“Imfazwe” opens with a calm, clean, strong ensemble of dancers. The program states that “Imfazwe” means war, so this classical introduction leaves the question hanging as to how the aggression will materialize. The answer comes suddenly, when spotlights clamp on a duet of Capoeira dancers, who display what this company does best: feature chiseled men who seem like they can stand on their hands for hours, jump from the stage to the back row of the audience and without a doubt, mutilate anything with one kick. This first Capoeira dance left the clean lines of the preceding ensemble in the dust. Even more unbelievably physical Capoeira sections follow, rendering everything else about this piece, from the choreographic development, to the music, amateur.

The second piece, “Batuke,” begin with the three women in the company showcasing the strength of their femininity and Brazilian roots. As they swing their hips, and throw their hair, they generate a comparable amount of energy and excitement as the Capoeristas. Unlike the preceding piece, in “Batuke,” the modern dancers get equal opportunity to show off their stamina and artistry, personifying the sensual rhythms of the non-traditional instruments played during impressively endless sections of choreography. The company’s energy, carried by one dancer in particular, the rehearsal director Camila Freitas, gains momentum as “Batuke” arrives at a climactic finish.

Dance Brazil’s performance was energizing and impressive. Although the company didn’t demonstrate versatility or a forging of artistic ground, their expression of Brazilian heritage was fresh and honest.
EYE ON THE ARTS, NY -- Elizabeth Sherlock-Lewis