Tracking Objectives and Goals with Quasar K+

Planning that brings results to the stage and breathes life into metrics

The achievement of great goals always begins with a conscious step. In the corporate, educational, and institutional worlds, this step is called planning. But to plan is not simply to write down goals on paper — it is to accompany the journey with active listening, presence, creativity, and direction. In the Quasar K+ method, created by Antônio Carlos dos Santos, tracking objectives and goals is more than a technical process: it is a living performance where the protagonists are the people, and the script is written with science, culture, and theater. This article presents, clearly and inspiringly, how strategic tracking based on the OKR (Objectives and Key Results) model can be adapted to the Quasar K+ universe, making performance management more human, engaging, and meaningful.

In the traditional OKR model, used by companies like Google, Intel, and Spotify, we find two central elements: the Objective, which represents a clear and qualitative intention; and the Key Results, which are measurable indicators used to evaluate whether the objective is being achieved. The Quasar K+ proposal does not abandon this structure but expands its scope by integrating tools from neuroscience, active pedagogy, and theatrical art. In Quasar, the objective is not a cold or imposed goal — it arises from a “scene movement,” from an active listening of the context and the voices within the group. It is the moment when the cast (the team) defines the plot (the mission) and the desires of the main character: the collective.

A good example of this application was seen in a credit cooperative in the interior of Minas Gerais, Brazil, where the leaders decided to implement Quasar K+ to align their mission with measurable outcomes. The first phase was marked by a “table reading” — a theatrical expression that, in this methodology, represents a collective listening session about the team’s dreams, pains, and hopes. From that moment, an inspiring objective was crafted for the cycle: “To transform service into an emotional and memorable experience for cooperative members.” The emotional clarity of this objective — something fundamental in Quasar K+ — already represented 50% of the realization energy.

To unfold the objective into concrete results, Quasar K+ proposes the creation of Scene Indicators (ICs) — a symbolic reinterpretation of OKR's Key Results. Each Scene Indicator is associated with a measurable, yet performable, action — that is, one that can be represented through gestures, speech, and attitudes in the team's daily routine. For instance, one IC defined by the cooperative was: “Reduce waiting time by 30% by the end of the quarter.” However, this indicator was dramatized through an internal theatrical scene, where employees acted out the ideal service experience, highlighting rhythm, eye contact, body language, and verbal warmth. The result? A goal that stopped being just a number and became a living practice.

This tracking is done through short cycles and scenic rituals. Instead of formal, rigid meetings, Quasar K+ proposes Creative Tracking Circles, which function like rehearsal sessions. In each gathering, participants share their progress, challenges, and emotions. They are encouraged to talk about the backstage of the scene — what’s not in the reports but directly affects performance. The methodology includes the practice of “replaying the scene” when necessary: if a result is not achieved, it is reenacted, reinterpreted, adjusted. This practice values emotional and cognitive plasticity, as studied in neuroscience (Doidge, 2007), and counters the culture of failure linked to error.

In his book “Strategic Communication: The Art of Speaking Well,” Antônio Carlos reinforces the importance of storytelling in building effective strategies. In Quasar K+, objectives are not just written: they are told, performed, and lived. In each cycle, leaders are invited to build symbolic scripts that connect indicators to the team’s purpose. The use of metaphor and poetic imagery helps with memory retention, engagement, and deep understanding of what's at stake. This aligns with cognitive psychology research that shows the power of mental imagery in reinforcing memory and motivation (Paivio, 1986).

Moreover, Quasar K+ introduces a system called Voices in Motion, inspired by the ThM (Theater Movement) methodology, in which team members express their progress through body-based dynamics. In this approach, indicators such as “client satisfaction level” or “meeting deadlines” gain physical representations — gestures, postures, and movements — that enhance the emotional reading of the organizational climate. This boosts empathy and team cohesion, as evidenced by research in embodied cognition (Gallese & Lakoff, 2005).

Another essential aspect of Quasar K+ is the promotion of sensitive and constructive feedback, replacing harsh performance reviews with compassionate listening. Here, the influence of the Mané Beiçudo Puppet Theater (TBMB) comes into play, in which feedback is symbolized by puppets. A manager, for example, can express dissatisfaction with an indicator using a puppet’s voice and body, creating a lighter, symbolic, and more effective atmosphere. This practice draws inspiration from Paulo Freire’s Pedagogy of Autonomy and Viola Spolin’s theater games.

