Academic and Artistic Research Centers
For researchers interested in compromising body, dance and performance art practices, embodied theory and critical thought.
Dance, performance and visual arts organizations
For artists and curators interested in the relation between the body, dance, performance and visual arts and philosophical reflections.
Laboratory, workshop and seminar participants
For participants interested in research issues and experimentation of the body related to the field of dance and philosophy.
“Ana Mira’s vulnerability and humbleness as a performer together with her gentle and enquiring persistence, (…). Leaving us with a room charged with memory and presence, she exposes on a physical and visual level the body and its relationship with context.”
Review by Josephine Leask on Rosemary Butcher’s dance piece (londondance, 2012)
About Ana Mira
(Lisboa, 1976) Performer, choreographer, professor, researcher and writer in the field of Dance and Philosophy.
Ana Mira studied embodied practices and contemporary dance independently in Europe and the United States. Her main teachers have been Steve Paxton, Lisa Nelson, Eva Karczag, Sofia Neuparth, Peter Michael Dietz and Howard Sonenklar. She has been a Chi Kung practitioner since 2001, influenced by her Master Lam Kam Chuen (Zhan Zhuang Chi Kung).
She holds a PhD in Philosophy (Aesthetics) from the Faculty of Social Sciences and Humanities of Universidade Nova de Lisboa (FCSH-UNL, 2014), under guidance of the philosopher José Gil, with the thesis Silence, potency and gesture: a body in dance, during which she was a visiting scholar at CRMEP – Center for Research in Modern European Philosophy /Kingston University (UK) and a research fellow of Foundation for Science and Technology.
Ana Mira has been teaching practices of the body, movement research, experiential anatomy/physiology/embryology, improvisation, composition, dance and philosophy laboratories at various dance, theater and performing arts programs in Lisbon, London and Amsterdam (Faculty of Human Motricity, University of Évora, ESTAL – Lisbon School of Technology and Arts, Lisbon Theater and Film School, National Conservatory Dance School, Evoé: Escola de Actores, Fórum Dança, C.E.M. – Centro em Movimento, Balleteatro, Experiencia Danza, Dans Studio Pauline de Groot, Decoda, Independent Dance/Trinity Laban Conservatoire of Music and Dance).
Her choreographic work included “At Once”, adaptation of Deborah Hay’s SPCP/2009 (Teatro Maria Matos, 2010), “Três Estudos para Shihtao” (Teatro Camões, 2007), “Dueto” (Festival Alkantara, 2006). As dance researcher and performer, Ana Mira collaborated with Pauline de Groot (2001/2003), Russell Dumas (2003/2005) and Rosemary Butcher (2011/2015).
Her dance and philosophy writings are: “Sensorial document: an embodied practice in dance and philosophy from collaboration in After Kaprow: The Silent Room by Rosemary Butcher ” (Journal of Dance & Somatic Practices, 2016), “Primitive affective: a study on the potency of the body that dances through the perspective of Nietzsche according to Deleuze” (Nuisis Zobop /Instituto de Filosofia – Universidade do Porto, 2017) and “Contours of inexistence: a reading of the choreographic piece I Am Here, by João Fiadeiro (2003)” (Teatro Municipal do Porto /Imprensa Nacional – Casa da Moeda, 2018).
Her dance and philosophy research projects have been supported by the Portuguese Foundation for Science and Technology (2009/2013), Calouste Gulbenkian Foundation (2007), Portuguese Ministry of Culture (2002/2003) and Portuguese Institute of Sport and Youth (1997). These fellowships allowed her to study at CRMEP – Center for Research in Modern European Philosophy /Kingston University and Independent Dance (UK); Performance Studies Department /Tisch School of the Arts – New York University, Lincoln Center for the Performing Arts, Movement Research and Trisha Brown Dance Company (USA); Dans Studio Pauline de Groot (NL) and Dance Exchange /Russell Dumas (FR).
She is a member of IFILNOVA – Nova Institute of Philosophy, Faculty of Social Sciences and Humanities – Universidade Nova de Lisboa, where she curated the Performance and Philosophy Permanent Seminar. She is also a member of baldio | Estudos de Performance, Cultural Association, with whom she develops encounters, courses and publications.
“The rocking movement, which Ana Mira becomes almost possessed by in her performance, seeps its way into my own body and I find myself swaying in my seat as I watch her”
Review by Eleanor Sikorski on Rosemary Butcher’s dance piece (The Place/Comma 40 Blog, 2011)
Photo credits: Rosemary Butcher & Sam Williams