"Muda" is a partnership between Companhia Clara Andermatt and INAC - Instituto Nacional de Artes do Circo, under the artistic direction of Clara Andermatt. It arises from an invitation by INAC to Andermatt to create a show that blends different methodologies and languages in the areas of Contemporary Circus and Dance.

"Aquí y Ahora" is a creation that arises from Clara Andermatt's participation as a teacher and choreographer in the Seminar Cuerpo Y Escena 2023, organized by the L'Explose Foundation in Bogotá, Colombia.

"Entreaberto" is the most recent creation of LaB inDança. Created in late 2022 and premiered on January 15, 2023 in Santa Maria da Feira, this show / open rehearsal opens the doors of the rehearsal room, allowing the audience to peek in and investigate the creation process, observing and building in real time the matter that becomes the show.

"Pantera" is the new co-creation of Clara Andermatt and João Lucas. Centred on the work of the musician Orlando Barreto, better known as Pantera, it aims to pay tribute to the creativity and affection of the iconic figure of Cape Verdean music. 

"Portrait" is the most recent creation of LaB inDança, in experimental film format. An inner journey from questions about oneself and the exteriorization of thoughts and emotions coming from different ways of looking at one's own image.

"O Canto do Cisne" was one of the last pieces danced by Ballet Gulbenkian before its extinction. Challenged by Companhia Nacional de Bailado (National Ballet of Portugal), the choreographer revisits her piece together with the original artistic team.

For the celebration of the Company of Elders 30th anniversary, the Sadler's Wells Theatre, in London, invited Clara Andermatt to recreate “Natural” (from the 2005 original piece), one of the most emblematic pieces of this company.

“Parece que o Mundo” brings together Clara Andermatt and the composer João Lucas, who has been a long-time collaborator of the choreographer. Inspired by Italo Calvino’s "Palomar", the piece encourages the act of observing, while examining the subjective relation that is established between the observer and the one being observed. On stage, a diverse group of dancers and musicians share an expressivity which interweaves the gestures of the bodies with the sounds of musical instruments in motion.

In “A Educação da Desordem”, Andermatt and dancer Mickaella Dantas explore and develop experimental work in the fields of Dance, Performance and Photography. “A Educação da Desordem” unrolls as a conference-performance, where the artists explore topics such as image, publicity, and ethics, proposing new relations between Art, Body and Diversity.

“Dawn at Galamanta” is an inclusive contemporary opera written by the composer Christian Lindberg for a specific and heterogenous group of participants. The "LaB inDança" project started when Santa Maria da Feira's City Council invited Clara Andermatt to develop an area of social intervention, with the aim of giving the opportunity to people with disabilities to experience dance. This piece is performed by the project's participants and by the Youth's Orchestra and Symphonic Band of Santa Maria da Feira.

“Suspensão” is an enigmatic performance of an experimental nature that brings together Clara Andermatt and two composers, Jonas Runa and António Sá-Dantas, for a co-creation and a joint interpretation in different artistic fields. Light-sensitive sensors distributed throughout the stage are activated by the interference of the body, creating sound that is modulated by the movement of the interpreters, in a game of shadows and light that proposes new interactions between sound and movement.

Invited by Festival Materiais Diversos, Clara Andermatt and João Lucas once again intersect and deepen the relation between music and movement. “A Banda” is a piece with choreographic and musical composition for Philharmonic Bands, where the musicians are the sole interpreters.

“Novo-Velho-Circo” is a collaboration between Companhia Clara Andermatt and Radar 360º, in which contemporary dance and circus techniques interact. A performance that overthrows the entire foundations of rationality to propose a new sense of wonderment.

In “Fica no Singelo”, Clara Andermatt explores and works with the universe of traditional Portuguese music and dances. Departing from a research into the multiple forms of popular dance (“baile”, in Portuguese, is a word that differs from dance, as it specifically means folk dance) and its social functions as well as their cultural meaning and the sort of dialogue they establish between the group and the community. In “Fica no Singelo”, Andermatt brings to the stage fragments of (still existing) manifestations of our traditional legacy, interpreting them in new ways and establishing a new type of relation between the traditional and the contemporary, and with agelessness.

In “Dance Bailarina Dance”, a commission by Companhia Nacional de Bailado (National Ballet of Portugal), Clara Andermatt turns to the great American musicals from the 1940s and 1950s, jointly signing this new creation with composer João Lucas. Images from the screen are recreated onstage, in an approach that is simultaneously risky, experimental, and conducive to reflection. The music is interpreted by the Circular Orquestra Ensemble, conducted by Pedro Moreira.

