OU VIRE PARA LER EM PORTUGUÊS
LONDON EDITION
www.brasilobserver.co.uk
ISSN 2055-4826
JULY/2016
# 0 0 4 0
2
brasilobserver.co.uk | July 2016
CONTENTS
# 0 0 4 0
JULY/2016
LONDON EDITION
4
14
What does Brexit mean for Brazil?
Theatre that occupies: meet the play ‘Mephisto Injustiçado’
OBSERVATIONS
6
GUEST COLUMNISTS
Cathy McIlwaine explores the visibility among Brazilians in London Virgilio Viana writes on sustainable development in the Amazon
10
Is a montlhy publication of ANAGU UK UM LIMITED founded by
CONECTANDO
16
CULTURAL TIPS
18
Roberta Schwambach Financial Director roberta@brasilobserver.co.uk
COLUNISTAS
Franko Figueiredo on the problems with crowdfunding Heloisa Righetto on feminism vs. sexism
12
20
The struggle of the Brazilian high school students
Beth Kress takes you to Richmond
REPORT
Guilherme Reis Editorial Director guilherme@brasilobserver.co.uk
Art, cinema, music... with Brazilian touch
Cecilia Brunson’s mission to boost the Brazilian art
INTERVIEW
Ana Toledo Operational Director ana@brasilobserver.co.uk
English Editor Shaun Cumming shaun@investwrite.co.uk Layout and Graphic Design Jean Peixe ultrapeixe@gmail.com
LONDON BY
Contributors Aquiles Reis Franko Figueiredo Gabriela Lobianco Heloisa Righetto Rosa Bittencourt Wagner de Alcântara Aragão
Cover Art Ananda Nahu www.anahu.com
Ananda Nahu is a Brazilian urban artist from Bahia, rooted in Rio de Janeiro and graduated at the School of Fine Arts at the Federal University of Bahia. The mixture of styles, colours, visual aspects, paintings techniques and diversity in the use of materials is a striking feature of her work. She also does complex and colourful murals enriched with intricate patterns and featuring powerful women as centrepiece. Ananda was in the UK in June and July participating in the festivals Vamos! and Horniman Brazilian Summer, as well as the LATA Street Culture Festival.
Printer St Clements press (1988 ) Ltd, Stratford, London mohammed.faqir@stclementspress.com 10.000 copies Distribution Emblem Group Ltd. To advertise comercial@brasilobserver.co.uk 020 3015 5043 To subscribe contato@brasiloberver.co.uk To suggest an article and contribute editor@brasilobserver.co.uk Online 074 92 65 31 32 brasilobserver.co.uk issuu.com/brasilobserver facebook.com/brasilobserver
David Hemming
The cover art for this edition was produced by Ananda Nahu for the Mostra BO project developed by the Brasil Observer in partnership with Pigment and with institutional support from the Embassy of Brazil. Each of the 11 editions of this newspaper in 2016 is featuring art on its cover produced by Brazilian artists selected through open call. In December, all of the pieces will be displayed at the Embassy’s Sala Brasil exhibition.
twitter.com/brasilobserver
SUPPORT:
Brasil Observer is a monthly publication of the ANAGU UK MARKETING E JORNAIS UN LIMITED (company number: 08621487) and is not responsible for the concepts expressed in signed articles. People who do not appear in this expedient are not authorized to speak on behalf of this publication. The contents published in this newspaper may be reproduced if properly credited to the author and to the Brasil Observer.
brasilobserver.co.uk | July 2016
3
4G UNBEATABLE NATIONAL PLANS Stacked full of minutes, texts and 4G Data UK PLAN L
1000
National minutes
Unlimited National SMS
2GB Only!
£12 30 days
Data
Unlimited
calls to Lycamobile UK To activate: Dial *139*12044#
1
Brasil
Landline
5
Mobile
To activate send : SAVE to 2525 Order your free SIM at www.lycamobile.co.uk or call 020
7132 0322
Top-up your SIM online or where you see the following signs: Customers may not be able to use Electronic Top-Up at all locations where the top-up logo appears Customers should opt-in by texting SAVE to 2525 to be eligible to get the special rates, Customer who did not opt-in will be charged at standard rates. Opt-in save promotional tariff is valid from 25.02.2015. Customers with India 1p/min promotion ( top up offer) should not opt-in to this special rates. If you opt-in to this promotion, you will not be able to avail India special rates.Promotional tariff valid for 30days from the Opt-in. Lycamobile reserve the right to amend or vary the terms of this promotion, or to withdraw this plan at any time on reasonable notice. Lycamobile reserve the right to amend or vary the terms of this promotion, or to withdraw this plan at any time on reasonable notice. Lycamobile UK Plan (“the offer”) inclusive allowances are for calls and texts from the UK to standard UK landline (starting 01,02 or 03) and other UK mobile numbers, and for mobile internet usage in the UK. Other usage will be charged at standard rates. Allowances are valid for 30 days from the date of purchase. 4G availability is subject to handset model and location. Calls are rounded up to the nearest minute for the purpose of calculating remaining allowances. A customer may have only one offer on their account and may not buy another during the 30 day validity period. Any remaining allowance after 30 days will not be carried over into the next 30 day period should the customer repurchase their bundle. In bundle data usage is rounded up and charged in 1KB increments. Once the data allowance of a bundle has been fully used, additional data usage will be charged at standard rate. Lycamobile reserves the right to replace or amend the offer or these Terms & Conditions or to withdraw the offer at any time on reasonable notice. Note that promotional credit (credit which Lycamobile has given to customers for free) cannot be used towards purchasing a bundle. The offer is for non-commercial, private, personal use only - Lycamobile reserves the right to withdraw or suspend the offer or to disconnect you if we suspect that offer is being used for commercial purposes, for conferencing, or if it is not being used in a handset (in a SIM box for example), if it is being used for tethering or if any reason Lycamobile reasonably suspects that you are not acting in accordance with this policy where we consider that the usage was illegitimate. Promotional period: The offer is valid from 21.03.2016.
LM_UK_Brasil_Observer_July2016_259x340_English.indd 1
14/06/2016 15:10
4
brasilobserver.co.uk | July 2016
Observations
What does Brexit mean for Brazil?
