How to stay in movement, when the political and social situation in one’s country appears to paralyze everything like a poisonous fog; when hounding and hatred seem to disunite, split and suffocate freedom and solidarity, equality and democracy?

Over the course of the last two decades the Brazilian choreographer Bruno Beltrão has revolutionized Hip Hop by interweaving styles and postures of Urban Dance with contemporary dance principles. His choreographies are urban and political dances which are also characterized by a physical vehemence and a deep understanding of music and space. Jair Bolsonaro’s resounding election victory in 2018 left many perplexed, but it did not surprise Bruno Beltrão. His previous creation Inoah (2017) already seemed to predict this societal shift. The movement material negotiated indissoluble conflicts and violent social contradictions in a nearly pleading manner; as an urban battle between solidarity and excess. In this new creation, he makes a powerful and touching work that bears witness to his country’s condition – a society in the grip of ultra-right forces.

Bruno Beltrão (born in 1979 in Niterói) is a Brazilian choreographer who uses urban dance styles in the context of conceptual theatre and has combined various influences, including hip hop, to form abstract choreographic landscapes. In 1996, at the age of 16, he created the Grupo de Rua de Niterói with his friend Rodrigo Bernardi. With Grupo de Rua, Beltrão has toured acclaimed theatres and festivals worldwide since 2002. Beltrão was awarded two times “The Bessies – New York Dance and Performance Awards”, first in 2010 for his piece “H3” and more recently (2020) for one of his latest works “Inoah”. His choreographies move between the extremes: meditation, fury, softness, strength, virtuosity, reflection. If one is expecting just one of these aspects, it may come as a deception.