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“O percurso é turbulento, mas a chegada é logo depois do arco-íris.”

Após nossa primeira temporada em 2023 e uma curta passagem por Jena, estamos de volta com a peça AUSLÄNDERBEHÖRDE, UMA CACHAÇA, BITTE! Vol. 2. Com uma nova versão nunca antes vista pelo público e totalmente em português brasileiro, o Coletivo Ayôsol volta para os palcos de Berlim.

Venha com a gente para o bar de Madame LeQueen, onde brasileires das mais diversas regiões, gerações e origens se juntam sob um mesmo teto para trocar experiências e criar comunidade.

Tudo isso acompanhado por um cabaré à brasileira, música ao vivo e drama digno de uma novela das nove. A trama se desenrola enquanto você toma seu bom drink, e a bem humorada Madame recebe seus convidados, uns desejáveis, outros nem tanto. E é nesse clima boêmio que exploramos …. as partidas.

Quer rever personagens queridos? Conhecer novas figuras? Então prepare sua cachaça, escolha sua roupa mais babadeira e se junte conosco nos dias 5, 6 ou 7 de Dezembro de 2024!

Endereço: Kuringa, Grüntaler Str. 35, 13359, Berlin.

Horário: 19:30h

Elenco: Bernardo Hierneis, Catita Alves, Elder Dias, Getúlio Júnior, Julia Espindola, Lee Teófilo, Monique

Vilella, Val de Licer & Wanderson Wanderley

Direção: Uriara Maciel

Texto: Criação Coletiva

Dramaturgia: Uriara Maciel & Julia Espindola

Coreografia: Wanderson Wanderley & Monique Vilella

Música Ao Vivo: Bernardo Hierneis, Elder Dias e Monique Vilella

Músicas Autorais: Be Hier

Vídeo: Guilherme Caeiro

Desenho de Luz: Sérgio Menezes

Palco: Uriara Maciel & Val de Licer

Figurino: Jaq Lisboa, Val de Licer & Lee Teófilo

Garanta seu lugar para AUSLÄNDERBEHÖRDE, UMA CACHAÇA, BITTE! VOL. 2

Para confirmar a sua presença, envie um e-mail para ayosolcoletivo@gmail.com.

No e-mail, pediremos que você faça uma doação consciente de no mínimo 5€ por ingresso para

confirmar a reserva do seu lugar. Não perca essa experiência única e imperdível no bar de Madame!

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“O percurso é turbulento, mas a chegada é logo depois do arco-íris.”

After our first season in 2023 and a short stop in Jena, we’re back with the play AUSLÄNDERBEHÖRDE, UMA CACHAÇA, BITTE! Vol. 2. With a brand-new version, never seen before by the public and performed entirely in Brazilian Portuguese, Coletivo Ayôsol returns to the stages of Berlin.

Join us at Madame LeQueen’s bar, where Brazilians from the most diverse regions, generations, and backgrounds come together under one roof to share experiences and build community. All of this accompanied by a Brazilian cabaret, live music, and drama worthy of a prime-time telenovela.

The plot unfolds as you enjoy your good drink, and the witty Madame welcomes her guests—some desirable, others not so much. In this bohemian atmosphere, we explore … the farewells.

Want to see beloved characters again? Meet new ones? Then grab your cachaça, pick your most dazzling outfit, and join us onDecember 5th, 6th, or 7th, 2024!

Address: Kuringa, Grüntaler Str. 35, 13359, Berlin

Hour: 7:30 PM

Cast: Bernardo Hierneis, Catita Alves, Elder Dias, Getúlio Júnior, Julia Espindola, Lee Teófilo, Monique

Vilella, Val de Licer & Wanderson Wanderley

Director: Uriara Maciel

Text: Collective Creation

Dramaturgy: Uriara Maciel & Julia Espindola

Choreography: Wanderson Wanderley & Monique Vilella

Live Music: Bernardo Hierneis, Elder Dias & Monique Vilella

Original Music: Be Hier

Video: Guilherme Caeiro

Lighting: Sérgio Menezes

Stage Design: Uriara Maciel & Val de Licer

Costume: Jaq Lisboa, Val de Licer & Lee Teófilo

Secure your spot for AUSLÄNDERBEHÖRDE, UMA CACHAÇA, BITTE! VOL. 2

To confirm your presence, send an email to ayosolcoletivo@gmail.com.

In the email, we will ask you to make a conscious donation of at least 5€ per ticket to reserve your spot.

Don’t miss this unique and experience at Madame’s bar!

