Wednesday, August 31, 2016

  Aesthetics of the Oppressed
  Sound/Rhythm with Jana Sanskriti in Badu, Kolkata                                                                 
                                                                              (Bárbara Santos and Till Baumann, July 2016)


tea, theatre
sound, rhythm
image, movement

tea, team
food, fruits
flavours, care

tea, theory
concepts, perceptions
discussion, exchange

tea, tears
memory, history
emotion, imagination



Our investigation of Aesthetics of the Oppressed – Sound/Rhythm began with a theatrical laboratory in Berlin in 2010. Based on this experience we created a structure for workshops as well as a way of creation of Theatre of the Oppressed (TO) productions in general, and Forum Theatre productions in particular. We tested and developed this structure in workshops in KURINGA Berlin (20011/12) as well as during Theatre of the Oppressed meetings and festivals such as the Pula Forum Festival in Croatia (2012/13) and the Second Latin American Theatre of the Oppressed Meeting in Guatemala (2012).

In 2013, we decided to share the Sound/Rhythm-process with the Centre of the Theatre of the Oppressed (CTO) in Rio de Janeiro, out of recognition and gratitude. CTO was our source of inspiration stimulating us to follow the research of Aesthetics of the Oppressed that Augusto Boal and his team had begun in 2001 in Brazil. After the workshop and street presentation in Rio, more workshops and presentations followed: at the Colombian Theatre of the Oppressed Festival (2013) and the Latin American Theatre of the Oppressed Meetings in Bolivia and Nicaragua (2014/16). 

In 2015, Jana Sanskriti visited us in KURINGA, space for Theatre of the Oppressed in Berlin. The group presented their play “Shonar Meye” and watched Forum Theatre presentations from the KURINGA community groups Madalena-Berlin and KIKMA.[1] At this occasion, we spoke about how to share the experience of Aesthetics of the Oppressed – Sound/Rhythm with Jana Sanskriti in Badu – a plan we were finally able to realize in June 2016.

Common grounds
Our connection with Jana Sanskriti, international reference for everybody who practices Theatre of the Oppressed, had been existing for a long time. Bárbara first met the group during the international Theatre of the Oppressed  Festival in Rio de Janeiro in 1993 and then re-connected during the Muktadhara festivals in 2006 (with Augusto Boal) and 2010, when she conducted the first Madalena Laboratory in India.[2] Till participated in the Muktadhara festivals 2010 and 2012, conducting plastic barrel percussion workshops with Jana Sanskriti and ATG Halle.[3] As KURINGA was founded in 2011, the workshop Aesthetics of the Oppressed – Sound/Rhythm in Badu was the first collaboration between Jana Sanskriti and KURINGA.

From our perspective, the common grounds between KURINGA and Jana Sanskriti are our deep commitment to social transformation and a TO practice, where aesthetics stimulate the understanding of social structures that produce and nourish oppression. With Jana Sanskriti, we are convinced that Forum Theatre and Theatre of the Oppressed need analytical dialogue and the search for alternatives through the construction of alliances between groups of oppressed. 

From 13 to 19 June 2016, we were invited to Badu to develop an unforgettable aesthetic experience including sounds, rhythms, flavours, colours, aromas and stories. This week allowed us to reconnect with our friends and to return to a familiar environment. We were able to get to know the newly built Augusto Boal Auditorium and had the honour to work in this impressive space. We were very happy to share time with persons deeply experienced in the method and open for a process of collective sharing and learning.

As always, we met the challenge of the adaptation of a working method to local specifities. For example: the use of objects from recycled garbage as a resource for the Sound/Rhythm process. What would be our working material in a place where bottles, barrels, tins, cardboard boxes and almost every kind of container or wrapping are recycled for domestic use or sold in the streets? Finding discarded objects that can still be of use for sound production was a collective task that led us to a stimulating discussion about concepts of garbage, of consume and waste, and about different ways of life.

In our Aesthetics of the Oppressed – Sound/Rhythm workshops, the practical process is always connected to theoretical reflection. In Badu, it was the challenging language situation that invited us to focus on the most essential aspects. Reflections translated from English to Bengali and back from Bengali to English about concepts of oppression and transformation, about aesthetics and dramaturgy allowed a fascinating dialogue between all of us. Everybody's openness for reflection and investigation facilitated the creation of a fertile environment for collective learning.

