10 Strategies for literacy education of youth and adults through the Pedagogies of Creativity and Autonomy (PCA)

A path of dignity, art, and freedom to awaken the power of words in every human being

          Teaching a young person or an adult how to read and write is much more than teaching them to combine letters: it is offering a new chance to exist with dignity, to occupy social spaces, and to reconnect with their own life story. In this process, the Pedagogies of Creativity and Autonomy (PCA), created by Antônio Carlos dos Santos — educator, author, and neuroscientist — offer a transformative path. Through three innovative methodologies — TBMB (Mané Beiçudo Puppet Theater), MAT (Mindset, Action, and Theater), and ThM (Theater Movement) — PCA integrates art, science, and affection to break down learning barriers, awaken imagination, and allow each person to rediscover the joy of reading and writing with purpose.

The first strategy is literacy through symbolic orality, using puppets from the TBMB universe to spark conversations, provoke reflection, and stimulate active listening. When an adult hears a puppet like Mané Beiçudo say he “couldn’t read either,” they identify with him, laugh, relax — and open up to learning. In a literacy circle in Pernambuco, for example, the puppet Sabina shared her feelings of “uselessness” from being illiterate. The discussion that followed created an empathetic and safe environment, dismantling the fear of making mistakes — one of the biggest barriers in late literacy.

The second strategy involves the use of affective and autobiographical writing, based on the MAT proposal. Each student is invited to write, with the help of the teacher, a short story from his or her life — a simple episode, such as “the day I went to the supermarket alone.” This text can be spoken first, then written down in short sentences, respecting the student’s vocabulary. The approach is in line with the most recent studies that advocate literacy based on the “mother word,” connected to the student’s life. When the student reads his or her own story, he or she becomes empowered — he or she sees himself or herself as a subject of knowledge.

The third strategy is literacy through expressive movement, rooted in the ThM approach. Learners use gestures to represent words — walking as if they’re scared (letter M for "medo" — fear), or lifting their arms to symbolize freedom (letter L for "liberdade"). By embodying sounds, learners connect language with movement. Neuroscience shows that learning is more effective when it engages multiple sensory channels (as demonstrated by Eric Jensen and Howard Gardner). One student who felt too shy to read aloud discovered, through gestures, that he could “speak with his body,” and gradually found his voice.

The fourth strategy proposes the use of improvised theater with key words from everyday life, such as “home,” “work,” “bus,” and “hope.” Students create quick scenes in pairs or groups, using the words as a starting point. As Antônio Carlos teaches, “laughter, creation, and improvisation eliminate the fear of grammar and set language in motion.” In a literacy class in São Paulo, a woman acted out a trip to the health center using the words “pain,” “cure,” and “faith.” Then, she asked students to write these words on the board—and learned to spell them with emotion.

The fifth strategy is the creative reinterpretation of adapted literary texts, such as the children's and adult works of Antônio Carlos dos Santos, which are charming due to their simplicity and depth. Some texts such as “Ui Ghur” or “The boy who said no to bullying” are rewritten by students with their own endings, new sentences and other interpretations. This strengthens linguistic autonomy and shows that writing is lively, accessible and multiple. A student who said he “didn't have the mind to read” wrote a new ending for the story of the little bear Ui Ghur and asked to “see how it came out in print”, discovering that he was the author.

The sixth strategy is the creation of collaborative word-of-the-day murals — a simple yet powerful dynamic. Each day, students choose a word that marked the lesson — such as “joy,” “discovery,” or “strength” — and record it on a classroom mural with drawings or phrases. This vocabulary becomes a living, emotional landscape of learning. According to Lev Vygotsky, language emerges in meaningful social contexts — and nothing is more meaningful than a word chosen from the heart. In a night school in Bahia, the mural displayed over 80 words after one month — each with a story told with sparkling eyes.

The seventh strategy encourages the production of dramatized audio recordings of students' own stories. Learners record themselves reading or performing their stories, with music and sound effects. These recordings are played back in class as if listening to a podcast. Hearing oneself builds phonological awareness and boosts self-esteem. According to neuroscience studies, hearing your own voice strengthens self-perception and enhances linguistic neural connections (see Oliveira & Santos, 2021). A 62-year-old student recorded a reading of his grandmother’s cake recipe and tearfully said, “Now I am the one teaching.”

The eighth strategy involves symbolic literacy games, such as “life-word bingo,” “letter dominoes,” and “memory with personal words.” These games, rooted in real-life vocabulary, bring fun and meaningful learning. One example is “the lost words game,” where students receive loose words and must form meaningful sentences. In a youth class in Minas Gerais, a student proudly formed the sentence: “Today I learned, tomorrow I teach.” The joy of playing and the permission to make mistakes without shame significantly accelerates learning.

