All language subtitles for LEG-EN 230828 Filme Graffiti pelo fim da Violência Doméstica

NAMI's Open-air is an
1km circuit of murals

located here, in the Tavares Bastos Favela,
in Rio de Janeiro.

It's an open-air museum, which is in dialogue
with the territory, with the interactions.

There are people walking through the streets,
construction materials in the background.

And that is what makes
our museum alive:

its dialogue with the population
and territory

It's art in
motion.

During this visit we will get to know each one
of these murals made in the last year.

Our goal

is promoting
Maria da Penha's law,

fighting domestic violence and
promoting the rights of cis women,

transsexuals, 'travestis', indigenous
people and people with disabilities.

And now we are going to meet

this new circuit of murals
composed of ten graffiti works

Come with me
on this journey.

And here,
you do it, like...

And you just follow
the line there.

So, guys,
my name is Marcia Falcão.

I have a degree in
painting from EBA, UFRJ.

Last year, during the pandemic, NAMI
launched an emergency call for proposals.

The call included
some themes

That the people could choose
from to produce a work.

And my sketch was about
women's history.

I was searching
within my own poetic

which turns out to be
dialogues with art history.

And I brought in one of the elements
I use the most, which is caryatids.

And here we will make several
representations of these Greek sculptures

displaced to this carioca
setting, with their own stories

and always trying to harmonize
everything, the whole composition.

I don't usually work
on an element and another

I usually works throughout
the painting as a whole.

The history of women's struggle needs
to be understood precisely

from who they are,
how they live,

what their story
is in this world.

So when we talk about
Black women's struggle history

we talk about a
millennial history

that crosses our history,
in our continent, our country

from a crime against humanity
called transatlantic slavery.

It's from there that we recognize
black women's fight.

They fought for freedom,
for better living conditions,

and, above all, for the recognition
of their humanities.

My painting process
has a lot of gesture in it.

For me to carry that
into the final result

I use a lot of oil pastel,
very fluid strokes,

I like to give the painting
a protagonist role,

so at various times there
are transparency areas,

and also of
more opacity.

I like to work with a
lot of hatching.

I'm not a graffiti artist,
I'm not a muralist,

I'm more into working
on canvas.

But it was a pleasant surprise,
because the wall he has a roughness

when I pass the brush
not so soaked.

I gain some
of the plasticity

that I have when
I work with oil pastel.

So this is good for me, because
it already has a parity with

the subject, with the plasticity
I like to work on in my painting.

Each character in
this is a column

and I will start bringing
more detail.

And then I keep doing it at the
bottom, at the base, at the sides.

When we look at
the history of Brazil,

we'll see the history
of women facing up barriers,

lowering barriers to
obtaining their rights

and, above all, to
collectively gain

access to goods, services
and better living conditions.

So, when we talk about
history of feminism in Brazil,

we talk about the history
of a group of women,

white, middle class, upper
class women

who claimed rights and
indeed, these rights

have a collective dimension and will
spread to other groups as well,

but it does not necessarily mean that the
fight for women's rights starts there.

So, the feminist movement establishes
different waves of feminism

to mark pillars of
women's history building,

but we, black women, mark this
and this process in another way.

We have marked since the
presence of the first black woman in Brazil,

a black woman, enslaved
struggling for freedom

and also for the fight
for women's equality.

So women, black women, indigenous
women, white women, all the

all other groups that identify or have
identities related to this gender

fought for a long
time to have their freedom.

In 30, 40 years,
women's rights have changed

and their demands have
also renewed all these relations.

But they were not enough
to break through

with the asymmetries of race,
sexual orientation and gender

because women have not yet realized
that we are not one woman.

We are different
and have different processes

that shape our
conditions and our rights.

So, we have a reference
to Conceição Evaristo

to the Bonde
das Maravilhas girls,

a mother,

my daughters,

a well-dressed, hot woman
and a pregnant woman.

I really wish it was
possible that the reading

was that the people who are
out here, passing through,

were there too, representing
all of us, women from Rio.

The top refers to the entablature,
which is part of Greek architecture.

And here we bring

that heavy element that represents
a bit of cement over their heads.

with this flag intention.

My intention
with the basis

was to represent the women
who've already gone.

were and that support these columns
that sustain Brazilian society.

The strength of black
women's fight

comes to say that
for us to have a society

in which feminist values,
feminist, democratic

and other orders
of human rights,

it's necessary to recognize
that this inequality between women

need to be beaten.

