Spotlight

Fernanda Faez

Tell us a little bit about yourself.

That’s a tough question. I’ll try to answer it, but I might fail miserably, haha.

I’m an artistic woman: dancer, actress, and craftswoman. I’m a mother of two teenagers, with an incredible partner, and a brother who dances with me and supports me in everything I do.

I’m a sensitive and introspective person, yet full of courage and boldness. I have great strength when I believe in something and a desire to keep moving until my last breath.

What first drew you to dance, and how did you discover Irish dance specifically?

I don’t remember not dancing. I started very young. First, jazz, then ballet and tap.

I followed American tap dance, and I began teaching as a teenager. I became increasingly curious to understand what this dance was, its history, where it came from, and why it was the way it was. In studying all of this, I discovered there was a lot of Irish influence in the formation of American tap dance, and I just wanted to learn more. Including experimenting with it myself and learning a little more about Irish culture.

Bringing Irish dance to Brazil must have felt like a bold step. When did you first realise it was really paying off?

Actually, at the time, Riverdance and Lord of the Dance were popular, which made the work side of it easier, as there was a lot of wonderful and charismatic reference. Watching those shows, everyone wanted to learn Riverdance or to watch us dance.

I never made much money working with Irish dance in Brazil, but I always pursued this goal out of love and respect. I always worked hard to ensure that Brazilians had access to Irish dance in the most complete and honest way possible, even pushing the boundaries of the Riverdance style and fostering the more traditional styles of this dance, and experimenting by blending them with our Brazilian rhythms and swings.

What similarities do you see between Brazilian dance and Irish dance?

There are many differences between the dances of Brazil and Ireland, but there are also some similarities. These similarities captivate me and give me a deep sense of purpose. In my master’s thesis, I highlight some points of dialogue between the dances of our countries. For example, the virtuosity and a competitive aspect bring frevo closer to step dance; the common roots, community spirit, and evolution bring social set dances and céilis closer to quadrilles (June square dances); the concentrated tap dance brings sean-nós closer to catira; and even samba, with its hip movements and intertwined feet, it’s reminiscent of the old-style dance of Maestro Molyneaux.

Perhaps the similarities aren’t very obvious, or perhaps they’re even difficult to perceive. But I believe I see these crossovers because these dances have already been ingrained in me, both through the time I spent practicing, and also through cultural heritage. This exists within my being, where everything ends in dialogue, and I really find that beautiful!

And beyond dance, where do you see the cultural differences and surprising connections between Ireland and Brazil.

I think we have some striking differences in how we approach problem-solving. Irish and Brazilian methods seem quite different. When it comes to food (mealtimes and menus), there are also many differences. As for similarities, I don’t know, but I would say that when I was in Ireland, I was very well received, and felt cared for and welcome. The people were so warm towards me that they made me feel at home. I felt as if the Irish were Brazilian, and that was very good for me.

Can you share what inspired you to travel to Ireland?

Yes, I decided to go to Ireland because, beyond the steps, I needed to experience the people. Why they danced, to understand their style firsthand, and what the atmosphere was like. It wasn’t easy for me to be away from my country. I quickly realized I’m more Brazilian than I could have imagined. I missed home a lot, but the dance, the kindness of the Irish, and my friends from the Brazilian community in Ireland kept me going throughout the journey. In the end, it was an unparalleled experience. It changed my life forever. That chapter of my life was truly precious.

How has your experience been working and collaborating on projects in Ireland?

My experience has been very positive. I feel grateful for the appreciation of our work and for the opportunity to do my best both in creating choreographies that unite the cultures of both countries and in composing works based on traditional Irish culture.

What advice would you give to anyone considering cultural or artistic collaborations between Brazil and Ireland?

I would advise them to study hard, and delve deep to understand and practice the traditions of Ireland. But to also develop your personal brand, and look for what makes sense to you. Discover what you really want to say and then trust your work. Understand that you will make mistakes, get frustrated, but also know that you will get it right. In the end, you will look back and be proud of everything you have built.

Running a dance school is also a business. What has Irish dance brought to Banana Broadway’s identity and growth as a company here?

Irish dance is part of Banana Broadway’s history and core as a school. We began offering Irish dance in the late 1990s, won awards, founded the Cia Celta Brasil, promoted official exams, and held important events throughout South America, such as the Festival Celta Brasil. We established ourselves as a reference in teaching and performing this discipline, and this has definitely shaped our image. Irish dance is a major hallmark of Banana Broadway, and this work is a source of great pride for us.

If you could bring one thing from Irish dance culture into Brazilian dance culture, and one from Brazil to Irish dance, what would they be?

From Irish dance I would bring more choreographed dances to Brazil, in groups like social set dances, for example. From Brazil, I would export a little bit more freedom to the political structure of Irish dance. I think there’s learnings that can be taken from both sides.

About the Author

Fernanda Faez is the Founder & Artistic Director of Banana Broadway, a dance school and company specialising in the teaching and performance of American Tap, Irish Dance, Sean-nós, Aerial Silk, and Theatre.

She holds a master’s degree in Irish Dance Studies from the University of Limerick and is widely recognised as introducing and developing the discipline in Brazil.