Performance – Installation conceived and directed by Thais Medeiros brings up a reflection on the theme of violence against women as well as the massification and vulgarization of death in current days.

A symbolic procession, a poetic performing manifesto inspired by the devotion carpets (which are made during the religious festivities of Corpus Christi in Brazil) against the tragic tradition of women’s murders in Brazil.

It is a poetic ritual, an attempt to, from the performance space, make the lives of women who were violated and murdered sacred, creating in the moment of the piece creation, a new reality.

A rite of transformation of violence into poetry and the woman empowerment. Its dramaturgy was developed based on statistics, pieces of news and the participants’ personal testimonials.

SUNDAY 17 November at 19h in KURINGA – Free Entry

Kuringa is a self-funded association that relies on the contributions from participants in our workshops. We want to emphasize that by paying for our workshops or events, participants are directly supporting the existence and continuity of political work through art that we carry out. The funds raised are allocated to maintaining our activities, which primarily aim to raise social awareness and promote change through artistic expressions committed to justice and social transformation. We deeply appreciate the support of all those who participate in our workshops and contribute to the strengthening of our work.

Wendemöglichkeit Masculinities Lab

We invite you to join us for a theater forum presented by Masculinities Lab, where we will explore the role of masculinities in the eradication of gender-based violence. This session aims to open a space for dialogue and reflection, focusing on critical issues such as peer pressure among men and sexual boundary violations.

The performance “Wendemöglichkeit” addresses a rape allegation and the toxic male loyalty that often silences the voices of victims. Through the acting, we will raise important questions: How can we address violence and boundary violations within groups of men? What do men gain by avoiding these discussions?

Join us in this open and constructive dialogue, as we seek new ways of accountability and change together.

While the primary focus is on men, this intervention is open to anyone interested in the topic.

Date: December 1
Time: 18:00

performance literário-musical com Suelen Calonga, Danú Gontijo e Bárbara Santos

Onde está mesmo o centro do mundo? O que acontece quando três mulheres artistas e acadêmicas se encontram para falar sobre escatologia e colonialidade? 

Três brasileiras, artistas-ativistas, escritoras e colecionadoras de histórias, vivendo em Berlim, desde suas perspectivas, práticas e poéticas, se propõem a confluir em expressões e textualidades originais. A iniciativa visa a fissurar narrativas coloniais e a fender hegemonias. Elas e seus textos se encontrarão em uma apresentação performática, a fim de estimular uma conversa com o público sobre colonialidade, patriarcado e racismo. O evento se pretende um exercício prático de devires decoloniais, narrativas plurais e processos de retomada da auto-determinação por meio da arte, a fim de romper com evocações simplistas de centro e periferia, de mundo e seu resto.

Quando? 8 de Novembro às 19:30h ( o espaço abre às 19:00)

Onde? KURINGA Grüntalerst. 35 13359, Berlim

Idioma: português

a look over the theme of violence against women

Led by the actress and visual artist Thais Medeiros, this workshop consists of physical and vocal training for the creation of a public performance on the theme of violence against women.

The goal is to promote an exchange of experiences around the issue of violence against women from different realities: from the perspective of a country in Latin America, Brazil, and a European country, Germany. Participants will work closely with the theme so that each one finds a place, a moment in their memories, in their stories, that they are able to express through their movement repertoire and sensibility.

The workshop will involve improvisation, physical and vocal exercises, somatic techniques, stimuli and provocations focused on the theme. Games and exercises will be used to develop the stage presence of the participants. Participants will be inspired, stimulated and empowered to generate reflections and dialogues about this tragic social reality from an artistic and poetic perspective.

Participants should bring local statistics, recent news, or personal experiences related to violence against women, which will be used as part of the creative process.

The public performance will generate a powerful space in which to discuss, reflect and express this theme through a physical dramaturgy. The workshop and performance will include the musician Ivan Medeiros who will make sound and rhythmic interventions.

The workshop will also approach basic but effective self-defense techniques by Ivan Medeiros (3nddegree black belt in Choy Lay Fut Kung Fu) and Thaís Medeiros (black belt in Choy Lay Fut Kung Fu)

Topics covered in physical training

 Body and Presence;

 Yin / Yang energy;

 Voice;

 Time;

 Space;

 Movement / Action

 Basic self-defense techniques

About the facilitators:

Thaís Medeiros is a multidisciplinary artist from Brazil, whose work spans acting, visual arts, dramaturgy, and martial arts. She has over 27 years of research in acting and 15 years of experience in Kung Fu, integrating this practice into her performances. Thaís’s work focuses on using the body as a medium for social and political reflection. Her project Tapete Manifesto has been showcased in international artist residencies, such as Villa Waldberta in Munich, Germany.