And perhaps
the best example,

the most
important example,

which is also classic in this debate,
has to do with domestic work,

how much the domestic work boosts
the freedom and rights of white women

and

endangers the living conditions
and rights of black women.

In the West, which are the countries
of Europe, the United States,

we observe that
gender relations

end up dividing people
between men and women.

In which our society

is dominated by people recognized by
the male gender

and where people recognized by the
female gender end up being subalternized.

But we've already observed
that the gender issue

is not a biological issue,
it's a social issue.

This division that people
have to be lined up,

classified and
put into boxes

based on what is considered
their biological sex

The genitalia, genital organ
that a person has

is extremely violent and serves
as a marker of gender inequality.

We can say that there is not only man
and woman guided by cisgender.

We need to think about
other gender identities.

It's possible to be a
cis woman like I am.

It's possible to
be a trans man,

It's possible to be
a trans woman,

it's possible to
be agender,

who are people who
don't identify

with designs established and
presented for gender.

Gender is multiple

and we need to overcome
the dichotomous patterns

of cis men and
cis women,

which in fact were created
in our history to exclude people

who somehow did
not fit these standards.

In art itself I like
to wander a lot,

such as materials,
I don't like to deprive myself to only one,

such as I experiment
with performance,

I experiment with painting,
I experiment with text.

When I signed up,
I was still quite a lot in figuration

and whenever I go
to figuration

and I try to approximate
to something human,

I like to take that role.

And then, as an artist too, I have been
bringing more of a reflective process.

So I want to focus more on the
philosophical and critical question.

So much so that
my current work

I'm questioning more,
asking direct questions.

I often make urban
interventions with a phrase

questioning whether the
outbreak was a moment of lucidity

in the face of all twe
are living in Brazil,

of everything that a peripheral
black woman experiences.

It ends up being repetitive, but it
needs to be repetitive, you know?

So, there is a lot of that
in my creative process,

only in a subjective way.

Our society assigns the
male cis gender

gender as the center
of social discussion,

as the person who
will dominate relations

and those who don't meet this
standard end up being subordinated.

In other words,
It's important to say that

cis and trans women,
that black people

were not
born subaltern.

They have been subalternized
because of these power structures.

And like any power project,

it's based on a series
of oppression relations,

and these are manifested
even through violence.

It is important to say that
Brazil is one of the countries

that kill the most
trans people and travestis.

Brazil is also a country where
we observe alarming rates

of domestic violence.

Unfortunately,
trans and cis women

are often not
safe within their homes.

which should be a place
of comfort and safety.

It is very important
to say yes,

gender is a marker of violence,
including within families.

If we hear lines like:

"women should take
care of the house."

"women should take care
of the children."

Why?

What makes women
different from men

that makes them
play certain roles?

Cis and trans women
suffer from sexism,

and also from
gender inequality.

If we cross-check
with the racial issue,

the violence becomes
even more serious.

It is very important
to observe

that we need public policies
to reduce violence,

to insert trans people
into the labor market.

Because we need to fight these
structures that have been historically

build up to exclude people
who don't fit the cisgender pattern

historically constructed
in our society.

While we talk, several people
walked by and said:

"is it a man?"

"Is it a woman?"

"What is this thing?
What the..."

An then, "wait,
why aren't they walking out the door?"

Because people
think like that, right?

You must fit in
as a man,

or as a woman -

and if there's a door,
you have to do the obvious.

So, I was going to ask you
to talk a little bit about it.

Tell us a little about the
creative process of your mural

and how,
as I've been seeing,

it can bring gender
issues to discuss.

I think this process
is super interesting,

Both the creation
and the selection process,

which was quite unusual.

I entered four paintings
in three themes,

and then the selected
painting was number two.

Only it was understood as
painting number one.

I created it thinking about the issue of men
that is growing,

and this hacking thing, when they close
doors and you jump through the windows.

The selection committee
understood it as gender-themed.

At first, I didn’t get it,
so I went back to see the image again.

And when I saw it,
I said, super!

So I found it incredible
that art is showing itself subjective

having several readings
so I can have a new look

on something that I created myself
and that I live on

it's super possible
that's what I do too, that's my life!

This mural, for example,
which is more figurative -

the selection process showed me that it can still
have several readings

for many nuances
that also meet up.

That's why I like to question.

Even if at first it's not
blatant, all this is inserted

Even if at first it's not
blatant, all this is inserted

to be found in you,
in whoever is looking at this.

Hi, I'm Ju Angelino,
from here in Rio de Janeiro,

I come from the
Morro do Dendê community.

