THE Sapoti “Sapoti” is a tropical fruit, with very sweet taste and earthly color. The word in portuguese has got a funny and dynamic sound to it. When questioned the reason behind the choice of the name Sapoti, we say that the unusual name has lots to do with the brazilian roots, our history, heritage and culture. Sapoti’s curriculum is closely interlaced with its director’s, the writer Daniela Chindler. But the production company itself was actually born in 2001, while many of literature dissemination projects were being diffunded and our main clientes were Rio de Janeiro’s council and the Academia Brasileira de Letras. It backs from this time our experience in cultural activities at libraries, squares, parks, train stations, hospitals and even at Guanabara bay Waters, when we used to tell stories during the ferry boat trips. Jumping over fences, living up the city and sharing knowledge has always been, since the beginning, our platform and goal. The city is wonderful, and we truly believe that culture unifies the urban space which is still divided. During all this period we’ve done right and wrong many times. Today we have a team of over 90 professionals spread in 4 brazilian capitals. IPHAN, Casa de Rui Barbosa Foundation, Centro Cultural Banco do Brasil, Botanical Garden of Rio de Janeiro, Roberto Marinho Foundation, Light Museum of Energy... Clients, partners, friends. For us, it’s always a challenge and a pleasure to elaborate a new project. We start from the point that we can always have a new look onto things: a careful, different, unusual, loving look. Want to know more?
THE Sapoti
PortfOlio CCBB - CENTRO CULTURAL BANCO DO BRASIL Sapoti coordinates the educational program of CCBB - Centro Cultural Banco do Brasil - the 20th most visited museum in the world, according to british publication The Arts Newspaper, at all four CCBB unit locations: Rio de Janeiro (since 2006), São Paulo (since 2008), Belo Horizonte (since BH CCBB’s opening in 2013) and, recently, in Brasilia (since the decision on the coordination of the project’s unification in 2014). During all this time, we have designed educational actions and assisted the public on some of the world’s most visited exhibitions such as “The magic world of Escher”, the most visited exhibition of 2011; “Impressionism: Paris and the modernity”, 3rd place in 2013 and “Salvador Dalí”, the 4th most visited exhibition of 2014 (The Arts Newspaper).
PortfOlio Museu do Meio Ambiente, BOTANICAL GARDEN OF RIO DE JANEIRO The M useu do Meio Am biente (Environment Museum), that reopened its doors for the Rio+20 Conference, highlights the city of Rio, inserted at Mata Atla ntica , one of the most diversed biomes and yet one of the most endangered on Earth. From the c o n c e pts o f B i o d ive rs i t y a n d Sustainability, it opens up a wide range of questions and discussions about the environmental issue. T h e ed u c a ti o n a l p ro g r a m w a s designed by Sapoti together with the professional team of the Botanical Ga rden . It oers a wide ra nge of activities in dierent languages and cultural expressions, approaching the interaction between man and scenery. The creation of props, games, materials, vists schedules inside and outside the museum, using the arboretum of the Botanical Gardens as a great open sky collection.
PortfOlio IPHAN – National Institute for the Historical and Artistic Heritage Committed to the idea that society is not only told by facts but also by its cultural heritage (material and immaterial), IPHAN has been working to ensure the survival of goods and acting directly for the consolidation of the country’s collective memory. In 2007, the “Open Doors Churches” was the front page of a widely circulated newspaper i n town . Visitation sc hed u les, m usica l programs and storytelling at a scenery of twenty-three churches and two chapels inscribed on the historical heritage list of IPHAN in Rio de Janeiro - pieces of the past that resisted strong at the Historical Center and even if hidden by the shades of the huge skyscrapers, still keep precious bits of history. We have set two exhibitions at the galleries of the main building of IPHAN-RJ, the “Fragmentos - the History of Jesuits from the Archeology” in 2007 and the currently on show exposition “110 years of the Rio Branco Avenue” celebrates the passage of time and all the transformations of which the main comercial avenue of the city has been through. The exhibition has na educational program to receive scholar groups, foreseeing the accessibility for tourists, children and people with disabilities.
PortfOlio LIG-DES BY Marcello Nitsche - SESC Pompeia, São Paulo
Our team in São Paulo has assisted the visitors at contemporary art expositions at SESC units in Pompéia and Belenzinho, with mediated visits and interactive games.
