Sans Souci Brazil: 3rd Edition

There is a space inside us that we rarely visit. A place where time runs different, which is just feeling, the sound is muffled and words are not able to express those thoughts. They are clippings of ourselves that shape our actions and decisions.

In a little boat, isolated in a sea of mountains, three people are being called through the water by a mysterious force to dance with their memories.

In ruins. Confined and breathless. On the streets a world that cannot stop invited to awaken from its progressive, straight, ascending count. Civilizing, predatory abstraction, continues, insists on its tomorrow without a horizon. The end is needed. For another start. A dance. A window.

Based on the dances around the muleteer culture in Brazil, the video visits the memories of nomadic muleteers who, after long journeys, in their breaks, used to dance. The film proposes a glimpse of a moment in which the muleteer dances, by the light of the fire, challenging himself. A dance that is pulse and relax. Fun, challenge, enchantment, and reconnection with the body, which is memory and home in transit.

Synopsis coming soon.

Não Há Nada Aqui traz o território do não lugar, o retrato de um mergulho pelo espaço dos sonhos, movediço e nômade. Uma homenagem ao arquivo emocional de memórias e sentidos vividos ou inventados, firmando uma relação que se fortalece para além das fronteiras físicas. Um desejo de pertencimento que se agrega ao ambiente físico para além de suas delimitações concretas, pautado na busca pelas relações humanas, pelas próximas memórias que virão. Um agora que já foi sem nunca existir.

Video of the Concave and Convex Project that honors the life and work of Maestro Carlos Gomes reflecting on the issues of the black body and the classical-popular paradox.

Greda: feminine noun. Kind of soft and absorbent clay, but it can be reduced to powder. Clay is something used to build, to mold. It is something that transforms itself by allowing itself to be transformed. It’s something that reminds you of the possibilities of things. Permanence and ephemerality in one. And that same clay can turn to mud. Mud. Which is something that sinks, that swallows, that ceases. It makes you stop breathing. What can you do with chalk, with clay, with mud? What can you do to not be reduced to dust?

What’s through? The mind overflows – labyrinths, falls and delusions. This film composes a series of screendances created from telephone calls with real people, full of stories and affections during the COVID-19 pandemic in Brazil. The project was realized in the Student-Artist Program of the State University of Campinas/BRA.

This work was developed from the research of poems collected in listening points in the city of Londrina, and seeks to trace paths between Dance and Word, linking, in a poetic way, the textual compositions with the movements of a body, present, that dances, creates and feels, giving expression to the voices that are present.

How to experience a place through the memory of our body. Starting from this principle, this contemporary dance work is expressed about the corporal questions, related to the experiences with a physical space. These relationships go beyond material questions and overflow ideas, feelings, dynamics, actions and movements. The narrative is based on the fusion of the concepts of cinematic movement from a cinematographic point of view.

A family of migrants from the interior come to the fair in Campina Grande the search for the father who left in search of work. He left torn between the desire to stay and the need for sustenance. Soon they discover the turmoil that is life in urban society. With its dynamic that grinds individuals and destroys that already torn family.

Dance is a project with the aim of exposing questions and dialogues about the materiality of female bodies. The film talks about the dichotomy of freedom and the imprisonment of human beings. At the same time, “Dance” talks about inhabiting this limited body in the materiality of this existence and living this experience through intersubjective and symbolic exchanges. Dance also proposes to talk about the machismo concepts that point, mainly, to the female body The film was inspired by the story of Rafaela Pontes, a 22-year-old practitioner of the art of pole dance, who, on the paths that cross and intersect the woman’s body, bumps into the walls of prejudice and machismo. Dance is also about looking at bodies. The film speaks not only about Rafa, but about the existence of the female body in Brazil or in our humanity. The choice of narrative told through poetry came from contact with several stories of women in this process of connection and (re)connection with their own existence. From this, a poetic discourse that represents each woman is born. Dance was recorded in the city of Curitiba and Pinhas, Paraná, Brazil, in 2019. It falls under the category of video art, musical film or experimental film.

Locomotives is a provocation in video art that weaves the timeline, evoking the memories of the bodies that boiled through the curves of the city of Recife. A kind of clock that regulates the hands of time, summoning images and stories. A metaphor that provides the necessary energy for the movement of the train, Locomotives carries infinite amounts of movement in the bodies, advancing in the percussive traces of the frevo history. The syntax of arrivals and departures challenges us to travel by words, steps and movements of bodies, by light and in a musical startle it declares itself in a state of improvisation. The bodies that, on February 7, 1907, knew the mechanics of dreams and desires, stumbling through the streets, full of personalities in conflict and enjoyment. We play with the body, expand consciousness and in a flight, we tear a luminous and subversive trace in the history of frevo.

Two women move among the furniture in an antique shop, creating temporary adhesions to the objects and to each other. They play with gravity acting on their bodies, subtracting the weight of things. Different ways of not fitting in, or attempts to escape the body’s misfits in unlikely paths and climbs, where time is dilated or accelerated. A reality tensioned by the “camera’s gaze” between gestures, furniture and objects replicated.

Ella is about the other that co-habits in me, in you, the multifaceted self, Leminski’s counter-narcissus and Angélica Freitas’ woman in red. Of the moving in rage, of the noise, of the dissonance of colors and forms.