To learn more about her work, visit:

• Galeria Gruta
• Thaís Medeiros on Galeria Gruta

Ivan Medeiros is a musician, producer, performer and martial artist. He began his drum studies in 2005 at Instituto Bateras Beat and Conservatório Musical Souza Lima, earning a bachelor’s degree in music from FIAM-FAAM in 2023. In 2008, he founded the Black Garoa Blues Band and joined projects such as Tupis de Júpiter, 7Calls, Bonnaparte Express, and Blocked Bones. Since 2013, he has been part of the performance intervention Tapete Manifesto, which led to an artist residency at Villa Waldberta (Munich, Germany) in 2018.

Cofounder of Coletivo Galeria Gruta, a network of artists exploring theater, performance, music, visual arts and martial arts. 

COLETIVO GALERIA GRUTA (ART COLLECTIVE)

Founded by Thais Medeiros in 2008, the Coletivo Galeria Gruta is a group of independent artists aimed at the meeting and the artistic articulated practice and at the desire and need of researching and creating performance experiments and instigate/provoke artistic and cultural exchanges taking on public and private spaces.

The Collective goes on the boundaries between theater, performance and visual arts dialoguing with the languages and working on political and existential topics. Its goal is to create a collaboration network of scenic research and experimentalism to promote art in a decentralized way aiming at bringing to the present moment the sensitive sphere… Art can bring us this moment.

Since its creation, it realizes interventions, expositions, performances and music shows taking on public spaces as well as participating of national and international exhibitions and festivals.

Workshop Details:

• Dates:
  • November 15: 16h – 21h
  • November 16: 10h – 18h
  • November 17: 10h – 14h – 19h (Public Presentation)
• Who can participate: Actors, dancers, artists, and anyone interested in the subject of gender-based violence (open to women, men, trans people, and other gender identities).

Registration:

Spaces are limited, so we encourage you to register as soon as possible by sending an email to qualification@kuringa.org with the subject: Tapete Manifesto

with Madalena-Berlin

Join us on October 19th at 7:00 PM for a special event in celebration of the Teatro de las Oprimidas with the feminist theatre group Madalena-Berlin and their last productio “Integration-DES-integration”

“Integration-DES-integration“ explores the complex themes of belonging, identity, and social integration. Through a rich and dynamic blend of sounds and rhythms, the play examines how cultural differences can lead to conflict, yet also create opportunities for growth and enrichment. What does it truly mean to integrate into a society? Is it merely about legal documents and employment, or is it about forging deeper connections and a sense of belonging?

Under the creative direction of Bárbara Santos, Madalena-Berlin utilizes Forum Theatre, an interactive form of theatre that invites the audience to engage directly with the performance. Viewers are encouraged to reflect on the issues presented and actively participate in transforming the on-stage situations, seeking collective strategies to overcome social challenges, particularly those related to identity, gender, and social justice.

This event offers a unique opportunity to engage with urgent social issues through the transformative power of theatre. Madalena-Berlin is part of the Ma(g)dalena International Network, a collective of feminist theatre groups from Latin America, Europe, Africa, and Asia, all committed to overcome patriarchal oppressions .

Event details:

• Date: October 19th
• Time: 7:00 PM
• Location: Kuringa (Grüntaler Straße 35 , 13359 – Wedding)

This is not theater… this is a crime

Unfortunately, Rio de Janeiro has gained national and international notoriety due to the unscrupulous actions of audacious criminals, who use various forms of knowledge, technologies, and beliefs in the service of organized crime. Beyond the explicit violence that spreads fear and allows territorial control, the illegal access to personal and banking data, manipulation of information, and the dissemination of lies enable a series of frauds against citizens. The collaboration between criminals and public officials, as was made evident in the murder of Marielle Franco and Anderson Gomes, ensures impunity, hinders investigations, challenges justice, and now also threatens democracy.

Since 2016, during electoral campaign periods, a vile attack on democracy has been taking place in Rio de Janeiro: a criminal group spreads lies about candidates through the staging of false situations at bus stops and crowded places, aiming to manipulate electoral outcomes. These groups arrive at predetermined locations and, in an unassuming manner, start spouting absurdities about the individuals they wish to defame. This way, they plant the seed of lies, later spreading them until a concrete doubt is established, which eventually takes on the appearance of “truth” through repetition. Only after eight years of this criminal activity, in the 2024 electoral campaign, have we become aware of yet another assault on democracy.

