Tanzfabrik
Berlin
Stage
Stage
Stage
Stage
Uferstudios 4
Badstr. 41A, Uferstr. 23
13357 Berlin
Stage
Stage

Shoot first

Performance by Ricardo de Paula
In the frame of 8th Tanznacht Berlin 2014

In February 2012, the 17 year old African American Trayvon Martin was shot dead in Sanford, Florida by a man from his neighborhood for whom the skin colour and clothing of the teenager were reasonable grounds for suspicion. Martin’s fate moved Ricardo de Paula to combine the life and environment of the teenager with his own experience and that of many others in a dance piece. For de Paula the body is a physical site that reflects all gender, ethnic and social meanings. It is the source of cultural identity and social construction. The realities of life and the enacting of stereotypes and fears are reflected in the body of the young African American dressed in a hoodie. These elements combine in de Paula’s work with the help of the Get Physical Process, a remix of Capoeira with contemporary dance, binding them to the characters of the story.

Concept & Performer: Ricardo de PaulaAssistent: Laura Alonso. Lighting: Irene Selk

Ricardo de Paula

Ricardo de Paula a choreographer, dancer, performer and artistic director of Grupo Oito. Residing as a Black artist in Berlin, he has long grappled with themes of racism and decolonization, intertwining these concerns with a continuous evolution of his creative approaches and aesthetics. Notably, his recent work has embraced spirituality as a significant influence. At its core, de Paula's artistic vision revolves around leveraging the body as a transformative instrument, utilizing movement to explore physical capacities for resistance and transformation. Central to his practice is the "Get Physical Process," a methodology he developed and teaches individually. His dance productions with Grupo Oito stem from regular training sessions that encompass artistic research and collaborative development three times a week. Beyond contemporary dance, capoeira, the Brazilian dance martial art, profoundly inspires him, particularly its formal elements like the "roda" (circle) and the ground-based aspects of the dance. Touch, a pivotal element in capoeira, triggers reactions, movements, fights, and postures, reflecting both individual and social dynamics. De Paula's approach is a rich amalgamation of diverse experiences, perspectives, backgrounds, methods, and evolving techniques, now incorporating ritual elements into the training and creative process.