The extraordinary dance company “Grupo Corpo” performed for three nights at the Ahmanson Theatre this past weekend, May 2 through the 4, 2025. If you missed them this time around, put them on your calendar for when they return, hopefully sometime soon.
Founded in 1975 by Paulo Pederneiras in Bolo Horizonte, Minas Gerais, Brazil, the company is still a family affair including primary choreographer Rodrigo Pederneiras whose work was featured on opening night. Beginning with “21” and ending with “Gira” this was eighty minutes of intoxicating dance. “Grupo Corpo” which means “body group” in Portuguese is exactly that, twenty-two top-notch dancers, bodies, coming together to “seamlessly combine classical ballet with the rhythms and movements of Brazilian folk dance.”
Grupo Corpo in “21” by Rodrigo Pederneiras – Photo by Jose Luiz Pederneias.
Created in 1992, “21” opened the night. Marco Antonio Guimarães, artistic director of Uakti Instrumental Workshop, composed the music around the number 21 using fundamentally Brazilian “rhythms and tonality” and mathematically geometrical patterns. This trope was generally compelling as the dancers moved in repeating configurations while using peculiar body language, rounded backs, tiptoe walking, strange poses and odd leans, and though interesting it occasionally hovered on the perilous edge of tedious. However, just when enough was enough choreographer Pederneiras would change it up and give us something new to contemplate. Because the company dancers can do anything asked of them, Pederneiras had free reign to “try anything” and this gave the first section a sense of experimentation. Not everything worked but when it did it was mesmerizing. Birdlike arm movement, frenetic butterfly hands, solos and articulated crossings all melded with the primitive music to create an otherworldly atmosphere and even a sense of nostalgia.
Grupo Corpo in “21” by Rodrigo Pederneiras – Photo by Jose Luiz Pederneias.
This morphed neatly into an up-tempo finale that filled the senses with a festival of color, light and a flavorful take on Brazilian folk dances. A compilation of quilts made up the wonderfully evocative backdrop while the dancers wore brightly colored leotards and tights niftily designed by Freusa Zechmeister. The patchwork liveliness of the quilt was matched by the energized sometimes chaotic choreography, accompanied by the now happily whimsical folk-jazz style music. Nothing was missing from this section, solos, partnering, lifts, jumps, shaking butts, canons, and more, all put together in a mesmerizing circus of bodies in motion. Constant movement created a fevered pitch as finally, each female dancer wrapped her body around her male partner until one by one the full company hit this crazily wild pose and the lights went to black. Hard to describe but exhilarating to see, this brought the audience to their feet.
Simple yet effective set design was by Fernando Velloso, along with exceptional lighting design by Paulo Paderneiras.
Grupo Corpo in “Gira” by Rodrigo Pederneiras – Photo by Jose Luiz Pederneias.
After intermission “Gira” took place in all its’ splendor. A simple but evocative set of black surroundings dotted with candle lights and lined with chairs, gave the feeling of a remote celebration or perhaps a ritual. When the dancers retreated to their seats they were covered in black gauze as though disappearing into the mist. “Gira,” meaning paths or rotation, is steeped in Afro-Brazilian religious/cult themes which were impeccably reflected in the melodious yet pulsating rhythms of composer Metá Metá. Dressed in primitive flowing white skirts all dancers, male or female appear with bare torsos. Here the towering technical ability of each and every dancer has a chance to shine. Riveting from the start we are drawn into a world morphing from quiet ritual to wild abandon. Again, choreographer Rodrigo Pederneiras keeps the stage moving at a constant pitch as groups, duos and soloist take the stage. Pederneiras is not afraid to show that within the frenzy of religious rituals, sex inevitably enters the picture. Therefore, when the female soloists dance in sinuous ecstasy it is met by male dancers with aggressive passion. These passages were daring and sexy and just on the edge of dangerous. Never losing their fiercely individual persona, these dancers nevertheless coalesced into a fine-tuned machine. Pederneiras vocabulary is vast as he is not afraid to use unconventional movement, an indigenous freestyle, that infuses the work, while never shirking the underpinnings of good technique. Building on rhythm and repetition to the end, the ferocious dancing of “Gira,” once again brought the audience to its feet.
Grupo Corpo in “Gira” by Rodrigo Pederneiras – Photo by Jose Luiz Pederneias.
The effective Set Design was by Paulo Pederneiras. Costume Design by Freusa Zechmeister was exactly right as was the moody lighting by Paulo Pederneiras and Gabriel Pederneiras.
The energy, passion and creativity of this company is something to behold. If offered the opportunity to see them anytime, anywhere, go.
The fabulous company dancers are, Agatha Faro, Dayanne Amaral, Hiago Castro, Bianca Victal, Débora Roots, Isabella Accorsi, Carlos Nunes, Edésio Nunes, Jonatas Itaparica, Davi Gabriel, Giulia Madureira, Jonathan De Paula, Karen Rangel, Luan Barcelos, Lucas Saraiva, Malu Figueiroa, Pablo Garcia, Rafael Bittar, Rafaela Fernandes, Tris Martins, Vitória Lopes, and Walleyson Malaquais.
For more information about “Grupo Corpo,” please visit their website.
For more information about the Ahmanson Theatre, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Grupo Corpo in “Gira” by Rodrigo Pederneiras – Photo by Jose Luiz Pederneias.