Sonorous Story
Telling the sonorous stories is a crucial moment of the Sound/Rhythm process. One part of the group tells their story, only by using Sound, the other part of the group listens with closed eyes and then responds with images, using their bodies. No words are used, neither during the production of the sonorous stories nor in the dialogue of Sound and Image. Maybe the sonorous story process in Badu was the easiest and most fluid so far. Despite the complexity of the methodology, the group reached concrete stories and the images proposed seemed to echo in all persons present. The choice of one story from a variety of proposals was based on the urgency of the topic and not much time was needed for the decision process. Once there was a concrete and specific oppression, recognized by everybody, the focus was on developing sounds and images that broadenwiden the vision of the problem. We achieved a result that was at the same time aesthetic-metaphorical and absolutely palpable: a story of exploitation and miserable working conditions in factories, especially for women.[5]

For the first time we also developed Word as aesthetic element during the Sound/Rhythm process. Even though we were in a context where we did not speak nor write the language common to the group (Bengali), it was possible to use the creation of poems as activity of common understanding of the wider social context related to the specific topic represented in the play. The group decided to produce a synthesis, using parts of all the poems produced during the aesthetic process. Word, Sound/Rhythm and Image were used to create a performance that introduced the social context of the presentation.

The audience for the Forum Theatre presentation were people from the neighbourhood, the Badu community. They seemed to be absolutely connected to the story that was presented, as the aesthetic representation was clear and the topic of work exploitation in factories is of high relevance in the region. This connection guaranteed for diverse interventions, many spect-actors came on stage and showed their proposals for transformation.

Badu in Badu
As we were in Badu, we wanted to share the path of one or our favourite exercises called „Badu“.[6] Originally a kind of rhythmical opening ritual during the 2010 barrel percussion workshops involving the names of everybody, in our Sound/Rhythm workshops „Badu“ became a rhythm exercise with many variations. At the IV Latin American Theatre of the Oppressed Meeting, realized in January 2016 in Matagalpa/Nicaragua, one workshop participant, María Zikín, created a poem based on the exercise.[7] From the „Badu“ rhythm and the text of the poem, we created a collective rhythmical performance that opened the Forum Theatre presentation, involving the whole audience in a „badú, badú, badú” chorus. During the workshop with Jana Sanskriti, we introduced rhythm and chorus and asked for proposals: what did the group want to express about Badu? What did they want to communicate at the beginning of the presentation to the Badu community? From the proposals („There are nice people in Badu”, „There are lots of trees in Badu”, „A lot of theatre happens here”, „Ghirish Bhavan is located in Badu”[8] etc.) we created a rhythmical opening performance with sentences about Badu, singing and dancing for the Badu community that helped us in the chorus: "Badu, Badu, Badu"..


Te invito a sentir el ritmo,
el ritmo de tu cabeza
badú, badú, badú
descubrirás la belleza...

Te invito a sentir el ritmo,
el ritmo de tu corazón,
badú, badú, badú
encontrarás la emoción...

Te invito a sentir el ritmo,
el ritmo de tu panza,
badú, badú, badú
te llenarás de confianza...

Te invito a sentir el ritmo,
el ritmo de tus pies,
si te gustó la canción
empezamos otra vez...

Badú con la cabeza
y con el corazón,
badú, badú badú
es nuestra nueva canción.

(María Zikín 2016, inspirada en el Taller Estética Ritmo y Sonido, Enero de 2016)

[1] Coordinated by Bárbara Santos (Madalena-Berlin) and Christoph Leucht (KIKMA).
[2] An aesthetic investigation on oppression faced by women.
[3] see: Till Baumann: Noisy dialogues – some remarks on tablas and plastic barrels”, in: Dia Da Costa: Scripting Power. Jana Sanskriti On and Offstage, Kolkata 2010.
[4] see: Bárbara Santos: Teatro do Oprimido, Raízes e Asas: uma teoria da práxis”, Rio de Janeiro 2016.
[5] A topic with high relevance in West Bengal. Similar topics were proposed during the Sound/Rhythm processes in Guatemala (2012) and Bolivia (2014). This tells a lot about global capitalism and its consequences. 
[6] Exercise created by Till Baumann during the collaboration with Jana Sanskriti and ATG Halle at Muktadhara Festival in Badu (2010).
[7] „Badú“, poem by María Zikín (Nicaragua), inspired by the workshop Aesthetics of the Oppressed – Sound/Rhythm at the IV Latin American Theatre of the Oppressed, Matagalpa/Nicaragua, January 2016 (text see below).
[8] The centre of Jana Sanskriti in Badu. 

