Montanha-Russa is a metaphor for adolescence. This performance by Miguel Fragata and Inês Barahona started from a research project involving hundreds of teenagers, which included collecting diaries and personal interviews. On stage, the performance is built around a conflict with the music, composed by Hélder Gonçalves, from the band Clã. Vocalist Manuela Azevedo is one of the performers.

For more than a year, Inês Barahona and Miguel Fragata immersed themselves in the words and ideas of teenagers. They tried to provoke questions and collect answers that punctuate their lives and worldviews. Creating a show about adolescence required a long and careful search - diaries, letters, songs, images, confessionals, taunts ... They challenged actors and musicians to set up a musical where everyone will be accomplices: Montanha-Russa. Adolescents are out of child-hood and walk towards the place where they become adults. They are in the middle. We tried to find them.

The major iconoclast of British dance, Michael Clark, will perform for the first time in Portugal with to a simple, to a simple, rock ’n’ roll . . . song. (2016). This three-act performance pays homage to three of his sources of musical inspiration (Erik Satie, Patti Smith and David Bowie), exploring the major points in his artistic language: the blurring of borders between classical ballet, contemporary dance, fashion, music and the visual arts.

Dance as art and relational language. First of all, between arts and artistic languages and different fields of knowledge, the 2019 edition gives ample testimonies: the relationship between dance and music, tendentially more in the territories of punk rock, but also with theater, literature or philosophy. On the other hand, also relational between different degrees of immersion in intimacy and more dehumanized visions of life, between a more human expressiveness and a more formal and composed one. In all of them there is a perspective of the world that is formulated and put into tension, exposing the contradictions and inconsistencies that express the drive of life, visceral, beastly, lustful and convulsive. The beautiful is always a concept under construction and it is very much in the eye of the beholder.

Open way for a conversation with the creators. 3 of the most important artistic presences in the 9th edition of GUIdance, have a meeting with the audience after the respective performances, for a moment of relaxed and interactive proximity.

This event is a type of class-conference on the history of contemporaneous dance with journalist and dance critic Cláudia Galhós in which the discussion will include different perspectives and the processes involved in artistic creation over the years.

The Tallest Man On Earth, one of the greatest indie folk talent in the world, is returning to Portugal for three concerts where he will present the new songs from the multimedia project When The Bird Sees The Solid Ground. After 4 albums and 2 EPs, The Tallest Man On Earth, the stage name of the Swedish singer-songwriter Kristian Matsson, brings us with When The Bird Sees The Solid Ground, a series of 5 webisodes, which began to be made available in March and have been happening throughout the spring and summer. Performed by the himself in home environment, the videos were the chosen support to debut the new themes, as well as to tell the story behind them. The confessional tone of When The Bird Sees The Solid Ground will now be transported to the stage, in a world tour that, in Portugal, passes through Lisbon and Aveiro, finishing in Guimarães, in Centro Cultural Vila Flor, on February 24. 

 In the month that commemorates Merce Cunningham’s centenary, the CCVF will celebrate World Dance Day with the solo performance, Not a moment too soon, performed by Trevor Carlson, the last director of Cunningham’s dance company. This will be the culmination of a week of celebrations which will include a training programme for dance schools and screening of films made by the choreographer in the final years of his life.