Rebento

Editorial

2025-08-07T09:08:49+00:00

Foam

2025-08-01T10:44:31+00:00

Foam is a visual poem about everyday life, composed of four parts: FOAM A, B, C, and D. In this sharing of the surface of the white page, everything becomes a work. The characters are beings from the house's surroundings, who emerge from the experience of work and inhabit it. They are, thus, reality itself. The text carries the images recorded from the memory of a sunny city.

Keywords: Visual essay; Poem; Painting; Poetics of the image.

Having it good

2025-07-02T20:35:23+00:00

This text is the translation of an essay written by the north american artist, professor and researcher Suzanne Lacy, originally published in 2005. Despite the two-decade gap, the issues addressed in this essay remain urgent as they discuss aesthetic, ethical and political aspects that are very current today. By putting into dialogue, the practices of so-called engaged art and engaged Buddhism, the author exposes the conflicts triggered by the dichotomies inherent to a certain Western mentality in which the notion of good privileges the individual to the detriment of certain meanings of collectivity. To this end, Suzanne Lacy draws on personal, artistic and pedagogical experiences in a conversation with contemporary artists, Buddhist scholars and the activist context of the second half of the 20th century, to rethink relationships between art, politics and spirituality in everyday life.

Keywords: Contemporary Art; Engaged Buddhism; Engaged Art; Public Art; Everyday Life.

ballet as taboo

2025-07-12T15:46:49+00:00

The professional dance scene in São Paulo seems averse to ballet. Although the training of generations of dancers includes classical dance technique, historically the professional scene restricts ballet to the realm of training, often excluding its potential for aesthetic realization. Based on interviews with dance directors and artists, as well as a review of the literature on the history of dance in São Paulo and a discussion of important public policies for dance in the city, this article traces the presence of ballet in São Paulo and the rejection of this dance form by the capital that symbolizes Brazilian modernism. This overview highlights the roots of modern dance in São Paulo, historical processes and groups that contributed to the popularization of forms opposed to classical aesthetics, relevant public policy proposals for dance, and the ongoing difficulty of ballet’s professionalization — also perceived as a rejection of the term itself, a taboo in São Paulo’s dance scene.

Key-Words: Dance History; Ballet; São Paulo; Public Policy.

Introduction

2025-08-07T09:26:49+00:00

The 20th issue of Rebento Journal, titled "Obs-cena: investigations into what barely fits in the gaze," invited artists and researchers interested in what is or is placed "outside" the scene, focusing on the potential of the unfinished, the forbidden, the threatened of erasure, and what is perceived as negative. We received reports of experiences in spaces responsible for the fermentation of creative processes - such as rehearsal rooms, field research centers, laboratories, studios, workshops, and notebooks, among others - or occupied by borderline languages, or invented by subjects who demand a voice. Among the questions in the issue, we challenged our contributors to reflect on the role of the visual arts, theater, circus, and dance in expanding the boundaries of public morality accepted in certain environments, as well as to understand in their writings what is absent or still unformed in historiography, dramaturgy, academic studies, exhibition spaces, and the scope of criticism.

Sudakas pornoterrorism(s)

2025-05-06T20:58:29+00:00

This article presents aspects of the pornoterrorist movement, drawing on the work of Diana J. Torres, highlighting its confrontational nature and commenting on its potential repercussions in South America. It aims to engage with the performances of Nadia Granados and Bruna Kury, who, in turn, based on their experiences and struggles, create in their practices a guerrilla art capable of expanding pornographic ima- ginaries through mockery, shock, and confrontation, questioning and

denouncing the normative system, as well as perpetuating new forms of pleasure. The conclusion is that these pornoterrorist actions, by re- sisting an oppressive “system,” appropriate these normative spaces and formats to transform them with their art, transforming their sexualities into potentialities of existence.

Keywords: Pornoterrorism; Dissent; Performance; Sexuality.

Masks of position

2025-07-13T18:02:47+00:00

This article aims to share the conceptual construction of the notion of positional masks in the contemporary scene by identifying the phenomenon of mask incorporation in the tactics of popular movements, theater groups, and performers. It explores how these masks produce aesthetic imagination and construct protest actions through performative compositions that contest the symbolic field of contemporary scenic practices. Given that these actions are often rejected by the homogenizing discourses of mainstream media, which influence social imaginaries against masked actions, this text proposes to broaden the theatrical discursive perspectives of these political images. It reveals the stance of masks in relation to artistic practice, emphasizing that not every mask at any time qualifies as a positional mask.

