At the age of three, Rafinha Viscardi began her ballet career and has never stopped since. With a career that ranges from Olympic gymnastics to television, she has become one of the most renowned choreographers in Brazil. In an exclusive interview, Rafinha reveals how her childhood dedicated to art, her experience with great artists and her mother’s lessons shaped her to lead stages and TV studios, in addition to talking about the challenges and lessons learned in her professional journey.
You started studying ballet at the age of three and haven’t stopped since. What was that initial journey like and what motivated you to explore so many different styles of dance?
I started ballet when I was three years old, and when I was four, I started gymnastics. It was actually my mother’s dream for me to be an artist, so she put me in a lot of classes so I could try a little bit of everything. Over time, I also fell in love with dance. In gymnastics, there were competitions that combined gymnastics and dance, which motivated me even more. My mother always taught me to do my best, and that led me to excel in both gymnastics and dance.
I juggled both modalities until, at a certain point, I had to choose. I chose dance, but I tried out different styles, because my mother wanted me to explore all the possibilities in the artistic world. Since she didn’t know exactly which path I would follow, she encouraged me to take modeling, guitar and singing courses. In the end, I ended up finding myself in dance.
At the age of four, you started gymnastics and competed in several championships, including a World Championship in Berlin. How did these experiences influence your career in dance and entertainment?
Doing gymnastics had a huge influence on my career because, in addition to dancing, I also had the advantage of acrobatics. This made me an even more complete dancer. I was small, while most girls were taller, and what made me stand out was precisely gymnastics, now called artistic gymnastics. The acrobatics I learned made all the difference in my dance career.
At the age of 13, you auditioned for the SBT program “Fantasia” and were chosen from thousands of candidates. What was that experience like and how did it impact your professional career?
When I was 13, I auditioned for the TV show Fantasia. There were thousands of girls competing; I arrived at 7 am and only managed to audition around 7 or 8 pm. The line went around the block! The test consisted of paying attention: one of the evaluators stood on a table and explained that we had to fill out a form and then hand it in when they called our name.
When it was my turn, I introduced myself: “Hi, my name is Rafaela.” He looked at me, thanked me, took my form and set it aside. And I passed! That moment made all the difference in my life, because it was the starting point for my career at ACPT. I’ve always heard that I have a “Miss’ mother,” and I’m very grateful to her, because if I got this far, it was thanks to her vision and her encouragement to stand out. That test at Fantasia was a milestone for me.
SBT choreographer Joyce Kerman was a big influence on you. Can you tell us more about how she helped you and what her guidance meant for your career?
Joyce meant everything to me at that time. She was the one who gave me my first opportunity. I went to audition at SBT, and my mother insisted that I go with a headband. She said: “Oh, you’re going to be the girl with the headband!” So that’s how I went to the audition.
In the second audition, Joyce looked at me and said, “You, take that headband off now and do it again!” I did, and when I moved my hair, she said, “Wow, that one has attitude!” That’s how I got to the next round.
Joyce always gave me many opportunities. One of them happened because a girl got injured and they needed another dancer. My mother always said, “Learn the choreography! You’re not a ballerina? Then learn the choreography!” I followed her advice.
The day the girl got hurt, I approached Joyce, who was very strict and didn’t usually pay attention, since there were about 70 girls in Fantasia. I looked at her and said, “I know the choreography.” She replied, “You know? Then do it!” I did, and from that moment on, she never took me out of the program again. Over time, the programs changed, but I always counted on Olympic gymnastics as a differentiator.
Even when Joyce became very ill – she had cancer – I continued to be by her side, helping to create the choreographies. She taught me a lot, including about being a choreographer. She was the one who encouraged me to get my DRT, explaining that it was the authorization needed to work professionally as a choreographer.
She told me, “Get out of DRT, because one day you’re going to be in charge of this place. You’re too young to just be behind the camera.” I did, but I never imagined that, about nine years later, I would actually come back as a choreographer. In the end, that’s exactly what happened. Joyce influenced me in many positive ways in many aspects of my life.
You have performed in concerts by famous artists such as Eliana, Harmonia do Samba, Gian and Giovani, and Leonardo. What were the most memorable moments of these performances and what did you learn from these experiences?
Yes, I performed in several shows by famous artists. I think I learned a little from each of them, but what left the biggest mark on my experience was traveling. I had the opportunity to see all of Brazil while doing what I loved most: dancing – and still getting paid for it.
In addition to traveling to all the states and capitals of Brazil, I also visited other countries, such as Japan, Switzerland and England, among others. Dance has given me incredible experiences and taken me to places that I perhaps never imagined I would visit.
I always say that this experience made all the difference in my life. Being in contact with so many people, cultures and places only increased my passion for traveling. Nowadays, I travel less than before, because my work is more focused here, but if I could, I would always be on the road.
Traveling around Brazil and abroad with these artists must have been an incredible experience. Can you share some of the stories or challenges you faced during these tours?
I had some incredible moments traveling around Brazil. I always say that each place had its own special moment. One time, we stayed in a monastery and we thought it was haunted. They said there was no train nearby, but if we heard the sound of a train passing by, we would joke that it was a ghost. Everyone would run to the room of one of the older ballerinas. It was all very funny!