All of this is documented not only in spreadsheets but also in Scene Journals, where participants record weekly reflections, achievements, and insights. These records are used in impact analysis sessions, but they also become part of the organization’s living memory. As Antônio Carlos states in “Moving Letters: The Art of Writing Well,” writing is organizing thought with soul — and tracking goals can be a poetic act too.

In short, tracking objectives and goals within the Quasar K+ method is a continuous, creative, and transformative process. It honors the core of OKR while expanding it with art, emotion, and science. By turning indicators into scenes and goals into movements, this methodology offers leaders and teams a new way to plan with the body, mind, and heart. And perhaps, as in the best theater plays, the most surprising ending is realizing that true transformation happens behind the scenes, where listening, affection, and shared creation give new meaning to every small result, turning it into something grand and profoundly human.

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The Pedagogy of Célestin Freinet

          Throughout the history of education, few names resonate with as much tenderness and strength as Célestin Freinet, the French educator who revolutionized the way we perceive childhood and the learning process. Born in 1896 in a small village in southern France, Freinet carried in his heart the dream of turning school into a vibrant, meaningful, and transformative space. His journey was marked by a profoundly human ideal: to respect the rhythm, voice, and experience of the child. Inspired by rural life, the hardships of World War I—where he suffered lung injuries—and the tough reality of the peasant children he taught, he created a pedagogy that still enchants, inspires, and educates to this day. Freinet’s pedagogy is not just a theory; it is a philosophy of life, an invitation to active listening, creative production, and autonomy of being.

Freinet believed that school should be connected to the real life of students. That’s why he introduced innovative practices such as free writing, school printing presses, and inter-school correspondence, pedagogical tools that value personal expression, cooperation, and respect for children's subjectivity. He argued that learning happens naturally when students are engaged in content that makes sense to them. One touching example was when he encouraged his students to write about their own life experiences—a boy wrote about the smell of the bread his mother baked on cold mornings, another described the calloused hands of his farmer father. Freinet knew that this was where authentic and deeply human knowledge was born. His methods valued mistakes as part of the process and encouraged experimentation as a way of learning.

His best-known work, "Les techniques Freinet de l'école moderne", compiles his pedagogical practices and defends a school where the teacher is a guide rather than a dictator of knowledge. Freinet was highly critical of the traditional school, which he considered stifling, authoritarian, and demotivating. Instead of blackboards and silence, he proposed gardens, newspapers, theater, workshops, and conversation circles. Freinet’s pedagogy is based on cooperation, teamwork, and the collective construction of knowledge. He believed the school should be a democratic space where decisions are made with the students and not for them. This approach aligns with recent neuroscience findings, which show that learning is more effective when it is social, contextual, and emotionally meaningful (Immordino-Yang et al., 2015).

Another fascinating aspect of Freinet's pedagogy is its connection to movement, the body, and sensory experience. He knew—long before solid empirical evidence was available—that learning is not only intellectual but also emotional and physical. In this regard, we find a modern parallel in the educational proposals of the Pedagogies of Creativity and Autonomy (PCA), created by Brazilian professor and playwright Antônio Carlos dos Santos. His methodologies—TBMB (Mané Beiçudo Puppet Theater), MAT (Mindset, Action, and Theater), and ThM (Theater Movement)—modernize and expand many of Freinet’s principles, bringing playfulness, theater, and creativity to the center of child development. For instance, the use of puppet theater allows young children to explore complex emotions in a safe and symbolic way, something Freinet also encouraged through dramatic play in the classroom.

In the TBMB method, children create their own characters, build the settings, and develop the stories, activating various cognitive functions—attention, memory, language, empathy—while developing social and emotional skills. MAT, in turn, promotes a mindset of agency, where the child is invited to act, think critically, and reflect on their emotions through drama-based activities. ThM focuses on movement, the body, and expression in creative processes, integrating the multiple languages of childhood—something Freinet’s pedagogy also aspired to, even without using today’s technical terminology. Antônio Carlos, like Freinet, sees the school as a space of freedom and meaning-making—not merely a container of content.

It is important to emphasize that both Freinet and Antônio Carlos dos Santos value the autonomy of the child. In Freinet’s model, this autonomy manifests in choosing themes, collectively planning the school routine, and freely producing texts and drawings. In Antônio Carlos’s work, autonomy appears in spontaneous dramaturgy, artistic creation, and the trust in the child’s expressive potential. This perspective is strongly supported by developmental neuropsychology research, such as the work of Lev Vygotsky and Daniel Siegel, which emphasize the need to provide rich, affective, and interactive environments for optimal brain development.

