Intro: Newton “Véio” Tavares, Quintal Cultural da Quebrada

Salve a todos parceiros do projeto Potência e Potencial!

Primeiramente gostaria de parabenizar a todos pela imersão no Reino Unido, e parabenizar, em especial, aqueles que correram esta madrugada para escrever o projeto sobre a cultura brasileira do Carnaval!

Escrevo aqui pois vou postar uma série de fotos do carnaval que realizamos este ano. Foi uma festa linda! Enfeitada pela nobreza da nossa cultura pernambucana: o Maracatu de Baque Virado.

Como sempre, a cada ano, quebramos recordes em nosso cortejo ao arrastar para as ruas da COHAB (Conjunto Habitacional) de Carapicuíba, dezenas de alfaias, coletivos artivistas, artistas, produtores, crianças, vizinhos… Pessoas!

E pensando já em ideias para nosso projeto, deixo as imagens de uma inspiração, que não está ligada à visão de carnaval que o mundo vê, onde apenas o samba e as fantasias são enaltecidas, nosso carnaval está ligado à raízes da cultura do povo da roça, sofrido, trabalhador, “miserável”, que mesmo com todas dificuldades, encontra alegria e ritual para se purificar e fazer nossas culturas e festas se engrandecerem!

Um abraço a todos e vou descobrir como postar imagens… Segura aí!

Hi to all project partners in Potency and Potential!

First I would like to congratulate everyone for immersion in the UK, and congratulate in particular those who rushed this morning to write the project about Brazilian culture of Carnival!

I write here because I will post a series of photos of the carnival we do this year. It was a beautiful party! Decked by the nobility of our Pernambuco culture: Maracatu Baque Virado.

As always, every year, we break records in our procession to drag to the streets of COHAB (Housing Complex) of Carapicuíba, dozens of tools, collective artivistas, artists, producers, children, neighbors … People!

And already thinking ideas for our project, look at these the images of an inspirational event, which is not linked to the carnival vision that the world sees, where only the samba and the costumes are praised, our carnival is connected to the culture of the people of the grass roots, marginalised peoples, workers, “miserable” (people with really dire conditions) that despite all difficulties, finds joy and ritual to purify and make our cultures and festivals are aggrandizement!

A hug to everyone and I will figure out how to post pictures … Hold it!


Cortejo de Carnaval do Quintal Cultural – Maracatu do Baque Virado – 10 anos nas ruas periféricas das COHABS de Carapicuíba, SP, Brazil!

Alfaias, agogos, surdos, repiques, caixas, xequerês, tamborins, atabaques, apitos, equipamentos de áudio, pessoas e muita disposição para percorrer o percurso da COHAB 2 até a COHAB 5 sede da Associação Quintal Cultural, onde sempre encerramos com uma grande ciranda.


Site da nossa Associação caso queiram saber um pouco mais sobre o trabalho…

http://www.quintalculturaldecarapicuiba.blogspot.com.br


https://open.spotify.com/embed/track/2QYYapUEiCutPOoBLaL38c

Bom… Esses caras que cantam essa música acima postada, são sensacionais, depois de Raul Seixas, são os únicos rock and roll do Brasil… O resto é só o “rock”… Mas estes, como Raul, antropofagizaram as culturas e vomitaram o rock, porém, “roll”… Sempre rolando!

… procurem por Maracatu Atômico do Chico Science. No youtube tem o vídeo clip… Esta versão acima é remasterizada com música eletrônica, não ficou ruim, mas a original é bem melhor!

postei essa música pois tem haver com a antropofagia que é o carnaval!

Salve a semana de arte moderna de 22! Quebrando conceitos e padrões europeus (nada contra a Europa é claro!)!

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Intro: Ahtziri Molina

Hola a todos. Los materiales en el grupo están muy interesantes. Ya vamos viendo la riqueza del grupo, va a ser una muy buena experiencia. I’m sorry to be here this late, but after all, here I’m.

Part of the reason why I had not come before is explaining myself to you, creative bunch. I’m an academic, a sociologist who does listening, enhancing and analysing as means of life. I find that all that is possible thru research and research methods.

More than that, research and it’s possibilites are endless as creative, collective projects. I tend to work in reserch groups rather than on my ivory tower, so following and understanding collectives, are “my thing”. The main reasons why I follow them is to enhance the chances of them to succed, since I try knowing the projects, the makers, the backgroud, the community and that usually works identyfing the core issues. As a result, I call myself a gossiper with two academic licences to do so. So, in fancy words, it might sound better if we call me a facilitator!

See you soon!

Intro: Christina Holdsworth

Hi everyone I am Christina, at the residential I will be representing Artlink West Yorkshire, the company you have heard of from Sylvie Fourcin.

I have been working as a freelance community artist for 6 years. Over this time I have worked in a variety of community spaces including schools, care homes, and transitional housing units for adults with mental health conditions.

At Artlink West Yorkshire I have had the pleasure of working on the ‘Get Started’ project. After visiting the space at the Leeds transitional housing unit we decided to hold summer workshops to take advantage of the outside space. This space was a blank canvas for participants to create work to decorate and take ownership of their environment.