Premièred in the second half of the eighteenth century, the opera “Paride ed Elena”, by Christoph Gluck, tells the story of the events that start with the judgment of Paris and end with the flight of Paris and Helen to Troy. A story of love and seduction, one of the most fascinating and enduring Ancient Greek myths. Clara Andermatt was invited by the Opera Studio of Escola Superior de Música de Lisboa (ESML) to develop this project with the school’s students. For the mise-en-scène, Clara Andermatt’s opted for a contemporary aesthetic to depict this lyric opera, bringing new dynamics and equilibriums to the piece, by resorting to unusual systems for choreographing bodies and movement.

In this second creation of Clara Andermatt for Grupo Dançando com a Diferença (based in the island of Madeira), the choreographer works with seven interpreters, all of them with physical or mental disabilities. Emphasizing the detail and the singularity of each of the interpreters, Clara Andermatt brings to the surface the enigma of their interior worlds.

Clara Andermatt created “Vira como a Vida” with a Folklore group from the collectivity Casa do Povo of Serzedelo, and the rock band Macadame. Serzedelo is a village with around 4000 inhabitants in the North of Portugal. This piece was made for a programme in the ambit of Guimarães 2012 - European Capital of Culture. “Vira como a Vida”, a show for the public space, was part of a parade led by the Catalan troupe La Fura dels Baus. The title derives from a traditional folk dance called “Vira”, which means spinning or turning round and round. In this piece, tradition and contemporaneity meet and intersect through sound and movement.

Companhia Maior is constituted by interpreters who predominantly come from the fields of theatre, dance, and music, all of them 60 years old or over. The company invited Clara Andermatt and the result was “Maior”, a piece that proposes a reflection on the notion of beauty, scrutinizing the relation of the body with objects and sounds.

A book by Alexandre O’Neill, called “Uma Coisa em Forma de Assim”, gave the name to a programme devised by Companhia Nacional de Bailado, the National Ballet of Portugal, to commemorate the 2011 International Dance Day. The National Ballet invited nine of the most well-known Portuguese choreographers – Clara Andermatt, Francisco Camacho, Benvindo Fonseca, Rui Lopes Graça, Rui Horta, Paulo Riberiro, Olga Roriz, Madalena Vitorino e Vasco Wellenkam – to create short pieces for the company’s dancers, to music composed and interpreted by the pianist Bernardo Sassetti. Clara Andermatt’s piece, within this programme, is called “Deriva”.

Invited by Jorge Salavisa, at the time director of one of the most important venues for the performing arts in Lisbon, the São Luiz Teatro Municipal, Clara Andermatt and the film director Marco Martins speculate over how each minute is spent along our lives, and the way people relate to time and memory. “Durações de Um Minuto” is a piece based on texts by Gonçalo M. Tavares. The dancers, actors and musicians were asked to contribute biographical details for the construction of the performance.

Companhia Portuguesa de Bailado Contemporâneo invited Clara Andermatt to create “O Toque”, a piece where the choreography unfolds from the music composed by Vítor Rua, in an improvisation process jointly developed and interpreted. Asynchronous movement of creation in two fields – musical and choreographic – from which spontaneously sprout characters, gestures, and emotions.

Within the course of a productive and multifaceted career that encompasses different spheres, collaborations, and fields, “So Solo” is Andermatt’s first full-length solo work that she interprets herself. It was considered by the specialized dance criticism as one of the best pieces presented in Portugal in 2009.

Ten years after “Dan Dau”, the work that crowns an intense period of creativity inspired on Clara Andermatt’s relationship with Cape Verdean culture, the choreographer resumes, in 2009, that relationship, creating “VOID”, a collaboration with two interpreters from past works. A year later, Andermatt brings to the performance yet another element of that shared past - the percussionist Kabum - and names it “VOID Elétrico”, a piece to be played outdoors, with a renewed organic structure.

“Meu Céu” is a street show created by Clara Andermatt for a town in the North of Portugal called Santa Maria da Feira. “Meu Céu” brings together a remarkably diverse team of dancers, actors, composers, traceurs, a group of performers aged 60 years or over, a rock band and a lyric singer. Appropriating the architectonic characteristics of the site and constructing a dramaturgy from the musical composition of João Lucas and Vítor Rua, “Meu Céu” is a large format production that brings together experimentation, risk and engagement, and that invites the audience to embark in a kind of community ritual.

