Vol. 1 No. 22 (2026): Counter-hegemonic history and memory of the performing arts: Artistic-pedagogical experimentations and resistances

ssue No. 22 of Revista Rebento —titled "Counter-hegemonic History and Memory of the Performing Arts: Artistic-Pedagogical Experimentations and Resistances"—was organized around articles submitted via the journal’s rolling submission process, alongside works originally sent for previous thematic dossiers but subsequently revised and resubmitted by the authors after the publication for which they were initially intended. Together, they form a diverse collection that both revisits Rebento’s trajectory in recent editions and identifies emerging themes in contemporary debates on the arts. This issue examines how the narration of experiences—from their initial formulation to their sharing—is shaped by ongoing struggles for space in the construction of collective memory. The materials gathered here discuss the agency of individuals and collectives in the social construction of memory; this agency determines whether something is remembered, transmitted, and canonized, or—conversely—neglected, silenced, and ultimately forgotten. These written contributions thus join the effort to confront various forms of historical erasure—driven by social, economic, or political privileges and impasses—that are evident in the fields of performance creation, visual production, and pedagogy.