{"id":15637,"date":"2024-09-12T20:00:09","date_gmt":"2024-09-12T20:00:09","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=15637"},"modified":"2024-12-19T08:09:08","modified_gmt":"2024-12-19T08:09:08","slug":"sincopes-2","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/sincopes-2\/","title":{"rendered":"S\u00edncopes"},"content":{"rendered":"

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S\u00edncopes<\/b><\/span><\/h1>\n

Binete Undonque, Cristina Rold\u00e3o, Filipa Bossuet, G FEMA, Isab\u00e9l Zuaa, Piny, Raquel Lima, V\u00e2nia Doutel Vaz, XEXA, Zia Soares<\/p>\n

2024<\/p>\n

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The year is 2024, Crioula Lisbon, the \u00abAfro\u00bb prefix forcibly inserted into everything and everywhere, and Cl\u00e1udia Sim\u00f5es is unfairly and shamelessly condemned.<\/p>\n

Breaking with racism? Black face of oneself or a critical caricature of the caricature? Or: the creative source of Blackness springs abundantly and a legion of tokens, Negrophiles and gatekeepers of art and of academia, eager to extract it, eager to appropriate it, salivate and set up shiny traps.[\/vc_column_text][vc_separator][vc_column_text]Um c\u00edrculo polif\u00f3nico para uma conversa antiga, cujo fim n\u00e3o se v\u00ea. Volta n\u00e3o volta, e a hist\u00f3ria d\u00e1 voltas, a \u201crenascen\u00e7a negra\u201d \u00e9 anunciada. \u00c9 o Harlem Renaissance, a apoteose de Josephine Baker, o charleston invade os clubes de Lisboa, e ao mesmo tempo os \u201cher\u00f3is do mar\u201d fazem as campanhas de ocupa\u00e7\u00e3o em \u00c1frica.<\/p>\n

Corre o ano de 2024, a Lisboa Crioula, o prefixo Afro metido \u00e0 for\u00e7a em tudo e em todo o lado, e a Cla\u00fadia Sim\u00f5es \u00e9 injusta e desavergonhadamente condenada.<\/p>\n

Ruptura com o racismo? Black face de si mesmo ou uma caricatura cr\u00edtica da caricatura? Ou ent\u00e3o: a fonte criativa da negritude brota abundante e uma legi\u00e3o de tokens, negr\u00f3filos e gatekeepers da arte e da academia, \u00e1vidos de a extrair, \u00e1vidos de dela se apropriarem, salivam e montam armadilhas reluzentes. [\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content” css=”.vc_custom_1641831807111{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text]<\/p>\n

November 10th 2024 \u2013 4 pm<\/strong><\/h3>\n

[\/vc_column_text][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Binete Undonque<\/strong> graduated in interpretation from the Cascais Professional Theater School and the Giles Foreman Center for Acting. Binete Undonque is a Luso-Guinean actress who moves between Guinea-Bissau, Portugal, and the United Kingdom.<\/p>\n

In theater, she developed her craft under distinguished directors such as Rog\u00e9rio de Carvalho, Zia Soares, Rodrigo Francisco, Peter Kleinert, Beatriz Batarda, among others. In film, she appeared in Sabura by Falc\u00e3o Nhaga, 3 Mulheres by Fernando Vendrell, and Nome by Sana Na N’Hada, for which she won the Best Actress award at the International Festival.<\/p>\n

Cristina Rold\u00e3o<\/strong> is a sociologist, researcher at Iscte \u2013 Instituto Universit\u00e1rio de Lisboa, and professor at the Set\u00fabal School of Education (ESE\/IPS) where, since 2019, she has co-coordinated the ESE\/IPS Roadmap for Anti-Racist Education. She has actively participated in the academic and public debate on racism and Blackness in Portuguese society, among others as a columnist for the newspaper P\u00fablico (2022-2024).<\/p>\n

