{"id":3857,"date":"2025-01-21T09:59:56","date_gmt":"2025-01-21T09:59:56","guid":{"rendered":"https:\/\/parasita.eu\/?post_type=cpt_projectos&p=3857"},"modified":"2026-10-01T14:06:00","modified_gmt":"2026-10-01T14:06:00","slug":"next-step","status":"publish","type":"cpt_projectos","link":"https:\/\/parasita.eu\/en\/projecto\/next-step\/","title":{"rendered":"NEXT STEP"},"content":{"rendered":"

Next Step \u2013 <\/em>Artistic Exchange Residency with T Theatre (Macau)<\/em><\/h4>\n

Next Step is an exchange initiative launched by T Theatre in Macau in partnership with Parasita. It is dedicated to fostering and supporting experimental performance practices by artists based in China, providing a platform for exchange and research.<\/p>\n

Exchange Residency NEXT STEP 2026 LISBON<\/strong><\/p>\n

Following its first edition in 2025, which included a residency in Lisbon and another in Guangzhou and Macau, NEXT STEP returns. For two weeks, from 11 to 25 October, Macau artists Pui Lon and Kane Lao will be in residence at Espa\u00e7o Parasita, developing their research by sharing the studio with invited guests. During this period, each artist will lead a workshop and open their work to the community.<\/p>\n

RESIDENT ARTISTS<\/span><\/p>\n

\"Portrait\"<\/a><\/strong><\/p>\n

Kane Lao<\/strong><\/p>\n

Kane Lao (Lao Ka-hin) is a Macau-based dancer and researcher who actively collaborates with the local arts collectives Four Dimensional Spatial and T Theatre. His practice spans a wide range of dance forms: he began with urban dance styles \u2014 popping, locking and hip hop \u2014 before moving into contemporary dance. Over the years, he has worked with choreographers and artists from different disciplines, continuously expanding his physical vocabulary.<\/p>\n

Movement as Embodied Liberation: From Imitation to Self-Knowledge<\/strong><\/em><\/p>\n

For Kane, the study of movement is more than a technical exercise: it is a practice of bodily emancipation. He approaches movement research as a two-stage process: first, learning from others by observing, absorbing and embodying external forms; second, turning this acquired language inward in order to articulate personal identity and expression. This process reflects a broader existential question: human beings come to recognise themselves through their reflection in others. In dance, as in life, learning another person\u2019s movement is simultaneously a process of self-discovery. Kane sees this dialectic as the core of his artistic research.<\/p>\n

\"Credited<\/a><\/strong>
\n<\/strong><\/p>\n

Pui Lon<\/strong><\/p>\n

A member of the collectives Four Dimension Spatial and Max Dance Hall, Pui Lon develops his work from the body as a medium of expression. He actively collaborates with artists from different disciplines as a creator, performer and dance dramaturg. In recent years, Lon\u2019s work has focused on the queer<\/em> body, the gaze and performativity, and the ways in which the body is shaped by cultural contexts.<\/p>\n

The Queer Body, the Gaze, Performativity and the Body in Cultural Context<\/i><\/b><\/p>\n

Pui Lon develops a practice grounded in his identity and the environment in which he lives, organised around three axes: the queer body; the gaze and performativity; and the body within its cultural contexts. Through the deconstruction and reconstruction of meaning, he investigates the body as an instrument of expression and transformation, as well as an archive. The queer body allows him to question and destabilise the boundaries of gender, identity and space. He is also interested in the relationship between performer and observer, understanding the gaze as a space of negotiation and mutual response. Finally, he explores how dance reveals the cultural, social and environmental traces inscribed in each body.<\/p>\n

Public Program<\/span><\/p>\n

Sunday, October 11, 6:00 PM, 60 min.
\nBody In Form<\/em>
\nChan U Hong\/PP, Kane Lao, and Pui Lon Lao
\nEspa\u00e7o Parasita, Av. Infante Dom Henrique 334, Lisbon
\nFree admission with prior registration here<\/a><\/strong><\/p>\n