This group of criminals manipulates by labeling their criminal activity as invisible theater. The Federal Police makes a mistake by adopting the label given by the offenders as the official title of their investigation. “The investigations revealed that the criminal organization, through its leaders—who have even held public office in various cities of RJ—developed a sophisticated and profitable scheme based on hiring individuals with the goal of influencing the electoral process in several municipalities,” stated the Federal Police.

In reality, Invisible Theater has no connection to fraud or deceit. It is one of the techniques of the Theater of the Oppressed, a method systematized by playwright Augusto Boal (1931-2009). Created in Brazil in the 1970s, this method is now practiced in various languages and in different social, economic, and cultural contexts, from Canada to Argentina’s Patagonia, from South Africa to Denmark, from Greece to Australia, in more than a hundred countries across five continents.

The goal of Invisible Theater is to bring a topic into public discussion through an open question, never arriving with a definitive truth or answer. On the contrary, the idea is to create an environment where different perspectives can be introduced and debated horizontally, without establishing an absolute truth. The aim is to give visibility to issues that need to be discussed by society. Invisible Theater, like other techniques of the Theater of the Oppressed, focuses on creating environments for dialogue, encouraging the exchange of ideas, and fostering moments of collective reflection.

Augusto Boal often said that we, as human beings, have the best and worst within us, and we need to be educated, stimulated, and encouraged to develop our best. For this reason, he was an artist who put his art in the service of citizenship. We cannot allow criminals to distort the meaning of this art. Deceiving people to influence an electoral outcome is not theater. It is a crime.

What’s happening in Rio today is a complete misrepresentation of Boal’s work. Invisible Theatre was never meant to deceive or manipulate. Criminals are hijacking the name of this technique to create doubt and confusion, and we must resist and fight for its true meaning.

The Theatre of the Oppressed Centre in Rio has issued a strong statement condemning this misuse, and we stand in solidarity with them, calling on artists and academics to protect the true spirit of this method.

If you want to learn more about the true purpose of Invisible Theatre, we invite you to join our upcoming workshop  in March 26th to 29th facilitated by Till Baumann for  German speakers. 

More information in one click

Exploring Media Legislation Through Feminist Legislative Theatre

On September 1st., we had the privilege of experiencing a session of Feminist Legislative Theatre, led by Bárbara Santos. This event, inspired by the principles of Teatro de las Oprimidas, was the closure of a 4 days workshop on the technique.

Legislative Theatre was developed during the time Boal was a city councilor in Rio de Janeiro. It was designed to involve citizens directly in the legislative process, allowing them to propose and debate laws that affect their lives. Bárbara Santos, who played a crucial role in the development of Legislative Theatre, continues to evolve this approach, incorporating feminist, anti-racist, and decolonial perspectives to address contemporary social issues. The Feminist Legislative Theatre session introduces a new approach to the method giving space for a collective and horizontal dialog.

The participants at the workshop presented a forum theatre play. The topic was focused on the pressing issue of media, specifically tackling the challenges posed by media addiction, the impact of misinformation on society and how media can shape ideas and ideals.

At the beginning of the event, each person received three colour cards for use during the voting: Green for approval, Red for rejection and Yellow to abstain. After the play, the audience engaged in a dynamic and participatory process, where they not only reflected on the dangers of fake news but also brainstormed practical solutions to combat its spread and mitigate its effects. The discussions were both enlightening and empowering, as they explored various angles of the media landscape and its influence on public perception and behavior. After the discussion the audience members shared their proposals and vote using the cards according to their views.

One of the outcomes of this session was the proposal to introduce Critical Media Education in schools. The audience said that educating both teachers and students on how to critically analyze media content could be a key strategy in countering the spread of misinformation.

Another significant proposal was the call for greater transparency in media funding. The spect-activist suggested that a law should be enacted requiring all media outlets to disclose their funding sources and affiliations. This measure would help the public identify potential biases and conflicts of interest, enabling them to make more informed decisions about the media they consume.

The session also addressed the responsibility of technology companies in curbing the spread of fake news. There was a strong consensus that these companies must be held accountable for the content shared on their platforms. Proposals included implementing stricter regulations on the dissemination of misinformation and creating more robust systems for flagging and removing false content.

However, the idea that resonated most with the public was the importance of promoting real-life connections between people. In a world where digital interaction often replaces face-to-face communication, creating spaces for genuine human connection was seen as essential in combating the isolation that can make individuals more susceptible to misinformation. The audience suggested organizing community events, public forums, and other initiatives that encourage people to come together, share experiences, and engage in meaningful dialogue.

