{"id":2,"date":"1960-07-28T00:00:00","date_gmt":"1960-07-27T22:00:00","guid":{"rendered":"http:\/\/www.ricardoviviani.com\/about-2\/"},"modified":"2026-01-11T12:50:07","modified_gmt":"2026-01-11T10:50:07","slug":"about","status":"publish","type":"page","link":"https:\/\/www.ricardoviviani.com\/?page_id=2","title":{"rendered":"About"},"content":{"rendered":"\n<b><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-black-color\">Recent Lectures, Research and Publications: <\/mark><\/b>\n<ul><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2567\" data-type=\"post\" data-id=\"2567\">Oral History for Dance Heritage<\/a><br \/>Intensive Workshop in the National Art Museum of Ukraine implemented by Impulse Transformation Platform &#8211; Viktor Ruban and supported by Goethe Institut Ukraine <br \/>Kyiv, Ukraine &#8211; 01.-06. December 2025  <\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2497\">Beyond Words: Crafting Oral Histories in Dance and the Arts<\/a><br \/>Presentation at the 23rd IOHA Conference <br \/>Krak\u00f3w, Poland &#8211; 16.-19. September 2025 <\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2574\">Methodologies and Functions of Oral History<\/a><br \/>Presentation at the CoFestival <br \/>Ljubljana, Slovenia &#8211; 28. November 2023 <\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2577\">A Oralidade na Dan\u00e7a<\/a><br \/>Workshop at SPED S\u00e3o Paulo Escola de Dan\u00e7a <br \/>S\u00e3o Paulo, Brazil &#8211; 07.-28. October 2023 <\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2583\">Tracking the History<\/a><br \/>Presentation at IETM Belgrade Plenary Meeting 2022 <br \/>\u201cWORK HARD, LIVE HARDER!\u201c <br \/>Belgrade, Serbia &#8211; 29. September -02.1 October 2022 <br \/><\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2614\">Oral History in a \u2028Network of Change<\/a><br \/>Presentation at Dance Studies Association Conference 2022 <br \/>Vancouver, Canada &#8211; October 2022 <br \/><\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2611\">Networking Body Knowledge<\/a><br \/>Presentation at Oral History Association Conference 2022 <br \/>Los Angeles, USA &#8211; October 2022 <br \/><\/li><br \/>\n<li> <a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2587\">Sharing the Material is Sharing the Knowledge<\/a><br \/>Paper by Anja K. Arend, Thomas Thorausch and Ricardo Viviani, in Jahrbuch TanzForschung 2021 transcript <br \/>https:\/\/www.transcript-verlag.de\/978-3-8376-6237-5 &#8211; September 2022<\/li><br \/>\n<li><a href=\"https:\/\/www.pinabausch.org\/search?size=n_100_n&#038;filters%5B0%5D%5Bfield%5D=type&#038;filters%5B0%5D%5Bvalues%5D%5B0%5D=interview&#038;filters%5B0%5D%5Btype%5D=any\">Oral History at the Pina Bausch Archives<\/a><br \/>Published Oral History Collection <br \/>www.pinabausch.org &#8211; 2016\/26<\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2589\">Dancer Knowledge Management<\/a><br \/>Presentation of an ontology for Oral History documents <br \/>Produire la m\u00e9moire en danse :\nhistoire orale et mn\u00e9motechniques <br \/>Universit\u00e9 C\u00f4te d\u2019Azur Nice &#8211; November 2021 <\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2592\">Stories that Matter<\/a><br \/>Online presentation at Roundtable on epics, performance and dance <br \/>Harvard University CHS Athens &#8211; April 2021 <\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2617\">Finding Your Own Voice<\/a><br \/>Semester Seminar Folkwang Universit\u00e4t der K\u00fcnste \u2013 OH Juan Allende-Blin and Activating the archive \u201eEuphorie und Aufbruch\u201c \u2013 <br \/> Essen-Werden, Germany Winter Semester 2020\/21 <\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2607\">Euphorie und Aufbruch<\/a><br \/>Historisation Project NRW 1959-1969 <br \/>www.euphorie-und-aufbruch.de Germany &#8211; 2020\/21<\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2928\">Common Dance, Uncommon Stories<\/a><br \/>Presentation of Oral History epistemology for dance in Dancing in Common <br \/>Northwestern University Evanston, Illinois US &#8211; August 2019<\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2592\">Just Call Us Dancers \u2013 Oral History in the Performing Arts<\/a><br \/>Presentation at &#8220;In Pathways in the Field&#8221; Oral History Association Annual Meeting <br \/>Salt Lake City, Utah US &#8211; October 2019 <\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2592\">The Material and Immaterial of the Archive<\/a><br \/>Presentation in &#8220;The Whole Life: Archives and Reality&#8221; \u2013 Pina Bausch Foundation \/ Haus der Kulturen der Welt https:\/\/www.hkw.de\/de\/app\/mediathek\/video\/75958 <br \/>Dresden &#8211; May 2019.<\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2622\">Trailing Jean C\u00e9bron &#8211; A Timeline<\/a><br \/>Timeline presentation at &#8220;Histoires Connect\u00e9es de la Danse&#8221; <br \/>Paris &#8211; 2017 <\/li><br \/>\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2592\">Documentary Film \u201ePina and New York\u201c<\/a><br \/>Writer and Researcher &#8211; An Oral History; Documentary in association with cable channel Arte1 (Brasil) in a collaboration between the Pina Bausch Foundation and Producing Partners NYC for the series \u201eGeografia da Arte\u201c <br \/> Chicago, New York, Wuppertal, Essen, Brasil &#8211; 2017<br \/><\/li><br \/><\/ul>\n\n\n\n<!--more-->\n\n\n\n<h3 class=\"wp-block-heading\">Ricardo Viviani<\/h3>\n\n\n\n<h5 class=\"wp-block-heading\"><em>choreographer, Researcher<\/em><\/h5>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft is-resized\"><a href=\"http:\/\/www.ricardoviviani.com\/public\/productions\/quaadriduuo\/pix\/users\/ricardo_viviani.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"817\" height=\"817\" src=\"http:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo.png\" alt=\"\" class=\"wp-image-2507\" style=\"width:160px;height:auto\" srcset=\"https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo.png 817w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-300x300.png 300w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-150x150.png 150w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-768x768.png 768w, https:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2025\/10\/2024_ricardo-100x100.png 100w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p>Ricardo Viviani is a director and choreographer based in Wuppertal, Germany. He was born in S\u00e3o Paulo in 1960, studied Ballet at the Bal\u00e9 Stagium, Joffrey Ballet School NYC and was on scholarship programs at various dance institutions in Brazil and USA. He danced as a soloist for the Bal\u00e9 da Cidade de S\u00e3o Paulo, Cisne Negro, Manuel Alum Dance Company and Nationaltheater Weimar, performed in the musicals \u201aA Chorus Line\u2019 and \u201aOh! Calcutta!\u2019 on Broadway and international tours. As a choreographer he created for the independent theater and dance scene of S\u00e3o Paulo, New York and Cologne. For the past 10 years he&#8217;s been concentrating in the relationship between dance, voice and theater; creating choreography for opera and musical in the theater companies of Weimar, Osnabr\u00fcck, Heilbronn and Hagen; including performing in the CD recording of Hans Werner Henze&#8217;s \u201aDas Wundertheater\u2019 and the staging of \u201aGegen die Wand\u2019 by Ludger Vollmer.