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Poliana Lima

Poliana Lima

 
Choreographer and dancer

INTRODUCTION

 

To dance is to make a poem of our finite existence.

Dancing is the deepest way I know of feeling alive. I also believe that dance is the artistic language that best expresses the mystery of life, so linked as it is to our consciousness of time and, therefore, to our finitude. When dancing, you do not only exist in time: you play with time. On the other hand, when the dance embraces you, time ceases to exist or seems to dissolve: in this precise moment, you are pure existence, without time. This state is what drives my work.

WORK

 

Creation seeks encounter, in which and from which, one always expands.

To create generates the possibility of deep communication and belonging. My pieces are born from the need to express and shape my anxieties and concerns about life. Each piece is based on my desire to deeply share an experience with the public. I seek in my poetic universe, the place where it touches the universe of others.

Current Work

Archive

Poliana Lima

Calendar

Next
1 y 2/11
Festival Mes de Danza de Sevilla
23/11 y 1/12
Residencia Aqui, Siempre Centro de Danza Canal
01/12
Aqui, Siempre (Extracto) Cia Invitada Certamen Coreográfico de Madrid
Previous
2/6
Things move but they do not say anything Plataforma, Teatros Del Canal. Madrid
11/6
Hollow Festival Cadiz En Danza, Cadiz
18 Al 03/7
Residence of Aqui, Siempre Centro de Danza Canal, Madrid
06/7
Extracto de Aquí, Siempre Be Festival, Birmingham, Uk
27 y 28/7
Hollow Festival Plataforma Berlin, Berlin
23/03 al 02/04
Residence - Aquí, Siempre Eima Creacio, Maria de la Salut, Mallorca.
30/04 al 06/05
Aquí, Siempre L'animal al L'esquena, Cataluña.
3/03
Aquí, Siempre Festival Pies para que los quiero, Zaragoza, España
Febrero
Residence of Aquí, Siempre Centro de Danza Canal.
9/12
Atavistic La Cabrera, Comunidad de Madrid.
26/11
Things move but they do not say anything Festival Intacto, Vitoria-Gasteiz
17 al 24/11
Project Today, Yesterday, Tomorrow Artistic residence in the TEM (Teatre el Musical), Valencia.
27/10
Hollow Festival BAD, Bilbao
16 al 22/10
Project Today, Yesterday, Tomorrow Artistic residence in the TEM (Teatre el Musical), Valencia.
07/10 y 08/10
Hollow Teatros Canal, Madrid
29/09
Downtango Collaboration with Lucía Marote.
Dantza Hirian, Errenteria, País Vasco
23 y 24/09
Anatomía del Sentimiento Collaboration with Lucía Marote.
Teatro Victoria, Tenerife.
14 al 17/09
Anatomía del Sentimiento Collaboration with Lucía Marote.
Carme Teatre, Valencia.
05 al 10/09
Hollow Technical Residence L’Struch, Sabadell, Cataluña.
14/07
Downtango Collaboration with Lucía Marote.
Festival Huellas, Aracena, Huelva.
10 al 13/07
Improvisation and creation workshop Centro Bambudanza, Madrid
08/07
Flesh L'Struch, Sabadell, Cataluña.
06/07
Downtango Collaboration with Lucía Marote.
Festival Corpo al Terra, Ourense, Galícia.
19 al 30/06
Scholarship at the Center National de la Danse Festival Camping, París
10/06
Things move but they do not say anything Act Festival, Bilbao, País Vasco

Biography

 

Poliana Lima (Brazil, 1983): Dancer and choreographer originally from Brazil and currently based in Madrid (Spain). She began creating work in 2011 with the solo work (A Stick in the Wheel). In 2013, she was selected to take part in the European funded project ‘Performing Gender’, in which she created the performance work ‘Body-Cloth’, which premiered at the Museum of Contemporary Art in Zagreb (Croatia).

Her collaboration with performer Ugne Dievaityte in 2012 produced two new works: (It Is Like Seeing Clouds) and , which were programmed in a number of national and international festivals including “The Edinburgh Fringe Festival”, “Spring Forward”, “Aerowaves”, “Mercat de Flors”, “Festival Dansa Valencia”, “Festival New Baltic Dance”, “Madrid en Danza”, “Korzo”.