I'm here today painting this Sexism themed
mural for NAMI

in which I was selected by the
emergency call during the pandemic.

Making this painting here
with the theme of sexism

is like making
a retrospective,

not only of my career,
but also of my life.

In the moment I sent
the layout proposal

I was experiencing these issues
related to being a peripheral woman

having to deal with sexism
coming from different places

not only in the family but also
in the community, in society...

So this work
will represent

not only me, but also all the girls
who go through the same situations

of having to break down
these barriers.

I made a sketch with
a watery gray

so as not to compromise the paint too much
when going in with the lighter tones.

And I used the primary colors,
red, yellow...

To make a very saturated
and vibrant skin tone.

And then I do this gradient with the brush
in a very loose way

without any commitment to marking
the body anatomy well and such...

Thinking a lot about this
graffiti thing, right?

that escapes a bit from
this realistic thing and so on...

And then,
finishing the character

I can improvise freely

do a freestyle around the figure,
thinking about the background...

And that's it,
there's a bit of an improvisation,

but with an already
well elaborated idea

both in the color palette
and in the way of making it

I like this job of
creating colors.

And then I come
with the spray,

with the most vivid colors to
give that touch of light.

And that's it.

As we look at
the world history

our society's history,

we notice that there
are several origin myths.

These myths create ways for
people relate to each other

they create models
that inspire our lives

And we can see that
sexism is present

present in the origin
myths of our society.

Let's see this simple
example:

Many of us have probably heard,
for example,

the story of Adam and Eve.

In which Eve is
coming from

even physically,
from Adam’s rib.

Adam, on the other hand,
came from the earth's dust

he was created
as the first being.

So history already
includes a myth

that places woman
in a very difficult

and subordinate
position to men.

And there're others origin myths
that are very important too

which are our fairy tales.

The tale of Cinderella

is about a woman who was
rejected by her father

goes to live with her sisters
and stepmother, She is also rejected.

So let's ee, the tale
places the women

in a rivalry and
conflit position.

Which is one of the tools
that sexism uses

to pit us, women,
against each other.

And people
only value her

when they realize that she has a
delicate figure and soft gestures.

So based on these examples
we can see that

sexism is at the
roots of our society.

It was created to
oppress women

and to put men
at an advantage.

Nowadays we have
a series of actions

and women who are
fighting sexism.

But it's very important that we
don't lose this perspective:

Sexism is a system
of oppression

that often works in
an invisible way.

But it's in the
roots of our society.

This mural represents
not only...

Not only my issue of being
a woman artist from the periphery,

having to face
many barriers.

But also, dealing with
the pandemic

Being in
lock at home

for two years
was desperate,

because I make my living
only from my artistic work.

Painting this woman
figure leaving a house

that doesn't...

doesn't sustain
her greatness

is really symbolic for
many reasons.

And aiming to go to
other places,

aiming to move around,
and occupy bigger places.

I drew parts of a
house, a home

as if this character,
this person,

that could be me or any other
girl going through this

was growing to the point of
no longer fitting in that...

In that limiting,
small space.

Sexism presents itself
in our daily lives

and affects it in many
different ways

such as in
the family.

Unfortunately,
Brazilian society

was built upon
subjugation

and on a series of
crimes against women,

especially black and
indigenous women.

When the colonizers
arrived in Brazil,

black women were raped
and enslaved,

and the indigenous
women as well.

Nowadays,
we can still see

that women are in
inferior conditions

compared to men
in Brazilian society.

This is visible
in salaries,

which are lower for women
than for men,

and also in
compulsory maternity

women still don’t have the right
to decide about their own bodies

violence against women

and one thing that is very important,

there are very few women occupying
spaces of power.

Precisely because,

sexism comes from
our society's roots

showing itself too,

in the minor things
of our daily lives.

- Ju
- Hi

I’d just like
to say that

it's a great joy to
be with you.

You're an artist that
I have admired very much

for a long time.

And I think this mural
stirs up a lot of memories,

not only of your
work, your story,

but of the relation of
gender roles as well.

Reaching this
strategies and tools...

It's not a woman
with fair skin,

it’s a woman we can identify
as non-white.

So I see a woman with whom
I can identify a lot,

breaking free from
these chains of sexism.

The focus of the painting is
that it's not only a female figure

it’s a female figure
from the periphery.

So I think that the
message came across

I feel a little more...

at ease, and happy
that this amazing woman

had this view
on my work.

Come here.

Oh, I love it -
Totally unrehearsed!