The ninth strategy is to create a “collective class book” with texts, drawings, songs and memories from the participants. Each student contributes something: a phrase, a memory, a note. At the end, this book is printed and given to the authors themselves. The emotional impact of this action is immense. A 70-year-old man took the book home, showed it to his granddaughter and said: “Your grandfather is a writer.” And literacy became a family legacy. As Antônio Carlos dos Santos states: “By learning to read, each adult is, in fact, learning to rewrite his own journey – and, in doing so, inspiring new stories.”

Lastly, the tenth strategy is cultivating a pedagogical attitude of hope, joy, and deep listening as the foundation for all actions. No methodology works without affection. PCA calls on educators to be artists of sensitivity, to respect each learner’s pace, and to celebrate every small achievement as a victory for humanity. Literacy is more than teaching letters: it is giving back voice, presence, and belonging to those who’ve long been left behind. And, as shown by the results of PCA-inspired practices, there is no age limit to flourish — when we are welcomed with respect, creativity, and love.

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Words that set us free: how contemporary literature inspires personal and social transformation

          In an increasingly fast-paced and digital world, literature remains a beacon of reflection and transformation. Recently, the shortlist for the 2025 PEN America Literary Awards brought to light works that not only entertain but also provoke deep thoughts on freedom, identity, and social justice.

Among the finalists, one standout is On Freedom by Timothy Snyder, which explores the complexities of liberty in modern times. The book invites readers to reflect on the meaning of individual and collective freedom, especially in politically challenging contexts. Another highlight is Catalina by Karla Cornejo Villavicencio, which delves into the lives of immigrants in the United States, offering an intimate and powerful perspective on identity and belonging.

These works exemplify how literature can serve as a powerful tool for education and social awareness. Integrating such narratives into educational settings can stimulate critical thinking and foster meaningful discussions on contemporary issues.

Innovative educational methodologies such as MAT (Mindset, Action, and Theater), developed by Antônio Carlos dos Santos, can be highly effective in bringing these works into the classroom. By combining reading, discussion, and dramatization, students can experience and internalize the themes addressed, developing deeper empathy and understanding.

In addition, the use of ThM (Theater Movement) allows students to physically explore the emotions and conflicts of the characters, promoting a more intimate connection with the material. This holistic approach is especially effective in multicultural contexts, where diverse experiences can enrich interpretations and discussions.

TBMB (Mané Beiçudo Puppet Theater) also offers a playful and accessible way to explore complex themes. By using puppets to represent characters and situations, educators can create a safe space for discussions about difficult topics such as discrimination, inequality, and resistance.

Incorporating these methodologies can transform the way literature is taught and experienced. Instead of traditional approaches focused solely on textual analysis, these practices promote active, experiential learning, where students become active participants in constructing knowledge.

Beyond educational benefits, these approaches can have significant impacts on students’ personal development. By engaging deeply with the narratives, students can develop socio-emotional skills such as empathy, resilience, and critical thinking—skills essential for active and conscious citizenship.

At a time when the world faces complex challenges, from political crises to social justice issues, literature offers a lens through which we can understand and navigate these realities. By integrating contemporary literary works and innovative educational methodologies, we can prepare future generations to be critical thinkers, engaged citizens, and agents of change.

As Antônio Carlos dos Santos beautifully stated: “Writing is the universe where we dive to sow love, combat injustice, and fill our hearts with the spirit of humanity.” May we continue to cultivate this universe in our classrooms, communities, and lives.

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Explaining the Pedagogies of Creativity and Autonomy (PCA)

          In a time when the world demands innovation, empathy, and the ability to solve problems creatively, educating children using only traditional methods is no longer enough. The challenge of raising autonomous, creative, and collaborative citizens leads us to deeply rethink our pedagogical practices. Within this context, the so-called Pedagogies of Creativity and Autonomy (PCA), created by Antônio Carlos dos Santos—a renowned educator and researcher—stand out. His studies have transformed early childhood education based on solid foundations from neuroscience, psychology, and the arts. The PCA framework comprises three main methodologies: TBMB (Teatro de Bonecos Mané Beiçudo), MAT (Mindset, Action, and Theater), and ThM (Theater Movement). These methodologies directly engage the child’s playful, expressive, and autonomous potential, promoting emotional, cognitive, and social development from the earliest years of life.

The theoretical foundation of the PCA is supported by recent studies from Harvard, Stanford, and Oxford universities, which show that fostering creativity and autonomy in childhood is directly linked to a greater ability to solve problems, flexible reasoning, high self-esteem, and the building of strong emotional bonds. For example, research published in the Journal of Neuroscience and Education shows that the child’s brain responds more effectively to learning environments that promote symbolic play, guided imagination, and body expression—three essential pillars of the methodologies proposed by Antônio Carlos dos Santos.