Keywords: Politics; Masks; Composition; Activism; Society.

Poets performers of memory

2025-07-02T20:21:46+00:00

The article aims to present creations in performance and poetry, by Latin American artists Maria Evelia Marmolejo, Nelbia Romero, Regina José Galindo, Cecilia Vicuña e Mónica Carrillo Zegarra, thinking of them as an art of memory, as poetics that promote the ethical gesture of not allowing people to forget and the suggestion of forms of symbolic restoration. By making present the memory of catastrophes in Latin America, they uncover links between the violence that drives historical processes ranging from enslavement and colonialist territorial expropriation to repression, incarceration, disappearance and deaths during military dictatorships. Keeping the memory and the intrinsic relationship between these forms of violence alive constitutes a policy that opposes the historical denialism and memorialization that characterize current practices of the extreme right. In addition to the memory of catástrofes, the artists presented here bring the memory of knowledge and incorporate practices that were historically banned and whose survival allows openings to other epistemologies and cosmogonies.

Keywords: Politics of memory; Art of memory; Performance; Poetry; Latin America.

When the eyes no longer listen

2025-06-23T09:19:49+00:00

This article discusses the fragility of the gaze, specifically from the perspective of performance documentation. The same legitimacy that archives can be used to simulate an action that never happened. To materialize this hypothesis, the concept of pós-formance is presented, a new branch of visual arts that diverges from traditional performance. In recognizing pós-formance, the need to categorize certain types of actions that present a simulated execution is argued, and yet, over the decades, they have managed to solidify themselves until they obtain an equivalence to the archival principle of performance provenance. Although these are actions that were never actually performed, they have obtained legitimacy, validation, commercialization and insertion by the art system itself, reaching privileged places in Western performance. Pós-formance identifies the deconstruction of the condition of presence, since it is assumed that, in order to create an action of artistic content, the physicality of the bodies, the effective execution of the action and even less the temporal construction are no longer necessary, conditions that were previously inalienable in performance. In this case, the perceptive visual aspect of the performance is relegated to the discursive development (graphemes and phonemes). To confirm this hypothesis, the following works are taken as case studies: Action 2. Aktion Sommer (1965), by Rudolf Schwarzkogler, and Fantasia de Compensação (2004), by Rodrigo Braga.

Keywords: Body; Documentation; Gaze; Performance; Pós-formance.

Ceramics as a contemplative activity in the face of the excesses of the Digital Age

2025-04-11T13:28:41+00:00

Nowadays, with the increase in the use of mobile devices, the sense of contemplation and the ability to pause in front of images has been impaired. In a world where the overabundance of information threatens to overshadow the sense of touch, the capacity of attention and the processual in art, the aim of this text is to expose how ceramics emerges as an act of resistance. Its practice, being physical and material, invites us to pause, creating a moment and a place of rest; an alternative to the omnipresent visual spectacle. Throughout this article, we will discuss how ceramics, a traditional art that can be time-consuming to create pieces, also help us stop and meditate on this frenetic society in which we live. To this end, we rely on the reflections of thinkers such as, Byung-Chul Han or Zygmunt Bauman, among others, exhibiting a series of original artworks that exemplify, in a creative way, the subject at hand. Thus, we intend to reflect on the possibilities offered by ceramics as a meditative and artistic proposal to the world we inhabit, conditioned by a look linked to digital devices.

Keywords: Cell phones; Ceramics; Artistic creation; Memory; Time.

Eyes to Eyes (or responses to the Guerrilla Girls poster)

2023-08-16T20:39:44+00:00

The following text presents a montage composed from image readings, reports, recreations and opposing looks with the work Do women need to be naked to get into the São Paulo Museum of Art? (2017), by the Guerrilla Girls, in dialogue with other images present at the long-term exhibition at the Museu de Arte de São Paulo (MASP), between 2018 and 2019. The proposal is a cut/recomposition of the data co-produced during the fieldwork, carried out at the museum in the same period, referenced in methodologies of Educational Research Based on Arts and with the fields of Cultural Mediation, History(s) of Art and Oral History.

Keywords: Image reading; Opposing looks; History of Art; Cultural Mediation.

