Reverberações de um corpo-tela

Wura Moraes‘ performance proposes to work on the principle of the canvas-body or body-image, as alluded to in Leda Maria Martins’ book “Spiral Time Performances, Canvas-Body Poetics”.

The Portuguese-Brazilian dancer and choreographer explores the production of images – visual, sonic and kinetic – using objects from her family archive to create compositions that evoke narratives, images and different temporal layers.

The props from this archive provide continuity and relate to the project that the artist has been developing: ‘Confluências’, in which she evokes the memory of her father Mário Calixto and her uncle Miltércio Santos, both dancers and creators.

Portuguese-Brazilian dancer and choreographer Wura Moraes graduated from Angel Vianna College (Brazil) and trained at École des Sables (Senegal), EDIT (Burkina Faso) and FAICC (Portugal). Together with Joana Lopes, she created “Alienada and Agente” and was a performer in “Cribles7Live-Porto” by Emmanuelle Huynh. In Bahia, together with Loke Wolf, she developed the contemporary dance research platform Autodidança. She coordinated AgitLAB (Águeda), curated by Paulina Almeida, co-produced LAMB – LAND ART MOVING BIENNAL with Malgosia Sus, coordinated Dance Temple and co-directed the performance trajectory Ilhas Suspensas with Darya Efrat, both for the Festival dos Canais (Aveiro), and created the solo CERN, presented in Águeda and Marrakech. As a performer she has taken part in Gil Mac’s NKISI, Time Capsule at JAB/Croatia, Dori Nigro’s Serei/Afrodiaspórica, the Plastic Art Performance Collective’s Eco_Movements (Romania), Charles Cardin-Bourbeau’s Un Enclos (pour l’impératrice), Calixto Neto’s Feijoada and the Greenhouse project with Mónica de Miranda. In co-production with the DDD 2024 Festival, she premiered HENDA I XALA, part of the major project Confluências, in honour of her father Mário Calixto (1960-1996), a dancer and choreographer.

This performance forms part of the e activations programme of the piece Time Lapse, which is featured in Mónica de Miranda‘s exhibition Depth of Field.

Photographs by Renato Cruz Santos