{"id":17781,"date":"2014-10-12T15:50:04","date_gmt":"2014-10-12T15:50:04","guid":{"rendered":"https:\/\/tfciadedanca.com.br\/?page_id=17781"},"modified":"2026-06-16T01:04:20","modified_gmt":"2026-06-16T01:04:20","slug":"company-history","status":"publish","type":"page","link":"https:\/\/tfciadedanca.com.br\/en\/about-us\/company-history\/","title":{"rendered":"About the Company"},"content":{"rendered":"

T.F. Dance Company \u2013 <\/strong>https:\/\/tfciadedanca.com.br\/en\/<\/a><\/p>\n

Press Reviews and Media Coverage \u2013 <\/strong>https:\/\/tfciadedanca.com.br\/en\/about-us\/press-material\/<\/a> \u00a0<\/strong><\/p>\n

T.F. Dance Company is an artistic collective based in the city of S\u00e3o Paulo since 2002. Comprising professional dancers from diverse training and stylistic backgrounds, the company actively articulates dance within urban spaces. The group investigates “Contemporary Urban Dance,” a practice framed as a way to exercise contemporary thinking through hip hop culture. This investigation focuses on developing signature choreography, guided by a research path exploring sensory stimuli rooted in each performer’s individuality and physical states constructed through the body-city relationship.<\/p>\n

The group originally began in 2002 as T.F.Style under the direction of Igor Gasparini. In 2007, with Frank Tavanti joining as artistic director, T.F.Style Dance Company emerged, distinguishing itself as one of the pioneer collectives in the research of Contemporary Urban Dance. In 2022, celebrating the collective’s 20th anniversary, the name was streamlined to simply T.F. Dance Company.<\/p>\n

The company has been awarded the prestigious S\u00e3o Paulo Municipal Dance Grant (Fomento \u00e0 Dan\u00e7a) for its 20th, 24th, 28th, 32nd, and 37th editions (2016, 2018, 2020, 2022, and 2024), as well as the State PROAC Tour Grant for Dance Performances (2016, 2020, and 2022). It won the APCA Award for Best Dance Premiere in 2019 with ELO; was nominated for the APCA Award for Choreography | Creation in 2024 with TRACE; and received the Denilto Gomes Dance Award for “Best Ensemble” for Gray Zone in 2022, and for “Dance Creation Modes” for TRACE in 2024.<\/p>\n

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

\"IMG_8734\"<\/a><\/p>\n

Company History<\/h1>\n

2007<\/h2>\n

The origins of T.F. Cia de Dan\u00e7a date back to 2007, when a creative partnership between Igor Gasparini and Frank Tavanti initiated a research process exploring the intersections between urban dance practices and contemporary stage creation. Together with the company\u2019s first cast, they developed Formas \u2013 um aspecto em particular<\/em>, the group’s inaugural production.<\/p>\n

The work established the foundation for the company\u2019s artistic investigation, bringing together choreographic experimentation, theatricality and the expressive possibilities of urban dance languages. In 2008, the production was presented at the Institute of Arts of the State University of Campinas (UNICAMP), Universidade Paulista and Teatro Eva Wilma in S\u00e3o Paulo.<\/p>\n

\n

2009<\/h2>\n

In partnership with the Municipal Department of Education of S\u00e3o Paulo, then operating under the name T.F. Style, the company presented Formas \u2013 um aspecto em particular<\/em> at CEU Aricanduva, accompanied by workshops for children and young people from the surrounding community.<\/p>\n

During the same year, the company participated in ABCDan\u00e7a, presenting the workshop The Theory and Practice of Hip Hop<\/em>, and was invited to perform at the opening event of a production by KD Cia de Dan\u00e7a in Potirendaba, S\u00e3o Paulo State.<\/p>\n

Also in 2009, the company premiered Encontros e Desencontros<\/em>, an urban dance work investigating themes of love, affection and human relationships. The production represented an important step in the development of the company\u2019s artistic voice, moving beyond formal experimentation toward broader reflections on social and emotional experiences.<\/p>\n

\n

2010<\/h2>\n

In 2010, Encontros e Desencontros<\/em> was selected for the programme of ABCDan\u00e7a, touring several cities in the Greater S\u00e3o Paulo region. The work also enjoyed two seasons at Teatro Coletivo, in S\u00e3o Paulo, during April and August.<\/p>\n

The company continued its educational activities through the workshop The Theory and Practice of Hip Hop<\/em>, presented as part of S\u00e3o Paulo\u2019s renowned Virada Cultural festival. At the same time, Encontros e Desencontros<\/em> returned to CEU Aricanduva and was presented at Teatro Jo\u00e3o Caetano through the Vocacional cultural programme.<\/p>\n

