Airport
Airport
Airport
Airport
1993
As Trevas
1994
1994
Destiny Touching the Table
The batucada that brought Bruno and Rodrigo together
In a chance meeting, Bruno and Rodrigo find themselves face to face in an almost comical silence. Bruno, waiting for Nathan, and Rodrigo, waiting for Allan, Nathan's brother, sat down at a table that seemed to be conspiring for the meeting.
And as if by magic, without exchanging a word, his fingers found the rhythm in a spontaneous drumming that started on the table.
Improvised, born out of nowhere, it became the soundtrack of a meeting that would mark the beginning of a great friendship and a long artistic collaboration that would last for years.
They even created a group together with friends from the street called Power Dance, in San Francisco, where they were neighbors and rehearsed steps to perform at Scaffo on weekends, at Clube Naval.
From club to the academy
As Trevas
In 1994, after a year of going to Scaffo nightclub, Bruno and Rodrigo were surprised by something new brought by their friend Douglas. Thanks to him, they learned that an American teacher taught hip hop classes at the Ativa academy, in Icaraí. But this information was not very accurate. In fact, the teacher was the Israeli Yoram Zsabo, who did not teach hip hop, but rather a type of Street Jazz.
In the same year that they started teaching, they choreographed their first piece for the end of the course at the Helfany and Jânia academy with the song Now that we found love by Heavy D and the Boys.
Dancing on the asphalt
1995
Airport
In early 1993, Bruno and his friends explored the dance scene in the city of Niterói, attending the Scaffo nightclub, a popular place among young dance lovers. Influenced by the movements of MC Hammer and Vanilla Ice, Michael Jackson in addition to R&B and New Wave that echoed in the club, Bruno, initially reticent, gradually became enchanted with the practice. Observing his friends Rodrigo, Nathan, Allan from afar, he developed a passion for dancing that would eventually shape his future career.
Two years after starting classes with Yoram, who did not return to Brazil to continue his workshops, Bruno and Rodrigo found themselves faced with the challenge of maintaining their dance practice. Faced with the absence of a mentor, they made an unusual decision: to start teaching dance.
Early 90s
Encouraged by their teenage friends, Vanessa Motta and Tania Mara, who regularly attended one of the oldest and most renowned gyms in Niterói, they were introduced to teacher Helfany Peçanha who allowed Bruno and Rodrigo to start teaching at the gym, at the age of 15, in 1995.
1993
GRN/DOC
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
Yoram Szabo, was a Jazz and Hip Hop teacher who worked between New York and Brazil in the 90s. Originally from Israel, Yoram honed his dancing, singing and theater skills in New York and Philadelphia, bringing his classes to renowned academies in the Rio de Janeiro, like Carlota Portela and Enid Sauer. His dance style, developed in the gyms, is a mix of New Jack Swing and Jazz. On the streets of New York, he was known for his light, loose movements that emphasized fun and physical exercise, accessible to students of all technical levels. Yoram Szabo left a lasting impression before ending his teaching career, planning courses in cities like Salvador and Aracaju, and solidifying his role as an influencer in the spread of Hip Hop in Brazil.
In 1994, Bruno and Rodrigo began teaching children at the Helfany Academy. They soon noticed the stark contrast between teaching children and adults. Concerned about the safety of the little ones, they took care to adapt each movement.
On the other side of the world, in China, it was a different story. Dance training there is known for being rigorous from an early age. Young dancers are molded in a regime of severe discipline, where skills are sculpted under the weight of extremely high expectations. Injuries and emotional exhaustion are often seen as necessary sacrifices in the quest for artistic perfection.
Bruno, Rodrigo, Allan e Nathan no final da apresentação, em Niterói.
The following year, they released "Aeroporto", a performance created for their second end-of-year show at Helfany. Just five minutes long, the choreography portrayed a bomb threat situation at an airport, which escalated to the dramatic arrival of the bomb squad to neutralize the danger.
Airport
1995
1998
This work took the group to a competitive festival in São Paulo, where they won third place. It was at this event that they had their first contact with Blackout, one of the parallel groups of the Dança de Rua do Brasil project.
Emerging from the vibrant cultural scene of the 1990s, "Dança de Rua do Brasil", led by Marcelo Cirino, burst onto the Brazilian urban dance scene. Inspired by the contagious energy of aerobics and the pulsating beats of electronic music, the group updated the aesthetics of street dance, incorporating an eclectic fusion of influences.
More than a mere imitation, "Dança de Rua do Brasil" recontextualized elements of voguing. The rigidity of the postures and the geometry of the shapes in the choreographies reflected a discipline present in the Santos project, while the symmetry of the movements evoked the image of a military bloc on the march.
For example, the hands performances, traditionally executed with softness and fluidity, took on an impressive hardness and precision in the group's repertoire.