She was a member of the organizing committee of the 2019th Afroeuropeans Conference (Lisbon) and the scientific committee of the 8th Afroeuropeans Conference (Brussels, 2022). She is a member of the Steering Committee of the Center for Black European Studies and the Atlantic (CBESA, Carnegie Mellon University, 2023) and the Advisory Board of HANGAR \u2013 Centro de Investiga\u00e7\u00e3o Art\u00edstica. Cristina Rold\u00e3o was a member of the Working Groups on the National Plan to Combat Racism (2021\/22) and on the Collection of Ethnic-Racial Data in the 2021 Census (2018\/19) in Portugal. She is co-editor of the publication commemorating the 110th anniversary of the newspaper \u201cO Negro\u201d (Lisbon, 2021) and co-author of the book Tribuna Negra: Origins of the Black Movement in Portugal (1911-1933).<\/p>\n

Filipa Bossuet<\/strong> (Kongo. Angola. Portugal. 1998) uses performance, painting, photography, and experimental video to depict identity processes, blackness, memory, and healing. She asserts herself in\u00a0Mankaka Kadi Konda Ko<\/em>, a concept presented in a virtual 360\u00ba solo installation, developed independently and branching out into the group exhibition\u00a0Interfer\u00eancias<\/em>, at the Museum of Art, Architecture and Technology (MAAT).<\/p>\n

Her transdisciplinary work has been showcased in spaces such as the Cerveira Biennial, Teatro do Bairro Alto, Iminente Festival, Alkantara Festival, and the Sintra Museum of Arts (MU.SA<\/a>).<\/p>\n

She made her debut as an actress in the play\u00a0P\u00e9rola Sem Rapariga<\/em>, directed and staged by Zia Soares, with a text by Djaimilia Pereira de Almeida, co-produced by the National Theatre Dona Maria II and Sowing_arts.<\/p>\n

She reflects on the investigative influences of her background in Communication Sciences and her Master’s in Migrations, Inter-Ethnicities, and Transnationalism, creating a dialogue and questioning between fields of knowledge.<\/p>\n

G Fema<\/strong>, alter ego conquered by Ana Maria Semedo, which in Cape Verdean Creole means Warrior Woman, announcing what she came for. Sweet and fierce MC from Zona M\/Chelas, G Fema has been a creative voice and force in the street rap made in Portugal, rhyming in Badiu Creole. Her rap is an emancipatory expression force \u2013 which has earned her a position of respect. Her lyrics, voice, and presence; the fact that she is one of the few women to sign up for the scene; her intuition and determination give her a charisma that few could be indifferent to. Writer of engaging rhythmic lyrics with an unmistakable tone, she addresses, among others, the themes of female empowerment: what it is to be a woman, a mother, and a black Portuguese, directly from Chelas\/Zona M to the world. Rap and Creole Rap are a path of resistance and a way of existence. Even more, being a woman. And G Fema has trodden this path valiantly. 2022 will be a key year for her with the release of an EP and singles made with strong collaborations and a presentation at the Rock in Rio Lisbon Festival. All of which will add to her position as the prominent figurehead of the increasingly hard to contain emerging urban sounds of Lisbon\u2019s peripheries.<\/p>\n

Isab\u00e9l Zuaa<\/strong>\u00a0is a multidisciplinary artist born in Lisbon, with roots in Guinea-Bissau and Angola. She focuses on dramaturgies that highlight Black people as protagonists. Trained in acting at Chapit\u00f4, the School of Theatre and Cinema, and Unirio, she has been involved in theatre, film, television, and performance projects predominantly in Brazil and Portugal since 2010.In 2019, together with Cleo Di\u00e1ra and N\u00e1dia Yracema, she founded the collective AURORA NEGRA, which debuted the play \u201cAurora Negra\u201d at TNDM II, followed by \u201cCOSMOS\u201d in 2022 and \u201cMiss\u00e3o da Miss\u00e3o\u201d in 2023. The collective also created the KILOMBO Festival.Isab\u00e9l has been recognized with several awards, including Best Actress at the 2020 Gramado Festival for the film \u201cUm Animal Amarelo\u201d Best Supporting Actress at the 2023 Cineuphoria Awards for the film \u201cA viagem de Pedro,\u201d and the Guarani Award for Best Actress in 2022 for the film \u201cUm Animal Amarelo,\u201d along with several other honorable mentions and awards for her performances in films such as \u201cJoaquim,\u201d \u201cGood Manners,\u201d \u201cO Novelo\u201d \u201cEstamos todos na sarjeta\u201d and \u201cMalandro de Ouro.\u201d She was recognized by BANTUMEN POWERLIST as one of the 100 most influential personalities in the Lusophone world in 2021 and 2022.<\/p>\n

