R. dos Navegantes 51,
4000-358 Porto

T: 22 339 21 30

Performance, Choreography and Expanded Practices

Apresentação do Curso

The Post-graduate course in Performance, Choreography and Expanded Practices presents a theoretical and practical study programme that strives to provide critical and practical skills within performance, dance, choreography, expanded practices and the curating of performance in several contexts: exhibitions, theatre, public spaces, and alternative spaces.

Bringing together different modes of research, art education, critical theory and experimental labs comprising of a wide range of approaches (performance and choreography studies, expanded practices, queer, decolonial and intersectional studies, political and environmental theory), this course will enable singular performative practices able to negotiate the contemporary complexity, while stimulating ways of re-imagining, through performance and performative discourses, artistic, ethical and political interventions in a multi-species and post-planetary world in constant change.

The course is devised for professionals and students with multiple backgrounds: visual arts, performative arts, theatre, dance, architecture, cinema, history of art, curating, landscape studies, photography, cultural management/production, social sciences, gender studies, philosophy, literature, among others. The Post-graduation in Performance, Choreography and Expanded Practices aims to:

1. Provide thorough knowledge on performance critical studies, choreography, expanded practices and curating in relation to theatrical, museum and alternative spaces

2. Delevop creative processes and methodologies related to performance, choreography, expanded practices and curating performance

3. Acquire critical and aesthetic tools on contemporary debates contributing for a critical and multiple artistic practice, such as gender, queer, decolonising, intersectional, and environmental studies

4. Develop academic and artistic autonomy


Estrutura Curricular

Área CientíficaSiglaCréditos ObrigatóriosCréditos Optativos

Plano de Estudos



Corpo Docente

The post-graduation includes, besides its teachers, a significant set of guest lectures and artists with recognized experience and academic and/or professional merit within contemporary art, such as: Catarina Miranda, Ece Canli, Filipa Ramos, Joana Castro, Jonathan Uliel Saldanha, Jorge Gonçalves, Luísa Saraiva, Salomé Lamas, Vera Mota, amog others.


Alexandra Balona is an architect, researcher, and independent curator based in Porto. She is a PhD researcher in Cultural Studies, European Graduate School & Lisbon Consortium, and a fellow researcher of CECC-FCH-UCP. Balona is an associate member of Rampa, and co-founder of PROSPECTIONS for Art, Education and Knowledge Production. She curated Abertura, Impureza e Intensidade: Olhares através da obra de Marlene Monteiro Freitas (2020), co-curator of Metabolic Rifts (2017-18), and co-editor of Metabolic Rifts Reader (2019), and co-editor of An Untimely Book (2018). Balona writes regularly for several publishing outlets such as Público, Contemporênea, and Art Press. . .

Cristina Planas Leitão degree in Contemporary Dance – ArtEZ (BA), Arnhem (NL), 2006. Cristina approaches her choreographic work as an act of resistance and affection, researching themes connected with social and political movements and their relationship with the performative body in the intimate and relational space of the theater. Affect, insistence, presence and contamination are key words. She created The very delicious piece and The Very Boring Piece with Jasmina Krizaj, the solo bear me, FM [featuring mortuum] and UM [unimal], a piece highlighted by the newspapers Expresso and JN in the 10 best of 2018. The work was regularly supported by DGArtes, F. C. Gulbenkian and Fundação GDA. Her body of work is documented in the series Portugal que Dança / RTP2 (Ep. 02). As a curator of performing arts, she highlights her collaboration with Teatro Municipal do Porto, under the Artistic Direction of TIAGO GUEDES, since 2018 in the mediation of the DDD Festival and where she is part of the programming team of the regular seasons (from 2019-2020), Festival DDD since the 2020 edition and CAMPUS Paulo Cunha e Silva developing its artistic program and mission since 2021. Cristina was executive coordinator of the 2019 edition of Festival DDD. In 2011, in Porto, she was one of the initiators of the desNORTE meetings (2011-2017) and was part of the Braga’27 consulting group. In July 2022, she assumes the Interim Artistic Direction of the Department of Performing Arts by ÁGORA – Municipal Company of Porto (Teatro Municipal do Porto, DDD – Festival Dias da Dança, CAMPUS Paulo Cunha e Silva) and in 2023, she will assume the co-Artistic Direction of the same Department. Her aggregating curatorial practice is focused on the development of sustainable creation formats, new narratives and care relationships in the performing arts. As a teacher, she highlights her continuing education with David Zambrano, being part of the only group certified to teach and develop the dance techniques of Flying Low and Passing Through (2010, Costa Rica), who has since taught internationally at Universities and studios with an approach somatic and unconventional. She is a mentor and regular teacher at ArtEZ HK, Arnhem (NL). As a performer, she worked with Gabriella Maiorino, Isabelle Schad, Flávio Rodrigues, Vloeistof, Catarina Miranda, Marco da Silva Ferreira in the play Brother and as a rehearser for Hofesh Shechter and Gregory Maqoma, both for Companhia Instável.

