The 15th edition of Verbo was held from 9th to 13th, July at Vermelho, Centro Cultural São Paulo (CCSP) and Contemporão SP, and from 16th to 18th July at Chão SLZ, Coletivo Re(o)cupa (São Luís, MA), and Casa do Sereio (Alcântara, MA). The edition featured 41 projects, including live actions, films and videos, open conversations to the public, workshops, as well as an artistic residency in partnership with Casa do Sereio. The artist, curator and cultural manager, Samantha Moreira, and the artistic director of Verbo Marcos Gallon were in charge of the selection of projects.
In 2019, Verbo continued its partnerships with the Videobrasil Dance Season, Estudio Baile and Centro Cultural São Paulo (CCSP), and started a new approach with Contemporão SP, a space dedicated to performance, participation and performativity. Located in an old house from the 19 Century, in the historic city of São Luís (State of Maranhão), Chão SLZ is a space that seeks through partnerships with artists, institutions and independent projects to create an environment conducive to the exchange of knowledge in a horizontal way. Chão SLZ together with the Coletivo Re(o)cupa, and Casa do Sereio hosted the very first edition of Verbo outside São Paulo.
The effervescence that characterizes the current art scene in São Luís reveals a new period of this city that has always been in evidence in the nation’s history. The energy appears spontaneously and powerfully, especially in alternative and counter-hegemonic spaces. It emerges from within the street headed by self-managed initiatives, such as Chão SLZ that enliven the city with young and vibrant energy, emancipated from the system’s vices.
In São Luís, the artists linked to performance art seek to unveil the occult through emotion and affection, and for that they are concerned with the most varied ways of interpreting the religiosities that coexist in the city. The affection that, in fact, permeates most of Verbo 2019’s projects, seems to function as a trigger for these practices that point to a will to transform itself, thus avoiding reverence to the concept, but valuing the reappropriation of the sensitive as an essential detonating factor in the construction of the individual.
With this new link between São Paulo and Maranhão, Verbo intends to continue expanding its field of action, seeking references and experiences where institutionalization can be fragile, but power is vital. After all, this is the essence of every movement that has the body as a starting point.
Artistic director of Verbo
Performance Alexandre Silveira
Directed and produced by Alexandre Silveira
Direction of photography Ticiano Monteiro
Direction of Art Camillat (Camilla Torres)
Costumes Warner Junior
Mix and Sound editing Anderson Kaltner and Frederico Cruz
Sound dolbydigital Guilherme Lima
Suported by Chão SLZ
Guide Lençóis Maranhenses Paulo Cesar de Menezes Santos (GPS)
An apostate decides to disconnect from everything and roam the desert in search of new places. During the beginning of this pilgrimage, the wanderer is plagued by voices that chase him and emanate from the books that he insists on dragging. His relentless search for the vacancy he liberates is the same that makes him heavy, preventing him from walking. The drift of your feet over this dry yellowish sea is a broken hull of a moored ship.
Comissioned by Associação Cultural Videobrasil and 2ª Temporada de Dança
Creation Ana Pi
With Ana Pi, Mylia Mary
Music & participation of Aishá Lourenço
Costumes Remexe – Centro Cultural Lá da Favelinha
Philosophical Advice Profa. Dra. Maria Fernanda Novo
Production [Brazil] Ubuntu Produções
Production [France] Météores / Plateforme Chorégraphique
In “O BANQUETE” (380 BC), during a party, Sócrates engages in a dialogue, only between men, about “O Amor”. Ana Pi, in 2019, invites Mylia Mary, her paternal aunt to cook together an iconic recipe of Brazilian cuisine and discuss “O Amor”. Food and dance serve as a pretext for these black women to talk about today’s Brazil. The Banquet proposed here invites us to reflect on the notions of inheritance, affection and resistance. Bringing to memory essential elements of life, such as food, rhythm and love.
This work was conceived after Ana Pi`s contact and research with Videobrasil Historical Archive within the scope of the 2nd edition of the Videobrasil Dance Season program, carried out in collaboration with the Institut Français du Brésil and the Consulate General of France in São Paulo.
The Videobrasil Dance Season is a residency and commissioning program for young choreographers in dialogue with the video collection of Associação Cultural Videobrasil. Artist of the first edition and guest curator of the second season, the choreographer Clarissa Sacchelli invited Ana Pi, researcher of urban and peripheral dances, pedagogue, choreographer and dancer living in Paris for 8 years, to the three-month residency.
Vermelho, 9 Jul, 9pm.
CCSP (Sala Adoniran Barbosa), 12 Jul, 8pm.
