Urdimento: Revista de Estudos em Artes Cênicas
Journal of the Performing Arts linked to the Graduate Program in Theater, at the Arts, Design and Fashion Center of the Santa Catarina State University. ISSN: 2525-5304 Frequency: continuous Year of criation: 1997
Universidade do Estado de Santa Catarina (UDESC)
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The poetics of forces, Kuniichi Uno's Artaud – and the body to come in art education
Antonin Artaud needs no introduction when it comes to studies of body arts and contemporary art in general. In Artaud – Thought and Body, Kuniichi Uno observes Artaud's poetics through the lens of the notion of force, which he understands to be present in the artistic processes developed by the poet, screenwriter, and playwright. He explores the variations of this notion in the various registers that make up this work, dividing this set into four phases. The result invites us to rethink, in art education and body arts, the preponderance of the body in its relationship with thought and language.
Starting from the dialogue between dance pieces and literature works in which there is an intimate relationship between art and life, this essay analyzes some creations that propose an invitation, both to the performer/writer and to the spectator/reader, to the perception of oneself in drift. In his lecture “Poetry and abstract thought”, Paul Valéry suggested the separation between prose and poetry; although, in contemporary, poets and choreographers break this separation by mixing movement and language experiences from both the fields of ordinary life and art. Based on the interest of choreographers in walking as a fundamental experience for dance, we reflect on the presence of prose (and prosaism) in contemporary poetry production.
Documentary approach in school: the field of experience [on]stage
This article is the result of a doctoral thesis in Education entitled Documentary Theatre: corners of experience, artistic action in praxis in basic education. It deals with the historical, political and artistic-pedagogical perspectives on Documentary Theater. The study proposes a teaching approach about reality, based on the concept of experience, and proves that Documentary Theater, when addressed in schools, can contribute to the negotiation and (re)creation of Culture by students. Among the results of the research, a curriculum based on non-fiction is born, which can be part of the methodologies chosen by the teacher. This approach reveals new possibilities for teaching theater and teaching in the context of the practices of the Pedagogy of Participation.
Traces of Dance in Basic Education in the 1970s: SECE-PE and the Recife Ballet Company Agreement
This educational/dance study examines fragments of the agreement between SECE-PE and the Recife Ballet Company in the 1970s, a period under the Military Dictatorship marked by repression and the emergence of cultural policies. The Recife Ballet Company promoted national circulation, international exchange, and pedagogical projects aimed at bringing dance closer to students and teachers in public schools. Although the agreement fostered artistic dissemination, it revealed structural and conceptual limitations, leaning more toward a performance logic than curricular transformation. In this context, dance education oscillated between institutionalization, creation, and expression.
Melodramatic Codes Applied to the Lovers in the Play Do Fundo do Baú
The article analyzes the performance Do Fundo do Baú, by the company Os Mascaratis, investigating how melodramatic codes intersect with commedia dell’arte in the construction of the lovers. The study adopts a qualitative approach and a creative process analysis, engaging with the works of Thomasseau, Tiche Vianna, and Lecoq. In the lovers, lyricism and the ridiculous intertwine, revealing tensions between melodramatic solemnity and farcical comedy. It is concluded that the vitality of these languages lies in their capacity for reinvention in new scenic contexts.
Race interrogates pedagogical practice: towards an anti-racist education in performing arts classes
The central objective of this article is to reflect on the possibilities an anti-racist education in performing arts classes. Thus, we presented two pedagogical practices developed in basic education that used literature and role-playing games to discuss Blackness, Whiteness, and representation with children aged 9 to 11 from two different social classes. To this end, we employed action research methodological approaches. The study data demonstrated the importance of theater classes as a potentializer of dialogue across differences and how the actions developed could contribute to transformative education.
My body is not one: body, Afro-Brazilian performing arts cultures, and curricular issues
Is it possible to blur the hegemony of the notion of body that governs structures of domination that imply the epistemicide of Black bodily cultures? In various cultural fields, the predominance of a conception of the body primarily oriented by biologizing criteria is observed. However, other foundations have generated notions of bodies, as well as performing arts manifestations, guided by distinct principles such as ancestry and communal life. In this study, analyses of undergraduate theater curricula, a literature review on the Black body and its foundations, and investigations into performing arts experiences that incorporated this perspective of the body in academic spaces were carried out.
Dictionary of Sounds in the Theater: Motivations, Challenges, and Strategies
The research project titled " Sounds in the Theater: terms and concepts" aims to collectively develop entries for a homonymous dictionary, unprecedented in the Lusophone world, through a terminological and conceptual investigation of the vocabulary of sound in performing arts. The project began in 2021 and currently involves 90 researchers affiliated with 38 educational institutions from all 5 (five) regions of the country. This article aims to present the main motivations, as well as the challenges and strategies that have permeated the process so far.