Hello, my name is Edju.

I am 39 years old.

I started doing graffiti
through NAMI

in the AfroGrafiteiras project.

My graffiti is normally
always about women,

about their strength,
the things they go through,

the violence,

self-love
and self-care,

so, our work
here today is

Psychological violence and
I'm graffing about it.

Psychological violence
is any conduct

that causes emotional harm and
damages a woman's self-esteem.

It is very subtle and
usually accompanies

other types of violence,
such as physical violence.

And it has very
serious consequences

for a woman's emotional
and physical health.

Examples of psychological violence
are threats, humiliations.

Many times the aggressor
isolates the woman from friends and family

to be able to manipulate
her more easily.

He distorts or omits facts
to make the woman

question her
mental sanity

this is the famous Gaslighting.

This makes the woman seem
crazy for friends and family.

and she really
believes it.

For a woman to heal from the evils
of psychological violence,

it is very important
that she realizes

that she is suffering
from this kind of violence.

For it's
very subtle

so, the woman often confuses
it for affection

for care.

This is why it is very important
that she seek help from a professional,

of a support
network

to get stronger and
break this cycle.

The inspiration for
my drawing

was psychological
violence.

So...

With that in mind,
I started with the background.

My work here

is a doll being
manipulated.

So I really wanted it to
have a dark background

that resembles
a scenery,

but that at the same time
introduces this...

This issue

of how difficult
it is for you

to deal with
psychological violence.

How you stop
being you

and starts acting
and talking

through someone
else's voice.

That’s why there is this puppet,
these sad eyes,

this suffering that
comes from manipulation.

She is being manipulated
by someone else.

Her speech is being spoken
by someone else,

that's why her mouth
is sewn shut,

she's not
allowed to speak.

The only way she can
express it is through her gaze.

Your speech and the portrait
you made are perfect,

Because psychological violence
really does that,

it diminishes the
woman's self-esteem,

she is manipulated
all the time.

It never starts
with a slap,

nobody comes and
slaps you first thing.

How does it
usually start?

With psychological
violence.

These self-esteem issues,
these humiliations...

All of this transforms
into physical violence

So, it's a violence we need to talk about, educate,
and show to other people.

Because if you don't see you are dealing
with psychological violence,

if you don't understand that
you are experiencing this kind of violence,

you won't
get out of it.

Hi, my name is Larissa Teixeira,
I'm 24 years old.

I have been practicing
art since I can remember.

My first contact with graffiti
was through AfroGrafiteiras,

and then I started to get
interested in wall painting.

which is sensational.

I start painting the wall
by applying the base coat

and then with a lighter color
I make a sketch of my drawing.

And then I prepare
the latex

With the color I'm using
in the background

Then I use graffiti to
give it a gleam, like,

because graffiti
gives it all a shine.

In some parts I just
use the graffiti,

In others I use the latex
base to help me.

Sexual violence
includes any action

that forces a woman
through physical force or psychological violence

to have sexual relations

or witness sexual practices
without their will.

Examples of sexual
violence are rape

preventing a woman from using
contraceptive methods,

in the case of birth control.

Forcing a woman to have an abortion,

limiting or negating the exercise of
women's sexual and reproductive rights.

Have you ever heard
of marital rape?

It is very common, but many
women don't see it as rape.

When a woman doesn't want
to have sexual intercourse

either because
she is tired

or because of
health issues

the man cannot
force her.

When this does happen,
it is marital rape.

It is important to keep in mind that
no woman

is obliged to have sex
if she doesn't want to.

A man cannot force us
to have sexual relations

although it's very common and even
naturalized by our society.

I developed this artwork from
the theme of sexual violence.

And as the work says:

my cleavage is not an invitation.

Precisely because of
the situations in which

people justify sexual abuse,
rape, invasion of women's bodies

because of clothing, because of a dress,
because she is wearing shorts.

It is a man's
unwanted look,

it's a touch not allowed
inside public transport.

And so this artwork is really
serving as a message.

I have pictured
the cleavage here.

Many times this is an excuse
for men to invade us.

And then society
as a whole

uses as a defense that the
woman's clothes are to blame,

or it's the way the woman looks at them,
or the lipstick she wears.

Perfect Larissa,
that's exactly right.

We can wear what we want,
any kind of clothing.

And men have no right to
invade our space.

So this is a subject that really
needs to be discussed

and debated in society
every day.

Hello people,
I'm Roberta Holiday

I'm a filmmaker.

And now I'm also
a visual artist.