In 2014, (Atavistic), her first ensemble work, was awarded five national awards including First Prize in the prestigious XXVIII Certamen Coreográfico de Madrid. In 2015, she won ‘Best Performance Work’ at the ACT Festival in Bilbao (Spain) and in 2016 she closed the festival with the beautiful choreographic work, (Things Move But They Do Not Say Anything).

In 2017, Poliana Lima created her last work which is called (Hollow), and after its premiere in October at the Canal Theaters of Madrid (Teatros Canal de Madrid) and at the BAD Bilbao, Hueco has begun its journey this year 2018. Hueco has been nominated in two categories for the 2018 MAX Awards in Spain: The Best New Show/Performance (Mejor Espectáculo Revelación) and The Best New Authorship (Mejor Autoría Revelación).

Videos

Poliana Lima

Hollow

Piece

Poliana Lima

Hollow

Piece

Poliana Lima

Things move but they do not say anything

Short Piece

Poliana Lima

Atavistic

Short Piece

Poliana Lima

Flesh

Piece

Poliana Lima

Workshops

BACKGROUND

 

In front of movement, you can only surrender.

I am a dancer, choreographer and dance teacher. Dance is my home, it is where I exist and part of my identity. It is a peculiar identity, because its nature, far from being fixed, is in continual movement.

As a child I wanted to devote myself to dance and expressed it before I started taking classes. Between adolescence and young adulthood I hesitated: I thought I would pursue a more conventional career, scared and discouraged by the bleak image that is usually had of dance and art as a business and profession. Fortunately, at 20 years of age when on a trip abroad, I took up dance as part of my life. It was in an African dance class in a small over heated studio, with people from all over the world that I felt the beauty of the unity and power of dance. The fifty people who were there dancing, who would never be able to understand each other if they had to communicate through words, vibrated and opened to each other, and to something bigger than themselves. Even today, I carry these people with me: they continue to dance in me and through me.

PRIZES

 

Hollow

  • Nominated as a candidate - MAX Awards / Spain The Best New Show/Performance (Mejor Espectáculo Revelación)

    The Best New Authorship

    (Mejor Autoría Revelación)

Flesh

  • Nominated as a candidate –Tanz Maganize (January) / Germany

    The Best Dancer

Atavistic

  • 2016 1º Premio en el ACT Festival

  • 2015 1º Premio en el X Certamen Coreográfico de Sabadell.

  • 2014 1º Premio en el XXVIII Certamen Coreográfico de Madrid.

  • Premio de Crítica en el XXVIII Certamen Coreográfico de Madrid

  • Premio de Público en el XXVIII Certamen Coreográfico de Madrid

  • Premio Beca Dance Web

  • Premio Residencia Tanzhauz Zurich

It Is Like Seeing Clouds

  • 2014 1º Premio Festival Vila Real en Dansa

  • 2013 2º Premio Certamen de Una Pieza

  • 2012 Premio de Público en el XXVI Certamen

  • Coreográfico de Madrid

A Stick In The Wheel

  • 2012 1º Premio en el Festival Vila Real en Dansa

REVIEWS

 

Poliana Lima’s solo choreography ‘Hueco’ was a revelation. Structured in the form of a triptych the work starts with Poliana reciting Brazilian poet, Carlos Drummond de Andrade’s poem ‘ I Carry with Me’ (1945).

I am not empty, I am not alone’ he states and for the next 50 minutes the audience experiences the most extraordinary unfolding of an individual as the performer tries and tries again to not only be fully present to the audience but fully present to her shifting sense of herself – as artist, as exile, as someone trying to make sense of having a history and an uncertain future. The title of the piece ‘Hueco’ meaning ‘hollow’ in English, utilises the framework of real, intuitive, time and space into which she inserts herself in an attempt to create an expanded and shifting sense of ‘here and now’, of movement and stillness, of falling and failing.

In the piece the performer makes direct eye contact with the audience. There is looking, watching, gazing, staring from one member of the audience to another – as if we, the audience, could solve the puzzle, provide the answer, offer reassurance. Our main task is to bear witness to an artist who has taken the decision to try and extract the full significance of what it is means to have a place in the world knowing that she is the only being that can lend this process any ultimate sense. We, as spectator, have been permitted to accompany her on that journey. Andrade seemed to know this too. ‘Losing you, would be losing myself’ he says. Performer and audience are united in jointly entering this ‘hollow’ that is the performance itself.