The catwalk, originally a stylized and elegant catwalk, is transformed into a standardized entrance and exit from the stage, referring to the tension and urgency of an escape in the midst of a threat. This break with tradition demonstrates the boldness and creativity of the group, which didn't stick to pre-defined formulas, but sought to re-imagine the language of urban dance to their liking.
The synchrony and obsessive precision of the choreographies were trademarks of Dança de Rua do Brasil. For them, this search and idea of technical perfection was linked to synchrony and choral choreography.
Foundation
After two years at the Helfany and Jania Academy, at the age of 16, the dancers looked for a new space to expand their artistic ambitions, such as representing the city at events in Brazil and abroad. With the generous welcome of Rose Mansur, who opened the doors of her academy, they held the first audition that would give life to the group.
On July 15, 1996, Bruno and Rodrigo's trajectory reached a decisive point with the founding of theGrupo de Rua de Niterói, at the Rose Mansur Academy.
1996
The influence of Santos
1995
3rd teenage war
Since its formation, Grupo de Rua has wasted no time in marking its territory in the competitive world of dance festivals. With "The Last Prophecy", a choreography inspired by the predictions of Michel de Nostradamus, this choreography paved the way for a series of victories, with the group winning first place in all nine festivals in which they competed, eight in the state of Rio and one in Italy.
A moment when the GRN hears the results of the Tapias Festival in 1996
1996
From the street to tumbling
Bruno, who had been a student of Werneck's from the age of 7 to 12 at the Associação Atlética Banco do Brasil (AABB), met his mentor again at a crucial stage. The reunion rekindled Bruno's passion for sport and sealed an unprecedented partnership: in exchange for training, the group would perform at some of the gymnastics events he organized. After Werneck's death, Niterói City Hall created the Carlos Werneck Gymnastics Tournament, paying tribute to his legacy and keeping his memory alive in the artistic gymnastics community.
Between 1997 and 1999, the Grupo de Rua had the opportunity to learn Olympic gymnastics from the legendary Professor Werneck. He was one of the most respected instructors in the city, and also an important figure in Beltrão's life.
The experience with professor Werneck
The vhs that chocked Rio
German Battle of '98 went viral before the internet
"Grupo de Rua de Niterói (GRN), already active for around two years, had its horizons in the world of B-boying significantly expanded by a landmark event. The transformation began when Fera and Maluquinho, two b-boys from Pará, they brought to Rio de Janeiro a VHS tape with excerpts from the 1998 'Battle of the Year' championship. This international tournament, one of the most prestigious in the b-boying scene, included an iconic battle between the Suicidal Lifestyle and Phaze II crews. The tape quickly became a kind of visual manual for GRN, a source of inspiration and learning that members studied endlessly.
1996
The battle between Suicidal Lifestyle and Phaze II is often seen as a milestone in bboy history, standing out for showcasing the remarkable talents of Mr. Do, Wicked, Javier and the young K-Mel. This competition exemplified the essence of true breakdance battles, with each participant displaying impressive skills and a deep respect for their opponents, striving to outdo the previous move with creativity and dexterity.
Later many consider this event to represent the golden age of b-boying. K-Mel, only 17 at the time, drew a lot of attention with her moves and inspired future generations of dancers. This battle enriched the GRN experience and also continues to be a benchmark of excellence in the bboy world.
Experience
Metropole
Created for the end-of-year show at the Rose Mansur Academy, GRN premieres 'Deus Trovão'.
But it was only the beginning, because after a while of tweaking and adding a few things here and there, "Deus Trovão" evolved into "Metropole". The choreography took the group to special appearances on TV shows and all kinds of events.
1998
"A Experiência", the Grupo de Rua's third choreography, premiered with great anticipation at the Tapias Festival in 1997, at the Carlos Gomes Theater. After the previous piece, the group was eager to repeat the feat of winning first place. The choreography told the story of a scientist reflecting on her warnings, ignored by the scientific community, about an imminent catastrophe. In one of the moments of the performance, the Grupo de Rua created a scene with four gallons that turned on and off as the dancers stepped, creating a quartet of lights that drew thunderous applause from the audience. These gallons, which became a striking visual symbol of the show, were built by Bruno's father, João Marcos.
1998
The first choreography
In 1994, Bruno and Rodrigo began teaching children at the Helfany Academy. They soon noticed the stark contrast between teaching children and adults. Concerned about the safety of the little ones, they took care to adapt each movement.
On the other side of the world, in China, it was a different story. Dance training there is known for being rigorous from an early age. Young dancers are molded in a regime of severe discipline, where skills are sculpted under the weight of extremely high expectations. Injuries and emotional exhaustion are often seen as necessary sacrifices in the quest for artistic perfection.
Airport
Airport
Airport
Airport
Airport
Airport
From matinees in Niterói to international stages, Grupo de Rua's journey is inseparable from its roots. In this microsite, we go back in time to discover the entire journey from its beginnings to the present day.