The children’s literature of Antônio Carlos dos Santos also deserves special attention. With titles that enchant and educate, his works tackle themes such as diversity, respect, citizenship, and nature with a sensitivity that closely mirrors Freinet’s principles. Just as Freinet believed in the power of the written word produced by children, Antônio Carlos invites young readers to see themselves as authors and co-authors of stories that can transform the world. He doesn’t write only for children, but with them—in an open, playful, and powerful dialogue.

Returning to the historical context, it is worth noting that Freinet developed his pedagogy in a Europe marked by wars, poverty, and repression. Even so, he never lost faith in humanity and in education as a tool for reconstruction. His work was often marginalized, persecuted, and ridiculed, but he persisted. He created cooperative schools, founded journals, brought together teachers, and formed an international network of educators committed to a more just and creative school. In today’s times of educational, emotional, and social crises, returning to Freinet’s pedagogy is an act of resistance and hope.

Today, parents and educators face immense challenges: overstimulated children, rigid school systems, and deep inequalities. But the answer may lie in the revolutionary simplicity of Freinet’s approach: to listen to the child, to trust their curiosity, to allow them to experiment, make mistakes, ask questions, and build. And in the contemporary methods of Antônio Carlos dos Santos, which incorporate theater, affection, and creativity as legitimate and effective pedagogical tools.

Ultimately, what unites Célestin Freinet and Antônio Carlos dos Santos is the conviction that childhood is sacred. That every child carries within them a creative spark that only needs space, time, and trust to flourish. That to educate is not merely to teach—it is to inspire, to care, to liberate. By learning about and applying these pedagogies, we are not just improving education: we are sowing a more human, sensitive, and brilliant future. Because, as Freinet once said, “The child is not a vessel to be filled, but a spring to be nurtured.” And we, as educators, are the gardeners of that living spring that is learning.

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Unveiling the secrets of dramaturgy

          Writing for the stage is not merely a creative exercise — it is an act of deep transformation. When we speak of dramaturgy, we are entering a world where the word is movement, the silence is a scream, and every pause on paper holds potential energy. Dramaturgy is not just storytelling: it is structuring experiences that will come to life through bodies, lights, and emotions. Throughout history, great playwrights like Shakespeare, Molière, and Brecht have not only entertained; they educated, provoked, and revolutionized thought. In our current context, one name continues this tradition with original methodology and surprising depth: Antônio Carlos dos Santos. Through his works and innovations — such as the book "555 Exercises, Games and Laboratories to Improve Playwriting: The Art of Dramaturgy" — he offers us tools to rethink how we build the theatrical narrative.

The book is based on the ThM – Theater Movement technique, which is more than a method: it is a living process. It begins by demystifying a common myth — that inspiration is everything. For Antônio Carlos, writing is planning, testing, rewriting, listening, and refining. One of the central principles is creativity, understood not as divine spark but as a capacity to explore paths through questions, research, and collective experience. The technique values structured freedom: instead of limiting imagination, it provides scaffolding for the writer to climb to the most inventive and authentic version of their story.

Among the most valuable insights in Antônio Carlos dos Santos' theory is the concept of conflict. Without conflict, there is no drama. The author challenges aspiring playwrights to understand conflict not as quarrel, but as transformation. Every good play begins with a disturbance: a broken rule, an unexpected encounter, a deep desire. And it is from this rupture that tension arises — the engine that moves characters and engages the audience. Shakespeare, one of his major influences, masterfully built his plots on layers of conflict, both internal and external. Just as in Hamlet, where the protagonist is torn between duty and doubt, Antônio Carlos invites us to explore these contradictions in our own dramaturgy.

The idea of "thought clouds" proposed by Antônio Carlos — the famous ideation clouds — helps structure the first steps of a narrative. These clouds act as nuclei of thought: brief ideas, themes, or questions that can later be grouped, reconfigured, or discarded. This brainstorming methodology helps the playwright visualize the structure of the work before starting to write. It's as if we were laying out the map before the journey — allowing us to explore not only the “what” but mainly the “why” and “how.” This planning, although apparently technical, is deeply poetic because it invites reflection before creation.