In a cool, pale circle of light, the performance turns inwards as the performer, eyes tight shut now, twists and turns, muscles taught and turning, attempts to gouge out from her interior life a space into which she can be free to move unhindered. Reminiscent of a Francis Bacon figure – part carcass, part human, this is not a painless process.

Sharing the performance space with Poliana Lima, is musician and composer, Vidal, who slightly off stage yet also lit in low light, accompanies her on this journey through the live playing and re-mixing of the soundscape – a sonic improvisation of sorts, operating as more than sound illustration of the action but more frequently as prompt and commentator to the unfolding action. Here dancer and musician seem both to have agreed that the next hour of the performance will be a threshold over which they will both have to cross with neither of them really knowing what could be made manifest in the space that they share with us as audience. The piece is intimate, tough yet ultimately fragile. From out of the darkness the faint sound of a samba is heard. We begin to see the outline of a samba dancer, large black feathered wings shifting in the emerging light. This appears to be a figure walking out of the past. After the struggles of the previous section of the work, there is some relief at the soothing sounds of the shifting rhythms of the samba, but the image is ultimately a dark one – this is a bitter/sweet image. The body here sways and shifts, hips move, feet shuffle but this doesn’t feel like a celebration. Somewhere in this dark body a tiny bundle, a subtle burden is still making itself present. That burden in part is Brazil and in part the coming to terms of who this emerging person can be. It was an amazing experience and a privilege to be in the audience to experience it.

‘Hueco’ is a complex, generous and demanding piece of work. It rewards the audience amply as the post show discussion with the artist showed. Smart incisive questions from an audience keen to know more about the creative process and the experience of performing such an intense work. The Q+A session was almost as long as the work – proof that audiences under the right circumstances and in front of innovative and high quality work are not afraid to be challenged. Programmers take note!

More
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Steve Purcell

Poliana Lima's first full length work, was originally produced in a 15 minute short version. It disturbed a public accustomed to a "state of agreed normality", harmony, observing the exercises on stage, identifying them and placing them, colleagues and friends, a cosy togetherness in the process...

And, suddenly, a bomb explodes in the middle of the stage of the Conde Duque Theatre, blowing an enormous crater with the speed of its impact. Proving to the public that the discourse sometimes takes away everything:the seats, the inside of our heads, and makes the situation on stage very different: leaving a scene far more peculiar, and the viewer, shocked, feeling violated.

This duality between the violent and the emotional, deeply human, took place at the 28th Certamen Coreográfico de Madrid (2014). 28th Choreographic Competition of Madrid (2014). Original Link

Maria Rogel, from an article about Atavico

"Atavico" is a lesson in simplicity. With intelligent transformations, and through images that equally combine a strange beautiful ugliness and deep meaning, "Atavico" achieves its narrative fullness with no instruments other than the repetition of the gesture, the expression of its interpreters and the insidious and penetrating sound of the space. The set is an exemplary walk through hell."

Cutting from a review by Jordi Sora

The pure beauty of flesh is in its intransigent minimalism. The rear view of two torsos is lit in chiaroscuro like a Caravaggio or a photo by Bill Brandt of the "nude as landscape". Without individuality we become more aware of the abstract forms that make up their bodies, by the extending of an elbow, or a leg, but never the head. The strange compositions that the two of them make together are fascinating.

The skinny magazine, about FLESH

I really loved the work… she is totally compelling and intriguing, but also I thought the work was so rich and bursting with ideas and provocations. That was apparent also in the way it clearly touched that straight, middle class, middle aged audience, provoking such varied but altogether empathetically engaged responses. So that is great evidence that audiences want to be challenged and intrigued rather than the prevailing programming that tends towards being so safe and anxious to please. Also, what a pleasure to talk to an artist who talks so intelligently, confidently and accessibly about their work. That was a bonus for the audience after the performance - to get that insight and brilliant articulation of the practice.

Beth Cassani – choreographer and senior lecturer in performance and choreography, Leeds Beckett University (UK).

I found Poliana Lima’s performance ‘Hueco’ fascinating to watch. In parts it was like something from a David Lynch film…it was so interesting to watch someone so involved in the physicality of the movement and so present in what she was doing. It was quite captivating and unnerving at the same time.

Hannah Robertshaw, Programmes Manager, Yorkshire Dance, Leeds (UK).