SCAFFO
Early 90s
In early 1993, Bruno and his friends explored the dance scene in the city of Niterói, attending the Scaffo nightclub, a popular place among young dance lovers. Influenced by the movements of MC Hammer and Vanilla Ice, Michael Jackson in addition to R&B and New Wave that echoed in the club, Bruno, initially reticent, gradually became enchanted with the practice. Observing his friends Rodrigo, Nathan, Allan from afar, he developed a passion for dancing that would eventually shape his future career.
Airport
Destiny Touching the Table
The batucada that brought Bruno and Rodrigo together
In a chance meeting, Bruno and Rodrigo find themselves face to face in an almost comical silence. Bruno, waiting for Nathan, and Rodrigo, waiting for Allan, Nathan's brother, sat down at a table that seemed to be conspiring for the meeting.
And as if by magic, without exchanging a word, his fingers found the rhythm in a spontaneous drumming that started on the table.
Improvised, born out of nowhere, it became the soundtrack of a meeting that would mark the beginning of a great friendship and a long artistic collaboration that would last for years.
They even created a group together with friends from the street called Power Dance, in San Francisco, where they were neighbors and rehearsed steps to perform at Scaffo on weekends, at Clube Naval.
Airport
From the nightclub to the gym
In 1994, after a year of going to Scaffo nightclub, Bruno and Rodrigo were surprised by something new brought by their friend Douglas. Thanks to him, they learned that an American teacher taught hip hop classes at the Ativa academy, in Icaraí. But this information was not very accurate. In fact, the teacher was the Israeli Yoram Zsabo, who did not teach hip hop, but rather a type of Street Jazz.
Yoram Szabo, was a Jazz and Hip Hop teacher who worked between New York and Brazil in the 90s. Originally from Israel, Yoram honed his dancing, singing and theater skills in New York and Philadelphia, bringing his classes to renowned academies in the Rio de Janeiro, like Carlota Portela and Enid Sauer. His dance style, developed in the gyms, is a mix of New Jack Swing and Jazz. On the streets of New York, he was known for his light, loose movements that emphasized fun and physical exercise, accessible to students of all technical levels. Yoram Szabo left a lasting impression before ending his teaching career, planning courses in cities like Salvador and Aracaju, and solidifying his role as an influencer in the spread of Hip Hop in Brazil.
1994
Airport
Two years after starting classes with Yoram, who did not return to Brazil to continue his workshops, Bruno and Rodrigo found themselves faced with the challenge of maintaining their dance practice. Faced with the absence of a mentor, they made an unusual decision: to start teaching dance.
Encouraged by their teenage friends, Vanessa Motta and Tania Mara, who regularly attended one of the oldest and most renowned gyms in Niterói, they were introduced to teacher Helfany Peçanha who allowed Bruno and Rodrigo to start teaching at the gym, at the age of 15, in 1995.
In the same year that they started teaching, they choreographed their first piece for the end of the course at the Helfany and Jânia academy with the song Now that we found love by Heavy D and the Boys.
Bruno, Rodrigo, Allan e Nathan no final da apresentação, em Niterói.
Dancing on the asphalt
1995
The first choreography
In the same year that they started teaching, they choreographed their first piece for the end of the course at the Helfany and Jânia academy with the song Now that we found love by Heavy D and the Boys.
In 1994, Bruno and Rodrigo began teaching children at the Helfany Academy. They soon noticed the stark contrast between teaching children and adults. Concerned about the safety of the little ones, they took care to adapt each movement.
On the other side of the world, in China, it was a different story. Dance training there is known for being rigorous from an early age. Young dancers are molded in a regime of severe discipline, where skills are sculpted under the weight of extremely high expectations. Injuries and emotional exhaustion are often seen as necessary sacrifices in the quest for artistic perfection.
In the same year, they choreographed their first work for children
This work took the group to a competitive festival in São Paulo, where they won third place. It was at this event that they had their first contact with Blackout, one of the parallel groups of the Dança de Rua do Brasil project.
1994
Airport
The following year, they released "Aeroporto", a performance created for their second end-of-year show at Helfany. Just five minutes long, the choreography portrayed a bomb threat situation at an airport, which escalated to the dramatic arrival of the bomb squad to neutralize the danger.
The influence of Santos
Emerging from the cultural scene of the 1990s, "Dança de Rua do Brasil", led by Marcelo Cirino, burst onto the Brazilian urban dance scene. Inspired by the contagious energy of aerobics and the pulsating beats of electronic music, the group updated the aesthetics of street dance, incorporating an eclectic fusion of influences.
More than a mere imitation, "Dança de Rua do Brasil" recontextualized elements of voguing. The rigidity of the postures and the geometry of the shapes in the choreographies reflected a discipline present in the Santos project, while the symmetry of the movements evoked the image of a military bloc on the march.
For example, the hands performances, traditionally executed with softness and fluidity, took on an impressive hardness and precision in the group's repertoire.