Let us begin with TBMB (Teatro de Bonecos Mané Beiçudo), an approach that uses handcrafted puppets to dramatize everyday childhood situations. Inspired by popular puppet theater traditions and adapted using neuroeducational principles, TBMB allows children to express their emotions and better understand social dynamics. Imagine a shy child who avoids interactions with peers. By creating and manipulating a puppet that faces similar challenges, the child projects their emotions onto the character, gaining a safe space to explore fears and develop solutions. TBMB is more than theater—it is therapy, affective learning, and a bridge to empathy.

The second methodology, MAT (Mindset, Action, and Theater), is based on the idea that the mind transforms through movement, intention, and creation. Inspired by Carol Dweck’s research on the growth mindset, MAT encourages children to believe they can learn anything—as long as they allow themselves to try, fail, reflect, and try again. In the classroom, this materializes through small performances where students assume roles that require ethical reasoning, decision-making, and critical reflection. For instance, when dramatizing a conflict at recess, children rehearse different solutions, developing moral thinking, empathy, and agency.

ThM (Theater Movement), the third methodology, proposes an education of the body in motion, valuing gesture, rhythm, and nonverbal language as legitimate forms of expression and learning. Based on the ideas of Rudolf Laban and somatic pedagogy, ThM includes activities such as “mirror games,” “invented dances,” and “character walks,” where children explore space freely and with body awareness. This promotes not only balance and motor coordination but also skills such as attention, creativity, and emotional expression. From a neuroscientific perspective, movement is key to integrating the brain’s hemispheres, which boosts holistic learning.

One of the great differences of PCAs is that all these methodologies are interconnected by a vast amount of children's literature written by Antônio Carlos dos Santos himself. His playful and reflective works address themes such as respect for differences, the environment, conflict resolution and cooperation, always in accessible and sensitive language. Books such as “Ui Ghur: the teddy bear that released books”, “Screens only with health - Computers: between freedom and slavery” or “Happy pets” are used as a starting point for discussion groups, dramatizations and interdisciplinary projects. Reading thus becomes a driving force for artistic expression, critical thinking and the construction of autonomy.

The PCA also offers simple and practical exercises that can be applied by teachers and parents on a daily basis. A TBMB example: ask the child to create a puppet with recyclable materials and invent a story where the puppet faces a problem the child has personally experienced. For MAT, suggest that the child role-play different professions and discuss how each contributes to society’s well-being. For ThM, explore animal-inspired movements and turn that play into a conversation about the body, nature, and imagination.

It’s important to remember that these methodologies respect the rhythm of childhood. This is not about accelerating development, but about expanding opportunities for the child to discover who they are, what they like, how they express themselves, and how they can contribute to the world. Autonomy, in this sense, is not a final destination, but a continuous process of discovery and responsibility. And creativity is not just artistic talent, but the ability to see new possibilities in the face of old problems.

Research from the University of Cambridge shows that children educated in environments that stimulate creativity and autonomy exhibit greater emotional resilience, higher academic performance, and better social adaptation. By integrating art, science, and affection, the PCA offers not just a pedagogical method but a life philosophy: to educate with the heart, with the body in motion, and with a mind open to the infinite possibilities of being human.

Thus, investing in the Pedagogies of Creativity and Autonomy means betting on an education that prepares children for both the present and the future. It means giving them the tools to become protagonists of their own stories—with sensitivity, courage, and empathy. With these methodologies, parents, teachers, and caregivers hold a powerful guide not only to transform the classroom but also the world we hope to build with and for our children.

Educating with creativity and autonomy is, ultimately, about reigniting the spark of uniqueness in each child—and allowing that flame to shine freely, curiously, and lovingly.

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Step-by-step guide to structuring work teams

          Structuring an effective work team is one of the most complex and, at the same time, most transformative tasks within an organization. In a world where collaboration, creativity, and adaptability are essential skills, building cohesive, motivated, and productive teams is no longer a luxury but a strategic necessity. And for that, much more is needed than simply assigning roles and gathering talents: it requires planning, cultural sensitivity, emotional intelligence, and, above all, a human-centered leadership vision. Studies from Harvard, MIT, and Stanford show that well-structured teams increase productivity and employee satisfaction by up to 60%, while reducing stress and internal conflicts.

The first step in building an efficient team is strategic cultural planning—understanding the organizational landscape by focusing not only on goals and results but also on values, beliefs, and behaviors. Here, the Quasar K+ method developed by Antônio Carlos dos Santos becomes essential. It offers a complete diagnostic of the internal environment, aligning mission, vision, and organizational culture with team formation. The idea is clear: strong teams are built not just with technical skills, but with aligned purposes. A practical example can be seen at companies like Google, which recruit not only for skills but also for cultural fit, ensuring greater harmony in daily operations.