Thematic Dossier: Live Arts and the Anthropocene/Capitalocene I
Information on the content of the Thematic Dossier: Live Arts and the Anthropocene/Capitalocene I
Editorial - Dossier Curriculum, Decoloniality and Teacher Training in the Performing Arts
Information on the content of the Thematic Dossier: Curriculum, Decoloniality and Teacher Training in the Performing Arts.
Information about the content of the Urdimento - Revista de Estudos em Artes Cênicas, v.3, n.56, December 2025.
In this issue, we introduce the Urdimento Editorial Team, including editors, associate editors, thematic dossier editors, editorial board members, and reviewers working on this issue of Urdimento. We also introduce the editorial support team.
Critical fabulation, cimarronaje, and anti-futurism: key conceptualizations for a program of decolonization in artistic creation
In this paper, I develop the theoretical foundations that politically underpinned the research and exhibition project “The Future Has Already Happened: Maroon Antifuturism.” I make this effort in the hope that the critical review of the field of art that we developed, as well as the positions of meaning we adopted, will contribute to other efforts to decolonize artistic practice.
Mojuba ara! Summoning the embodied and ancestral knowledge of the africandiáspora
Based on an "imaginative operation" (Tavares, 2020), mojuba ara emerges as a decolonial exercise in summoning the embodied knowledges that constitute the afrodiaspora. Arguments were presented that demonstrate how colonization and modern western thought founded racist discourses about black bodies and knowledge. Finally, some examples from the field of Afrodiasporic dances demonstrated how they are permeated by values ​​such as ancestry and musicality, expressing unique conceptions of body and dance and justifying the need to revise the histories and curricula of the performing arts at all levels of Brazilian education, in light of our own experiences.
Traditional Cultural Expressions and Free, Prior, and Informed Consent in the Performing Arts
This article analyzes the appropriation of Indigenous cultural expressions in the performing arts and proposes free, prior, and informed consent to decolonize this reality. Through qualitative documentary analysis, academic and legal production was examined. The results offer protocols to apply consent in training and performance production, detailing phases for an ethical and fair dialogue. It is concluded that consent is a political framework that reconfigures power. Despite challenges like asymmetries, its adoption is a pedagogical act that enriches artistic practice with justice, advancing towards decolonization.
Theater, racism and identity: the colonial influence over the Brazilian artistic field until the 20th century
The article investigated the historical roots of the predominance of foreign cultural productions in Brazil, analyzing how colonization and European and North American influence shaped the artistic production of the country’s theatrical scene until the 20th century. From the Jesuit drama to the creation of the UFBA Theater School, the research analyzed how the undervaluing of the national scenario and the overvaluing of the foreign one consolidated the so-called "mongrel complex", in which the devaluation of indigenous and African cultures was a central theme, highlighting the need to recognize and value Brazilian cultural diversity in order to overcome its colonial heritage.
Curriculum and racism: curriculum analysis of bachelor’s programs in Performing Arts (Theater Education) in Higher Education
This article addressed the negligence regarding the inclusion of content related to African and Afrodiasporic cultures and Indigenous peoples in Higher Education, as mandated by Resolution n. 001/04 and Report n. 003/04 of the National Council of Education, as well as the lack of faculty training on these themes in universities, and the consequent challenges in implementing antiracist curricula. The main hypothesis is that the racism present in the country - disguised and legitimized by the Myth of Racial Democracy - forms the basis of a colonial thought that persists today through a whiteness project, which enables the violation of the Law and the denial of rights to a pluriepistemic curriculum.
Pedagogies magnetized by decolonial feminism in Higher Education: Study and Creation in Performing Arts
The alliance between feminist, decolonial, and anti-racist perspectives has enabled pedagogical experiments in Higher Education that, considering the intersectionality of social markers (race, gender etc.) and the effects of the coloniality of being and knowledge, transform ways of teaching and learning. Based on debates from the Seminar Curriculum, Decoloniality, and Teacher Education at the Federal University of the State of Rio de Janeiro in 2024, and on the analysis of teaching in Performing Arts courses, using theoretical foundations and concrete methodological examples, this reflection addresses the production of embodied knowledge that seeks to re-enchant classroom practices.