The production was subsequently invited to join the programme Cidade Palco Escola<\/em> at Teatro de Dan\u00e7a, a project supported by the Associa\u00e7\u00e3o Paulista dos Amigos da Arte and the Government of the State of S\u00e3o Paulo. This recognition reinforced the growing visibility of the company within the contemporary dance and cultural landscape of S\u00e3o Paulo.<\/p>\n

\n

2011<\/h2>\n

The year 2011 marked an important phase of artistic expansion for the company. Encontros e Desencontros<\/em> returned to Virada Cultural with two performances at SESC Interlagos, while the company also organised the forum Stress and Anxiety in Amateur and Professional Dancers<\/em>, bringing together psychologists and dance professionals for public discussion.<\/p>\n

In May, the company presented a preview version of Deserto de Ilus\u00f5es<\/em> through the Vocacional programme at Teatro Jo\u00e3o Caetano. In an unusual and participatory creative process, audience members were invited to share feedback and suggestions that informed the final development of the work prior to its official premiere the following month at Teatro Coletivo in S\u00e3o Paulo.<\/p>\n

Following its premiere, Deserto de Ilus\u00f5es<\/em> was presented in a season at Teatro Centro da Terra and quickly became an important addition to the company\u2019s repertoire.<\/p>\n

Meanwhile, Encontros e Desencontros<\/em> continued its circulation with seasons at Teatro Zanoni Ferrite and through educational touring programmes associated with SESC S\u00e3o Paulo.<\/p>\n

The year concluded with a significant milestone when T.F. Style performed at the opening ceremony of the 10th Pr\u00eamio Jovem Brasileiro at Memorial da Am\u00e9rica Latina. During the event, artistic director Igor Gasparini received the award for Best Choreographer.<\/p>\n

2012<\/h1>\n

In 2012, T.F. Style continued expanding the circulation of its repertoire through partnerships with SESC S\u00e3o Paulo and public cultural programmes. Encontros e Desencontros<\/em> was presented at SESC S\u00e3o Carlos, while Deserto de Ilus\u00f5es<\/em> was featured at SESC Interlagos, further strengthening the company’s presence within one of Brazil\u2019s most important cultural networks.<\/p>\n

Deserto de Ilus\u00f5es<\/em> also returned to Teatro Coletivo in S\u00e3o Paulo and was presented as part of the Encontros<\/em> project at Para\u00edso Metro Station. The work was later included in the ABCDan\u00e7a programme in the city of Rio Grande da Serra. During the same event, the company once again organised the forum Stress and Anxiety in Amateur and Professional Dancers<\/em>, reinforcing its commitment to dialogue between artistic practice and critical reflection.<\/p>\n

Educational activities remained an important part of the company\u2019s work, with The Theory and Practice of Hip Hop<\/em> workshop returning to the programme of Virada Cultural S\u00e3o Paulo.<\/p>\n

A major milestone of the year was the inclusion of Deserto de Ilus\u00f5es<\/em> in Circuito Cultural Paulista, one of the State of S\u00e3o Paulo\u2019s principal touring programmes. Through this initiative, the work travelled extensively throughout the interior of the state, reaching audiences in Jos\u00e9 Bonif\u00e1cio, Andradina, Avar\u00e9, Dois C\u00f3rregos, Mirand\u00f3polis and Martin\u00f3polis.<\/p>\n

During the second half of the year, Encontros e Desencontros<\/em> continued touring through educational and cultural programmes associated with SESC S\u00e3o Paulo, including performances at SESC Bom Retiro and SESC Taubat\u00e9. The company also presented interventions from Deserto de Ilus\u00f5es<\/em> during a season at SESC Santana.<\/p>\n

The year concluded with a season of Deserto de Ilus\u00f5es<\/em> at Teatro Zanoni Ferrite, under the Municipal Department of Culture of S\u00e3o Paulo.<\/p>\n

\n

2013<\/h1>\n

In 2013, the company participated in the municipal programme Recreio nas F\u00e9rias<\/em>, organised by the Municipal Department of Education in partnership with SESC S\u00e3o Paulo. Through this initiative, T.F. Style presented Encontros e Desencontros<\/em> and delivered workshops for children and young people at SESC Interlagos.<\/p>\n

The year also marked an important academic achievement for artistic director Igor Gasparini, who presented his postgraduate dissertation, Communication Between Dance and Audience: The Role of Cultural Journalism and the Choreographer in the Relationship Between Artwork and Spectator<\/em>, at Teatro TUCA. The event combined an academic defence with a performance of Deserto de Ilus\u00f5es<\/em> and a public discussion, reflecting the company’s longstanding interest in audience engagement and artistic mediation.<\/p>\n