Hueco seemed to speak to me about the gift/burden of what it means to be a human being and an artist…what it is to be in the process of creation, of being present, of having to express something when you don’t yet know what it is, but you can’t put it aside.

Wieke Eringa, CEO Yorkshire Dance, Leeds (UK).

In 60 years of watching contemporary dance and other dancers, I have never seen anything like this, and I have to say I found much of it difficult to watch… your personal integrity and honesty in this work is commendable…I really appreciated your conversation with us in the audience and your bravery at expressing your inner soul so authentically. Few performers would be that honest or sincere.

Viv Lever, freelance art photographer.

FLESH es un dueto impecablemente realizado, lleno de profundidad, poder y originalidad coreográfica.

Morag Reyes, Dance Base artistic director, Edimburgo, UK, sobre FLESH

"Al realizar su propia coreografía, Ugne Dievaityte y Poliana Lima son capaces de abrir la danza y de mostrarnos el cuerpo en su calidad inmediata. Con ellas, la desnudez tiene multiples capas de manera radical, oscilando entre la vulnerabilidad infinita y la claridad de la forma escultórica”.

Stacz WilheimKorzo artistic director, La Haya, Holanda, sobre FLESH

La obra de Poliana Lima surge de su investigación inteligente y compromiso absoluto con su tema, el movimiento reducido hasta lo esencial.

Laura Kumin sobre el trabajo de Poliana en general

El trabajo de Poliana es crudo y arriesgado no solo en lo físico sino también en su búsqueda por una verdad que no existe aun y esta siempre por revelarse.

Desde Marzo de este año vengo acompañando el proceso creativo de HUECO. La nueva pieza de Poliana Lima que desarrolla en la residencia de los teatros del CANAL. El trabajo de Poliana es crudo y arriesgado no solo en lo físico sino también en su búsqueda por una verdad que no existe aun y esta siempre por revelarse. Esa es la aventura en la que todo artista debería embarcarse, ir detrás de aquello que no tiene forma aun. Detrás de una intuición única que despliega su deseo. Cuando veo a Poliana trabajar queda revelada toda su vulnerabilidad en ese intento incansable de acercarse a algo que esta oculto hasta para ella misma. Esta siendo para mi como artista muy inspirador poder acompañar este proceso creativo y volver a pensar el cuerpo y el movimiento junto a ella. Lanzarnos en esa aventura maravillosa de inventar un cuerpo, o dejar que se revele ese cuerpo que ya esta ahi en ella, pero permanecía oculto.

More
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Lucas Condró, sobre HUECO, nuevo solo

Distribution

distribucion@polianalima.com
Ayse Aytolu
+34 640 21 53 66

Production

produccion@polianalima.com
Ayse Aytolu
+34 655 99 66 52

Asociate Producer

steve@polianalima.com
Steve Purcell
07783 786 977

A stick in the wheel

 

Time that stops even though in movement.
Time, movement and body.
The choked on, that didn’t happen, that is repeated.
Forces that pull forwards and backwards.
Split body, so many directions and voices.
Where and how to go?
In the end, what path is that?

Poliana Lima
  • Credits
  • Conception, Direction and Interpretation: Poliana Lima
  • Lighting: Pablo Seoane
  • Music: Pablo Sánchez
  • Graphic Material: Denis Forigo
  • Duration: 10 minutos

It is like seeing clouds

 

Bodies without surface. Figures, shapes, silhouettes in space. Collect them. Hunt them and tame them.

Poliana Lima
  • Credits
  • Conception, Direction and Interpretation: Poliana Lima, Ugne Dievaityte
  • Music: Pablo Sánchez
  • Lighting: Pablo R. Seoane
  • Photography: Barbara Crosetti
  • Graphic material: Denis Forego
  • Duration: 14 minutos

Atavistic - Brief

 

Atavico, without the intention of creating a narrative, poses a scenic experience connected with the sensations of violence and their repercussion in the body: the landscapes that, as hidden forces, make us victims and executioners at the same time.

In this proposal we put our faith in "everyday" bodies, outside standard norm, with the determination to share the beauty of movement and gestures from daily life beyond the accepted canon, as well as dance that is beyond virtuosity.

