In the form of a choreographic essay, Frederico Paredes approaches the  colonial issue through the figure of the sparrow, which is both an  intruder into towns and an aggressor towards other bird species, in  particular the tico-tico. Imported into Rio de Janeiro in the early 20th  century, this bird in this case becomes a symbolic, alien body, raising  questions about the difficulty of living together, the mechanisms of  rejection and aggression, or the way in which benevolence runs up  against the violence of today’s Brazilian cities. On a bare scene, which  is turn by turn an avenue in Rio and the Amazonian forest, Frederico  Paredes goes back over the way in which urbanistic choices convey  relationships with colonial, economic or social domination. As an  improvised guide, he connects gestures to a discourse, mingling together  anecdotes, descriptions of landscapes and recordings of song, with  birds in a “meta-choreographic” form, behind which the struggle for  territory appears as a swingeing metaphor for art and the current state  of Brazil.

Source: program of the CND

Frederico Paredes is an actor, singer, dancer and choreographer. A  graduate of the Escola e Faculdade Angel Vianna, where he now teaches.  Between 1995 and 2005, he conducted with Gustavo Ciríaco a research  project into humour in dance: Dupla de Dança Ikswalsinats. Well-known since Um só Trio  (1999) for his solos and pieces for small groups, performed both in  Brazil and in Europe, he collaborates with a large number of artists,  such as Lia Rodrigues, João Saldanha, Esther Weitzman, Marcela Levi,  Lilian Zaremba and Tunga.

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).