In an article published in the Brazilian newspaper Folha de S. Paulo, Matias Spektor, who holds a doctorate from Oxford and is an associate professor at FGV in Rio de Janeiro, argued that the UK exit from the European Union, despite having left British society and the European project smaller, opens opportunities rather than creates problems for Brazil. The columnist writes: “The British economic decline, which in the short term will be inevitable, will not contaminate the Brazilian economy: we export to them 1.52% of what we sell worldwide and buy from them only 1.63% of our total imports. Such a small base protects Brazil, while it opens a huge opportunity, now that the British authorities will have to seek new trade agreements to mitigate their loss of wealth and the possible end of privileged access to the European common market and the 53 non-European markets with which the EU has free trade agreements.” “The prospects for new trade between Brazil and the United Kingdom are largely due to the relatively open attitude of London to address agricultural issues. Argentina’s government of Mauricio Macri could implement its project to reduce the weight of the Falkland Islands on their relationship with the British to facili-
tate any trade negotiation between the UK and Mercosur. Besides feasible, it is something that would face less obstructionist interests than the negotiations now under way between Mercosur and the entire European Union.” Matias Spektor argues that “a crisis in the financial centre of London would be very bad for Brazil because the British capital accounts for 7.3% of the total stock of foreign investment coming here.” But, he wrote, “Brexit tends to force an increase in liquidity in the international financial system, and nothing suggests that we may face an escape of these resources.” For Brazil, the geopolitical implications would be far from negative. “The United States is without its main support in Europe and its most faithful ally in multilateral negotiations and international organizations. This makes it difficult, if only at the margin, Washington’s ability to enforce its decisions worldwide. In addition, countries such as Russia and in the long run and if play well, Germany (although the government in Berlin feel to be losing in short term).” Matias Spektor ends by saying that “for those who believe that the most beneficial geometry to Brazil is multipolarity – and so I think most analysts and Brazilian diplomats – Brexit just opened a potentially promising future.”
Fernanda Franco
Art in the Embassy
Derlon Almeida is a Brazilian artist who mixes popular woodcut and street art. In June, he was in the UK to attend two festivals and was asked to leave his signature in a room of the Embassy of Brazil in London. The Cultural Attaché Hayle Melim Gadelha told Brasil Observer that “the Embassy has the happy challenge to promote the richness and diversity of Brazilian culture in this city insatiable for art and knowledge. The work of the Derlon that now graces the Embassy cinema unites the best popular traditions of the northeast with the boldness of contemporary urban art, offering the local audience a beautiful example of our cultural density.”
brasilobserver.co.uk | July 2016
Mude o aspecto da sua vida! Oferecemos suporte completo aos nossos clientes desde o primeiro contato.
Consultoria e Assessoria Especializada em Insolvência:
Somos uma empresa boutique especializada que encontras soluções inovadoras e viáveis a fim de que os nossos clientes recebam conselhos profissionais, práticos, claros e imparciais para o melhor gerenciamento dos problemas apresentados. Nossa equipe, cuidadosamente selecionada, opera com total sigilo. Sua primeira consulta é totalmente gratuita e, em seguida, trabalhamos diretamente com você, seu administrador, contador ou consultor financeiro, para ajudá-los a compreender, simplificar, e eleger o processo certo para você ou sua empresa. Nossos fundamentos existem para garantir nosso total apoio aos clientes desde o primeiro contato e como uma empresa especializada oferecemos soluções inovadoras e viáveis e total suporte pós processual. A Aspect Plus não cobra a consulta, informações ou qualquer reunião subsequente caso necessário.
· Dissolução e Liquidação de Empresas · Processo de Falência e Concordata · Processo de IVA (Individual Voluntary Arrangement) para indivíduos. · Processo CVL (Creditors Voluntary Liquidation) & MVL (Members’ Voluntary Liquidation) para empresas. · Suporte Linguístico – Traduções e Intérpretes. · Vasta database de profissionais multilinguais no Reino Unido e na America Latina. Caso a sua empresa esteja passando por algum problema financeiro, saiba que existem soluções dentro da legislação de insolvência que lhe permitem lidar com todos os seus credores. Desta forma você pode concentrar-se em ações que possibilitam seguir em frente, sem que as preocupações sobre suas dívidas o impossibilitem de continuar seu negócio. Contate-nos para uma consulta gratuita.
Change the aspect of your life!
C
M
We offer full support to our clients from the first contact. As a specialist boutique firm, we find innovative, workable solutions in order that our clients receive practical, clear, impartial and professional advice to manage the problems they face.
Y
CM
MY
Our designated hand-picked team deals with you in confidence. We initially meet with you free of charge and work with you, your book keeper, accountant or financial advisor to help understand your needs and simplify the formal process that’s right for you or your company.
CY
CMY
K
Helping your company:
Helping you:
· · · · · ·
· ·
Members voluntary liquidation Creditors voluntary liquidation Administration Company voluntary arrangement Informal business review Funding
a t i u t a r G Consulta
Individual voluntary arrangements Bankruptcy advice
m e s a d i v a m u ! Por s a ç n a r b o c e dívidas Especialistas em Dívidas & Finanças
www.aspectplus.co.uk info@aspectplus.co.uk
0800 988 1897
Telefone: 07411 154240 40a Station Road Upminster - Essex RM14 2TR
5
6
brasilobserver.co.uk | July 2016
Guest
Exploring visibility among Brazilians in London Following the recent EU referendum result, the importance of this debate has never been so relevant By Cathy McIlwaine g
London Eye in the colours of Brazil
brasilobserver.co.uk | July 2016
Alionka Saraiva/Embassy of Brazil in London
I
It has long been recognised that multicultural, global cities such as London function and grow through the contributions of their migrant communities. Although Brazilians have been arriving in London for several decades, since 2000 they have emerged as an important new population that make-up a substantial element of the wider Latin American population in the city. Following the recent EU referendum result and the associated increase in racist and xenophobic rhetoric that has accompanied the electoral process, the importance of the visibility and invisibility of migrants has never been so relevant. Recent research conducted by the School of Geography at Queen Mary University of London (in partnership with the Trust for London and Latin American Women’s Rights Service) has highlighted the importance of Latin Americans in London related to notions of visibility and invisibility drawing mainly on two projects and reports - No Longer Invisible published in 2011 and Towards Visibility published in 2016 – which has provided the first population estimates as well as comprehensive profiles of the community of which so many are Brazilian. While the main aim of this work has been to raise awareness and promotion wider recognition of the Latin American community in London and the UK more widely, it has also suggested that invisibility is not always a clear-cut process of being hidden and marginalised. Indeed, on one hand, migrant groups such as Brazilians need and demand to be recognised, yet on the other hand, it can be their interests to remain invisible, especially in cases where they are irregular and/or subject to discrimination. Visibility therefore reflects not just a particular situation but rather is the result of a dynamic and ambiguous process whereby invisibility can be enforced from above or invoked from below in complex and intersecting ways. Power relations underpin invisibility because it is created and maintained by those who control resources in a given society. This means that visibility can be withheld by those with power (such as the state) for a range of reasons where, for example, certain populations might be viewed as threatening the status quo or challenging racial harmony. In addition, limiting visibility can also act to potentially reduce demands for services on those who control them. Yet ensuring visibility can also be a political act and a form of resistance. For one of London’s fast-growing migrant populations, Brazilians are demanding visibility in a range of ways, yet it is also important to remember that invisibility has sometimes been imposed through neglect by the state and sometimes been chosen by individuals. In terms of putting Brazilians on the map, analysis of the most recent census in 2011, shows that there are 31,357 Brazilians in London (comprising 38% of all Latin Americans) with concentrations living in Brent (11.5%) as well as Lambeth (8.4%) and Southwark (6.5%). Brazilians are markedly concentrated in London, reflected in the fact that 51,764 live in Great Britain as a whole. Again, according to a sample of the census (which includes 5,250 cases in England and Wales and 3,287 in London), more than half (52%) arrived in the city between 2006 and 2011 with 84% arriving since 2000.