Poliana Lima
  • Credits
  • Concepción, dirección y coreografía: Poliana Lima
  • Intérpretes: Aitor Galán, Lucía Marote Maria Pallares Poliana Lima
  • Music: Vidal
  • Lighting: Pablo R. Seoane
  • Vestuario y Atrezzo: Poliana Lima y Marina Santo
  • Duration: 15 minutos
  • Photography: Eva Vieira
  • Equipo Técnico
  • Production: Carmen Fernandez
  • Technical direction: Pablo R. Seoane

Atavistic

 

Atavico, without the intention of creating a narrative, poses a scenic experience connected with the sensations of violence and their repercussion in the body: the landscapes that, as hidden forces, make us victims and executioners at the same time.

In this proposal we put our faith in "everyday" bodies, outside standard norm, with the determination to share the beauty of movement and gestures from daily life beyond the accepted canon, as well as dance that is beyond virtuosity.

Poliana Lima
  • Credits
  • Conception, direction and choreography: Poliana Lima
  • Performers:
    Aitor Galán
    Lucía Marote
    Irene Vazquez
    Poliana Lima
  • Music: Vidal
  • Lighting: Pablo R. Seoane
  • Costumes and props: Poliana Lima y Marina Santo
  • Duration: 55 minutos
  • Technical team
  • Production: Carmen Fernandez
  • Technical direction: Pablo R. Seoane

Things move but they do not say anything

 

‘Las Cosas Se Mueven, pero Dicen Nada ( 2017) (Things Move But they do not Say Anything, 2017) is a choreography for multiple dancers about the possibilities of movement and the idea of permanence. Abstract in form, the piece is based on the idea that everything in life is in a state of constant movement, and that all living things move. Through their very existence and by purely moving, things have both their value and beauty. In this sense, the piece is a creative exploration and tribute to the rhythms and patterns of movement. The choreography invites the audience to be drawn into the developing overlapping and intertwining actions of the dancers allowing them to contemplate the beauty, complexity and dynamics of bodies in movement.

Poliana Lima
  • Credits
  • Coreografia y Dirección: Poliana Lima
  • Music: Vidal
  • Photography: Jacobo Medrano
  • Performers: Ada Continente, Ainhoa Uzandizaga, Almudena Perez, Cecilia Espeso, Cris Manso, Maddi Ruiz de Loizaga, Laura Carona y Elena Susilla.
  • Graphic material: Denis Forigo
  • Duration: 15 minutos

Flesh

 

Without name, without identity. The body and its physical nature, sensual.

Animality, and dreamlike forms that are lost and reappear, mix and separate. The familiar and the unknown in the living flesh itself.

Flesh in movement, renegade and reclaimed body, a space of struggle and reconciliation between the human and animal.

Poliana Lima
  • Credits
  • Concepción, Dirección e Interpretación: Poliana Lima & Ugne Dievaityte
  • Music: Pablo Sánchez Pulido
  • Lighting: Pablo Seoane
  • Vídeo: Pau Amengual, Isabella Lima
  • Photography: Bárbara Crossetti / Pablo Seoane
  • Graphic material: Denis Forigo
  • Duration: 55 min.

Hollow

 

I really loved the work… she is totally compelling and intriguing, but also I thought the work was so rich and bursting with ideas and provocations. That was apparent also in the way it clearly touched that straight, middle class, middle aged audience, provoking such varied but altogether empathetically engaged responses. So that is great evidence that audiences want to be challenged and intrigued rather than the prevailing programming that tends towards being so safe and anxious to please. Also, what a pleasure to talk to an artist who talks so intelligently, confidently and accessibly about their work. That was a bonus for the audience after the performance - to get that insight and brilliant articulation of the practice.

Beth Cassani – choreographer and senior lecturer in performance and choreography, Leeds Beckett University (UK).

I found Poliana Lima’s performance ‘Hueco’ fascinating to watch. In parts it was like something from a David Lynch film…it was so interesting to watch someone so involved in the physicality of the movement and so present in what she was doing. It was quite captivating and unnerving at the same time.

Hannah Robertshaw, Programmes Manager, Yorkshire Dance, Leeds (UK).

Hueco seemed to speak to me about the gift/burden of what it means to be a human being and an artist…what it is to be in the process of creation, of being present, of having to express something when you don’t yet know what it is, but you can’t put it aside.

Wieke Eringa, CEO Yorkshire Dance, Leeds (UK).

