatre critic for the Süddeutsche Zeitung and Theater heute. He was a long-standing jury member for the Berlin Theatertreffen and Mülheim Playwrights’ Prize, and has been part of the jury for the Osnabrück Playwrights’ Prize since its inception in 2013. In 2017 and 2020 he curated the Ibero-American Theatre Festival ¡Adelante! in Heidelberg. He has a teaching position at the Akademie für Darstellende Kunst Baden-Württemberg. Since 2008, he has directed seven international theatre productions as author and production manager with theatres in South America and Asia in cooperation with the Staatstheater Karlsruhe and the Munich Residenztheater. His next project deals with transgender people and will premiere in Bangkok and Munich in autumn 2022.
In February 2017, the Theater Heidelberg staged the first Ibero-American festival ¡Adelante! The one-week festival brought together Ibero-American artists who responded to the social and political problems of their countries with powerful aesthetic designs, thereby questioning the relations between Latin America and Europe anew in terms of content and aesthetics. With this first festival edition, Theater Heidelberg has quickly become one of the most important European partners within the cultural landscape of Latin America.
The second edition of the festival took place from 1 to 8 February 2020. Once again, ¡Adelante! presented exceptional guest performances from Latin America. With Bolivia, Ecuador and Venezuela, three countries are represented in this series, which – almost unknown in Europe – are presented for the first time at ¡Adelante! as new festival discoveries. Argentina, Cuba and Brazil completet the programme.
As an international festival, ¡Adelante! is a model attempt to open up the German theatre system, to seek cooperation with international and independent theatre groups and to help shape the future of theatre in the long term. In February 2024 there will be the third edition of ¡Adelante!. With the support of curators Ilona Goyeneche (Mexico) and Jürgen Berger (Germany), the festival team of the Theater Heidelberg is starting the search for important theatre productions in Latin America and is hopeful that after the months of the pandemic there will once again be an encounter between the theatre-makers of Latin America and Europe.
Director of Buenos Dias, she is a Specialist in Incentive Funding Laws to Culture and Sport, analyses and elaborates opinions on the legislation changes and improvements, contributing to develop both cultural and sports sector. She received the best production Awards – APCA, APTR, Mambembe, Moliere, Sharp and Shell.
Buenos Dias Cultural Projects and Productions
For 30 years, Buenos Dias has been carrying out artistic, cultural and sports projects, both national and international. Main works: TEMPO_FESTIVAL, co-production of Elis, a Musical; Stock Car, a partnership with Vicar Brasil, and, currently, co-producing the musical concerts Clube da Esquina – Os sonhos não envelhecem and Los Hermanos – Para viver de amor.
Marcos Antônio Alexandre is a Full Professor at UFMG, where he works in the undergraduate and postgraduate Languages course and teaches in the Theatre course. He has a CNPq – Level 1C scholarship, he is co-founder of Mayombe Theatre Group (1995), Coordinator of CEA – Centro de estudos Africanos of UFMG, of NEIA – Núcleo de Estudos Interdisciplinares da Alteridade of FALE-UFMG, of extension projects “Mythology Tales”, “Tragic Skené: between measure and excess” and “Afro-Brazilian Literature in Focus”. Conducted postdoctoral research on “Black Theatre”, at ISA – Havana and PPGAC, UFBA (2008-2009), and on “Otherness and Performance”, at the Instituto Hemisférico de Performance e Politica das Américas – NYU and NEPPA – PPGAC – Unirio (2017-2018). He collaborates with critic at Horizonte da Cena website and is a Member of the International Association of Theatre Critics (IACT-AICT). He publishes and develops research on Hispanic literature, performance, Latin American theatre and black theatre. Among his published and organized books, some stand out: The black theatre in perspective: dramaturgy and black scene in Brazil and Cuba (Malê, 2017).
Odeon Institute is a cultural, non-profit nature private association, which mission is to promote excellent management and cultural and artistic production, in dialogue with education, adding public value to society. The Institute came from an expansion of Odeon Theatrical Company, an organization created in 1998. Between 2012 and 2020, it managed Rio Art Museum – MAR in partnership with Rio de Janeiro city government, and managed the Municipal Theatre of São Paulo between 2017 and 2020, through a collaboration agreement with São Paulo municipality.
