Dança sem Fronteiras fifteen years old!

2025 – This celebratory project is being carried out with the Group Award – Edital Fomento CultSP PNAB N° 43/2024

Celebrations in 2025

Presentations
Documentary
New videos dances
New dance videos with audio description
Exhibition
TalksNew partnerships
New company logo and t-shirts

Documentary Clipe

Full Documentary

Since its creation in 2010, Dança sem Fronteiras (Dance Without Borders) has claimed the city as the place for all dances, creating artistic productions and educational activities that embrace the skills and potential of participants. The company works with dance as a territory that represents, respects, and understands the individual in their uniqueness, investigating gesture, movement, and dance, the city, and assistive technology objects (including crutches, wheelchairs, canes, and walkers) to create a poetics of movement with them.

Improvisation as a method of creation and research – The body of each individual as a starting point. – The body is in constant transformation and establishes relationships with the world around it through its sensory perceptions and understandings. Knowledge stems from feeling, from observing and perceiving the sensations of the physical body such as weight, breathing, and heartbeat.improvisação como método de criação e pesquisa –

Daily questions are asked: – How is my body today? – What is my body like right now? – What is my dance and my movements like?

The idea is to recognize the real body, not the one we idealize. – What body is mine, not the one I idealize or would like to have? How can I create structures to discover the possibilities of my body and its expressiveness?

“The encounter with myself through encountering the other…” Perceiving differences is fundamental. The encounter with the other’s body leads me to the encounter with my own body. Differences bring the liberation of being who we are. Our body doesn’t have to be one way or another, but rather be what it is. There is no right or wrong body, only a unique body. Standardization, the idea of right or wrong, doesn’t allow space for the daily mutations and transformations that are part of the body’s life.

“When nothing happens, there is a great miracle that we are not seeing” – Guimarães Rosa – This fact is a constant truth in relation to the body that grows and transforms daily, accumulating marks, curves, new details, and therefore the importance of time for the practice of observation, to let the body communicate and move as it wants and needs.

Videodanças

Practical and Reflective Process

Creation, like the body, never takes a break; it is in constant transformation, a continuous process of observation and listening that occurs daily as we perceive the world around us and our own bodies. The body is in constant movement, pulsation, and transformation. The provisional nature of bodily perception is not something fixed or rigid; it is in constant transformation, just like the world around it. We see the body as an integral part of the process, not an external ideal that we need to achieve; we already have it, it is already ours and only ours, with its unique histories, narratives, and characteristics. We always begin our practices by feeling, touching, perceiving my body and the body of the other—the skin, the muscle, the skeleton, concrete structures. We wake up, stretch, occupy the space with our bodies, and move, pausing. We begin to move without idealizing, letting the body ask to move and opening ourselves to listen to the will and desires of MY body today. We encounter the other and their movements in dialogues and bodily improvisations. Movement is not something stable or fixed; it is also in constant transformation

The creative process

The daily practice of listening to the body and its sensations is fundamental, as is observing what surrounds us, what precedes us, and what is in our time, for the exchange of experiences and reflective, creative, and theoretical studies.

The daily practice of listening to the body and its sensations is fundamental, as is observing what surrounds us, what precedes us, and what is happening in our time, for the exchange of experiences and reflective, creative, and theoretical studies.

The creation of the shows stems from an investigative process into a specific theme and the dramaturgical approach developed by the company in its previous productions. Investigations into the diverse ways of SEEING the world through the various senses are integral to the creations. Most of the time, the final script of the show emerges during the research process. In video dance, when we begin with a script, it is not something rigid and ready-made, but rather a starting point for the creation of the characters and their movements; however, the camera and editing are always in dialogue with the movement.

Listening is a fundamental aspect in warming up and preparing for creation, as well as during performances, with performers always attentive to changes and what happens on stage and in the relationships established with the various audiences. There is no ready-made recipe; in rehearsals we use the DanceAbility methodology, improvisation, dance theatre, and other influences from dance styles that the dancers bring. The constant practice and study of improvisation in our rehearsals and educational activities serve as investigative tools for presence in the moment, in the body and its sensations, providing a creative process based on the presence and readiness of the body.

We believe that movement must be present in the way of thinking, that it must dance, transform, and respond to the body’s perceptions and sensations in the present moment. All the artists involved in the creation of the works—musicians, dancers, directors, filmmakers, lighting, set and costume designers, projectionists, sound designers—need to engage in dialogue with keen listening and an understanding of the creative and dramaturgical process of the company.