Gira (2017)

ALL 04/04/2017 (pt) 41 Min
  • Release
    04/04/2017
  • Production
  • Rotten tomato
    0%
  • Original title
    Gira
  • Original language
    pt
  • Production Cost
  • 0.00
    -

Overview

The rites of ‘Umbanda’ – one of the most widely practiced Brazil-born religions, which resulted from a combination of ‘Candomblé’ with Catholicism and Kardecism – serve as the great source of inspiration for the aesthetic scene design of Gira. ‘Exu’, the most human of the ‘Orixás’ – without whom, in religions of African origin, the ritual simply won’t happen – is the main poetic imagery which evokes the eleven musical themes especially created by Metá Metá, for Gira. First and foremost, the artistic creators of Grupo Corpo had to delve into the universe of Afro-Brazilian religions in preparation for the theme proposed by Metá Metá. However, the performance is far from being a mimetic representation of these syncretic rituals. Instead, the choreographer Rodrigo Pederneiras re(constructs) the powerful glossary of gestures and movement he accessed as he experienced rites of ‘Camdomblé’ as well as ‘Umbanda’, particularly ‘Exu’ ceremonies (giras de Exu).

  1. Story

  2. Editor

  3. Producer



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Full Cast & Crew

Casts : 1 , Crews : 1

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Gira (2017) 41 Min

ALL 04/04/2017 (pt)
  • Release 04/04/2017
  • Production
  • Original title Gira
  • pt
  • Revenue0.00

Overview

The rites of ‘Umbanda’ – one of the most widely practiced Brazil-born religions, which resulted from a combination of ‘Candomblé’ with Catholicism and Kardecism – serve as the great source of inspiration for the aesthetic scene design of Gira. ‘Exu’, the most human of the ‘Orixás’ – without whom, in religions of African origin, the ritual simply won’t happen – is the main poetic imagery which evokes the eleven musical themes especially created by Metá Metá, for Gira. First and foremost, the artistic creators of Grupo Corpo had to delve into the universe of Afro-Brazilian religions in preparation for the theme proposed by Metá Metá. However, the performance is far from being a mimetic representation of these syncretic rituals. Instead, the choreographer Rodrigo Pederneiras re(constructs) the powerful glossary of gestures and movement he accessed as he experienced rites of ‘Camdomblé’ as well as ‘Umbanda’, particularly ‘Exu’ ceremonies (giras de Exu).

  1. Rodrigo Pederneiras

    Director

  2. Story

  3. Editor

  4. Producer