Artist with a degree in Visual Arts from the University of São Paulo and a Master's degree from the Free University of Berlin. Her work deals with the relationship between art and politics with a special emphasis on history and the construction of memory. Her research reflects the contradictions between Brazil's modernization process and the archaic structures of the colonial past that still underlie the country. Through video and installation, her work focuses on areas hidden by hegemonic narratives. Exhibitions include "Jakarta Bienal" (2015), "31st São Paulo Biennial" (2014), "Yebisu Festival", Tokyo (2015), among others. Ianni has been a resident of AIR Laboratory, Warsaw (2017), HIWAR-Conversations in Amman, Jordan (2013), Culturia, Berlin (2011), Pampulha Museum, Belo Horizonte (2011) and Casa Tomada, São Paulo (2010).

Curator, editor and cultural manager. Director of Casa do Povo, a non-profit cultural association founded more than 60 years ago in the Bom Retiro neighborhood of São Paulo. Seroussi holds a Master's degree in Sociology from the Ecole Normale Supérieure in Paris as well as a degree in Cultural Management from Sciences-Po. He has worked as a guest curator on the project Vila Itororó, Canteiro Aberto, to design a cultural center in this group of buildings in the Bela Vista neighborhood. In addition, he has edited several publications and research articles in Brazil.

Visual Artist from the Fine Arts Center University of São Paulo with a degree in Brazilian Studies: Society, Education, and Culture from Fundação Escola de Sociologia e Política de São Paulo. Since 2009 he has been working in non-formal education in contexts of social vulnerability or political disputes, such as with the Casa Foundation, Cracolândia, and Albergues. Based on notions of public and private, place and non-place, center and margin, his production makes use of objects, actions, and everyday situations in the urban context. Escobar has participated in exhibitions such as “Metropole Paulistana Experience” at the Pinacoteca do Estado de São Paulo (2017); OSSO, Exhibition-appeal to the ample right to defense of Rafael Braga, Thomie Othake Institute, São Paulo (2017); “Totemonumento,” Leme Gallery, São Paulo (2016); X Architecture Biennale of São Paulo (2013); “The Soul is the Secret of the Business,” Funarte, São Paulo (2013). In addition, he participated in artistic residences such as Red Bull Station, São Paulo (2016); “Walls: Shared Territories,” Salvador de Bahia (2013), and “Works in Construction,” Casa das Caldeiras, São Paulo (2011).
participó en residencias artísticas como Red Bull Station, São Paulo (2016); “Muros: territorios compartidos, Salvador de Bahía (2013), y “Obras en construcción”, Casa das Caldeiras, São Paulo (2011).

Choreographic Terreyro is the name of the crossroads that brought together choreographers, architects, urban planners, dancers, actors, musicians, philosophers, and poets —as a choir— to think about public aspects in their various dimensions. Together we work on architecture and urban space based on choreographic thinking, in order to rethink the paths of urban development. We propose choreography from the public sense of the land and the territories. In abstract land plots, we awake their force of being “terreyro”, a space devoted to public life, and we make their historical, mythical, and poetic processes visible.
 
Since 2014 we have been working in Sampã, mainly in the neighborhood of Bixiga and in the shoals of the Libertas Viaduct (formerly known as Julio de Mesquita Filho). We inhabit and cultivate public space with choreography, dance, discussions, seminars, film samples, reading groups, plantings, etc. Our first gesture in this area opens the way for the Anhangabaú da Feliz Cidade urban project, designed by Lina Bo Bardi and Edson Elito with the Teatro Oficina Uzyna Uzona company, to give back to the shoals their public, popular, cultural, and insurgent character.

Artist and educator, trained in visual arts at the Fundação Armando Alvares Penteado (FAAP), with a degree from the Paulista School of Arts (FPA). She worked at the Leonilson Foundation and gave art classes to children at the Tomie Ohtake Institute between 2007 and 2010. Szabzon also served in the area of public teacher training and in the coordination of the workshops at the 29th and 30th São Paulo Biennials, between 2010 and 2012. In addition, she worded as an educator at the ACAIA Institute between 2014 and 2017. As an artist, she had three solo exhibitions at the Transversal gallery and the Superficie gallery. She participated in collective exhibitions at the São Paulo Cultural Center (CCSP), the Mendes Wood Gallery, the Santander Cultural Space, and at the SESC Pompéia, and worked as an assistant for artists João Loureiro, Ana Luiza Dias Batista, and Runo Lagomarcino.

Philosophy graduate from the University of São Paulo. He works as an adviser to the Yvyrupa Guarani Commission (CGY), and since 2014 he has been a member of the Guarani Program at the Indigenist Work Center (CTI), where he has participated in various projects in the area of indigenous ethnology. Hotimsky has experience as an educator, especially in the development of field work on environmental education and sociology.

Pavio is an independent video-reporting agency focused on issues regarding violations of rights and social movements. We tell stories from the perspective of those who are at the center of the events. We contribute to the circulation of information and exposés in an independent, investigative, and critical manner. Pavio offers a different take on what is usually news but is also a matter of history.