The catwalk, originally a stylized and elegant catwalk, is transformed into a standardized entrance and exit from the stage, referring to the tension and urgency of an escape in the midst of a threat. This break with tradition demonstrates the boldness and creativity of the group, which didn't stick to pre-defined formulas, but sought to re-imagine the language of urban dance to their liking.
The synchrony and obsessive precision of the choreographies were trademarks of Dança de Rua do Brasil. For them, this search and idea of technical perfection was linked to synchrony and choral choreography.
Grupo de Rua
After two years at the Helfany and Jania Academy, at the age of 16, the dancers looked for a new space to expand their artistic ambitions, such as representing the city at events in Brazil and abroad. With the generous welcome of Rose Mansur, who opened the doors of her academy, they held the first audition that would give life to the group.
On July 15, 1996, Bruno and Rodrigo's trajectory reached a decisive point with the founding of theGrupo de Rua de Niterói, at the Rose Mansur Academy.
1996
Foundation
After two years at the Helfany and Jania Academy, at the age of 16, the dancers looked for a new space to expand their artistic ambitions, such as representing the city at events in Brazil and abroad. With the generous welcome of Rose Mansur, who opened the doors of her academy, they held the first audition that would give life to the group.
On July 15, 1996, Bruno and Rodrigo's trajectory reached a decisive point with the founding of theGrupo de Rua de Niterói, at the Rose Mansur Academy.
Jorge Sankler e Jorge Luciano Neres de Carvalho, gêmeos com um pé no circo e outro na cena hip hop, são conhecidos por suas acrobacias espetaculares.
Em uma ocasião, eles visitaram um treino do Grupo de Rua, liderado por Werneck, no colegio Salesianos, em Niteroi. Werneck e os Gemeos faziam alguns projetos juntos.
Durante a visita, um dos irmãos, executou uma manobra impressionante. Ele iniciou um mortal para trás, mas, em um movimento surpreendente, decidiu interromper a acrobacia no ápice e aterrissou suavemente em uma cama de mola. A cena inesperada deixou todos os bailarinos do Grupo boquiabertos, marcando o dia com um misto de suspense e admiração.
Visita dos Gêmeos
3rd teenage war
The Last Prophecy' marks the beginning of Grupo de Rua on the amateur dance scene
3rd teenage war
Since its formation, Grupo de Rua has wasted no time in marking its territory in the competitive world of dance festivals. With "The Last Prophecy", a choreography inspired by the predictions of Michel de Nostradamus, this choreography paved the way for a series of victories, with the group winning first place in all nine festivals in which they competed, eight in the state of Rio and one in Italy.
The vhs that chocked Rio
The vhs that chocked Rio
"Grupo de Rua de Niterói (GRN), already active for around two years, had its horizons in the world of B-boying significantly expanded by a landmark event. The transformation began when Fera and Maluquinho, two b-boys from Pará, they brought to Rio de Janeiro a VHS tape with excerpts from the 1998 'Battle of the Year' championship. This international tournament, one of the most prestigious in the b-boying scene, included an iconic battle between the Suicidal Lifestyle and Phaze II crews. The tape quickly became a kind of visual manual for GRN, a source of inspiration and learning that members studied endlessly.
The battle between Suicidal Lifestyle and Phaze II is often seen as a milestone in bboy history, standing out for showcasing the remarkable talents of Mr. Do, Wicked, Javier and the young K-Mel. This competition exemplified the essence of true breakdance battles, with each participant displaying impressive skills and a deep respect for their opponents, striving to outdo the previous move with creativity and dexterity.
Later many consider this event to represent the golden age of b-boying. K-Mel, only 17 at the time, drew a lot of attention with her moves and inspired future generations of dancers. This battle enriched the GRN experience and also continues to be a benchmark of excellence in the bboy world.
The vhs that chocked Rio
"Grupo de Rua de Niterói (GRN), already active for around two years, had its horizons in the world of B-boying significantly expanded by a landmark event. The transformation began when Fera and Maluquinho, two b-boys from Pará, they brought to Rio de Janeiro a VHS tape with excerpts from the 1998 'Battle of the Year' championship. This international tournament, one of the most prestigious in the b-boying scene, included an iconic battle between the Suicidal Lifestyle and Phaze II crews. The tape quickly became a kind of visual manual for GRN, a source of inspiration and learning that members studied endlessly.
The battle between Suicidal Lifestyle and Phaze II is often seen as a milestone in bboy history, standing out for showcasing the remarkable talents of Mr. Do, Wicked, Javier and the young K-Mel. This competition exemplified the essence of true breakdance battles, with each participant displaying impressive skills and a deep respect for their opponents, striving to outdo the previous move with creativity and dexterity.
Later many consider this event to represent the golden age of b-boying. K-Mel, only 17 at the time, drew a lot of attention with her moves and inspired future generations of dancers. This battle enriched the GRN experience and also continues to be a benchmark of excellence in the bboy world.
...
