Dance in Brazil: in-between cultures First, I’d like to thank the people responsible for this Projeto Brasil, for the opportunity of being here, and also, the technicians of this theatre, for all the logistics and production. Secondly, an important warning: the ideas I’m presenting come from a lot of research, texts written about them or with them serving as inspiration, and in relation to many other researchers and masters. As this is a conversation, not a lecture, conference or seminar in a university, not all of the references will be mentioned, but after this hour of work, I can give the references to those of you who might want them, all right? Finally, let’s go! How is the dance from Brazil? This conversation starts with this phrase, as if it were a challenge, one that opens a debate on the topologies of an art that is invented and consolidated “in-between cultures”: corporal, dance, and choreographic cultures. How is the dance from Brazil? — Why am I choosing to put it this way? To avoid another question — “What is the dance from Brazil?”, a question that I would not have an answer for, since it points to a whole field, the whole of the dance made in a specific territory: Brazil. Then, why this specific phrase? How is the dance from Brazil? To provoque questions about dance from its traces of origin, not only those of its structure — body, time, space, movement —, but also those that put dance in relation to its context and culture. For a conversation, reflexion and debate on art and the time and space where it is built, as a topology that affects a society, and by which it is affected. But first: three short initial questions, on dance and art.