The second step is identifying individual talents and potentials, valuing the diversity of profiles. It’s not about assembling similar people; the strength of a team lies precisely in its complementarity. Neuroscience shows that cognitively diverse groups—those with different ways of thinking, acting, and solving problems—show greater capacity for innovation (Diversity Matters, McKinsey, 2020). Here, the leader acts like a theater director, understanding the team members as characters with unique roles. This is the foundation of the MAT (Mindset, Action, and Theater) methodology, which builds teams based on active listening, recognition of socio-emotional skills, and the use of theater as a tool to develop trust, presence, and communication.

In this sense, theater becomes more than just art—it becomes a method. With ThM (Theater Movement), the team is invited to experience movement as a metaphor for learning. In hands-on activities, members begin to understand their place within the group—their rhythm, voice, and pauses. This is the construction of a collective body that moves in harmony. This technique, grounded in Oxford University studies on embodied learning, has been successfully applied in companies and innovative schools worldwide. Apple, for example, regularly offers body expression workshops to its creative teams, focusing on empathy and active listening.

The next step involves developing internal communication, something that is often neglected. Poorly structured teams suffer from noise, misunderstandings, and unclear role definitions. To overcome this, it is necessary to invest in strategic communication, as explained in the book “Strategic Communication: The Art of Speaking Well” by Antônio Carlos dos Santos. In it, the author argues that speaking well is not just a technique but an attitude of respect, clarity, and empathy. Applying these principles in team dynamics improves decision-making, reduces conflicts, and strengthens bonds among members.

And there’s no effective communication without mastery of breathing, voice, and diction. In this regard, the second book in the trilogy by Santos, “Breathing, Voice, and Diction”, offers a practical guide for leaders and team members who want to express themselves with strength and serenity. Workshops based on this book have been widely used in corporate training with great success, as shown in research from the University of Cambridge on soft skills and organizational performance. A team that breathes together, quite literally, also thinks and acts more cohesively.

Another key component for team success is strategic writing, especially in today’s digital communication age. The third book in the trilogy, “Moving Letters: The Art of Writing Well”, suggests that writing is a gesture of care and intelligence, capable of building bridges and strengthening relationships. Teams that master the art of clear, inspiring writing are more effective in internal communication—whether in reports, emails, or project proposals. Organizations such as the Lemann Foundation have already implemented mindful writing programs to improve performance across their teams.

One of the most humanizing approaches to team building is the use of art and playfulness as tools of integration. The TBMB (Mané Beiçudo Puppet Theater) method shows how humor, creativity, and symbolic expression help unlock fears, restore spontaneity, and strengthen bonds. In high-pressure environments, such as hospitals and startups, applying TBMB has been effective in reducing anxiety and increasing engagement. A study from Yale University showed that teams participating in regular playful activities improved their group problem-solving capabilities by up to 45%.

With all these elements in place, the final step is to maintain a continuous process of evaluation, feedback, and development. High-performing teams are not built overnight—they are shaped through ongoing support. The leader becomes a facilitator, encouraging collective listening, celebrating small victories, and continuously refining processes. Neuroscience emphasizes the importance of positive reinforcement and emotional recognition as pillars of motivation—elements that should always be present in team meetings and everyday interactions.

Therefore, team structuring is not a purely technical task—it’s a true art. It is a process that involves planning, culture, emotion, listening, and creativity. It’s about blending the precision of strategy with the lightness of theater, the strength of communication with the playfulness of puppetry, and the technical gesture with the human gesture. That’s why the leaders of the future—and the present—are those who know how to touch both the minds and hearts of their team members. They inspire, integrate, and elevate each person to their best self. And this step-by-step guide is not a rigid script, but a living, dynamic, and transformative path—one that can begin today, wherever you are.

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The father of modern mexican theater: Rodolfo Usigli

           Few names resonate as powerfully in the Latin American theatrical universe as that of Rodolfo Usigli. Considered the father of modern Mexican theater, his work broke away from the amateurism and superficiality that, until the mid-20th century, dominated the country's stages. Usigli dared to build a critical, reflective, and politically engaged dramaturgy, turning theater into a tool for social analysis and collective self-awareness. He understood the stage not just as a place for entertainment, but as a space for transformation—something that continues to inspire artists, educators, and thinkers around the world today. Studying his journey is to dive into one of the most lucid minds of Mexican culture, while also learning how art can awaken the social and political consciousness of a people.

Born in Mexico City in 1905, Rodolfo Usigli was a man of many talents: playwright, diplomat, essayist, and teacher. He studied at the National Conservatory of Music, but it was theater that ultimately captured his soul. In the 1930s, he spent time in the United States, where he studied at the prestigious Yale School of Drama—an experience that shaped his aesthetic and philosophical vision of dramaturgy. There, he absorbed influences from authors like Henrik Ibsen, Anton Chekhov, and George Bernard Shaw, but always with an eye on Mexican reality. Upon returning to Mexico, Usigli had a clear purpose: to create a theater that was both aesthetically solid and deeply rooted in the culture and conflicts of his country.

