Francesca Negro

POLISEMIA

SIGNS IN MOVEMENT

I am a Dance Consultant and Researcher in Comparative Literature and Performing arts.
I hold a Ph.D. and Post doc research background in Comparative Literature , with specific experience in Intermedia and Interart studies, which I currently teach at the University of Lisbon. I also hold a Master of Arts in Performing Arts and I am specialized in dance. My monograph on Afro-Cuban religious dances "Gods on Stage" will come out in January 2019, edited by Colibrí.
In the last years I collaborated with the project Modern Moves, studying the dynamics and interconnections of dance practices of African origin in the diaspora, focusing especially on Angolan, Brazilian and Goan dances and their socio-historical background, and analysing the influence of Contradance structure and dynamics in the development of dance forms of the African diaspora. I am associated researcher of the Centre for Comparative Studies, and Centre of Theatre Studies of the University of Lisbon, where I also teach Intercultural Communication.
I am a dancer, performer and choreographer, with a deep interest for the cognitive aspect of artistic activities and a professional specialization course in Dance movement therapy. Further details of my experience in dance, as well as informations on my scientific interests and academic production are described below and illustrated with images in the following pages.

RESEARCH ON TUMBA FRANCESA:  ideo of rehearsal of TUMBA FRANCESA CARIDAD DE ORIENTE; 

DANCE YUBA https://www.youtube.com/watch?app=desktop&v=QmPG_huzZg4&themeRefresh=1

Dance MASON https://www.youtube.com/watch?v=VWsgtYAfV6U

CONTRADANZA https://www.youtube.com/watch?v=gXTEAdwbqeo

Performance: The Circle of Energy, London, 2016  https://www.youtube.com/watch?v=XR8cCzR8MxM

ANGOLA: A DANCE PORTRAIT: Francesca Negro and Antonio Bandeira at King's College London, June 2015 https://www.youtube.com/watch?v=mWigddbsY9g 

Performance: Francesca Negro and Emmanuel Ajilore Angola's carnival craziness rhythms https://www.facebook.com/Banglarmeye.ajk/videos/10158675503185655/

Performance: Kizomba Paulo Cruz e Francesca Negro, Timone, SV https://www.youtube.com/watch?v=jGji9ZgFoXk

Performance at Eliades Ochoa concert in Lisbon: https://www.facebook.com/farida.acoob/videos/2523808447895055/UzpfSTcxMzQyMzgzNDoxMDE1OTQ0OTM1MDIzODgzNQ/

Dekhni Dance, London, 2018 https://www.facebook.com/modernmoveskcl/videos/1838299679566525/

Article: Solano Trindade’s Gift to Alvin Ailey: New Evidence from the Black Archives of Mid-America https://www.tandfonline.com/doi/full/10.1080/00064246.2019.1619118?scroll=top&needAccess=true

Article: Solano Trindade's Zumbi dos Palmares Malungo (English version with a critical introduction)  https://tidsskrift.dk/bras/article/view/118027

Rumba class with Musicians - exercises  https://www.facebook.com/2220460358196360/videos/2338024686307234/

Little extract of my paper for POPMOVES CONFERENCE- London November 2019  https://www.facebook.com/jonathan.skinner.566/videos/10158362410351002/?comment_id=10158372559526002&reply_comment_id=10158373558761002¬if_id=1574896535668507¬if_t=video_reply

Pampilhosa da serra trabalho com orquestra https://www.facebook.com/RaulReyes.musicalatina/videos/390797151521248/UzpfSTMzMjQzODI0MDY4MTc5ODo0MDk3MTI1OTI5NTQzNjI/

Ananya Kabir's talk at Minor cosmopolitanisms congress in Berlin 8/12/2018 accompanied by Francesca Negro and Yonel Castilla Serrano

https://www.facebook.com/Banglarmeye.ajk/videos/10161094440855655/?t=7

livro Público e privado. O deslizar de uma fronteira https://www.wook.pt/autor/francesca-negro/3568105  

Igbadú, companhia de dança contemporânea Agadá https://www.facebook.com/search/str/igbadú/keywords_search?epa=SEARCH_BOX





