dalila is the search for an identity that seeks many others. The possibility of a "body understood as an affective system of formation, transformation, incorporation, and dispersion" that resists.

Daniela Cruz studied at the Ginasiano Dance School and graduated in Dance from the Codarts program in Rotterdam in 2007. She has worked with Victor Hugo Pontes, Cristina Planas Leitão, Nuno Preto, and currently collaborates on the Planaltos project with CRL/Cicrolando.

This is your first time at DDD as a creator. Why do you consider dalila an important narrative today and for the festival?

As a creator, I always hope to create artistic objects that I consider relevant, which arise from personal concerns but always have the ability to relate to other people. Dalila is a place of breakage and reflection that manifests itself in a body made up of various bodies and possibilities. It is precisely because of this matrix that I consider that dalila also approaches a narrative of breaking paradigms and possibilities that the DDD Festival offers us in this edition.

Who is dalila?

They are several women that I have been. They are reflections of women that I may still become. Dalila is a name or an alternative to all these women that I summon for this creation. I started with some dalilas and realized that I found many more throughout this creative process.

As dalila is "the search for an identity that seeks many others," do you think this search for identities is something conscious? Or does it happen without our control?

I think that the construction of identities or the search for alternatives comes from a sincere desire for a fresh start. Ultimately, feeling that a body has exhausted itself and having the courage to start again. The starting point of this new identity/possibility is quite conscious, but the path, not so much... it is made of openness to unexpected events, new directions, or alternatives.

How does your practice as a teacher relate to your artistic creations?

I think it is part of it, not directly in the creative processes because I am not interested in creating pedagogical objects, but because the practice as a teacher makes me conscious and attentive to other possibilities. Ultimately, in my classes, I offer ignitions that become possibilities in each of the bodies, and that makes me more conscious and up to date.

What changes for an artist between interpretation and their own creation?

I think the two places are very close. And that's a good thing. More and more, we need to summon people who are synonymous with different possibilities and create conditions in the processes for different creative perspectives. As an interpreter for other artists, I am a creator of possibilities, just like the team I summon for the creations I make. I give space for the same to happen.