Renata Pereira Lima (b. 1994) is a Cuban/Brazilian choreographer whose work explores the body as a
vessel of reactionary and archivable phenomena. Through site-specific performance and gestures of
dance, her research in choreography seeks to minimize expectations of narrative and maximize the
bodies’ ability to communicate on a tactile level: the space the body moves through, the energetic tone of
the environment or natural light, and the sounds that pervade the space and therefore, the body in
movement, all represent indeterminate happenings to be examined. Rhythm, bodily rhythm, is essential
even as the dance is translated into video, which continues a thematic obligation to the scaffolding of time
itself.

Thereby, filmmaking has become a natural extension of choreography as a tool for annotating and
archiving dance within the interface of digital content. Where dance could otherwise be considered
ephemeral, it becomes an example to be revisited, expanded out from the site-specific. The process of
editing is the direct embodiment of dance in document: a visual of music, irony, and juxtaposition. In
real-time the body dances, creating space— interrupting or coalescing with space— and by recording,
echos the shapes of dance within the shape of video. The digital product thereby synthesizes the physical
and environmental structure of performance, repeating the dancers’ steps via zoom-ins or jump-cuts, then
layering the digital onto the real, subverting performance to create a document of a moment. Videos are
often short, collaged with found-footage, overlaying the dancing subject (Renata) with other media such
as recordings, drawings, and writing, that intersect to form her archive of shareable content and sketched
for future projects.

Aside from choreographing and editing her own body of work, Renata splits her time between Mexico
City and New York as a movement director and collaborator on music videos, dance films, and
commercials.

Written by Addison Bale


















































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