His masterpiece, El Gesticulador (1938), is a milestone not only in Mexican dramaturgy but in all of Latin American political theater. The play tackles themes such as identity, corruption, authoritarianism, and the manipulation of power—topics that remain as relevant as ever. The story follows César Rubio, a professor who assumes the identity of a dead revolutionary hero and is subsequently recognized as a public figure, despite living a lie. The plot invites the audience to reflect on the games of appearance and truth that underpin politics, morality, and theater itself. El Gesticulador was censored for years, which only reinforces the strength of its critique and the relevance of its message.

Usigli wrote with a precise and almost surgical method. According to a recent study by the National Autonomous University of Mexico (UNAM, 2022), his manuscripts reveal a three-phase process: first, he drafted the plot with detailed notes on the historical context, moral dilemmas, and psychological profiles of the characters; next, he developed the dialogues with attention to orality and emotional plausibility; finally, he meticulously revised the dramatic structure, seeking a balance between tension, humor, and reflection. His writing was thus both a rational and emotional process—technical and intuitive—very much aligned with what contemporary neurotheatrical methods propose.

At this point, Usigli’s work resonates deeply with the methodologies developed by Antônio Carlos dos Santos, such as Mané Beiçudo Puppet Theater, MAT (Mindset, Action, and Theater), and ThM (Theater Movement). Through puppetry, plays like El Niño y la Niebla or Corona de Sombra are brought to children and adolescents in a playful yet critically rich manner. MAT, in turn, uses the conflicts and archetypes from Usigli’s works as devices for emotional development and leadership training in workshops for youth and adults. ThM taps into the physicality and codified gestures that characterize Usigli’s theater to develop exercises in stage presence and body expression, bringing to life the power of the body as text.

Another striking feature of his dramaturgy is the presence of women as symbols of rupture and questioning. In plays like La Familia Cena en Casa and Corona de Luz, female characters challenge patriarchal conventions and reveal the tension between imposed roles and the desire for autonomy. This approach aligns with modern currents of theatrical and feminist criticism, as pointed out by studies from Universidad Iberoamericana (2023), which highlight Usigli’s pioneering role in giving voice and agency to women in an otherwise conservative context. He didn’t write to please—he wrote to disturb, to provoke, and to make people think.

From a historical perspective, Usigli was the playwright who consolidated a national theatrical identity. Before him, Mexican theater was largely marked by light comedies, imported melodramas, and shallow satire. Usigli inaugurated a new era: theater as a social mirror, as critique, as conscience. He directly influenced generations of authors such as Emilio Carballido, Sergio Magaña, and Luisa Josefina Hernández, and his work continues to be studied and performed in schools, universities, and theater collectives. His legacy lives on because his questions still echo: What does it mean to be Mexican? What is the truth? What is theater?

Contemporary neuroscience confirms the importance of artistic experiences like those offered by Usigli. A study by Stanford University (2021) demonstrated that engagement with dense and politicized dramatic works activates brain areas associated with empathy, moral judgment, and critical thinking. Usigli’s theater, by exploring ethical and identity dilemmas, does not merely inform—it transforms the viewer’s brain, promoting a type of cognitive plasticity essential to human development. This explains why his texts continue to move us, even decades after his death.

The beauty of his work lies precisely in its timelessness. In a world marked by fake news, identity crises, and ideological polarization, Rodolfo Usigli’s theater invites us back to the essentials: dialogue, truth, and honest confrontation with our own masks. His characters are not caricatured heroes or villains, but human beings in conflict—often insecure, fragile, manipulable. That’s why his theater is so human. And so necessary.

Rodolfo Usigli passed away in 1979, but his voice still resounds like a call. A call for theater not to settle. For artists not to be silenced. For audiences not to become numb. To reread Usigli today is an act of resistance and hope—hope that through art, we can build a more conscious, just, and sensitive society. May his example continue to inspire new generations of playwrights, educators, and dreamers, because, as he himself once said, “theater should not merely reflect life, but shed light upon it.”

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10 simple strategies for applying the Pedagogies of Creativity and Autonomy (PCA)

Transforming the school day into an experience of freedom, art, and growth

Educating a child is much more than delivering content: it is about building bridges for them to discover themselves, others, and the world with wonder, confidence, and freedom. This is the essence of the Pedagogies of Creativity and Autonomy (PCA), developed by professor and playwright Antônio Carlos dos Santos. Based on three main pillars — TBMB (Teatro de Bonecos Mané Beiçudo), MAT (Mindset, Action, and Theater), and ThM (Theater Movement) — the PCA offer a sensitive, artistic, and deeply transformative educational approach. Below, we present ten simple and inspiring strategies for implementing these practices in the everyday school routine, promoting the holistic development of children.

