La Cour des petits-parents is a play and care space for children and parents conceived by artist and educator Graziela Kunsch, inspired by Emmi Pikler’s educational approach and Ute Strub’s sand-based experiments. 

On the occasion of this Carte Blanche, Publications Studio Métallos is born—an ephemeral space resulting from the collaboration between Publication Studio Paris / After 8 Books and Publication Studio São Paulo / Parquinho Gráfico, set up at Casa do Povo. 

In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.

Born in the early 2000s in the southern neighborhoods of Los Angeles, krump is an improvisational dance style based on percussive movements, body isolations, and intense emotional expression. As a practice of empowerment and transformation, it channels both individual and collective tensions through the body. 

Rooted in African and Afro-Brazilian cultures, members of the Ilú Obá De Min collective are coming to Paris for the first time. Founded in 2004, this collective now brings together nearly 400 women and opens the São Paulo carnival each year with its percussionists, dancers, and stilt walkers, always paying tribute to Black female figures.

Brazilian choreographer Lia Rodrigues returns with Borda, a new piece that marks and celebrates the 35th anniversary of the Lia Rodrigues Companhia de Danças, a company that set up its home in the Maré favela in Rio de Janeiro in 2004. 

The encounter between the actress Valérie Dréville and Nacera Belaza was an obvious choice. For a long time, the choreographer has been exploring the grey area in which the "junction point" between speech and the language that makes the body move is located. Valérie Dréville proved to be a partner equally as inhabited by the power of the imagination and strength of interior life. 

For the fourth new work in the collection of contemporary performances in conjunction with the Louvre Museum and the Festival d'Automne, Nacera Belaza presents Les Ombres. The piece will be taking over two of the museum spaces in the recently reopened and newly reopened Galerie des Cinq Continents, and set up a dialogue with the works from the Musée du Quai Branly-Jacques Chirac.

In a ritual-like performance piece, Brazilian director and researcher Gabriela Carneiro da Cunha uses the chemical-based processes of photographic development in order to bring to light the mercury contamination of the Tapajós River.

What unites the two choreographers Nacera Belaza and Katerina Andreo is an undying urge to dance. In a diptych conceived for the Ballet de l'Opéra de Lyon performers, they respond to each other in two new works bringing together multiple resonances.

In communities of the diaspora, music can be a powerful tool for collectively preserving memories. Along with storytelling, traditional languages, and dancing, songs can represent a living home for stateless nations.

La Cour des petits-parents is a play and care space for children and parents conceived by artist and educator Graziela Kunsch, inspired by Emmi Pikler’s educational approach and Ute Strub’s sand-based experiments. 

For the past four years, the Festival d'Automne opens its program to artists or collectives, making a gesture both artistic and policy. The Carte Blanche becomes a field of experimentation, conducive to crossing of aesthetics, the circulation of ideas and the public. 
For three weeks, the Festival invites the Casa do Povo, a unique Brazilian art center, to invest the Maison des Métallos in the 11th arrondissement of Paris. On this occasion, the Festival d'Automne experiments with new forms of conviviality, and inaugurates for the first time a HQ, open to upheavals and collective reinvention.

On the occasion of this Carte Blanche, Publications Studio Métallos is born—an ephemeral space resulting from the collaboration between Publication Studio Paris / After 8 Books and Publication Studio São Paulo / Parquinho Gráfico, set up at Casa do Povo. 

Born in the early 2000s in the southern neighborhoods of Los Angeles, krump is an improvisational dance style based on percussive movements, body isolations, and intense emotional expression. As a practice of empowerment and transformation, it channels both individual and collective tensions through the body. 

A group of people gather around a table for one last meal. One of them announces their imminent death. Taking its inspiration from the Last Supper, the MEXA collective invites the audience of the Carte Blanche Casa do Povo to a banquet performance, a piece which looks into the memory of the deceased and the need to tell their stories.

Rooted in African and Afro-Brazilian cultures, members of the Ilú Obá De Min collective are coming to Paris for the first time. Founded in 2004, this collective now brings together nearly 400 women and opens the São Paulo carnival each year with its percussionists, dancers, and stilt walkers, always paying tribute to Black female figures.