Piny<\/strong> works mainly in the field of dance, as a dancer, performer, choreographer, researcher, curator and teacher. Born in Lisbon, of Portuguese and Angolan descent, she graduated in Architecture and completed her degree in Contemporary Dance in Lisbon. In 1999, she began studying dances from the Middle East and North Africa and their contemporary fusions, and since 2006 she has also dedicated herself to Hip Hop, Clubbing and Ballroom culture. In 2012 she founded the collective Orchidaceae and in 2019 the project Vogue PT Chapter. Her career involves performing for other artists and her own work, including “HIP. a pussy point of view “,” .G RITO ” and “ONYX”. In 2023 she brought the OU.kupa festival to Teatro do Bairro Alto. She continues to study and develop alternative ways of understanding intersectionality in being and doing, through the study of astrology, tarot, yoga and non-Eurocentric philosophies.<\/p>\n

Raquel Lima<\/strong> is a poet, art educator, essayist, researcher and transdisciplinary artist. She has a degree in Artistic Studies from FLUL and is studying for a PhD in Post-Colonial Studies at CES-FEUC. Her research focuses on orature, slavery and Afro-diasporic movements. She has presented her work in several countries in Europe, South America and Africa at events in the fields of literature, performance, visual arts, music and social sciences. Highlights include her artistic participation in the Venice Biennale, the S\u00e3o Tom\u00e9 Biennale and the 35th S\u00e3o Paulo Biennale; curating the cultural program of the Afroeuropeans Conference: Black (In)Visibilities Contested at ISCTE, the Conference ‘Reformulating Authority and Authorship in the Arts’ at Culturgest. She published the poetry book Ingenuidade Inoc\u00eancia Ignor\u00e2ncia, co-founded The Black Union of the Arts and was elected one of the 100 most influential Black personalities in Lusophony by Bantumen magazine’s annual Power List.<\/p>\n

V\u00e2nia Doutel Vaz<\/strong>, Angolan born in Portugal, is an interpreter and dance creator. Studied at the Royal Academy of Dance, the National Conservatory School of Dance and Forum Dan\u00e7a.\u00a0 Was a member of the Companhia Portuguesa de Bailado Contempor\u00e2neo, Portuguese Revue at Teatro Vit\u00f3ria\/Parque Mayer, TRUMPS disco, Nederlands Dans Theater, Cedar Lake Contemporary Ballet, played Lady McBeth in PUNCHDRUNK’s “Sleep No More”, etc. As a freelancer collaborated with Trajal Harrell, Tania Carvalho, Shannon Gillen, Adam Linder, Uri Aran, etc. Assisted movement for Teatro Griot, Aurora Negra, Teatro Praga, Gio Louren\u00e7o and Paula Diogo. Created and performed the solo “The Elephant In The Room” (2022, PT\/FR), the video performance “ad aeternum” (2020, PT), the pop-up durational performance Bureauc’Art (2019, BE) and the group piece “THEIR” (2015, USA). In 2023 she was listed on Bantumen’s POWERLIST. Since 2021 is a founding member of the Black Union of Arts – UNA.<\/p>\n

XEXA<\/strong> is a multidisciplinary Afro-futurist artist with Santomense ancestry. She has degrees in Jewellery from Ant\u00f3nio Arroio (Lisbon) and Sonic Arts from Guildhall School Of Music and Drama (London), her work reflects the exploration of sounds, making a hybrid of traditional African rhythms with synthesizers, sound design, and vocals. XEXA is a producer, composer, singer, sound designer, and surround sound engineer who illustrates a unique sonic palette.<\/p>\n

She has presented her music in festivals and venues around Europe such as Festival Iminente, ZDB, Berghain Halle, S\u00f3nar Festival Lisbon, Nuits Sonores Brussels, Festival Semibreve Braga, Caf\u00e9 OTO London, The White Hotel, Milan Design Week, among others.<\/p>\n

She has been commissioned to produce music pieces for the British Music Library, CMMAS, Lagos Art Biennale, Gnration, Culturgest, and Lisbon Fashion Week.<\/p>\n

XEXA self-released her mixtape Calend\u00e1rio Sonoro in 2021. Her first album Vibra\u00e7\u00f5es de Prata was released under the Portuguese record label Principe Discos in October 2023.<\/p>\n