Yet there are also many invisible Brazilians in London, mainly because the census figures do not include irregular migrants (although officially they do, in reality, it is unlikely that irregular migrants will complete a census form). Although it is very difficult to measure the number of Brazilians who do not have the legal right to live in London, the No Longer Invisible project (that drew on a survey sample of 233) found that 38% were irregular and that men were more likely to lack legal papers than women. However, immigration status renders Brazilians invisible in other ways. For example, according to the census, a third (32%) of Brazilians have EU passports, mainly Italian (with 14% having British passports, and the rest mainly Brazilian). Indeed, migration via Italy was an important gateway to the UK for Brazilians who can apply for European passports on the basis of their ancestry. This also means that Brazilians often become statistically invisible as they are treated as European citizens. Jacinto, for example, in his 40s noted: ‘My Brazilian passport does not exist for me here [in London], only when I go back to Brazil, there is not a single rubber stamp on it, if I use the Brazilian passport here they think I am an illegal’. The ambiguity of visibility for Brazilians can also be seen in terms of how, on one hand, they are changing the urban landscape in many parts of London through the emergence of shops, restaurants, cafes and money transfer agencies in places such as Brent and Stockwell (and previously in Bayswater which came to be known as ‘Brazilwater’ for a time). However, on the other hand, many irregular migrants choose to be invisible in terms of their movement around the city in order to maintain a low profile, especially from the immigration authorities. Migrants speak of the need to stay close to home, limit their use of public transport, and to avoid places where authorities known to frequent. Indeed, places where Brazilians and Latin Americans are likely to congregate have effectively become zones of ambivalence; people enjoy going there to buy goods and use services that remind them of home, yet on the other hand, they fear the gossip spread among Brazilians as well as potential discrimination against them from other groups. Similar attitudes emerged in relation to the use of migrant associations that have been established to support the population. For instance, in the No Longer Invisible research, the use of such organisations serving the Latin American community as a whole was low as Orlandina notes: ‘yes, because like in Brazil, we don’t trust institutions, and there are not that many [organisations] anyway.’ The issue of discrimination is especially pertinent in today’s ‘post-EU referendum London’. In No Longer Invisible, 68% of Brazilians reported that they had experienced some form of discrimination in London, mainly in the workplace. This mainly relates to their employment often as ‘invisible workers’ in the elementary sectors of the city’s economy, mainly in cleaning and catering. Here, people invariably work early in the morning and late in the evening with very fragmented working hours and short-term contracts. According to No Longer Invisible, not only did Brazilians have extremely high employment rates of 95%, but 57% worked in elementary jobs, with men more likely than women (60% and 43%). According to the census which includes the
7
more established migrants, employment rates were still very high at 71% (compared to a London average of 61%) with a quarter of were employed in these types of jobs with a further 11% in caring and related occupations. The reasons that Brazilians end up being concentrated in these sectors links with the fact that their qualifications are usually invisible to employers who will not recognise those obtained abroad. Therefore, although the census shows that almost 60% of Brazilians in London have some form of university qualification, one in five have difficulties speaking English. This therefore means that the only occupational choices available are in the low-paid and exploitative sectors of the labour market which are often the most invisible; this is further exacerbated among those without legal immigration status. Milena, who was in her 30s pointed out: ‘Well, I had never worked as a cleaner, and there are many educated people who are doing this, and people leave Brazil without any idea about this, they had an education in Brazil and come here to clean toilets.’ Visibility is also linked with identity in that many Brazilians often disassociated themselves from being Latin Americans. For example, only 44% of Brazilians identified as Latin American in No Longer Invisible, compared with over 70% among all Spanish-speaking nationalities. Some Brazilians stated that they felt that ‘Latin American’ was a derogatory term in London related to the their supposed superiority, as noted by Sandra: ‘it is because of the status of the region, when you talk about Latin American the first thing that always comes to my mind is Colombia, yes I think of their dress, the ponchos, the hats’. This was especially marked among Brazilian women who were more likely to reject their Latin American identity and assert being Brazilian (only 19% of women identified with being Latin American), partly because they were more likely to be working in professional occupations than their male counterparts who accepted their marginalised status more readily. Therefore, this disassociation is also linked with trying to avoid discrimination and become in effect ‘invisible Latin Americans’. All these ambiguities around visibility serve to highlight the contested nature of the community in terms of differences among Brazilians and between Brazilians and other Latin Americans. Sometimes it is useful for Brazilians to be invisible, especially when they are irregular or have EU passports and want to avoid discrimination from wider society and, arguably, feel more integrated. Yet, it is also important that the Brazilian population in recognised for its size and importance in order that their contributions are acknowledged and that they receive the support that they have rights to. Although London has always been a multicultural and tolerant city, it is hoped that the need for invisibility to avoid discrimination and burgeoning ant-migrant sentiment does not increase. Brazilians make London a better place economically, socially and culturally and it would be worse off without them. g
Professor at School of Geography, Queen Mary University of London
8
brasilobserver.co.uk | July 2016
Sustainable development in the Amazon It is essential to make forests worth more standing than cut By Virgilio Viana g
The role of the Amazon as a powerhouse to mitigate global climate change is becoming increasingly clear. The Amazon houses some 89 billion tons of carbon in its natural ecosystems. Releasing this into the atmosphere would push global climate change towards the most extreme and dangerous scenarios. The role of the Amazon as a key driver of water circulation and rainfall regimes is also becoming increasingly clear. The Amazon River discharges some 2x105 cubic meters per second in the Atlantic Ocean – some 15% of all global aboveground freshwater. The Amazon rainforest releases some 20 billion tons of water every day into the atmosphere and acts a major pump of water circulation, affecting rainfall regimes worldwide. Deforestation can have profound consequences to global water circulation in the atmosphere, with dramatic consequences to rainfall patterns. Reducing deforestation in the Amazon is a major challenge. Brazil has achieved some remarkable results, having reduced deforestation by some 80% in relation to 2003. However, reaching the zero deforestation goal is still extremely challenging.