Attempts at a Decolonial Curriculum in Dance in Higher Education
This text discusses the implementation of the new curriculum of the Dance Degree Course at the Federal University of Santa Maria (UFSM). Developed between 2017 and 2019, the curricular reform aimed to meet the current legislation regarding ethnic-racial, gender, and inclusion issues. The new political-pedagogical project came into effect in 2020, with a perspective of multidiversity, multiculturalism, and decoloniality. It is considered that, based on the advances made, a paradigmatic change is still necessary: ongoing teacher training that caters to the change in the profile of students entering the university due to quota policies and the Unified Selection System (Sisu).
Iyá Mìn: resistance processes based on the ancestral knowledge of the Yabás in the Boca 07 Collective
The article presents Afro-referenced approaches to the processes of creation, resistance, and identity affirmation of the Boca 07 Collective. Based on Afro-Brazilian dances and the ancestral knowledge of the Yabás, the collective built an artistic practice that challenges religious racism, intolerance, and institutional erasure, articulating art and spirituality as forms of resistance. From an autoethnographic and performative methodological perspective, the research proposed a reflection on the body as a territory of memory, ritual, and insurgency, in dialogue with Afro-diasporic and decolonial epistemologies in the Undergraduate Program in Dance.
To embody is to repair: lowering countercolonial methodologies from the higher education curriculum in dance
This article presents decolonial methodologies for creation in dance and performance, centered on the urgent needs of racialized bodies from a higher education perspective. In response to the marginalization of Black epistemologies in curricula, it proposes three practical-theoretical axes— Corpo Peça, Utopias de Si, and Corpo Báskula—developed from the author's experience as a Black artist-teacher and in dialogue with thinkers such as Nêgo Bispo, Inaicyra Falcão, Leda Maria Martins, Audre Lorde, and Patricia Hill Collins.
Afro-diasporic dances in urban contexts - contributions to dance education in the present time
The present article aims to contextualize and discuss contributions around the investigations and research on Afro-diasporic dances in urban contexts for Dance education, seeking to understand their characteristics, intersections, and challenges in order to expand and complexify processes related to ways of teaching-learning dances. To this end, the text highlights some Afro-diasporic dances, their characteristics, and aesthetic traits reminiscent of the African continent, as well as proposes to reflect on the specificities of Afro-diasporic knowledge-practices that allow us to understand their contributions to education in the context of a higher education course in Dance.
Plow the land and sow: multicultural methodological strategy
The action research involved proposes interdisciplinary pedagogical practices involving Capoeira Angola and Theater as learning methods for the appreciation of African and Afro-Brazilian History and culture in schools. Drawing on and drawing from authors such as Asante (2009), Rufino (2017) and Thiollent (1986), the methodology aims to combat cosmophobia (Santos, 2019), the expression of the symbolic marginalization of Black culture. Workshops held in public and private institutions promoted the redefinition of ancestral knowledge, expanding the effectiveness of Law nr. 10.639/03 (Brasil, 2003). The approach emphasizes non-domestication (Gonzalez, 1984; Santos, 2023) in involvement in Afrotheatrical scenes.
Black monologues in schools: Black Theater in teacher education
In this section, we will address the manifestation of black epistemologies in the pedagogical journey of the Solos Negros nas Escolas project (Black Monologues In Schools) in the year 2023, an initiative that aims to value and share the foundations of Law 10.639/03 in Theater Pedagogy. The procedures adopted in this initiative aim at the active participation of students, promoting student leadership in the collective construction of knowledge, in tune with Afro-Brazilian civilizing values. In this way, Solos Negros promotes teacher training that goes beyond the mere reproduction of content, encouraging reflection, creativity and commitment to anti-racist education.
Semente Crioula is a dramaturgy developed from a travel journal written during the Interdisciplinary Experience Internship (Estágio Interdisciplinar de Vivência) with Via Campesina in western Santa Catarina, in 2025. Influenced by Clarice Lispector’s Água Viva, the work weaves together intimate experiences and political and social issues related to land conflict. The narrative of Doralice, a hybrid figure between human and animal, highlights territorial disputes and reflections on the body, nature, and self-appropriation.
Mangroves: a model for an ecosystemic scene
This article investigated how theatre can engage with the current context of socio-ecological crises, offering reflections that may underpin artistic practices aimed at expanding relational modes and proposing new forms of sensibility. To this end, a systemic methodology was proposed as a condition of possibility for the creation of ecosystemic scenes. The theatrical modelling of natural complex systems, such as the mangrove ecosystem, was presented as a strategy for fostering awareness of the ecological crisis. Some considerations on this premise were developed based on the workshops conducted by the author.