Body In Form<\/em> is a choreographic research project by Macau artist Chan U Hong, developed in collaboration with Kane Lao and Pui Lon Lao, that explores the technical heritage of street dance in relation to contemporary dance. By categorizing, deconstructing, and reconstructing movement vocabularies, the project develops new frameworks for exchange between these distinct yet interconnected practices. Working with rhythm, weight, gesture, and presence, Body In Form<\/em> approaches movement as both technique and cultural expression. It investigates how dance conveys meaning and emotion across different contexts, supporting dancers as they develop personal styles and explore new aesthetic possibilities.<\/p>\n

Sharing Research Materials<\/strong>
\nBy Chan U Hong\/PP with dance students from Macau (to be announced)
\n20 min.<\/p>\n

Five Six Seven Eight \/ Cinco Seis Sete Oito<\/em><\/strong>
\nBy and performed by Kane Lao
\n20 min.<\/p>\n

Grandpa\u2019s Love Song on the Radio \/ A Can\u00e7\u00e3o de Amor do Av\u00f4 na R\u00e1dio<\/em><\/strong>
\nBy Pui Lon with a B-boy from Macau (to be announced)
\n20 min.<\/p>\n

Chan U Hong (PP) is a member of the China Dancers Association, a director of the Macau Cultural Federation, vice president of the Macau Dance Association, and director of T Theatre in Macau. He has been dedicated to dance education and research for 20 years. He studied choreography at the Beijing Dance Academy (2000\u201305) and earned a master\u2019s degree in Dance from Case Western Reserve University (2007\u201309).<\/p>\n

Organized by: The Dancer Studio Macao
\nSupported by: Macau Cultural Development Fund<\/p>\n

\"Images<\/a><\/p>\n

Tuesday, October 13, 10:30 AM\u201312:00 PM<\/strong>
\nWorkshop with Kane Lao<\/strong>
\nMovement as Embodied Liberation: Articulation, Constraint, and Movement Generation<\/em><\/strong>
\nEspa\u00e7o Parasita, Av. Infante Dom Henrique 334, Lisbon<\/strong>
\nFree participation with prior registration<\/strong> here<\/a><\/strong><\/p>\n

Drawing on his interdisciplinary practice, which brings together urban dance styles \u2014 popping, locking, and hip hop \u2014 and contemporary dance, Kane Lao proposes a methodology centered on constraint-based articulation. Developed to move beyond formulas conditioned by dance genres, this workshop invites participants to think of the body as a microsystem of movement points. Through the systematic application of temporal, spatial, and anatomical constraints, the session guides dancers in exploring different movement textures and logics. Beyond technical exploration, the workshop addresses the concept of \u201cmovement as an embodied archive,\u201d encouraging participants to translate their cultural contexts and bodily histories into concrete forms of movement.<\/p>\n

\"BWP<\/a><\/p>\n

Wednesday, October 21, 10:30 AM\u201312:00 PM<\/strong>
\nWorkshop with Pui Lon<\/strong>
\nThe Queer Body, the Gaze, and Performativity in Cultural Context<\/em><\/strong>
\nEspa\u00e7o Parasita, Av. Infante Dom Henrique 334, Lisbon<\/strong>
\nFree participation with prior registration<\/strong> here<\/a><\/strong><\/p>\n

Drawing on the context and cruising dynamics of nightclub culture, this workshop explores the gaze as a means of negotiating the relationship between subject and object. The tension generated by the exchange of gazes between bodies becomes an entry point into a performative state, triggering an inner\u2013outer\u2013inner process that stimulates impulses while simultaneously creating connections with others in the space. Within this context, trembling becomes the primary mode of interaction. The performer\u2019s body acts as an instrument for activating the space and becomes a means of connection between the individual, the community, and the surrounding environment.<\/p>\n

\"1D3<\/a><\/p>\n

Friday, October 23, 7:00 PM, 45 min.<\/strong>
\nPublic residency sharing with Pui Lon, followed by a conversation and informal gathering<\/strong>
\nThe Queer Body, the Gaze, and Performativity in Cultural Context<\/em><\/strong>
\nEspa\u00e7o Parasita, Av. Infante Dom Henrique 334, Lisbon<\/strong>
\nFree admission with advance registration<\/strong> here<\/a><\/strong>
\n<\/em><\/p>\n