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">music theater productions<\/h2>\n\n\n\n<p>opera, musical and operetta \u2013 choreography and performance<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><span style=\"color: #808080;\">Offenbachs Die Reise auf den Mond &#8211; choreographer de<\/span><\/li>\n\n\n\n<li>Die Comedian Harmonists &#8211; choreographer de<\/li>\n\n\n\n<li>H\u00e4nsel und Gretel &#8211; choreographer de<\/li>\n\n\n\n<li>Rotk\u00e4ppchen &#8211; choreographer de<\/li>\n\n\n\n<li>Fly Me To The Moon! &#8211; Swing evening &#8211; choreographer de<\/li>\n\n\n\n<li>Gegen die Wand &#8211; choreographer performer de<\/li>\n\n\n\n<li>Schneewittchen &#8211; choreographer de<\/li>\n\n\n\n<li>Im wei\u00dfen R\u00f6ssl &#8211; 2010 choreographer de<\/li>\n\n\n\n<li>My Fair Lady &#8211; choreographer de<\/li>\n\n\n\n<li>Der gestiefelte Kater &#8211; choreographer de<\/li>\n\n\n\n<li>Orpheus in der Unterwelt &#8211; choreographer de<\/li>\n\n\n\n<li>Kurt Weill&#8217;s Street Scene &#8211; choreographer de<\/li>\n\n\n\n<li>Die lustige Witwe &#8211; choreographer de<\/li>\n\n\n\n<li>Rumpelstilzchen &#8211; choreographer de<\/li>\n\n\n\n<li>Das Gl\u00fcck liegt im Westen \u2013 choreographer de<\/li>\n\n\n\n<li>ABBA Mania \u2013 add. choreog. restaging eu<\/li>\n\n\n\n<li>The Wild Party \u2013 choreographer de<\/li>\n\n\n\n<li>Das Wundertheater \u2013 choreog., singer\/dancer de<\/li>\n\n\n\n<li>L\u2019Enfant et les Sortil\u00e8ges \u2013 choreographer de<\/li>\n\n\n\n<li>Im Wei\u00dfen R\u00f6ssl \u2013 revue concept, choreog. de<\/li>\n\n\n\n<li>Requiem f\u00fcr Bonhoeffer \u2013 choreog., feat. dancer de<\/li>\n\n\n\n<li>Rita (Donizetti) \u2013 choreographer de<\/li>\n\n\n\n<li>Orpheus und Euridyke \u2013 dancer de<\/li>\n\n\n\n<li>Cabaret \u2013 singer\/dancer de<\/li>\n\n\n\n<li>Oh! Calcutta! \u2013 singer\/dancer us br no il<\/li>\n\n\n\n<li>A Chorus Line \u2013 singer\/dancer<\/li>\n\n\n\n<li>Amahl and the Night Visitors &#8211; dancer<\/li>\n<\/ul>\n\n\n\n<p>various tv spots, galas, trade fair, video &amp; dvd production, including coca-cola\u2019s \u201cfame\u201d and bundespresseball in bonn, de.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">tanztheater\/dance<\/h2>\n\n\n\n<p>work as a dancer<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">repertoire companies<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Nationaltheater Weimar &#8211; Tanztheater Ismael Ivo 1997 &#8211; 2000<\/li>\n\n\n\n<li>Manuel Alum And Dancers &#8211; New York, US 1985-87<\/li>\n\n\n\n<li>Bal\u00e9 Da Cidade De S\u00e3o Paulo, BR 1982-83<\/li>\n\n\n\n<li>Cisne Negro Dance Company, S\u00e3o Paulo, BR 1982<\/li>\n\n\n\n<li>Corpo De Baile Municipal, S\u00e3o Paulo Opera, BR 1980-81<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">single productions<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Can You See Me Now 2004 blast theory<\/li>\n\n\n\n<li>Embalse De Valdeinfierno (Film) 2004 khm k\u00f6ln<\/li>\n\n\n\n<li>Tamanana (Film) 2002 zet-select k\u00f6ln<\/li>\n\n\n\n<li>Floresta Do Amazonas 2000 ivo hayde\u00e9<\/li>\n\n\n\n<li>Certain Women 1995 mara borba<\/li>\n\n\n\n<li>Spricht Else Lasker-Sch\u00fcler 1995 g\u00f6rner<\/li>\n\n\n\n<li>Jacob\u2019s Pillow Dancers 1981 igal perry<\/li>\n\n\n\n<li>Seis Ensaios e o Resto 1979 s\u00f4nia mota<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">independent productions<\/h3>\n\n\n\n<p>under the label \u2018mammut tanzproduktion\u2019, these are conceived,produced and choreographed by ricardo viviani<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>QuaaDriDuuo 2007 de br co-choreography<\/li>\n\n\n\n<li>Gods Prey 1996 de it us<\/li>\n\n\n\n<li>B\u00f6hm Homage 1995 de<\/li>\n\n\n\n<li>Virtual DADA 1994 de ch<\/li>\n\n\n\n<li>Serious Talk 1993 de<\/li>\n\n\n\n<li>Le Sacre Du Poisson 1993 de<\/li>\n\n\n\n<li>Eroberung Des Atlantik 1992 de<\/li>\n\n\n\n<li>Serafim Ponte Grande 1992 de<\/li>\n\n\n\n<li>A Brazilian In New York 1991 de<\/li>\n\n\n\n<li>Colch\u00f5es Ortop\u00e9dicos 1986 br us<\/li>\n\n\n\n<li>Blue Danube 1982 br<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">studies<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">ballet<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Joffrey Ballet School, NYC \u2013 ballet<\/li>\n\n\n\n<li>Ballet Stagium School<\/li>\n\n\n\n<li>+ Jane Blauth, <a href=\"https:\/\/www.ricardoviviani.com\/?p=1736\">Ernie