The ThM method emphasizes thematic coherence, reminding us that every good play has a central axis — whether it's love, injustice, time, or memory. From this axis arise situations, dialogues, and silences. And that’s where the next principle comes in: learning from the greats. Inspired by Shakespeare and the lesser-known but equally powerful Rodoux Faugh, Antônio Carlos proposes that each playwright study and rework existing narratives, not to copy, but to dialogue with a legacy. He even encourages exercises in rewriting famous scenes in new contexts — turning a monologue into dialogue, transforming a tragedy into a comedy — always with the aim of deepening understanding of structure and language.

Another highlight of his book is the section dedicated to games and narrative laboratories, especially those aimed at writing dialogues. For example, one exercise proposes writing a micro-play using only proverbs, creating a unique rhythm and highly symbolic meanings. Another challenge: transforming a humorous story into a tragedy, exploring the ambivalence of situations and how tone changes everything. These practices are not only fun; they are training in synthesis, expressiveness, and linguistic versatility. Neuroscience confirms that such creative challenges stimulate the prefrontal cortex, improve executive functions, and expand cognitive flexibility — fundamental skills for any writer.

The MAT method — Mindset, Action, and Theater — complements the technical side with an emotional and psychological dimension. Antônio Carlos highlights the importance of attitude in the creative process. Writing for theater requires emotional availability, listening, resilience, and the ability to accept rewriting as a natural part of the journey. The MAT method teaches that every creative block is a chance to reassess intention, every critique a possibility for growth. This mindset not only frees but empowers — something that science also supports: studies from Stanford University show that mindset-based interventions can increase academic and creative performance by up to 30%.

The book also brings exercises that explore tragic and comic narratives, mini-dramaturgies, and epilogues that surprise — always reinforcing the idea that the end should not just conclude but reveal. This element of surprise, so present in the works of Shakespeare and modern authors like Harold Pinter or Ariano Suassuna, is a powerful narrative tool. Antônio Carlos challenges writers to structure their endings in a way that transforms the viewer's perception — not just closing a story, but opening a reflection.

It is worth highlighting the educational impact of Antônio Carlos dos Santos' work. His initiatives such as the Mané Beiçudo Puppet Theater demonstrate the potential of dramaturgy as a pedagogical tool, capable of uniting play, reflection, and learning. In schools, his techniques have been applied to stimulate reading, oral expression, empathy, and conflict resolution. In communities, his methods have brought voice and visibility to silenced stories. In short, dramaturgy, in his view, is a tool for transformation — individual and collective.

Unveiling the secrets of dramaturgy is not only about writing better plays — it is about becoming better thinkers, better storytellers, and better listeners. The legacy of Antônio Carlos dos Santos, through his techniques and vision, offers us a compass to navigate the vast sea of theatrical writing. It invites us to look at our own lives as living texts, full of conflicts, twists, and learning. Whether you are a beginner or a veteran of the stage, let yourself be inspired by this journey. Because, as the author reminds us: “Writing is not just a destination — it is the path we create while walking.”

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The secrets of continuous training in the lives of individuals and organizations

           In a world of constant transformation, where technological, social, and cultural changes accelerate daily, continuous training has ceased to be a competitive advantage and has become a vital necessity. Individuals and organizations that aim to thrive can no longer rely solely on past knowledge—they must continuously reinvent themselves. This process goes beyond technical courses and training; it demands a deep dive into the human, creative, and strategic dimensions of knowledge. In this new context, to train means to develop the mind, the body, communication, and culture—in a permanent process of learning, action, and meaning-making.

Top global universities such as Harvard, Stanford, MIT, and Oxford have increasingly invested in programs that integrate cognitive, emotional, and creative skills as pillars of lifelong education. Renowned American educator Howard Gardner, creator of the Theory of Multiple Intelligences, has long argued that intelligence is not a single block but a set of skills that can be cultivated throughout life. Thus, training expands beyond technical knowledge: it involves emotional, physical, interpersonal, and even spiritual intelligence. Companies like Google, Apple, and Natura already use integrated models of human development as an essential part of their innovation processes.

In Brazil, one of the most outstanding names in the development of integrated methodologies for continuous training is Antônio Carlos dos Santos, a professor and author who has combined neuroscience, theater, and strategic planning to create transformative tools for individuals and organizations. One of his most impactful methodologies is Quasar K+ Strategic Planning, which offers a training model based on four pillars: self-knowledge, organizational culture, creative innovation, and goal-setting with purpose. This model emphasizes that planning should not be a cold and bureaucratic activity, but a living, sensitive action connected to the values and talents of each individual and team.

