Pedro Goucha Gomes

The Portuguese Pedro Goucha Gomes began his dance education at the School of the National Ballet of Portugal when he was 9 years old and completed his dance studies at the National Ballet School in Toronto, Canada. As a professional dancer Goucha Gomes danced with companies such as the Stuttgart Ballet, the Deutsche Oper Berlin, the Compania Nacional de Danza in Madrid and more recently with the Nederlands Dans Theater I in The Hague.

While dancing for these companies he became increasingly interested in choreography and started to participate at these companies annual choreographic workshops. In 2006 he stopped dancing in order to fully concentrate on choreography and has since choreographed extensively for Korzo productions as well as other companies.

For Korzo productions Goucha Gomes choreographed Medium Rare and As of when I used to tell all my Secrets to my Dog in 2006, about which the NRC Handelsblad – one of the most authoritative newspapers in Holland – wrote: ‘Touching and extremely well done’.

In 2008, together with the Dutch writer Bianca Boer, he was invited by the CaDance and the Crossing Border Festivals to choreograph Butterfly Hips. At the 2009 edition of Here we live and now (a mini festival organised by Korzo) he created Inside the Outside with the Korean visual artist Hee-Seung Choi and in the same year he co-directed Korzo’s Present of Past evening for the Holland Dance Festival for which he also choreographed the installation Drosera Capensis with the visual artist Yoko Seyama and the composer Miguelangel Clerc.

About this work the Dance Magazine wrote: ‘Pedro Goucha Gomes’ Drosera Capensis provided the evening's coup de grace. Set in a black-lit, bungee cord-like forest (designed by Yoko Seyama), with Miguelangel Clerc performing a brilliant live percussion score, three dancers bounded around, thru and under the elastic in a Planet of the Apes-on-acid tableau.

Outside Korzo productions, Goucha Gomes choreographed Zullia for the Portuguese Contemporary Ballet Company and was subsequently appointed its artistic director, position that he held until the end of 2007. He also participated both as a dancer and choreographer in Carlos Saura’s movie Fados and choreographed Graceland for the Rotterdam Dance Academy in 2010. As a guest teacher Goucha Gomes teaches regularly in companies and dance studios in Europe, North America and Japan.

For the 2008 edition, the CaDance Festival started a joint venture with the Crossing Border Festival. Authors of words and authors of movement met in the Terrie(S)tories project. Three teams consisting of choreographic talent and writing talent have been invited to go to work with the subject Dance Territories. Three teams meeting for the first time, work towards three new productions that combine dance and text. Choreographer Pedro Goucha worked together with the Dutch writer Bianca Boer. Together they created the piece Butterfly Hips.


After a long dancing career (a.o. Nederlands Dans Theater),  the Portuguese Pedro Goucha Gomes has developed into a talented and poetic choreographer. In his latest performance Of Animals and  Other Humans, Goucha explores the relationship between man and nature. Amidst the new Homo Urbanus  and in an unprecedented era of technological brilliance, human beings are forced to seriously redefine their relationship with nature. In this theatrical quest Goucha attempts to blur the boundaries between man and nature. In doing so he also ridicules the media and its obsession with ephemeral fabricated idols.  



Toxic Tears
Holy rivers in India are honoured as well as polluted. Through this paradox, the ritual purification that washes clean the souls of the inhabitants, also at the same time damages their bodies with chemicals. With the use of Bharatanatyam and modern dance, Goucha Gomes shows in Toxic Tears how tradition and the modern day prove to be incompatible.

Kiss of Life
Raghuraman, who was initiated by her mother into the secrets of the classic Indian temple dance Bharatanatyam, offers with Kiss of Life an alternative for the role models that the contemporary Indian woman is confronted with: the pious, introverted woman, or the Indian version of Barbie. The ‘Black Goddess’ Kali offers an alternative. She is wild and tempestuous, but at the same time gentle and tender. Free of traditional conventions, Raghuraman employs the Bharatanatyam to challenge each other.

A leap into each other’s world. The Indian Kalpana Raghuraman and the Portuguese Pedro Goucha Gomes accepted the challenge to realize a genuine encounter between Indian dance and Western modern dance. Goucha created a choreography for Raghuraman, and Raghuraman reciprocated by making a work for a dancer trained in modern dance. Both choreographers come from a strong tradition, and both try to expand on these traditions. A collaboration teeming with inspiration!

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