A dance composed of two; with distinct histories and bodies. The research of movement and gestures in body and space now needs to be thought of in other aspects. With another lockdown faced in Fortaleza, the choreography of the three-dimensional space compulsorily needs to be solved in another space, this is the one of the screen, a two-dimensional space. Each one at home records part of the partiture, shares and edits it. With absolute reference to Piet Mondrian and his Neoplastic works and the abstractionism of geometric shapes, now, in Rubik’s the game happens not only between two, but, you the spectator are invited to create composition together. In the frenzy of images that appear and disappear, you create from your gaze a choreographic composition together with the performers.

Inspired by myths from the Amazon, Raul Bopp wrote “Cobra Norato,” a modernist poem that narrates the saga of a hero, journeying through the forest to find and save the daughter of Queen Luzia, his idealized woman, from imprisonment. The mask of the ox – from the traditional drama performance of Bumba Meu Boi, the protagonist of numerous popular dances across Brazil, represents rebirth. In this short interpretation, he assumes the role of hero and saviour. Brazilian Impressions is a fantasy about the encounter of the daughter of Queen Luzia, a character from poetry, with the ox, a character from folklore. It commemorates Brazilian modernist poetry and popular culture through symbols, images, music and bodies in movement.

The act of flying a kite is a frequent practice in Rio de Janeiro communities, as well as in Brazilian peripheries, it is intended to bring this movement in its multiple power in the bodies of actor-dancers living in the Parque das Missões community, located in the municipality of Duque de Caxias – RJ. It was decided to use the flagstone as a place to represent this movement, as well as the reverberations of the kite object in the body.

The art of finding. The art of connecting. In the harshness of São Paulo, the body confronts the city. The body confronts itself. The body finds caress in the skin, in the touch and in the arms of the other.

#sextou! is a dance film produced by Renata Paulino in partnership with the Fluxo em Redes’ project and the musician Carva. It composes a series called “meu corre” that speaks, in a subjective way, about the different moods of each day of week. Close the computer, turn off everything, including the mind from work, and sink into the couch, or go to the bar, or order that delicious food, or meet friends. #sextou! it’s the happy feeling that the long-awaited rest has arrived, and what I couldn’t do this week, okay, it’s for next week.

Synopsis coming soon.

Solitary dancers play and deceive the idea of isolation, each one breaking their borders and expanding it into the imaginary. They continue are creating encounters with the city and the other through the movement and poetry.

Renascente reflete nosso desejo de busca por uma atitude menos antropocêntrica e mais destinada à regeneração e ao sentir-se relacional em estado de abertura e em tessitura constante com o meio, com o outro, com o mundo, com a natureza.

Raiz D’água is a video performance that sounds like a dive into the blackness of history itself – (auto)biography and body- crossroads experienced on stage.

Inspired by the mythical universe of orality of brazilian Amazon, the Enchanted (Encantada) research began with the legend of the Princess of Algodoal island. It is said that there lives a beautiful Princess enchanted who lives six months in the form of a woman and six months in the form of a giant snake. Seen as one of the protective beings of that island, the Princess is omnipresent either playing tricks on those who do not believe in her existence, or on the moonlit nights when she appears resplendent for the natives (caboclos) who lives there.

Created by Maria Clara Laet, Luvemba is an artistic rendering of death during the Covid-19 pandemic from the perspective of the Bakongo cosmogram. Bringing together tap dance, elements of the Central African cosmovision and the thinking of philosophers as Tiganá Santana and Bunseki Fu-Kiau, Luvemba is an audiovisual account of the presence of absense that the pandemic imposed on us. The first ideas and experimentations for this project began in April 2020, when the choreographer and tap dancer lost her grandfather to complications arising from Covid-19 in Brazil.

Recognizing her history and connecting with nature is what drove her to change… Transform… Be different from what she was… Walking with new steps.

Inspired by the tale La Llorona from the book “Women who run with the Wolves” by Clarissa Pinkola Estés. This movie express –in the river waters– aspects from our unconscious mind that blocks our creative life.

Maré explores water as a thread of experiences, memories and senses, bringing together research from the past and the present that merge and complement each other. Hula hoops, body and water build small dialogues and imagetic subtleties that take place from the artist’s different approaches and perspectives.

In the Air of the Mountains is a video dance from the homonymous multidisciplinary artistic project that proposes the creation from the interaction of the body in the natural space. Developed by the dancer and acrobat Cláudia Millás, it gathers elements from dance, circus, vertical techniques and audiovisual, which dialogue with the environment of the Pau D’álho Mountain Range, located in the rural area of Andradas – MG, Brazil. The project was born from the author’s desire to develop ecological thoughts/actions capable of approaching the public and fostering the need for care and responsibility for the space in which we live. Following the transformations of nature, in its movement of variation and repetition, we seek to open paths to more subtle perceptions and the possibility of integrating with the environment from the feeling of belonging to it.

She opens ways, opens the doors, go open, open, open the roads, she dances free, she beats the hooves, she winds the mane, she shoots the arrows, go open mare, her heart is blue, all that she fights with, is deep within, she comes so bright, as rays of light, she comes so strong, as faith in love.