Body, movement, and freedom: Karla Souza and hip-hop as expression

Since she was little, Karla transformed all her passion for dance into movement, growing up among her mother's classes in Maringá. At 13, her reality changed when she crossed the world to join the cast of The Royal Family group, and today she is a national reference as a dancer and choreographer.

Driven by her emotions and life experiences, her creative process arises from a union of aspects, from technique and sensitivity to the storytelling behind each choreography. In addition, films, other dancers, and her intense routine contribute to her creations.

We spoke with Karla about her journey and the influences that shaped her style, as well as the importance of keeping the passion for dance alive. Check it out below:

At what moment during your childhood did you realize this passion for dance?

I have no memories of my childhood without being passionate about dance! Before stepping foot in a studio, I was already dancing at home. My mother still has a school exclusively for hip hop in Maringá, the city where I grew up. I was always copying her choreographies from videos at home, until the day came to take a class in a real studio, around 5 years old.

How did dance enter your life? Was it influenced by someone in the family or something that came from you?

I was born into a family of artists: my father was a musician and my mother always danced. She opened her dance studio in 2009 and today has one of the largest hip hop schools in Brazil. Before that, she already taught dance classes, and I loved to accompany her since infancy. They never forced me to do anything; in fact, I tried ballet and didn't really like it. For a moment, when I was a baby, I thought I could become a singer, but my eyes always lit up when it came to hip hop. For sure, they have been my biggest influences and incentives since I was little.

What were the first styles you learned?

Believe it or not, I took ballet classes when I was a baby, before anything. But I consider that I really learned hip hop and its branches around 6/7 years old. I took classes in various styles: Waacking, Locking, House, Dancehall, Popping, and the basics of Hip Hop.

At what moment did you start to take dance more seriously, as something professional?

I have always taken dance very seriously, like that boy who is the promise of the classroom, the family, joins the club, and dreams of living off sports in the best team — that was me as a child. I was always very involved in competitions, and that taught me many things that I use today in my daily work with dance. I moved very early, at 13 (in 2018), to New Zealand, and was part of The Royal Family group, choreographed by Parris Goebel. When I returned, at 14/15 years old, I began to teach dance classes at my mother's studio when I felt ready. She taught me a lot about teaching and how to be a teacher at that time. A little older, I started giving workshops all over Brazil, and at 18, I did my first work with major artists. Since then, I have worked with names like Pabllo Vittar, Anitta, Jão, and Veigh.

What is your creative process when creating a choreography? And do you think each one tells a story?

When I am going to create a choreography, I first need to know where it is going and what it will be for: competition, video, show, or just a class? When it is for competition, which ends up being something more serious, we always want to tell a story, honor something, or make the audience understand what we are talking about. That’s why sometimes the movements need to represent something more specific, and the songs too.

When we talk about a show, I usually think more about the visual effect for the audience, whether from the VIP section or from a faraway place.

And when it is a sequence for a class, it has more to do with what I am living, feeling, or consuming at the moment; it usually ends up being something "less serious".

But the music is the most important thing for me in all processes. I am passionate about it and study music a lot before creating.

Where do you draw inspiration from — films, music, other dancers?

I draw inspiration from everything I have seen and experienced. What inspires me the most are other dancers that I look up to as references. I could name several international dancers from whom I take classes whenever I can and watch many videos for inspiration. I am also very inspired by my friends, teachers, and Brazilian choreographers.

Generally, music is also my guide: through it, I know what vibe to put into the sequence, which style to prioritize, the musicality I will use, etc.

Do you usually create thinking about steps or about sensations/emotions?

Both options. Sometimes I want to train something specific, like incorporating and focusing more on footwork in the sequence. Other times everything comes very organically, and I don't need to think about which step to do next. But when I get stuck on some part, my solution is like opening a book: searching my mind for steps that fit into the music and make sense with the sequence.

What space does dance occupy in your life?

Dance today is my profession and where I can express myself the most. It is also my refuge.

I constantly take care to ensure that dance does not become just my job and something I do not want to access outside of it. I love dancing, love studying, taking classes, and creating.

How did the opportunity to be an official dancer for an artist come about?

In the case of Pabllo Vittar, choreographer Jessi Muller knew me because I was always present in dance classes and events. She called me to be part of some projects with the artist.

In the case of Veigh, I choreographed for the song "Bolsa de Ombro" and passed through several studios across Brazil. He had already seen it and shared it. In one of those classes, a friend of mine, who was already an influencer and had Veigh's contact, sent the video to him and joked about the possibility of adding a ballet. After a while, the invitation came for him and my friend, who today, along with me, is the choreographer of the ballet, Caco. They messaged me to join the project, which initially would only be for The Town's show. Later, we did Cena, and within a few months, we set up a show with a fixed ballet for the road. Today, Caco and I are choreographers, directors, and permanent dancers of the ballet.

What is the routine of rehearsals and performances with him like?

As we are on the road with a new show, we don’t rehearse all the time, only when we need to change something or add a new song. Probably, with the release of the new album "EVOM", we will go back to working a lot to create the new show and new choreographies for this new era.

The routine of performances is crazy: sometimes we do 3 states in 2 days in a row, or 3 or more shows over the weekend, overnight, without sleeping properly. But sometimes it’s just one show on the weekend.

Do you have any routine or ritual to handle the hustle?

Vitamins have become my best friends, as well as good nutrition and plenty of water.

With the crazy routine of shows, health comes first — and the mix of little sleep, air conditioning, sweat, and changing weather affects a lot when we don’t take care of ourselves.

Weight training has also made a big difference in this process, to avoid and prevent injuries on stage.

If you could give someone advice, what would you say?

The advice I always give — and that you are probably least likely to hear — is that, in addition to the physical, having good conditioning, being a versatile dancer, studying, and taking classes, being a good person and professional will be prioritized when choosing a dancer for any project.

Knowing how to work as part of a team, getting along well, respecting professionals, and keeping time are just some of the qualities we take very much into consideration when hiring someone.