22, 23/05 – 21:00
24/05 – 22:00
The Kunstenfestivaldesarts asked Marcelo Evelin to create a parade in 2014. The Brazilian choreographer set about the task employing the ideas and dynamics of human togetherness. He concentrated on how the body becomes a means to express itself in the public space. In May, Marcelo Evelin is bringing a motley crew of more than 50 performers together for Batucada – the name of the percussion section of the Brazilian samba. The participants morph and warm-up, waiting for the parade to erupt on the streets of Brussels. In the cadence of the Batucada, bodies become instruments for the rhythmic structures and fast pace of the choreography. But the parade is fixed in time and space, and gradually reveals its dark side; thus demonstrating how a festive carnival procession and a grim protest march do not essentially differ from each other very much. Batucada is an urban parade, an anti-Olympic procession, a pagan festival, a masked protest, an outbreak of an inner revolution. The apotheosis of the Kunstenfestivaldesarts 2014!
Concept, creation & direction
Carolina Mendonça, Elielson Pacheco, Layane Holanda, Sho Takiguchi
Created & performed by
Adolfo Severo, Adonis Sarikas, Ana Catalina Rincón Gille, Anaïs Ciriello, Andrez Guizze, Augustin Forget, Benoît Fasquelle, Bruna Sem Nome, Bruno Moreno, Celine De Vos, Cleyde Silva, Daniel Gaspar, Daniel Silva, Danton Brando, Dora Smék, Eduardo Moreira Filho, Elielson Pacheco, Erivelto Viana/Cintia Sapequara, Estelle Bibbo, Filippos Anagnostopoulos, Francesca Chiodi Latini, Gui Fontineles, Hélène Rase, Hitomi Nagasu, Inez Kaukoranta, Issouf Ilbodo, Jo Heyvaert, João Eduardo, Johan Vreys, Kathy Van der Elst, Kiki Samba, Koen Cobbaert, Layane Holanda, Lola Chuniaud, Marcelo Evelin, Márcio Nonato, Maria Peredo Guzman, Nerina Cocchi, Numa Verrez, Pietro Marullo, Rafaella Pollastrini, Rodrigo Andreolli, Rosana Pinheiro, Rosângela Sulidade, Sho Takiguchi, Vanessa Nunes, Vitor Sampaio, Wilena Weronez, Yanu Schepens, Yowa Tshimanga
Fabien Marcil, Gui Fontineles
Demolition Inc. & Kunstenfestivaldesarts in collaboration with Charleroi Danses & Künstlerhaus Mousonturm (Frankfurt)
This project was awarded by
Fundaçao Nacional des Artes – Funarte with Premio Funarte de Dança Klauss Vianna 2013
Projeto LOTE#3 (São Paulo) & Galpao do Dirceu (Teresina)
Kunstenfestivaldesarts team, Materiais Diversos, Carla Sousa, Loes Van der Pligt, Fabian Santarciel de La Quintana, Cristian Duarte, Sérgio Caddah, Nayse Lopez, Daniel Barra, Humilde Alves, Secretaria Municipal da Juventude/PMT
Research group Teresina
Ana Raquel Vieira, Arthur Doomer, Carolini da Silva, Cléverson Rodrigues, Gê Viana, Helen Mesquita, Jell Carone, João Paulo Andrade, Jorge Oliveira, Larissa Almeida, Marília Morais, Paulo Beltrão, Ramôn Ferreira, Rosa Prado, Savina Kelly Silva Santos, Tássia Araujo, Thyallisson, Valério Araújo, Vicente de Paula, Virgílio Mastrângelo
Research group São Paulo
Alexandre Magno, Aline Bonamin, Bruno Levorin, Caio Cesar Andrade, Carolina Brandão, Chico Lima, Clarice Lima, Eduardo Bordinhon, Eidglas Xavier, Fê Vinhas, Felipe Rocha, Felipe Stocco, Fernando Gregório, Gabriela Alcofra, Isabel Ramos Monteiro, Isabella Gonçalves, Isis Vergílio, Julia Monteiro Viana, Juliana Casaut Melhado, Laurance Trill, Leandro Berton, Lineker Oliveira, Lô Medeiros, Mariana Costa, Mavi Veloso, Nina Guzzo, Patrícia Arabe, Rafael Amambahy, Robson Ferraz, Rodrigo De, Rogério Salatini, Sura Sepulveda, Talita Florêncio, Teresa Neves, Tiago Pinheiro, Tiago Ribeiro, Tom Monteiro, Túlio Rosa
# : ## minutes in a rehearsal from Marcelo Evelin in São Paulo
# It is a prison where freedom lives, and where freedom feels free (yes, you’ve read that right: the imaginary palace of freedom is a prison).