This presentation will be developed around three concepts central to Lon\u2019s practice: the queer body; the gaze and performativity; and the body in cultural context. Taking Snakes, Queer, Myth and Avatars<\/em> and the work in progress Massage\u2013Message <\/em>(working title) as points of departure, Lon will draw on his observations, encounters, and discoveries during the Lisbon residency to develop a performance.<\/p>\n

\n

NEXT STEP 2026 SHENZHEN Exchange Residency<\/strong><\/p>\n

I. About Next Step<\/span><\/p>\n

Next Step is a developing international platform dedicated to the exchange of dance practices, artistic ecosystems, and ways of perceiving between Portugal, China, and Macau. We seek to frame dance as a form of knowledge production, using international residencies to respond to the plurality and complexity of contemporary society. The central idea behind Next Step is to create a space for exchange among artists and audiences from different geographical and cultural contexts, while providing a fertile environment for the development of their practices.<\/p>\n

Following the first residency in Guangzhou and Macau in 2025, the 2026 residency will take place in Shenzhen in December. Four artists based in Portugal will join four artists based in China, hosted by the Shenzhen Fringe Art Center as an integral part of the 100+ Asia Art Season<\/a>.<\/p>\n

II. Residency Details<\/span><\/p>\n

Dates: November 30\u2013December 20, 2026 (21 days, plus travel days)
\nLocation: Shenzhen, China \u2014 Shenzhen Fringe Art Center
\nParticipants: 8 artists (4 based in China and 4 based in Portugal)
\nStructure: 2 weeks of research + 1 week of presentations<\/p>\n

III. Activity Formats<\/span><\/p>\n

Moving away from a closed-door rehearsal model, Next Step invites artists to share their processes through a range of formats:<\/p>\n

Practice presentation: During the first week, artists introduce their artistic practices through talks, lecture-performances, or presentations.<\/p>\n

Open studio: At least one session in which the working space is opened to the public.<\/p>\n

Roundtable: A space for \u201cmaking through speaking\u201d \u2014 informal dialogue and reflection.<\/p>\n

Public workshop: Each artist will lead at least one workshop for the local community.<\/p>\n

Process-led presentation: The residency concludes with a public presentation of the outcomes of the research and exchange.<\/p>\n

Notes:
\nEach artist will contribute to at least one public activity.
\nTechnical support will be provided according to the specific conditions of the venue.<\/p>\n

IV. Language Position: Translation as a Mode of Exchange<\/span><\/p>\n

Although English serves as a practical tool for intercultural communication, we recognize that its predominance can reduce the space afforded to the distinct logics of different linguistic systems. Next Step is therefore grounded in practices of translation, as well as in the gaps, misunderstandings, and complexities of language. All levels of English proficiency are welcome, along with a collective willingness to translate throughout every stage of the residency.<\/p>\n

V. Requirements and Eligibility<\/span><\/p>\n

– Artists who use the body as their primary medium, including but not limited to contemporary dance, performance, and interdisciplinary research.
\n– An interest in exchange with other artists and a willingness to participate in collective practices.
\n-Availability for the entire program.
\n– Residency in Portugal.<\/p>\n

VI. Logistics Provided by Next Step<\/span><\/p>\n

– Studio for collective work
\n– Round-trip travel between Portugal and Shenzhen
\n– Accommodation
\n– Per diems\/meals
\n– Grant: MOP 12,000 (approximately \u20ac1,200)<\/p>\n

Note: The project is funded by the Cultural Development Fund of Macau, and payments will therefore be made in Macau patacas (MOP). Payment will be calculated according to the exchange rate in effect at the time of transfer.<\/p>\n

VII. Application<\/span><\/p>\n

Complete de application form and include
\n– Photograph
\n– One-page CV in English
\n– A brief statement of motivation contextualizing the research you intend to develop. This may be a new or ongoing research project (maximum 1,500 characters, in English).
\n– A video introduction outlining your background and the research you intend to develop during the residency, in English (maximum 3 minutes).
\n– Excerpts from previous work (maximum 5 minutes).<\/p>\n