The first strategy is to set up a pretend play corner using puppets inspired by the stories of Mané Beiçudo. Simple puppets made from recycled materials can be used by children to create their own narratives. A cardboard box turned inside out, pieces of fabric, wooden spoons, and some imagination are enough. This activity, based on TBMB, encourages symbolic language, creativity, and emotional expression. In a public school in Pernambuco, for example, second-grade students created a play about a puppet who was afraid of the dark — reflecting the feelings of many children in the class. The activity led to group discussions, emotional support, and stronger social bonds.

The second strategy is to begin classes with a positive mindset circle, encouraging children to share something they learned from a mistake or something they are proud of. This practice comes from the MAT methodology, inspired by the work of psychologist Carol Dweck, who found that children with a “growth mindset” tend to be more motivated and resilient. In this circle, mistakes are seen as part of the learning journey rather than failure. As children listen to their classmates sharing how they overcame challenges — such as learning to tie their shoes or reading a difficult word — they internalize the idea that effort is more important than perfection.

The third strategy is to use the body as a means of expression through creative movement sessions inspired by ThM (Theater Movement). With instrumental music and an open space, children are invited to move as if they were animals, emotions, or natural elements. This practice, grounded in research on relational psychomotricity and movement neuroscience (such as the work of Llinás and Berthoz), stimulates motor coordination, body language, and self-awareness. Teachers report that more energetic children find a way to channel their energy, while more reserved students feel seen and valued for their unique forms of expression.

The fourth strategy is to create dialogues between children's literature and theater. Use the works of Antônio Carlos dos Santos, such as “Ui Ghur: the teddy bear that released books” or “Happy pets,” as a starting point for improvisations and performances by the children themselves. By dramatizing the books, children deepen their reading comprehension, develop empathy, and symbolically experience the characters' dilemmas. In a school in Porto Alegre, when performing the story of “The ballerina who wanted to fly,” a student with a physical disability felt represented and valued, and gained confidence to talk about her emotions in public for the first time.

The fifth strategy is to organize theme-based projects led by the children, inspired by the MAT approach. For instance, when studying the environment, the teacher can ask: “What would you like to change in the world?” and let students propose actions - writing posters, creating plays, composing songs. Autonomy, when genuinely offered, leads to a sense of belonging and engagement. According to the OECD’s Education 2030 report, methodologies based on choice and authorship significantly increase students’ intrinsic motivation.

The sixth strategy is to offer spaces for emotional listening with character mediators. Inspired by the TBMB world, the teacher can create a puppet who acts as the class’s counselor — like “Professor Beiçudo” or “Grandma Maria Benta” — who shows up during conflicts to listen to students. The symbolic distance helps children express emotions with more ease. In schools where this practice has been adopted, there has been a noticeable decrease in peer conflicts and an increase in empathy, according to feedback from pedagogical coordinators.

The seventh strategy is to propose creative learning missions that involve the body, mind, and art. A simple activity might be: “Today’s mission is to walk around the school as if you were a sad robot. What would change in the world if robots felt sadness?” This playful task sparks philosophical, artistic, and social reflections. This practice — connected to both ThM and MAT — promotes critical thinking from an early age. Research from Stanford University shows that simulation and empathy-based activities help develop theory of mind and moral decision-making.

The eighth strategy is to encourage the creation of personal artistic journals, where children can record their ideas, drawings, stories, and emotions without corrections or judgment. This personal notebook fosters creative freedom, self-expression, and a connection to one’s own process. A student might, for instance, invent a superhero who solves school problems or a magical creature that helps overcome sadness. Teachers say that revisiting these notebooks allows them to track emotional and cognitive development.

The ninth strategy is to involve families in interactive projects based on PCA. Inviting parents to theater workshops, storytelling sessions or creative movement sessions strengthens the bond between school and community. At a school in Belo Horizonte, mothers and fathers participated in a play with their children, playing characters from the book “Screens only with health” written by Antônio Carlos dos Santos. The result was moving: parents cried, children laughed, and everyone left feeling more connected..

Finally, the tenth strategy is to cultivate, every day, a pedagogical attitude of trust and enchantment, as advocated by the PCA philosophy. This means believing that each child is unique, full of potential, and deserves the freedom to explore. It means replacing haste with listening, control with partnership, repetition with invention. Antônio Carlos dos Santos teaches that “creativity is the language of childhood,” and that educators must be translators and guardians of this language. When we apply the PCA with simplicity and affection, we do more than teach — we transform lives.