A new chapter began with the preview presentation of Tempo<\/em> during Virada Cultural S\u00e3o Paulo. The work subsequently premiered in a season at Sala Crisantempo and quickly became a central piece within the company\u2019s repertoire.<\/p>\n

That same year, T.F. Style toured Deserto de Ilus\u00f5es<\/em> through Circuito SESC de Artes, performing in Sert\u00e3ozinho, Barretos, S\u00e3o Sim\u00e3o, Taquaritinga, Dois C\u00f3rregos, Mat\u00e3o, S\u00e3o Jos\u00e9 do Rio Pardo, Ibat\u00e9 and Araras. Tempo<\/em> was also presented through ABCDan\u00e7a at Galeria Olido.<\/p>\n

The company continued an intense performance schedule throughout the year. Tempo<\/em> was featured at Teatro S\u00e9rgio Cardoso, one of S\u00e3o Paulo\u2019s most important performing arts venues, and later returned to Galeria Olido through the Municipal Department of Culture. Through educational touring programmes associated with SESC S\u00e3o Paulo, the company completed two months of performances at SESC Bom Retiro.<\/p>\n

The year concluded with a site-specific occupation at the Museu da Imagem e do Som (MIS), further demonstrating the company\u2019s growing interest in alternative performance spaces and expanded choreographic practices.<\/p>\n

\n

2014<\/h1>\n

The year began with the company’s participation in celebrations marking the 460th anniversary of the city of S\u00e3o Paulo, performing in a public event organised by FIESP and SESI on Avenida Paulista.<\/p>\n

T.F. Style subsequently joined Virada Cultural Paulista with performances of Deserto de Ilus\u00f5es<\/em> in the cities of Indaiatuba and Diadema. The company also led workshops as part of SESC Interlagos’ Dia do Desafio<\/em> programme and presented Tempo<\/em> through educational touring initiatives at SESC S\u00e3o Carlos.<\/p>\n

During Virada Cultural S\u00e3o Paulo, the company presented an intervention at SESC Bom Retiro and was invited to participate in the opening programme of Circuito S\u00e3o Paulo de Cultura, presenting Tempo<\/em> at Parque Ibirapuera, one of the city’s most iconic public spaces.<\/p>\n

A defining moment of the year came with the premieres of ANTI<\/em>, choreographed by Daniel Holt, and BECO<\/em>, created by Igor Gasparini and Frank Tavanti. Both works debuted at Vila Maria Z\u00e9lia, a historic alternative cultural space that serves as the home of Grupo XIX de Teatro.<\/p>\n

The two productions were subsequently incorporated into Circuito S\u00e3o Paulo de Cultura, touring several cultural venues throughout S\u00e3o Paulo, including Centro Cultural Cidade Tiradentes, Centro Cultural Penha (Teatro Martins Penna), Teatro Alfredo Mesquita and Teatro Zanoni Ferrite.<\/p>\n

In the same year, the company was awarded support through the VAI 2 programme of the Municipality of S\u00e3o Paulo. Through this initiative, T.F. Style delivered 98 hours of workshops and presented sixteen performances of Tempo<\/em> across four educational and cultural centres: CEU Sapopemba, CEU Formosa, CEU Vila do Sol and CEU Aricanduva.<\/p>\n

The company also returned to Circuito Cultural Paulista, presenting performances in Avar\u00e9, Santa Cruz do Rio Pardo, Ourinhos, Palmital, S\u00e3o Sim\u00e3o, Guariba, Monte Alto and Novo Horizonte.<\/p>\n

The year concluded with participation in Cultura Livre<\/em>, a cultural programme organised by the Government of the State of S\u00e3o Paulo, featuring a performance at Parque Villa-Lobos, as well as a return to the Museu da Imagem e do Som (MIS) with an intervention based on Tempo<\/em>.<\/p>\n

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

2015<\/h1>\n

In 2015, T.F. Style continued to expand its artistic presence through performances, workshops and touring activities across the State of S\u00e3o Paulo. The year began with participation in SESC Ver\u00e3o<\/em> at SESC Interlagos, where the company presented workshops and site-specific interventions derived from BECO<\/em>, a work that was becoming increasingly central to its artistic repertoire.<\/p>\n

Following these presentations, BECO<\/em> was featured at SESC Santo Amaro and enjoyed a season at SESC Santana as part of the programme Corpos Vetores<\/em>. The company also participated in Dia do Desafio<\/em> at SESC Santo Andr\u00e9, presenting interventions and workshops, while Tempo<\/em> was presented at SESC Jundia\u00ed.<\/p>\n

