Throughout a distinguished career, numerous cultural notices have been written with theater collectives, fostering artistic encouragement and sharing with diverse communities in Brazil. Financial support from the Brazilian government has facilitated the development of projects that disseminate art and music. This backing, granted through cultural incentive laws such as Fomento and ProAC, has enabled learning from and contributing to a variety of communities. The drum school, Wind Drums, stands as a testament to this journey, championing cultural exchange through the power of music.
The project “Cidade Entraves ou Estad[i]o de Sítio” was realized by Grupo Teatral Parlendas in 2012. The theater promotion project played a significant role in supporting the Theater Group Parlendas. Helped strengthen communities at risk of removal during the World Cup in 2014. This was achieved by creating festivals and mobilizing other theater groups to draw public attention, thereby preventing the removal of the community.
In addition to this, the project offered free workshops and training for artists in the east zone of São Paulo at its headquarters at the time, CDC Vento Leste. CDC Vento Leste is a shared artistic space that houses several groups and has become a cultural hub in the region.
"História de Retalhos" is a notable project that I realized in 2011. This unique production was supported by the Programa de Ação Cultural (PROAC), a significant cultural initiative in São Paulo that financially supports projects for the production and season of original theater shows1. The project received a grant of R$ 50,000.00 under the “Espetáculo Inédito” category, which is dedicated to supporting the creation of new and original theatrical works. This funding was instrumental in bringing “História de Retalhos” to life, demonstrating the power of theater as a tool for social commentary and change.
The project “Novas Linhas, Embaraços de um Brasil,” realized by the Parlendas Theater Group, is a remarkable initiative that won the FUNARTE-MINC 2012 Literary Circulation Grant. This project provided the unique opportunity for the Parlendas Theater Group to visit five indigenous territorial regions in the upper Rio Negro region of Amazonas, Brazil.
During these visits, the group actively participated in community life and immersed themselves in local cultural practices. They experienced firsthand the challenges and beauties of these communities, gaining a deeper understanding of their unique lifestyles and traditions.
The project was supported by the Anthropology department of the University of São Paulo (USP), further enhancing its academic and cultural significance. One of the notable outcomes of this project was the production of a documentary titled “Marruá, Theater of the Streets, Rivers and Forests.” This documentary serves as a testament to the group’s experiences and the rich cultural tapestry of the indigenous regions they visited.
The project “Cidade Entraves ou Estad[i]o de Sítio” was realized by Grupo Teatral Parlendas in 2012. The theater promotion project played a significant role in supporting the Theater Group Parlendas. Helped strengthen communities at risk of removal during the World Cup in 2014. This was achieved by creating festivals and mobilizing other theater groups to draw public attention, thereby preventing the removal of the community.
In addition to this, the project offered free workshops and training for artists in the east zone of São Paulo at its headquarters at the time, CDC Vento Leste. CDC Vento Leste is a shared artistic space that houses several groups and has become a cultural hub in the region.
“Juventude Atitude” projects, carried out in partnership with Grupo Teatral Parlendas in the city of São Carlos, aimed to foster young artists in the city to create a theater group with young people from the city’s outskirts. These initiatives provided valuable opportunities for the youth, exposing them to the arts and stimulating their creativity. This project gave rise to the theater group “Navegantes do Concreto”, representing another significant milestone in supporting the youth and promoting community engagement.
The “Viradinha Cultural Acordando Histórias” project, realized by Grupo Teatral Parlendas at the Centro Cultural de São Paulo (CCSP), is a part of the larger Virada Cultural event. This project allowed children to camp at the cultural center, using playful language to explore the facilities and its history. It aimed to foster social inclusion, art, and culture for children and their families. The project had two successful editions, each contributing to the vibrant cultural life of the São Paulo Cultural Center.
2010 - Jovens da Floresta – “Blacks, Indians and caboclos: the story of the forest that was lost”
In 2010, the “Jovens da Floresta” project was launched, titled “Blacks, Indians, and Caboclos: The Story of the Forest That Was Lost.” This initiative was spearheaded by ‘Instituto Ideas’ in collaboration with terreiros of African and indigenous origins. The project culminated in a documentary of the same name, which delved into the cultural and religious practices of black and indigenous people in urban areas. It explored how diasporic relationships influence the preservation of these traditions, providing a nuanced understanding of the intersection between culture, religion, and urban life.
(2008/2015) - The Street Theater Collective had been in pursuit of an aesthetic quality that corresponded to the needs of the dialectical processes between theatrical creation, the popular, and the city space. Five years of action-research, the mambembe characteristic, had led them to travel through the five regions of Brazil, encountering cultural diversity and witnessing situations that demonstrated the unity of conditions and historical struggles of the working class, threatened and exploited, due to the interests of capital. Delight and instruct, two functions of epic theater, were two concepts that guided the group’s research. They believed that theater should have had a political and social function in which the viewer, from the artistic experience, suspected the naturalness of relationships, historically recognized themselves in them, understood their autonomy, and comprehended their social environment, being able to interfere in it critically. These choices called for a generous artist, sensitive to listening for constant dialogue with an active spectator who interfered and added to the theatrical event.