Amazonas, the largest Brazilian state, covers some 40% of the remaining forest area. While there is still 97% forest cover remaining in Amazonas state, there are growing pressures of drivers of deforestation. This article focus on the lessons learned from Amazonas Sustainable Foundation (FAS), the largest NGO in the Brazilian Amazon. FAS invests approximately five million pounds per year in 574 communities of traditional riverine populations, living in 16 protected areas, in an area of 10.8 million hectares. In 2015 alone, FAS implemented 656 income generation projects, 121 community empowerment projects and 104 social infrastructure projects. Compared to control areas, deforestation is 50% lower. The first lesson learned is that it is essential to “make forests worth more standing than cut�. This was the slogan designed by the Secretary for Environment and Sustainable Development of Amazonas State, through the Zona Franca Verde (Green Free Trade Zone), which was implemented in the 2003-2010 period. The slogan, in fact, represents a sustainable development paradigm,
linking jobs and income generation to sustainable forests and fisheries management. The same paradigm has led the work of Amazon Sustainable Foundation since its establishment in 2008. The rationale to make forests worth more standing than cut is that reducing deforestation is dependent on human behaviour, which is to a large extent driven by economic drivers. If the perception of different local actors is that cutting the forest and turning them into pasture or other land uses is more attractive economically, then deforestation is practically non-stoppable. If, on the contrary, standing forests are perceived as a good economic option, then forest conservation is likely to succeed. The same rationale applies to the challenge of promoting sustainable fisheries management. The good news is that there are a growing number of success stories. Investments in forest products such as Brazilian nuts, cocoa, acai berry, natural rubber, managed timber and natural oils have resulted in significant increases in economic returns to forest communities. Similarly, community
-based tourism and handicraft production have also become drivers of behavioural changes towards reduction of deforestation in many communities. Increased income from sustainably managed fisheries has also reduced unsustainable fish production. Making forests worth more standing than cut, however, is easier to be said than done. The challenge of making community-based income generation projects successful and self-sustainable is enormous. It is not hard to find cases where projects collapsed after external funding stopped. The design of projects has to be based on an effective and efficient participatory planning process. This process should value traditional knowledge and, at the same time, create bridges with new technologies and processes. The right balance is not simple or easy to achieve. It is essential to create a process of empowerment and social learning so that there are continuous improvements of project results driven by local leaders themselves. The monitoring of projects has to be based on a clear set of indicators that have to be collected and analysed through an
brasilobserver.co.uk | July 2016
efficient and effective process. Again, empowerment and social learning are keys. External analysis and evaluations is also very important to provide independent inputs for improvements. The second lesson learned is that sustainable development projects and programs need to have a broad and holistic focus. This means that income generation projects will not succeed in the long run if they do not have actions related to health, education and other vital components of sustainable development. In fact, the 2015 Sustainable Development Goals (SDGs) of the United Nations provides a very useful framework for action. The 17 SDGs are broad and comprehensive enough. However, implementing projects and programs using the holistic scope of the SDGs is easier to be said than done. Implementing holistic programs and projects require the capacity of leaders to have themselves cross sectorial and transdisciplinary thinking. It also requires managerial skills to manage people and institutions that deliver results efficiently and effectively. In addition, leaders have to be able to speak the different
Reproduction
Ph.D. from Harvard University, former State Secretary for Environment and Sustainable Development of Amazonas State (2003-2008) and Director General of Amazon Sustainable Foundation (2008-present).
g
language and understand the different culture of riverine communities. However, these skills are not part of the training of most university programs. There are other lessons learned: (i) payment for ecosystem services, (ii) design and implementation of effective and efficient public policies, (iii) design and management of new business models, (iv) design and management of innovative partnerships between nongovernmental organizations, government, business, research and local associations, (v) mobilization of finance, and (vi) governance and transparency in institutional management. Although sustainable development in the Amazon remains a great challenge, there are lessons learned from practice that can yield moderate and cautious optimism. The perspective is that if the lessons learned are applied with adequate funding over a large scale there is room for optimism for the Amazon. However, time is running out since climate change is creating new pressures on Amazon ecosystems. This creates a new urgency to incorporate the additional goal of adapting to climate change.
9
10
brasilobserver.co.uk | July 2016
Interview
Cecilia Brunson’s C mission
Chilean curator is committed to boost modern and contemporary Brazilian art among the British public By Ana Toledo
Alfredo Volpi: At the Crossroads of Brazilian Modern Art When Until 29 July (Teusday to Friday, 2pm to 6pm) Where Cecilia Brunson Projects (Royal Oak Yard, Bermondsey Street, London SE1 3GD) Info www.ceciliabrunsonprojects.com
Alfredo Volpi exhibition
Divulgation
Cecilia Brunson
Cecilia Brunson, an independent curator and specialist in Latin American art, was born in Chile and worked most of his life in New York. Living in London since seven years ago, Cecilia is now committed to strengthen the connections between modern and contemporary Brazilian art and the United Kingdom. To fulfil her purpose, she is collaborating with Almeida and Dale Art Gallery, from São Paulo, Brazil, through a series of solo exhibitions of three Brazilian artists in Cecilia Brunson Projects, a space opened in the capital in 2013. The first Brazilian to feature in the series was the pop artist Claudio Tozzi – whose works were also included in the exhibition “The World Goes Pop”, at the Tate Modern. Now, Cecilia Brunson Projects presents to the London audiences the Brazilian artist Alfredo Volpi, until the 29th of July. To close the show, the gallery will receive in the second half of this year works of Willys de Castro. But the project doesn’t stop there. In addition to individual shows, Cecilia Brunson wants to show the works of these artists in other European countries. “It is very important for us because there is a kind of longevity in the work we produce,” said Cecilia in an interview with the Brasil Observer.
Your focus was always on Latin America and now you have a special mission in the UK. What is your relationship with Brazil now? Brazil is always a very important reference for all of Latin America, as it has such a strong and unique history and how it’s built its aesthetic and modern art history. I always wanted to work with Brazil but I just never got around to do that until I have this opportunity with Almeida and Dale Art Gallery. Where did the inspiration for the exhibitions come from? There are two sides. On the one side is the possibility of doing the collaboration with somebody in Brazil. The other side is that when I moved to London I realised there were a lot of Brazilian artists represented by British galleries and also Tate Morden had a strong interested in Brazilian artist. They are big and very successfull, but equally in the 1960’s there was Guy Brett in the Signals Gallery, who gave visibility to Helio Oiticica, Lygia Clark, Mira Schendel and Sergio Camargo. They had the opportunity to show their work here. So there is a relationship with London. And in my case, for example, doing the Volpi exhibition, he is an artist that is so well known in Brazil but so very little known in the rest of world... He is such an important artist for the
modern movement in Brazil. This is a reason why we called the curator Michael Asbury to really focus and work to try to create the current show. For us this is an incredible exhibition because it is important to show Volpi’s work abroad. How does the partnership with Almeida and Dale gallery work? They have a very good private collection. I look at their collection, see what they have and from their inventory I can create the next exhibition. It’s really wonderful, it’s a dream job, to be able to go to a fantastic group of historical and contemporary works and select incredible pieces. It’s an idea of collaboration because we are in it just to bring this sort of marvellous heritage to the UK. And it matches with our interest in Latin America. What is the connection among the three exhibitions? More than anything the core thread among them is basically to give visibility to an artist that has not been seen in the UK. So the public is not seeing the usual but things that they have never seen before, which is very challenging. How has the public been reacting? I think the public has been quite surprised, because the work is more like museum quality pieces. It’s very strange to find this work in a gallery that has only been running for two and a half years and is quite new to London. People are quite surprised to come in and see such an historical material in such small place in London. People have had an incredibly good reception because they are aware it’s normally only possible to see this work in Brazil. How do you see the reception of Latin America art in London? The reception is incredible positive. I think the strongest reception in London is the Brazilians, Colombians and Mexicans who have a lot of visibility. Each country could say it’s not enough but I think these have more visibility in major institutions than a lot of the rest of Latin America, which also makes a lot of sense because these three have been the strongest economies. There are a lot of galleries that represent these major figures. I think there is a lot of interest for Latin America and Brazil and you know these institutions are, it’s always difficult to schedule artists - curators are fighting for it. But it’s interesting because in that roller coaster of who is who and who we are going to put a show on, there is always a sort of Latin American arising. A lot of curators have made a massive difference because of these museum selections. As a gallery we also are fighting a little bit this battle for the representation.