Project Célia Gondol
Assistance (Brazil) Ligiana Costa
With Célia Gondol, Sebastião Marinho, Lauckson José Santos Melo, Mareu Nitchke, Ligiana Costa, Ana Carolina Sant’anna, Adriana Magalhaes, Andrea Santos, Zeh ed, Lau, Marcos Matarazzo.
After the poem O Lunático by Sebastião Marinho.
O Universo Nu (The Naked Universe) is an abstract sound composition devoid of a narrative that reproduces the physical and undulating attributes of the universe. Inspired by appropriate sounds from NASA’s sound database, the work makes us hear the sounds and vibrations of the nearby and unobservable universe in an intertwining of polyphonic voices. The action employs the string poem “O Lunático”, by the repentista Sebastião Marinho which Gondol met during hes last stay in São Paulo, in 2017. Universo Nu eliminates every word and narrative seeking to provide an integral listening experience.
Suported by Institut français du Brésil, Consulado Geral da França em São Paulo and Institut Français Recife. Collaboration Angelus Novus and CRD – Centro de Referência da Dança.
Vermelho, 12 Jul, from 8 to 10pm
CCSP, 13 Jul, 4pm
Chão SLZ, 17 and 18/07, 7pm
Created Coletivo DiBando
Performed by Juliana Rizzo, Ruan Francisco and Tieta Macau.
What are the domination strategies active in sugary and relaxed artistic compositions? yeah yeah yeah! is a sharing process that handles these issues in the composition of an enjoyable and easy to reproduce dance.
Chão SLZ, 18 Jul, 7pm
With D. C. Collaboration Casa Chama
Confessionário (Confessional) is the title of the action created by D. C. that uses testimonies from 230 white heterocis men who had sex with Bianca Castro, a transvestite character. The text that integrates the action was elaborated from the testimonies and reveals the desires and fears of these men. The text was analyzed by a group of psychologists, educators and by 50 of the 230 boys who still have sex with Bianca.
Vermelho, 11 Jul, 8:30pm
Chão SLZ, 17 Jul, 7pm.
Created and performed by Davi Pontes and Wallace Ferreira
Assistante for dramaturgy Bruno Reis
The work invests in the idea of dance as a self-defense training, using mimesis and ritualized repetition of gestures to produce a study of choreographed images by dissident bodies, in an attempt to archive actions, to elaborate resistances, conjure ways of staying in the world and invent what’s to happen. Repertoire N.1 names a set of choreographic practices face to face to a world highly dominated by violence against black bodies. Can movement activate the memory of subordinate bodies that were buried under hegemonic codes? To resist in rough times, to feed each other by the tiredness of the other and to dance in difficult times.
Vermelho, 11 Jul, 9pm
Created and performed by Efe Godoy
Suported by Celma Albuquerque Galeria de Arte
Do objeto que já foi de seu afeto (About the object that was once your affection) arises from the need to exchange affective stories with the other. The visitor is invited to let go of an object or personal story. The given object becomes part of Efe’s collection of stories, which mixes narratives and objects, creating a living installation.
Vermelho 9 – 13 Jul.
Criado e performado por Elilson
Um balde de plástico vermelho made in Brazil com capacidade para 13,6 L e data de validade indeterminada é o objeto precário-relacional que norteia essa quase deriva. Na caminhada-busca, Elilson procura por pessoas que estejam bebendo água ou trabalhando com água. A caminhada só se completa quando o balde estiver cheio com a água doada pelxs transeuntes, gota a gota. Toda a água coletada é revertida em ações de lavagem, de escrita e de exposição oral. A primeira caminhada-busca surgiu em 2016. Desde lá, Elilson prossegue com o ato de expor oralmente a semelhante vitalidade linguística que constituem os ditados populares e os discursos de ódio.
Created and performed by Elilson
A red plastic bucket made in Brazil with a capacity of 13.6L and an undetermined expiration date is the precarious-relational object that guides this almost drift. In the search-walk, Elilson looks for people who are drinking water or working with water. The walk is only complete when the bucket is filled with water donated by passers-by, drop by drop. All the collected water is reverted to washing, writing and oral exposure actions. The first walk-search happened in 2016. Since then, Elilson continues with the act of orally exposing the similar linguistic vitality that make up popular sayings and hate speechs.
Vermelho, 10 Jul, 8:30pm
CCSP, 13 Jul, 3pm
Bicho (Bug) is an experiment composed of physical strategies that lead to a state of latent transmutation with no apparent results or objectives other than the performer’s own physical exhaustion. Bittencourt complies with the protocol of adaptation and confinement within a domestic space chosen by him as a temporary setting for a manifestation of physical states. The research of movements is based on the behavior of nocturnal insects also considered as lunar for seeking light.