Zia Soares<\/strong> is a theatre director and actress. In her work, which is developed between Africa and Europe, she obsessively experiments with the construction of new dramaturgies rooted in the poetics of divergent oralities and (in)corporalities, where the verb is a manifestation of images \u2013 images that incarnate, that neither imitate nor reproduce, instead they act.<\/p>\n

Of her most recent stagings, stand out The Laughter of the Scavengers, authored by her, and co-produced by Teatro GRIOT and Culturgest, which was distinguished as \u00b4Best Show 2021\/22\u00b4 within the scope of the Premio Internazionale Teresa Pamodoro (Milan, Italy); FANUN RUIN, authored by her, co-produced by Calouste Gulbenkian Foundation and Sowing_arts; and Pearl without a Girl, directed by Zia Soares, text by Djaimilia Pereira de Almeida, co-produced by Sowing_arts, Teatro Nacional D. Maria II and apap \u2013 FEMINIST FUTURES.[\/vc_column_text][vc_separator][vc_column_text]Binete Undonque<\/strong> formou-se em interpreta\u00e7\u00e3o na Escola Profissional de Teatro de Cascais e no Giles Foreman Center for Acting. \u00c9 uma atriz luso-guineense que se movimenta entre a Guin\u00e9-Bissau, Portugal e o Reino Unido.<\/p>\n

No teatro, desenvolveu o seu of\u00edcio sob a orienta\u00e7\u00e3o de encenadores distintos como Rog\u00e9rio de Carvalho, Zia Soares, Rodrigo Francisco, Peter Kleinert, Beatriz Batarda, entre outros. No cinema, participou em “Sabura” de Falc\u00e3o Nhaga, “3 Mulheres” de Fernando Vendrell e “Nome” de Sana Na N’Hada, pelo qual ganhou o pr\u00e9mio de Melhor Atriz no Festival Internacional.<\/p>\n

Cristina Rold\u00e3o<\/strong> \u00e9 soci\u00f3loga, investigadora do Iscte \u2013 Instituto Universit\u00e1rio de Lisboa e docente da Escola Superior de Educa\u00e7\u00e3o de Set\u00fabal (ESE\/IPS) onde, desde 2019, co-coordena o Roteiro para uma Educa\u00e7\u00e3o Antirracista da ESE\/IPS. Tem participado ativamente no debate acad\u00e9mico e p\u00fablico sobre o racismo e a negritude na sociedade portuguesa, entre outros enquanto cronista do jornal P\u00fablico (2022-2024).<\/p>\n

Foi membro da comiss\u00e3o organizadora da 7\u00aa Confer\u00eancia Afroeuropeans (Lisboa, 2019) e da comiss\u00e3o cient\u00edfica da 8\u00aa Confer\u00eancia Afroeuropeans (Bruxelas, 2022). \u00c9 parte do Steering Committee do Center for Black European Studies and the Atlantic (CBESA, Carnegie Mellon University, 2023) e do Advisory Board do HANGAR \u2013 Centro de Investiga\u00e7\u00e3o Art\u00edstica. Cristina Rold\u00e3o foi membro dos Grupos de Trabalho sobre o Plano Nacional de Combate ao Racismo (2021\/22) e sobre a Recolha de Dados \u00c9tnico-raciais nos Censos 2021 (2018\/19). \u00c9 co-editora da publica\u00e7\u00e3o comemorativa dos 110 anos do jornal \u201cO Negro\u201d (Lisboa, 2021) e co-autora do livro Tribuna Negra: Origens do Movimento Negro em Portugal (1911-1933).<\/p>\n

Filipa Bossuet<\/strong> (Kongo. Angola. Portugal. 1998) Utiliza performance, pintura, fotografia e v\u00eddeo experimental para retratar processos identit\u00e1rios, negritude, mem\u00f3ria e cura. Afirma-se em Mankaka Kadi Konda Ko, um conceito apresentado numa instala\u00e7\u00e3o solo virtual 360\u00ba, desenvolvida de forma independente e que se ramifica na exposi\u00e7\u00e3o coletiva Interfer\u00eancias, no Museu de Arte, Arquitetura e Tecnologia (MAAT).<\/p>\n