Ecocritical intersections in Argentine dramaturgy (1983-2008): regional maps, water and otherness
This article analyzes representations of water and its intersection with figures of historical otherness observable in Argentine dramaturgy from the northern and southern regions of the country during the period 1983–2008. To develop this poetic analysis, the study draws on the theoretical and methodological orientations of ecocriticism, applied to a specific case study. The results obtained allow us to recognize and examine the topics, procedures, and intellectual positions that challenge essentialist and homogenizing ideas about the interior-other, based on the environmental conceptions specific to each territory.
On the banks of the Watu River: a process of imaginary creation between the photographer and the pernalta
From the field of interarts, this article reveals the poetic and artistic creation process of the photo-performance Watu conta contos. Through the philosophy of the imaginary (Bachelard, 2018; Durand, 1993; Ferreira-Santos; Almeida, 2020), the poetics of space (Bachelard, 2003; Certeau, 2025), and indigenous worldviews on orality/writing (Kopenawa, 2010; Krenak, 2020a, 2020b; Jecupé, 2023), the investigation aimed to promote new images and dialogues for the landscape of the Watu River, located in the municipality of Colatina-ES. To this end, the writing undertaken presents the work's setting, the creative process of the photo-performance, and the captured images.
Ecosomatics: reflections on ecological practices in the face of the socio-environmental challenges of the Anthropocene
This essay aims to reflect on the need to rethink curricula, methodological approaches, teaching plans, and training spaces in the body arts in light of the socio-environmental challenges present in the era we live in, the Anthropocene, bringing ecosomatics into the debate: a set of ecological practices that aims to create engaged and responsive thoughts/actions.
Emaranhada: scenes with trash and garbabe in the state of Rio de Janeiro
The article weaves a critique of modern separability, drawing from Karen Barad and Denise Ferreira da Silva. It proposes a relational aesthetic-politics, understanding the phenomena between matters as a fundamental dimension – the invitation is to unleash the creative capacity of imagination beyond separation. This debate materializes itself in Emaranhada, a project that involved artists, waste pickers, biologists, educators, fishers and crab gatherers. Examining the relational aesthetics proposed by Nicolas Bourriaud, and its critique made by Claire Bishop, the article also shares recent interinstitutional actions by Eleonora Fabião to consider, along with André Lepecki, a poetics of proliferation.
Dreams as territories of learning: experiences from the Nasa people and the Cauca context
This paper discusses how dreams are presented to the Nasa indigenous peoples, seeking to share how certain social and economic dynamics established in the department of Cauca have affected the lives of these populations. In this context, dreams are recognized as zones of resistance that are linked to their own autonomous education systems. The potential of cultivating collective dreams also served as inspiration for the formation of the Study Group on Dreams for Indigenous Peoples in Latin America.
From fracture to religare: Silvestre's technique and eco-poetics of the body in the face of the ecological-colonial crisis
The article analyzed the Silvestre Technique as a dialogical ecopoetics between body, art, and cosmos, highlighting how corporeality acts as memory, territory, and possibility. It investigated the relationship between body, culture, and nature in the face of the Anthropocene and Capitalocene, showing that African, Afro-diasporic, and indigenous knowledge stand out as ancestral responses to contemporary questions. The research highlighted that the arts not only express culture, but also actively participate in the formation of cosmoperceptions and civilizational values. Thus, the living arts are pointed out as laboratories of resistance and devices for building sustainable, ethical, and interdependent worlds.
Hares, coyotes, oak trees, and pigeons in light of the anthropocentric crisis
This article proposes a reflection on three works by Joseph Beuys and a recent performance by Coletiva Animalia, focusing on the presence of non-human beings on stage. To this end, it brought together thinkers from animal studies and the performing arts, emphasizing the need to transform what we understand as multispecies scenes into cosmopolitically engaged scenes, as a new way of coexisting with other species in the face of the anthropocentric crisis.
Conversing with Trees: creation as a cosmopolitical practice
In this article, the creative act is proposed as a communicative exercise in the porosity between the body, the Other, and the Earth. In this scope, creation was investigated as a coextensive cosmopolitical action, a way of weaving conversations with the extra-human, in light of animistic perspectives that, based on other notions of rhythm, produce communicative relationships with otherness. As a space for reflection, trans-specific dialogues were held in the research Conversing with Trees, in which speech was defined as part of a multimodal attention in continuous polyrhythmic flow, in contrast to the cultivation of a frontal and unifocal attention that characterizes anthropocentric forms of communication.
Vegetating thought and sensitivity for possible planthroposcenes
This article drew on the sensitive experiences and concepts embodied in the course Ecologies of attention: drifts between sewing and cultivation, taught by professors Virgínia Kastrup (UFRJ) and Mariana Guimarães (CAp-UFRJ) at the Institute of Psychology at UFRJ, during the first semester of 2025. Instigated by Evando Nascimento's work, O pensamento vegetal (2021), and more specifically by the semantics of the verb "to vegetate", the article proposed a positive rehabilitation of the term, countering its colonial meaning, as inspired by Antônio Bispo dos Santos (2023). The article explored how we can learn from and conspire with plants in search of possible planthroposcenes (Myers, 2021).
