Review by Yuxi Jiang

Watching Grupo Corpo was undoubtedly one of the highlights of my experience at the Edinburgh Festivals this summer. The contemporary Brazilian dance company, founded by Paulo Pederneiras in 1975, continues to innovate over time, establishing its own unique theatrical language and choreography. Through a double bill featuring Gil Refazendo and Gira, Grupo Corpo perfectly showcases its professionalism and performance energy in a novel way. Just as the English translation of the company name suggests (‘Body Group’) the large ensemble on stage moves with impeccable synchronisation. Each dancer performs with precision, embodying not only Brazilian dance and rhythmic history but also the spiritual essence of the nation.

In Gil, the music features phrases and themes from songs by Gilberto Gil, a tribute to one of the greats of Brazilian popular music. Following the spirit of ‘remaking and reviving’, the dance alternates between ancestral drums and electronic distortions. The concept of symphonic choreography—where dance movements are designed to reflect the structure, complexity, and emotional range of the music—is vividly expressed. Dressed in raw linen and accompanied by simple lighting, the movements are easily visible on stage. The subtle hip wiggles and complex steps, combined with light bounces, blend naturally with the dancers’ relaxed performance state, making it easy to forget that the choreography is highly technical and physically demanding.

Another highlight in Gil is the background image, which moves in millimetric motion to project zoomed-in sunflowers slowly coming back to life; the sunflowers were captured wilting over 15 days of uninterrupted filming and then reversed. Gil culminates in a concentrated circle, with all the dancers huddled together at the centre of the stage, facing a screen filled with blooming sunflowers. This moment evokes the return of life, the completion of a ritual, and the continuation of love and hope.

The second piece, Gira, meaning ‘spin’, is inspired by Afro-Brazilian traditions and the religion of Umbanda—one of the most widely practised religions born in Brazil. A black linoleum ‘wall’ frames three sides of the stage, forming a shadowy area where dancers sit in chairs, covered in black tulle whenever they are offstage. This enclosed space creates a sacred and mysterious atmosphere. The movement vocabulary, centred on wave-like motions of the arms and upper body, circular hip movements, and flex-kicks, combines fast, unpredictable steps and spins. It exudes a strong folkloric flavour with refined stagecraft. Regardless of gender, the dancers are topless and wear white skirts that soar as they spin amidst the frenzied chanting. It’s a brilliant mixture of contemporary, balletic dance style with Brazilian elements. The choreography successfully innovates movement language; you see tradition, yet do not see the shadow of tradition.

*

This review is published by Traditional Dance Forum of Scotland as part of our Traditional Dance Criticism Course, led by dance writer and editor Róisín O’Brien and supported by dance scholar and editor Dr Wendy Timmons.

Yuxi Jiang was one of the six applicants, alongside Catherine Coutts, Inesa Vėlavičiūtė, Alena Shmakova, Vassia Bouchagiar-Walker and Yanmei Bowie, who were selected to participate in this pilot edition of the course in 2024.

Gil Refazendo and Gira were performed at the Playhouse Theatre, Edinburgh on 5-7 August 2024 as part of Edinburgh International Festival. This double bill by Grupo Corpo was one of over 10 shows with trad dance roots across the Edinburgh’s summer festivals we hand-picked to be reviewed.

Images courtesy of Andrew Perry and Grupo Corpo. 

* 

Please find further details about our #traddance campaign at Edinburgh summer festivals here