O seu trabalho transdisciplinar tem sido apresentado em espa\u00e7os como a Bienal de Cerveira, Teatro do Bairro Alto, Festival Iminente,\u00a0 Festival Alkantara e o Museu das Artes de Sintra (MU.SA).<\/p>\n

Estreia-se como atriz no espet\u00e1culo P\u00e9rola Sem Rapariga com dire\u00e7\u00e3o e encena\u00e7\u00e3o de Zia Soares, texto de Djaimilia Pereira de Almeida em coprodu\u00e7\u00e3o do Teatro Nacional Dona Maria II e Sowing_arts.<\/p>\n

Pensa sobre as influ\u00eancias investigativas da forma\u00e7\u00e3o em Ci\u00eancias da Comunica\u00e7\u00e3o, o mestrado em Migra\u00e7\u00f5es, Inter-Etnicidades e Transnacionalismo, criando um di\u00e1logo e questionamento entre os campos do saber.<\/p>\n

G Fema,<\/strong> alter ego conquistado por Ana Maria Semedo, que em crioulo cabo-verdiano significa Mulher Guerreira, anunciando ao que veio. Doce e feroz MC da Zona M\/Chelas, G Fema tem sido uma voz e for\u00e7a criativa no rap de rua feito em Portugal, rimando em crioulo badiu. O seu rap \u00e9 uma express\u00e3o de for\u00e7a emancipat\u00f3ria \u2013 o que lhe valeu uma posi\u00e7\u00e3o de respeito. As suas letras, a sua voz, a sua presen\u00e7a; o facto de ser uma das poucas mulheres a entrar na cena; a sua intui\u00e7\u00e3o e determina\u00e7\u00e3o conferem-lhe um carisma a que poucos conseguem ficar indiferentes. Escritora de letras r\u00edtmicas cativantes com um tom inconfund\u00edvel, aborda, entre outros, os temas do empoderamento feminino: o que \u00e9 ser mulher, m\u00e3e e negra portuguesa, diretamente de Chelas\/Zona M para o mundo. O rap e o rap em crioulo s\u00e3o um caminho de resist\u00eancia e uma forma de exist\u00eancia. Ainda mais, sendo mulher. E G Fema tem trilhado este caminho de forma valente. 2022 ser\u00e1 um ano chave para ela, com o lan\u00e7amento de um EP e singles feitos com fortes colabora\u00e7\u00f5es, al\u00e9m de uma apresenta\u00e7\u00e3o no Festival Rock in Rio Lisboa. Tudo isto contribuir\u00e1 para a sua posi\u00e7\u00e3o como a figura de destaque dos sons urbanos emergentes, cada vez mais dif\u00edceis de conter, das periferias de Lisboa.<\/p>\n

Isab\u00e9l Zuaa<\/strong> \u00e9 uma artista multidisciplinar nascida em Lisboa, com origens na Guin\u00e9-Bissau e Angola. Dedica-se em dramaturgias que destacam pessoas negras como protagonistas. Formada em interpreta\u00e7\u00e3o no Chapit\u00f4, Escola Superior de Teatro e Cinema, e Unirio, desde 2010 atua em projetos de teatro, cinema, televis\u00e3o e performance maioritariamente no Brasil e em Portugal.<\/p>\n

Em 2019, junto com Cleo Di\u00e1ra e N\u00e1dia Yracema, fundou o coletivo AURORA NEGRA, que estreou o espet\u00e1culo “Aurora Negra” no TNDM II, seguido por “COSMOS” em 2022 e “Miss\u00e3o da Miss\u00e3o” em 2023. O coletivo tamb\u00e9m criou o Festival KILOMBO.<\/p>\n

Isab\u00e9l tem sido reconhecida com alguns pr\u00eamios, incluindo o Pr\u00eamio de Melhor Atriz no Festival de Gramado 2020 pelo filme “Um Animal Amarelo”, Pr\u00eamio de Melhor Atriz Secund\u00e1ria pelo Cineuphoria 2023 pelo filme “A Viagem de Pedro”, Pr\u00eamio Guarani 2022 como Melhor Atriz pelo filme “Um Animal Amarelo”, e v\u00e1rias outras men\u00e7\u00f5es honrosas e pr\u00eamios por sua atua\u00e7\u00e3o em filmes como “Joaquim”, “As Boas Maneiras”, “O Novelo”, “Estamos Todos na Sarjeta”, e “Malandro de Ouro”. Foi reconhecida pela BANTUMEN POWERLIST como uma das 100 personalidades mais influentes da Lusofonia em 2021 e 2022.<\/p>\n

