The inspiration from the Brazilian backlands and the decidedly contemporary feel of the soundtrack composed by Tom Zé and José Miguel Wisnik for Parabelo, from 1997, allowed the Grupo Corpo choreographer to bring to life what he himself defines as "the most Brazilian and regional" of his creations.

From work and devotional songs, from the rhythmic memory of baião music, and from an exuberant and omnipresent tangle of rhythmic points and counterpoints, emerges a choreographic writing that displays agility and precise footwork, in a breathtaking affirmation of the maturity and expressive power of the grammar built over years by the architect of Missa do Orfanato and Sete ou Oito Peças para um Ballet.

The aesthetics of votive offerings from rural churches inspire Fernando Velloso and Paulo Pederneiras in the composition of the two 15m x 8m panels that provide the scenographic support for the performance.
With the intensity of the colors veiled by black tulle and revealed only in the narrow and imperative space of the ballet shoes, costume designer Freusa Zechmeister creates a play of light and shadow that clothes the dancers in the first part of Parabelo, while in the final and explosive stretch of the ballet the leotards are freed from the veil, flaunting the jubilant and high temperature of their colors.