VIII. Selection Criteria<\/span><\/p>\n

The curatorial team will assess applications according to the following criteria:<\/p>\n

Urgency and specificity of the practice and research: How does the proposed research engage with the contemporary world?<\/p>\n

Openness to process: How does the artist relate to the \u201cvulnerability\u201d of unfinished work? How willing are they to engage in dialogue with audiences and fellow participants?<\/p>\n

Knowledge production: What perspectives, tools, or methodologies does the practice offer for collective exchange?<\/p>\n

IX. Important Dates<\/span><\/p>\n

– Application deadline: June 15, 2026
\n– Interviews: June 20-23, 2026
\n– Announcement of results: June 29, 2026<\/p>\n

X. Credits<\/span><\/p>\n

Initiated and produced by: T Theater (Macau)
\nCo-organized by: Parasita (Lisbon)
\nCurators: Guo Rui and Jo\u00e3o dos Santos Martins
\nProduction direction: Popeye Hong
\nProduction: Ningdan Zhu, Ku Man Ian (T Theater), Maria Monteiro (Parasita)
\nCo-production: Shenzhen Fringe Art Center<\/a>
\nFunding: Cultural Development Fund of Macau<\/p>\n

Parasita is supported by the Portuguese Republic \u2014 Culture, Youth and Sports and by DGARTES \u2014 Directorate-General for the Arts.<\/p>\n

X. About the Partners<\/span><\/p>\n

T Theater <\/a>is an independent performing arts space in Macau, founded in 2016. It is dedicated to promoting diverse approaches to choreography, exploring a wide range of body-centered practices across different contexts, and encouraging local and regional artists to engage in dialogue with international artists.<\/p>\n

PARASITA is a nonprofit association founded in 2014 and based in Lisbon. Operating as an artists\u2019 cooperative, it supports dance and expanded artistic practices through shared resources, research, and collective experimentation. Its work explores the intersections among creation, theory, and curatorial practice, while reflecting on the social and cultural responsibilities of artists and cultural practitioners.<\/p>\n

Shenzhen Fringe Art Center<\/a> (FAC) is a cultural organization in Shenzhen that connects the Greater Bay Area with international cultural networks. Guided by the vision \u201cArt for Everyone, Stage Everywhere,\u201d FAC believes in the role of art as a driving force for social development. Through diverse practices in the performing and visual arts, it actively promotes international exchange, cultural innovation, and public engagement. FAC also operates the multidisciplinary venue ALOT Creation Factory, exploring new relationships among art, the city, and the community.<\/p>\n

XII. Participants in Previous Residencies<\/span><\/p>\n

Lisbon Residency 2025: Wu Hui, Lin Yixing.<\/p>\n

Guangzhou\/Macau Residency 2025: Bibi D\u00f3ria, In\u00eas Zinho Pinheiro, Lu\u00edsa Saraiva, Romain Teule, Kai Xu, Project O (Ziyang Ye and Jiaqi Xie), Qingyu Liu, Xueying Peng.<\/p>\n

For more information about previous editions: Next Step \u2014 Parasita<\/a><\/p>\n

For questions about the application, contact Maria Monteiro at maria@parasita.eu<\/a>.<\/p>\n

\n

June 2025 Residency in Macau<\/strong><\/h4>\n

After welcoming a group of artists from China to our studio in Lisbon, it’s now time for us to travel to the Asian continent, in a spirit of exchange between creators, communities and cultures. Four artists living in Portugal, whose practices are identified in the field of contemporary dance or expanded choreography, were selected by an online open call for the exchange program in June 2025: Bibi D\u00f3ria, In\u00eas Zinho Pinheiro, Lu\u00edsa Saraiva and Romain Teule.<\/p>\n