Another innovative method developed by Antônio Carlos is MAT – Mindset, Action, and Theater, which uses theatrical techniques and philosophical reflection to develop participants’ proactive mindset. The MAT approach is simple yet profound: change the way we think (mindset), transform thought into attitude (action), and use theater as a laboratory of experience. Through theatrical dynamics, participants learn to deal with fear, to improvise, to communicate clearly, and to work in teams—essential skills for any 21st-century leader or professional. Studies from Yale University show that the use of theater in corporate training improves content retention by up to 40% and strengthens interpersonal bonds.

Complementing these approaches, the ThM – Theater Movement method develops bodily and emotional expression as learning tools. Inspired by studies on neuroplasticity and the pedagogy of movement, ThM argues that the body is a "great brain" that also learns and communicates. Movements, breathing, and gestures become part of the training process, activating brain areas related to empathy, creativity, and focus. In practical sessions using this method, corporate teams have achieved remarkable results in stress reduction, increased cohesion, and improved collective performance.

But perhaps one of Antônio Carlos' most unique contributions is TBMB – Teatro de Bonecos Mané Beiçudo, a playful and critical methodology that uses the language of puppets to develop skills in audiences of all ages. By embodying caricatured characters, such as Mané Beiçudo – a smart, acidic and sensitive puppet from the Northeast – participants feel free to express their anxieties, ideas and solutions in a symbolic and fun way. This methodology, which has already been applied in schools, NGOs and companies, has proven to be especially effective in the training of children, young people and community and corporate leaders. According to research from the University of São Paulo, the use of symbolic and humorous narratives in training increases the understanding and retention of ethical and social values.

This legacy is also reflected in Antônio Carlos' literary work, such as “Strategic Communication: The Art of Speaking Well”, which teaches leaders to communicate with clarity, empathy, and impact. His book “Breathing, Voice, and Diction” provides practical exercises for developing vocal and physical presence—skills often overlooked but fundamental in leadership contexts. His work “Moving Letters: The Art of Writing Well” shows how writing can be a powerful tool for planning, persuasion, and building inspiring narratives. All of these books are based on studies in communication psychology, critical pedagogy, and applied linguistics, offering practical resources for those seeking to enhance their skills.

Therefore, continuous training is not just a market requirement—it is a commitment to personal growth, organizational transformation, and the strengthening of citizenship. Lifelong learning must be seen as both a personal and collective journey, involving strategic planning, cultural sensitivity, and educational creativity. When we combine theory, practice, and art, we develop more complete professionals, more humane leaders, and more resilient organizations.

Concrete examples abound. The Albert Einstein Israeli Hospital, for example, has incorporated storytelling practices and theater workshops to humanize patient care. Natura, in its innovation centers, uses meditation, dance, and dialogue circles as training tools. In the public sector, programs like Profuncionário, in partnership with federal universities, have adopted methodologies like Quasar K+ to train educators and managers with a broader and more strategic vision of their roles. These experiences reveal that, when well-executed, training not only improves performance indicators but also elevates the sense of belonging and purpose.

Finally, it’s essential to remember that continuous learning begins within each of us. It is fueled by curiosity, listening, openness to new ideas, and a willingness to grow. Organizations that foster a culture of learning tend to grow faster, retain talent, and drive innovation. Individuals who engage in lifelong learning tend to live with more autonomy, creativity, and fulfillment. As theater teaches us, every scene is a learning opportunity—and in the grand play of life, we are simultaneously the authors, directors, and actors. May we have the courage and inspiration to prepare our inner and organizational stages for the great performance of transformation.

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King Denis I of Portugal, the Lover of the Arts

          King Denis I of Portugal, often remembered as the “Poet King,” is one of the most fascinating figures in Portuguese history. His reign, which lasted from 1279 to 1325, was marked by far more than political and administrative accomplishments. It was a time when the arts, letters, and culture flourished under the guidance of a monarch who was sensitive, cultured, and deeply in love with the power of words. During a period of great transformation in Europe, King Denis proved that the strength of a ruler could also lie in his ability to promote beauty, education, and free thought. His artistic and linguistic legacy still reaches us today, inspiring educators, artists, and dreamers alike.