PortfOlio MUSEU LIGHT DA ENERGIA - LIGHT MUSEUM OF ENERGY
Si n c e 20 12, we c oo rd i n a te th e educational program at Museu Light da Energia – the institutional museum of the energy distribution company in Rio de Ja nei ro c ity. Besides c reati ng activities to talk over the generation of energy and the environment, we also added a h istorica l c ha racter to it, considering that since the begining of the 20th century, the company was responsible for the modernization of the city, oering public lighting and gas supplies, telecommunications and eletric tram services.
PortfOlio FUNDAÇÃO ROBERTO MARINHO - ROBERTO MARINHO FOUNDATION For the FRM there are two fields of operation: writing educational materials and museum activities. For the Education sector, we create Portuguese and Maths activity books to be developed by the teacher in the classrooms, with a variety of artistic expressions - a school fast tracking project developed together with the Education Department of the State and Municipality of Rio de Janeiro. For the Heritage sector, we build up teams to present the public the new museums during its construction period – like the Museu da Imagem e do Som and the Museu do Amanhã – showrooms by the construction sites. This way the public gets familiar with the proposal of the museum while watching it being built. We also represent the Foundation presenting its new museums’s projects in certain events, like the 23rd General Conference of ICOM/2013 and the 5th National Forum of Museums/2012.
Activities The educational activities build up bridges connecting the museum programs, its contents and artistic expressions and the visiting public. Mediation is the base of our pedagogical proposal. We believe the educator does not only pass on knowledge to the visitors. Through conversation, provocative questioning and teasing, he instrumentalizes and encourages the public to create their own vision over the exhibition. The exchange between the educators and visitors is what makes the experience educative for both of them.
MEDIATED VISITS During mediated visits we encourage reflections through conversations that bring together the educator, the public, their respective cultural background and the exposed artworks. For this collective questioning there isn’t a final answer but multiple approaches through the exchanges that happen during this time. There are scripts for all types of public: scholar, families, youngsters and adults, people with different disabilities.
Activities Theatrical Visits
Historical and musical scripts elaboration, creation of costumes and props. Characters present the building sites or the institution’s history through theatrical performances.
Activities Storytelling
Since the ancient times, man has always been a creator of narratives. Many came up to explain what he couldn’t understant of the world around him: the sunrise, the moonrise and the stars at night, the sound of thunders, the shadows... Humankind have elaborated narratives to answer this questions and this way the myths have emerged. Through the use of words man invents himself, reinvents and establishes his relationship with the world. That’s why we have a lways been tel l i ng stories – to understand life. When including storytelling in the schedule we offer a new look over the collection of the exposition. For the story to flow the imaginary takes place. When the visitor travels to the story listener’s role he is actually compounding with fiction. Is there a better way to experience it?
Activities Workshops Propone experiences and reections understanding the world through activities related to the exhibits contents. It is when the public have the opportunity to get hands on, unifying reason and emotion to focus in order to develop new proposals starting from concepts and questions brought up during the visit, besides considering the sensations experienced, individual and collectively, in his daily life. We also oer dierent props, materials that surprise for its originality. Participants may, as an example, reproduce impressionist textures with color dough, materialize sensations like happiness, sadness or heat through sculptures, create stories from sounds or smells, apply visual arts techniques like assemblage and woodcut, and even produce an animation movie.
Activities for small kids
How would be possible to talk about the exhibitions contents with 3 to 6 yea r old kids i n a way they ca n understand? Through gallerie visits with props, stories, music and hands-on workshops the educators present the contents of the expositions to the public doing their ďŹ rst steps in galleries. To include the little visitors at the program schedule is making the museum more accessible and contributing to the formation of new audiences.
Activities GAMES
Mat-games, table and cards games, story, scenery and character building dynamics. Dierent from the majority of games, these dynamics do not deďŹ ne a winner, as the idea here is to promote a group experience with the developments proposed by the exhibitions contents.
Accessibility ACCESSIBLE ASSISTANCE What makes the access to a museum be democratic? There are many answers: the price of the ticket, the location, facilities, communications and schedule. The educational program is responsible for the activities related to the exhibitions. And what makes this program accessible? The activities being interesting to a wide range of profile groups. Our starting point is thinking accessibility beyond the medical field, bringing the specificity of disabilities to the cultural venues. The focus of our work is to be inclusive to all, considering the accessibility in the physical space, architecture, communication, attitude and socially. Adapting the activities into sign language: mediated visits, storytelling, theatrical visits. Visitas teatralizadas.