Denise Pollini has a master’s degree in Performing Arts from the School of Communication at USP and a degree in Visual Arts fromFundação Armando Alvares Penteado – FAAP. From 2015 until April 2021 I was Head of Education at the Serralves Museum of Contemporary Art in Portugal, where I was responsible for a diverse range of activities. Within the public programs for adults I created a series of encounters with the aim to generate a friendly common ground where all kinds of ideas about Contemporary Art were welcomed and discussed. In São Paulo, Brazil, from 1999 to 2015 I was Head of Education at the Museum of Brazilian Art where I developed research-practical actions encompassing the communal experience that can be bred from the connection with the works of art. With extensive experience as an associate professor of Art History and Fashion History, I taught at institutions such as Senac, Panamericana Escola de Arte e Design, SESC, Escola São Paulo, Centro Cultural Barco, University of Sao Paulo and Univale (Universidade do Vale do Itajaí) in Brazil.

Eduarda Neves is a professor of contemporary art theory and criticism, an area in which she has published various articles and books. She is also an independent curator. Her research and curatorial activity interweaves the fields of art, philosophy and politics. Since February 2019 she has collaborated on the journal “Contemporânea”. Her most recent books are: O Auto-retrato. Fotografia e Subjectivação.. Lisboa: Ed. Palimpsesto | Ceaa, 2016 [shortlisted for the Pen Club award in the category of Essay, 2017] and in 2020, Nem-Isto-Nem-Aquilo. In 2021, 35 Degrees Celsius. Essays on contemporary art, from the same publisher. She is preparing publication of her next book Bestiaries. In other words, contemporary art.(2022). She holds a degree in Philosophy and a PhD in Aesthetics and is an Assistant Professor at ESAP. She has been researcher in charge of the research group Art and Critical Studies at CEAA since 2013. For the two year period 2019-2020, she has been a member of the Commission for the Acquisition of Contemporary Art for the Portuguese State’s collection. In 2021 she was a member of the Commission for Acquisition of Contemporary Art to the Porto Municipal Collection. Guest editor of #7 Contemporânea journal— Fotografia/Photography. (bilingual ed) December, 2021. She is currently director of the Escola Superior Artística do Porto – ESAP.

Né Barros choreographer and researcher at the Institute of Philosophy, Aesthetic Group, Policy and Knowledge of the University of Porto where she completed Post-Doctorate in the area of ​​Aesthetics and Performances. PhD from the FMH (U.T.L.), Master in Dance, Laban Center City University, London, Superior Theater Course (ESAP). Artistically, he began his training in classical dance and later works contemporary dance and choreographic composition, in the United States, Smith College. horeographed for Balleteatro, National Ballet Company, Gulbenkian Ballet and Aura Dance Company. Assistant Professor at ESAP. Author of the book Materiality in Dance, Dance: Body and House, Co-Editing Performative Arts: New Speeches, Family Pictures, Displacements of Intimacy, Unframing Archives. Has several articles published. Co-editor of the “Aesthetics, Politics and Arts” and War Machine Collections (FLUP). Founder and co-director of the international film, memory and ethnography film festival – Family Film Project and Balleteatro. .