Artistic director Igor Gasparini was invited to participate in De Improviso<\/em>, a programme organised by SESC Santos dedicated to improvisation and contemporary performance practices.<\/p>\n

Throughout the year, BECO<\/em> continued to gain recognition, being presented at the Centro de Refer\u00eancia da Dan\u00e7a (CRD-SP), participating in the 6th Circuito Vozes do Corpo<\/em>, and appearing in the programme of ABCDan\u00e7a 2015 with a performance in Mau\u00e1.<\/p>\n

The company also returned to both Virada Cultural Paulista and Virada Cultural S\u00e3o Paulo. In the state-wide edition of the festival, BECO<\/em>, ANTI<\/em> and Tempo<\/em> were presented in the cities of Bauru and Registro. In the capital, the company performed an intervention at SESC Santana.<\/p>\n

Additional presentations of BECO<\/em> took place at SESC Rio Preto and SESC Bom Retiro, while ANTI<\/em> was presented in a short season at Teatro S\u00e9rgio Cardoso.<\/p>\n

Recognition of the company’s growing artistic relevance led to invitations from important independent initiatives. BECO<\/em> was selected for Interlocu\u00e7\u00f5es Po\u00e9ticas 2015<\/em>, a programme hosted by FUNARTE S\u00e3o Paulo, and was also chosen for the VIII Mostra Corpos N\u00f4mades de Dan\u00e7a<\/em>, an important platform for contemporary dance in Brazil.<\/p>\n

The double programme BECO<\/em> and ANTI<\/em> was presented at SESI Itu, and the year concluded with the company travelling to Bras\u00edlia, Brazil’s capital, to perform BECO<\/em> at the 3rd National Youth Conference.<\/p>\n

By the end of 2015, BECO<\/em> had become one of the defining works of the company’s repertoire, marking a significant maturation of its choreographic language and its dialogue between urban dance vocabularies and contemporary dramaturgical structures.<\/p>\n

\n

2016<\/h1>\n

The year 2016 represented a major turning point in the history of T.F. Style Cia de Dan\u00e7a.<\/p>\n

The company was awarded support from two of the most important public funding programmes for dance in the State of S\u00e3o Paulo: the 20th edition of the Municipal Dance Development Programme (Programa de Fomento \u00e0 Dan\u00e7a para a Cidade de S\u00e3o Paulo<\/em>) and the PROAC Dance Touring Grant.<\/p>\n

These achievements provided the conditions for a significant expansion of the company’s artistic research and public activities.<\/p>\n

The year began with participation in SESC Ver\u00e3o<\/em> at SESC Campo Limpo, presenting workshops, dance jams and performances of BECO<\/em>. At the same time, the company was developing a new creation, Sob a Pele<\/em>, which was first shared with audiences through Partilha do Sens\u00edvel<\/em> at SESC Pinheiros, offering insight into the creative process before the official premiere.<\/p>\n

In March, Sob a Pele<\/em> premiered at Centro Cultural S\u00e3o Paulo (CCSP), one of the city’s most important cultural institutions. The work marked a new stage in the company’s artistic trajectory, deepening its investigation into corporeality, perception and contemporary urban existence.<\/p>\n

Meanwhile, BECO<\/em> continued touring extensively. Urban interventions derived from the work were presented as part of the SESC Parque Dom Pedro II Occupation project and through the municipal programme Ruas Abertas<\/em>, reaching neighbourhoods including Parelheiros, Guaianases, Sapopemba and Itaim Paulista.<\/p>\n

The work also participated in Virada Cultural Paulista, with performances in Indaiatuba and Santos, and returned to Virada Cultural S\u00e3o Paulo.<\/p>\n

One of the year’s most significant initiatives was the project Dan\u00e7a Urbana Contempor\u00e2nea: Di\u00e1logos<\/em>, supported through FUNARTE’s Cena Aberta 2016<\/em> programme. Hosted at Sala Ren\u00e9e Gumiel, the project was conceived as a platform for discussion, exchange and reflection on contemporary urban dance practices.<\/p>\n

Through performances, workshops, debates and artistic encounters, the project brought together companies and artists whose research shared affinities with T.F. Style’s artistic investigations. Invited participants included Cia. Street Son, Mia Omori and Andr\u00e9 Bid\u00fa, Fragmento Urbano, Cia. Rog\u00e9ria Zago and Grupo Up.<\/p>\n

The project reinforced the company’s growing role not only as a producer of artistic work, but also as a catalyst for dialogue within Brazil’s urban dance community.<\/p>\n

Later in the year, Tempo<\/em> toured through Circuito Cultural Paulista, reaching audiences in Ribeir\u00e3o Pires, Tabo\u00e3o da Serra, Americana, Bertioga, Itatiba, Itapira, Guariba and Batatais.<\/p>\n