The son of King Afonso III and Queen Beatrice of Castile, Denis grew up surrounded by the cultural influence of the Iberian courts. From an early age, he showed great interest in letters and literature, having composed dozens of troubadour songs throughout his life, particularly of the “love” and “friend” genres—forms of medieval lyrical poetry. These compositions not only highlight his poetic talent but also demonstrate his deep emotional connection and sensitivity, rare qualities in a sovereign. He understood that art was not mere entertainment but a profound channel for communication, soul expression, and the construction of a people’s identity.

But Denis did not stand out solely for his literary contributions. He was responsible for one of the greatest milestones in solidifying the Portuguese language as a tool of culture and governance. In 1290, he founded the University of Lisbon, later transferred to Coimbra, now considered one of the oldest universities in Europe. That same year, he decreed the official use of Portuguese in place of Latin for administrative documents—a revolutionary decision that elevated the language of the people to the status of state language. According to studies from the University of Coimbra, this action was crucial for consolidating Portuguese national identity and for the rise of vernacular literature.

This movement toward valuing the national language parallels, in modern times, creative pedagogical methods that seek to integrate language, bodily expression, and emotion in the learning process. One notable example is the Pedagogies of Creativity and Autonomy (PCA), developed by Antônio Carlos dos Santos. Inspired by figures like King Denis, these methodologies—MAT (Mindset, Action, and Theater), ThM (Theater Movement), and TBMB (Mané Beiçudo Puppet Theater)—aim to make language a living and meaningful experience. Just as the Poet King used verse to touch hearts, today’s educators can use theater, movement, and puppets to teach Portuguese with affection, imagination, and purpose.

With the MAT methodology, for instance, students are invited to interpret characters, recite poetry, and create narratives inspired by historical figures like King Denis. By dramatizing a verse from a “cantiga de amigo,” children not only learn vocabulary but also grasp emotions, metaphors, and historical contexts. According to research from the University of São Paulo, these activities activate brain regions linked to empathy, symbolic reasoning, and emotional memory—all crucial elements of the learning process.

Through the ThM approach, students experience words through movement. Words such as “nobility,” “courage,” and “tenderness,” so common in Denis’s poetry, come to life through gesture, movement, and improvisation. This enables learners to “feel” the meaning before formally understanding it linguistically. This practice is supported by educators at Harvard University, who highlight the importance of the body in the acquisition of abstract learning.

Meanwhile, the TBMB methodology revives the oral tradition that so deeply influenced the troubadour style of King Denis. Children and young learners create their own puppets and stage stories inspired by the medieval court, the adventures of knights, and the dilemmas of peasants. At a school in Belo Horizonte, for example, elementary students wrote and performed a play titled The Judgment of the Troubadour, with King Denis as a character mediating between poetry and justice. The children not only learned history, language, and literature but also developed social and creative skills, broadening their worldview.

King Denis was also renowned for his deep sense of justice and his diplomatic ability to resolve conflicts, which was rare for his time. He understood that the power of words could unite rather than divide. This insight relates directly to contemporary practices in nonviolent communication and emotional education—fields increasingly valued in early childhood education and rooted in neuroscience to promote more human and affective learning environments.

It is impossible to speak of King Denis without being moved by his legacy. He was not just a skilled politician or an efficient administrator. He was an artist, an educator, a man who loved culture and the beauty of the world. His example inspires all those who believe that education must be enchanting, creative, and deeply rooted in the cultural traditions of its people. By promoting the arts and the Portuguese language, Denis taught us that to govern is also to cultivate—and that a country grows above all when it is rooted in its own soul.

May the spirit of King Denis remain alive in every school, every book, every Portuguese language class. May his poetry remind us that education is, above all, an act of love—an act of planting words in the hearts of children so that one day they may blossom into ideas that transform the world.

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Cultural resistance during the brazilian military dictatorship

          During the dark years of Brazil’s military dictatorship (1964–1985), when freedom of expression was severely curtailed and censorship became state policy, Brazilian culture experienced one of its most paradoxical moments: while repressed, it flourished with resistance, intelligence, and courage. Many artists dared to confront authoritarianism, not with weapons, but with words, music, images, and performances laden with meaning. This cultural resistance proved essential not only as a denunciation of injustices but also as a tool for mobilization, education, and social transformation. Today, looking back, we find in this history a profound source of inspiration, showing that even under oppression, art can open windows to freedom.