Belo Horizonte International Theatre Festival Stage & Street
Held for the first time in 1994, Belo Horizonte International Theatre Festival Stage & Street – FIT BH has achieved, since its origin, an excellent acceptance by the city’s population, meeting the strong vocation of BH for group theatre and artistic experimentation.
Its relevance was reaffirmed on January 31, 2008, through Law 9,517, which established FIT BH as an official event to be held biennially by the City Government, through the Culture City Secretariat and the Culture City Foundation.
Since its first edition, the festival has brought to Belo Horizonte groups and artists from 45 different countries, including productions from all continents, and creating great impact on the city’s cultural dynamics. With a wide and diverse programme, FIT BH occupies theatres, streets, squares, parks and alternative spaces of the city.
Today, consolidated as one of the most important international theatre festivals in Brazil, with great international repercussions, it keeps blending artistic quality and languages multiplicity, operating on different activity areas and valuing promotion, training, reflection and exchange.
Is a cultural producer and performing arts and music curator.
Since 2019 she has been responsible for the artistic programming of Evoé Institute, managing organization of Riachuelo and Prudential Theatre in Rio de Janeiro. In addition to Theatre programming, she develops projects such as Theatre, Music and Dance festivals to occupy the venues.
She also works as a programmer at Centro Cultural Casa Quintal de Artes Cênicas – artistic residency, research, rehearsal and exhibitions venue.
She’s a juror for the APTR Theatre Award.
Been the producer and general director of Primeira Página Produções Culturais [First Page Cultural Productions], created in 1997, she is responsible for more than 40 theatre productions, some of which acclaimed by audience and critics. In 2018, AGOSTO received seven awards and 22 nominations, including Best Production/Show at APTR, FITA and APCA Awards. In 2015 her production INCÊNDIOS, starring Marieta Severo received more than 50 nominations for prizes and won in 21 categories. Her productions, ENSINA-ME A VIVER and O GRANDE CIRCO MÍSTICO won the APTR Award as best productions of the year in 2008 and 2014, respectively. In 2013, she received the FITA Award as best producer, in recognition of her participation in all editions in the 10 years of the Angra dos Reis Theatre Festival – RJ.
Instituto Evoé manages and curates the Riachuelo Rio Theatre and the Prudential Theatre schedules, located in iconic buildings listed in Rio de Janeiro and with a modern structure and state-of-the-art technology to host all kinds of shows on their stages. Traditional and avant-garde, the venues reopened three and five years ago, respectively, have reinvented themselves in the most recent and challenging years for culture.
With approximately 3,500m² and 999 seats, Teatro Riachuelo was opened in 2016 fully restored and modernized in the 1890 building. It has become a thriving and plural space gathering various artistic expressions, aiming at attracting the most diverse audiences, including free activities or at popular prices. With its privileged location in Cinelândia, the venue next to Santos Dumont airport, the underground, VLT, ferries and Glória Harbour, has received since its reopening more than 500 thousand people.
Located in the historic Manchete Building in Glória, designed by Oscar Niemeyer and with a landscape design by Burle Marx, Teatro Prudential gives new life to Adolpho Bloch Theater, a stage of legendary moments of our culture. In May 2019, Evoé Institute gave back to Rio this iconic, but increasingly modern, cultural complex. Thanks to the genius of Niemeyer, who created a reversible stage, it is possible to promote shows both outdoors and indoors, or using both at the same time, in an arena format. In its programming it ranks cultural plurality for lovers of the most diverse cultural expressions. Since its opening, it has received more than 180 attractions, bringing more than 30 thousand people. It holds the festivals SOMAMOS, The new MPB and Black Consciousness Festival with attractions from all artistic genres.
Natasha Faria is superintendent of Centro Dragão do Mar de Arte e Cultura [ Dragão do Mar Art and Culture Centre]. She holds a MA in Theatrical Studies from Sorbonne Nouvelle University in Paris and a degree in Dramaturgy from Lisbon School of Theatre and Cinema. He holds an MBA in Executive Management from FGV. She is experienced in public policy management for the Arts, with an emphasis on Theatre, Music and Circus, and cultural spaces management. She was responsible for the Theatre and Circus policies of Fortaleza Culture Secretariat and coordinator of Porto Iracema das Artes School. She is a singer and actress.
