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Photos © Kerstin Behrendt, Bruno Beltrão 


The top of a head is rooted in the ground, running forwards involves running backwards and the vertical axis of a bust extends horizontally. In Bruno Beltrão’s work, the inversions or diversions that are applied to the bodies on stage are perhaps also ways of thwarting forms of normalisation that dominate how we think. His work offers some of the most refreshing experiences in the field of choreography in the last fifteen years. It can be characterised by a subtle and fascinating deconstruction of codes of hip-hop dance that the artist continually enriches and questions. In INOAH, his latest creation,  ten dancers perform a fascinating choreographic composition consisting of coming together and then bursting into the space, of gentleness and of threat. Beyond its astonishing virtuosity, INOAH translates the ambivalence in relationships between individuals.

Inoah is a piece that continues to try to answer old issues important to us: how to dance together from an egocentric vocabulary, how this vocabulary can create other spaces; if there is room for subtlety in urban dances. (...)

Inoã is a neighbourhood of Marica, near the city of Niteroi. We tried to find a large space in Niterói, but it was not possible to rent it. Then we found this beautiful space in Inoã, forty minutes from Rio de Janeiro. Inoa comes from the TUPI indigenous language and there are two main meanings: “high grass”, “high field”. And the other is abbreviation ofNoNã, which means to taper, because it is a region that narrows when it comes across a very beautiful group of mountains of the region called Serra da Tiririca. (...)

We stayed in this shed in Inoã for six months, and this space was all clo- sed with except for these windows, where we could see a piece of a house, a mountain in the background with a telephone antenna, and tangled poles and wires on the other side. An insistent image that ended up per- sisting, or continued to follow us. I believe these windows are the index of a discomfort. Something that seems to be there to ask us how our dance communicates with the world. In practice we all know that there is no creation from scratch and any work is the fruit of the relation-ship between body and environment. But it seems that we insist on it because it induces us to ask frequently what difference our dance makes to the world. I do not regard these time passage as a metaphor for our political crisis. Or are they...

Bruno Beltrão, in conversation with Ewoud Ceulemans (De Morgen)


Bruno Beltrão

Bruno Duarte
Cleidson De Almeida ‘Kley’
Douglas Santos
Igor Martins
Joao Chataignier
Leandro Gomes
Leonardo Laureano
Linaldo Pantoja ‘Dhuk’
Ronielson Araujo ‘Kapu’
Sid Yon

Renato Machado 

Marcelo Sommer

Felipe Storino

Assistant direction
Ugo Alexandre Neves

Bruno Beltrão / Grupo de Rua (Niterói - BR)

Kampnagel (Hamburg - DE)
Festival de Marseille (Marseille - FR)
Wiener Festwochen (Vienna - AT) 
Mousonturm (Frankfurt - DE)
Tanzhaus NRW (Düsseldorf - BR) 

With the support of 

International Distribution
Something Great (DE)