Jonas&Lander new creation is entitled BATE FADO, a hybrid performance, between dance and a music concert designed for five dancers, a fado singer and four musicians. Like most of urban musical movements, such as Samba or Flamenco, also Fado had its own dances. In Lisbon, the dance with major expression was Fado Batido, a dance inspired in an energetic and virtuous tap dance. In BATE FADO, Jonas&Lander purpose to reinterpret and to recover the act of hitting (tapping) Fado, where dance emanates the quality of a percussion instrument in dialogue with the voice and the guitars. BATE FADO reveals as the first step to recover the dance that Fado lost.
Jonas and Lander have been contributing to each other’s imaginary since the beginning of their colaboration in 2011. They stand out with Cascas d’Ovo, the project that took them to several national and international venues. In 2014 and 2017 they were distinguished as “Aerowaves Priority Company”. In 2018, they focus on Lento e Largo, a performance co-produced by Rede 5 Sentidos, Teatro do Bairro Alto and Teatro Freiburg (AL), nominated by SPA for the Best Choreography category of 2019.
Artistic Direction and Choreography Jonas&Lander
Research Jonas, Lander Patrick
Cast Catarina Campos, Jonas, Lander Patrick, Lewis Seivwright and Melissa Sousa
Bass Yami Aloelela
Guitar Tiago Valentim
1st Portuguese Guitar Acácio Barbosa
2nd Portuguese Guitar António Duarte Martins
Voice Jonas
Musical Composition Jonas&Lander
Technical Direction and Sound Design Filipe Peres
Lighting Design Rui Daniel
Scenography Rita Torrão
Special Effects Vítor Estudante
Costume Design Fábio Rocha de Carvalho and Jonas
Production and Managing Direction Patrícia Soares
Coordination Support Filipe Metelo
Executive Production Inês Le Gué
Production House Sinistra Cultural Association
Co-production Centro Cultural de Belém, Cine-Teatro Avenida, Teatro Académico Gil Vicente, Teatro Municipal do Porto and Theater Freiburg
Co-production Residency O Espaço do Tempo
Creation Support Centro Cultural Olga Cadaval, Estúdios Victor Córdon / OPART, Pro.dança
Research Support Casa-Museu Leal da Câmara, LIPA – Laboratório de Investigação de Práticas Artísticas of Universidade de Coimbra and Museu Bordalo Pinheiro
Discography Valentim de Carvalho
Project supported by the Portuguese Republic – Culture I DGARTES – Direção-Geral das Artes
Jonas&Lander are a creative collective working together for the last 10 years in the field of contemporary dance. Using a strong and inventive movement language, their work has always an holistic stage aproach with an inventive use of space, lights and unusual props. Their last production, Lento e Largo, influenced by the work of Hieronymous Bosch, used robots, drones and human performers to create an atmosphere of apocalypse, a fictional universe where bodies explore the limits comunication, inserted in an aquatic and surreal space, confirming their break through as real innovators in the Portuguese choreographic scene. This new work, Bate Fado, is a journey into the traditional Portuguese fado music and an investigation on the movement that once was associated with this genre of singing and playing, but has disappeared during the last century. Jonas, a very talented fado singer himself, and Lander, an outstanding dancer, assembled for this project an excellent group of musicians and dancers as well. Their endless invention and imagination managed to add an exiting layer of creativity and idiosyncrasy to the fascinating universe of fado music.
Rui Horta
CONTACTS
Patrícia Soares
producao@jonaslander.com
00351934156887
Mickael de Oliveira was born in France, in 1984, and has lived in Portugal since 1999. In 2013, he got his Ph.D. in contemporary Portuguese and European dramaturgy from the School of Humanities – University of Lisbon, where he is post-doctoral fellow researching the presence of literature in contemporary theatre and dance. In 2008, Mickael founded Colectivo 84, the theatre company for which he develops playwriting and directing projects. His work O que é teu entregou aos mortais was distinguished with the Maria Matos New Playwriting Award (Maria Matos Municipal Theatre, 2007), and Clytemnestra received an Honorable Mention – António José da Silva Prize (D. Maria II National Theatre, Lisbon / FUNARTE, Brazil, 2012). Some of his most recent productions include Oslo–Fuck Them All and Everything Will Be Wonderful (co-created with Nuno M Cardoso, Gil Vicente Academic Theatre, São Luiz Municipal Theatre), The Constitution (2016, Dona Maria National Theatre), and the diptych Socrates Must Die (Socrates’ Death / The Life of John Smith, 2017/2018, Vila Flor Cultural Centre, São Luiz Municipal Theatre, Viriato Theatre, Gil Vicente Academic Theatre. Mickael has served as the artistic director of END – New Dramaturgy Encounters, a project that aims to foster new Portuguese and international playwriting (1st edition at the São Luiz Municipal Theatre, Lisbon, Nov. 2010; 2nd and 3rd editions at the Gil Vicente Academic Theatre, March, Coimbra, 2015/2019). He was Assistant Professor of Arts Administration and Artistic Studies at the School of Education and Humanities (Leiria), guest Lecturer at the School of Theatre and Film Studies (Lisbon), and guest Assistant Professor at the School of Humanities – University of Coimbra. From September 2011 to August 2015, Mickael was Assistant Artistic Director of the Gil Vicente Academic Theatre (Coimbra).
Patrícia Portela is a writer and performance maker born in 1974, living between Belgium and Portugal. She has a BA in set and costume design by the high school of theatre and cinema of Lisbon, a Masters of Arts in scenography and dramaturgy of space from the University of Utrecht and Saint Martins college of art in Antwerp, a post-graduation in theatricality and performativity from APT in Antwerp, a film stage at the European film school in Ebeltoft, Denmark, and a Masters in Philosophy of the University of Leuven, Belgium. Since 2003 she has worked on her own performances and installations in collaboration with international artists. She has achieved national and international recognition for her unusual work and is considered one of the most daring artists and innovative writers of her generation. She won the Revelation Prize in 1994 for her creative work in performance and cinema, the Prize Teatro na Década for T5 in 1999, the Gulbenkian Foundation Prize Madalena de Azeredo Perdigão for the performance Flatland I in 2004 and was one of the 5 finalists of the Sonae Media Art Prize 2015 with her installation Parasomnia, amongst other prizes. She has been invited to participate in the prestigious International Writing Program (IWP) at the University of Iowa in 2013 and to be the first Outreach Fellow. She was the first literary resident in Berlin in 2016, sponsored by the Portuguese Embassy in Germany/Instituto Camões. She lectures “dramaturgy and space” and “image” regularly at Universities and cultural centers in Portugal (such as University of Minho or University of Lisbon) and abroad (University of Antwerp, Escola de Escrita in Curitiba, etc). She is the author of several novels, short stories and performances, such as Dias úteis (2016, considered one of the books of the year by several reviewers) or Banquet (finalist at the Novel Prize of APE 2012). She is a chronicle writer for the prestigious Jornal de Letras since 2017 and for the National Radio Antena 1.
Rui Horta was one of the most influencial choreographers of his generation, his work being presented all over the world such as the Theatre de la Ville, that co-produced it for over a decade. He directed S.O.A.P. at the Mousonturm, and created for many companies such as NDT, Cullberg, Geneva, Gotemburg, etc. 