Dragão do Mar Art And Culture Center
Centro Dragão do Mar de Arte e Cultura (CDMAC) was named after jangadeiro [fisherman] Francisco José do Nascimento, aka “Chico da Matilde”, better known as Dragão do Mar [Sea Dragon], for his protagonism in the strike that prevented the transportation of slaves in Fortaleza harbour and, in doing so, establishing the forefront of slavery abolition in Brazil, in 1884, four years before the rest of the country.
Built in an old port area of Fortaleza, CDMAC has the total area of 14,500 square meters, where it houses equipment such as Ceará Culture Museum, Ceará Contemporary Art Museum, Rubens de Azevedo Planetarium, Dragão do Mar Theatre and Dragão Cinema, as well as spaces such as Leonilson Library of Visual Arts, Sergio Motta Amphitheatre, Multi-gallery, Auditorium, Dragão do Mar Arena, Rogaciano Leite Filho Space and Green Square, where the most diverse cultural activities are also carried out.
With up to 1.7 million visitors per year, it has consolidated itself as one of the most relevant art and culture complexes in our state and is one of the main touristic sites of Ceará. On April 28, 2022, CDMAC celebrated 23 years dedicated to art, culture and thought, a place of encounter and appreciation of plurality. Its purpose is to democratize access to culture through the provision of a strong programme, reinforcing the cultural and artistic willpower of Ceará.
Neto Machado is an artist involved with dance, theatre, audiovisual, communication, curatorship, writing and education. His works are more directly linked to the ideas of choreography, memory and childhood. With a MA in Performing Arts from UFBA and graduated in Performing Arts from the Faculty of Arts of PR, he was a fellow artist at the Akademie Schloss Solitude Institute – Germany (2013/14) and at the e.xe.r.ce project of Montpellier Choreographic Centre – France (2008). Neto is a member of Dimenti Produções Culturais end of Conexões Criativas (BA), and is one of the curators of IC Encontro de Artes , a multidisciplinary festival holding its 15th edition in 2022. He has presented his work in more than 50 Brazilian cities and 10 countries, in places such as: Tate Modern (UK), MIT (USA) and Station One (Serbia). Among his works are: the object-books collection for children “Paper Choreographies” (His book “Small Collection of Insignificances” was a finalist for the Jabuti 2020 award in Children’s Literature category); “Dance Library” (work appointed by Revista Antropositivo among the best works of 2017); “Desastro” (play for children and adolescents participating in Sesc’s 2018 Palco Giratório and several other shows); “Kodak” (play for children winning the 2011 Cultura Inglesa Festival Award); the TV series “The Law of Laughter: Bizarre Crimes” (nominated for the 2019 Brazilian Film Grand Prix as the best fiction series). More info at: netomachado.com
IC – Encontro de Artes [Arts Summit] (BA)
IC is an international arts summit, held annually in Salvador, Bahia, since 2006. IC is an acronym for “Interaction and Connectivity”, two of the summit’s driving concepts, along with principles such as artistic experimentation, displacement, risk, free relations between process and product, flexibility and criticality. In each edition, a symbolic question guides the curatorial process and the programme composition, articulating subjects that have touched the creation of artists in different parts of the world to the research of IC’s artists-curators-producers: Ellen Mello, Fábio Osório Monteiro, Jorge Alencar, Larissa Lacerda and Neto Machado. Sorted as a multi-artistic platform of creation and dissemination, the IC articulates dance, music, theatre, audiovisual and visual arts, through many activities. In the last editions, the thought and curatorial action of the event brought up the following mottoes: “Arte dá Trabalho” [Art demands Effort] (2021), “Arte e Outras Magias” [Art and Other Magics] (2019) and “Arte Como Luta” [Art as Struggle] (2018).
From Pernambuco, actress, producer, curator, manager and director of Remo Produções Artísticas, with an extensive list of presentations in performing arts and some audiovisual productions since 1983. She was producer and one of the curators of Festival Janeiro de Grandes Espetáculos [January Festival of Great Shows] for 17 years. Currently produces RESIDE-FIT/PE, in its 4th edition, composing the Nucleus of Brazilian Performing Arts International Festivals.