Pagnano<\/a>, Baylis, Farr, Panetta, Corvino<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">modern dance<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Louis Falco (Fame), M\u00fcller, Limon Dance Studio<\/li>\n\n\n\n<li>Manuel Alum, Sanasardo<\/li>\n\n\n\n<li>Myers, Petronio<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">singing, speech<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>M. de Paula and PePe de Castro Neves, SP<\/li>\n\n\n\n<li>McCoulough, NYC<\/li>\n\n\n\n<li>Marta Laurito, Rolf A. Scheider, DE<\/li>\n\n\n\n<li>Michael Pinkerton, DE A<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">choreography<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Rolf Gelewski<\/li>\n\n\n\n<li>Bessie Schoemberg<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">music\/composition<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>David van Tieghem<\/li>\n\n\n\n<li>Kirk Nurok<\/li>\n\n\n\n<li>New School for Social Research, NYC<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">clowning<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bill Irwin<\/li>\n\n\n\n<li>Peter Shub<\/li>\n\n\n\n<li>Rene Basine<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">pedagogy<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Christa Coogan<\/li>\n\n\n\n<li>Kultur und Schule: Anja Weber, Maria Speth, Nadja Raszewski<\/li>\n\n\n\n<li>Landesmusikakademie NRW: P\u00e4dagogisches Basisseminar I, II, van Almsick, Schneider, Levkau, Jendrkowiak<\/li>\n<\/ul>\n\n\n\n<h3 class=\"wp-block-heading\">plus<\/h3>\n\n\n\n<ul class=\"wp-block-list\">\n<li>alexander, pilates, eutonie, gyrotonics , kathakali indian, mime, tap, butoh, puppetry, stage fight, computer choreography (lifeforms).<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\">publications<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/productions\/calcutta\/corpos00T.jpg\" alt=\"\"\/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Das Wundertheater 2005 cd \u2013 ars produktion<\/li>\n\n\n\n<li>Der nackte Michelangelo Vokalsuite f\u00fcr Bariton <a href=\"http:\/\/www.buchfreund.de\/productListing.php?used=1&amp;productId=44888009\">1998 program<\/a> George Tabori &#8211; Schaub\u00fchne Berlin<\/li>\n\n\n\n<li><a href=\"https:\/\/www.ricardoviviani.com\/?p=1903\">Corpos<\/a> 1987 book \u2013 massao ohno ed.<\/li>\n\n\n\n<li>G\u00f6rner Spricht Else Laske-Sch\u00fcler 1995 video<\/li>\n\n\n\n<li>Dance In Prague suny at new palz\n<ul class=\"wp-block-list\">\n<li>2003 dvd 2004 dvd 2005 dvd 2006 dvd<\/li>\n<\/ul>\n<\/li>\n\n\n\n<li>Dance Magazine as a correspondent<\/li>\n<\/ul>\n\n\n\n<p>to order some of these items please look at the download\/links page.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">references<\/h2>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p>May 13, 2008 I am writing this letter to advise you that Ricardo Viviani is a valuable teacher to any performance program. He has taught for the State University of New York at New Paltz Study Abroad dance program in Prague and in Italy for many years. He offers, from his incredible performing experience over the years as a dancer and a choreographer of opera and musicals, a unique approach to teaching which captures the students immediately with his energy. The workshops he gave were always a high point in the program and valued highly by the students and by me. You will be very fortunate to have him as a teacher. Sincerely Lynn Barr [Director of SUNY STUDY DANCE ABROAD]<\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">reviews<\/h2>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"181\" height=\"90\" src=\"http:\/\/www.ricardoviviani.com\/wp-content\/uploads\/2012\/03\/voicelogo-181.gif\" alt=\"Voice logo\" class=\"wp-image-1945\"\/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">The Village Voice by Bruce Supree<\/h3>\n\n\n\n<p>Serious Talk \u2013 New York City<\/p>\n\n\n\n<p>\u2026 Darkly handsome, Viviani has the masculine power of