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Children: the Pedagogies of Creativity and Autonomy

How to nurture free, curious, and creative minds from early childhood

Educating a child is one of the greatest acts of love and responsibility an adult can carry out. But more than teaching rules or content, education means cultivating autonomy, inspiring creativity, and allowing childhood to be a fertile time of discovery and inner freedom. In this journey, new pedagogies emerge that go beyond traditional methods and seek to awaken each child’s unique potential. It is in this context that the proposal of the “Pedagogies of Creativity and Autonomy” shines—a set of methodologies created by professor, playwright, and neuroeducator Antônio Carlos dos Santos, whose work brings together theatrical practices, children’s literature, and contemporary scientific principles from Neuroscience, Positive Psychology, and Early Childhood Education.

From a very young age, children show a natural desire to create, imagine, and transform the world around them. Just watch a baby playing with a box to see that it’s not the object itself but the freedom to imagine that delights them. Creativity is, therefore, an innate language of childhood—and adults must not suppress it, but rather nourish it. According to studies conducted by Harvard University, children who regularly participate in creative activities develop greater cognitive flexibility, emotional resilience, and social skills. This demonstrates the value of methodologies that focus on the child’s agency, such as those developed by Antônio Carlos dos Santos, who proposes an education centered on listening, expression, and enchantment.

The Mané Beiçudo Puppet Theater (TBMB) is one of the gems of this pedagogical proposal. With charismatic characters and captivating stories, TBMB creates a space where the child is both spectator and author. Inspired by Brazilian folk traditions and European puppet theater, this method goes beyond storytelling: it invites children to create their own plots, manipulate characters, and reflect on fundamental human values such as friendship, courage, respect, and empathy. A powerful example is Clara, a seven-year-old girl who, during a Mané Beiçudo workshop, created a play about a puppet who wanted to fly. Through this story, she was symbolically processing her own desire to be free and to dream big. Theater here becomes therapy, language, and a bridge between inner and social worlds.

Another fundamental pillar of the Pedagogy of Creativity and Autonomy is MAT – Mindset, Action, and Theater. This method blends the latest neuroscience research with theatrical techniques to develop a growth mindset in children—that is, the belief that it is possible to learn, improve, and overcome challenges through effort, curiosity, and courage. Through dramatizations, role-playing games, and simulations of real-life situations, children are encouraged to reflect on themselves and to try out new behaviors. Research from the Laboratory of Educational Psychology at Stanford University has shown that artistic practices combined with self-reflection promote stronger identity formation, self-esteem, and perseverance in children aged 6 to 10. In other words: theater also teaches strength, flexibility, and self-belief.

Completing this journey, the ThM – Theater Movement method treats the body as a fundamental tool for learning. The approach is both simple and profound: helping children understand the world and themselves through movement, dance, improvisation, and bodily expression. In an era when many children are raised in overly passive environments—sitting for hours in front of screens or notebooks—ThM reclaims the pedagogical value of the body in action. A striking example was seen in a public school in the countryside of Pernambuco, Brazil, where just three weeks of ThM-based workshops led to a 40% increase in active classroom participation and a significant drop in aggressive behavior.

These three methodologies — TBMB, MAT and ThM — are part of the same philosophy: that education is liberation. Children must be allowed to dream, create, express themselves and move with confidence. In his vast work of children's literature, Antônio Carlos dos Santos presents stories that foster this worldview: characters such as “Ui Ghur”, who transforms gray walls into rainbows, or “Saci Pererê”, who through his mischief teaches that life is a universe in movement and transformation. They are living metaphors of a childhood that wants to be seen, heard and respected in its creative power.

Parents and educators play an essential role in this process. Creating safe, playful, and respectful environments is the first step for creativity-based pedagogies to flourish. Avoiding labels such as “messy” or “lazy” and instead observing each child’s rhythm, talents, and learning styles is an exercise in listening and empathy. French neuroscientist Stanislas Dehaene affirms that a child’s brain learns best in environments filled with enthusiasm, curiosity, and positive challenge—elements that these pedagogies masterfully emphasize.

Fostering creativity and autonomy also prepares children for a rapidly changing world. More than repeating formulas, they learn to think critically, make decisions, collaborate, and innovate. These are essential 21st-century skills, as highlighted by UNESCO’s guidelines for future education. And all of this can begin with something as simple as a well-told story, a puppet finding its voice, a body that dances and explores the classroom space.

It is urgent that we value methods like those of Antônio Carlos dos Santos, which unite poetry, science, and affection. They show us that every child carries a creative spark within and that it is up to us adults to gently blow on that flame. Let us replace the fear of error with the joy of discovery, the rigidity of rules with the lightness of play, and imposition with invitation. Childhood is not a rehearsal for life—it is life, in its most intense and pure form.

And by educating with creativity and autonomy, we not only raise happier and more capable children. We transform ourselves. We learn to listen, to play, to wait. We rediscover the beauty of teaching with wonder and of learning every day from the little masters we have at home or in school. May these possibilities always be creative—and liberating.

