Gira: Rodrigo Pederneiras (chorographer), Meta Meta (music), Paulo Pederneiras (set and lighting design), Gabriel Pederneiras (lighting design), Freusa Zechmeister (costume design)
Founded in 1975 by Rodrigo Pederneiras, the Brazilian dance company Grupo Corpo (meaning “Body Group” in Portuguese) has developed a trademark aesthetic style, blending Brazilian folk dance with classical ballet. Last seen at the Edinburgh Festival Theatre a decade ago, Grupo Corpo presents the UK premiere of two dynamic dances, Gil Refazendo and Gira celebrating the joy of spiritual, musical and cultural renewal.
Gil Refazendo (which means Re-making), was choreographed in 2022, as a timely homage to the legendary Brazilian musician and political activist, Gilberto Gil to mark his 80th birthday. His iconic experimental style fusing samba, reggae, rock and bossa nova creates an effervescent score to reflect renaissance and renewal in the aftermath of the global Pandemic.
It opens with a solo dancer creating an illusion of walking along an imaginary tightrope, developing into an energetic duet before being joined gradually by the full ensemble. Clad in loose, white shirts, shorts and trousers, the dancers flow effortlessly from graceful ballet technique to springing moves worthy of an Olympic gymnast gold medallist. In perfect timing to the percussive rhythm, it’s all about high kicks, swinging hips, flexed feet and lithe limbs, in focussed solo performances with precise synchronisation.
A quieter, reflective mood with a sequence of melodic tunes for a gentle pas de deux, as a couple clinch in a close embrace. Towards the end, the sepia abstract backdrop, which had been still up to that point, slowly depicts the gradual blossoming of a sunflower seemingly having drawn on the vibrant energy and radiance of the dancers. The video pans out to illustrate a garden of hundreds of sunflowers, a symbol of hope, nature bursting into life again.
The title of the second work, Gira, comes from the Portuguese word ‘Girar’ meaning to spin. Brazil’s unique mix of religions such as the rites of Umbanda is based on West African practices and Catholicism; ritualistic spinning is performed by mediums to bring them closer to spiritual connection. The Sao Paulo jazz band, Meta Meta composed a dynamic mashup of punk, jazz, samba, Afrobeat, and candomblé into an electrifying soundscape.
The ensemble, both male and female, appear bare-chested, androgynously dressed in white, flowing skirts, sensually undulate their entire bodies to a repetitive drum beat, rising and rising in intensity. They swirl, twirl, float across the stage with a dazzling display of ceremonial ritual, at times as if in an hypnotic trance. Then in a slow procession across the stage, a few dancers seem to manipulate the movement of others who submissively lean forward, arms dangling, akin to a puppeteer in control of a marionette.
The aim of Grupo Corpo is to present “all facets of Brazil: past and future, erudite and popular, foreign influence and local colour, come to being as art. Brazilian art. World art.”
The music, art and culture of Brazil was all expressed here through scintillating choreography, vibrant music and exhilarating dance. Surely, this is what the Edinburgh International Festival is all about which was reflected by the long, sustained applause from an enthusiastic audience.
Showtimes: 5 – 7 August, 2024, 7.30pm. Ticket prices: from £21.50
https://www.eif.co.uk/events/grupo-corpo#booking-info
(With thanks to Elaine Pritchard for her additional editorial research)