As the session concluded, several questions remained at the forefront of our minds: How can we ensure that the proposals discussed are transformed into actionable policies? What role should the public play in holding media and tech companies accountable? How can we sustain the momentum created by this session and continue to address the ever-evolving challenges of media regulation?

This session of Feminist Legislative Theatre was a powerful reminder of the role that art can play in shaping society: it’s a participatory and democratic methodology that encourages continuous involvement from the community. It empowers people to not only voice their concerns but also to take an active role in shaping the policies that govern their lives. By engaging in this process, the public become more than just spectators—they become agents of change. In a continuous process, the proposals generated during this sessions can have the potential to influence future legislation and drive positive change, proving once again that theatre is not just a reflection of reality—it’s a catalyst for transformation.

We look forward to continuing this important work and invite all those interested in using theatre as a tool for social justice to join us in future sessions.

The Feminist Legislative Theatre session, led by Bárbara Santos, is an innovative approach rooted in the Theatre of the Oppressed (TO), a method developed by Augusto Boal. This methodology emphasizes the importance of theatre not only as a medium for reflection but as a catalyst for action. The Legislative Theatre, a technique of TO, was developed during Boal’s tenure as a representative in the Rio de Janeiro City Council from 1993 to 1996, responding to an urgent need for civic engagement and legislative impact.

Bárbara Santos, who served as the head of Boal’s office and worked closely with various community groups, played a key role in the creation and structuring of Legislative Theatre. Through Forum Theatre productions, community issues were brought to the forefront, providing a platform for the public to engage in discussions and draft legislative proposals. These sessions became essential exercises in exploring collective solutions to societal challenges, with the real-life experiences of theatre group members serving as the foundation for the performances

Since 2016, Bárbara Santos, in collaboration with the Ma-g-dalena International Network of Teatro de las Oprimidas, has developed a feminist, anti-racist, and decolonial approach to Legislative Theatre. This practice emphasizes the decentralization of discussions, promoting a more horizontal relationship between experts and participants, and actively involving associations and social movements to ensure committed engagement and follow-up actions. In 2019, Santos further refined this approach into a workshop model aimed at spreading this practice among Ma-g-dalena Network practitioners.

This model encourages participants to collaboratively identify themes and struggles, creating Forum Theatre plays that resonate with their collective experiences. The Legislative Sessions serve as a space to deepen discussions, analyze the social issues presented, and collectively draft proposals for concrete, sustained action.

We invite you to participate in this unique session, where theatre becomes a powerful tool for legislative and social transformation.

Event Details:

• Date: Sunday September 1st.
• Time: 5 PM – 7 PM
• Location: KURINGA Berlin (Grüntaler Str. 35, 13359 Berlin)

FREE ENTRY

A participatory theater play on the theme of water and our responsibility as humanity (or at least as part of it).

The artistic productions of Bárbara Santos and Till Baumann are the result of research processes into the aesthetics of the oppressed, based on sound/rhythm, image/movement, and word/text, which promote the discovery of creative potentials and the development of an autonomous and critical view of society. The artistic productions aim to connect aesthetic research within a contextual approach, collective learning, and concrete and continuous social actions.

KURINGA Forum Theater addresses issues that challenge the lives of different social groups to promote an active and horizontal dialogue within society. The KURINGA Forum sessions aim to avoid individualistic perspectives and encourage the audience to come together and experience collective strategies for overcoming the oppressions depicted on stage, taking into account the real social position of each individual in life (gender, social class, profession, etc.).

The Aesthetics of the Oppressed is a series of activities aimed at dismantling the strategies of the system of oppression, which influences and convinces oppressed men and women that they are incapable of creating, producing, or deciding, and that they should therefore be content with consumption. The Aesthetics of the Oppressed is an exercise in freedom that stimulates the creative and critical production of culture and knowledge.

This performance will be held in collaboration with Spore Initiative, which facilitates cultural projects at the intersection of climate justice, ecological regeneration, and education, in dialogue with earth protectors in the Global South and the Global North. The Spore House in Berlin serves as a platform for exchange, dialogue, and mutual learning. At the core of their work is the weaving of dialogues and the nurturing of common grounds that exist between communities, organizations, and people who may be geographically or culturally far from one another but are linked through practices of care for the earth.

Date: September 14, 2024

Time: 19:00-21:00

Where: Spore Initiative (Hermannstraße 86, 12051 Berlin-Neukölln)