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Sustainability and social impact in planning

How to integrate awareness, culture, and responsibility into the heart of organizations

          In today’s world, there is no more room for organizations that plan only for financial growth while ignoring the effects of their actions on the environment, culture, and people. Increasingly, sustainability and social impact have become central pillars in the strategic planning of companies, institutions, and social projects. Recent studies from Harvard Business School, the University of Cambridge, and MIT show that organizations integrating social and environmental responsibility into their decision-making processes not only thrive more but also build a solid reputation, gain public trust, and generate meaningful change in the world. Planning, therefore, must be rethought with soul, science, and purpose.

But how can this transformation begin? The answer lies in integrating three great forces: strategic awareness, organizational culture, and sustainable practices. Future-oriented planning must consider not just profits, but people, communities, and the planet. For this, it is essential to invest in education and tools that help leaders and teams develop a broad, systemic, and human-centered vision. In this context, the Quasar K+ method, created by Antônio Carlos dos Santos, offers an innovative step-by-step process: a methodology that combines the rigor of planning science with the brilliance of cultural creativity. The model begins with purpose definition, moves through a deep analysis of internal and external scenarios, and culminates in actions that generate social and environmental value alongside economic success.

Culture is a powerful key to impactful planning. Organizations that connect with the cultural expressions of their territory and value diversity become more relevant and resilient. The University of Oxford, in a recent study, highlighted that companies with strategies aligned to the cultural identity of the communities they serve experience greater stakeholder engagement and improved sustainability performance. Theater, for instance, emerges as both a living metaphor and a practical tool for organizational planning: every employee has a role, every act has a purpose, and the script must be clear yet flexible. The MAT – Mindset, Action, and Theater methodology, also developed by Antônio Carlos, reinforces this idea by using theater as a tool to transform mindsets and boost engagement. By dramatizing organizational situations, leaders and teams see themselves on stage—and in seeing themselves, they transform.

Social impact cannot be addressed without acknowledging the role of the body and action. The changes we seek in organizations and the world will not come from well-written reports or numerical goals alone. They are born from movement, presence, and a living commitment to reality. The ThM – Theater Movement methodology addresses this point precisely, promoting training where body, voice, and emotion are integrated with strategic reasoning. This practice, grounded in neuroscience and organizational psychology, has been successfully applied in both Brazilian and European companies, fostering more collaborative, empathetic, and productive environments.

Sustainability also means continuous education. Investment in ongoing learning is one of the main strategies identified by Stanford University as essential to the success of sustainable projects. Learning cannot be sporadic—it must be embedded in the daily operations of organizations. In this regard, the books by Antônio Carlos dos Santos are valuable resources. In “Strategic Communication: The Art of Speaking Well”, he shows how conscious communication is vital for leaders who want to inspire and engage ethically. “Breathing, Voice and Diction” provides practical techniques to make speech stronger, clearer, and more empathetic—critical aspects in contexts requiring responsible leadership. Finally, “Moving Letters: The Art of Writing Well” teaches how to write with purpose, sensitivity, and impact, essential elements in reports, speeches, and proposals aimed at social transformation.

Education for sustainability is not solely the responsibility of managers. Workers at all levels must be protagonists of this change. A strong example of this is a cooperative in the countryside of Minas Gerais, Brazil, which implemented the Mané Beiçudo Puppet Theater (TBMB) as part of staff training. Through playful and critical performances, employees explored themes such as waste reduction, environmental respect, and social inclusion. The results were impressive: reduced water and energy consumption, increased sense of belonging, and improved organizational climate.

Initiatives like these reveal that planning with social impact does not need to be complex or far removed from reality. On the contrary, it arises from dialogue, listening, and the ability to imagine new possible futures. We need courage to step out of short-term thinking and invest in sustainable solutions that involve culture, art, and emotion. As Muhammad Yunus, Nobel Peace Prize winner and founder of the Grameen Bank, said: “A business that does not improve people’s lives does not deserve to exist.”

In addition, we must cultivate a new type of leadership—one that does not fear mistakes but learns from them. One that does not see the team as machinery but as a living network. One that understands that planning is both an act of creation and an act of care. Planning focused on sustainability and social impact is, ultimately, an exercise in humanity. And like all human practices, it requires listening, presence, and passion.

Finally, it is essential to remember that sustainability is not a trend—it is survival. Social impact is not a buzzword—it is an urgent need. The planet and its people are calling for new ways of thinking, acting, and planning. It is up to us to respond to this call with wisdom, sensitivity, and responsibility. Every plan we make is a rehearsal for the future we want to live in. If it includes art, culture, respect for life, and a commitment to the common good, then we are not just planning—we are consciously and courageously writing a new story for organizations and for the world.

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.

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