Between gaps and traps

2025-04-16T00:56:42+00:00

Although postcolonial debates have largely contributed to a greater awareness of the various layers of violence imposed by different systems and models, objectifying patterns still persist. At a time when changes in the earth's macro-environment, resulting from human action, demand alternative ways of thinking, their presence obstructs necessary paradigm shifts. At the heart of this impasse are the so-called colonial Others, human and extra-human. The article draws parallels and intersections of the plant turn movement with animism, at the historical and cultural level. With a focus on the relations between humans and plants, it historically contextualizes animism and its - still problematic - approach today, reflecting on the reception and positioning of knowledge that is on the other side of the wall of exclusionary dichotomies. In this context, it poses the following question: would it be possible to avoid that movements - referring to the plant turn, animism and their intertwining -, which today largely cross contemporary art, dissipate as another new fashion or become a kind of neocolonialism? For this reflection, the study addresses the relationship of hegemonic Western art with the knowledge of the Other(s), and focuses on some examples of different forms of practice by contemporary animist artists, whose work - between gaps and traps, representation and representativity - expands the social space between humans and extra-humans in the different spheres of contemporary arts.

Palavras-chave: Plant; Animism; Anthropocene.

The incomprehensible as method

2025-07-30T16:13:36+00:00

Based on the short story “La Busca de Averróis” by Jorge Luís Borges, the article intends to point out that the understanding, in some of the most used books in the teaching of art history, about indigenous arts is quite dated. A major problem pointed out is that the way they analyzed the artistic work of the indigenous people was more revealing of the culture of the one who was doing such analyzes than of the indigenous cultures. The classic system of art history, categorizing a group of objects to call them works of art and thinking that these objects are representations, is incompatible with the dynamics of making, operating and conserving indigenous art objects: such peoples do not endow some objects with the status of arts while others will be mere objects. In addition, they do not always conceive that such objects work in the way of being representations of an absent object. Therefore, non-indigenous peoples, like the character Averróis from Borges, can make an effort to understand the meanings of these arts but, because they are fated to live in another culture, it is difficult for them to capture their full meaning.

Mozambican Makonde sculpture

2025-07-21T10:53:40+00:00

This article derives from a master’s research project completed in 2023, which focused on the analysis of anthropological and ethnocultural elements of the Makonde people, located in Mozambique, on the African continent, as well as on the investigation of the aesthetic dimension of their sculptural production. Makonde sculpture constitutes a symbol of resistance during the period of Portuguese colonial oppression, as it played a crucial role in financing the fight for Mozambique's independence. Its originality was also fundamental to the strengthening of the country's nationalist movement. This analysis aims to enrich and disseminate a decolonial and unique perspective on the art of the African continent, going beyond ethnic-racial relations, to resignify elements of African and Afro-Brazilian culture in the Brazilian educational context.

Keywords: Art; Education; Makonde Sculpture; Africa; Mozambique.

From Creative Learning to embodied movement at the interfaces between Capoeira and Parkour

2025-07-29T18:42:38+00:00

This study, part of doctoral research in Physical Education at the interface of Art, aims to contribute to the development of innovative pedagogical processes in the hybridization of parkour and capoeira. It explores creative learning, creative processes and pedagogical strategies through research-creation (Paquin, 2019), in an approach guided by practice. By revealing body and play technologies in and for the promotion of creative learning and embodiment in artist or physical art physical education, it highlights the need for more studies on this little-explored interface.

Keywords: Creative learning; Creative process; Parkour; Capoeira; Playful technologies

Counter-colonial cartography for the defense of the sacred territory in the city of Caetité in Bahia

2025-05-02T21:26:11+00:00

Candomblé terreiros are territories shaped at the crossroads of the Afro-diasporic experience. These sites possess specific territorialities and recreate, within the Alto Sertão region of Bahia, the possibility of worshiping the ancestors (Egungun and Caboclos), the Orixás, and the Ibejis. However, these territorialities continue to be threatened — no longer by the force of law as in the past, but by the pervasive racism embedded in society, which aligns itself with the advance of wind energy enterprises. The installation of such projects in the territory has triggered intense real estate speculation, which in turn exacerbates processes of expropriation, as was the case in 2024, when machinery invaded the sacred land of the Ilé Àṣẹ Ojú Oòrùn and Ilé Àṣẹ Aiye ti Azoani terreiros in Caetité, Bahia. However this expropriatory movement also gave rise to a collective response, as the religious community mobilized to defend its territory. This mobilization led to the creation of a counter-colonial cartography capable of affirming their Afrographies within the city of Caetité, thereby strengthening the resistance and political agency of the aforementioned terreiros. This article centers on that movement, structuring itself according to the four moments of the Bakongo Cosmogram, inviting the reader to engage with it through a spiral perception of time and space.

