Continuing her work on languages at the intersection of dance, scenography and light, with Cabraqimera Catarina Miranda proposes a bewitching dance piece for a quartet on roller skates. Interested in altered states of the body, such as those that occur during sleep, the Portuguese artist explores in her latest creation the effects of speed: the spatial organisation that it imposes and the set of codes of occupation, interceptions and encounters that are established. The plastic and hypnotic dimension of the gestures is underlined by a fluorescent light system that reveals negative and positive spaces, projecting the body towards an extreme otherness and opening the field to fiction. 

As a prologue and epilogue to her show Cabraqimera, Catarina Miranda adapts her installation Poromechanics to the entrance of the Grande Salle of the Centre Pompidou. Audiences are invited to discover the video-portraits of contemporary Portuguese artists/choreographers, represented as oracles. Filmed a few moments after being subjected to states of sleep or trance, thanks to kinesthetic and sound exercises, these portraits give the impression of accessing the "black boxes" of these visionary bodies, an open window on the unconscious. 

Born in 1982, Catarina Miranda has developed and presented projects mainly for the stage, working with
dance, voice, scenography and light, approaching the body as a vehicle for hypnagogic transformation (related to falling asleep) and awareness of the present. Her pieces such as Dream is the Dreamer, Boca Muralha and Reiposto Reimorto, have been presented at the Palais de Tokyo, the Serralves Foundation, the Theatre of Liège, the DDD - DIAS DA DANÇA FESTIVAL and the Festival Materiais Diversos, among others. She holds an EXERCE Masters from ICI-CCN (Montpellier / Fr) and a degree in Visual Arts from FBAUP - Faculdade de Belas Artes da Universidade do Porto, and studied NOH Theatre at the Kyoto Art Centre, Japan. The play Cabraqimera and the exhibition Poromechanics are her most recent projects. 

This piece explores the issue of plural and transcultural identities. Eight artists from different disciplines (dance, theatre, music, video, etc.) and diverse backgrounds respond to Jorge Andrade's invitation. From their meetings, linked stories and narratives between dreamed reality and cultural heritage emerge: an artistic pretext to combine their unique experiences, to discover all that links them, and what they share. Their different pasts are marked by migration, colonial exploitation and wars, but also by peace agreements and love stories. It is this past that they will compare, trying to understand how their respective histories are intertwined. 

On stage the setting is a popular festival in an invented village in the middle of a transgenic landscape, a tradition around the figure of Saint Jorge that attracts people from all over the world. The costumes have an indecipherable folkloric exuberance. Typical dishes, religious traditions and festive rituals are mixed together. Cornucópia is a global musical and choreographic performance, a "total work of art" made of hybridity, of reinvented ethnicity, a performative Esperanto, a horn of cultural abundance. 

The HHY & The Kampala Unit project, begun by musician and artist Jonathan Uliel Saldanha during his residency in Nyege Nyege (Uganda) in 2018, is an exploration of a new territory in music: mixing dub, techno, traditional drums and trance elements. An international trio consisting of Jonathan Uliel Saldanha on electronics, trumpeter and hardcore activist Florence Lugemwa and Sekelembele (Fulu Muziki) on hybrid drums, both from Uganda.