I'm preparing myself to paint a mural
about violence against women

and my theme
is moral violence.

I participated in 2020-21
AfroGrafiteiras course.

And I'm loving this moment, everything
that's changing, meeting amazing people,

I'll use chalk to
make my sketch

also latex painting,
That I feel more secure with,

I'm using different
types of brushes.

This is going to be my first art experience
really being on the streets

So, I don't know,
I'm excited,

I'm worried too,
I'm anxious.

but I think it's going
to be okay.

Moral violence is considered
to be any behavior

that constitutes a crime of slander,
libel or defamation.

It's intimately linked with
psychological violence,

with humiliating, name calling,

with lowering the
woman's self-esteem.

Slander occurs when the aggressor
assigns to a woman

a crime that she didn't commit.

When he says that she
stole his property,

his car, motorcycle.

The crime of libel occurs

when the aggressor offends
the woman's dignity.

Calling her a tramp, a thief,
a whore, a slut.

Defamation occurs
when the aggressor

pins facts on the woman that
tarnish her reputation.

Such as calling her an adulteress,
or incompetent.

This kind of violence frequently happens
on social networks.

And it is very important when the woman
proves this situation

to print the screen,
save this information,

because at the time of
registering an incident

this is evidence that she has
against the aggressor.

The inspiration for
the work came from

an exercise in AfroGrafiteiras course
about violence against women.

And then I thought of this moment
that women are suffering violence

And several layers.

In the drawing,
there will be some words

around this character.

And then I used these warm colors,

for these words, such as
violence, as sadness.

And then adding
a bit more blue,

a color that transmits
a lot of tranquility

at this time that the person
begins to recover

And to be aware that they are going
through a difficult moment.

So that's what I though
while creating this sketch.

I wanted to bring a feeling
to each color, you know?

So, I placed the
words in it.

There is the word ‘courage’,

there is also ‘confrontation’,
right here.

When a woman recognizes
she is in this moment of violence,

she seeks
for help

among people who
care and support her.

That’s more or less what I thought
while creating this mural, Catarina.

Incredible, isn't it?

Very strong colors too, right?

It really depicts
this issue of violence.

Moral violence is very much linked
to psychological violence,

All this strongly
impacts self-esteem.

So, I think you portrayed
this very well, didn't you?

The fear,
the sadness...

And when your
self-esteem is low,

there is this difficulty of recognizing
you are experiencing domestic violence.

I'm Aduda
- Ana Eduarda

I am a self-taught artist.

I'm one of the artists selected
by NAMI's 2020 open call

designed to women artists
during the pandemics.

Today, we're starting
to paint this mural.

I'll build it up
color by color,

sometimes, I want to do something
more complex, with more tones,

in a very organic way,
I create freely,

I don't get too attached
to the sketch,

that's the idea
but it’s created

as the wall allows it to,
as the art wants to speak.

This is going to be a
very special moment

because I've never
done some this big

in a public space.

So, this is
very special.

Patrimonial violence
is the attempt

to control women through
money and possessions.

And this kind of violence,
most of the times,

prevents the woman
from breaking the cycle

and leaving home,
and getting away from the aggressor.

Because in many cases,
she financially depends on him.

And unfortunately there are no public
policies to help this woman.

When the abuser withholds
or steals the woman's salary,

burns her documents,
breaks work equipment,

does not pay alimony,

fails to provide the basics
for the nuclear family,

we are dealing with
patrimonial violence.

A practical example
of patrimonial violence:

I was helping a married victim
who became unemployed

and had already been suffering from
other types of violence

such as psychological violence
and physical violence

The aggressor burned her official documents,
including her work card, CPF, identity card,

just to make it harder
for her to get a job

and leave the house,
leave the home.

She got an oven and
a stove from friends

to be able to to sell snacks
on the street

and have some form of
subsistence.

What did he do?

He broke the oven,
broke the stove.

So she couldn't make money
and kept depending on him.

To make matters worse,

he disconnected the house from electricity
and the water supply.

He left the woman without
resources to survive.

When the open
call appeared,

things back home
were very uncertain.

And, like, I saw an opportunity to
showcase my work,

it was first of all this,
actually,

So I'd be able to take another step,
move past the zone of fear

and do what I want to do,
which is this right here

it's art,
it's art for everyone,

it's art to be seen,
it's art for healing.

Because for me
art is a healing process too.

I made a hand
tearing up a work card,

Which is our symbol
of self empowerment.

We ,women, we want to be
empowered, independent.

