Prior to discovering street dance at the age of 16, portuguese choreographer Marco da Silva Ferreira was a competitive swimmer. He studied Health Science before fully dedicating himself to dance, first as a dancer and then as a choreographer. It was after winning the Portuguese version of So You Think You Can Dance that da Silva Ferreira moved from commercial to contemporary dance, working with acclaimed choreographers such as Hofesh Shechter.
CARCAÇA is da Silva Ferreira’s most recent work, and is shortlisted for The Rose International Dance Prize, an inaugural prize for original dance creations in any style from across the globe. Dance Informa caught up with da Silva Ferreira before the premiere of CARCAÇA for the Prize and before the work travels to Perth Festival, Australia.
What has being involved in the Rose International Dance Prize meant?
“The Rose Prize has been an incredible gift — something I could never have imagined. Even if I don’t win the prize, being one of the four finalists already feels like a great accomplishment. It’s not just a personal validation but also a sign that people are paying attention to the relevance of dance today.
This nomination reflects not just my work but the contributions of so many people who have been with me on this project and others. I believe it brings hope to the dance community in Portugal, showing that it’s possible, that it makes sense to keep pushing forward, and that what we create can and should be seen.
The exposure from this nomination also allows CARCAÇA to spark curiosity and reach a broader audience. It’s an opportunity for the discourse of this work to influence more people, communities and, hopefully, inspire a transformation in mentalities, sensibilities and futures.”
Who is a really big influence in your choreographic practice at the moment?
“I started dancing in my early teens, and until then, my body practice was rooted in sports, particularly swimming. I believe that intuitively, the repetition and the overall sensation I developed as a swimmer are now strong driving forces in my body practice connected to dance.
On the other hand, dance has always been tied to styles close to my generation, where pop culture played a significant role. The relationship between dance and music always felt very natural to me, and as I grew older, I became increasingly involved with clubbing and street dance cultures.
At the moment, I look to choreography as a way to explore the collective, often connected to cultural, social or structural questions regarding the organization of the body. Of course, in doing so, I seek a critical and provocative reflection, but at its core is always the question of what role dance plays in building a social, anthropological, and even philosophical archive.”
What is your focus at this moment in your career?
“My focus right now is on consistency and listening. The people I work with are very important to me. Over more than a decade, I’ve developed working relationships that have become friendships. I always strive to ensure that this structure of producing and creating contemporary work happens in a more ethical, progressive, sustainable and caring way.
I’m deeply interested in being close to people so that together, we can amplify a voice. Choreography is an art form, and as such, it has an essential and sensitive role to play today. We need to approach it with care, avoid repeating past mistakes, and build works that resonate with meaning or a manifesto. Therefore, I try to ensure that the artistic object is as aligned as possible with the creation process.”
You can see CARCAÇA at Sadlers Wells from 1 – 2 February. For more, visit www.sadlerswells.com/whats-on/marco-da-silva-ferreira-carcaca.
By Tamara Searle of Dance Informa.
