Dance in Context - 1st semester


1. Recognizing dance and choreographic thinking as possibilities always present as manifestations and strategies for relation, and subjectification.
2. To make a contribution on the questioning and unfolding of speaches that tend to dichotomies like body / mind by sharing alternative points of view.
3. To develop strategies that include perception, attention, and sensibility in danced or choreographed situations.
4. Taking the word \"position\" into account for developing discourse around \"disposition\", \"composition\", \"presence\", \"movement\", \"posicionality\" and positioning.
5. Observing some choreographic practices as ethical and aesthetical approaches in a political perspective.
6. To encourage concrete contact with performative practices.

General characterization





Responsible teacher

Docente a definir


Weekly - 3 letivas + 1 tutorial

Total - Available soon

Teaching language





DELEUZE, Gilles e GUATTARI, Félix, (2004 [1972]), «Sobre a Lengalenga» in Mil Planaltos, Capitalismo e Esquizofrenia 2. Lisboa, Assírio e Alvim. (nota: no Brasil foi traduzido para «Acerca do Ritornelo»).

--- (1992 [1991]), «Percepto, Afecto e Conceito» in O Que é a Filosofia?. Lisboa, Editorial Presença.

FAZENDA, M. J. (2012), Dança Teatral: Ideias, Experiências, Acções. (2ª edição revista e actualizada). Lisboa: Colibri – Instituto Politécnico de Lisboa. (Obra original publicada em 2007) (está à venda)

GIL, José (2001), Movimento Total: o Corpo e a Dança. Lisboa: Relógio D’ Água Editores.

LEPECKI, André (2006), Exhausting Dance: Peformance and the Politics of Movement, New York, Routledge.
---(2017), Exaurir a Dança: Performance e a Política do Movimento, Brasil, Annablume Editora.

---(2011), «Coreopolítica e Coreopolícia», ILHA vol 13, nº1 Jan./Jun.: 41-60.

NELSON, Lisa (2003). «Before your Eyes, Seeds of a Dance Practice» in Contact Quaterly dance journal, vol. 29 #1, W/S.

Teaching method

The seminar will invite 8 guests and will be taught in an experimental manner. Each session will work autonomously from the other consisting on sharing questions, discussions, reading texts, watching videos and other activities related with dance and choreographic thinking.

Evaluation method

Each student is responsible for its own study according to the interests that drew him for the specific master degree program, keeping a notebook with fieldnotes that will support the final texts. The final evaluation will focus on:
1- A report on one of the seminar lectures with a guest: 20%.
2- A written analysis of a performance, or a review of a performance, or a text about a choreographic situation: 20%.
3- A paper on dance/choreography based on a case study, or on the reading of texts chosen from the bibliography, presented in an academic format, or ready to publish in art magazines: 60%.

Subject matter

Throughout the classes the discussion gives its contribution to dismantle and complexify naturalized pre-conceptions of dance and choreographic practices. Trying to develop practical strategies to the working issues as we go through the topics of dance studies, dance anthropology, dance history, performance studies, communication and philosophy. Namely, by approaching paradigmatic texts and pieces that relate themes as: affect, movement, dance / non-dance, politics, ethics and aesthetics. Analyzing choreographic pieces and articulating them with key moments of dance history. For instance the paradigmatic and poetic movement initiated by contact improvisation in the context of the sixties. The seminar works as a workshop, allowing each student to previously prepare the text from the bibliography for the class, that will be articulated with a question and a video of a performance piece projected in class.