Creations
Autorretrato (2024)
Choreography: Leilane Teles
On tour
Autorretrato (2024)
Choreography: Leilane Teles
Musics: Grupo Krahó, by Indios Krahó, performed by Marlui Miranda; Pasha Dume Pae, by Amazon Ensemble; Canto da Liberdade, by Akaiê Sramana, performed by Akaiê Sramana; Tchori Tchori feat. Uakti, by Marlui Miranda and Índios Jaboti de Rondônia, performed by Marlui Miranda, Rodolfo Stroeter, Uakti; Mae Inini (The Power of the Earth), by Amazon Ensemble; Tamburim, by Josy.Anne; Kworo Kango, by Canto Kaiapó, performed by Berimbaobab Brasil.
Music Production: Fernando Leite
Lighting: Gabriele Souza
Costume: André von Schimonsky
Costume assistant: Wellington Araújo
Props designer: Satie Inafuku
Consultants for Indigenous Affairs: Cristiane Takuá and Carlos Papá Mirim Poty
Duration: 19 minutes
Preview: 2024 | Teatro Municipal Manoel Lyra, Santa Bárbara D’Oeste – SP
Autorretrato is the second creation by Brazilian choreographer and dancer Leilane Teles for Sao Paulo Dance Company. This work proposes a deep reflection on Brazilian identity, our ancestry, and the multiple influences that shape us, woven from the vibrant images of the vast collection of Cândido Portinari, considered one of Brazil’s greatest painters. From this universe, which contains more than 5,000 pieces, eight were selected—kindly provided by João Candido Portinari, the artist’s son—whose ensemble reveals the essence of the choreographic proposal. The work begins with the self-portrait of the painter himself, almost a visual preface that precedes the immersion into the history and culture of Brazil’s indigenous peoples. The first scene depicts the arrival of the Portuguese and the visceral encounter between them and the natives. As the work progresses, it represents the complex relationships from the encounter to the moments of exploitation and the brutality of the enslavement of the natives, culminating in the presentation of “Índio Morto,” one of Portinari’s most poignant paintings.
The soundtrack was chosen to engage deeply with the visual and choreographic narrative. Among the highlights, “Kworo Kango” stands out as a pillar—a ritualistic song with no known translation, repeated like an ancestral prayer, which concludes the work with an energy of rebirth and resistance. The costumes play a crucial role and do not seek a literal reproduction of indigenous garments, but rather an interpretation that evokes the essence of that culture. Discreetly, they reveal the skin, while geometric shapes allude to Portinari’s paintings, adding layers of meaning to the narrative. The scenic objects are also laden with symbolism, featuring accessories like earrings, necklaces, and calf adornments inspired by the cultural expressions of the Carajás people, as depicted by the painter.
Although the choreography is inspired loosely by the representation of these peoples, the intention is not to provide a literal reproduction but rather to capture the Brazilian essence and the multiplicity of cultural influences that constitute our national identity. The creation of Autorretrato was enriched by the consultancy on indigenous affairs provided by Cristiane Takuá and Carlos Papá, two specialists whose involvement was essential to ensure that cultural representations were treated with the respect and authenticity they deserve, in addition to adding unique depth and sensitivity to the choreography.