She is bound by a
shackle to this person

who doesn't allow her
to develop herself.

When you take away the right to
financial independence, to work, to achievement,

you take away the dynamics of that person's life.
She's not living, right?

As if you were

destroying the world,
the universe of that person.

Who says I want to be your toy?

That I want to be a hostage
of your money?

That I want to be held hostage
to what you are telling me is a good thing?

But it isn’t because it
takes away my freedom.

Exactly, this thing about
the disguises, right?

“You don't have to work,
I give you everything.”

"Why should you carry that burden?"

“You stay at home and
take care of me -"

- In fact, that is a form of control
over that person.

When a woman suffers
patrimonial violence,

it is difficult for her to break
the cycle of violence.

because if we think about
our country's inequalities

A job is a way for her
to have autonomy,

to empower herself

and many times
to leave too, right? -

- To liberate herself.
- Indeed.

Hi, I'm Cibelle Arcanjo,

I'm a visual artist, painter,

I'm a bachelor in painting
from Fine Arts School in UFRJ.

And I made a proposal for the
mural of physical violence

in response to NAMI's open call.

I wanted to do something that had
to do with the face, you know?

Because physical violence
is very much linked to

well, punches in the face that we hide,
makeup, all of that,

I wanted to present this.

And then in the course
of my process

I was searching for
reference images,

and I happened to find
a photo of a woman

who suffered physical violence.

This is Sandra Marta da Silva,
I found this picture of her.

So I decided to join my idea
with the idea of portraying her.

So, beginning
with the graffiti,

Long story...

So, to begin with the graffiti,
I project my croqui on the wall

I mark the lines
with the spray.

Then I fill in the layers
and create volume.

Thinking about the shapes,
proportions...

the abstracts shapes
within the face...

And there it is...

The painting.

Physical violence is any conduct

that offends the physical integrity
or health of a woman.

Normally,
physical violence

presents a cyclical pattern,
and what is that?

It's the
clycle of violence

which is composed
of three phases.

The 'tension phase',
that happens before the aggression

is usually characterized by
psychological violence.

Threats, humiliations,
name calling.

There's the
‘explosion phase’

when the physical violence
itself occurs,

which is when the aggressor beats,
Hurts, pushes the victim.

And then there is
the ‘honeymoon’.

The phase of affective manipulation,
apologies

saying that that incident
will never happen again.

and, most of the times, the woman believes
that the violence has ended.

But that's not what happens.

This cycle will intensify and
it will repeat itself again,

and many times it can unfolds in
the woman's murder

Which is the
crime of femicide.

I personally found it challenging
to make an artwork about these subjects,

because these are
sensitive matters.

I tried to do it in a way that
at the same time had a subtlety,

but without losing its depth.

So I present her portrait
in these cold colors.

Around her there will be tulips.

When tulips are given
as gifts by couples,

they stand for true and everlasting love.

So I present them with falling petals

to talk a bit about this
violence and the difficulty

that many women face of getting
out of these relationships.

Very crazy, the desires
I had, man.

I saw those graffiti crews -

like Old school graffiti
for real

With that whole narrative
that you start as toy

and you will become
king one day.

Then I had this fixed idea a lot,
man, I'm really a toy,

I have to improve
I'm going to be -

king!
- no, no, I'll be a queen!

Then I'll be -
Queen.

Then I started tagging as ‘Scare’.

I used a phrase, I wanted to be
something frightening and stuff,

so I tagged Scare.

People thought I was a man

“Look, you saw that,
there's a Scare out there.”

A Scare, they mispronounced it.

“There is a Scare appearing here,
so who is it, do you know them?”

And I thought, I'm going to start signing as ‘Queen’,
and people started associating the two.

“It's a girl, dude! There’s Queen there,
is that a Queen there?”

And I was thinking,
how about that!

This is Sandra Marta da Silva,
she is an ordinary woman.

She lived her life with a partner
who abused and beat her.

In the end,
he murders her.

And he even rips
her face off, so -

So it's a very
hateful crime.

It was a case where there
were people nearby

who heard them and who knew
that they fought every night,

and she called out
for help every night.

Despite that - uh,
the crime happens.

So here I bring
her face back,

even if only
symbolically.

So that she may be
remembered for her story

and also as a potential life
that was interrupted, right?

I love the symbolism of the tulips,
I didn't know about that.

It’s very well portrayed.

And that issue that you spoke about,
of the silence, I also thought it was perfect, because -

we still have impression,
- ‘we’ as in society,

that in a fight between husband and wife,
nobody should interfere.

