Tell us about your dance studies.
I began my dance studies at around 12 years old after attending a local theater dance festival, which definitely sparked something in me. I instantly asked my parents if I could start taking dance classes. It wasn't easy to convince them, but after attending my first trial dance class, I received a scholarship to the local school Ballet Ana Araujo.
From that point on, I didn't stop. There, I trained in Jazz, Ballet, and a bit of Tap dance, receiving a very formal education. Along the way, I followed several courses, workshops, and dance festivals in Brazil and the USA, which developed my curiosity and also helped me realize the discipline needed to fully commit to this art form.
Later, when I transitioned from dancing to focusing on choreography and dance education, I concluded a Master's Degree in Choreography at the Zürich University of Arts.
Tell us about your dance career.
My dance career has been very diverse. I have performed in classical ballets, contemporary pieces, and experimental works. At 16 years old, I received my first contract as a semi-professional dancer with a regional company in my hometown, São José dos Campos. I became more engaged with contemporary dance, tanztheater, and dance improvisation. I learned a lot through on-the-job experience.
After that, I got a contract at the repertory Cisne Negro Dance Company in São Paulo, one of the leading companies in Brazil, where I began as an apprentice and later became a full member for over two years. This opportunity allowed me to tour South America with diverse works of national and international choreographers who broadened my artistic perspective.
In 2009, I joined the Tanz Luzerner Theater in Switzerland, where I performed in many original works during my seven-year tenure. This time there significantly shaped my artistic growth, allowing me to dance different styles and collaborate with diverse sought-after choreographers and artists.
Tell us about your experience with the Tanz Luzerner Theater.
At the Luzerner Theater, I had the opportunity to be part of a wide variety of productions. Being in a smaller company provided tremendous opportunities to perform regularly. One exciting aspect of the company was the constant influx of new creations; we worked with three to five guest choreographers each season. The creative atmosphere was very stimulating. The theater also had a dynamic artistic community. My time there improved my performance skills and provided me with tools that have become integral to my work as a choreographer and educator.
When did you start choreographing? What was your first creation?
I believe I began creating the day I saw my first dance performance. I was just 12, and while I enjoyed the show, I was more fascinated by the behind-the-scenes action—how the dancers moved from one side of the stage to the other and how the lights and sets worked together.
My first actual creation happened at the Tanz Luzern Theater during my first season there. The company had a program called "Dancemakers," which allowed dancers to create their own works. I made a solo for a colleague, as I remember being about "homesickness.
After that, I created different pieces for every season I was there. The program provided an excellent possibility to experiment with different ideas.
Tell us about your experience as a choreographer for different companies.
As a choreographer, I have had the opportunity to work with several institutions throughout Switzerland, Germany, Russia, the Netherlands, and the USA. Each organization presents a unique style and a broad range of audiences. I really enjoy collaborating with dancers from diverse backgrounds. It gives you a chance to experiment with different textures, dynamics, and, let's say, diverse "flavors," which definitely influence my creative process and work.
What was your last creation, and what was it about?
My previous creation included three small pieces for the Koninklijk Conservatorium Dans Den Haag students. The themes included: "Lost Illusions," which explores the harsh truths and disillusionments that can accompany the pursuit of dreams; "L'amour Blue," which represents a feeling that transcends words, capturing both calmness and intensity; and "Deceptions in Motion," which explores how truth can shift in today's world, particularly regarding our perceptions and responses to the constant changes and influences around us, especially with the flow of information.
Tell us about your following projects.
At the moment, I am in a research period and giving workshops, but I will soon start working on a new piece in collaboration with freelance artists in Berlin. While there is yet to be a premiere date, I do have commissions from companies overseas, though I can only share further details once it becomes official. I'm very excited about these upcoming projects.
From where/what do you get inspired for your creations?
I draw inspiration from various sources, including music, literature, nature, the visual arts, and personal experiences. I have a keen interest in subjects related to neuroscience and philosophy, particularly the unconscious human mind. But stories often emerge from moments of introspection or observing the world around me. Traveling to new places and engaging with different cultures also fuels my creativity.
What do you think about the German Freelance Scene?
The German freelance scene, particularly in Berlin, is vibrant and full of talent. It's inspiring to see so many artists taking the initiative to create their own work and collaborate across disciplines. However, there are challenges, such as the need for more funding and institutional support for independent artists. We are currently facing a critical political situation in Germany(not only), with many uncertainties ahead for the culture in general. Despite these limitations, I am hopeful that the creativity and resilience of freelancers in Germany will continue to thrive.
Do you still have some dreams to realize?
Absolutely! I have many dreams I want to pursue, and achieving them requires effort and dedication. One of my biggest aspirations is to create a full-length ballet that captures both movement and storytelling.
I want to continue collaborating with artists from other disciplines and exploring new forms and ideas.
What are you doing when you are not working?
When I'm not working, I enjoy spending time in nature. Hiking was one of my favorite activities when I lived in Switzerland, and it was a great way to reconnect with my thoughts. I also frequently attend different performances, from opera productions to theater plays and museums, especially in Berlin, where many artistic offerings exist. This exposure helps me to keep finding new perspectives for my work.
Photo: Admill Kuyer