"A Experiência", Grupo de Rua's third choreography, premiered with great anticipation at the Tapias Festival in 1997, at the Carlos Gomes Theater. After the previous piece, the group was eager to repeat the feat of winning first place. The choreography told the story of a scientist reflecting on her warnings, ignored by the scientific community, about an imminent catastrophe. In one of the moments of the performance, the Grupo de Rua created a scene with four gallons that turned on and off as the dancers stepped, creating a quartet of lights that drew thunderous applause from the audience. These gallons, which became a striking visual symbol of the show, were built by Bruno's father, João Marcos.
Jorge Sankler and Jorge Luciano Neres de Carvalho, twins with one foot in the circus and the other in the hip hop scene, are known for their spectacular acrobatics.
On one occasion, they visited a training session of the Grupo de Rua, led by Werneck, at the Salesianos school in Niteroi. Werneck and the Gemeos were doing some projects together.
During the visit, one of the brothers performed an impressive maneuver. He began a backwards somersault but, in a surprising move, decided to stop the acrobatics at the apex and landed softly on a spring bed. The unexpected scene left all the Group's dancers stunned, marking the day with a mixture of suspense and admiration.
Visita dos Gêmeos
Competitions, events and TV
The early years of Grupo de Rua
In its first four years, the group performed at various events, from the arrival of Santa Claus at Maracanã to catwalk shows for Sebastião Raphael's collection. The GRN danced at events under the scorching sun on the beaches, and also made special appearances for brands such as Gillette and Danone. They appeared on television programs such as Show da Xuxa and Som Brasil, alongside artists such as Lulu Santos and Claudinho e Buchecha. They also took part in the Vida ao Vivo Show, on the Luiz Fernando Guimarães and Pedro Cardoso program, which were milestones in the group's history. In 2000, ending a productive phase of special appearances, the group paraded at the Sambódromo for Mocidade Independente in 2000.
Steps to first flight
In 1998, the GRN presented their choreography "Metrópole" at the Bienal do Livro in Rio Centro, when Alfredo Appicella, an Italian who owned a dance academy and was the creator of the ENDAS International Funk Festival in Naples, was in the audience. Delighted by the performance, Appicella invited the group to compete in Italy, although he didn't offer them the necessary plane tickets.
Without giving up until the end, the group's producers Norma and Ana managed to get support from the Rio de Janeiro state government. In exchange for committing to future workshops and performances, the group was awarded 14 plane tickets, paving the way for their first international trip.
And in the competition, the Street Group won first place out of ten groups from all over Europe, with this becoming the last competitive festival the Group would take part in.
Alessandra, olga, Bia, Tania Mara, Fernandinho e Rachel Correa.
The trip had several celebratory moments, but one had a special flavor. After catching the eye of a judge watching the presentation, the GRN was invited to a pizza barbecue, the city's emblematic dish, which began with the Margherita invention during the 19th century. Overlooking the Bay of Naples, the group experienced the authenticity of the local recipe, a way to close the trip and celebrate the victory.
1998
1998
Steps to first flight
In 1998, the GRN presented their choreography "Metrópole" at the Bienal do Livro in Rio Centro, when Alfredo Appicella, an Italian who owned a dance academy and was the creator of the ENDAS International Funk Festival in Naples, was in the audience. Delighted by the performance, Appicella invited the group to compete in Italy, although he didn't offer them the necessary plane tickets.
Without giving up until the end, the group's producers Norma and Ana managed to get support from the Rio de Janeiro state government. In exchange for committing to future workshops and performances, the group was awarded 14 plane tickets, paving the way for their first international trip.
And in the competition, the Street Group won first place out of ten groups from all over Europe, with this becoming the last competitive festival the Group would take part in.
Bruno, Rodrigo e Rachel Correa, na Faculdade da Cidade, feveireiro 2000.
The trip had several celebratory moments, but one had a special flavor. After catching the eye of a judge watching the presentation, the GRN was invited to a pizza barbecue, the city's emblematic dish, which began with the Margherita invention during the 19th century. Overlooking the Bay of Naples, the group experienced the authenticity of the local recipe, a way to close the trip and celebrate the victory.
1998
1998
Visiting the circus
Back in Niterói after their success at the ENDAS International Funk Festival, Grupo de Rua is preparing for a new challenge: taking part in a circus show at the Concha Acústica with renowned French director Pierrot Bidon. Enchanted by the group's talent, Bidon invites them to take part in "Circo da Madrugada", a show with 50 artists from different backgrounds. The season begins in Niterói in 2000 and extends to Lyon, France.
Pierrot Bidon was a visionary in the world of circus entertainment, best known for founding the iconic French circus Archaos, which revolutionized modern circus art in the 80s.
Bidon's style was fundamental to the development of the "new circus", a strand that emphasizes strong storytelling and aesthetic innovations, influencing generations of circus artists around the world. His work remains a legacy of creativity and daring, celebrated for radically transforming the public perception of what a circus show could be.