\"Co\u0301pia<\/a><\/p>\n

Bibi D\u00f3ria<\/strong><\/p>\n

Interdisciplinary artist, graduated in Dance from UNICAMP (BR) and an associate of the inaugural edition of Rose Choreographic School – Sadler’s Wells (UK) 2024-26. She works at the intersection of dance, performance, and cinema. Based in Lisbon (PT) since 2018, she develops her own projects and collaborates as a performer, assistant, and dramaturg with various artists. Her work explores themes related to memory, archives, fiction, and imagination.<\/p>\n

\"Co\u0301pia<\/a><\/p>\n

In\u00eas Zinho Pinheiro<\/strong><\/p>\n

Dancer, researcher and teacher, weaving webs between these practices. In\u00eas studied at the Dance School of the National Conservatory (Lisbon). Danced in the junior company (Switzerland). BA in Ballet and Contemporary Dance (Rambert School). MA in Dance History and Philosophy (Roehampton University). Collaborates with musician\/composer Lilja \u00c1smundsd\u00f3ttir. She develops the project Sonic Voyaging and teaches at the Higher School of Dance. PhD candidate \u2013 Performing Arts and the Moving Image.<\/p>\n

\"Co\u0301pia<\/a><\/p>\n

Lu\u00edsa Saraiva<\/strong><\/p>\n

Choreographer and performer born in Porto, Portugal. She studied psychology at the University of Porto and dance at the Folkwang Arts University in Essen. Her artistic practice explores the language of the body and voice and lies at the intersection of movement and musical composition. In the season of 2019\/2020 she was one of the choreographers-in-residence at the K3 | Tanzplan Hamburg. Her works were performed in Portugal, Germany, France, Spain, Switzerland and Belgium.<\/p>\n

\"Co\u0301pia<\/a><\/p>\n

Romain Teule<\/strong><\/p>\n

French-Brazilian. Lives and works in Lisbon. They have a degree in design, a master’s degree in visual arts, and graduated from Forum Dan\u00e7a’s PEPCC programme. Works on translation, interpretation, semiotics and has a particular interest in “in between spaces”. They created the solos “Elisabeth” (2014), L\u00e9gende (2017), “Dobra” (2021), and OFF (2025), presented Portugal, Spain, France, England and Belgium. “L\u00e9gende” won the jury prize for Best Show at the FITT Noves Dramaturgies in Tarragona.<\/p>\n

 <\/p>\n

2025 Residency in Lisbon\u00a0<\/em><\/h4>\n

During a week-long residency at Espa\u00e7o Parasita in Lisbon, three artists from Macau, Guangzhou and Beijing – Wu Hui, Hio Mei, Lin Yixing – share a studio with other guest artists, offer a workshop and publicly share their research and process with the community.<\/p>\n

Workshop, 29 January (Wednesday), 10am\u20141pm, Espa\u00e7o Parasita<\/strong>
\nPublic sharing, 1 February (Saturday), 7pm, Espa\u00e7o Parasita<\/strong>
\nFree entry upon registration<\/a>.<\/strong><\/h4>\n

ARTISTS IN RESIDENCY<\/span><\/p>\n

\"WU<\/a><\/b><\/p>\n

Wu Hui<\/b><\/p>\n

Independent dancer and choreographer based in Guangzhou. Her work starts from a feminine perspective, using different methods to evoke imagination and emotion. She has been interested in ecological bodies as a way of understanding, imitating and responding to the world.
\n<\/span><\/p>\n

\"Mei\"<\/a><\/b><\/p>\n

Hio Mei<\/b><\/p>\n

Independent artist, choreographer and dancer from Macau. Her creations explore the relationship between contemporary and traditional cultures, combining images, video and the study of the body in dance.<\/span><\/p>\n

\"Yixing\"<\/a><\/b><\/p>\n

Lin Yixing<\/b><\/p>\n

Lives in Beijing and is dedicated to the exploration and practice of writing, performance and mysticism. Her work has focused on examining the female body within the modern production chain, exploring recurring rituals, marginalised figures in mythology and the links between the history of witches and the history of plant colonisation.<\/span><\/p>\n

PUBLIC SHARINGS<\/span>
\n<\/span>
\n1 February (Saturday), 7pm, Espa\u00e7o Parasita<\/b><\/p>\n