O farol, a parede, o porto (The Lighthouse, the Wall, the Port) is part of the Zona de Remanso project, which addresses the limits of physical endurance through permanence exercises in port locations on the coast of Ceará, such as Serviluz, Poço da Draga and Pecém. The history of these locations reveals the logic of transformation, the result of exploration policies in port regions in Ceará.
Created by Gabriel Cândido
Performed by Gabriel Cândido and Luiz Antônio Cândido.
Suport by Bruna Cândido, Jerê Nunes e Léo de Sá.
Provocation Fábio Lopes
Produced by Núcleo Negro de Pesquisa e Criação (NNPC)
Two black men from different generations intend space through sharing and exchanging their most intimate and ancestral affection: caring. In this action, in which father and son are active, the relationships of masculinity and blackness emerge in the counterflow of the statistics of violence and the stereotypes that have been constructed throughout the history of Brazil.
Vermelho, 9 Jul, 8:30pm
Created and performed by Gê Viana and Layo Bulhão
The representation of a nation starts from a symbol of unequal parts.
The flag that represents a colonialesque historical political existence.
The happy construction of a government that lurks destroys black bodies, indigenous people, people from Northeastern Brazil and dikes.
Our saliva is a swamp that wash the dust from the abundance of destruction.
Vermelho, 9 Jul, 9:30pm
Screanplay, direction, editing Guerreiro do Divino Amor
Sound Design Arthur Ferreira and Guerreiro do Divino Amor
Superficções is a project that aims to constitute a superficial atlas of the world. It investigates how fictions of different natures, whether geographic, social, media, political or religious, interfere in the construction of territory and the collective imagination. For each city, a specific research angle and a new surface area were chosen. The research materializes in the format of videos, publications and animated backlight panels, creating a universe of science fiction from elements of contemporary social reality. The third chapter of the atlas, the Supercomplexo Metropolitano Expandido (Metropolitan Supercomplex Expanded) is a surface machine of power, success and expansion – an allegory of the city of São Paulo.
Directed by Javier Velazquez Cabrero
Performed by Xolisile Bongwana Camera Noah Cohen
Sound LeRoy Croft
Suport by Nirox Foundation, The Centre for the Less Good Idea, eAC/E Accion Cultural Española.
In The Loop, Velazquez and Bongwana invest in a negotiation between the creative processes of both artists. At the beginning of the video, we watched a short interview with Bongwana, in which we can understand the process of interaction between artists. Bongwana makes it clear that he does not intend to verbally negotiate his interests and proposes a bodily dialogue based on physical actions. When asked how such an idea would work, Bongwana abruptly leaves space in an enigmatic and powerful way that works both as a flight and as an answer to Velazquez’s question.
In Camaro, Ávila replaces the jelly used to comb his hair with automotive grease in a kind of theatrical transfiguration of beauty in a hybrid between gender and machine. In the video, the obsessive effort used in combing inside a machine shop reveals a kind of neurosis spread in the so-called modern world. Camaro presents us with a reflection of the globalizing and aggressive aesthetics widespread in different parts of the so-called “developed world”. Using low-quality video records, Ávila invites us to look at ourselves based on stereotypes implanted by television and cinema.
Baile pros 111 is a sound installation with participation from the public that pays homage to the 111 prisoners murdered by the PM (Military Police) of the State of São Paulo, in 1992, in the massacre that became known as the Massacre do Carandiru. As a result of this violent action, the Primeiro Comando da Capital (PCC), a criminal organization that emerged in 1993, which at the time sought to “combat oppression within the São Paulo prison system”, and “avenge the 111 prisoners”. A few years later, the cultural phenomenon of funk “proibidão” (super prohibited) appears in São Paulo with lyrics that denounce the injustices suffered in the peripheries and in the penitentiaries. Baile pros 111 is a sound resistance memorial that uses these “proibidões” to build a set that is abruptly interrupted after 111 minutes followed by the sound reproduction of the 111 shots so that these 111 men are not forgotten.
Vermelho, 13 Jul, 6-8pm
What do we need to subject ourselves to in order to be treated as human beings? What are the humanization processes imposed on social and identity formation? How many Trumps do we have marked on our body? In Match um Trump, shot inside a bathroom, a transvestite creates markings with brushes and knives on her body using a Donald Trump mask as a ruler.
