If you felt warmer tonight after seeing Grupo Corpo, the Brazilian contemporary dance company, just know that it’s an illusion. I checked when I got home from Power Center. The temperature was -3°.

Grupo Corpo publicity photo

But the dose of heat and color that the company brought to town was nothing short of revivifying, and another dose follows Saturday when the University Musical Society presents the group again in an identical program.

That program is a knockout, a one-two punch of high-impact dances by choreographer Rodrigo Pederneiras, with stunning lighting and sets by his brother Paulo, the company’s artistic director. It’s a magnificent family affair.

The two dances the company is showing, “Parabelo” and “Ímã,” are separated by time and subject; “Parabelo” is more a pure-dance work celebrating Brazilian rhythms and forms, while “Ímã” — the name means “magnet” — explores ideas of attraction and repulsion. And yet they have glorious stylistic commonalities.

In each, Rodrigo Pederneiras has given the 19 dancers — impeccably trained and riveting to watch — movement that is wonderfully upright and not uptight. Ballet is a basis — company class is a ballet class, I’m told — and what you see on stage, at least in these two works, is choreography that combines the buoyancy of ballet petit allegro — sets of fast little stage-skimming jumps and turns — with luscious Afro-Brazilian gyrations of hips and torso. It’s a wow, a mesmerizing wow, and Pederneiras uses it well. He moves groups in artful counterpoint and uses unison judiciously and to excellent effect; the dance architecture is strong.

“Parabelo,” to a soundtrack by Tom Zé and Jose Miguel Wisnik, grades from black to an explosion of hot colors, but it ends, choreographically, with a quick acceleration to the same leg-shooting-in-the-air gesture that marked its dark beginning. In between, the liquid movements of the dancers — their legs tracing arcs like light pens — absorb the viewer totally.

“Ímã,” set to a jazzy score by +2 Moreno, Domenico, Kassin, followed the intermission — I think it would do better before “Parabelo,” which is hard to top for impact. “Ímã’s” a quieter sort of dance — relatively. It’s cooler, more mechanical in its movement, at least to start with. It has a lot to say about the push-pull of relationships, and it says it well in dance terms, using partnering conventions of popular dance to make its points. As much as the choreography, the lighting — very tropical, very day-glo — and equally colorful leotards and trunks (by Freusa Zechmeister) make it a feast for the eyes. It’s good to know it’s summer somewhere.

Susan Isaacs Nisbett is a free-lance writer who covers classical music and dance for AnnArbor.com.