To Be Born
\n<\/b>Wu Hui<\/b><\/p>\n

In a world that incessantly prioritises the concept of \u2018I\u2019, individuality often becomes stifling. In nature, on the other hand, growth is decentralised, diverse and dynamic. It represents a continuous process of evolution, a desire for results that remain in constant development – a continuum<\/em> of arrivals and arrivals yet to come. This research seeks to rethink the limits of individuality, growth and interconnectedness, proposing an ecological lens to examine the fluid and dynamic interplay of existence.<\/p>\n

One More Time
\n<\/b>Hio Mei<\/b><\/p>\n

\u2018One more time\u2019 is an expression often used in dance rehearsals for training or creation, which expresses an idea of repetition – repeating what has been done in the past to try to analyse whether it is appropriate, to help find the right material or expression. Behind this repetition, there is a kind of protection of the present, a drain on creativity. How can we give more possibilities and imagination to the dances that happen over and over again in the theatre? \u2018One more time\u2019 tries to think about a \u2018re-expression\u2019 of the present.<\/p>\n

The Bloody Fossils
\n<\/b>Lin Yixing<\/b><\/p>\n

The memories and pains of the past intertwine, solidifying as tangible and intangible \u2018stones\u2019 hidden deep inside the body. The body follows a linear progression of birth, growth, ageing and death, but these memories inside the body don’t disappear. They manifest even after the body dies, like ghosts, wandering through spaces invisible to the naked eye. In the midst of the rapidly changing reality in which we live, what memories are we forming and what traces are we leaving behind? \u2018Bloody Fossils\u2019 is a living memorial to the lives that have passed and those that continue to exist within the long flow of history.<\/span><\/p>\n

\"Workshop<\/a><\/p>\n

WORKSHOPS<\/span><\/p>\n

29 Janurary (Wednesday), 10am\u20141pm, Espa\u00e7o Parasita<\/b><\/p>\n

Growth Movement
\n<\/b>Wu Hui<\/b><\/p>\n

Plants, as a distinct form of life, have developed unique survival strategies that allow them to establish complex social and political networks. This workshop takes inspiration from the time-lapse photography technique of plant documentaries to investigate movement through the lens of plant morphology. It introduces the notion of distal movement – a practice that incorporates the principles of rhizome theory referring to multidirectional body perception and movement as a whole and\/or collective.<\/p>\n

Integration | Fusion
\n<\/b>Hio Mei<\/b><\/p>\n

Mei’s practice involves an in-depth knowledge of traditional Asian dances, through which she seeks to develop an expressive relationship with herself. This sharing will seek to articulate traditional and contemporary elements in the creation of a dance language and a personalised body.<\/p>\n

The Texture of Memories
\n<\/b>LIN Yixing<\/b><\/p>\n

Our bodies are born into the world, breathing in sync with the tides of the universe. From the moment we open our eyes at birth, or even while we’re still in the womb, memories begin to spread through us like the roots of a plant or the spores of mushrooms, intertwining with our flesh and blood. This workshop is an experience of reconstituting and discovering \u2018crystals\u2019 within the forest of memory. Participants will carry out body exercises and multimedia practices, such as painting, to evoke physical and mental perceptions related to personal experience.<\/p>\n

 <\/p>\n

_______<\/p>\n

About T Theatre
\n<\/span>T Theater is a non-profit performing arts venue in Macau with the aim of promoting various forms of choreography, exploring a wide range of body practices in different contexts, and encouraging local\/regional artists to interact with international artists. In recent years, T Theater has championed the dissemination of contemporary dance and experimented with different forms of exchange between China and other countries.<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","cat_projectos":[92],"acf":[],"_links":{"self":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cpt_projectos\/3857"}],"collection":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cpt_projectos"}],"about":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/types\/cpt_projectos"}],"wp:attachment":[{"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/media?parent=3857"}],"wp:term":[{"taxonomy":"cat_projectos","embeddable":true,"href":"https:\/\/parasita.eu\/en\/wp-json\/wp\/v2\/cat_projectos?post=3857"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}