We hope to create a safe, creative group setting to help with the residents transition to independent living and integration with the local and wider community.

As well as working with Artlink I work with a collective of artist on the Roots and Wings project mentioned by Incy Wood in her indroduction.

I am interested joining the conversation about space because changing spaces is such an instinctive process for me. I didn’t realise necessarily or put enough thought or analysis to the actions I do naturally to create a new, safe, practical, inclusive, or inspiring environment. I am interested in discussing the ‘headspace’ that can be created by artists for participants. I would like the discuss this with artists & researchers from different cultural backgrounds and compare our approaches.

Intro: Victoria Jupp Kina

Ola a tod@s! Hi Everyone!

I’m Vic, a researcher and lecturer in community development and social work based at the University of Dundee, Scotland. I’m also a new mum to a gorgeous little bundle and spent last year in the glories of maternity leave – made all the better by being out in Sao Paulo for most of the year! I first worked in Brazil over ten years ago and have been unexpectedly falling in love with the country ever since – so I am really excited by the prospect of what might happen through bringing together everyone’s experiences.

Sou Vic, pesquisadora e professora de desenvolvimento comunitario e servico social na Universidade de Dundee, Escocia. Tambem recentemente virei uma mae de uma pacotinha maravilhosa e passei o ano passado aproveitando a licenca maternidade – que ficou melhor ainda porque consegui passar o maioria do ano em Sao Paulo! Faz mais que 10 anos desde fui ao Brasil a primeira vez e cada ano que passa me apaxione pelo pais um pouco mais – entao estou super ansiosa para ver o que pudia acontacer juntando as experiencias de tudo mundo nesse projeto.

Intro: Peter Spafford

Hello, I’m Peter Spafford. I’m a writer based in Leeds. My work divides, but not very cleanly, into two areas which I call In Here writing, and Out There writing. In Here writing is me in my head, Out There is writing I do in participatory contexts: prisons, museums, schools, streets, hospitals etc. It’s all writing! But I do need a balance.

The actual space where I work on my own is not that important to me. I can write anywhere. When I’m working with groups – well, that’s different. But speaking in cultural terms, all the writing I do is around the edges of the mainstream. In other words, if I try to explain what I do to my very lovely but very conventional sister…

I went to Brazil years ago for three months and loved it. That’s one of the reasons I signed up to this. I am also interested in Ruth’s idea of Invitation. At the moment I’m working on a new performance piece combining text and music called Threshold, which explores the theme of trust: how far and on what terms do we let others, who may be strange to us in many senses, into our own spaces, houses, countries, lives? And as a stranger being offered such, how far do we trust that offer and how far do we come? In other words, what is your/my threshold?

I can’t make it this residential, sadly, but would like to stay involved as much as possible.

Intro: Ruth Ben-Tovin, Encounters Arts

Hello Im Ruth Ben-Tovim and I’m the creative director of Encounters we are a socially and ecologically engaged arts organisation based in Devon. For the last 12 years we have worked with different communities and agencies to create projects and processes that invite people to explore their relationships with themselves, each other, where they live and the wider natural world. I’ve realised when it boils down to it that I am passionate about THE ART OF INVITATION  how we invite, who is invited and who is doing the inviting

Our work falls into three overlapping strands; Food and Environment, Voice and Action, Life transitions. We tend to extend our Invitation to Join in in two main ways EITHER ; by creating liminal spaces where we invite diverse people across age, background, geography, to come together regularly over six months or longer to be and do together. In this case perhaps, we are creating or co- curating with participants,  micro communities, mini utopian spaces where every aspect of how we gather, share, eat, make,  enables us to explore who and how we want to be in the world at this moment of crisis and opportunity

OR ; we go to the street corners, social spaces, empty shops, community spaces, natural environments, and Invite people to join in as part of their everyday life, often as they  pass by or incidentally and people add themselves into co-authored evolving artworks

We survive through funding we get for our own artist led projects or through commissions where the outcomes are determined by others. Juggling these different routes so that we can make an Invitation is an ongoing challenge and we work with a lot of different stakeholders and partners ; community, health, local government, voluntary sector.

I’ve also been involved recently in the creation of a book called Playing For Time, making art as if the world mattered by Lucy Neal which I’d really recommend. It has contributions from over 60 artists all working locally ‘as if the world mattered’. In the book we have been exploring this practice and also the different roles we take on in this work as ; connectors, translators, conveners, hosts, catalysts, truth tellers, holders of space, enablers.

I’m really interested in how we HOLD the spaces we create and the art of this as opposed to the objects/results that might be created

I’ve not used Tmblr before so can’t see how I can add photos to this post …. So will do in another post… but on our website we have a museum section which shares all our projects

look forward to meeting you all

Ruth

A selection of Encounters Arts Photos:

Intro: Kelly di Bertolli

Olá pessoas queridas,

Segue um video curto sobre o trabalho que estamos desenvolvendo em escolas públicas na Zona Leste de São Paulo. Através das técnicas do Teatro do Oprimido buscamos criar espaços dentro das escolas para que hajam diálogos sobre os conflitos enfrentados pelos estudantes e outros atores sociais dentro da escola.