In 60 years of watching contemporary dance and other dancers, I have never seen anything like this, and I have to say I found much of it difficult to watch… your personal integrity and honesty in this work is commendable…I really appreciated your conversation with us in the audience and your bravery at expressing your inner soul so authentically. Few performers would be that honest or sincere.

Viv Lever, freelance art photographer.
 

HUECO (Hollow) is a contemporary dance solo that explores the notion of identity, place and time, through the concept of journeying and through the interaction between movement and live music.

‘HUECO’ explores in real time the diverse dynamics and challenges of being present to oneself and to others. It’s in this ‘in-between’, liminal space that the true possibilities of being are first sensed then lived in and through the body. This is a space of perpetual motion and change.

At the heart of the work is a journey to find and know this space - a vertiginous void into which she can throw herself and into which her dancing self provides a new grounded and living sense of self.

The ‘hollow’ of the title refers to this urgent need to open up a space for dance as an affirmation of being in the world in the here and now.

Poliana Lima


  • Credits
  • Conception, direction and choreography: Poliana Lima
  • Assistant director: Lucas Condró
  • Performers: Poliana Lima
  • Music: Vidal
  • Lighting: Pablo R. Seoane
  • Duration: 50 minutos
  • Equipo técnico
  • Production: Carmen Fernandez
  • Technical direction: Pablo R. Seoane

Here, Always

 

'Poliana Lima’s work has the depth and reach to be both intellectually and emotionally engaging whilst simultaneously moving and uplifting. The four women performing 'Aqui Siempre' did so as individuals from different generations and traditions yet were inextricably linked. This is beautiful, intelligent work that avoids either 'show and tell' or obfuscation through a tightly crafted choreographic lyricism'.

Stuart Page - City of York Cultural Leaders Group / York International Mediale Advisory Group

Brazilian born - Madrid based choreographer and performer, Poliana Lima, following an extended research and development process, has created ‘AQUI, SIEMPRE ‘/ ‘HERE, ALWAYS’ – an inter-generational, trans-cultural choreographic work bringing together four women from different generations, different countries and with different life stories and experiences and dance traditions.

The choreography explores how between them, the dancers acknowledge, share and celebrate their individuality and distinctiveness whilst also finding a shared movement vocabulary that allows each individual to excel in the choreography that has been created by international award winning dance artist Poliana Lima.

A key aspect of the choreographic process has been to identify what movement materials exist in each person’s body – a personal autobiographical map. From Argentinian popular dance to the finest European ballet tradition via contemporary fusion dance and cross over movement performance activity, these performers reveal their histories, sensibilities, doubts and aspirations exploring the relationships between memory, the present and the future.

Each performer in turn and collectively asks themselves: How can I recognise the feelings and movement that are an integral part of who I am whilst at the same time unfixing this as a way of creating new possibilities for my body to open up and inhabit new shapes and sensations? This moving process produces new possibilities of being in lived time. The audience witnesses this intimate sharing of the materiality of the dancing body.

In the act of dancing, I am reminded that it is possible to become re-integrated and whole, albeit it briefly – to be a person in this turning world. I turn and move with it.

The body in motion and with emotion reveals the dynamic process of becoming and being – connecting in and across time – an archaeology of knowledge made present. In the dancing, the expansiveness of self, occupies times and spaces in ways that feels more real than in our daily pedestrianised life, where ‘being’ can sometimes feel at best, partial, fake, forced, fragile. Here ‘being’ is manufactured through endless acts of doing - like a mistaken identity – creating the sensation (and panic) that maybe I don’t know who I am or who I could be. ‘AQUI, SIEMPRE’ / ‘HERE, ALWAYS’ is a full length work for 4 female perfomers.

Poliana Lima
Poliana Lima
  • CREDITS
  • Direction and Choreography: Poliana Lima
  • Performers: Mona Belizan, Christine Cloux, Carla de Diego y Irene Ducaju.
  • Music: Vidal
  • Lighting Designer: Pablo Seoane
  • Video: Alexis Delgado and Álvaro Gomez Pidal
  • Producer: Carmen Fernandez
  • Associate Producer: Steve Purcell

Body-Cloth

 

Body-cloth is a durational performance piece created within the framework of the European project Performing Gender. Questions around the (in)visibility of gender, social class and immigration are related to identity in this performance created for the Zagreb Contemporary Museum, Croatia.

Poliana Lima
  • Artistic Team
  • Conception, direction and choreography: Poliana Lima