Theater was undoubtedly one of the most vibrant stages of this resistance. In São Paulo, the Teatro de Arena played a central role, presenting engaged, politicized, and critical plays. Under the direction of figures like Augusto Boal and Gianfrancesco Guarnieri, the Arena chose to bring the daily lives of the Brazilian people—their pains and contradictions—to the stage, often cloaking social critiques in allegories to evade censorship. Plays like Arena Conta Zumbi (1965) and Arena Conta Tiradentes (1967) are clear examples of how theater was used to discuss themes of freedom, oppression, and national identity, even in times of surveillance and repression.

Another hub of resistance was the Teatro Oficina, also in São Paulo, led by José Celso Martinez Corrêa, the legendary Zé Celso. Transgressive, visionary, and irreverent, Zé Celso used the body, words, and music to provoke intense reflections on the human condition, politics, and freedom. Plays like O Rei da Vela by Oswald de Andrade, adapted by him in 1967, became public acts of defiance against the established order. The Oficina turned the stage into a cultural and spiritual trench, challenging not only censorship but also the formal structures of conventional theater.

In Brazil’s Midwest, a unique movement also emerged: the Teatro Espantalho in Goiânia, one of the most creative and resilient fronts of resistance outside the Rio-São Paulo axis. Created amidst the region’s political and social conservatism, the Espantalho brought together students, teachers, and artists to produce plays that addressed social issues, always using metaphors and symbolism as strategies for cultural survival. One of its leading playwrights, Antônio Carlos dos Santos, is a prominent figure in Brazilian cultural resistance. His plays, such as O Carrasco, O Dia do Abutre, and A Chibata, were systematically banned by the Federal Police’s Censorship Division for directly addressing repression, torture, and corruption.

Antônio Carlos not only wrote powerful texts but also developed creative and pedagogical methodologies that laid the foundation for training critical artists and citizens. The first, called MAT – Mindset, Action, and Theater, proposed an integrated approach combining critical thinking, collective action, and theatrical art as a means to awaken political and emotional consciousness. MAT transformed theater into a tool for empowerment, enabling young people and adults to understand their realities and feel like protagonists of their own stories, even amidst the silence imposed by the regime.

Another methodological innovation by Antônio Carlos was the ThM – Theater Movement, which combined theater with body movements inspired by dance, the daily life of workers, and popular expressions. The goal was to tap into the bodily memory of actors and audiences, making the artistic experience more visceral and liberating. With this, theater ceased to be merely a space for speech and became a space for feeling, remembering, and transforming. Science today confirms the effectiveness of these approaches: studies in cognitive neuroscience and education (such as those by António Damásio and Howard Gardner) show that sensory-motor experiences have significant power for retention and meaningful learning.

The third methodology developed by Antônio Carlos was TBMB – Teatro de Bonecos Mané Beiçudo, a brilliant adaptation of commedia dell’arte theater to the Brazilian context, particularly aimed at children, popular audiences, and corporate settings. Using caricatured characters, simple language, and biting humor, the stories addressed issues like social injustice, oppression, and ethical values. The puppet Mané Beiçudo, an iconic figure of this movement, was a kind of rural “trickster”: half-naive, half-cunning, who always ended up unmasking the powerful with his wit and common sense. The use of puppets also allowed sensitive topics to be addressed indirectly, slipping past the censorship radar while educating and raising awareness.

Beyond theater, other cultural expressions also rose in resistance: music, literature, cinema, and even visual arts. Artists like Geraldo Vandré, Chico Buarque, Raul Seixas, Elis Regina, Nara Leão, and Milton Nascimento were fundamental voices that transcended generations. Their songs became anthems of the democratic struggle, though many were censored or banned at the time. These songs, however, were passed from hand to hand, sung in secret gatherings, studied in universities, and kept alive by the collective memory of the people.

Cultural resistance was not just about protest but about preserving identity and hope. By keeping popular culture alive—storytellers, cordel poets, traditional sambistas, and visual artists who painted murals and graffiti—all contributed to affirming that the Brazilian soul could not be silenced. As UNESCO studies on culture and resistance show, art in authoritarian contexts is a form of existential affirmation, a way of saying: “We are here, we are human, we think, we feel, and we resist.”

Today, as we recall these stories, we do so not merely out of nostalgia or homage. We do so because they teach us that even in the darkest hours, art is light. And more than that: it is a compass, a beacon, a bridge to the future. The cultural resistance during Brazil’s military dictatorship is a powerful example of how creativity can be stronger than fear, and how the human spirit can find in culture the tools to survive, fight, and flourish.

