07/05  | 20:30
    08/05  | 20:30
    09/05  | 19:00
    10/05  | 15:00
    11/05  | 20:30

€ 18 / € 15 (-25/65+)

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. A regular at Kunstenfestivaldesarts, 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.

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

Kunstenfestivaldesarts, Zinnema

Kampnagel, Festival de Marseille, Wiener Festwochen, Künstlerhaus Mousonturm Frankfurt am Main, Tanzhaus NRW

With the support of

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

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 of NoNã, 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 closed 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 persisting, 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 relationship 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… 

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Bruno Beltrão (born in 1979 in Niterói) is a Brazilian choreographer who has worked with his Grupo de Rua since 1996. He uses urban dance styles in the context of conceptual theatre and has combined various influences, including hip hop, to form abstract choreographic landscapes. Beltrão has wanted to direct films since he was a child and he was fascinated by cinematographic and computer-generated three-dimensional universes. However, at the age of 13 he began dancing in matinees in his hometown, starting his unexpected relationship with hip hop. In 1994 he received his first dance lesson from the Israeli teacher Yoram Szabo. A year later, his studies were interrupted and he began to teach street dance in the city’s schools. In 1996, at the age of 16, he created the Grupo de Rua de Niterói with his friend Rodrigo Bernardi. In its first two years, Grupo de Rua was dedicated to competitive dance and made appearances at festivals and on television. During this period, while they lived intensely in the hip hop world, the way the techniques of street dance were usually translated to the stage no longer attracted the group’s interest as much as it had. They actually wanted to bring hip hop dance out of the confines of its own definition. In 2000 Beltrão enrolled in the dance faculty of the Centro Universitário da Cidade in Rio de Janeiro. In 2001 the duet From Popping to Poppremiered at the Duos de Dança no Sesc in Copacabana. This piece was Beltrão’s official debut on the contemporary dance scene in Rio de Janeiro and also marked a turning point in the career of a choreographer who was starting to develop a personal vision for the dance he had been performing. Also in 2001 he created Me and my choreographer in 63with the dancer Eduardo Hermanson. At the end of that year, Rodrigo Bernardi left the company and Beltrão took over running Grupo de Rua. Since then he has choreographed Too Legit to Quit (2002), Telesquat (2003), H2 (2005) and H3 (2008). Since 2002, Grupo de Rua is touring internationally.

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