And that's why the
number of femicides,

which is the killing of a woman for the
simple reason of being a woman, has increased.

And it’s also an important fact that
Sandra was a black woman, right?

Black women are the main
victims of femicide

and also of
domestic violence.

That's why there
is this silence, right?

Because there is no commotion
when black bodies die.

So this happens
on a daily basis.

Hi, my name is Lidia,
I’m an advertising professional.

Currently I work in social media
and graphic design,

and ilustration is one
of my main hobbies.

For this mural
I used two methods

that of paint brush
and spray.

I had never used s
pray before.

But...

the result was satisfying.
I enjoyed this experience very much.

I also hadn't imagined it
could be done this way.

I thought that people who do
graffiti only use spray,

so that’s another
deconstruction there.

Femicide is the practice of homicide
against women, because they are women.

It happens within the
logic of domestic violence

and because of hatred and contempt
for the condition of women.

It’s an overlapping logic of gender,
race, class and sexuality,

where men consider
themselves in a place of

power, possession, ownership.

Women who get out of this logic,
who do not respect it,

in short, who do not follow
the whole structure of gender,

of social gender roles.

society as a whole puts
them under control.

And this control can occur
in many ways,

in various forms of violence.

So violence is enacted psychologically, morally,
materially

and within the discussion of femicide
mostly through physical violence.

Well, the Femicide Law was created
by Dilma Rousseff’s government.

And it focuses on the killing of women
because of their female gender.

The law is important because it
establishes the discourse.

This recognition by the state
that there is a problem,

that Brazil kills too many women,

this makes the state responsible.

But you can't only create a law
and think that the problem is solved.

It’s creating laws and effective mechanisms.

The law introduces the discussion,
society notices that there is a problem,

and from there, other tools are necessary
to deal with the problem.

The first tool is
the reception.

There need to be multiple
channels to reported complaints

Many countries not only work with
telephone lines, but with applications,

secrecy apps.

But training is
also necessary.

Training of the people who advise
and assist these women.

So the conditioning, the groundwork
inside police stations

inside the public
prosecutor's office too,

so that these people discuss gender
as a social construction

and step outside the
logic of biological sex.

Femicide is the last act, the last point
in a cycle of violence.

This woman needs to leave
this kind of relationship before that.

There are multiple types of violence
that happen before,

and this violence involves
totally different sectors.

It's not necessarily only
a matter of patriarchy,

there are other discussions.

So from the moment that the state
recognizes that there is a problem,

we must recognize that this problem
comes from many different places,

and yes, there need to be public
policies in all of these areas.

Well, when I found out I was one of the
selected from NAMI's call,

I was very surprise,
actually

it helped me a lot.

not only for the money, but also because I could
contribute with my art to the streets,

so I found this
incredible.

I think that kind of application is really
important to artists

Mostly to those who don’t have many
opportunities, and less visibility too.

So, for me,
it's fundamental.

The Brazilian Superior Court of Justice (STJ)
recently decided that femicide

applies to transsexual and
transgender women.

And this discussion talks about
the structure of patriarchy,

And this discussion talks about
the structure of patriarchy,

And it establishes that when
we talk about the term ‘woman’,

we need to work with the
logic that there is no unity.

The term ‘woman’ is identified by the STJ

using the logic of gender identity,
it’s how a person feels.

So STJ started the discussion,
took this to other courts

And these courts decided to apply femicide
to transexual and transgender women.

But the big problem with this
is that there is no law.

And if there is no law, the first
contact a woman makes

for possible protection is
with the police stations.

And the police stations do not work
according to this logic.

Police stations don’t discuss gender identity,
but biological sex.

Many women go there and
are not seen in that place.

So they are sent to homicide precincts,

and then we don’t have data.

And when there is no data,
we cannot work on public policies.

If we don't work on public policies,
we cannot structurally change.

So it's important to have a law

that can build up this debate,
and introduce other kinds of reception

and other types of treatment.

So, for my artwork,

the first thing I thought of
was the black background,

representing the grief felt about
these crimes of femicide.

The red twigs represent the blood

that is sadly spilled by the
women who are victims

of these crimes.

I tried to represent some ethnic groups here

as many as I could, to occupy the
space of this mural.

This struggle is for someone
to look at it and say,

“What can I do to make it stop?”

And then there are many ways,

such as reporting on it,

or talking about it,

the fact that you can make other
people aware of it already helps.

I was very struck by the sentence you put in

and you’re introducing it within the
perspective that we have to unite.