Architect and urban planner. Gatti is a professor of urban planning and PhD candidate in the Faculty of Architecture and Urbanism at the University of São Paulo. She has worked in the coordination of various urban plans and projects and was a representative councilor of civil society at the ZEIS Managing Council for the Nova Luz project. She is currently an IABsp representative at the Executive Committee of the Urban Operation Center. In addition, she is a researcher at the Support Nucleus for Research, Production, and Language of the Built Environment (NAPPLAC USP). Gatti also conducts research on housing policy, urban centers, participatory management, and gentrification.

Researcher at the University of São Paulo’s Removals Observatory (LabCidad FAU). Specialist in Urban Policy from the Institute for Research and Urban and Regional Planning of the Federal University of Rio de Janeiro, where he pursued his Master’s Degree in Urban Planning. He graduated as an architect and urban planner from the Fluminense Federal University.

Premiere: November 12th  
General Osorio Square
Samba organized by visitors of Cracolandia at the General Osorio square, on the street known by many as “samba street.” In this place, in the 1930s, the black population that lived in the region used to form rodas de samba (samba circles). In the 1940s, musical instrument stores took over the area, which helped to preserve the historic rodas.

 “Samba na Lata,” a street party, serves as a tool of autonomy for these visitors from the region today known as Cracolandia. As a way to earn money thanks to samba, during a roda, an aluminum can will be passed around for the audience to make a spontaneous contribution, and thus remember to practice of “passing the hat.”

Passing the hat is an ancient practice that demonstrates that humans are collaboratively related to each other since time immemorial, with no impositions whatsoever; furthermore, in this practice, the audience’s right to not contribute if they so wish for whatever reason is respected. This strengthens the economy, contributes to a better distribution of income, and invests in the vital work that art has to offer: promoting growth and love. Thus, “Samba na Lata” was founded with the desire to show that Cracolandia is made up of many subjectivities and that those who compose samba can make a living from their art and their wishes.

With the participation of DJ CIA
Julio Prestes Square
On Black Awareness Day (December 15), Cracolandia will have a concert where a song written by the visitors of the region will be released and produced by DJ CIA (member of the RZO group). Moreover, various guests who performed over the last years will be participating.

Cracolandia must be understood as an urban stockade in the center of São Paulo, where those excluded in various forms get together in a community to protect one another. The vast majority of those who live and pass through these streets are black and mestizo. They will be that voice that will resonate that day to show that not even segregation and the oppression of the State can erase these subjectivities and their many stories.

October 21 and 22
Kalipety village  
Multiplying the seeds of Guarani maize and the traditional planting methods of the Mbya Guarani communities as an act of ‘cosmopolitic re-existence.’ These seeds have the ancient force of not letting themselves be polluted by transgenic seeds and of traditional planting techniques, which preserve and respect the life and time of the soil. Both elements have the force of awakening a ‘cosmochoreopolitical’ understanding of reality.

With this choreography/mobilization/workshop, all of us together, Guarani and Jurua (non-indigenous) people, will celebrate and cultivate Guarani maize, a symbol of vitality, health, food, but mainly of preservation of the ancestral Mbya Guarani knowledge. This is done to strengthen their re-existence and the fight for the demarcation of territories and the guarantee of the right to land.

The Kalipety community is part of the Tenondé Porã Mbya Guarani indigenous land, located in the south end of São Paulo, in the district of Parelheiros, 40 kilometers from the center of the city. Local authorities granted an extension of 26 hectares in the mid-1980s to just over 25 Guarani Mbya families. Currently there are more than 180 families living there.

The Choreographic Terreyro is a meeting point for architects, choreographers, dancers, and poets. They all work as a chorus, i.e., they give voice to the spirits of the places in line with their public being and the sacred feeling of belonging to the earth through the use of choreography, celebrations, ‘dis-seminars,’ courses, and urban and architectural projects.

Nhandekuai ha’e Jaiko Sampã py - Nhanhoty Vy’a
November 26
This action starts in the Anhangabaú Valley (in front of the Praça das Artes building); continues towards the Praça de Sé and then by the Teatro Oficina. It ends at the Baixio do Viaduto Libertas, on Major Diogo Street number 353.

The Choreographic Terreyro will lead a procession of singing and dancing along with the inhabitants of the Kalipety and Tenondé Porã villages and the choirs that will join in at the sacred tree planted at the center of the Anhangabaú Valley. The ritual will move from that point to the Praça de Sé, where participants will plant the Guarani seeds. This will be done to remember the strong indigenous presence in that square, which was the site of one of the first indigenous insurgencies against the Portuguese invaders. Then the action will continue up to the Teatro Oficina to join forces in the re-existence of this workshop, as the Silvio Santos Group aims to build three 100-meter high towers by the work of art created by Lina Bo Bardi. The walk will end at the Baixio do Viaduto Libertas, where the public life of this generous space has promoted since 2014, with a Roda de Xondaro, the Guarani dance of the warrior-guardians.
 
This is the second act of the choreographic rite of celebration of the Guarani seeds, which refuse to be genetically altered and thus carry ancestral indigenous wisdom, a symbol of the re-existence of the Mbya Guarani in Sampã. The first act of the rite took place on October 22, with a collective planting event in the Kalipety Mbya Village in Parelheiros Sampã. Now, the celebration of the Guarani seeds is reaching the center of the city.


 

December 7
Casa do Povo
This conversation aims to bring together various participants to attend the recording made by Pavio. In this occasion, special guests will be called to respond to the project as a whole and discuss the importance of oblivion in the construction of memories.