[1] Bárbara Santos, Badu-Kolkata, June 15th, 2016

Wednesday, July 27, 2016

MADALENA-ANASTÁCIA (black women) Forum Theatre Collective

IV Latin-America Theatre of the Oppressed Meeting 

Matagalpa, Nicaragua - January 2016

IV Latin-American Theatre of the Oppressed Meeting (Matagalpa, Nicaragua)
Forum Session

MULTICIDADE - 1st International Women's Performing Arts Festival 

Rio de Janeiro, Brasil - September 2015



Thursday, June 2, 2016

Primer Manifiesto de la Red Ma(G)dalenas Internacional:
Una Red en Movimiento

“A través de los años me transformé:
fui santa, fui bruja, fui puta,
más no me callé,
no me callé!
Soy fuerte y guerrera, yo soy,
más no me callé, no me callé!" [1]

Nosotras, personas socializadas como mujeres, art-ivistas practicantes del Teatro de las Oprimidas, formamos la Red Ma(g)dalena Internacional, para vencer la idea patriarcal de que estamos solas, que somos frágiles e inferiores y que tenemos que justificar nuestros pasos y sostener el peso del mundo. Luchamos para superar las opresiones que se manifiestan al mismo tiempo en todos los espacios que habitamos y que limitan e impiden nuestra dignidad y posibilidades de desarrollo, libertad y felicidad. Queremos transformar el mundo desde la solidaridad, de la fuerza del afecto y de la colectividad. Desarrollamos una estética propia que nos incluye y es nuestra herramienta de investigación, creación y producción artística para transformación de esta realidad opresiva.

Juntas queremos hacer real el sueño de una sociedad basada en la justicia, libre de la ideología capitalista de competitividad, explotación de la persona humana y destrucción de la naturaleza. Una sociedad sin racismo, sin machismo, sin homofobia, sin lesbofobia, sin estereotipos ni mandatos sociales y sin patriarcas, donde sea posible reinventar y multiplicar los espacios de poder y diversificar quien los ocupa.

Trabajamos para vencer la idea de género como definidor de derecho, de espacio y de función social. Investigamos las diversas formas de comprenderse mujer como fuerza movilizadora de pertenencia identitaria teniendo en cuenta y valorando las prácticas culturales que cada una desea cuestionar. Entre nosotras somos múltiples en orígenes, en culturas, en etnias y razas, en clase social, en orientación sexual… Nuestro movimiento está basado en el reconocimiento y respeto a esas especificidades. Tomamos fuerte la idea de colectivizarnos con el objetivo de crear nuestro empoderamiento desde el amor y la fortaleza, la lucha y la expresividad.

Desde un proceso dialéctico y dialógico que reconoce la diversidad de cada territorio relacionamos estas vivencias con los diversos matices opresores que se interrelacionan, como: clase, raza, género y sexualidad. Nos aliamos con las estéticas populares contraponiéndonos a las estéticas dominantes cuando reconocemos la importancia de lo simbólico, del cuerpo, de los cantos, de la danza, de los elementos originarios y ancestrales de cada espacio. Nos vemos envueltas en la autoconcientización y reflexión de nuestras reproducciones estereotipadas hacia la mujer en general y estamos en pie de guerra a derribar cualquier pensamiento o acción que nos una a los poderes de subordinación así sea en nuestro espacio o en el mundo.

Nuestra estética invita a la diversidad de lecturas, a la multiplicidad de miradas sobre el mundo. No buscamos un teatro de "género" hecho por mujeres, buscamos expresar una estética feminista Ma(g)galena. Apostamos a escribir nuestra propia historia en nombre de nuestras ancestras, por las que estamos y están por venir.

¡La revolución será feminista o no será! 

Recuperar lo que Eva perdió[2]… y Lilith, y las ancestras y tantas otras y nosotras…

El territorio, la palabra y el cuerpo, el placer, la autonomía, las libertades.
Rechazamos el lugar de sumisión, desvalorización y aprisionamiento en el que históricamente esta sociedad nos ha colocado. Y porque nos reusamos a reproducir las opresiones “naturalizadas” es que nos creamos como un espacio de empoderamiento, libertad y autonomía para encontrarnos, reconocernos, y fortalecer nuestras luchas.

“...sin pedir permiso, ni para entrar, ni para salir del paraíso”[3]

Combatimos todas las formas de opresión;  a través  la reapropiación de los medios de producción artística y  acciones sociopolíticas concretas y continuadas.
  • ·       Luchamos por la conquista de nuestros derechos sexuales y (no) reproductivos.
  • ·       Luchamos por romper con estereotipos heteropatriarcales.
  • ·       Luchamos por terminar con los privilegios y ser libres, y también por reconocer los propios y transformarlos.
  • ·       Luchamos por crear nuevas formas de relacionarnos desde la sororidad y la organización, respetando los procesos individuales y grupales
Nuestro compromiso político es desde los feminismos reconociendo nuestras diferencias; sabiéndonos capaces de una alegre rebeldía que nos potencie para descolonizar nuestros cuerpos, nuestros vínculos y los espacios que habitamos.