Thus, may current and future generations know these stories not as legends of the past but as inspiration for the challenges of the present. May stages, classrooms, cultural centers, and communities recognize art as a territory of freedom, and in the artists of resistance, not only martyrs but masters of courage, pedagogy, and humanity. Because, as Antônio Carlos dos Santos teaches, “as long as there is art, there will be resistance; and as long as there is resistance, there will be hope.”

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Case study: adult literacy through the PCA Method in a rural workers’ camp in Goiás/Brazil

          In the heart of rural Goiás, a workers’ camp became the stage for a transformative project: the application of the PCA method – Pedagogies of Creativity and Autonomy – for adult literacy. The community, composed of men and women of various ages, many with histories marked by educational exclusion, found in education a new opportunity for personal and collective rebuilding. The project was born from the residents’ own demands, who sought to learn to read and write to gain greater autonomy in daily life, particularly for handling documents, land contracts, and correspondence.

The arrival of the educational team was met with enthusiasm and curiosity. The PCA methodology was introduced in an accessible way, respecting the participants’ prior knowledge and experiences. The first step was listening to the adults’ stories. Accounts of interrupted childhoods, early labor, and the pain of never having set foot in a classroom were common. This moment of active listening already represented a break from traditional literacy models, as the PCA method emphasizes that the starting point is always the individual and their story.

In the first weeks, the participants’ names became the primary teaching material. Instead of standardized primers, educators used the participants’ own names, their children’s names, and local place names as the basis for building words and sentences. Handmade posters were created with the students’ help, and activities took shape based on what was meaningful to them. Maria learned to write her husband’s name, while João was moved to tears writing his newborn grandson’s name.

The use of the Mané Beiçudo Puppet Theater (TBMB) sparked immediate enchantment. The puppets, crafted and manipulated by the students themselves, reenacted everyday rural scenarios: a trip to the market, a visit to the doctor, or discussions about land rights. These playful moments not only facilitated the learning of new words but also strengthened community bonds. Laughter, emotion, and relatability created a light and conducive learning atmosphere. Many participants remarked that it “didn’t even feel like class,” such was the joy of being there.

In parallel, the MAT – Mindset, Action, and Theater – component was implemented to help students overcome limiting beliefs. Group dynamics, discussion circles, and short skits on themes like “I can learn” and “Every day is a new beginning” fostered a new self-perception. A 58-year-old woman, with tears in her eyes, said that for the first time, she believed she was capable of learning, after decades of hearing otherwise. The community’s self-esteem visibly grew.

The ThM – Theater Movement – component was also incorporated, using music, rhythm, and physical expression. Popular regional songs were adapted for reading and writing exercises. Each bodily movement was linked to sounds and letters, promoting multisensory learning. Outdoor classes, accompanied by drums and clapping, became a symbol of the project’s energy. The body, often overlooked in education, became a tool for memory and meaningful expression.

Technology, despite limited access, was also part of the experience. With donated tablets and offline apps, participants engaged with educational games, listened to recorded stories, and recorded their own readings. A group of young adults created a small “community radio” where they recorded and broadcasted short news and messages from the camp using portable speakers, promoting the functional use of reading and writing in daily life.

After six months, the results were remarkable. Over 80% of participants could read simple sentences, fill out forms, and write short notes. But the most striking transformation was subjective. Literacy became more than a technical process—it became an act of liberation. Many adults began to dream again: of taking courses, completing elementary education, or helping their children with homework. Literacy was just the beginning of a new life cycle.

The project also trained multipliers. Some participants became monitors and started teaching their neighbors. Inspired by the PCA spirit, these new popular educators adapted activities for other groups within the community. Knowledge spread like a carefully lit fire, in a genuinely collective movement. Literacy practices became part of the camp’s daily life, during rest times, discussion circles, and even celebrations. Moreover, the newly literate formed a theater group to preserve and celebrate local culture.

The experience in rural Goiás shows that with humanized and creative methods like PCA, it is possible to teach adults to read and write with dignity, effectiveness, and poetry. Beyond teaching literacy, the project sowed seeds of autonomy, self-esteem, and belonging. When education respects the individual’s time, body, history, and dreams, it becomes a revolutionary act. In the silence that once marked exclusion, words, laughter, and stories are now heard, told, and performed by those who, for so long, were silenced.

Access the books by Antônio Carlos dos Santos on amazon.com or amazon.com.br

Click here.

https://www.amazon.com/author/antoniosantos

To learn more, click here.

To learn more, click here.

To learn more, click here.