WonderLandi proposes an itinerary in which music is the performative epicenter. Composed of an unusual cast in my artistic career, WonderLandi intends to use rhythm and melody as a choreographic matrix, capable of structuring and orchestrating bodies, objects, texts, intentions, and movements.

This project is a tribute to that mysterious phenomenon that haunts humans and animals alike: music.

While there is no consensus as to whether it was music or language that first appeared, it is undeniable that the course of our civilization would have been profoundly altered without the invaluable contribution of this intangible heritage. Throughout the ages, political powers, religious institutions, and cultural and ideological movements have exploited music as a powerful vector for disseminating messages, shaping public opinion, and arousing emotions. An emblematic example is the Revolution in Portugal in 1974, where the broadcast of two songs on the radio catalyzed a popular and military uprising, precipitating the fall of the dictatorship and ushering in an era of democracy in the country.

As Madonna sang, “Music makes people come together,” but music also has this aggregating effect in nature: fundamental to the mating rituals of birds, the communication between whales, the memory of elephants, the coordination of bees, and the safety of primates. Music is a great empire, and its heritage lies at the heart of WonderLandi, proposing to analyze this immaterial subjective manifestation that can hypnotize us, activate states of mind, and spur us into action. The project aims to evoke the power of music, its omnipresence in nature, its relevance, and the way it is perceived and celebrated in different parts of the globe throughout history. A project about music through music.