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DANIEL MATOS
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LAGOS | 1996

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DANIEL MATOS
ABOUT ME
Choreographer, performer and visual artist.
Starts his studies in visual arts, classical and character dances.
BA in Contemporary Dance at Escola Superior de Dança - IPL (2017) and integrates the first year of the Master in Performing Arts of FCSH - UNL.
Was a collaborator of the first edition of BoCA Sub21 (2017), with artistic direction by John Romão and mediation by Sara Franqueira. Attended workshops and trainings with Vânia Rovisco, Salva Sanchis, Laura Aris, Tânia Carvalho, Peter Michael Dietz, David Hernandéz, Jácome Filipe, André Mesquita, Anne Teresa de Keersmaker, Yvonne Slough and Francisco Pedro.

He develops his work through multidisciplinary practices, always focusing on the body as a biographical, physical and emotional research field, questioning and redesigning the idea of limit. His creations always try to find a hybrid way of working, assuming the present as a political place of transgression, poetry, ritual and affection, touring in national and international venues and festivals.





















He´s a guest dancer of Lisbon´s Soundpainting Orchestra between 2014 and 2016, directed by François Choiselat and integrates Amálgama Dance Company from 2014 to 2016, with artistic direction by Alexandra Battaglia. As a choreographer´s assistant, he works with Amélia Bentes in "O Ponto Vivo" for Escola Superior de Dança, "Finalmente o Céu" in partnership with EGEAC and Castelo de São Jorge, and with Beatriz Garrucho in "Laranjal".

He´s an artistic collaborator, performer and rehearsal assistant of the duo Ana Borralho & João Galante, integrating the creative processes, shows and group coordination in the performances "ATLAS", "SexyMF", "World of Interiors", "Time to Reflect", "Family Romance or the Augmented Reality", "Louise Michelle's Girls" and "Internal Stackholders". He collaborates as a performer with Angélica Liddell in "The Scarlet Letter", Romeo Castellucci in "Passione", Barbara Griggi in "Dreamland III", Luís Marrafa in "Folklore", André Uerba in "FireStarter (study)", Nuno Nolasco in "Avant Garde", Amélia Bentes in "Um Fio de Ar" and "Sem Chão Sem Fim" - being present in festivals such as Wiener Festwochen, Holland Festival, FIND Festival (Schäubuhne), Salmon Festival, Grec Festival and the Wiesbaden Biennale.

He also collaborates with the sex therapist Cátia Leitão as assistant in the couples course "Tantra and Alchemy of Pleasure" and as co-guide in the practice "Liquid Love".

In the context of the 8th and 9th editions of the International Arts Festival Verão Azul (2017 - 2019), he did rehearsal assistance and stage direction to Vera Mantero, João Fiadeiro, Francisco Camacho, Dewey Dell, Alessandro Sciarroni, André Uerba, Niño de Elche, Gustavo Ciríaco, Raquel André, among others.
Has been invited to share his creative and research processes at the Conservatori Superior de Danza de Valencia, Escola Superior de Dança and Festival Verão Azul, giving the workshops "Infinity of the Void", "About the Body Last" and "In a Valley of Here Masterclass".
Has published visual material in the 6th edition of Merge Magazine and in the book "The Art of Building Citizenship: artistic practices", curated by Alix Sarrouy.
Has integrated the "43 Ways of Catching the Sun" curatorship for children by Teresa Coutinho for Lu.Ca (Teatro Luís de Camões) and was a guest artist at the Gymnasium proggramme, directed by Mónica Samões.

In 2017 founded, alongside with Joana Flor Duarte, CAMA a.c. - a structure for the creation, production and research of performing arts - where he's a resident artist and responsible for the artistic direction.

Currently assumes the co-programming and co-curation of the 11th edition of the International Arts Festival Verão Azul, invited by casaBranca a.c. and the artistic directors Ana Borralho & João Galante and is the co-artistic director and programmer of PEDRA DURA - Algarve Dance Festival, a festival produced by CAMA a.c. and Lagos Municipality.

YOU
me
(he / him)
Daniel Matos is known for bold, sophisticated and physically intense choreographies, often working with particularly vigorous performers. Despite his young age, his language is remarkably mature and rigorous, being able to combine the energy and drive commonly associated with youth with a poetic sharpness more commonly found in more experienced artists.
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