Present and active in the fostering of public policies for culture, she was the first woman president of the Cultural Policy State Council of PE State, elected in two terms.
RESIDE- Pernambuco International Theatre Festival, is in its 4th edition. It keeps its main objective of collaboration and training, sharing experiences and knowledge, debating ideas and creative processes, through training meetings, presentations and especially artistic residencies, conducting an increasing exchange with artists from abroad, strengthening bonds of coexistence and stimulating the breaking of possible territorial and linguistic barriers. RESIDE is part of the Nucleus of Brazilian Performing Arts International Festivals and has as curators Celso Curi and Paula de Renor.
Social Entrepreneur, Advertiser, Producer and Cultural Manager.
He graduated in social communication – advertising, is a specialist in cultural management, and has a MA in communication and culture sciences from Trás-os-Montes e Alto Douro University – Portugal.
Founder and director of quitanda creative solutions, classified as a social impact business, a company dedicated to social innovation that has as principles the empowerment of education, culture, and social and technological innovation, through the development of innovative and sustainable
programs and projects. The institution embraces that reflecting on culture and education is thinking about values and new social codes.
He directs cultural and educational projects in many areas, with emphasis on direction and curatorship of several performing arts and music festivals, nationally and internationally. He is also behind the idea of both Creative Schools project and Cultural Laboratories training program.
He dedicated himself to the management of public policies for culture, as Executive Secretary of Ceará Secretariat of Culture (Secult) 2012-2014.
Quitanda Creative Solutions
Based in Ceará, Rio de Janeiro and São Paulo, Quitanda Soluções Criativas is a company developing impact businesses, specialised in the creation and development of social technologies and innovative actions. For 15 years, it has been conducting projects aimed at creation, execution, training, cultural production and artistic promotion. Carrying out exchange, circulation, research, training and cultural promotion projects, at regional, national and international levels, with emphasis on the articulation between public power, private initiative, third sector, cultural producers, artists and audiences.
It works with Education, Sustainability and Social Responsibility. Provides Consulting services in preparation and planning of social impact programs.
Since 2015, Sandrina Martins is the director of Le Carreau du Temple, an art, sport and cultural establishment in Paris. She is committed to a singular path, focused on the issue of contemporary bodies, combining art and sport, professional and amateur practices, and also giving an important place to feminist and environmental issues. Convinced of the need to reinvent cultural venues, she develops the proximity with the inhabitants and emphasises the connection to the major challenges of our time. She is currently implementing a contemporary dance programme and she proposes new approaches to develop relationships between art and public policies. She began her professional career at the Centre Chorégraphique National directed by choreographer Jean-Claude Gallotta in Grenoble (France) from 1997 to 2000. Then, she became in charge of the circus and street arts activities at the Cultural Department in the city of Paris where she contributed to proactive policy in favour of contemporary creation. In 2005, she joined the team of actOral, the international « Contemporary Arts Festival » in Marseille (France). In 2009, she joined the team of « Marseille Provence 2013, European Capital of Culture », as head of an innovative programme of artist’s residencies in private companies throughout the metropolitan area. In October 2021, she was nominated artistic director of the Nuit Blanche in Paris.
Le Carreau du Temple
Le Carreau du Temple is an arts, sports and cultural establishment of the city of Paris, restored in 2014, located in Paris Centre. It positions itself as a dynamic venue for creation and diffusion in the heart of the cultural and events ecosystem of Paris.
A wonderful place for arts, education and apprenticeship, Le Carreau du Temple is also a real living space, offering many opportunities for innovations, social initiatives, conviviality as well as multi-disciplinary experiments intended for all publics thanks to a varied cultural, artistic, sports and lifestyle program, comprising 230 events per year.
The many assets of Le Carreau du Temple enable the development of new and emerging forms of events, reflecting today’s trends. Its strategic geographical situation in the heart of the Haut Marais, its elegant late nineteenth century industrial architecture and its Halle with a surface area of more than 1800 square metres provide a unique environment for all organisers of large-scale events looking for an exceptional location.
Silvia Rambaldi is Programming Coordinator at Teatro a Mil Foundation (Chile).
