2009 work ÍMÃ is based on the attraction and repulsion of parts and whole.

If a body language does indeed exist, what does Grupo Corpo come to communicate? The world-renowned Brazilian dance group is coming to Los Angeles under Gloria Kaufman Presents Dance at the Music Center, at the Dorothy Chandler Pavilion for a very limited engagement this Friday, Saturday and Sunday only to present two pieces entitled "ÍMÃ" and "Parabelo." Neon Tommy sat down with choreographer Rodrigo Pederneiras to get a handle on what these exotic movers and shakers are all about.

Founded in 1975 in Belo Horizonte, Brazil, Grupo Corpo (translated as "body group") “combines the sensuality of hip-swinging Latin moves with the technical prowess of classical ballet, fused with modern dance that is heavily infused with the high energy of Afro-Brazilian dance,” said Rodrigo Pederneiras, choreographer and founding member of the group.

This diverse range of influences melts together to produce a body of work that pays homage to the regional and popular dances of the company’s homeland, but reinterprets them through the universal language of ballet to speak to a global audience.

And speak they do: the team of 22 dancers travels to over 12 countries, including South Korea, Lebanon, Israel, Japan and Mexico to perform 80 shows a year from their 10-ballet standing repertoire. Acting as ambassadors of culture, “we want to touch everyone with our work, and we want to know as much as we can from the different cultures and lifestyles,” the group says.

For their performance here in Los Angeles, the program includes a blend of old and new, tradition and innovation: a 1997 piece titled "Parabelo," and a more recent 2009 work. Providing some background on the works, Pederneiras describes “Parabelo" as "a sort of old gun that was used in the beginning of the last century. This piece was inspired in a region of the Northeast of Brazil — where the sun is so strong that it kills like a gun. But on the other hand it is a place of very rich popular culture.”

Previously self-proclaimed as his “most Brazilian and regional” creation, the dance is set to a contemporary soundtrack specially composed by Tom Zé and José Miguel Wisnik that echoes the countryside, with all its local flavor.

“'Parabelo' radiates the characteristics of the land and introduces a Brazil filled with regional nuances," Pederneiras said.

About his collaboration with the composers, he added, “I am always guided by the music. From 1992 on all our ballets — except 'Lecuona,' from 2004 — have specially composed soundtracks. The different styles of the musical compositions give me the inspiration for creating the choreographies.”

Equally important, he said, are the costumes, lighting and scenery when choreographing a piece, all of which come to the fore in the second ballet, "ÍMÃ." Employing special seven-color LEDs recently released by an American company, Rodrigo’s brother and artistic director Paulo Pederneiras constructs a vivid stage set that beautifully illuminates the dancers and offsets the equally bright costumes designed by Freuza Zechmeister.

Not to worry, however: while the dances themselves are inspired by Brazilian culture, the dancers’ attire are clean, no-frills unitards that ensure the choreography is not overpowered — no sequined boleros or fruit headpieces here.

Artistic director Paulo Pernedeiras designed stage after the aesthetics of votive candle offerings in churches in the Brazilian countryside.

“Brazilian culture is a mixture of cultures — we have a big influence of European Culture (we were colonized by Portugal) and also African Culture (the slaves imported from Africa during the colonization). We live in a tropical country, the sun shines every day, it is hot," Pederneires said. "All those elements make the Brazilian culture — we love the music and we have dance in the blood. I'm Brazilian and it is present in my work.”

Inherent to this style are what he refers to as “peculiar movements through the rhythm, the dynamics,” which are the hallmark of the company the world over. Where traditionally ballet-based dance groups call to mind flowing bodies and a placid exterior, Grupo Corpo inserts high energy and a very particular sass to it all, something distinctly Brazilian about the movement.

The dancers are having fun and are not afraid to show it, hopping about the stage capoeira-style to the synth-mixed sound of a cheeky whistled melody. The moves have a beautiful strangeness to them that praise joyful expression and exuberance of the body over the usual delicate, restrained dance form. It's wacky, it's fluid, it’s passionate, and somehow it works: every aspect of the performance (scenery, choreography, soundtrack) is shot through with a flavorful twang, constantly reminding one of the funky Afro-Brazilian roots at the heart of Grupo Corpo's persona.

And it is this infusion of heritage into the dance that is precisely the goal for Pederneiras, and has been since the company’s inception. It is this that critics are referring to when they insist you haven't seen anything like it before, not just the masterful choreography or emotional thrill you get from watching.

The attraction and repulsion of bodies in "ÍMÃ" set to the score that juxtaposes guitar with ocarina or synth with cuíca all interact to create a fascinating poetry of polarities, a dialogue between the sensorial extremes that evoke a sense of unfolding as the show progresses. Grupo Corpo must be experienced to be fully understood, and in experiencing it the viewer enters the dialogue as well. The nature of the response, based on past experience, leans toward a resounding applaud.

Venue: Music Center's Dorothy Chandler Pavilion

135 North Grand Avenue, Los Angeles, CA 90012

(213) 972-0711

Performance Schedule: Friday, January 28, 7:30 pm

                                 Saturday January 29, 7:30 pm

                                 Sunday, January 30, 2:00 pm

Tickets: $25-$105 in person at above address or online at http://www.musiccenter.org/events/dance.html

Reach staff reporter America Hernandez here.