Playing land, ancestor land: experiences in the Theatre Teacher Education program at URCA
We propose to revisit the teaching-learning experiences carried out within the scope of a curricular component of the Theatre Teacher Education Program at URCA. Taking as epistemological guiding lights the reflections developed by Luiz Rufino (2019) and Luiz Antonio Simas (2019) in the field of decolonial education in recent years, we arrived at two different pedagogical propositions: in one of them, street child plays were adopted as an educational tool to explore the relations between childhoods and the city; in the other one, the contact with a master of popular knowledge unfolded into artistic-pedagogical practices in Theatre. These are the propositions we present and discuss on this occasion.
Presence and connection based on ‘escuta do olhar’
This work is about the record of an interview given by Profa. Dr. Ana Elvira Wuo, from the Federal University of Uberlândia (UFU). Ana Wuo is an important author and clownesse in the Brazilian context, standing out for her pioneering role in the Performing Arts from the creation of the concept “Clown Visitor”, coined in 1992. She is also a pioneer in academic research carried out by women clowns, a phenomenon which became popular in Brazil only in the 2010s, with Ana Wuo being one of the main references in the area.
Gaze of IntenCity: memories and images in André Carreira's trajectory
This interview addresses the trajectory of director and professor André Carreira (1960), creator of the ÁHQIS Acting Laboratory (2007). It took place in 2025, in the city of Florianópolis, Santa Catarina. In this meeting, the director spoke about his childhood, his early studies, as well as the beginnings of his life in theater, revealing his artistic influences, particularly the work of the Polish director Tadeusz Kantor. In this interview, Carreira reflected on possible connections between the fields of Theater and Art Direction, taking as reference the experiences carried out at the ÁHQIS Acting Laboratory.
Natassia Duarte Garcia Leite de Oliveira
The creation of feminist aesthetics and strategies in contemporary comedy
Vanderléia Will, an award-winning actress from Santa Catarina, of the Pé de Vento Theater Company, creator of the comic character Dona Bilica and internationally recognized for physical comedy shows De Malas Prontas (2003) and Desajustada(2021), granted an interview to researcher Brígida Miranda. In the conversation held on October 23, 2024, after the presentation of the play Dona Bilica – In Those Days (2014), at CEART/UDESC, the actress revealed dynamics of dramaturgy creation, processes of character development, collection of stories and anecdotes from the old communities of Santa Catarina Island, and reflected on the transformation of her theatrical creation processes following the awakening of feminist consciousness.
White top, high heels and the body like an arrow - Interview with Tatiana Cobbett
In this conversation, Tatiana Cobbett shares how her artistic career was built, marked by the interweaving of different artistic languages: dance, music, and theater. She also explains how the idea of ​​creating a show exclusively with women emerged in the 1980s and how she developed the various activities that encompass artistic work, from production to performance "perpetual crochet" that involves sustainability, partnerships, and collaboration. She also discusses her involvement in struggles and initiatives to expand access to culture for all, to guarantee dignity for artists, and to encourage original works, especially those created by women.
The hereafter text is extracted from Elizabeth Grosz's book Chaos, Territory, Art: Deleuze and the Framing of the Earth (2008). In it, Grosz focuses on the conditions of art's existence as a separation and ordering of compositional planes within chaos imanente on the natural world. Her explorations are guided by the writings of Gilles Deleuze, Félix Guattari, and Luce Irigaray, who propose openings of nature and culture to unrecognized and undetermined forces, emerging from the natural chaos. Grosz understands that such forces can promulgate new ways of conceptualizing politics and the ways in which art and politics can be connected and rethought.
This article reviews Western perspectives — in a fruitful dialogue with non- Western perspectives — on the climate emergency and artistic experiences amid the ongoing debate about futures currently at stake in the climate crisis or climate emergency. Moving beyond the various ways of naming this crisis, we focus on how art can communicate, envision, and activate ways of inhabiting this problem, opening communities to an other-than-human coexistence and reconfiguring matters as we understand them in a geological, natural, or material sense. The analyses indicate that, instead of aiming at a singular solution, multiple exercises and imaginative and speculative avenues of narratives can tell different stories and envision alternative futures. If the climate crisis ignited in the Anthropocene is a shared crisis — both political and aesthetic — then art, inseparable from life and hence nature, holds a crucial role in nurturing care and the potency of imagining other possible worlds.