brasilobserver.co.uk | July 2016
Are you considering doing business in Brazil? The world has finally discovered the potential of this great country and how it plays a leading role in Latin America. However, what does it take to succeed in this complex market? How to deal with local challenges which can constitute real obstacles to companies? That is where we come in: developing and implementing strategic plans for the international expansion of our clients. Learn more about our company at www.suriana.com.br
www.suriana.com.br
11
12
brasilobserver.co.uk | July 2016
REPORT
The high school students’ struggle
High school students protest in Rio de Janeiro
OCCUPATIONS THROUGHOUT BRAZIL There are mobilizations records in all five Brazilian regions (North, Northeast, Southeast, Midwest and South). Check out the data collected by Brasil Observer:
g
g
g
PARÁ: From late May to mid-June, at least two state schools – one in Marapanim and another in Maraba – were occupied by high school students to protest about the lack of teachers, meals, transportation and infrastructure. CEARÁ: At the end of April this year, high school students began occupying state schools in support of teachers on strike (who claim wage increase promised for last January) and seeking reforms of teaching units. As at the time of writing, the movement continued at least 59 schools. ESPÍRITO SANTO: Between December and February, state schools were occupied
against the closure of classes, shifts and even teaching units, a process that has been underway since 2015. Last February, by decision of the Court of Justice, the State Government had to reopen classes. g
g
MINAS GERAIS: In January, students occupied the State School Ricardo Souza Cruz, in Belo Horizonte, against the militarization of the teaching unit. The State Department of Education overturned the decision. g
g
GOIÁS: From December to February, 28 state schools were occupied against the project of the state government that transfers schools administration to private institutions. The outsourcing project has been delayed, but is maintained – and new occupations may recur. g
g
MATO GROSSO: Since May 23, high school students occupy at least 20 schools against the government project to implement a public-private partnership in the management of teaching units. Until the time of writing, the occupations were underway.
SAO PAULO: After the occupations at the end of 2015, the school year of 2016 began with mobilizations of students of technical schools. The poor quality and in many cases, lack of meals, as well as the claims to investigate allegations of corruption in the procurement of food for schools, motivated the action of high school students. In May, the building of the Legislative Assembly of São Paulo was occupied by students. PARANÁ: A state school in the city of Maringa was occupied for two weeks in late May against the poor quality of meals and claiming investigation of allegations of corruption in public education in the state. On the page of the secondary school on Facebook, students say the move is being reorganized and may be resumed. RIO GRANDE DO SUL: The occupation began in May and advanced in June by 180 state schools. In addition to requiring transfer funds to schools that were delayed, the high school students occupied the Legislative Assembly of the State against law project that would restrict discussions as gender issues, sexuality and politics in schools.
brasilobserver.co.uk | July 2016
13
From the north to south of Brazil, students mobilize to defend the public school, and add other social demands By Wagner de Alcântara Aragão
Tânia Rêgo/Agência Brasil
V
Violeta Parra and Mercedes Sosa, who eternalized the song “Me gustan los estudiantes” in homage and reverence to the revolutionary impetus of the youth, should be proud of Brazilian high school students. Since the end of last year, when students from São Paulo occupied several public schools to prevent their closure, similar demonstrations have occurred in several regions of Brazil. The defence of public education is the main flag, but it adds up to battle for the rights of historically oppressed groups – blacks, indigenous, women and LGBT community, for example. Adolescents and young people have been engaging colleagues, family, social movements, artists and intellectuals, among other supporters. In the occupations, they provide repairs and cleaning, redistribute underutilized teaching materials, conduct discussions about their claims and promote cultural events. In a school in Rio de Janeiro, for example, the students were surprised last May with the visit and a free concert of Marisa Monte and Leoni. In São Paulo, a cultural event in an occupied school last year had the participation of the singers Pitty and Paulo Miklos. The students care with the school spaces caught the attention of Marisa Monte. “They are young students fighting for education and taking care with love of what is public. In an organized way, each one doing their part and setting an example for this country,” she wrote on her Facebook page. Pitty was delighted with the girls’ role in the demonstrations. “I was very happy to see the girls on the front line, side by side with the boys, facing the brutality of the state. This generation is different,” she said.
PHENOMENON For the teacher and master in Sociology Douglas Oliveira, “the rise of the students is among the most interesting phenomenon of the current Brazilian political sce-
ne,” he wrote in an article published on the website Outras Palavras. “In addition to raising a cause of strong social appeal – a passionate defence of public school – and innovative tactics, it stands out for having an organizational character marked by horizontality and lack of individual leaders.” For the teacher, the movement broke free of partisan polarization that has dominated the Brazilian political scene. The strength demonstrated by the high school students, however, begins to generate heavy reactions from more conservative political groups – with reactions that try to bring the movement to the partisan polarization. Government authorities from the states where the occupations have taken place often give statements that seek to label the students as puppets of the unions, social movements and leftist political parties. Not to mention the police repression – in São Paulo, the truculence of the Military Police, with the consent of state authorities, was scaring. Repression, however, is not just from the police. There are groups that come to infiltrate the demonstrations in order to promote actions that demoralize the movement. The authorities often present to the press images of graffiti and vandalism in schools occupied by students, with the goal of making them seem as “troublemakers”.
MATURING Professor Douglas Oliveira notes some changes within the movement since its beginning. “The mobilizations now appear to be more mature and represent much more an offensive by adolescents: not only deny this school, they also discuss the future. The concern is not limited to just occupy and resist, but fundamentally to strengthen the basic work and root struggles in school every day,” wrote the professor. The Brazilian Union of Secondary Students (UBEs) calls the
mobilization spreading through the country as “Secondary Spring”. According to the entity, occupations and other protests that have intensified since 2015 have similarities with the movement of Chilean students ten years ago. In 2006, Chile experienced the largest wave of protests since the end of Augusto Pinochet’s dictatorship, perpetrated by local high school students. Says UBEs in a statement: “protest methods [from Chile] – such as the occupation of schools by the students themselves organized in cleaning, education, safety and food committees, for example – were played in Brazil, in its own way from 2015 (...) In Brazil, the movement claims characteristics of greater horizontality, without indicating spokespersons and representatives, avoiding the connection with political parties”.
