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The 10th edition of Panorama SESI de Dança took place between August 5 and 15, in São Paulo, and had some specificities that deserve to be pointed out. For starters, the curatorship was shared among Christine Greiner, a professor at the Arts of the Body Department of PUC, and Gabriela Gonçalves. “We, researchers of contemporary art, have observed a contamination between different roles that are not necessarily individualized anymore”, said Christine Greiner in an interview for idança. “And we decided to put this into practice to see if it would work”.

Another difference in this edition was the selection of participating artists. In the ten-day program, with two presentations in five of them, there was a total of nine artists (or groups of artists). That means the festival gathered artists that somehow dialogued each other, providing the possibility for them to get in touch deeply with the issues proposed by the pieces.

In the first week, for instance, the works of Marcela Levi and Denise Stutz and Felipe Ribeiro dialogued with the videodance Carta Branca à Lia Rodrigues, since both women were once members of Lia Rodrigues Companhia de Danças. Marcelo Evelin brought two important pieces of his work from Piaui. The solo Ai, Ai, Ai, which strongly marked his career 15 years ago and Mono, an essential piece of his current moment ahead of Núcleo do Dirceu. This time, the independent solos created for Mono were tested in a stage format. The performers (with their respective fictional mentors – Joseph Beuys, Nijinsky and Hijikata) placed themselves on three different stages while the spectators were allowed to choose watching the piece from the stage or the audience. “I’m not convinced anymore about a show format with beginning, middle and end taking place on a stage”, said Marcelo Evelin. “I’ve been thinking about how to explore my conceptions about dance in other formats, trying to come closer to what I´m searching and to the audience”.

The second week of Panorama started with two other solos, Ângelo Madureira’s Delírio and Eduardo Fukushima´s Como superar o grande cansaço. Not by chance, the youngest creator at Panorama is on the cover of this year´s catalogue, indicating the continuity of the dance research. A very wise choice of the curators made clear not only the contrast between both artists, but also their similarities. In Delírio, Ângelo presents the virtuosity of popular dances through a dreamlike narrative, while Eduardo dances fatigue in abstract movements that are almost automatic. However, both artists, who worked together in Ângelo and Ana Catarina Vieira’s Baseado em fatos reais, bring along persistence of movements that lead to creation and projection of the future. Followed by Marcelo Evelin’s solo, this was probably the highlight of Panorama, filling up the theater on a Tuesday night.

On the following evening, Ângelo and Ana Catarina Vieira performed Clandestino, a piece in which they started to discuss issues regarding what they call “tourist audience”. After that, came developments of those issues in shows like O Nome Científico da Formiga, O Animal mais forte do Mundo, Somtir e Baseado em fatos Reais. “The audience often leave the house to see a new show, but that´s not what happens, because there’s always some pre-availability and even a pre-conception about what they will see”, says Ângelo. “In Clandestino, we decided to adopt this political stance”.

In the same evening, Vera Sala, remade Estudos para Macabéa for Panorama. In the following evening, she presented Corpos Ilhados, a piece that indicates the installations that later became part of her career. Other highlights were the re-staging of Cena 11’s Guia de Ideias Correlata and the presence of Cláudia Müller grazing visual arts. In a time when there´s much debate about sustainability (environmental, economic, human), Panorama was able to create an environment where the understanding that dance can be recycled from a network of ideas that communicate with each other and renew themselves at every moment. The creators are able to evolve from the actualization of old ideas and the audience can also build a (sustainable) thinking about dance.