Italian-born, Chilean-based cultural manager, she has been part of the permanent team of Teatro a Mil Foundation since 2016, when she started as part of the administration team. From 2019 on, she has been part of the programming area of the Foundation. She has a degree in Communications Science and Technology (Iulm- Milan, Italy), a specialization in Music and Performing arts sciences (Unimi – Milan, Italy) and a Master’s degree in Teaching Italian Culture and Language to Foreigners (Unimi – Milan, Italy). In Italy, she worked as a cultural manager and producer at the Piccolo Teatro (Milan), Irma spettacoli, Rai Radio 2, among others. She lives in Chile since 2015.
Santiago a Mil International Festival
Was set up as a non-profit organization in 2004, after the expansion and consolidation of the Santiago a Mil International Festival, our most important project, held in January each year since 1994. Since then, our work has involved contributing to the geographical, social and economic decentralization of access to culture, through the highest-quality projects, training and educational programs for both the public and artists and touring opportunities for Chilean and Latin American companies.
As a contracted producer she worked in the advisory of the event “Canada nas Gerais”, an international initiative that brought important CEO’S of companies which greatly contribute to Canadian GDP, one of which, Nortel Telecom. This event was conceived for the promotion of culture, as well as for significant negotiations between the Canadian and Minas Gerais governments, through the partnership between FIEMG and the Embassy of Canada. As advisor to Sesiminas Culture Administration she was responsible for the management of special projects, being the reference person with the creators of the following projects: FID, ECUM and Cia Armatrux. In addition, she was secretary of the Chamber of Culture of the FIEMG System (under president Francesco Ciranni) and responsible for the analysis of cultural projects requesting direct funds. She directed the Nansen Araújo Culture Centre, adding to the role of Culture Manager of SESIMINAS, expanding her managing over nine cultural centres unis throughout Minas Gerais, where she also managed the artistic bodies (orchestra, choir and dance department), as well as other social services through cultural projects. She is director of Rubim Cultural Productions and Events, being also administrative and financial director of AB Comunicação e Cultura, responsible for the project Sempre um Papo, which in 2016 completed 30 years. In strategic management she designed the administrative regularisation plan and the interiorisation / nationalisation / internationalisation of the project for 5 years.
Tatyana Rubim – Festival Teatro em Movimento [Theatre in Movement Festival]
Conceived and produced by Rubim Produções, coordinated by Tatyana Rubim, Teatro em Movimento is a permanent festival, which happens onsite and online, and has already taken more than 300 major shows to 16 Brazilian cities. Teatro em Movimento also proposes to take theatre to Minas Gerais inland and to propagate Minas Gerais production to other regions of Brazil. With the launch of the online platform, created during the pandemic, the festival reaffirms its commitment to training and research of new languages, through the cutting-edge Digital Theatre Training course, and digital scenes and shows.
Born in Poland in 1983, Tomasz Kireńczuk is a dramaturge, theatre critic and curator. In 2008, together with a group of young artists, he founded the Teatr Nowy in Krakow, a place of theatrical research that in a few years transformed from a temporary organism into an independent centre of theatrical production. For a few years, he has been its project director, curating artistic, educational and social aspects of the theatre. In 2018, he inaugurated the Laboratory of New Theatre, a programme dedicated to the education of young artists, focusing on providing them with means of production and complete creative freedom. Its curatorial practice focused on socio-artistic work with various local communities. He is also the co-creator of Dialog – Wrocław International Theatre Festival, one of the most important theatre festivals in Poland, where he worked from 2011 to 2019. Between 2005 and 2006 he lived in Rome, where he developed a research project dedicated to the Italian Futurist theatre. In 2008, he published an essay in Polish titled From art in action to action in art. Filippo Tommaso Marinetti and the theatre of Italian Futurists. He studied and taught at the Faculty of Performing Arts of Jagiellonian University in Krakow. Since 2021 he is the artistic director of Santarcangelo Festival / Italy.
Santarcangelo Festival is a lively, vibrant and surprising art and performance Festival that brings the most groundbreaking and exciting contemporary creation to a small beautiful town on top of a hill, in Northern Italy. It offers a diverse programme of art and music and it transforms the town for 10 days, creating an unique and immersive atmosphere and building a temporary community of artists, citizens and spectators who gather around contemporary performing arts. The Festival has been successfully running since 1971, becoming an important cultural hub and a leader in the international arts scene. Together with a radical programme, we offer a pleasurable context for networking and conversation.