At the same time, Sob a Pele<\/em> began its own circulation, appearing in Circuito S\u00e3o Paulo de Cultura with performances at Teatro Cacilda Becker, Teatro Zanoni Ferrite and Galeria Olido. The work was also presented at SESC Sorocaba, the Municipal Dance Development Programme Showcase, Centro Cultural Cidade Tiradentes and Dan\u00e7a no MIS<\/em>. Workshops related to the production were offered at SESC Belenzinho.<\/p>\n

Supported by the Municipal Dance Development Programme, the company launched the first phase of Sob a Pele \u2013 Di\u00e1logos<\/em>, a project combining performances, debates and creative process exchanges. Activities began at Centro Cultural Formosa in collaboration with Grupo Zumb’Boys, establishing a model of artistic dialogue that would continue into the following year.<\/p>\n

By the end of 2016, T.F. Style had reached a new level of artistic maturity, combining performance, research, education and cultural mediation into an increasingly coherent and influential body of work.<\/p>\n

\n

2017<\/h1>\n

The first months of 2017 were marked by the continuation of Sob a Pele \u2013 Di\u00e1logos<\/em>, the artistic exchange project initiated the previous year.<\/p>\n

The programme unfolded through a series of collaborative encounters at the Centro de Refer\u00eancia da Dan\u00e7a (CRD-SP), featuring dialogues with Fragmento Urbano, Vanilton Lakka, Fernando Prado and, later, Grupo Impacto from Vi\u00e7osa, Minas Gerais. These exchanges sought to deepen discussions around creative processes, artistic methodologies and contemporary urban dance practices.<\/p>\n

At the same time, Sob a Pele<\/em> embarked on an extensive touring programme through the PROAC Dance Touring Grant. The project included twenty performances, ten workshops and ten public discussions across cities in the interior and coastal regions of S\u00e3o Paulo State, including Registro, Americana, Batatais, Piracicaba, Gar\u00e7a, Itatiba, Praia Grande, Bertioga, Limeira and Mogi das Cruzes.<\/p>\n

Alongside these touring activities, the company maintained a busy performance schedule. BECO<\/em> was presented at SESC Registro, Virada Cultural S\u00e3o Paulo and the inauguration of SESC Flor\u00eancio de Abreu during Semana Move<\/em>.<\/p>\n

Sob a Pele<\/em> continued its circulation with performances at SESC Bauru, SESC Ribeir\u00e3o Preto, ABCDan\u00e7a 2017 in Rio Grande da Serra and Virada Cultural Paulista in Caraguatatuba, Mar\u00edlia and Botucatu. The work also toured through Circuito Cultural Paulista, appearing in Serrana, Taubat\u00e9, Pirassununga and Mau\u00e1.<\/p>\n

Workshops were once again offered at SESC Belenzinho, reinforcing the company’s commitment to artistic education and audience engagement.<\/p>\n

A defining milestone of 2017 was the premiere of Carne Urbana<\/em>, developed through research supported by the 20th edition of the Municipal Dance Development Programme.<\/p>\n

Premiering in seasons at Teatro Fl\u00e1vio Imp\u00e9rio and Teatro Jo\u00e3o Caetano, Carne Urbana<\/em> marked a significant evolution in the company’s artistic trajectory. Expanding beyond conventional stage formats, the work explored installation, participation and spatial relationships, opening new pathways that would later influence productions such as ELO<\/em>, Zona Cinzenta<\/em> and RASTRO<\/em>.<\/p>\n

The premiere of Carne Urbana<\/em> signalled the beginning of a new phase in the company’s research\u2014one increasingly focused on expanded choreography, audience experience and the relationship between body, space and social interaction.<\/p>\n

\"Apresenta\u00e7\u00e3o<\/a><\/p>\n

2018<\/h1>\n

In 2018, Carne Urbana<\/em> continued to expand the company’s investigation into choreography, participation and spatial experience. The choreographic installation was presented at Teatro S\u00e9rgio Cardoso and subsequently toured through Circuito S\u00e3o Paulo de Cultura, appearing in ten cultural centres and community venues across the city of S\u00e3o Paulo.<\/p>\n

The company also developed Carne Urbana \u2013 Ocupa\u00e7\u00e3o<\/em>, a project supported by FUNARTE S\u00e3o Paulo. Hosted at Sala Ren\u00e9e Gumiel, the initiative combined performances of Carne Urbana<\/em>, artistic residencies, public discussions and open rehearsals, creating opportunities for audiences and artists to engage more deeply with the company’s research processes.<\/p>\n

