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.

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Literacy for youth and adults through the PCA Method – Pedagogies of Creativity and Autonomy

          Literacy for youth and adults is one of the most urgent and transformative challenges in contemporary education. In a world where written communication permeates all spheres of life, offering an adult the chance to learn to read and write is akin to handing them the keys to a new world. The PCA method – Pedagogies of Creativity and Autonomy, developed by Antônio Carlos dos Santos, emerges as an innovative and humanized response to this demand, built upon scientific evidence, field experience, and a profound respect for the learner's individuality.​

The PCA is founded on the idea that every human being is inherently creative and capable of learning at any age, provided their autonomy and context are respected. One of the method's primary pillars is the personalization of teaching. Each student is seen as a unique universe of experiences, memories, and potentials. Thus, literacy doesn't begin with isolated letters or syllables but with elements the student recognizes from their life: their name, their children's names, everyday objects. By giving immediate meaning to what is learned, the student feels motivated and valued.​

The combined use of analytical and synthetic methods is another distinguishing feature of the PCA. While synthetic methods, like phonics, help the student understand the relationship between letters and sounds, analytical methods start with complete texts, allowing the student to have a broad view of language use. This integrated approach, supported by research, enables the student to develop competencies simultaneously and more naturally.​

Technology also has a guaranteed place in the PCA. Interactive applications, videos, audio recordings, and digital platforms are used to make learning more engaging and accessible. An effective example is the use of applications that combine sound, image, and text, similar to those used in educational centers in Finland. Such tools allow the student to associate phonemes with images and complete words, stimulating various areas of the brain simultaneously, as demonstrated by studies in neuroeducation (Zull, 2002).​

The learning environment in the PCA is another essential element. Classrooms are designed as welcoming and encouraging spaces, where mistakes are seen as part of the process rather than failures. Teachers are trained to act as facilitators and motivators, creating a relationship of empathy and trust with students. Affectivity, as highlighted by Wallon (1945), is a powerful driver of learning, especially among those who carry histories of exclusion and school traumas.​

Among the central instruments of the PCA is the TBMB – Mané Beiçudo Puppet Theater. With it, students learn through playful performances that represent everyday situations. A striking example is the story of a 65-year-old man in São Paulo who couldn't read and, through the TBMB, learned to write his grandchildren's names and began telling his own stories with the puppets. Symbolic and emotional expression promotes cognitive and affective integration, as advocated by Vygotsky (1934).​

The second pillar, MAT – Mindset, Action, and Theater, aims to change the student's mindset regarding themselves. Many adults carry the belief that it's too late to learn. MAT works on self-esteem and resilience through theatrical dynamics and reflections, as proposed by Carol Dweck (2006) in her theory of the "growth mindset." With each new word learned, the student reinforces their confidence and desire to continue.​

The third component is ThM – Theater Movement, which integrates body expression into the literacy process. Through movements, rhythms, and performances, the body becomes a tool for memory and expression in the learning process. A study conducted at the University of Helsinki showed that the use of movement and music in adult education increases content retention by up to 40%.​

Inspired by the PCA, here are 10 practical steps for educators to initiate the literacy of youth and adults:​

1. Discover each student's name and story: write their names and build words from them.​
2. Use the TBMB to dramatize real-life situations of the students.​
3. Create a storytelling circle with personal objects brought by the students.​
4. Introduce letters with associated sounds and images using simple applications.​
5. Encourage each student to create an "illustrated diary" with drawings and new words.​
6. Conduct performances with the ThM involving simple gestures and speeches.​
7. Stimulate the collective creation of a class story.​
8. Use familiar songs to work on rhymes and sounds.​
9. Celebrate each new word learned as an achievement.​
10. End each class with a sharing moment where each student can express what they learned and how they felt.​

The methodologies created by Antônio Carlos dos Santos, extensively described in his vast published work, prove to be not only effective but deeply human. They address not just literacy itself but the restoration of the individual's ability to express, think, decide, and create. Literacy for youth or adults through the PCA method is, above all, a belief that every life can be rewritten with freedom, dignity, and poetry.

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Click here.

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

To learn more, click here.

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