Raffaella Giordano‚ born in Turin in 1961 begins studying dance in 1978 with C. Perotti and A. Sagna at the Bella Hutter School of Turin.
In 1980 she joins Carolyn Carlson’s Company Teatro e Danza La Fenice of Venice‚ and participates as interpreter in the pieces Undici Onde‚ Underwood and Chalkwork.
In 1981 she dances with Pina Bausch’s Company‚ Wuppertal Tanztheater‚ as interpreter in the pieces Kontakthof‚ Blaubart and Le Sacre du Printemps.
In 1984 she works in Paris with the company L’Esquisse‚ directed by Joëlle Bouvier and Régis Obadia‚ participating in the creation of the piece Vertée for Festival di Carpentras.
The same year‚ she takes part together with Michele Abbondanza‚ Francesca Bertolli‚ Roberto Castello‚ Roberto Cocconi and Giorgio Rossi in founding Sosta Palmizi Company‚ in which she works‚ as dancer and choreographer‚ for the pieces Il Cortile (1985)‚ Tufo (1986)‚ Perduti una notte (1989)‚ participating in all repeat performances (more than 350 in 18 countries).
In 1987 she signs her first individual choreographic work‚ Ssst... for seven dancers‚ co−produced by Bois de la Bâtie of Geneva‚ in 1989 Inuit for the Folkwang Hochschule Essen and in 1995‚ still following Pina Bausch’s invitation for the same company‚ Il Volto d’Aria.
In 1988 she creates the chorographical movements for the opera Rosamunde‚ directed by L. Codignola at La Fenice of Venice and in 1991‚ for the piece La Medea di Porta Medina‚ directed by Armando Pugliese.
In 1990 she takes part as a dancer in the piece Il Muro‚ directed by Pippo Del Bono and co−produced by Oriente−Occidente Rovereto Festival and Asti Festival.
Still in 1990 the group of dancers who founded Company Sosta Palmizi is dissolved‚ but Raffaella Giordano and Giorgio Rossi still keep in life Sosta Palmizi to produce their performances; in 1995‚ Sosta Palmizi is reconstituted as Cultural Association‚ directed by G. Rossi and R. Giordano.
In 1991 together with Antonio Carallo‚ Tobia Ercolino and Bruno de’ Franceschi‚ R. Giordano creates the work Vedere Voci‚ which was presented at Parma Teatro 2 Festival.
On March 1992‚ she presents in Reggio Emilia the piece for six dancers I Forestieri‚ co−produced by Centro della Danza of Reggio Emilia‚ Ass. I Teatri and Teatro Comunale di Cagli (PS); the same year‚ she signs the choreography and interprets the solo L’Azzurro Necessario‚ presented on July‚ at Polverigi Festival.
In 1993‚ she is invited by the Centre National de Danse Contemporaine d’Anger L’Equisse to create the choreography Du Doute et de la Certitude‚ for second years students.
In 1994‚ together with Giorgio Rossi‚ she choreographs the piece Danze Rosa Blu‚ based on an idea by Giorgio Rossi and co−produced by Festival Torino Danza and Festival Roma Europa.
In Summer 1995‚ together with Giorgio Rossi‚ and after having reunited Sosta Palmizi to Cultural Association‚ she takes part at the Dance International Marathon presented for the XXXVIII Festival dei due Mondi di Spoleto‚ dancing fragments from the choreographic work Il Cortile; on August‚ together with the same group and with the same choreography‚ Il Cortile‚ she takes part in Bernardo Bertolucci’s movie Stealing Beauty; still in 1995 she creates a new solo‚ Fiordalisi‚ produced in collaboration with the Festival Segni Barocchi of Foligno.
On January 1996 she is invited as guest choreographer at the Centre National de Danse Contemporaine L’Esquisse d’Angers to create her new piece ...et anima mea‚ which premiere on 26th March at Beaurepaire Theatre of Angers.
On March 1997 she creates a short solo Maze‚ a homage to Isadora Duncan‚ on occasion of the meeting The living heritage of Isadora Duncan organized by the University of Bologna ⁄ Music and Performing Arts Department.
Between 1997 and 1998 she collaborates with contemporary music and jazz musicians‚ like L. Brusci‚ L. Mingiardi‚ R. Bonati and P. Damiani.
In 1998 she creates the choreographies for the new quartet La Notte Trasfigurata [The Transfigured Night] and for the solo Il Canto della Colomba [The Chant of the Dove]‚ on the music of A. Schönberg (“Die verklaerte Nacht”‚ op. n° 4 and “Das Lied der Waldtaube ⁄ Gurrelieder”)‚ in collaboration with Teatro Kismet Opera of Bari.
On July 1999 she presents at Festival Sipario Ducale of Cagli the work for four interpreters Quore. Per un lavoro in divenire [The Matter‚ For a work in becoming] supported by the C.N.D.C. l’Esquisse of Angers and Progetto Regionale Toscanadanza; the piece become in 2000 the Special UBU Award.
In 2001 she creates for the Pecci Museo in Prato the short solo ⁄performance Per una Stanza [For a Room]‚ presented on May at the international festival Contemporanea 01.
On March 2002 she presents in preview at Teatro Solvay in Castiglioncello the creation for eight dancers Senza Titolo [Untitled]‚ and on June 21th in absolute première at Teatro Ariosto in Reggio Emilia.
In 2003 she collaborates with the writer Alessandro Baricco on writing the movements for the City Reading Project – Nine Nights‚ Hundred Pages for the festival RomaEuropa‚ Teatro Valle in Rome.
In 2005‚ she goes back to the international stage with the solo Tu non mi perderai mai‚ on music by L. Brusci‚ freely inspired by the Song of Songs; the piece is presented on August‚ in preview at the International Dance Encounters Nairobi and on September 13th‚ in premiere at the Festival Internazionale di Performing Arts UOVO in Milan.
On March 2007‚ she presents in première at the Théâtre Garonne‚ Toulouse‚ the new performance for seven interpreters Cuocere il mondo [Cooking the World]; the work has its origins in Leonardo’s Last Supper and is co−produced by Théâtre Garonne‚ Toulouse − Théâtre Les Bernardines‚ Marseille − Teatro comunale di Modena Fondazione − Festival delle Colline Torinesi.
On January 2009 her new solo Ama Fì, created for the Theatre Signorelli in Cortona, debuts with the partecipation of Michele Abbondanza.
On the same year, for the evening in tribute to Pina Bausch, she creates A te‚ a short solo presented in the Theatre dei Rinnovati, Siena.
In 2011 she’s author and performer in the role of the Angel‚ in the show Cain by Valdoca’s Theatre (first national on the January 13^th at the Fonderie Limone of Turin).