ArtiCulture

When we pronounce the word Agriculture, we have clear in our mind that the product of agriculture is the result of an effort.There is a "Labor" that allows us to take the fruits from the natural soil. Art should be treated with the same respect and attention: art is part of the cultural products of human beings, which are the only creatures on this Earth able to produce actions just to represent their essence, their own feelings, their reasoning and existence. Art is the product of cultural contacts, negotiations, assimilations, contrasts. Art is not just material for museums. Art is first of all a way of thinking and feeling reality, and this specific attitude travels into alive physical bodies which are human beings. There is no point of preserving tangible and intangible products if we don't value, first of all, the specificities of the living human cultures and if we don't recognize how precious is the contribution they offer with their competence, if we don't preserve the situations, conditions and human exchanges that allow the development of artistic production, if we don't allow children to see themselves freely, as unique interpreters of their own reality, if we don't give sense to artistic thought and manufacture. If not, we'll be improving only the reproduction of mainstream art products, copies of copies with no inner message. Producing Art is not exposing more and more baroque deus-ex-maquina surprising effect to shock a public. Art is far more than that. Art is working daily to create a specific technique of doing something, passing it to sons and grandsons, to the children around, to the elders around.. is finding a way to describe the community into the community and for the community. It's getting a way to laugh to fight the tears... and with it, creating such a powerful expression that even somebody who is out of the code can be captured by it, and moved, even if he's not understanding it's symbolic code. Studying art as a symbol of interactions and social evolution is treating art as something we cultivate, and not that we just find somewhere pre-prepared, that we grasp or buy. ArtiCulture means going towards life with an artistic attitude, and recognize in life its artistic value, in the complexity of all the dynamics involved. May we all be able to nourish our artistic vision of life daily, and make grow, on its soil, the fruits of our creativity. An artist is not a specific kind of human being, but any human being is a specific kind of artist.

La Bohème

Che gelida manina

Chi son? Sono un poeta. Che cosa faccio? Scrivo. E come vivo? Vivo. In povertà mia lieta scialo da gran signore rime ed inni damore. Per sogni e per chimere e per castelli in aria, l'anima ho milionaria. Talor dal mio forziere ruban tutti i gioelli due ladri, gli occhi belli. V'entrar con voi pur ora, ed i miei sogni usati e i bei sogni miei, tosto si dileguar! Ma il furto non m'accora, poiché, poiché vha preso stanza la speranza! Or che mi conoscete, parlate voi, deh! Parlate. Chi siete? Vi piaccia dir! (Who am I? I am a poet. What do I do? I write. And how do I live? I live. In my carefree poverty I squander rhymes and love songs like a lord. When it comes to dreams and visions and castles in the air, I've the soul of a millionaire. From time to time two thieves steal all the jewels out of my safe, two pretty eyes. They came in with you just now, and my customary dreams my lovely dreams, melted at once into thin air! But the theft doesn't anger me, for their place has been taken by hope! Now that you know all about me, you tell me who you are. Please do!)

Ghetto Kids: what’s behind the moves of the Ugandan dance troupe that stormed the world

The Ugandan orphans stole headlines after performing on Britain’s Got Talent - but have been an internet sensation for years.

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Paulina Chiziane, Mozambique’s grand novelist, finally receives her prestigious award

The Camões Prize is the most important award for Portuguese literature, and Paulina Chiziane is the first African woman to receive it.

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II quilombo tra memoria e mito: Zumbi dos Palmares Malungo, opera inedita di Solano Trindade

Zumbi dos Palamares Malungo is a unique example in Brazilian literature, being the first musical play dedicated to the Afro-Brazilian hero Zumbi, governor of quilombo dos Palmares. The play has an intrinsic memorial value, as it recalls the fight for the liberation from slavery in the country, a long-silenced chapter of Brazilian history. Merging memories and historical facts with ritual elements coming from Yoruba religion, the play – unpublished and never represented – is a multicultural archive of transculturation in Brazil, denouncing the perversity of the colonial system in a sublimated representation while promoting values of peaceful coexistence.

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MWANGOLÉ: A MÚSICA ANGOLANA DE INTERVENÇÃO COMO ARQUIVO MEMORIAL E CÓDIGO POÉTICO

From the volume Via Atlântica. v. 1 n. 41 (2022): Margens do Atlântico em Português v. 1 n. 41 (2022): Margens do Atlântico em Português

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Público e privado: o deslizar de uma fronteira. Introdução.

Introdução do livro: Francesca Negro (ed) Público e privado: o deslizar de uma fronteira. Lisboa Húmus 2011. Para comprar o volume visitem: https://www.wook.pt/livro/publico-privado-francesca-negro/17224520

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Deuses em cena. A teatralização das danças religiosas de origem africana em Cuba.  Preambulo e Cap. 1 I INTRODUÇÃO HISTÓRICA: A ÉPOCA COLONIAL

Cap 1 do Livro: Francesca Negro, Deuses em cena. A teatralização das danças religiosas de origem africana em Cuba. Lisboa: Colibri, 2019.

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You can see two articles available on line in the LINKS page.

To buy my books or articles use the link provided or send an email to :

Para a compra dos livros verifiquem os link indicados ou enviem um e-mail para:

francescanegro@gmail.com