Created by Lia Chaia
A group of people distributes smile masks and the smile manifesto to the audience. Considering the current social and political moment in Brazil, the urgency to establish relationships based on affection and the exchange of knowledge that provide new encounters and new ways of inhabiting public space is clear. Troca de Sorrisos (Smile Exchange) was created in 2002 for the project “O espirito do lugar/Circuito Cultural” curated by Lorenzo Mammi and Marcos Morais.
Vermelho, 09 Jul, 8pm
Chão SLZ, 16 Jul, 7pm
Created and performed by Lia Chaia
In this action, Lia Chaia proposes a discussion about the human body based on its representation in Visual art. The lecture was based on experiments that think the body at the intersection between different artistic languages.
Chão SLZ, 18 Jul, 7pm
The female body carries the affective potential and the ability to generate and live with the other. Glam reveals the woman’s naked body, exposing her radical potential for transformation.
Costume design sur le chemin
Music:Pete Drungle and Steve Heather
Photography Jacob Østergaard Johansson
Edit Nikolaj Holst Kristensen
Instructor and producer Mads Heibing
Comissioned by ART 2030
Tow with the Flow is a large-scale performance involving local actors, choreography with clothes, text and music. Tow with the Flow includes custom made uniforms created by sustainable Scandinavian design studio sur le chemin. While incorporating piles of recycled clothing, the artwork casts a critical light on the global textile industry and suggests an “all-in-one-wardrobe” solution for a more sustainable future. Presented at several venues around the world, Tow with the Flow reaches beyond the moment of the specific performance, and is a work in progress. By continuously working with new groups of local people students, dancers and musicians the project transcends borders and social backgrounds for a single common cause: bringing attention to the fashion industry and the mass consumption deriving from it. Tow with the Flow is commissioned by the nonprofit organization ART 2030, connecting art and the United Nations 2030 Agenda for Sustainable Development. Tow with the Flow is an artwork for the Global Goals highlighting Goal 4: Quality Education, and 12: Responsible Consumption production.
Carmen is an adaptation of Georges Bizet’s opera shot in Panama City with local performers, all of them drag queens and trans women who get to play different versions of Carmen through their practice.
Kalunga, Kalunga explores the conflicts between subjectivities that the “territorialized body” experiences before the stages of the subject. This body, which is liable to obtain rights that are revised and eventually revoked according to the economic policy of the territory in which it is located, becomes a constant threat to national security. As Fanon explains, “it is about what is appeased by hating”, maintaining the terror and constituting the other not as similar, but as an intrinsically threatening object.
Original idea by Lucimélia Romão
Performed by Josefa Ambrósio de Souza, Lucimélia Romão and Maria Lúcia de Souza
Sound Design Matheus Correa and Lucimélia Romão
Expographic Project Lucimélia Romão
Crew Liliane Crislaine, Ivani Melo and Tainã Moreno
Every 25 seconds an alarm plays; seven liters of red liquid is poured by the performer into a pool. This occurs until the 57 buckets that make up the installation are emptied. In approximately 30 minutes, the pool is completed with 400 liters of red liquid – blood of young black lives. “Mil litros de preto: a maré está cheia” (Thousand Liters of Black: the tide is full) is an action that overflows; the first shot hurts, the second shot makes it difficult to breathe and the third one kills! So what is the fourth, fifth, sixth, seventh, eighth, ninth, and tenth shot for? Black bodies shot by bullets; death overflow; tears overflow from the eyes of mothers, mothers who know that they have given birth to their children to be shot by the police.
Vermelho, 7 Jul, 9:30 pm
Created and performed by Marco Paulo Rolla
A man, a chair, a speaker and his voice are projected into space creating vibrations. These vibrations touch the soul and the space as a whole and cannot be located except in its entirety. The artist places himself as a mediator of this living and delicate organism where everyone will be invited to feel and react with vibrations. This action is part of the sound experiments and improvisations about space initiated with the performance “Preenchendo o Espaço” (Filling in Space), created for the exhibition Terra Comunal, at Sesc Pompeia (São Paulo), in 2015. This time, however, Rolla uses another instrument – the Shruti Box, an Indian instrument is completed with the use of the voice.