In 1990‚ Raffaella Giordano receives the PRIZE OF THE CRITICS “DANZA&DANZA 1990” as best interpreter of new Italian contemporary dance.
On June 1999‚ for the second time‚ she is rewarded with the PRIZE OF THE CRITICS “DANZA&DANZA 1998 ⁄ 99” as best interpreter and choreographer of new Italian contemporary dance for contemporary dance with the piece The Transfigured Night ⁄ The Chant of the Dove on the music of A. Schönberg.
On July 1999 she receives the PRIZE GARDADANZA for Italian contemporary dance for the piece The Transfigured Night ⁄ The Chant of the Dove on the music of A. Schönberg as best Italian interpreter.
On November 2000 she is awarded the UBU AWARD «for casting with her The matter. For a work in becoming a critical glance at reality and for her courage and intensity of her choreographic choices in the field of theatre−dance beyond dance.»

Raffaella Giordano plays for twenty years a constant training activities in Italy‚ also during the years she has taught in important schools as Folkswang Hoch Schule of Essen in Germany‚ CNDC d’Angers in France.
She worked also in many theatre education projects.
2008/09/10: Scripture for contemporary dance, first biennal course for the development and awareness of the body’s arts. The project was sustained by the Teatro Stabile of Torino and Arboreto‚ Teatro Dimora in Mondaino‚ with the collaboration of Associazione Sosta Palmizi and React!.
2011/2012: artistic director of the second biennium Scripture for contemporary dance‚ supported by the Arboreto‚ Teatro Dimora in Mondaino and Associazione Sosta Palmizi.

syntetical

PRODUCTIONS 1987 Ssst…‚ for seven dancers – 1989 Inuit‚ Folkwang Tanzstudio‚ Essen Germany – 1992 I Forestieri‚ for five dancers; L’Azzurro Necessario‚ solo – 1993 Du Doute et de la Certitude‚ C.N.D.C.‚ Angers France‚ for twelve dancers – 1995 Fiordalisi‚ solo; Il Volto di Aria‚ Folkwang Tanzstudio‚ Essen Germany‚ for nine dancers – 1996 … et anima mea‚ for six dancers – 1997 Maze‚ solo – 1998 A. Schönberg ⁄ La Notte Trasfigurata [The Transfigured Night]‚ for four dancers; Il Canto della Colomba [The Chant of the Dove]‚ solo – 1999 Quore. Per un lavoro in divenire [The Matter. For a work in becoming]‚ for four dancers – 2001 Per una Stanza [For a Room]‚ solo – 2002 Senza Titolo [Untitled]‚ for eight dancers – 2005 Tu non mi perderai mai‚ solo − 2007 Cuocere il mondo [Cooking the World]‚ for seven interpreters.

EXPERIENCES 1978⁄80 studies with C. Perotti‚ Teatro Nuovo; A. Sagna‚ Bella Hutter School‚ Turin – 1980⁄84 C. Carlson‚ Theater and Dance Company La Fenice‚ Venice‚ interpreter Undici Onde‚ Underwood‚ Chalkwork – 1981 P. Bausch‚ Wuppertal Tanztheater‚ interpreter Kontakthof‚ Blaubart‚ Le Sacre du Printemps – 1984 J. Bouvier and R. Obadia‚ l’Esquisse‚ interpreter Vertée – 1985⁄89 Sosta Palmizi‚ collective choreography‚ Il Cortile‚ Tufo‚ Perduti una notte – 1990 P. Del Bono‚ P. Robledo‚ interpreter Il Muro – 1994 R. Giordano‚ G. Rossi‚ collective choreography Danze Rosa Blu – 1995 B. Bertolucci‚ interpreter Io ballo da sola – 2003 A. Baricco‚ movement writing City reading project.

PRICES 1990 “Danza&Danza” critics award‚ as best Italian new dance performer – 1999 “Danza&Danza” and “Gardadanza Festival” critics award as best choreographer⁄performer in the performance La Notte Trasfigurata ⁄ Il Canto della Colomba – 2000 Special “UBU” award for the performance Quore. Per un lavoro in divenire‚ «for casting a critical overlook on reality. More generally for the courage and intensity of the choices operated in dance−theatre beyond dance.»