Piny<\/strong> desenvolve o seu trabalho maioritariamente na \u00e1rea da dan\u00e7a, como bailarina, performer, core\u00f3grafa, pesquisadora, curadora e professora. Nasceu em Lisboa, de ascend\u00eancia portuguesa e angolana, formou-se em Arquitectura, e concluiu a licenciatura em Dan\u00e7a Contempor\u00e2nea em Lisboa.<\/p>\n

Em 1999, come\u00e7ou a estudar dan\u00e7as do M\u00e9dio Oriente e Norte de \u00c1frica e as suas fus\u00f5es contempor\u00e2neas, e desde 2006 tamb\u00e9m se dedica \u00e0 cultura Hip Hop, Clubbing e Ballroom. Em 2012 fundou o coletivo Orchidaceae e em 2019 o projeto Vogue PT Chapter. Desenvolve o seu percurso entre a interpreta\u00e7\u00e3o para outres artistas e o seu pr\u00f3prio trabalho, destacando “HIP. a pussy point of view”, “.G RITO” e “ONYX”. Em 2023 levou ao Teatro do Bairro Alto o festival OU.kupa. Segue estudando e elaborando formas alternativas de entender a interseccionalidade no estar e fazer, atrav\u00e9s do estudo de astrologia, tarot, yoga e filosofias n\u00e3o eurocentradas.<\/p>\n

Raquel Lima<\/strong> \u00e9 poeta, arte-educadora, ensa\u00edsta, investigadora e artista transdisciplinar. Licenciada em Estudos Art\u00edsticos pela FLUL e doutoranda em Estudos P\u00f3s-Coloniais no CES-FEUC, com a sua investiga\u00e7\u00e3o centrada em oratura, escravatura e movimentos Afrodiasp\u00f3ricos. Tem apresentado o seu trabalho em v\u00e1rios pa\u00edses da Europa, Am\u00e9rica do Sul e \u00c1frica em eventos de literatura, performance, artes visuais, mu\u0301sica e ci\u00eancias sociais. Destaca a sua participa\u00e7\u00e3o art\u00edstica na Bienal de Veneza, na Bienal de S\u00e3o Tom\u00e9 e na 35.\u00aa Bienal de Sa\u0303o Paulo; a curadoria do programa cultural da Confer\u00eancia Afroeuropeans: Black (In)Visibilities Contested no ISCTE, e da Confere\u0302ncia \u2018Reformular a Autoridade e a Autoria nas Artes\u2019 na Culturgest. Publicou o livro de poesia Ingenuidade Inoc\u00eancia Ignor\u00e2ncia, co-fundou a UNA \u2013 Uni\u00e3o Negra das Artes e foi eleita uma das 100 personalidades negras mais influentes da Lusofonia, pela Power List anual da revista Bantumen<\/span><\/a><\/p>\n

V\u00e2nia Doutel Vaz<\/strong>, angolana nascida em Portugal, \u00e9 int\u00e9rprete e criadora de dan\u00e7a. Estudou com a Royal Academy of Dance, a Escola de Dan\u00e7a do Conservat\u00f3rio Nacional e o F\u00f3rum Dan\u00e7a. Foi membro da Companhia Portuguesa de Bailado Contempor\u00e2neo, Revista \u00e0 Portuguesa no Teatro Vit\u00f3ria\/Parque Mayer, discoteca Trumps,\u00a0 Nederlands Dans Theater, Cedar Lake Contemporary Ballet, foi Lady McBeth em “Sleep No More” de PUNCHDRUNK, etc. Enquanto freelancer tem colaborado com Trajal Harrell, T\u00e2nia Carvalho, Shannon Gillen, Adam Linder, Uri Aran, etc.\u00a0 Assistiu com apoio ao movimento Teatro Griot, Aurora Negra, Teatro Praga, Gio Louren\u00e7o e Paula Diogo. Criou e performou o solo “O Elefante No Meio Da Sala” (2022, PT\/FR), a v\u00eddeo performance “ad aeternum” (2020, PT), a pop-up performance duracional Bureauc’Art (2019, BE) e criou a pe\u00e7a de grupo “THEIR” (2015, USA). Em 2023 \u00e9 destacada na POWERLIST da Bantumen. Desde 2021 \u00e9 membro (fundadora) da Uni\u00e3o Negra das Artes – UNA.<\/p>\n