Keywords: Ilé Àṣẹ Ojú Oòrùn; Ilé Àṣẹ Aiye ti Azoani; Counter-colonial cartography; Afrography; Territorial expropriation.

Seven drawing letters for a cosmocenic city

2025-07-29T18:49:26+00:00

In this article, I report on the process of creating seven drawing letters that I created for Sobral (CE), my hometown and research field for my doctoral research in Performing Arts (PPGAC-UFBA), titled “Cosmographies of a Scenic City: Art, Magic, and Nature in a Time Capsule”. These letters were created using mixed techniques and different materials and represent a visual correspondence with the elements of nature, celestial bodies and events: water, earth, air and fire, the sun and the moon, culminating in a total eclipse. The investigation is situated within the field of Artistic Practice as Research (PaR), in dialogue with cartographic approaches, walking and displacement practices, and the critique of creative processes. These letters are both inspirations and constituent parts of a piece that accompanied the development of my thesis in an interwoven manner, connecting art, creation and research.

Keywords: Drawing letters; Creative process; Scene and city; Arts research; Sobral-CE.

Sala de Aula em Cena! Mostra Skholé de Artes Cênicas

2024-11-25T12:21:22+00:00

This text presents the foundations of the project Sala de aula em cena! Mostra Skholé de Artes Cênicas [Classroom in Scene! Skholé Theatre Event of Performing Arts] from the Universidade do Estado de Santa Catarina (UDESC) [State University of Santa Catarina (UDESC)], based on theories investigated in the Study Group coordinated by Professor Heloise Vidor, linked to the Pedagogy of Performing Arts field. Through dialogue with Jacques Rancière (2015; 2022), Jan Masschelein and Maarten Simons (2021), Jorge Dubatti (2012), Heloise Vidor (2020), and the description and analysis of processes shared in the first edition of the Theatre Event in 2023, highlights the potential of Art/Performing Arts as a subject of study in the basic education school curriculum for the establishment of a space of suspension, pedagogical equality and conviviality. The Theatre Event was configured as a place for the defense and visibility of the Performing Arts and Theater that is performed in the classrooms of schools in Grande Florianópolis (SC).

Keywords: School; Theater in Education; Children and young people; Pedagogy of Performing Arts.

_ São Paulo group theater and the "encruzilhada""

2025-03-07T13:28:25+00:00

Over the past decade, there has been a growing emphasis on approaches that challenge coloniality in the pursuit of historical, epistemological, and aesthetic reparations in the practices and discourses of Sao Paulo-based theater groups. Some of these proposals stand out, with accounts drawn from a cartography of the projects awarded in the first 40 editions of the Programa Municipal de Fomento ao Teatro para a Cidade de São Paulo (Municipal Theater Funding Program for the City of São Paulo (2002–2022). Initially, the methodology of cartography is presented. Subsequently, we revisit Leda Maria Martins' (1997; 2021) notion of the “encruzilhada” (crossroad) and Luiz Rufino's (2018; 2019) “pedagogia das encruzilhadas”(pedagogy of crossroads), emphasizing how these authors' notions of “cruzo” (crossing) aid in the recuperation, valorization, and dissemination of ancestral knowledge and its articulation by So Paulo-based theater groups. The approaches of theater collectives that challenge hegemonic practices and discourses are categorized into three subgroups: Peripheral Theater, Black Theater, and LGBTQIAPN+ Theater. The coexistence of two opposing movements is highlighted, revealing aspects of the ongoing struggle over civilizational paradigms: on the one side, the far-right and its reactionary populism (Lynch & Casimiro, 2022), and on the other, the “cruzo” of São Paulo’s theater scene.

Keywords: Group theater; Crossroad; Reparations; Culture funding; Fomento ao Teatro Law for the city of São Paulo.

