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What status does a work of art still have in the digital age? To what extent are processes such as remix, sampling and mash-ups recognized as basic procedures for artistic creation? In their most recent work, Bruno Beltrão and the Grupo de Rua de Niterói celebrate the process of cultural diffusion facilitated by new information technologies. CRACKz (which refers to cracking software protected) is based on a series of actions chosen at random on the Internet by the dancers. The only requirement was that they chose videos that they felt like copying, regardless of their aesthetic value. After that, they spent a year rehearsing 28 clips with this "repertoire of human gestures".

In Crackz, the daily actions, the people, the possibilities and the myths of street life are concentrated in a single flow, fused into the collective movement. "There's a lot of fundamentalism and narrowness in hip-hop. Dancers are not easily persuaded to deviate from established patterns," says Beltrão, 34. "We're interested in the formal, technical side of hip-hop, but we're not obsessed with it. Transformation is central to our performances. We are constantly looking for new encounters between international urban dance and contemporary art. In this sense, we create scenes full of varied human gestures, in a dance show without roots or homeland. Crackz is a nomadic experience."

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