Accessibility Relational objects
We trust a museum as a space for multiple encounters between people with and without disabilities. The material we produce is applied to the public of different age ranges with an integrative proposal to create different experiences. The relational objects are tools to instigate reflections and explore the visitor’s repertoire, aiming to bring the viewer closer to the pieces exposed. We strive for the aesthetic experiment as a foundation for our cultural formation, and this material does the task. The mediation objects may be of various props, materials, shapes and sizes.
Accessibility TRIDIMENSIONAL DEVICES
Objects are designed to make mediation accessible to all public, people with or without disability. These objects should not be seen as replicas or copies. A Picasso’s drawing transformed into a sculpture, for example, is no longer Picasso’s drawing but a way we found to approach that artwork using touch. When creating this we prioritize the concepts brought by the artist’s work, and that’s what the pieces bring with them, something beyond a tridimensional representation of the artwork.
Accessibility Modular games Exposição LIG – DES Marcello Nitsche From the series of the artwork “Pinceladas” and “Tridimensional”, by the brazilian painter/ sculptor Marcello Nitsche, fitting pieces were designed to m e d i at e t h e c o n c e p t s o f b i d i m e n t i o n a l i t y, tridimensionality, balance, visual movement and modular construction. Visitors were invited to create a sculpture from the slots between the plates, observing how tridimensionality emerged from the intersection of these plans. The activity was ad ressed to a l l pu bl ics, i nc l ud i ng the visua l ly impaired, who through touch could recognize the artist’s traces and experience the process of the sculpture making. The fabric tunnels conversed with the tubular sculptures and the artwork “yellow bubble” presented at Marcelo Nitsche’s LIG DES’s exposition. Built in modular shapes, they could fit to each other by expanding its lenght. Visitors were invited to explore the tunnel’s interior and the possibilities of movement though a collective construction. With its playful and sensorial character, the activity was attending the children and the intelectually disabled public.
Accessibility SENSORIAL GARMENTS
The garments outline the body and allow a dierent interaction and recreation to the art. We propose a change in the perspective related to the exhibited artwork: the body as art itself, and also as gallery. By using sensorial garments the visitor becomes pu rposefu l towards the concepts and abstractions of the exhibit on show.
Accessibility OBJECT-BOOK
By becoming regular readers, that book reading moment becomes intimate and no longer shared, as on storytellings. An object-book relies on this intimacy and brakes with the tradicional format. The object - book has a visual storyline and gets multiple facets according to the story that it mediates. It is not a conventional kind of book with flipping pages and text, but a tridimensional object on which we can “play”, “read”, “write” or “build”.
Accessibility Sign language App We have developed an applicative to empower the dea f visitors. We offer visits i n sig n language videos with portuguese subtitles, so the companions or the LIBRAS non-literate deaf can enjoy the facility too. The vídeos may be accessed in any order, according to the visitor’s wish. There’s not a script to be followed, one’s curiosity is respected as it is. The pedagogical look over the educational project is essencial when elaborating the video’s script. It’s not only a matter of informative material. Sapoti Cultural Projects understands that this support must be as close to a conversation as possible. This is why the videos raise up questions and reflections, point out to the artwork’s details and bring up new references. The LIBRAS mediation videos elaborated for the set of artworks are also available online, to be downloaded in any gadget (mobiles, computers, tablets). The videos can be accessed by QRCodes - available at the museum website and displayed next to the artworks - that link to the vídeos on Youtube.
Accessibility Sensory space
How do you experience the world? Based on the contents presented at the exhibitions, our team develops an environment that enables the visitors to have an experience involving the whole body and not only vision, awakening other new perceptions. We build a scenography in which the materials, the movements at space, textures, sounds, vibrations and sometimes even odors are used to instigate the public.
THE OFFICE TEAM
Daniela Chindler
Director of the company and general coordinator of the educational projects. Has been developing non-formal educational projects for the past 27 years. Curator of many Bienais do Livro. Developed the theatrical visits at the Academia Brasileira de Letras, which was on show for 15 years. Is the author of awarded children books like Bibliotecas do Mundo (2012), considered the best brazilian informative book for kids and youngsters of the year by FNLIJ.
Flavia Rocha
Production coordinator at Sapoti Projetos Culturais since 2001. Responsible for the administrative coordination of CCBB Educative in Rio de Janeiro, S達o Paulo, Brasilia and Belo Horizonte, as well as artistic coordination at Light Museum of Energy. Bachelor of Arts in Letters- Portuguese/ Literature, UFRJ.