During the same year, Sob a Pele<\/em> continued its circulation through Circuito Cultural Paulista, performing in Catanduva, Franca, Palmares Paulista and Gua\u00edra. The work was also presented in four public schools through educational programmes supported by the State Department of Education.<\/p>\n

The company received support once again from the Municipal Dance Development Programme of S\u00e3o Paulo, this time through the project Carne Urbana: Sobre.Viv\u00eancia<\/em>. As part of this initiative, Sob a Pele<\/em> was presented at Centro Cultural Cidade Tiradentes, Centro Cultural da Penha, Universidade Anhembi Morumbi and the Centro de Refer\u00eancia da Dan\u00e7a (CRD-SP), where it participated in the Municipal Dance Development Programme Showcase.<\/p>\n

Throughout the year, the artistic research surrounding Carne Urbana<\/em> continued to unfold through workshops, creative residencies and artistic exchanges. The company facilitated activities at CRD-SP and SESC Belenzinho, participated in the event Arte no Beco<\/em> in Itu and was selected for the 1st Mostra do Corpo Contempor\u00e2neo<\/em> in Mogi das Cruzes, as well as Circuito Vozes do Corpo<\/em>, organised by Cia Sansacroma.<\/p>\n

Carne Urbana<\/em> was also presented in Limeira and at SESC Sorocaba before embarking on two important tours outside S\u00e3o Paulo State.<\/p>\n

In September, the company toured the state of Minas Gerais, presenting Carne Urbana<\/em> at Teatro Raul Bel\u00e9m Machado in Belo Horizonte and as part of the Fil\u00f3<\/em> occupation in Ipatinga.<\/p>\n

Later that year, the work was selected for presentations in Rio de Janeiro at Teatro Armando Gonzaga, under the organisation of FUNARJ and the State Department of Culture of Rio de Janeiro.<\/p>\n

The year concluded with participation in CORPOCIDADE 6<\/em> in Salvador, Bahia, where the company took part in the event’s Conex\u00f5es<\/em> programme, organised by the Federal University of Bahia.<\/p>\n

By this stage, T.F. Cia de Dan\u00e7a had established itself as a significant presence within Brazil’s contemporary dance landscape, increasingly recognised for its ability to connect urban dance vocabularies with choreographic experimentation, public engagement and interdisciplinary research.<\/p>\n

\n

\"IMGL6162\"<\/a><\/p>\n

2019<\/h1>\n

The year 2019 was dedicated in large part to the development of Carne Urbana: Sobre.Viv\u00eancia<\/em>, a project supported by the 24th edition of the Municipal Dance Development Programme.<\/p>\n

The project unfolded through a series of artistic residencies, public presentations and discussion forums. The first cycle took place at Galeria Olido and included performances of Carne Urbana<\/em> by the company, presentations involving resident artists and public debates addressing the themes explored in the work.<\/p>\n

Subsequent cycles were held at Oficina Oswald de Andrade and Oficina Cultural Alfredo Volpi, featuring a second artistic residency and additional public presentations. Discussions associated with the project also took place at Universidade Anhembi Morumbi and the Centro de Refer\u00eancia da Dan\u00e7a (CRD-SP).<\/p>\n

Across all activities, the project generated sixteen presentations of Carne Urbana<\/em> and four public discussion forums, consolidating the work as one of the company’s most influential artistic investigations.<\/p>\n

Alongside these activities, the company developed site-responsive propositions derived from Sob a Pele<\/em>, presented at SESC Belenzinho and SESC Bauru. This artistic approach was later selected for Dan\u00e7a \u00e0 Deriva<\/em>, an international festival dedicated to dialogue between artistic practices across Latin America.<\/p>\n

Throughout the year, the company also offered urban dance and hip hop workshops and performances at SESC Flor\u00eancio de Abreu, SESC Belenzinho and SESC Parque Dom Pedro II.<\/p>\n

Sob a Pele<\/em> returned to Virada Cultural S\u00e3o Paulo and inspired a series of urban interventions developed through municipal cultural programmes in public spaces throughout the city.<\/p>\n

A major milestone arrived with the premiere of ELO<\/em> at SESC Santo Amaro.<\/p>\n

Conceived as a poetic proposition for alternative spaces, ELO<\/em> explored the relationship between body, architecture, urban environment and audience participation. Rather than positioning spectators as passive observers, the work invited them into a shared experience, transforming perception of both space and collective presence.<\/p>\n

The production was immediately recognised for its innovation and artistic impact.<\/p>\n

In the same year, ELO<\/em> received the APCA Award for Best Debut<\/strong> (Melhor Estreia<\/em>), awarded by the Associa\u00e7\u00e3o Paulista de Cr\u00edticos de Arte, one of Brazil’s most respected cultural institutions.<\/p>\n

