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Chapter 7 illustrates the
fourth of five examples of protest literacies covered in the book:
arts-activist literacies. Brazil has a distinctive history of
arts-activist literacy practices dating back to contestations of
military dictatorship from 1964–1985. Linking this background
to contemporary social movements contesting the local impacts of
global “mega-events” in Rio de Janeiro, Chapter 7 focuses on a so-called anti-World Cup
street decorating campaign realized across multiple sites including
the Maré favelas – recently militarily occupied by the
federal army as part of security measures for Rio’s hosting of the
2014 FIFA World Cup. Focussing on names and portraits realized
through a wide range of arts-activist literacy practices from
graffiti stencilling to digital projection, Chapter 7 highlights the
converging and aggregating of symbols of protest from the ongoing
cycle of contentious politics charted throughout the book, into
protesting against the 2014 World Cup. In Maré, arts-activism around
this mega-event also served doubly to mobilize upcoming favela
social movement demonstrations contesting policing practices
(“pacification”) and population displacements (“removals”) –
as described next in Chapter
8.
Since at least the late 1950s and Brazil’s first of five times winning the FIFA World Cup it has been a widely celebrated national event in a country where football holds a prominent place in popular culture and everyday life. Connections between mega-events per se and controversial government interventions in favelas came to public notice preliminarily through the hosting of the 2007 Pan American Games in Rio. Arts-activist literacies are particular sets of literacy practices closely associated with artistic practices that feature frequently in the protesting and campaigning activities of social movements – for instance, involving a range of artistic components ‘connected with verbal text, but in no way dependent on it: and similarly the other way around’. The example of stencilling served to illustrate how such anti-World Cup arts-activist literacies whether realized or not by professional or self-declared artists, involve, or draw on, particular artistic practices.