Fernanda Saul
Production general coordinator at CCBB Rio de Janeiro, S達o Paulo, Brasilia and Belo Horizonte. Bachelor of Social Sciences- Production and Cultural Politics, Candido Mendes University (2011-2014). Undergraduate in Psychology, IBMR (2015-now). Operational supervisor at CCBB Educative RJ in 2013-2014. Fluent english.
Gabriela da Fonseca
Production general coordinator at CCBB Educative Rio de Janeiro, S達o Paulo, Belo Horizonte and Brasilia since 2013. Latu Sensu Postgraduate in Museum Education, ISERJ in progress (2013- now) with research in Heritage and Museum Education. Bachelor and Licensed in History, UFRJ (2013). Experienced researcher in Science (FAPERJ) and teacher (PIBID). Fluent english and french.
Fernanda Galv達o
Administrative coordinator at Sapoti. Bachelor in International Relations, UNESP Julio de Mesquita Filho. Undergraduate in Scenic Arts, UNIRIO (2012-now). Operational supervisor of the educational programa at the Museu do Meio Ambiente- Botanical Garden of Rio de janeiro between 2014-2015. Fluent english and spanish.
Daniela Ejzykowicz
Trainee at Sapoti in research and content production. Undergraduate in Museology, UNIRIO (2012-now). Have worked as collections advisor at Casa Marquesa de Santos- Museum of Brazilian Fashion (2013-2015) and researcher at FIOCRUZ for the Memory Center Project, Hospital Evandro Chagas (2013-2014). Fluent in english and spanish.
LOCAL COORDINATORS
Luciana Chen
Educational Actions coordinator at CCBB São Paulo. Member of the ICOM; PhD and Master in Communication and Semiotics, PUC/SP; specialist in Museology, CEMMAE/USP; full licensed degree in Artistic Education and Industrial Design, FAAP. Since 1996 has been developing non-formal educational projects in museums and cultural institutions for over 90 expositions. Hourly teacher at SENAC graduation courses. Fluent in english, french, spanish and mandarin.
Karen Montija
Pedagogical coordinator of CCBB Educative in São Paulo and Brasilia. Has also coordinated the educative projects of Sapoti’s temporary expositions at SESC Pompeia, OCAIbirapuera Park and Centro Cultural dos Correios. Bachelor and Licensed in Visual Arts, UNESP and graduated photographer, SENAC. Between 2007 and 2014 has presented herself as artist exhibitor, educator, consultant and educational coordinator at several different projects.
Danilo Filho
Pedagogical coordinator at CCBB Educative in Belo Horizonte. Master in Art Education, Universidad Complutense de Madrid, Spain. Licensed in Scenic Arts, UFMG. In 2015 participated in Madrid as artist-educator at Postales Sonoras Project, winner at aducative-artistic residency Levadura, promoted by the collection Pedagogias Invisibles and Santander Bank Foundation. Performed in several plays as a diretor, actor and dancer.
Alexandre Diniz
Pedagogical coordinator at CCBB Educative in Rio de Janeiro. Has been working at CCBB Educative since 2006. Implemented the CCBB Educative in São Paulo in 2008, the CCBB Educative in Belo Horizonte in 2013 and the CCBB Educative in Brasilia in 2014. Bachelor in Fine Arts (drawing), UFMG’s School of Arts (2000). Worked as educative curator as well as paintings, drawings and history of art’s teacher.
AN INCLUSIVE TEAM It is impossible to think accessibility without considering labour market inclusion. Since 2009, deaf educators and LIBRAS (brazilian sign language) interpreters are part of our team. It is essencial that all work is done not only FOR people with disabilities but WITH them, experiencing daily on the project their singularities and needs. Camila AraĂşjo Alves Bachelor in Psychology, UFF. Master degree in Psychology in progress, UFF. Camila is blind and studied mediation and accessibility in cultural venues. Has worked at the educational sector of Dorina Nowill Institute as storyteller, and as educator at Mesa Institute. Works at CCBB Educational program Rio de Janeiro since 2011. Bruno Ramos Graduated in Information Systems at Faculdades Radial. Bachelor in Pedagogy, UNIABC and Bachelor of Arts in Letters/ LIBRAS, UFSC. Post-graduation in Special Education and LIBRAS in progress, Faculdade EďŹ caz. Has been working with special education since 2002 and teaches LIBRAS since 2006.
CONTACTS
facebook.com/sapotiprojetosculturais www.sapotiprojetos.com.br www.ccbbeducativo.com.br Daniela Chindler dani@sapotiprojetos.com.br Gabi da Fonseca gabi@sapotiprojetos.com.br