The rituals of Umbanda – the most widely practiced of the religions born in Brazil, resulting from the fusion of Candomblé with Catholicism and Kardecism – are the main source of inspiration for the stage aesthetics of Gira.
Exu, the most human of the orishas – without whom, in religions of African origin, the cult simply does not function – is the poetic motif that guides the eleven musical themes created by Metá Metá for Gira.
Delving into the universe of Afro-Brazilian religions to align with the theme proposed by Metá Metá were the first steps taken by the creators of Grupo Corpo. But anyone who thinks they will witness a mimetic representation of Afro-Brazilian cults is mistaken. Nourished by his experience in celebratory rites of both Candomblé and Umbanda (especially the Exu rituals), Rodrigo Pederneiras (re)constructs the powerful glossary of gestures and movements to which he had access.
Conceived as an installation, the non-scenery piece by Paulo Pederneiras covers the dancers' bodies with the same black tulle whenever they are offstage, transforming them into ether, and the three walls of the black box, creating an almost spectral illusion of infinity.
In terms of costumes, Freusa Zechmeister adopts the same design language for the entire cast, regardless of gender: bare torso, with the other half of the body covered by primitive-cut white skirts made of raw fabric.