Nuno Ramalho é licenciado em Escultura na Faculdade de Belas Artes da Universidade do Porto (1999) e possuí um mestrado em New Genres pelo San Francisco Art Institute (2008). Em 2011 iniciou um doutoramento em arte no Goldsmiths College, tendo concluído o mesmo na Faculdade de Belas Artes da Universidade do Porto (2020). Desenvolve desde 1999 o seu trabalho no campo das artes visuais, individualmente e em colaboração com outros artistas, em áreas como o desenho, instalação, escultura, performance, som, vídeo e práticas de curadoria. Realizou 17 exposições individuais, 5 das quais colaborando com outros artistas, e participou em mais de 60 colectivas em Portugal, Brasil, Espanha, Estados Unidos da América, Noruega, Reino Unido, Rússia e Alemanha. Foi curador de 7 exposições e desde 2016 é programador do projecto de vídeo arte portuguesa Playlist, já com 42 mostras produzidas e apresentadas. Juntamente com Isabel Ribeiro e Susana Chiocca, foi responsável pelo projecto Recursos Humanos, dedicado à apresentação e discussão públicas de obras e processos de criação por parte de artistas plásticos, arquitectos, designers entre outros. A sua obra está representada em colecções institucionais como as do CAV – Centro de Artes Visuais ou da Fundação de Serralves, bem como em diversas colecções particulares. Em 2002 foi artista residente na Triangle France, Marselha e em 2004 foi um dos nomeados para o prémio EDP Novos Artistas. Entre 2006 e 2008 recebeu a bolsa Fulbright/FCC e ainda a Louise Woods Memorial Scholarship. Foi igualmente bolseiro da Fundação Calouste Gulbenkian entre 2011 e 2015. De 2000 a 2005 colaborou com o Serviço Educativo do Museu de Serralves. Foi igualmente professor assistente na cadeira de New Genres I, no San Francisco Art Institute, em 2007, e em 2011 foi responsável pela cadeira de Projecto II na ESAP – Escola Superior Artística do Porto, onde lecciona desde 2017 uma série de seminários sobre vídeo arte portuguesa. Vive e trabalha no Porto e é representado pela galeria Graça Brandão, Lisboa.

Susana Chiocca (Lisbon, 1974) has a doctorate in Contemporary Art from the University of Castilla – la Mancha, Cuenca (2016) and a degree in sculpture from the University of Porto (1999). She’s a visiting professor at the College of Arts and at the Faculty of Arts and Humanities, University of Coimbra, at balleteatro, ESAP – Porto Higher School of Arts and Porto Lusófona University. She has participated in several exhibitions, events and workshops, and she has worked as a curator, especially in the field of performance, such as in the space A Sala or the event “Acesso de Vertigem” (Maus Hábitos). She has been exploring text and word since 2005 in projects combining performance, video and music. In 2007 she cofounded the group Balla Prop, and in 2012 she created the project BITCHO.

Regulamentos e Documentação

To view the complete regulation, download the PDF.

horários e exames

mapa de exames





The Post-graduation in Performance, Choreography and Expanded Practices aims to:

a) Provide thorough knowledge on performance critical studies, choreography, expanded practices and curating in relation to theatrical, museum and alternative spaces;

b) Delevop creative processes and methodologies related to performance, choreography, expanded practices and curating performance;

c) Acquire critical and aesthetic tools on contemporary debates contributing for a critical and multiple artistic practice, such as gender, queer, decolonising, intersectional, and environmental studies;

d) Develop academic and artistic autonomy.