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(Marcelo Cordeiro do Nascimento)


1.1. G.O.L Grande Organizao Ludopdica (Novel)
1.2. Ludopedismo A cincia do Futebol Arte (Book)
1.3 L.I.A.C Lngua Inglesa com Arte e Cultura (Textbook)
1.4 Fome (Novell)
1.5 A arte de fazer arte (Essay)
1.6 A guerra do Brasil (Novel)
1.7 Suspreto (Short story)
1.8 Pau eltrico neles! (Short story)
1.9 Fraternidade lingustica da dispora
africana (Article)
1.10 Uma crnica da porra (Article)
1.11 Estgio avanado De Composio (Hbrid)
1.12 A tentativa de fazer algo bom no inferno (Play/ movie script)
1.13 Insanar-te/ insignity (Play/movie script)
1.14 Cadaverdade (novel)

1. 15 Em fuga da perdio paradisaca/ A tentativa de fazer algo bom no inferno/ Os ventos que moldam a pedra do
sol (Novel trilogy)
1.16 Josu na Lama (Biography)
1.17 A volta ao mundo em 80 mulheres (Short story compilation)
1.18 L.B.A.C Lngua Brasileira com Arte e Cultura (Textbook)
1.19 Se eu soubesse que a vida era assim... (Short stories compilation)
1.20 Audiovisualismo: o videoclipe como ferramenta no processor de ensino/ aprendizagem de lngua estrangeira. (
Masters dissertation)
1.21 - Estudos de Diplomacia (Scholarship CNPQ/ IRBR)

2. Music
2.1 Listo of registered songs
2.2 Listo f recorded songs
2.3 Project Kwantws
2.4 Solo project
2.5 Project Afro 10 Cents
2.6 Project Kawakorreria
2.7 Project Kyppws
2.8 Project Lambamor

2.9 Project Kwantws 2016.

3. Social projects
3.1 LIAC English with Art and Culture.
3.2 Studio Virtual
3.3 G.O.L

4. Seminars
4.1 Ludopedismo A Cincia do Futebol Arte.
4.2 O Quilombo literrio de Lima Barreto (Artigo)
4.3 Abolicionismo no sculo XXI (Artigo)
4.4 Casa grande e senzala
4.5 Kcor do Rock

5. Public tenders (approvals and classifications), courses and events.

5.1 Ludopedismo A Cincia do Futebol Arte. Program Cultura na Copa. Ministry of Culture 2014.
5.2 Graduate in Literature and Languages in Portuguese and English at Federal University of Bahia (UFBA) 2003.
5.2 Master in Applied Linguistics (UFBA) 2010 e 2015.

5.2 Scholarship for Diplomacy studies (CNPQ/ IRBr) 2012.

5.3 Attorney general of the State of Bahia (classified)
5.4 Portuguese Language Substitute Teacher (campus Salvador) at Federal Institution of Bahia (IFBA) (2010)
5.5 Administrative assistant of SEBRAE (2013) (classified).
5.6 English Language substitute teacher at Bahian Federal Institute (IFBaiano) (campus Valena) 2013.
5.7 Course Brasil Empreendedor 2000 at Brazilian Service of Help to Companies (SEBRAE)
5.8 Negcios em msica ( Music bussiness) 2009 (SEBRAE)
5.9 Seminar Lima Barreto e interlocues afrobrasileiras 2010
5.10 Teaching internship ( Portuguese Language) PQLP/ CAPES in Timor-Leste (2013)
5.11 Classification at Public tender for Secretary of Culture of the State of Bahia.
5.12 English language teacher for IFBA (campus Salvador) 2010.
5.13 Participation in the formation course for correctors for text of National High School Exam ENEM 2012, 2015
and 2016.
5.14 Corrector of the texts from ENEM 2012, 2015 and 2016.
5.15 Member of the commission of Congress of ethnic relations of Federal Institution of Bahia ( IFBA) de 2010.
5.16 Participation at the Congress of Ethnic relations of IFBA 2010 with the band Afro 10 Cents.
5.17 Participation at Congress of Ethnic relations of IFBA 2011.
5.18 Participation at Congress of Ethnic relations of IFBA 2012 with the band Afro 10 Cents.
5.18 Internacional Analist Carnaval de 2002 (Correspondent for the newspaper Ljubliana Kuverta).
5.19 Article about Carnaval in Salvador published in Gorensci Glas Newspaper slovnia 2002.