# The whole of São Paulo is a prison of freedom.
# The building where Marcelo works is a security cell within the gaol of freedom that is all of São Paulo. I call it the Cell of locked Caprice.
# It lies in the city centre, based in an abandoned and collapsing old theatre.
# This seemingly vast gaol is nothing but a tiny cell within a stronghold of freedom…
# …that is Evelin’s polírico process. Polírico is a word I have just coined, combining political/oneiric/lyrical. This gives us multiple dungeons, one inside another, like Russian dolls, yes, dungeons/Russian dolls; or as in Luis Buñuel’s film Le Charme discret de la bourgeoisie [The Discreet Charm of the Bourgeoisie], involving dreams within dreams. Here there are dungeons in prisons, and prisons in strongholds, or perhaps better: apparent freedom within apparent freedom within a dream of freedom.
# So vast and extensive is the stronghold that one can forget it is an enclosed paradise, bounded by the night time sounds of heaven and its aromas. And let’s be clear, it is a paradise in every sense.
# Marcelo holds the keys, but he doesn’t use them because in São Paulo, everything is broken, nothing works. The remaining doors are rickety, any locks there were have fallen out now, leaving holes in the non-functioning, meaningless woodwork; the windows were long ago smashed by thrown stones, letting the air and the fumes come in where they please, the noise of the trucks creating clever dances, with Marcelo a kind of shaman, weaving a path through the insistent sensations of everyday São Paulo and the spasms of his surrounding performers. Forty volumes of anthropology go to make up São Paulo.
# I spent # hours and ## minutes in a dungeon that everyone voluntarily suffered: the cell of the imagination and of perpetual motion, protecting people from daily life when daily life is coarse, and hurling people out into daily life when the daily round requires gestures that conceal it from the abyss of routine (from misunderstood routine).
# I have seen the performers who work with Marcelo Evelin come flying out of the windows hand in hand (one gripping a woman by the foot, still flying of course) and returning stained with chocolate, with happiness, with sweat, with teeth and lips, with need and desire.
# Everything that speaks of heaven in Marcelo’s universe in turn also speaks of gloom. I call it Eden in shadows. It is the sweetest hell that I have set foot in for a long time. Bodies and masks are amalgamated in such a malicious way that it is impossible to see if they are masked people stuck together, masks owning the body; I mean that the owner is the crafty cover for the human being: I counted a score of naked, hooded Golems running round in circles, banging pots and pans like idiots (idiots: the superior race).
# Marcelo Evelin is one of the three reincarnations of Pieter Brueghel the elder, found today around the world (of the other two, one is in Atlanta USA and one in Transylvania); a reincarnation of Brueghel, indeed, who frequently copied Hieronymus Bosch. And Marcelo is more Brueghel than Bosch because, like Brueghel, Marcelo appreciates swords.
# There are swords flying above all the heads, I counted twenty-two heads and twenty-two swords, they told me no-one saw them, but I saw them; it was explained to me that they were not on the tables among the stacks of objects the performers used for their improvisations, they were not clutching them, but I saw them. As always, once more these were flaming swords.
# I saw flaming swords in looks. And I saw bodies bleeding in disagreements and misunderstandings. I also saw skin burning in farewells.
# Frivolity does not cause trembling. Carelessness does not raise any smile. Every drop of sweat has its owner. Spitting is giving birth and allowing to die. Every material is formed of fifty per cent hatred.Back to top
Marcelo Evelin was born in Piauí, Brazil and is a choreographer, researcher and performer. He lives and works in Amsterdam and Teresina. In Europe since 1986, he has worked in dance, collaborating with artists who speak different languages in projects also involving physical theatre, music, video and site-specific installations. Evelin is an independent creator with his company Demolition Inc., and teaches at the Mime School in Amsterdam, where he also guides students in their creative process. He coordinates workshops and collaborative projects in various countries in Europe, America, Africa, Japan and South America, returning to Brazil in 2006. Since then he has also been working as a curator, establishing in Teresina the Núcleo do Dirceu, a collective of artists and a platform of independent research and development of contemporary performing arts which he coordinated until 2013. His last two shows, Matadouro (2010) and De repente fica tudo preto de gente (2012), are currently being performed in theatres and festivals in Brazil and abroad.Back to top