More about Pierrot Bidon
...and if you're driving, don't dance
In the midst of preparations for the show at the Concha Acústica in Niterói, during one of the rehearsals, Bruno made a decision that would change his role in the company.
Aware of his difficulty in reconciling the roles of director and dancer, Bruno spoke to Rodrigo about his intention to step away from the stage and devote himself exclusively to directing and choreographing. This early decision opened up space for Bruno to explore his potential as a leader and creator, propelling Grupo de Rua to new heights. From then on, Bruno devoted himself entirely to directing and choreography.
1998
Post-flight turbulence
Upon returning to Brazil, Bruno, Rodrigo and producers Norma and Ana found themselves in the middle of a storm. A group of mothers, worried about the safety of their daughters during a season in Italy, accused the group of a lack of communication, triggering an intense conflict. The situation escalated to the point of affecting the group's funding from Neltur, Niterói's sports and tourism company, which decided to suspend its 2,000 reais allowance given to the whole group.
As the confusion mounted, Bruno found himself at a decisive moment. In addition to the tension in the group, he was also at the end of his secondary studies, struggling to choose which university to attend. Disillusioned with the temporary and superficial projects he had been doing, Bruno dreamed of something more meaningful. He was torn between pursuing a degree in film or dance. Influenced by Vanessa and Tânia Mara, who were already at dance school, Bruno began to seriously consider the latter option.
Rodrigo Bernardi, Ugo Alexandre, Paulo Azevedo, Bruno Beltrão e Guto Vieira, na Faculdade da Cidade, fevereiro 2000.
Ground for an open parachute
In 2000, Bruno and his friends Rodrigo, Ugo, Paulo and Guto received a push from Tania and Vanessa to showcase their hip hop research at the Faculdade da Cidade dance course. They presented the Street Dance 2000 Project, which focuses on researching and developing hip hop. At this event, Bruno met Professor Roberto Pereira, who not only encouraged him to enroll at the college, but also became a mentor to him. Entering Centro Universitário da Cidade opened a new chapter in Bruno's life, beginning a significant transformation in his artistic career and a period of creative growth and exploration.
With the guidance of Pereira and professor Silvia Soter, Bruno delved deeper into Rio's contemporary dance scene. He was influenced by important names such as Paulo Caldas and Maria Alice Pope from Stacatto Cia de Dança, Esther Weitzman and Lia Rodrigues. In addition, he began to explore the work of international icons such as Jerome Bel, William Forsythe and Anne Teresa de Keersmaeker, all known for their innovative and challenging approaches to traditional dance forms. This period of intense learning and exchange was crucial for Bruno to develop a unique choreographic language, which he would explore in his future projects with Grupo de Rua.
2001
Left turn
Left turn
In this seminal work, After much thought about what this other hip hop could be, the Group received an invitation from Beatriz Radunzsky, from Sesc Copacabana, for the Duos de Dança. The piece reflected Beltrão's academic influences and his desire to try something different from what they had been doing before. 'Do Popping ao Pop' not only transformed the group's artistic direction but also laid the foundation for future productions that would continue to explore and expand the horizons of a new field, later suggested by critic Roberto Pereira as a 'contemporary street dance'.
The piece "Do Popping ao Pop" marked a crucial turning point in the career of Bruno and the Grupo de Rua. Created in 2001, the piece represented a significant break with the more conventional street dance practiced by the Group, introducing an approach that blended the basic language of hip-hop with long-standing resources of contemporary dance.
Hours before going on stage for a commercial presentation for a yogurt brand at a convention center in São Paulo, Bruno and Eduardo were engaged in a casual conversation in their bedroom. Unbeknownst to Eduardo, Bruno decided to record this dialog, using it as a starting point for a profound reflection on the relationship between personality and gesture. The question that moved Beltrão was an intriguing one: is it possible to get to know someone through the way they dance?
In 2002, this question came to life on the stage of the Sergio Porto Theater, during the Panorama Dance Festival, where the piece was performed for the first time.
friendship, philosophy and mushroom tea
Embodied
2003
First international trip, again
2001
First international trip, again
After Sesc, although they only took part in a few events that year, such as the Dance Gala at UERJ, Mostra Migrações and Café com Dança, the group saw its trajectory take a new turn. Gisele, realizing the group's potential, invited them to a special selection called Platform for the Rencontres Choreographiques de Seine-Saint-Denis. In this selection, director Anita Mathieu would choose two works to be presented in Paris in 2002.
Against all expectations, "Do Popping ao Pop" was chosen, standing out among several renowned companies from Rio. This recognition was a kind of "debut for the second time", his second international trip - the first focused solely on his artistic production, unlike his previous participation with Circo da Madrugada in 1999.
Curiously, although "Do Popping ao Pop" was the group's first experiment in this field, the piece, included in a larger program containing two other works (Eu emeu coreografo and Too Legit to quit), traveled to 16 countries by 2007, confirming the relevance of the company's first experiment.