  • ·       Nuestro compromiso es cuestionarnos constantemente en nuestras prácticas cotidianas, para transformar funcionamientos propios que refuerzan el heteropatriarcado.
  • ·       Nuestro compromiso es involucrarnos con las comunidades en donde estamos y sus movimientos y organizaciones sociales, fortaleciendo, multiplicando y articulando  procesos de transformación social desde,  por y para las oprimidas.
  • ·       Rechazamos prácticas elitistas y trabajamos para crear alianzas, por mí , por nosotras y por las otras.

[1] Parte de la canción de la Red Magdalena, ya traducida para diversos idiomas.
[2] Parte de uno de los poemas de la Red Magdalena
[3] Ídem

Friday, January 11, 2013

Praxis Curinga [1] (El Arte de Curingar) [2] Español

Augusto Boal nombró como Sistema Curinga a una forma de actuación experimentada en la década de 1960, en el Teatro Arena de São Paulo, en el cual los actores y las actrices se alternaban en la interpretación de los personajes. Solo el protagonista era representado por el mismo actor. Estaba también la presencia de un actor Curinga con función narrativa, crítica y distanciada.

Con la creación del Teatro del Oprimido, el término Curinga pasó a nombrar la función de facilitar las diversas actividades del Método: actuar, brindar talleres y cursos teóricos y prácticos; organizar y coordinar grupos populares; dirigir montajes de escenas y espectáculos de Teatro Foro; mediar diálogos teatrales en sesiones Foro y de Teatro Legislativo; estimular y articular la efectividad de acciones sociales concretas y continuas; sistematizar teóricamente la experiencia práctica; contribuir para el desarrollo del Método.

Curinga es un artista con función pedagógica. Practicante y estudioso del Método. Especialista en constante proceso de aprendizaje.

Friday, October 12, 2012

Não basta fazer teatro... é preciso atuar na vida real.

De 11 a 16 de setembro de 2012, em Berlim, realizamos o encontro Madalena Internacional, experiência estética que contou com 27 mulheres, praticantes do Teatro do Oprimido, oriundas de diversos países, da America Latina, África e Europa. Passado o encontro, denunciamos através da internet o constrangimento vivenciado por 8 das nossas participantes na portaria do YAAM, importante espaço da cultura Afro em Berlim.

“Na madrugada do domingo, 16.09.2012, essas mulheres enfrentaram a atitude violenta e sexista de membros da equipe de porteiros. Na noite desse mesmo domingo, um grupo de 30 pessoas, homens e mulheres, seguiu para o YAAM para expressar sua indignação e cobrar uma atitude da diretoria. Não foi possível falar com nenhum dos responsáveis e o contato com a equipe da portaria aprofundou o conflito.”

No sólo hacer teatro ... hay que actuar en la vida real.

Del 11 al 16 septiembre de 2012 en Berlín, ocurrió el encuentro Madalena Internacional, una experiencia estética que incluyó a 27 mujeres de diferentes países, de América Latina, África y Europa. Después del encuentro, nosotras icemos una denuncia a través de la Internet acerca del maltrato experimentado por 8 de las participantes en la entrada del YAAM.

"En la madrugada del Domingo, 16/09/12, estas mujeres se confrontaron con una actitud sexista y violenta de parte de los miembros del equipo de porteros. En la noche de ese mismo domingo, un grupo de 30 personas fueron a YAAM para pedir explicaciones de la dirección. No se puede hablar con ninguno de los responsables y en el contacto con el equipo de porteros se profundizó el conflicto ".

Es reicht nicht Theater zu machen... es ist notwendig im realen Leben zu handeln.

Vom 11. bis 16. September 2012 haben wir in Berlin das Treffen Madalena International durchgeführt, eine ästhetische Erfahrung an der 27 Frauen teilnahmen, Anwenderinnen des Theaters der Unterdrückten aus verschiedenen Ländern Lateinamerikas, Afrikas und Europas. Nachdem das Treffen vorbei war haben wir im Internet über eine sehr unangenehme Stituation berichtet, die 8 unserer Teilnehmerinnen am Eingang des YAAM, einem wichtigen Ort der Afro-Kultur Berlins, erlebt haben.