We women, we must unite
and understand that

we're very different,
we're multiple.

The femicide rates affect women
as a whole, all of them.

But there are specific women
who are dying much more,

who are affected by gender violence
with another intensity.

These are women of color, women that leave
the cisheteronormative logic

Who are suffering with Brazilian's femicide index,
so your art shows that.

The discourse needs to be worked on

and the strategy of resistance
and struggle is collective,

but also looking at our diversity,
looking at our burdens of oppression.

Hello, my name is Cynthia.

I'm a graffiti and visual artist,
teacher, producer,

I work a lot with themes of territory
and women’s issues.

I have a collective exhibition
project called ‘Suburbanidades,

the place of the periphery
in contemporary art’.

I usually only work with spray,

but for this mural I worked with
spray and latex paint.

I did the base,

the large coloured areas, using spray,

and for the details I wanted to
use a brush and paint,

because I’m used to making bigger murals

that are also always focused
on the characters' faces.

I wanted to use a different style
because I thought it fit the theme.

‘Dial 180’ is a helpline that attends
to women's rights,

focused on combatting
violence against women.

It provides information, advice.

They do a quick treatment by phone
when it's the woman herself who is calling.

The idea is to always
guarantee free access.

That is, you don't need credit on
your phone to make a call,

Because it's 100%
free service.

All kinds of violence
can be reported,

but more important
than filing a report,

is often getting information
about your rights.

Many women don’t
know their rights,

like how they should be treated
in work environments,

how they can and should be
treated in a health care facilities.

They call and will get advice and
information, especially information,

about the need they have regarding
that case of violence.

They'll decide to go to a police station,
they'll know what to look for, what rights to claim

It's important to know that Call 180
doesn't take emergency calls

that means if a woman calls for help,
she won't get it fast.

In that case,
she must call 190.

My theme was Call 180,

that campaign for women
to report violence,

and not only us, but also people who witness it,
so that no one stays silent

when witnessing or knowing about
a case of violence against women. It’s very important.

That's why everybody should know
dial 180, call 180.

But the responsibility
is not only ours

the whole society
shall work on this.

It's important to say that fighting violence,
interrupting violence,

overcoming it, is not only and exclusively
connected to reporting it.

The whole support network can be
involved so that there can be

an interruption of the cycle of violence,

so that there is a
strengthening of this woman,

so that she doesn’t relapse into
a new dynamics of violence.

It’s fundamental that this woman
is aware of her rights,

that she is strengthened in her self-esteem,
self-confidence and self-image.

At CIAM, there is technical assistance, a woman who goes there can be helped by an available specialist

That could be a social
worker or psychologist.

She will also get legal advice,
depending on what she needs

What should be demanded regarding ‘Call 180’
and the entire network of women’s services

is that there is investment,
budget planning,

and budget to spend in the
field of women’s policies.

Because every time there is an investment
in resources for the promotion of ‘Call 180’,

we're also talking about the
human rights of women,

about fighting violence against women.

I tried to be as
didactic as possible.

Because for me the most important thing
is that people understood the message.

Many people don't know
that this service exists,

or they know, but don’t know
how to access it.

So I wanted to make it very clear,
so that people understand

that they can use it to report and
that any woman can have access to this service.

I think your painting
is very interesting

I like it a lot,
and it makes an impact.

There are three women
together with the number

Just by seeing it you get what it’s about,
that you only have to call.

I wanted to represent
different types of women.

A rural woman, an urban woman,
a younger woman.

No matter what kind of woman you are,
you can access it.

When we talk about violence against women,

we always think about the issue
of empowering this woman.

I believe that art introduces this view,

it can contribute to overcoming and
evolving as a woman, as a person.

Gender Violence

is a very important theme
for our country.

And if we don't discuss it in schools,

in bars, in our families,
in our affective circles,

we will continue with the
same cycles of violence.

Public policy can’t be made
from the top to the bottom.

It's from the bottom up.

It's society debating on
what violence is,

debating the structure, talking about sexism,
talking about the patriarchy,

about oppression,
gender construction.

So that we can talk in a
truly egalitarian society.

There are five types of
violence covered by law.

But there is one consequence
of these five types:

silencing.

So let's discuss violence,
let's debate gender,

let's be anti-racist.

Let's fight against
transphobia,

let's fight against the
oppression of indigenous people.

Let’s talk to our kids,
to the elderly.

Let's build.

And to build means
building collectively.

This struggle is not just for women.

it's a struggle of society

And it's for life,
it's for rights.