Teatro Nacional de São Carlos, the National Opera House, asked Clara Andermatt to accept the challenge of developing a piece based on André Hellé’s "La Boîte à Joujoux", a ballet for children. Andermatt rose to the challenge and created “E Dançaram para Sempre”, a choreography for an adult audience, that questions the ambiguous intimacy with the toy box, and the innocence or perversity that it summons in each of us. The plot of the piece and Debussy’s music gave Andermatt ample possibilities to expand the narrative, exploring the imaginary and the real within the narrative context of this classical piece. Andermatt invited to work with her the visual artist Joana Vasconcelos, the pianist António Rosado, and the interpreter Marcelino Sambé.

Two bodies, two electric guitars. A concert-performance conceived and interpreted by Clara Andermatt and Vítor Rua, that tells a story of electrifying encounters and confrontations, in the voluptuous union between movement and sound.

Invited by the Festival Temps d’Images, Clara Andermatt creates “Silêncio”, a work where she looks for new understandings of what goes beyond the field of dance, in order to relate it to image and sound. For this creation, Andermatt invites the composer Vítor Rua, the Danish choreographer and dancer Peter Michael Dietz, with whom she shares the stage, and the French filmmaker F.J. Ossang, drawn by the singularity of his work and the confluence of thoughts and concerns.

In 2006, Clara Andermatt creates “Hot Spot”, a short solo for Betsy Field, one of the members of Sadler’s Wells’ Company of Elders. In the ambit of the event “Sadler's Wells Celebrates”, this piece is presented at The Horticultural Hall, in London.

Invited by “Faro, National Cultural Capital 2005”, in the Algarve, Clara Andermatt drew inspiration from the life in the nearby small town of Olhão, with its fishing communities and their habits and customs, to create “O Grito do Peixe”, a work that brings together five dancers, five musicians, and ten students from a secondary school at Olhão.

Invited by the Grupo Dançando com a Diferença (Madeira island), Clara Andermatt creates, in 2005, “Levanta os Braços como Antenas para o Céu”, an inclusive dance piece where the choreographer worked with disabled and non-disabled performers. An artistic project that also fulfilled educational, therapeutic, and social inclusion purposes.

The Company of Elders is a group of twenty non-professional dancers who integrate the over-60s programme at the Sadler’s Wells, in London. Clara Andermatt was invited to create a new choreography for the Company of Elders, and “Natural” is the result of this challenge. The piece, for sixteen interpreters, is about the ageing process, and departs from the experience of each one of them in that specific phase of their lives.

“O Canto do Cisne”, Clara Andermatt’s fourth creation for the Ballet Gulbenkian, is a contemporary remake of the 1875 ballet “Swan Lake”. A metaphor for the unknown and for death, which subtly meddles in our everyday lives.

For the creation of “As Ondas”, Clara Andermatt invited the actor and theatre director João Garcia Miguel, and the renowned actor and drama teacher Michael Margotta. Based on Virginia Woolf’s novel, the performance intertwines dance, theater and music, to transpose to the stage the meanders of the inner self, an existence murmured only to ourselves.

Festival X, directed by João Garcia Miguel, invites Clara Andermatt to create a piece to be presented at old Ribeira Food Market, in Lisbon. “La Tienda” is performed by the choreographer herself and by the Cape-verdian dancer Avelino Chantre.

“Polaroid” is a “double solo” by Clara Andermatt, a new work made after the trilogy dedicated to Cape Verde. In “Polaroid”, movement, sound, and image are articulated in order to form one single idiom, based on the choreographic discourse. An omnipresent giant screen establishes the connexion and interacts with the stage, both on the aesthetic and the narrative levels. Parallel timelines run in the same body: acceleration and slowness, the virtual body, the body under stress, the body that absorbs every event.

Clara Andermatt received an invitation from Ballet Gulbenkian to create a piece for Programa Gerações (Generations programme). The piece, “neatnet” was interpreted by seven dancers, the music was composed by João Lucas and the costumes were signed by the well-known Portuguese designer José António Tenente.

Giving continuity to the cultural and artistic exchange between Portugal and Cape Verde, initiated in 1994, and enhanced by the success and the dynamics generated by “Uma História da Dúvida”, Clara Andermatt and João Lucas co-created, with the interpreters of the company, “Dan Dau” (that means “I give you, you give me”), a staged concert and an album, launched simultaneously.

“Uma História da Dúvida”, created in Cape Verde, is an outstanding work, both in Clara Andermatt’s career and in the history of Contemporary Dance in Portugal. The result is a large-scale production, passionate and strikingly visual, where music, movement and image combine. Fifteen male interpreters bring to the piece an intense physicality, and the powerful sonorities embody aspects of Cape Verdean culture. The piece was premièred at the 1998 World Exposition’s “Dive into the Future” Festival, in Lisbon. Clara Andermatt also received, in 1999, the Prémio Almada, the highest award from the Portuguese Ministry of Culture for this piece.

