JOSE LUIZ PEDERNEIRAS
EMAIL: ARTS@INDEPENDENT.COM
GRUPO CORPO
L I F E PAGE 41
COMES TO S.B.
JOHN SAYLES INTERVIEWED
BRAZIL DANCE COMPANY EMPHASIZES CULTURAL FUSION
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yncretism, or the blending of distinc- contemporary in approach, Brazilian in tive beliefs, has long informed the spirit, and universal in appeal. The name cultural identity of Brazil, where itself — “Body Group” in English — a swirl of African, European, Asian, and reflected the dismissal of a singular idenindigenous traditions pushes against the tity in favor of a unified voice. Would they confines of a nation. In the late 19th century, fall under the categorization of Afro-Latin, Catholicism and African ritualism collided, contemporary ballet, or modern dance? and the Afro-Brazilian religion known as Yes. And if the success of their first producUmbanda was born. As cities such as São tion, Maria Maria, was any indication (a Paulo began swelling with industrial oppor- six-year run across 14 countries), the world tunity, eclecticism would win out didn’t seem to care much about over stodgy classicism, and fusty labels. They were too baroque and Art Noubusy marveling over veau influences would the collective genius soon begin popping of the Pederneiras Thrusting arms and up along the city’s family, who, 45 unruly pelvises shift from years later, conboulevards. black to blue to shimmering And so it was tinue to preside gold against the linear within Brazil’s shiftover Brazil’s most severity of an iron forest. ing and evolving influential dance landscape that Paulo company. Pederneiras, a dance On Tuesday, Febstudent from the town of ruary 25, UCSB Arts & Belo Horizonte, would envision Lectures will present a double and plot a syncretic revolution of his own, bill of entrancing works from Grupo recruiting his younger siblings Rodrigo, Corpo’s extensive catalogue: the 1996 poetic Miriam, and Pedro along the way to form a elephant known as Bach, and the 2017 cerdance company that emphasized the wide- emonial powerhouse Gira — both concepreaching implications of cultural fusion. tualized by Rodrigo, the company’s resident He called his company Grupo Corpo: choreographer.
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In the former, Johann Sebastian Bach’s baroque compositions are painted across the Minas Gerais landscape, where the bustle of a mining industry is represented by an ensemble of thrusting arms and unruly pelvises that shift from black to blue to shimmering gold against the linear severity of an iron forest. In the latter, Rodrigo spent months studying Umbanda’s elaborate ceremonies and rituals for the creation of a metaphysical homage to self-discovery. Bare-chested and raw, with billowing white skirts that frame a purity of movement at once moody and activating, the dancers float through a rigorous incantation of Brazilian history to glorious effect. With stinging focus over the past several decades, Grupo Corpo has been exploring a movement language all its own while continuing to wrap itself firmly around a diverse national identity. With more than 35 company works under his belt, Rodrigo is often asked about the pressures of generating fresh choreography with each passing season, and his answer underscores the company’s continued commitment to integration: “It’s not hard to come up with new ideas. When composers arrive, they always bring new ideas. We prefer to be influenced.” —Ninette Paloma
UCSB Arts & Lectures presents Grupo Corpo on Tuesday, February 25, 8 p.m., at The Granada Theatre (1214 State St.). Call (805) 893-3535 or see artandlectures.ucsb.edu.
ON THE COME UP
INDY
BOOK CLU B
John Sayles is best known as an important American filmmaker, with a long filmography auspiciously launched with his classic protoindie film Return of the Secaucus 7 and including Matewan, Eight Men Out, Lone Star, and The Brother Star from Another Planet.. But Sayles’s particular skill in mediating social, historical, and progressive political interests with art has also graced the pages of literature, going back to 1977’s Union Dues, nominated for a National Book Award. The seventh and latest Sayles novel is the timely Yellow Earth, about Native American land preservation struggles in North Dakota, faced with the aggressive naturalresource-tapping interests of an oil company. Recently, Sayles the Novelist passed through the 805 — a former stomping ground — for a special book signing at Chaucer’s. I caught up with the director-author over the phone just before his visit.
What was the impetus for writing Yellow Earth? I’ve always been fascinated by these economic feeding frenzies — could be oil or buffalo or gold. I started following the Bakken boom while it was happening. Once I started going, it wrote pretty fast, though I don’t always write in continuity but jump around from scene to scene and then put things in order.
The novel has roots in the real world, relating to the Standing Rock protest and tragedy. Did the weight of that subject force you into creative action? Standing Rock hadn’t hit the news when I was writing. I was more interested in the human impact of that kind of invasion, both on the residents and the newcomers.
Is writing a novel an entirely different process from making a film, or are they artistic expressions with different means toward similar ends? Writing a film is like making a blueprint for a building a house — it’s only a plan. Making the actual thing, you have the help of lots of talented people. Book writing is a solo act, but you are more godlike. If you want the sun to shine, you just write that it’s shining.
Angie Thomas’s young adult novel On the Come Up tells the story of 16-year-old Bri, who dreams of following in her father’s footsteps and becoming a professional rapper. Although nothing seems to be going her way, Bri doesn’t let expectations or hardships derail her pursuit. On the Come Up takes place in Garden Heights, as did Thomas’s debut novel, The Hate U Give, and touches on what it’s like growing up as a young black girl in a single-parent working-class household. This is a story about dreams and shooting for them even when history and circumstance are telling you it’s impossible. The audiobook is narrated by Bahni Turpin, who raps Bri’s rhymes right into your headphones. It is the perfect touch to completely immerse you into Bri’s world. —Emily Cosentino
Are there other novels or book projects you are engaged in? I’ve already written another novel, Jamie MacGillivray set in the mid-1700s, and I have a half-dozen MacGillivray, screenplays I’d like to make movies from. Just add money. —Josef Woodard
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FEBRUARY 20, 2020
THE INDEPENDENT
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