XEXA<\/strong> \u00e9 um artista multidisciplinar afro-futurista com ascend\u00eancia de S\u00e3o Tom\u00e9 e Pr\u00edncipe.<\/p>\n

Tem diplomas em Ourivesaria pela Ant\u00f3nio Arroio, Lisboa e Artes do Som pela Guildhall School of Music and Drama em Londres. O seu trabalho reflete a explora\u00e7\u00e3o de sons, fazendo um h\u00edbrido de ritmos tradicionais africanos com sintetizadores, sound design e voz.<\/p>\n

XEXA \u00e9 produtora, compositora, cantora, sound designer e engenheira de surround sound, que tem vindo a ilustrar uma paleta sonora particular.<\/p>\n

Tem apresentado a sua m\u00fasica em festivais e espa\u00e7os pela Europa tal como o Festival Iminente, ZDB, Berghain Halle, S\u00f3nar Festival Lisbon, Nuits Sonores Brussels, Festival Semibreve Braga, Caf\u00e9 OTO London, The White Hotel,\u00a0 Milan Design Week, entre outros.<\/p>\n

Foi comissionada a produzir m\u00fasica para a British Music Library, CMMAS, Lagos Art Biennale, Gnration, Culturgest e Lisbon Fashion Week.<\/p>\n

XEXA lan\u00e7ou independentemente a sua mixtape \u2018\u2019 Calend\u00e1rio Sonoro \u2018\u2019\u00a0 em 2021. O seu primeiro \u00e1lbum \u2018\u2019 Vibra\u00e7\u00f5es de Prata \u2018\u2019 foi lan\u00e7ado atrav\u00e9s da editora Pr\u00edncipe Discos em Outubro de 2023.<\/p>\n

Zia Soares<\/strong> \u00e9 encenadora e actriz. No seu trabalho, que se desenvolve entre a \u00c1frica e a Europa, experimenta obsessivamente a constru\u00e7\u00e3o de dramaturgias novas enraizadas em po\u00e9ticas de oralidades e (in)corporalidades divergentes, onde o verbo \u00e9 manifesta\u00e7\u00e3o de imagens \u2014 imagens que encarnam, que n\u00e3o imitam nem reproduzem, mas que actuam.<\/p>\n

Das suas mais recentes encena\u00e7\u00f5es destacam-se O riso dos necr\u00f3fagos, de sua autoria, co-produ\u00e7\u00e3o Teatro GRIOT, Culturgest, distinguido como \u00b4Melhor Espect\u00e1culo 2021\/2022\u00b4 no \u00e2mbito do Premio Internazionale Teresa Pamodoro (Mil\u00e3o, It\u00e1lia); FANUN RUIN, de sua autoria, co-produ\u00e7\u00e3o Funda\u00e7\u00e3o Calouste Gulbenkian, Sowing_arts; P\u00e9rola sem rapariga, encena\u00e7\u00e3o e dire\u00e7\u00e3o de Zia Soares, texto de Djaimilia Pereira de Almeida, coprodu\u00e7\u00e3o Sowing_arts, Teatro Nacional D. Maria, apap – FEMINIST FUTURES.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text] S\u00edncopes Binete Undonque, Cristina Rold\u00e3o, Filipa Bossuet, G FEMA, Isab\u00e9l Zuaa, Piny, Raquel Lima, V\u00e2nia Doutel Vaz, XEXA, Zia Soares 2024 [\/vc_column_text][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1591875713434{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: … <\/p>\n","protected":false},"author":34,"featured_media":15644,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"pmpro_default_level":0,"footnotes":""},"categories":[6583],"tags":[],"class_list":["post-15637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sincopes-sound","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15637","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/comments?post=15637"}],"version-history":[{"count":12,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15637\/revisions"}],"predecessor-version":[{"id":15732,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/posts\/15637\/revisions\/15732"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media\/15644"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/media?parent=15637"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/categories?post=15637"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/online\/wp-json\/wp\/v2\/tags?post=15637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}