In “Poemas de Amor”, Clara Andermatt works upon the dialogue between Love and Poetry. The title is quite literal: a choreography that tries to generate movement from poems, using it’s rhythmic, metaphoric, and emotional structures to create a physical poem that evokes the more animalistic and grotesque aspects of pleasure and desire. The music is composed by João Lucas and the piece is interpreted by five dancers, including the choreographer.

On the occasion of Jorge Salavisa’s farewell from the artistic direction of the Ballet Gulbenkian, four choreographers were invited to create a piece for an opera aria of their choice. The internationally acclaimed architect Álvaro Siza Vieira made the set for the ensemble of the choreographies.

Invited by the Ballet Gulbenkian, Clara Andermatt creates “Cemitério dos Prazeres”, the first of four pieces that Andermatt choreographed for this already extinct company. In “Cemitério dos Prazeres” Andermatt works the themes of human frailty, fear, acceptance, and conflict. The choreography is interpreted by nine dancers, to a score composed by João Lucas.

“Anomalias Magnéticas” was created in the aftermath of a pedagogic process developed in Cape Verde by Clara Andermatt, called “CV Sabe”. In “Anomalias Magnéticas”, the choreographer continues her artistic quest into the nature of power and knowledge and examines the opposing forces that inhabit each and every human being. The music is signed by the Cape Verdean composer and musician Vasco Martins, and the piece is interpreted by Amélia Bentes, Mónica Lapa, Félix Lozano, José Silva and the choreographer herself.

In 1993, Jorge Salavisa, who was responsible for the Dance programme for “Lisbon'94 - European Cultural Capital”, invited Clara Andermatt and Paulo Ribeiro to travel to Cape Verde to work together on a new piece, based on the encounter with the dances and the music from that country. “Dançar Cabo Verde” signals the start of a new relation between Portuguese contemporary dance and traditional African expressions, and a long and remarkable collaboration of Clara Andermatt with that country.

“Cio Azul”, created in 1993, was a commission from the Calouste Gulbenkian Foundation - Serviço ACARTE. Clara Andermatt returns to the theme of love, exploring its multiple forms through carnal, sexualized bodies. A piece for four dancers, including the choreographer, and a singer-accordionist of popular music, Soraya Cristina, who performs live onstage. “Cio Azul” is the first of the many collaborations of the choreographer with composer João Lucas, and it is also her first piece to be the object of a wide international tour.

Commissioned by Companhia de Dança de Almada, “O Cansaço dos Santos” is a theatrical portrait of two characters engulfed in a great passion, in which desire clashes with the need to break away from each other. The piece is interpreted by Amélia Bentes and Mónica Lapa and is one of Clara Andermatt’s most requested pieces, restaged up to this day by different dance companies and schools in various countries.

Invited by the Calouste Gulbenkian Foundation’s Serviço ACARTE, Clara Andermatt creates “Mel”, a work that comes to be associated to the genesis of her own company, Companhia Clara Andermatt. “Mel” is a piece in which Andermatt explores the various expressions of dependence, and its correlation to an inward quest for truth. It's a metaphor; sweetness can be simultaneously syrupy and bitter.

“Louca-Louca Sensação de Viver” is the piece that marks Clara Andermatt’s return to Portugal, after a period living and working in Barcelona, with Companhia Metros. This first choreography created for her company resorts to irony and ridicule to characterize the agony and the torments of passion. It is a piece where a certain Iberian identity is patent, in the music, in the gestures and in the performers themselves.

As a consequence of the award given to “En-Fim” at the Certamen Coreográfico de Madrid, in 1989, Clara Andermatt creates a new piece, to be premiered in the same venue in Madrid –Sala Olympia– in the following year. “Só um Bocadinho” is a raw, emotive, and incisive piece, that examines the difficulties of human relationships.

In “En-Fim”, Clara Andermatt portrays the apogee, the decline, and the end of a love affair. A duet Andermatt made when she was living and working in Barcelona. “En-Fim” won the first prize in the III Certamen Coreográfico de Madrid, in 1989.

Short piece co-created by Clara Andermatt and Paulo Ribeiro, with artistic direction by Rui Horta, presented at ARTEJO'89, an initiative of Lisbon City Council.

Short piece presented at Companhia de Dança de Lisboa’s “Estúdio Coreográfico”, that later integrated the Company's repertoire. Performed by João Fiadeiro, Clara Andermatt, Carlota Lagido and Vítor Garcia.

Short piece co-created by Clara Andermatt and João Fiadeiro. Presented at the Festival de Artes e Ideias, in Lisbon.