IN CONGRESS A show that high school students have increasingly become important actors in the national political scene occurred in mid-June, when a group of students who participated in occupations of schools in Ceará, Espírito Santo, Goiás, Rio de Janeiro, Rio Grande do Sul and São Paulo were in Brasilia, at the invitation of the National Campaign for the Right to Education, to take their claims to Congress. One of those young students, Luiz Felipe Costa, 19 years old, sums up the dissatisfaction of students with current school model – and, more than that, the willingness to change this reality. “On average, we find that 90% of public schools are big prison models with two, three gates to get to the classroom. This environment does not support us. The school today, unfortunately, does not include students. The occupations make it clear that what we want a school that discusses gender, a more plural school. And where the care of the school environment is important.”
14
brasilobserver.co.uk | July 2016
CONECTANDO
The play that occupies
C
“
‘Mephisto Injustiçado’ invites the audience to enter an old abandoned theatre in São Paulo By Karol Coelho
Divulgation
“Come here everyone! Come here,” shouts Mephisto with a megaphone to anyone passing on the street. The invitation is for an unexpected attraction in an old abandoned theatre. So begins the play ‘Mephisto Injustiçado’ (or ‘Mephisto Wronged’), created by Bando Trapos, a theatre collective composed by actors, dancers and musicians from Campo Limpo, a neighbourhood in the southern region of São Paulo. The result of a year and a half of research, the play was inspired by different versions of the Faust myth and exposes the history and experience of the Bando Trapos’ artists in Campo Limpo, especially with the occupation and management of space CITA. The Bando Trapos was created from Trupe Artemanha project, a group that started the activities of the space that is public, but was abandoned, full of garbage, lifeless. The Bando Trapos is formed by the artists Deco Morais, Cléia Varges, Ton Moura, Dêssa Souza, Welton Silva, Joka Andrade and Daniel Trevo. The group bases its research around the mask universe with frequent work of art education that performs with the language of street theatre, the buffoon and popular culture, especially African-Brazilian demonstrations and musicality. To occupy the CITA space the show was conceived by the actors during its creation and, after a season in it, ten other cultural and artistic spaces in the city opened the doors to the Bando Trapos present the Mephisto intentions. His real intention is to select among the anonymous spectators a cast made up of some miserable, result of the logic of God. The characters that come into play, from then on, were also inspired by the Campo Limpo, by the people who live in the neighbourhood. Four figures – Gero (Deco Morais), Flor (Cléia Varges), Mudo (Joka Andrade) and Mary Star (Ton Moura) – are selected as the Mephisto protagonists. “The buffoon figures [in the show] are figures marginalized from society, they play and give the piece a comical critique, although the piece was based on the dense myth of Faust,” says Joka Andrade. “I like the play because it is inquisitive, full of movement. I like because during the process the Bando Trapos was formed as a collective,” says Dêssa Souza, producer of Bando Trapos. You can see the movement and the strength of the group gradually in the course of the play, in which actors and spectators are being led by Mephisto to stage and live moments created by his obsession to demand that God is personally present and listen to the accusation that would set Mephisto free of his wrongful conviction. As God ignores him, Mephisto seeks to find an inevitably way to get God’s attention. “It’s not easy, but choices are made, and the choice was made. Mephisto is the project that I most identify myself to participate, the text has our language, buffoons are people like us and we know in which side we have to fight to survive, and the covenants we make on a daily basis to be able to get what we want,” says Ton Moura, who plays Mary Star. In the illogical way of a Mephisto questioning the logic of God, you can ask several times what is real, what is theatre, what is demonic and what is divine. It’s Bando Trapos questioning itself and the audience.
CONECTANDO is a project developed by Brasil Observer aiming to enhance experiences of ‘glocal’ communication. With universities and social movements, our goal is to bring local content for a global audience. To participate, write to contato@brasilobserver.co.uk
brasilobserver.co.uk | July 2016
15
16
brasilobserver.co.uk | July 2016
TIPS
Festival A celebration of Brazilian art and culture at the Horniman Soak up the sights and sounds of Brazil in south London this summer at the Horniman Museum and Gardens’ Festival of Brasil, a vibrant season of specially curated events running from 3 July to 4 September 2016. Exciting collaborations, surprising installations, street art, new dance performances inspired by the Horniman’s collections, fascinating photography displays, outdoor concerts and festivals come together to present a colourful snapshot of contemporary Brazilian art and culture. Tim Corum, Director Curatorial & Public Engagement at the Horniman says: “Through collaborations with Brazilian artists and communities, inspired by their everyday lives and neighbourhoods, Festival of Brasil provides an insight into the participatory nature of Brazilian art. Our programme of rich content invites visitors of all ages to take part in the creative process, whether through dancing or making art and music, being part of a digital conversation or simply experiencing and reflecting on the newly commissioned performances and artworks.” Highlights of Festival of Brasil include: g
g
g
g
g
g
g g g
Divulgação
g
Labirinto, a captivating evening of contemporary dance, music and surprising installations curated by award winning Brazilian choreographer Jean Abreu, part of the Horniman Lates series of events (28 July). A new installation by Brazilian artist Robson Rozza and carnival experts Mandinga Arts (from 3 July). Brazilian Street Art in the Gardens and around Forest Hill, created by some of Brazil’s most exciting street artists (from 3 July). An intricate model representing Rio’s favelas created in the Gardens by artists from Brazilian collective Project Morrinho (from 3 July). Outdoor concerts and Jazz Picnics, as well as indoor performances showcasing Brazil’s many musical influences (July and August). Stunning photography exhibitions Favela: Joy and Pain in the City, capturing the complexities of life in Rio and Fauna Brazil, showcasing Brazil’s incredible wildlife (from 2 July). Big Wednesdays featuring performances, workshops, stories and more by artists specially commissioned to share Brazilian culture with families and playschemes (10, 17, 24, 31 August). A colourful culinary Brazilian Food Garden. Brazilian film screenings, ‘The Second Mother’ and ‘City of God’ (July and August). Parades, performances, music and workshops at Horniman Carnival to close the season (4 September).