Bruno has had a remarkable collaborative relationship with dancer Eduardo Hermanson since 1999. Eduardo is often singled out for his impressive technique and creativity. The collaboration between Beltrão and Hermanson is marked by a constant search for new body languages and experimentation in the field of dance, which has contributed significantly to the development of both artists and the aesthetic evolution of the group. This dialog has allowed both to explore the limits and possibilities of urban dance in innovative ways. Hermanson has also actively contributed with other choreographers such as Paulo Azevedo, Kafig and Laura Samy.
A mais longa e duradoura parceria
Bruno has had a remarkable collaborative relationship with dancer Eduardo Hermanson since 1999. Eduardo is often singled out for his impressive technique and creativity. The collaboration between Beltrão and Hermanson is marked by a constant search for new body languages and experimentation in the field of dance, which has contributed significantly to the development of both artists and the aesthetic evolution of the group. This dialog has allowed both to explore the limits and possibilities of urban dance in innovative ways. Hermanson has also actively contributed with other choreographers such as Paulo Azevedo, Kafig and Laura Samy.
A mais longa e duradoura parceria
2003
Dissected culture
Conceived especially for the Panorama Dance Festival, the piece "Too Legit to Quit" was performed on November 2, 2001 in the Foyer of the Carlos Gomes Theater. Analyzing everything from the dancers' pseudonyms to their clothing styles and characteristic gestures, the performance delves into the complex semiotics of this culture. "Too Legit to Quit" serves as a critical and accessible guide for those less familiar with the intricate codes of urban hip hop, unfolding the elements of this art in a critical and celebratory way.
Astronautas and penguins in war
In 2003, at the invitation of Leonel Brum, director of the Dança Brasil Festival at the Banco do Brasil Cultural Center, the Grupo de Rua de Niterói (GRN) premiered the piece "Telesquat".
"Telesquat" delves into the realm of conceptual dance, examining the relationship between language, action and the stage. The piece, whose name derives from a 1950s term describing the effects of watching too much television, incorporates text and video to challenge conventional dance narratives.
Combining hip-hop, video projections and a dose of controlled chaos, the performance challenges those present to question everything seen, heard and danced.
"Telesquat" navigates between expected and unexpected meanings, and reflects on the possibility of finding meaning where one least expects it, or even of finding no meaning at all and quietly accepting it.
2003
The theatrical exploration in "Telesquat" employs a more experimental approach influenced by artists such as the Frenchman Jerome Bel.
Ao voltar ao Brasil, Bruno, Rodrigo e as produtoras Norma e Ana se viram no meio de uma tempestade. Um grupo de mães, apreensivas com a segurança de suas filhas durante uma temporada na Itália, acusou o grupo de falta de comunicação, desencadeando um intenso conflito. A situação escalou ao ponto de afetar o financiamento do grupo pela Neltur, empresa de esportes e turismo de Niterói, que decidiu suspender sua ajuda de custo de dois mil reais dado a todo o grupo.
Enquanto a confusão se instalava, Bruno se viu num momento decisivo. Além da tensão no grupo, ele também estava no fim de seus estudos secundários, debatendo-se com a escolha de qual faculdade cursar. Desiludido com os projetos temporários e superficiais que vinham fazendo, Bruno sonhava com algo mais significativo. Ele estava dividido entre seguir um curso em cinema ou em dança. Influenciado por Vanessa e Tânia Mara, que já estavam na faculdade de dança, Bruno começou a considerar seriamente essa última opção.
Crossing cultures
In 2005, "H2" marked the first time that a Brazilian hip hop dance group was co-produced by European festivals, an initiative that came from Simon Dove, director of the renowned Dutch Springdance festival in Utrecht.
"H2" features a group of fourteen dancers, hand-picked from 250 applicants from all over Brazil.
In "H2", Beltrão took the top rock technique, traditionally an element of Hip Hop, beyond its usual boundaries, transforming it into a veritable technology of spatial conquest on stage. He also tackled themes such as masculinity and the attempt to dance together using some hip hop techniques.
2005
'Popularity spectacle'
- The success of the city's dance companies has greatly increased the number of new students. The beautiful trajectory of the Grupo de Rua de Niterói, for example, has led many children to seek out classes. Here, they are falling in love with dance and some are even taking up classical ballet, which is wonderful. This will certainly bear great fruit for the city in the future, with more dancers and even the formation of new companies -
says Eloiza Torres, from Camarim Escola de Dança, in Icaraí, one of the city's largest academies.
Ugo Alexandre e Bruno Beltrão em ensaio de Inoah. feveireiro 2017. Ao fundo, Sid Yon, Leozin, Joao e Bruninho.
Partners in dance
Ugo Alexandre began his career in 1991, establishing himself as a pioneer of urban dance in Rio de Janeiro. He was the founder of the legendary Jazz de Rua, a group made up of dance students, street dancers, circus artists and notorious for winning several festivals in their time.
