No barraco da Constância tem! is a group that is always changing. Moved by the will to exercise invention, collectivity, collaboration and transversality among languages and genres, in a daily political exercise that involves investigation, porosity, intuition and desire. Acting uninterruptedly since 2012 in the city of Fortaleza (Brazil), the collective has as its main characteristic its performance in the scenic arts in a transversal way with other languages, performing the creation of theater and dance shows, performances, urban interventions, videos, installations, workshops and creative residencies; with researches and investigations that cross through artistic, social, historical and political vectors, in axes of interest that fluctuate among several subjects, among them, the modes of accomplishment and collective creation, authorship issues, geopolitics, memory and cosmogony.
Delirantes e Malsãs (Outdoor performance/Dance, 60 minutes, 2020).
In July 1518, a woman named Frau Troffea set out to dance in the streets of Strasbourg and started the most famous dance epidemic where hundreds of people danced for months. Although no cause-effect connections have ever been proved for these manifestations, misery and hunger, diseases and plagues, as well as the rise of totalitarian governments were part of the social and historical contexts of those episodes. The performance proposes a choreographic investigation about dance of death allegories and the universe of urban interventions, where delirium can be presented itself as an strategic exit from imposed realities - with the intention of creating other possibilities of existence.
The video deals with contemporary issues in order to rethink instituted canonical places through the iconic figure of Iracema, Mythological character from José de Alencar's 1865 book that impregnates the territory of Fortaleza city with symbolic material. In a time when we are asking ourselves about the meaning of memory, the invention of myths and the real value of symbolic representations through monuments, "Iracema Terceirizada" invents the project "COBPI-65", incorporating a debauched way of discussing these questions of a nationalist and colonial past, in a strategic repositioning about the real value of things. The work is signed by the collective No barraco da Constância tem! and by the artist Érica Zíngano.
Resumo da Ópera is a feature film, produced collectively by the groups No barraco da Constância tem! and Teatro Máquina, based on the opera “Il Guarany”, composed by Carlos Gomes and inspired by the Indianist novel "Iracema", by José de Alencar; critically repositioning the responsibility of Brazilian Romanticism as the main foundation for the formation of the Brazilian nation at the cost of an idealized narrative of its colonization. Taking the idea of opera – from the Italian word, work – as a clue to reflect about Brazil as an architectural process, we investigate the workers who were exploited in their work to erect the nation. The film, therefore, does not go back to Alencar's story, but investigates what lies behind it.
In a war between territories, this syncretic party inaugurates a second place. Between the East and the West, the so-called third world is made in new combinations. Mixed with rhythms and myths, the first, second, and third persons of the plural are modified. It is all about mixture. It 's all about people. Important phenomena for Brazilian popular culture unfold in potpourris orgies such as: “folias”, “folguedos” and “quadrilhas”. The work is a journey and, besides the intertwining of rhythms in great choreographed and sung potpourris, the show uses the methodology of mixing songs to make use of myths, histories, territorialities and to think about gender issues and the construction of the body between dances and songs.
RARA takes into the scenic box a pyramid as what we know and what we could never know. The performance proposes an immersion into the relations located in the borderland between the known and the unknown, the identifiable and the unidentified. Through the activities common to the human species of naming, organizing, categorizing, etc., the show seeks to rearrange the meanings of the identifiable, provoking other ways of receiving the already known. In the search to reduce distances and make other groupings, expanding the possibilities of diversity and making other stories emerge, we ask ourselves what the body can say about itself and through itself when discovering itself unnamed and also when discovering itself named, catalogued, historiographized.
Rebuliço savoir faire (Fashionfilm/Video art, 12'20", 2022).
"REBULIÇO: artistic residency of creation in costume-city” is a proposal that involves experimentation and creation in a collective way, providing a practical and immersive experience in the upcycling methodology (reuse): a production model that re-signifies processes and products, extending their life cycles. The residency promotes a destabilization in creative hierarchies of performing arts, where clothing design becomes the “protagonist”. therefore, significant questions about the scarce cultural public policies in Brazil for the “technical areas” are raised.