5.20 Revision of the Masters dissertation Descaminhos do trem: as ferrovias da Bahia e o caso do trem da Grota
5.21 Computer course (Expanso Informtica) 1998.
5.22 Computer course (Visonet) 1999.
5.23 English Teacher at Yazigi 2010.
5.24 English Teacher at TV Pel 2010.
5.25 English teacher at ONG ACASA 2005.
5.26 Participation at Assessment bank of the monography Uso da lngua Mambae. in East Timor 2013.
5.27 Participation in Education Symposium: Cincia e Cultura em Timor-Leste 2013 with the communication Falo
5.28 Participation in the extension course Descolonizando a Lngua Portuguesa 2013.
5.29 Brazilian Portuguese teacher at Institute of Business in East-Timor 2014.
5.30 Brazilian Portuguese teacher at colgio Paulo VI in East-Timor 2013.
5.31 Approbation in public tender for Instituto Federal Catarinense (Portuguese/ English) 2015.
5.32 Approval in public tender for English Teacher at NUPEL/ UFBA 2015.
5.33 Approval in public tender for Substitute professor at UFBA 2015.
5.34 Approval for scholarship CAPES pr-cota, December 2016.

6. Audiovisual and other

6.1 Uzais produes artsticas (Artistic company)

6.2 A cor do paradoxo (Short movie)

6.3 U Mondu Mavarilhoso de Dilermando Rosa (Cartoon)
6.4 Cartoons about Matemathic and Culture of Timor.
6.5 Ludopdia (histric of the books Ludopedismo e G.O.L, and social project G.O.L)
6.6 Sema (Documentary)
6.7 Guerra no Brasil (Book, movie and game)
6.8 Participation at the Tandem activity from Agncia Brasileira de Cooperao (SENAI) in East-Timor 2013.
6.10 Fake bands and football teams
6.11 Mente no mente (Short story)
6.12 Assassa (Associao de Sacizeros de Salvador) (Short story)
6.13 Harmonia dos casais (Short story)
6.14 Diastlica (Music vdeo script).
6.15 Library of football, music and other.
6.16 Short story Professor de Ludopedismo of Paulo Raviere.
6.17 Picture shown at TV programa Fausto at the arquivo confidencial
6.18 Question for the Brazilian selection coach Tite at Esporte Espetacular
6.19 - Participation at the 70 years congresso of UFBA


Kaw Malangue was born Marcelo Cordeiro do Nascimento on 03/25/76 in Salvador, Bahia, Brazil. From an early
age, he took a liking for the art world, initially for the visual arts, when he spent most of his free time reading HQ's or
creating his own characters and stories - such as the Super-Brasil comic (1985), and the theater working in his first plays
ith their primary school group.

His artistic career began in the early nineties when he began to compose lyrics in a more regular way, but his
involvement with music is confused with his own life: since he became aware of his existence, music is his most
appropriate artistic environment. The first musical reference was not theoretically of the area of music: one of his
obligations was to wax home the floor of the house. This action causes many indispositions by its very nature. However,
when an electric wall washer was purchased, a moment of epiphany occurred. The deafening noise of the equipment
was unbearable to anyone. However, discovering that if you switch the control lever, obviously with the waxer on the
floor, down and up would get noisy, noisy variants in this case, more serious tones associated with the slower rhythm,
treble associated with the more frenetic rhythms. An atypical instrument to get started in music, but there is no doubt
that it was a kind of preparation for what was to come.
The earliest attempts to act more practically related to the creation of parodies of band songs of the time. On top of
some Iron Maiden song (noted by the "partnership" indicated with the bassist) we created the lyrics of "Amigo do Boris",
our first attempt at practical achievement in music. At the age of eleven he began playing the guitar - after definitively
ceasing to draw and losing his enthusiasm for the theater - and composing songs: as he had no ability to play the songs
of other artists he had to create his own songs to be able to exercise. At that first moment, he played with an old threestringed guitar. Since he had no idea of the concept of chords, scales and harmonies, every approach was centered on
rhythm. In "music" like Planet of moneky man this feature is totally explicit. Their early influences were mainly focused
on Heavy Metal, Punk and its subdivisions (Thrash Metal in particular), as well as pop artists of the time (Michael
Jackson, in particular). Together with his comrade Fbio Chamusca, he created his first band Bagaa, in which the two
friends alternated between guitar and drums (in fact, a plastic box made to store clothes, surrounded by pots, cardboard