“Am frühen Morgen des 16.9.2012 wurden diese Frauen mit der sexistischen und aggressiven Einstellung der Einlasser konfroniert. In der Nacht desselben Sonntags ging daraufhin eine Gruppe von 30 Personen, Männern und Frauen, zum YAAM, um ihre Empörung über das Vorgefallene zum Ausdruck zu bringen und eine Stellungnahme der Leitung einzufordern. Es war unmöglich mit einem der Verantwortlichen zu sprechen und der Kontakt mit dem Einlasser-Team verschärfte den Konflikt nur noch weiter.”

Theatre is not enough ... one must act in real life.

From the 11th to the 16th of September, 2012; The Madalena International Encounter was held in Berlin as an aesthetic experience which included the participation of 27 women, Theatre of the Oppressed practitioners, from different countries of Latin America, Africa and Europe. After the meeting, we denounced through the Internet the experience of gender violence that eight of our participants suffered at YAAM, an important point of the Afro culture in Berlin.

"At dawn on Sunday, September 16th, these women faced sexist and violent attitude of some of the security team members. On the evening of that Sunday, a group of thirty people, men and mostly women went to the YAAM to express the rejection of this treatment, and to demand a public excuse besides concrete actions. We were denied communication with any of those responsible; the contact with the security team deepened the conflict. "

Wednesday, September 19, 2012

Madalena International denounces (EN, PT, ES, DE, FR, IT)


Saturday, 15th September 2012, 8 Women – participants of Madalena International coming from Mozambique, Brazil, Colombia, Spain and Germany – experienced an unexpected episode in Berlin.

After a successful theatrical presentation and a celebration among other participants, they understood that have the right to go out and enjoy the city night. Because it being a group made up mainly by black women, working in the cultural area in their home countries, they decide to visit the YAAM, a place known as the socio-political and artistic' meeting-point for the African culture.

Arriving at YAAM, they realize that it requires the payment of an admission fee to go in. They decided to negotiate the value of the ticket. One of them walks to one of the five men guarding the entrance and say:
"We are a group of women and ..."
Her sentence is abruptly interrupted by one of them gesturing and displaying the exit door:
"Get out of here, you will not go in."
The woman responds:
"Calm down, I was just trying to ask you a question ..."

Then a second man, sitting slightly behind the first one, screamed:
"You're a bitch, an ugly woman, your way of speaking is disgusting."

Sunday, May 13, 2012

Para meu filho, Rodolfo Ribeiro.

Hoje é treze maio, dia de preto velho
Segundo domingo do mês: dia das mães
Dia mais que especial: aniversário do meu filho
Ele faz 27 anos de vida. Eu 27 na estrada de ser mãe

Wednesday, May 2, 2012

2 de mayo de 2012: Año tres.

Hace semanas, siento un estado inconstante de melancolía
Estado indefinido…de repente, melancolía.
En la visita a Iraque-kurdistan, aun con tanta cosa interesante sucediendo, me vino un vacío…
Ausencia de comunicación…de un tipo especial de diálogo
Quería escribir sobre lo que veía, sentía y (no) entendía…
Escribir y mandar el texto para su e-mail.
Tengo aún en la bandeja de entrada un archivo especial que conserva muchos intercambios de ideas…
Escribir, siempre escribir…era lo que me decía.

Bárbara escribe más!
Tú puedes contar lo  que viste, pero las palabras desaparecen con el viento
Si escribes, la experiencia queda, se propaga, se multiplica
Bárbara, tu debería escribir más sobre lo que has contado…
Escribe sobre eso!
Dónde estás ahora? Cuéntame!
Pero no me digas como fue el viaje
Cuando llegaste, ni cuantas horas esperaste
Ni me describas con cuantitativos
Quiero saber que te impresiona
Que te impresiona?

2 de maio de 2012: Ano três

Há semanas, sinto um estado inconstante de melancolia
Estado indefinido... de repente, melancolia...
Na visita ao Iraque-Curdistão, mesmo com tanta coisa interessante acontecendo, me veio um vazio...
Ausência de comunicação... de um tipo especial de diálogo
Queria escrever sobre o que via, sentia e (não) entendia...
Escrever e mandar o texto para o seu e-mail
Tenho ainda na caixa de correio um arquivo especial que guarda muitas trocas de idéias...
Escrever, sempre escrever... era o que me dizia.

Bárbara, escreve mais!
Você pode contar o que viu, mas as palavras desaparecem no vento
Se escrever, a experiência fica, se propaga, se multiplica
Bárbara, você devia escrever mais sobre o que tem me contado...
Escreve sobre isso!
Onde você está agora? Conte!
Mas não me diga como foi a viagem,
Quando chegou, nem quantas horas esperou
Nem me descreva os quantitativos
Quero saber o que te impressiona...
O que te impressiona?