Brazil, a country of miscegenation, saw its culture being built considerably rich from the shock of the differences that were presented here throughout the history: indigenous people (first inhabitants), Europeans (coming from our colonizers), and Africans (through slave labor arising from Africa). The Brazilian method dancer–researcher–performer (BPI, or Bailarino–Pesquisador–Intérprete, in Portuguese) proposes the development of the dancer framed in popular manifestations in Brazil, where the subject first contacts its own origin and then performs field research in some popular manifestation. The experience is unfolded in directed practical labs, where the emotional records of this encounter, between the interpreter and the individuals in the field, are elaborated and developed reaching a very unique and expressive movement quality, coming from the subject in process.
In the artistic product created in the BPI, the dancer does not interpret a character: the character is embodied; it lives what emerged from the body; it is a real interlacing and elaboration of the relationship of its country culture with artistic creation.
The BPI leads the interpreter in an integrative way, going against the current trend in dance, in which the dancer must leave his or her body at the disposal of idealizations. We will describe a process of a BPI whose fieldwork took place with the Terecô agrarian religious manifestation, rural women who work as breakers of the babaçu coconut. The product of this process, which occurred with the author, was presented in the communities within the Amazon forest in Brazil.