the young Robert Mitchum, but he\u2019s hot, not cool. Joining Hartley for Serious Talk, he\u2019s slightly menacing, controlled, agressive \u2014 but unhurried. A \u201940s film noir, Mickey Spillane kind of guy \u2014 but he doesn\u2019t lay a hand on her. \u2026 Viviani\u2019s in formal pants, black suspenders, a sleeveless undershirt. He slowly raises his arms, folds them across his chest. He points his index finger, then with the other hand pushes softly in the opposite direction with measured force. Repeating gestures, speeding them up, adding more, he produces a steady flow of contradictory impulses, while playing off the waltz rhythms. He opens his hands with a kind of helpless strength, then draws them in to his chest and cringes. The accelerating repetition of impassioned gestures gradually builds as unbearable pressure of feeling in him.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/pix\/logos\/nytlogo379x64.gif\" alt=\"\"\/><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">The New York Times by Jennifer Dunning<\/h3>\n\n\n\n<p>Blue Danube \u2013 New York City<\/p>\n\n\n\n<p>\u2026 Mr. Viviani, a relatively new choreographer, took simple themes and dealt with them with admirable simplicity \u2026 The quality of movement is most subtle and interesting in \u201cBlue Danube,\u201d set to the Strauss waltz, but its message is mystifying. Mr. Viviani and Cheryl Hartley were personable dancers.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><img decoding=\"async\" src=\"http:\/\/www.ricardoviviani.com\/public\/productions\/calcutta\/dagsavisen.jpg\" alt=\"logo dagsavisen\" width=\"180\" align=\"left\" hspace=\"10\"\/>Dagsavisen Arbeiderbladet by Hans-Chr. S\u00f8rensen<\/h3>\n\n\n\n<p>Oh! Calcutta! \u2013 Oslo, Norway<\/p>\n\n\n\n<p>\u2026 St\u00f8rst inntrykk gjorde \u201cOne on one\u201d, en vakker pas-de-deux, fremf\u00f8rt av Cheryl Hartley og Ricardo Viviani. En dans hvor de nakne kroppene virkelig ble et naturlig uttrykk for sunn erotikk og kjaerlighet.\u2026The most impressive scene was \u201cOne on one\u201d, a beautiful pas-de-deux danced by Cheryl Hartley and RICARDO VIVIANI. A dance where the naked bodies really became a natural expression of healthy eroticism and love.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><a href=\"https:\/\/www.ricardoviviani.com\/?p=1994\">No German Press Quotations listed<\/a><\/h3>\n\n\n\n<h2 class=\"wp-block-heading\">links<\/h2>\n\n\n\n<ul class=\"wp-block-list\">\n<li>www.ricardoviviani.com<\/li>\n\n\n\n<li>Curriculum Vitae <a href=\"http:\/\/www.ricardoviviani.com\/public\/downloads\/vivianicurriculum.pdf\">vivianicurriculum.pdf<\/a> 86Kb<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Recent Lectures, Research and Publications: Oral History for Dance HeritageIntensive Workshop in the National Art Museum of Ukraine implemented by Impulse Transformation Platform &#8211; Viktor Ruban and supported by Goethe Institut Ukraine Kyiv, Ukraine &#8211; 01.-06. December 2025 Beyond Words: Crafting Oral Histories in Dance and the ArtsPresentation at the 23rd IOHA Conference Krak\u00f3w, Poland &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/www.ricardoviviani.com\/?page_id=2\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;About&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":2102,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"pmpro_default_level":"","footnotes":""},"class_list":["post-2","page","type-page","status-publish","has-post-thumbnail","hentry","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2"}],"version-history":[{"count":3,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions"}],"predecessor-version":[{"id":2938,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/pages\/2\/revisions\/2938"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=\/wp\/v2\/media\/2102"}],"wp:attachment":[{"href":"https:\/\/www.ricardoviviani.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}