Another remarkable experience was when I visited Japan. At the time, we didn’t have digital cameras with viewfinders here in Brazil, but there were already cell phones that took photos! It was an incredible new experience for me.
In addition to the big cities, I also visited smaller places in Brazil. On one of these trips, I had a hard time because I’m terrified of animals. There were so many frogs, I could only cross the path with my eyes closed, running and screaming while someone guided me. On another occasion, I found a cockroach in the bathroom and was in despair! These smaller cities always provided unforgettable experiences.
And the beaches? The sunny days I enjoyed? They were wonderful moments! If I stopped to remember everything, I would be here until tomorrow telling stories.
Another dream come true was visiting Switzerland. I had been looking forward to this trip for so long! When we arrived, we took a bus from the airport to the hotel, and I was so excited that I ended up leaving my bag — with all my money — on top of a small wall outside the hotel, on a busy street. I went into the hotel and started playing, lying on the ground, running around… I felt like a child!
I only realized that I had forgotten my bag hours later, when I went to get something from inside it. I ran outside in desperation and, to my surprise, the bag was still there, intact, in the same place! I was shocked. This is Switzerland, right? If it had been anywhere else, maybe the story would have been different!
These are just some of the many stories I experienced while traveling. They were incredible experiences!
How was the transition from dancer to stage assistant for Gugu Liberato on “Domingo Legal”? What were the biggest challenges and lessons learned in this new role?
When Joyce passed away, there was a change of choreographer. This new choreographer started changing the dancers and didn’t have the same affection that Joyce had for us, nor the same connection with the history that we lived together.
But God is so good that, shortly after, a pilot test for a new segment on Gugu’s show came up. I took part and did very well! I’ve always been very smart and attentive, and the challenge was a maze where we had to run from one side to the other. I glanced at it and already knew exactly where the people were. I took the test and was selected.
At first, I spent a year in this labyrinthine situation. Then, a vacancy for a stage assistant came up. When they called me, they told me: “We’re going to hire you, but only for now, until we find someone permanent.” But I tried my best, showed agility and dedication, and ended up staying.
It was a big change, because I was no longer dancing. Now, my role required a lot of attention and responsibility alongside Gugu. At that time, he was one of the greatest TV presenters, right after Silvio Santos – for me, the two were tied with Faustão. So, being there alongside him was a huge responsibility and a great challenge.
Many people doubted me, especially because I was young and started with Helen Ganzarolli. No one thought I would stay for long. But, as my mother always taught me, whatever I do, I must do it with my best. And that’s what I did. My effort was recognized, and I was able to seize this opportunity.
I truly believe that, in life, everything revolves around knowing how to take advantage of the opportunities that arise.
While working with Gugu for Record, you also took on the role of ballet choreographer on “Programa do Gugu”. What was the experience of leading and creating choreographies for a live program like?
That was a really cool experience! I went with Gugu to Record and, after five years as a stage assistant at SBT, I also took on the role of choreographer at the new channel. It was like a great school for me, as if God was preparing me for something even greater.
In addition to the responsibility, I felt prepared, because I had excellent training with Joyce. But, at the same time, it was a new challenge. I already had experience teaching, but in academies and dance schools. Choreographing for TV was completely different.
Fortunately, I had a great teacher who taught me all the tricks I needed for this world. Because on TV, everything happens very quickly. It’s different from putting together choreographies for gyms or dance schools. Rehearsals are short, so everything needs to be functional and agile.
It was an amazing experience!
You were a stage assistant on “Programa do Ratinho”. What is your creative process like when developing choreography for a television program? What are the biggest rewards and challenges of this role?
Today, I am no longer part of Ratinho’s program, where I worked for 10 years. Currently, I am a choreographer for the Silvio Santos program and Patrícia’s stage assistant, in addition to choreographing Domingo Legal, Virgínia’s program and The Noite (when there is ballet). Basically, all programs that involve dance go through me.
I also work at Sítio do Pica-Pau Amarelo and I make some appearances in soap operas. In the end, I do a little bit of everything! I also work in the digital world, creating content for this area.
The greatest reward of my work? Seeing the results! I am immensely grateful to God for so many incredible opportunities. When I watch my ballet dancing, I think: “Wow, I put this together!” It is such a rewarding feeling that I can’t even explain.
Throughout my career, I have experienced unforgettable moments. Like when Silvio Santos invited me to dance in the middle of his stage! Today, I am Patrícia’s choreographer and stage assistant, but I fondly remember the jokes he used to play with me. There are so many stories that, when I stop to think about it, I get emotional. Being there, holding Silvio Santos’ tie… It’s not for everyone, right?
I also do some reporting for both digital and TV programs. Recently, I presented the winners of Tele Sena! I have also participated as an actress in A Praça é Nossa – whenever they need someone, they call me to participate.
I am very grateful to SBT for all these opportunities!
In addition to your work on television, you also do coaching and participate in successful events. Can you tell us more about these projects and how they fit into your career?
In addition to my work on TV, I also work independently. I provide artistic direction for several singers, as well as direct shows, DVDs and events. I also close commercials, coordinate ballets, choreograph music videos and participate in several productions.
I work in many different ways at events: presenting, speaking and organizing. I do a little bit of everything! I’m one of those people who, if someone asks me: “Do you know how to do this?”, my answer is: “If I don’t know how, I’ll learn and do my best!” You can be sure of that.
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