Hello!

There is a small video about our work with Theatre of the Opressed in a public schools in SP.  I m writing a paper about this work and with Bader and Vicky help I wrote in english a resume about the paper. I m sending for all of you just to present the work. I m glad to share this space with all of you! Thanks!


Segue em ingles um resumo de um artigo que estou  escrevendo com a ajuda de Bader e Vicky sobre Teatro do Oprimido nas escolas:

Theatre of the Oppressed: reflections on a practice of facing conflicts with young people in state schools in São Paulo, Brazil.

The proposed article presents an experience over a period of three years of working with Theatre of the Oppressed, particularly the technique of Forum Theatre, to stimulate the creation of associated students groups in state schools located in the outskirts of São Paulo; the largest, richest and yet most socially unequal city in Brazil. The work was initiated by the local government in order to tackle the high rates of violence within local high schools, including violence amongst the high school students and violence between students and teachers. The work aimed to encourage the social and political participation of the young people living in this poor neighborhood.

The student council is spaces inside schools dedicated to the interests of students and that aim to develop democratic management of the school and encourage students to critically and reflectively exercises their citizenship and leadership. Forum Theatre was chosen as an approach for this work because this it is a theatre technique that works as a tool for discussion of social conflicts while also searching for strategies for collective actions. In this context, the approach worked to stimulate discussion of important issues within the school context and within the wider community.

The project has had a significant impact on both participating teachers and students, to the point that the organizers were forced to widen the project objectives to also include the training of the teachers in the Theatre of the Oppressed methodology.

The methodology within this project consisted of creating scenes involving conflict; these must be real situations experienced by the participants. In total, four scenes were developed by teachers and ten scenes made by various groups of young people, each group consisting of between eight to twenty participants. Alongside this, Forum Theatre also uses games and exercises from the Theatre of the Oppressed arsenal in order to challenge the mechanization of body and mind, including those as a result of trauma.

The project was facilitated and supervised by Theatre of the Oppressed practitioners whose role was to assist teachers and students in developing the methodology. Themes for scenes were developed collectively using theatrical dynamics and the resulting subjects raised by the young people and teachers revolved around the everyday conflicts in schools as bullying, violence, sexual abuse, harassment, abandonment and rejection by parents, and domestic violence involving drugs.

As the project developed participants began to identify the relevance of using theatre to promote ways to overcome violence in schools. Through the scenes developed within the groups it was possible to reveal the cycle of oppression within the school environment, where the oppressors and the oppressed occupy places that are fluid rather than fixed. The scenes revealed that often a person who is oppressive in one situation is oppressed elsewhere.

For example the same boy who is accused of bullying at school may suffer violence in different ways outside of the school environment. The work highlighted how a diverse range of trauma, rejection and abandonment emotionally affect young people who then find the language of violence as a way to protect them and to vent the anger that is exploding within them. For these young people not only does school not represent a space for the exploration of these conflicts but often manifests itself as a space of exclusion.

In this context, Forum Theatre was configured as a transgressive space; an emotional language to discuss silenced issues in everyday school life and enhance the creation of new democratic spaces within the school in which new connections were possible that move beyond the notion of a young person as the “problem student”.

Importantly it was found that young people who practiced oppressive acts in schools felt welcomed within Forum Theatre, recognizing it as a space where they could create links, feel important, and belong to a collective while at the same time reflecting on their lives and emotions. This led the organizers to reflect on the mistakes that classic forms to conflict control commit, rather than focusing on punishment or regulation of the aggression or protection of the assaulted this approach offered a safe space and emotional support through listening to everyone. Through enabling the young people to step outside of their assumed places they were then able to search for appropriate ideas and strategies to overcome their conflicts. It also became clear that it is important not to cultivate anger within the school community towards the offenders or to cultivate the anger of the young people who have offended, since these emotions only enable further violent attitudes. Further to this, the work demonstrated the importance within although then methodology prioritizes the collective construction of strategies for action for both those suffering oppression and exercising it; the work clearly demonstrated the role of other relationships established by the main actors with others from the school community. Theatre of the Oppressed brings conflicts into focus rather than hiding them and allows them to be seen in parallel as both subjective and objective questions.

But theatre is no magic wand to solve the problems alone. The project also evaluated the importance of networks to be created by each school (some schools already have the initiative) with other public health and social assistance services in order to provide services within school, as in the case of sexual abuse, for example.

The structure of the article will be:

  1. Background and context
  2. The methodology of Theatre of the Oppressed
  3. Project aims and objectives
  4. Examples of scenes developed
  5. Impacts/feedback/perceived changes
  6. Potential of methodology to be used in other social contexts/countries

Within the proposed chapter we will provide examples of scenes that were developed, focusing on how they developed and how consensus was reached. Through this the chapter will explore the potential of Oppressed Theatre as a method to be used in the fight for the transformation of the place that some young people occupy in society.