The award marked a significant moment in the company’s history and established ELO<\/em> as one of the defining works of its repertoire.<\/p>\n

Towards the end of 2019 and into early 2020, Carne Urbana<\/em> continued touring through district theatres and cultural centres in S\u00e3o Paulo, including Teatro Fl\u00e1vio Imp\u00e9rio, Centro de Refer\u00eancia da Dan\u00e7a, Centro Cultural Santo Amaro, Centro Cultural da Penha, Centro Cultural Formosa and Centro Cultural Cidade Tiradentes.<\/p>\n

\n

\"http:\/\/renattonomura.com.br\"<\/a><\/p>\n

2020<\/h1>\n

The year 2020 began with new presentations of ELO<\/em>, including performances at SESC Vila Mariana and Casa de Cultura da Freguesia do \u00d3.<\/p>\n

However, the outbreak of the COVID-19 pandemic profoundly altered artistic production worldwide, forcing the suspension of in-person activities and prompting artists and institutions to rethink creative processes.<\/p>\n

Rather than interrupting its research, T.F. Cia de Dan\u00e7a transformed the challenges of isolation into opportunities for experimentation.<\/p>\n

Artistic director Igor Gasparini created a solo reinterpretation of Carne Urbana<\/em> for Solos no Virtual<\/em>, a digital programme organised by SESC Flor\u00eancio de Abreu. The company also offered ELO: Studies, Experiences and Performative Laboratories<\/em> through Oficina Cultural Oswald de Andrade.<\/p>\n

The company participated in initiatives organised by N\u00facleo Ximbra, including Ei, Se Conecta<\/em> and Sarau do Urutu<\/em>, while continuing to engage in educational activities. Members of the company were invited to teach and share their research at institutions such as UNESP, Funda\u00e7\u00e3o das Artes de S\u00e3o Caetano do Sul and the Municipal Department of Education of S\u00e3o Caetano do Sul.<\/p>\n

As physical encounters became impossible, the company developed new methodologies for artistic exchange and collective creation.<\/p>\n

This process gave rise to what became known as the Pandemic Performative Programmes (Programas Performativos Pand\u00eamicos \u2013 PPPs)<\/strong>, a series of creative protocols developed collaboratively among the artists of the company.<\/p>\n

The PPPs combined study groups, practical laboratories and performative experiments designed to maintain artistic connections despite physical distance. While social isolation prevented the continuation of body-to-body research, it opened new possibilities for investigating the relationships between body, domestic space and digital environments.<\/p>\n

Questions of presence, mediation and perception became central to the company’s research, as performers explored how choreographic thinking could exist within two-dimensional screens and virtual encounters.<\/p>\n

During this period, the company also initiated an international exchange with Belgian artist Kelly Vanneste, who collaborated remotely with the ensemble and contributed creative procedures to the ongoing research.<\/p>\n

Despite the global crisis, T.F. Cia de Dan\u00e7a continued to expand its international visibility.<\/p>\n

The company was invited to participate in the Festival Internacional de Danza Contempor\u00e1nea de Santa Cruz de la Sierra<\/em> in Bolivia, presenting workshops and a screening of ELO<\/em>, followed by discussions with festival audiences.<\/p>\n

ELO<\/em> was also featured in the online programme SESC Ao Vivo<\/em>, broadcast from SESC Avenida Paulista, and in Virada Cultural Paulista, transmitted from Teatro S\u00e9rgio Cardoso.<\/p>\n

The work was further selected for Brasil Cena Aberta \u2013 ATO 2020<\/em>, an internationalisation initiative that connected Brazilian performing arts groups with national and international curators.<\/p>\n

At the end of the year, the company received support once again from the Municipal Dance Development Programme of S\u00e3o Paulo through the project E.L.O. \u2013 Eu, Lugar, Outro<\/em>, which would guide much of its artistic activity throughout 2021 and beyond.<\/p>\n

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2021<\/h1>\n

Throughout 2021, T.F. Cia de Dan\u00e7a developed the activities associated with E.L.O. \u2013 Eu, Lugar, Outro<\/em>, a project supported by the 28th edition of the Municipal Dance Development Programme of S\u00e3o Paulo. The project expanded the research initiated with ELO<\/em> and combined artistic residencies, performances and the development of a new choreographic work inspired by Claire Bishop’s concept of the “Grey Zone”.<\/p>\n

As part of the project, the company presented five performances of ELO<\/em> and organised three artistic residencies dedicated to the ongoing research surrounding Carne Urbana<\/em>. Two of these residencies took place at Casa Contempor\u00e2nea, focusing on permanence and site-specific practices, while a third residency was developed at Oficina Cultural Oswald de Andrade under the theme of multiperspectivism.<\/p>\n