"Steps Must Be Gentle" and the presence of Hart Crane in Tennessee Williams' work

2024-12-11T16:26:44+00:00

The one-act play Steps Must Be Gentle – A Dramatic Reading for Two Performers (1980), by Tennessee Williams, has its unrealistic aspects investigated. The expedients that presents the mimetic digression are raised, to frame it as an anti-realist play: expressionism, unreal characters, epic estrangement, and setting and language that displace human reality. Furthermore, characterizations of the characters, the homosexual man and the divorced woman – the poet Hart Crane and his mother – are analyzed within the historical, social, and political contexts of the early 1980s. It is concluded that the work functions predominantly as a critique of the end of Jimmy Carter's presidency (1977-1981) and the beginning of the Reagan Era (1982-1989), exposing characters who are on the fringes of the conservative campaign of that historical moment, restricting feminism, homosexuality, and human rights. Williams presents a theatricalist poetics that exposes the situation of the divorced woman and the homosexual man facing a state that denied licenses and democratic conditions for equal human status in imperialist and capitalist society.

Keywords: Dramaturgy; Theatre; Reagan Era; AIDS.

Violence as a structural trait of Brazilian sociability and its representations in "Cárcere ou Porque as Mulheres Viram Búfalo" and "Sortilégio II"

2025-05-18T10:15:27+00:00

This text carries out a comparative analysis between the works Cárcere ou Porque as Mulheres Viram Búfalo, by Dione Carlos, and Sortilégio II, by Abdias do Nascimento, taking as its starting point violence as a structural feature of Brazilian sociability. The hypothesis is that Brazilian artistic production, especially that of new agents that gained visibility from the middle of the 20th century, reflects a constitutive trait of national sociability, built from the process of colonization, enslavement and peripheralization in the capitalist world. The text also sustains that the process of making cultural manifestations of previously invisible subjects visible points out to an epistemic reorientation that is also reflected in the works analyzed. Through comparative analysis of the texts, the text concludes that it is possible to affirm that violence is incorporated into peripheral Brazilian cultural production as a reflection of the violence that constitutes Brazilian sociability. This incorporation, however, is not only thematic, but a constituent element of the aesthetics proposed by the analyzed works.

Keywords: Dione Carlos; Abdias do Nascimento, Theatre; Violence; Marginal culture.

Intersectional Scenic Creation Laboratory and the scenic experiment "Xica nos contou um sonho" [Xica told us a dream]

2025-07-10T02:41:40+00:00

In this article, I share the artistic anda pedagogical experiments carried out in conducting an extension project carried out at the UNESP Institute of Arts in São Paulo. During the three months of laboratory, countercolonial perspectives were addressed that consider ethnic-racial relations (Collins, 2019; hooks, 2021; Jecupé, 2020; Munduruku, 2010, 2019), sexuality (Núñez, 2022), gender (Aston, 1999; Collins, 2019, Diamond, 2011; Jesus, 2019), class (Brecht, 1967), and territory (Nascimento, 2018; Santos, 2001; Sodré, 1988) as materialityand and foundation for theatrical creation, as well as it was possible to understand how intersectionalityacts in the interpersonal relationships of the participants. At he end of the laboratory practice, a scenic experiment named Xica nos contou um sonho [Xica told us a dream] was created, inspired by biography of black transgender Xica Manincongo and the personal stories of the participants. The experimet was presented at he Feminist Festival Um território para nós [A territory for us] at the UNESP Institute of Arts.

Keywords: Theater; Intersectionality; Acting Lab; Universitary Extension.

"Taking care of the house" and "M.U.L.H.E.R." (WOMAN)

2025-03-07T14:20:51+00:00

This text analyzes the performance Cuidando da Casa (2018), by Coletiva Elas, to consider the aesthetic and political relations present in the intersection between the arts of the body and domestic work. To this end, authors of feminist literature from a pluriversal perspective are evoked, such as Sayak Valência (2010), Beatriz Nascimento (2018), Preta Rara (2019), Aza Njeri (2020) and Juliana Teixeira (2021), among others. The continuity of these perspectives is worked on by the Coletivo in the show M.U.L.H.E.R. (2018), whose examination also contributes to reflections on dance/performance/theater practice and domestic service as manual labor hierarchized in a patriarchal and colonialist perspective.

Keywords: Domestic work; Dance; Body arts; Body-document.