Chão SLZ, 17 Jul, 7pm
Direction Melania Olcina Yuguero
Performed by Alejandro Moya
Edition Juan Carlos Toledo
Sound Design Idan Shimoni
Etalonaje Frodo García Conde
Thanks to Ainara Nieves
Collaboration Pueblos en arte
Distribution MILK&HONEY|Plat Plataforma de investigación especializada
(Screendance_Procesos coreográficos_Formatos expandidos)
Homo makes visible the intimate experience of a human being that inhabits an interior space, private and reserved for the solitude of a single inhabitant. The room, as a metaphor of the original house, is the image of lost intimacies. The Homo privatus seeks through an act of introspection the encounter itself, the awareness of its corporeality, that is, of a certain identity. surrounds In this case, we describe the epidermal and visible layer of the human being, his body, natural expressions, the memory of a personal history, the visual representation of a collective history with stereotyped, iconic, mythified and idealized bodies. Homo is the epiphany of a narcissistic act, of a metamorphosis.
Michel Groisman was one of the first dance artists to have access to art exhibitions created by major museums. His contribution to inserting performance on this axis is invaluable.
Created and performed by Rafa Esparza
Thanks to Rodrigo Campuzano
For no vine a morrir I’d like to create a presence that can expand on a queer body’s relationship to the ground as well as to the sky. As a brown queer body in the USA and some would argue around the world, life maintains a precarious existence becoming a target of state sanctioned violence, of homophobia, transphobia, and racism. The inventible moment of death for queer people is a close looming presence, greatly impacted by forces far beyond the natural. And so herein lies a queer relationship to space, to community to the ways in which a live is lived, survived and endured. When a body is buried or cremated the essence of a person exists in the eye of the beholder and while both places (the ground and the sky) maintain speculative futures for a life that experiences death, those temporalities are quite unknown, highly debated and deeply pondered, the things that are certain are this: A dead body will decompose buried in the earth and humans do not have wings.
Vermelho, Jul 11, 8pm
Produced by NUPPI – Núcleo de Pesquisa e Produção de Imagem, e Mídia 2 – Produções Audiovisuais
Original score, Direction, Roteiro, Executive production Ramusyo Brasil Editing Nayra Albuquerque
Actors and actresses Lauande Aires, Áurea Maranhão, SaraElton Panamby, Yuri Brito, Bruno Barata Ferreira, Filipe Espíndola, Bruno Azevêdo, Cris Campos, Tieta Macau, Irlane Rocha, Guilherme Frederico, Batman Pobre, Ramusyo Brasil and Crystal.
Photography Ramusyo Brasil, Carolina Libério, Jane Maciel, Beto Pio, Matheus Santos
Sound Design Bruno Barata Ferreira, Ramusyo Brasil, Nayra Albuquerque, Matheus Santos, Carolina Libério, Jane Maciel, Reuben da Cunha
Original Sound Bruno Barata Ferreira
Sound adaptaction Ramusyo Brasil, Luciano Linhares, Yuri Brito
Sound design Bezerro de Ouro (Sérgio Ricardo)
Customs Áurea Maranhão, Sara Panamby, Ellen Correia, Filipe Espíndola
Direction of Art Ramusyo Brasil, Áurea Maranhão, Sara Panamby, Carolina Libério, Jane Maciel, Filipe Espíndola
Poems Celso Borges, Reuben da Cunha, Walter Benjamin, Glauber Rocha, Nauro Machado
Stills Carolina Libério, Jane Maciel, Adson Carvalho, Eduardo Cordeiro
Catering Ellen Correia
Image and Sound ending Beto Pio
Graphic Art Carlos D and Maca.
After Glauber Rocha documentary Maranhão 66 (1966).
60’ each cycle – 120′ total
Creation: Regina Parra, Clarissa Sacchelli, Maitê Lacerda, Lucia Bronstein, Juliana R., Bruno Levorin and Haroldo Saboia.
Choreography: Clarissa Sacchelli, Maitê Lacerda and Bruno Levorin.
Performance: Clarissa Sacchelli and Maitê Lacerda.
Dramaturgy: Bruno Levorin.
Music: Juliana R.
Props: Ludmila Porto and Bruno Levorin.
Direction: Regina Parra and Bruno Levorin.
Starting from the photographic series of hysterical women at the Hospital da Salpêtrière (Paris), carried out by the scientist Jean-Martin Charcot in the 19th century, lasciva (lustful) is a performance that tries to impel these women and images to vibrate over other politics of desire. Addressing eroticism, care and sensation, and evoking gestures, images and words produced in the relationship between women, Clarissa Sacchelli, Maitê Lacerda, Regina Parra and Bruno Levorin ask: how to act over time imagining another sensitivity to resist the violence suffered by the bodies who love?
Acknowledgments: Casa do Povo, Casa Liquida, Haroldo Saboia, Júlia Feldens, Laura Salerno and Lucia Bronstein.
Vermelho, 13/07, 4pm.