At the same time, the company received support through three emergency funding programmes established under Brazil’s Aldir Blanc Law, created to support artists and cultural organisations affected by the pandemic.<\/p>\n

Through the project Corpos de Fronteira<\/em>, the company developed virtual workshops, online presentations and an extensive touring programme that reached ten cities across the State of S\u00e3o Paulo, including Registro, Santa Cruz do Rio Pardo, Ilhabela, Mogi das Cruzes, Pindamonhangaba, Bragan\u00e7a Paulista, Atibaia, Itatiba, Taquaritinga and Santo Andr\u00e9.<\/p>\n

The creative methodologies developed during the Pandemic Performative Programmes also generated a series of videodance works created by members of the artistic ensemble.<\/p>\n

These productions gained international visibility through selections in festivals and cultural events. Da Terra ao C\u00e9u<\/em>, created by Maj\u00fa Kaiser, was presented at the 20th Paranapiacaba Winter Festival. Movimento na Pausa<\/em>, by Maria Em\u00edlia Gomes, was selected for the Danz\u00e9nica International Videodance Festival in Bolivia. Protocolo 22<\/em>, created by Pasha Gorbachev, was featured in the SESC Dance Biennial.<\/p>\n

Alongside these projects, ELO<\/em> continued its growing national circulation. The work was selected for the 19th edition of Dan\u00e7a em Tr\u00e2nsito<\/em>, one of Brazil’s leading dance festivals, touring the cities of Bras\u00edlia, Rio de Janeiro, S\u00e3o Paulo, Vit\u00f3ria and Vila Velha.<\/p>\n

The production was also presented at the SESC Cariri Cultural Festival in Cear\u00e1, the 6th edition of Mercado Livre na Dan\u00e7a<\/em> in Minas Gerais, the Mostra Transversalidades na Dan\u00e7a<\/em> in Ouro Preto, and at major cultural institutions including Centro Cultural S\u00e3o Paulo and Ita\u00fa Cultural.<\/p>\n

By the end of 2021, ELO<\/em> had become one of the company’s most widely circulated and critically recognised works, while the research processes initiated during the pandemic were opening new artistic directions that would soon lead to the creation of Zona Cinzenta<\/em> and Corpos de Fronteira<\/em>.<\/p>\n

\n

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2022<\/h1>\n

The year 2022 represented another major turning point in the artistic trajectory of T.F. Cia de Dan\u00e7a.<\/p>\n

In the first semester, the company premiered Zona Cinzenta<\/em> at Espa\u00e7o Canto in S\u00e3o Paulo. Conceived as a performative action rather than a conventional stage production, the work investigated the relationships between choreography, exhibition spaces, spectatorship and contemporary visual culture.<\/p>\n

The production received immediate recognition and was awarded the Denilto Gomes Prize for Best Ensemble by the S\u00e3o Paulo Dance Cooperative.<\/p>\n

Later that year, Zona Cinzenta<\/em> was selected for the 16th edition of VERBO \u2013 Performance Art Festival, one of Brazil’s most important performance art platforms, and was presented at Galeria Vermelho in S\u00e3o Paulo.<\/p>\n

The work subsequently toured through Circuito Municipal de Cultura, appearing at cultural centres across the city, including Casa de Cultura Trememb\u00e9, Casa de Cultura Itaim Paulista, Casa de Cultura Freguesia do \u00d3, Casa de Cultura Butant\u00e3, Casa de Cultura Campo Limpo and Centro Cultural Graja\u00fa. It was also presented at SESC Campinas and SESC Sorocaba.<\/p>\n

To accompany the research developed through Zona Cinzenta<\/em>, the company organised a series of public discussions featuring prominent artists and researchers. Topics included choreography in exhibition spaces, corporeal states and contemporary performative practices.<\/p>\n

Meanwhile, ELO<\/em> continued its extensive circulation, appearing at SESC Sorocaba, SESC Bertioga, SESC Birigui, Centro Cultural Graja\u00fa and the international festival Vis\u00f5es Urbanas<\/em>. The work was also presented at the Centro de Refer\u00eancia da Dan\u00e7a and SESC Campinas.<\/p>\n

The company was invited to participate in the Festival de Inverno Mariana 360<\/em>, presenting ELO<\/em> in the historic cities of Mariana and Ouro Preto, Minas Gerais, while also conducting workshops with students from CRIA \u2013 Centre for Childhood and Youth Development.<\/p>\n

Throughout the year, ELO<\/em> completed three major touring programmes:<\/p>\n