The Festival is always questioning how freedom can be expanded, shared, enjoyed. This is assured by the autonomy of curatorial team of the Festival and the risk-taking, adventurous attitude of the whole team. At Santarcangelo Festival you can see and feel what nowness feels like, experience groundbreaking performing practices: we present artists across a wide range of artistic languages, following the freedom of post-internet generation who create art outside of institutional boundaries of genres. With theatre, dance and music at its core, the Festival presents a range of artists who do not fit into any of these categories, cross-pollinating with other sectors, from political activism to scientific research. The Festival is not neutral – it is an active citizen who has a strong position and is not afraid to express it. We champion taking risks while the general mood seems to change towards avoiding risks at all costs, we promote openness and celebrate diversity while the political landscape works hard towards closing borders; we focus on inclusion and community building while the economic crisis drives people to prioritize individualistic needs. We are outspoken and defend our values publicly.
He is the director of OFF Cultural Productions, and publisher of OFF Theatre Guide.
OFF Cultural Productions
OFF Produções Culturais focuses on the production, circulation, exchange of works and avant-garde artists and new languages. In the last 30 years, OFF has executed and created projects in partnership with Brazilian and foreign artists and institutions. In 1996, OFF Theatre Guide was created, a free distribution print media, which publishes monthly a detailed list of concert halls and their schedules.
Willie White is the Artistic Director of Dublin Theatre Festival, since 2011. He graduated with master’s degrees in English and Irish Theatre from University College Dublin and Trinity College Dublin, respectively. Previously, he worked at RTÉ, Ireland’s public service broadcaster, from 1998-2002 and was Artistic Director of Project Arts Centre, Dublin from 2002 to 2011. He was a board member of IETM, an international performing arts network based in Brussels, for 7 years and its President from 2013-2017. He is currently Chair of the dance network Aerowaves Europe and a board member of Phizzfest local community and arts festival.
Dublin Theatre Festival
Established in 1957, Dublin Theatre Festival brings world-class contemporary theatre to the capital city, supports artists in creating outstanding work and provides a platform to showcase the best of Irish theatre to the world. Usually beginning on the final Thursday in September and running for 18 days, the next edition will take place from 29 September-16 October 2022. The festival showcases up to 30 projects in a mixture of Irish and international productions on a range of scales, from intimate performances to work on the city’s largest stages. The programme incorporates theatre, music, dance and family events, as well as artist talks, public discussions and artist development programmes, with performances taking place in venues and locations across the city and the greater Dublin area.
Wolfgang Hoffmann has been a festival director, choreographer, dancer, dance teacher and artist representative. Growing up in the GDR, he trained as a toolmaker and came to dance at the mature age of 21. He co-founded fabrik Potsdam, a venue for music and dance in Germany, and set up the Potsdamer Tanztage, an annual dance festival. With his company fabrik Potsdam he produced and danced in 12 different shows and toured in over 20 countries worldwide. In 2001 he founded Aurora Nova, a highly acclaimed venue for physical theatre and dance in Edinburgh, and from 2004 to 2008 he was the director of the Dublin Fringe Festival. He now runs Aurora Nova as a theatre booking agency out of Berlin, representing the newest trends in contemporary circus, physical theatre and new theatrical forms for venues and festivals around the world.
Aurora Nova is a theatre booking agency and consultancy firm based in Berlin. It specializes in bringing physical theatre, contemporary circus and new theatrical formats to festivals and venues worldwide. It also provides tailor made programming solutions to theatre professionals. The company represents a growing roster of highly artistic yet universally entertaining shows.
Set up by Wolfgang Hoffmann in 2001 originally as an alternative venue at The Edinburgh Festival Fringe, Aurora Nova’s multi-award winning programme of international visual theatre and dance quickly won critical acclaim.
Drawing on over 20 years experience both as a performer and producer, including 4 years as artistic director of The Dublin Fringe Festival, Wolfgang’s comprehensive network of international presenters, producers and performers combined with his proven talent for spotting excellence has made Aurora Nova’s transition to theatre booking agency and consultancy firm a natural and exciting progression.