Abstract
This chapter explores how the project Loucura Suburbana (Suburban Madness), located in a psychiatric complex in a suburb of Rio de Janeiro, uses carnival to challenge fixed notions of space and identity to reduce stigmatization of the “mad.” It draws together archive and field research and places the findings for the first time within emerging theories of urbanity, defined here as the process by which third-hand stereotypes of what someone will be like based on assumptions alone are replaced with first-hand knowledge of what someone is like based on shared experience.
The main finding is that Loucura Suburbana challenges fixed notions of space by blurring the boundaries between two spaces society has conventionally kept apart: asylum and street. It does this by taking the asylum to the streets, in the form of public carnival parades, and bringing the streets into the asylum by hosting workshops and practice sessions that lead up to carnival. Blurring these boundaries provides opportunities for people to meet who would otherwise be kept apart. In the process, fixed notions of identity based on overly simplistic binaries of “mad versus normal” are also challenged.
The results have been life changing for the project’s participants. For patient-participants, the constant ebb and flow between asylum and street is the first step to becoming deinstitutionalized and valued members of the community. For other-participants, preconceptions and medical paradigms are challenged, allowing them to grow individually and professionally.
A core conclusion is that fixed notions of space and identity push large sections of people to the margins of society. But utilized to their full extent, public streets and institutions can challenge these stigmatizing discourses, enabling the excluded to rebuild their lives. One way of achieving this is through carnival.
Notes
- 1.
Both researchers have visited Loucura Suburbana, but co-author Julia Evangelista is a native Portuguese speaker and has been fully immersed in the project as part of her forthcoming PhD.
- 2.
Quilombos were settlements located in places hard to access created by fugitive slaves who resisted slavery.
- 3.
At the beginning of the twentieth century, it was still considered a crime to dance or play samba publicly and populations were often targeted and locked up only to be freed once the festivities had finished [see https://terraypraxis.wordpress.com/2013/02/24/o-bloco-carnavalesco-chave-de-ouro-2/]
- 4.
There are patients within the psychiatric centre that are considered too dangerous to take part in the Loucura Suburbana project. There are also instances where patients are allowed to attend some weeks and not others depending on factors such as current state of mental wellbeing, history of behaviour when taking part in the group’s activities, and the availability of people to help monitor participants.
- 5.
The Director of the Instituto Municipal Nise Da Silveira, Erika Pontes, is aware of how the defensive nature of the architecture can negatively stigmatise those using its services and is actively taking steps to soften its appearance.
- 6.
Edmar used this phrase while making the inverted commas sign to indicate that no-one really knows if they are dangerous but they are off limits for the project.
- 7.
A “bloc” or “bloco” in Portuguese are local street festivals where people gather to parade during carnival and are often considered an alternative to the commodified mainstream carnivals of Rio de Janeiro.
- 8.
“Client” or “participant” is preferred over more conventional labels such as patient and doctor. In order to provide context to the interview responses, however, we will use “patient-participant” to refer to patients of the psychiatric hospital and “other-participant” to refer to medical professionals, volunteers, and any other type of project participant (more on this in the section “Loucura Suburbana and Urbanity: The Outcomes”).
- 9.
Bateria is the drumming band that opens and then leads the carnival parade.
- 10.
Apoteose is a famous venue created especially for the parade of the most important Samba schools in Rio de Janeiro.
- 11.
Globo is the most read newspaper in Brazil.
- 12.
Porta Bandeira is the main dancer in the school of Samba who holds the flag that represents the carnival.
- 13.
See the full article here http://institutomesa.org/RevistaMesa_5/portfolio/ariadne-moura-mendes-loucura-suburbana-vamo-que-vamo/
- 14.
Candomblé is a religion that originated in Africa and was brought to Brazil along with the influx of slaves.
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Evangelista, J., Fulford, W. (2019). Performing Urbanity Through Carnival on the Streets of Rio de Janeiro: Practical Approaches for Reducing Stigmatization of the “Mad” in Cities. In: Okpaku, S. (eds) Innovations in Global Mental Health. Springer, Cham. https://doi.org/10.1007/978-3-319-70134-9_4-1
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