In his previous piece, Inoah, from 2017, Beltrão had already set out a movement negotiating the inseparable conflicts and violent social contradictions in his country. Now, his New Creation is a powerful and moving work that bears witness to the last four years in Brazil: a society in the hands of the ultra-right. The fact that it has no name says a lot about lacking the words to express what he feels. And that’s where bodies and images come into play. Fascism is a bulldozer of thought that flattens it out. However, the sharp images posed by Beltrão rise from this plane, an experience of shock, a landscape at the service of the public’s intelligence.

In Brazil, the hip-hop culture, which is obviously mixed with the infinite rhythmic traditions of a culture in which American is crisscrossed with European and African, is deeply rooted in this sector of the population that is suffering more than any other from Bolsonaro’s extreme regime. Some of the 10 dancers we see on the stage may come from these borderline realities, impoverished and abandoned. Music is the lifeblood that keeps this subculture beating and plays an enormous leading role in the piece, a work by Lucas Marcier, ARPX and Jonathan Uliel Saldanha. Together, they compose an overwhelming acoustic environment in which the dancers move like a human anthill that vibrates and dazzles.