His international career began thanks to Grupo de Rua in 2004, when he replaced a departing dancer in the touring shows Too Legit to Quit and Telesquat. As a dancer in these two shows, Ugo visited 20 countries.
After Gabriela Monnerat left in 2007, he became Bruno's assistant director for the play "H3". During his 16 years with the company, Ugo took part in the creation of 3 of the company's 9 plays. (H3, Crackz and Inoah)
Outside the Grupo de Rua, Ugo directed the show "Roots" with Renato Cruz, which promoted an interaction between classical ballet and urban dance and was presented at the Casa Grande Theater in Rio in 2016. He also resumed his company Rio Hop Cia de Danca, where he presented the play Samplers at the Cacilda Becker Theater in 2016.
As a member of the RJ Dance Professionals Union committee and creator of the Urban Dance Training Course in Rio and Vitória; and as a juror at the Joinville Dance Festival from 2017 to 2019, Ugo has strengthened his role in promoting and educating dance on the national stage.
Bruno Beltrão and Ugo Alexandre in a rehearsal for Inoah. february 2017.
'Running backwards
towards oneself'
In 2008, Grupo de Rua returned with the creation H3, which focuses on research into movement relative to the ground and spatial subversion. The piece explores the possibility of contact between the dancers and incorporates diverse influences, from Lalala Human steps to studies on Hermeto Pascoal. Beltrão once again insisted on backwards running and 'contact hip hop'.
H3 is still the most widely performed piece by Grupo de Rua, visiting 16 countries over five years. It was also in this piece that Bruno began his partnership with musicians Lucas Marcier and Rodrigo Marçal from ARPX.
2008
Crackz
2008
Warrior prose
The city - near Rio de Janeiro - that gave the creation its name was where Grupo de Rua resided and created a work that explores how dance dialogues with people and the world in general. The show began its tour in 2018 and explored the ideas of temporary community and raw loneliness on stage. Inoah was already trying to flesh out the violent contradictions that tear Brazilian society apart and which Nova Criação highlights.
2008
2008
Ugo Alexandre e Bruno Beltrão em ensaio de Inoah. feveireiro 2017.
Turvo
"Nova Criação", now renamed "Turvo", can be seen as a commentary on social aspects during Brazil's turbulent years under a conservative government. This work, loaded with political allegories, presents a society where morality and fundamental laws seem to have disappeared, capturing the chaos through raw and visceral choreography.
"Turvo" not only reflects on a recent past marked by disinformation, rights violations and political violence, but also talks about the deep social divisions exacerbated in those years. The choreography mirrors these tensions, transforming the stage into a battlefield of dynamic confrontations and ephemeral alliances. The figure of a priest, who is interwoven into the sequences, adds depth to the piece, suggesting a critique of the controversial links between religious factions. With a soundtrack that oscillates between synthetic rhythms and tribal beats, the performance unfolds into a narrative that challenges the audience to reflect on the resilience and complexities of contemporary Brazil. As political landscapes continue to transform, "Turvo" serves not just as a record of a moment, but as an ongoing artistic questioning of a nation in constant change.
2008
From the streets to the world
The company's internationalization began in 2002. Since then, Grupo de Rua has presented its work in 35 countries and 150 around the world
ALEMANHA Berlim Essen Frankfurt Hannover Recklinghausen ARGENTINA Buenos Aires ÁUSTRIA Innsbruck Viena Salzburg BÉLGICA Antuérpia Bruges Bruxelas Gent BRASIL Brasília Curitiba Fortaleza Joinville Juiz de Fora Londrina Recife Rio de Janeiro Salvador Santos São Paulo Araraquara Itu CANADÁ Montréal CHILE Santiago do Chile CORÉIA DO SUL Seul ESPANHA Barcelona Gijon Madri EMIRADOS ARABES UNIDOS Sharjah ESCÓCIA Edinburgh ESTADOS UNIDOS Austin Boston Columbus Houston Los Angeles Minneapolis Nova York Portland San Diego Santa Barbara Seattle Washington FINLÂNDIA Helsinke Kuópio FRANÇA Aix-en-Provence Dijon Gap Grenoble Lyon Montpellier Mulhouse Nanterre Paris Saint-Quentin-en-Yvelines Toulouse GRÉCIA Atenas HOLANDA Amsterdam Rotterdam HUNGRIA Budapeste INGLATERRA Londres ITÁLIA Bolonha Milão Modena Turim Roma JAPÃO Tóquio Yamagushi Yokohama LÍBANO Beirut EGITO Cairo Alexandria JORDÂNIA Amman SIRIA Damascus TUNISIA Tunis MARROCOS Rabat LUXEMBURGO Luxemburgo PORTUGAL Lisboa Porto SINGAPURA Singapura SUIÇA Baden Basel Fribourg Lugano Zug Geneva Zurique SUÉCIA Estocolmo URUGUAI Montevidéu