When: 3 July to 4 September Where: Horniman Museum and Gardens (100 London Road, Forest Hill, London SE23 3PQ) Entrance: Depends on the event Info: www.horniman.ac.uk
PERFORMANCE Contracorrente/Upstream, the first English-Brazilian soap opera Celebrating this year’s Olympics in Brazil, the internet will become the place for audiences to step into the first English & Brazilian soap opera. Actors and audiences will be brought together through superimposed performances in a fictional online landscape to discover ‘Contracorrente’. Shot over one day and connecting live performances in London and Brazil, the two halves of the screen will be streamed simultaneously from action in Casa 24, Rio de Janeiro and The Floating Cinema, moored at Queen Elizabeth Olympic Park, London. Contracorrente/Upstream is a new work inspired by Herbert Read’s novel, The Green Child (1935) by artist Leah Lovett in collaboration with Argentinian practitioner Maria Lombardini and UP Projects. It is being realised in partnership with Foundation for Future London and set against the backdrop of Queen Elizabeth Olympic Park as a stage for nation-building and in the context of Brazil’s current social mood. Watch the live stream from 6pm, 7pm or 8pm on 30 July 2016 at www.upprojects.com or if you are interested in visiting the boat for the London performances get in contact with the organizers. When: 30 July Where: Online or at The Floating Cinema Entrance: Free Info: www.upprojects.com
brasilobserver.co.uk | July 2016
MUSIC Hermeto Pascoal Composer and multi-instrumentalist Hermeto Pascoal is a towering figure in Brazilian music. He performs with his all-star British ensemble conducted by Jovino Santos Neto in celebration of his 80th birthday year. When: 9 July Where: Barbican Hall (Silk Street, London EC2Y 8DS) Entrance: £15-35 plus booking fee Info: www.barbican.org.uk
João Donato + Janis Siegel + Diego Figueiredo Three generations of musicians find a meeting point between American Jazz and Brazilian music, performing material from the career of pianist João Donato, and standards from the Bossa Nova back catalogue. When: 10 July Where: Barbican Hall (Silk Street, London EC2Y 8DS) Entrance: £15-30 plus booking fee Info: www.barbican.org.uk
Emicida His first tracks were created on a tiny keyboard and recorded to a tape deck, and he first rose to prominence through rap battle videos uploaded to YouTube. Now, Emicida is one of Brazil’s biggest rappers. Experience his Hip-Hop at this year’s Walthamstow Garden Party (16-17 July). When: 17 July (1pm) Where: Walthamstow Lloyd Park Entrance: Free Info: www.walthamstowgardenparty.com
Dom La Nena Brazilian singer-songwriter Dom La Nena has broken international ground with her exciting multi-lingual new album Soyo, released in the UK in 2015. Her next concert in the UK is part of Womed Festival (28-31 July). When: To be confirmed Where: Womad Festival, Charlton Park Entrance: £175 weekend ticket Info: www.womad.co.uk
O Rappa After the enormous success of last year’s show in the English capital, the Brazilian band O Rappa is coming back to London. The band will return to play more songs of their latest album Nunca Tem Fim. When: 13 August Where: Electric Brixton (Town Hall Parade, London SW2 1RJ) Entrance: £25 plus booking fee Info: www.electricbrixton.uk.com
São Paulo Jazz Symphony and Symphony Orchestra The São Paulo Jazz Symphony joins Marin Alsop and the city’s symphony orchestra for a Late Night Prom exploring Brazilian popular music. When: 24 August Where: Royal Albert Hall Entrance: £7.50 to £25 Info: www.royalalberthall.com
17
18
brasilobserver.co.uk | July 2016
Columnists FRANKO FIGUEIREDO
The problems with crowdfunding
g
Franko Figueiredo is artistic director and associate producer of StoneCrabs Theatre Company
Are we becoming too reliable on crowdfunding campaigns to fund our theatre, arts and social projects?
B
Back in 2005, I produced and directed a version of Kafka’s short story “Josephine, the singer” where we transformed the stage into a café in Prague. We did it on a shoestring: there was no public subsidy for the show. We decided to sell alcohol during our run to help us pay the production’s basic costs. Audience members were able to buy ‘raffle money’ to spend on drinks at the café. Many were very happy to pay £15 for a bottle of wine (real cost £3) rather than pay for the actual theatre ticket £8 (real cost £35). There were two things that came up from that experience: punters struggle to value the work behind making theatre but they are happy to pay for the experience if the gains are linked to a more tangible, consumable reward. No matter how much people may appreciate the work, many find it hard to give it a price. They like to consume it, but don’t want to pay for it. Government also follows suit when it comes to spending on arts. In 2008, the subprime mortgage collapse, oil prices at a record high and credit crunch meant that the world suffered a huge economic crisis. By 2010, with the conservative government in power in the UK, theatre and arts suffered such horrendous cuts that caused the closure of many theatre and arts companies. Artists had to become creative if they were to survive making art. It was then, when the government started telling taxpayers that the money was too short to cover health, education and social needs; however, the defence budget was kept the same. Every country seems to have no qualms paying for guns but to pay for arts is a whole different matter. With the 2008 crisis came the launch of Indiegogo and Kickstarter (2009), which created platforms where they would charge for hosting fundraising campaigns. Now, anyone can publicly fundraise for social causes, education, environment, health, politics and small businesses (food, sports, publishing, and technology). Crowdfunding had arrived. Crowdfunding is basically a method of collecting many small contributions, by means of an online funding platform, to finance or capitalize a popular enterprise. Today, many small theatre and arts projects are dependent on crowdfunding. In principle, it seems like a great tool, in reality, however, it has flaws. It isn’t a new idea at all; soliciting funds from large groups of people is exactly what non-profit and political campaigns have been doing for more than a century. In the UK, donors have benefited from tax exemptions when they donate to charity through Gift Aid for a few years now. The government ‘gift aid’ incentive however doesn’t have a public online platform as many of the crowdfunding sites do.
Some crowdfunding companies charge 15% of revenue to have your project running. In exchange, they offer a largely passive web platform with a simple financial processing structure bolted on to it. All they do is host your campaign and collect the funds on your behalf. You are the one who needs to go after your backers, email your friends, post thousands of ‘begging’ messages on social media, rally businesses and members of trusts and foundations, but still, you get charged for your success. And in the case of small charities, these pledges don’t qualify for ‘gift aid’. Recently, as I was running a mini-campaign and the Crowdfunder, seeing that I was not going to hit the final target, kept contacting me with ideas of how I could try to find more backers. It was all up to me, no other help. I thought that they were trying to be helpful, but really they just wanted to make sure that they kept their fee. Very disappointing. I am yet to see a theatre crowdfunding campaign that was supported by strangers. Every crowdfunding campaign I know has been supported by friends and family, and those in nearby circles. On Kickstarter 56% of projects fail to achieve their target and end up with zero. Does that mean that the project was just not good, or was it that their social reach wasn’t large enough to ensure that people pledged on their campaign? In the past I have contributed to many artists’ campaigns and will continue to do so; but each time I hear about one, my heart sinks, mainly because I know that they have not got an arts council grant, or if they did, it was only half of what they needed to make the project happen. Arts Council expect you to have at least 10% of the cash upfront before they would even consider giving you any support. The question that keeps coming back is: why is it that our taxes are not being used to fund the projects we want, particularly when it comes to arts, health and education? We keep being told that we are living in an age of austerity, and to tighten our belts, but I don’t see any politicians tightening theirs. Have they stopped the champagne flowing at number 10? Or stopped their trips to Ascot? I doubt it. The newest platform online is SpaceHive, which claims to be the world’s first funding platform for civic projects. Really? Shouldn’t our local councils be funding local civic projects? We are treading dangerous waters when we have to get together as a community to pay for the upkeep of a park, a road and a local library. Yes, we need to bind as a community and take responsibility, but not at a profit to others. We need to reassess our values and we must revoke our citizen’s rights when it comes to tax and lottery money expenditure.
brasilobserver.co.uk | July 2016
19
HELOISA RIGHETTO
Feminist or sexist: what’s your choice?
