My first dance class was at the age of 6 at the Escola Nacional de Dança (END) in Maputo – Mozambique in 1999. 12 years later I had concluded END’s training programme which included Ballet (Russian school), Modern Dance (Cuban Technique), Traditional Mozambican Dances and Dance Composition. After concluding the course I joined the one year pre-professional dance training programme Programa de Apoio à Dança (PAD) coordinated by Yula Cisneros Montoya. This programme included both theory and practical components of Ballet Traditions, Modern Traditions, Technology and Contemporary Issues in Dance in Maputo. In 2012, I enrolled at the University of Cape Town, initially doing a BMus in Dance which later changed into a BSoc Scie in Dance, Drama and Social Anthropology.
Besides the main programmes I have enrolled in since the beginning of my dance training, I have also been exposed to a one year with the National Song and Dance Company junior group and a year of Ballroom and Latin American dance training, in Maputo; In Cape town I have worked with Nicola Elliott in Run! (both 2013 and 2015) and Chalk (2015), I performed and presented work at the Baxter Dance Festival, and collaborated with Julia de Rosenwerth (Co-choreographer/performer), Alessandra Griffin (photography) and Andi Colombo (lighting design) in an independent production called Split Signs (2016).
One of my main interests in my choreography is in the connection between movement, expression, the power imagery and possibilities of healing through the creative process, combined with an exploration of how life experience influences ones’ movement identity and aesthetic, even if for a brief period of time. With some exposure to performance art and physical theatre in my performance life as well as an interest in music and in the visual arts in my formative years, I try to explore as many creative means as possible during my creative process, with the aim of creating an experience, a sharing of a journey and exploration of a question, idea or concept. What seems more compelling for me at present is the conversation between different modes of expression and how they influence and complement one another, thus my deep interest in collaborative interdisciplinary work. The texture and/or sensation of a movement, an image, sound or a memory seem to be what enables collaboration and translation to happen between different artistic mediums. The body is in constant movement and so is life, so each work or season of work is particular to that particular period of time in my life, and is as impermanent as most performance in order to open up for different interests and experiences in the future to come.