Investing in a
new dance generation
in Europe
Credits: Joshua
Culture Program of the European Comission

This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
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ARTIST PROFILE: Cristian Duarte (by Rita Natalio)

1. How do you feel about being labeled a young or emerging artist, both in its  positive/negative aspects?

It’s ok to be labeled young when you are young. I guess the fetichism for youngness is everywhere, in every field. It’s a provisory label as we should know it. After all , I find age-based venues a bit lazy to pull out a frame. We don’t see platforms for old non-emerging artists, do we?

2.A lot is said about democratization of Access to training and means of production in today’s art world. Have you experienced this trend in any meaningful way in your Professional life?

No, I did not experience this in a meaningful way. What I experience is a lot of questioning about WHAT and HOW should we practice nowadays. What shoud a dancer/performer train? What should be thougt and HOW?

3.Does network-based production and support for  your  work influence how  and what you do?

It’s  been almost 10 years that I do not experience network-based production and support.  Actually, I only experienced two network-­‐based creations -   “Embodied”  – created in 2003 in collaboration with Shani Granot, Peter Fol and Fabiana Dultra Brito. It was right after I graduated form PARTS. This piece was co-produced by the European Comission (“Culture 2000” programme); Springdance/Works (Utrech); WERKHUIS/porducties (Brussels) ad Melkweg (Masterdam). And “Whatapostrophes wrong question mark” in collaboration wht shani Granot, Peter Fol, Nada Gambier and Alice Evermore. Co-produced by Bomba Suicida (Lisbon), Monty (Antwerpen), STUK (LEuven), Rosas (Brussels), De Vlaamse Gemeeenschap Administratie Cultuur (the Flemish Community Cultural Admninistration).

Shortly after that I reteurned to São Paulo. In Brazil there is not a co-production system (maybe some rare exceptions or attempts of it), but it can’t be said it’s a practice. It does not work like that. What I mean is that we don’t see theaters or festivals investing financially, or stucturally, in the artist. It’s more based on presenting already existing works and premieres.  

What we experience since a couple of years in Brazil is a boom of public funding. Which has been allowing artists, groups and collectives to create and produce their own contexts of work. In this sense, some artists and colectives even organize themselves their own festival and venues.

I have been creating my own contexts to nurture my practice and keep working. More recently I am coordinating a residence Project in São Paulo, with funds from the municipality: and

4. When was the last time you were with or talked to someone who is also parts of the départs network (artist or partner)? What did you do or tak about? If you’d like, send us a few lines about this person, a snap shot.

To be honest, I do not pay attentio to who is in départs network. I do not follow it. Being a brazilian artist, I drove my efforts to re-construct my network and attention towards my reality in Brazil. Although my latest creation, the solo The Hot One Hundred Choreographers has been presented in some european venues. So, it gives my the opportunity to meet people I met when I was living in Europe, but pretty much passing through.

5. Who would you like to meet form the départs network?

I would be open to meet, talk, dance, have diner with anyone form departs or any other network