It’s never just a joke. Small little things result in a society that perceives women not as equal citizens
Mídia NINJA
‘Por Todas Elas’ demonstration in São Paulo
g
Don’t walk on the streets by yourself. Don’t get drunk. Choose appropriate clothes. Don’t spread your legs when you sit. Don’t be the centre of attention. Don’t travel by yourself. Don’t have sex on your first date. Even better, don’t enjoy sex. We (and yes, I’ll speak for all women here. Don’t worry, they all said it is ok) are taught how not to be raped since our childhood. But if we fail, it’s our fault. You were out by yourself, what did you think? You were drunk, weren’t you? Oh well, you were wearing that skirt, you wanted it! You were showing your goods, sitting down like that with your legs open! Well, you asked for it, you were being loud, dancing on the tables! Oh, come on, but you were camping alone, you should’ve known better! You have sex with every man you go out with, that’s what happens! Rape (or violence against women in
general) can’t ever be justified. It’s not about libido and the victim is never to be blamed. As one of the many signs held by women during the protests ‘Por Todas Elas’ (For all of them) in Brazil last month, a rapist is sexism’s healthy son. And sexism doesn’t only reveal itself with physical violence that sometimes seems to happen quite far away from our bubble: it’s rooted in our everyday life, in actions that might seem harmless but when added up result in the continuation of a society that perceive women not as equal citizens. Instead, they are ‘something’ that should be dominated, possessed and discarded. There is a solution though: be a feminist. In case you have any doubts about what this means, I’ll give you some advice. A feminist not only uses their social media to share news or educational and angry statements or to join groups
Heloisa Righetto is a journalist and writes about feminism (@helorighetto – facebook.com/conexãofeminista)
and communities that fight for the end of violence against women, but also rejects – and condemns – private messages with images of women that clearly didn’t know they were being photographed. A feminist not only agrees that toys shouldn’t be categorised by gender, but also don’t encourage their son to be a ‘womanizer’, saying that he will be the terror of all girls. A feminist not only feels sick when cases of paedophilia become news, but also gets horrified when a friend makes sexual remarks about a teenage girl. A feminist not only encourages women to choose any career they want, but also never or raises questions such as ‘who did she sleep with to get this?’ when a female colleague is promoted at work. A feminist is very proud of having Brazilian footballer Marta as a sports icon, and knows television channels do not dedicate time and infrastructure to cover
women competitions. There are no exceptions. You are either feminist or sexist. It’s never just a joke, or just a film, or a funny TV ad. These are the small little things, as I previously mentioned. Let’s think of them as blocks that can be stacked, supporting a sexist structure. Doing nothing is one of the blocks. Working together, so we can one day become a society that does not see gender as a weakness or strength (although this probably won’t happen during our lifetime) shouldn’t be optional. If we are swimming on this tide not making any effort to go towards the other direction, we are showing generations to come that is nothing wrong about staying put. So, next time someone tells says you are sexist, think it through. Aren’t you? Being a feminist with exceptions means being sexist. Just be a feminist.
20
brasilobserver.co.uk | July 2016
LONDON BY
Life with no rush in Richmond
Richmond Bridge
Beth Kress
It’s like being in a rural area within a large city By Beth Kress g
Beth Kress is Brazilian and has lived in London since 1990. She graduated in philosofy, but her passion is photography. In 2014, Beth won the Focus Brazilian International Press Award. More at facebook.com/ BethKressPhotography
g
T
The area of Richmond upon Thames is considered a jewel in the British crown. With fresh air, attractive landscape, it is one of the most beautiful and green areas of London, far from the bustle of the city centre, it’s a place to enjoy the peace. In particular, it’s where I find inspiration for photographing without getting tired. I feel privileged to live in this region bordered by the River Thames, surrounded by parks and beautiful gardens. The shopping centre is excellent and has many fine boutiques and department stores, where shopping is a pleasure without stress. There are a museum with local history, the History Museum of Richmond, art studios, study rooms and a library. There is also the Normansfield Theatre, in Victorian style, which is always with famous plays. The centre is vibrant with a wide variety of cafes and restaurants for all taste and budget. The scenario along the River Thames, as it should be, it is beautiful, poetic and cosy. Sitting on the bench and watching the river flowing gently, the small moored boats, the different species of birds flying in harmony with nature is simply watch life happen with no rush. It’s good for the soul! Another attraction is the Richmond Bridge, a stone bridge with beautiful architecture of the 18th century, with arches that give an aristocratic touch. I have already photographed it from various angles, but I always find a different perspective. Walking along the river is also very enjoyable. There are a wide variety of bars, cafes, restaurants and traditional British pubs full of charm and history. For those who want a change, a tip is the brewery Stein’s,
which serves typical food from the Bavarian region and German beers. For those seeking a more sophisticated environment, one option is the Argentinean restaurant Gaucho. Walking toward the Terrace Gardens, it is worth climbing to the top of Richmond Hill, from where you have stunning views – on a sunny day, you can see Windsor Castle. Moving forward is the famous Richmond Park, one of the largest in London, with a natural reserve created by King Charles I in the 17th century. A place to get lost without fear, because there is always something different to see. The deer roam freely through the park making the scenario even more attractive. It’s an amazing feeling, being in a rural area within a big city. Inside the park there is an unmissable place, the Isabella Plantation, with varied trees and flowers, mainly azaleas and camellias. Beautiful lagoons complete the magic of the place. After walking through the park, there’s nothing more rewarding than taking a rest on the terrace at Pembroke Lodge, a Georgian mansion that has been restored and now has tearooms open to the public. Besides the architectural beauty, it has stunning views, a rest for body and soul watered with the traditional tea with scones. And there is still plenty to see. After the rest, be sure to visit the Petersham Nurseries, a beautiful hidden nook with flowers, rustic and sophisticated decorations coffee shops, and an elegant restaurant in a greenhouse surrounded by plants and flowers. To get to Richmond, just catch a train out of Waterloo or the District Line. I await your visit!
brasilobserver.co.uk | July 2016
Richmond
21
Riverside
Richmond Hill
Isabella Plantation
Petersham Nurseries
Pembroke
22
brasilobserver.co.uk | July 2016
T 0207 586 9082 M 078 6535 8453 E info@morales.uk www.morales.uk
IMMIGRATION LAW PERSONAL INJURY LAW
MORALES ADVISORY SERVICES
For further information about your rights as a European after the BREXIT contact us.
Morales Advisory Services is registered with the Office of The Immigration Services Commission to provide immigration advice in the UK at level 1. Authorisation Number: F201200585 and regulated by the Ministry of Justice in respect of regulated claims management activities. Authorisation Number: CRM27736.
We are here to help!
Visas Residence Permits Naturalisation Road Traffic Accidents Work Accidents Medical Negligence Criminal Injury Compensation - CICA
orappa-flyer-105x21-print.pdf
1
21/06/16
16:31
brasilobserver.co.uk | July 2016
ANUNCIE AQUI C
M
Y
CM
MY
CY
CMY
K
QUEM PROCURA, ENCONTRA NO BRASIL OBSERVER 074 92 65 31 32
23
24
brasilobserver.co.uk | July 2016
brasilobserver.co.uk | July 2016
Subscribe now and get it in your doorstep!
12 editions
More information: contato@brasilobserver.co.uk
6 editions
25