boxes, Aluminum and the like). There was no type of script and the songs and lyrics were created "on the spot". Songs
like No sensei show these characteristics.
From an early age, he had an enormous fascination with books. When he was about four and five years old, he was
already enchanted with encyclopedias, astrology books and scientists, because they had strange and questioning images.
The remotest memory of these images was that of a science book dealing with the theme of verminoses and showing a
macereal boy with a huge belly. Image that causes questioning in any child. Hence to go to comics was a natural
evolution, even because this genre was much more popular among children than the picture above.
From the moment he began to become literate, he began his interest in literature, initially resorting to copies in his
home. One of the earliest references to contact with the letters was the Quillet encyclopedias and the works of Monteiro
Lobato. It was even through this encyclopedia that he started at the age of seven studying English, interspersing with the
lyrics translation of bands like Beatles, Iron Maiden and Michael Jackson. He began by reading works found in the
library of the constructivist school where he studied. There were countless books on the lives of animals, fables, technical
books of the disciplines, and children's literature. As he grew older he went looking for other sources. I started with
copies of my parents' residence library. It was there that I met Vargas Llosa (The End of the World War), Wilhelm Reich
(The Principle of Orgasm), Alexander Lowen (Reich, Orgone and Eros), Antnio Calado (Quarup), Josu de Castro
(Men and Crabs, Famine), for example. Around the year 1988, he began to attend public libraries in search of more
works that he could read, after all, literature, for an antisocial and reclusive young man, was a true blessing and his way
of interacting as the world. In these walks through the libraries, he met Victor Hugo (1493 and the miserable ones), Lima
Barreto, Fiodor Dostoievisk, Charles Bukovisk (Letters in the street) Milton Santos (for a new globalization), some

belonging to his house and others that were In public libraries. Before long he was also developing his own literature,
which continues to this day. Currently, he has more than 10 literary projects between novels, essays, compilation of
short stories, hybrid literature, screenplays of plays and films, among others.
His current production consists of 500 composite songs (200 recorded, some that integrate musical projects), dozens
of literary projects, social projects, seminars and artistic initiatives of other natures, generally praising the
interrelationship between these diverse areas. Some of the cultural / artistic productions will be presented, as well as
files and / or links presenting finished works or sketches in the pre-production phase.
Graduated in Vernacular Letters with a modern foreign language (English) by the Federal University of Bahia, he
is a student of the master's degree in Applied Linguistics of the same institution, in which he develops the dissertation
Audiovisualism on the use of artistic and cultural elements in English language teaching, in particular The video clip.
He is a professor of English and Portuguese (recently taught this language in Timor-Leste, through the program PQLP
of CAPES), researcher in the area of diplomacy and football. Currently, he prepares the launch of two e-books
(Ludopedismo e gol), a compilation of short stories about soccer (Baba) and the Kwantws and Kawakorreria project
1. Literature
My involvement with literature occurred around 1985, when I came into contact with works by writers such as
Graciliano Ramos, Lima Barreto, Fiodor Dostoyevsky, Vitor Hugo, Josu de Castro, Milton Santos, Vargas Lhosa, as
well as researching non-verbal texts -literary. The first work planned was O Baluarte / The Beautiful Archaic Futuristic

(1987). In flight from paradisiacal perdition (1988) was the first text to be finalized and recorded. The collection of
short stories If I had known that life was like this ... it was finished at the same time. As a corollary of his dedication to
the world of letters, in 2003, he passed the entrance exam for the Vernacular Letters with Modern Foreign Language
(English) course at the Federal University of Bahia. In 1990, a second book, On the Life of an Unemployed,
(Cadaverdade) was completed. The following year, he compiled a course project and an English-language textbook
called LIAC (English Language with Art and Culture). In 2008, this project was selected among more than 100
competitors, being among the 20 finalists of the contest Ideas Innovative sponsored by FAPESB. This project is the basis
of the master's dissertation that we developed at the Federal University of Bahia and that defends the use of the music
video in the teaching of foreign language. In 2006, the first version of GOL (Great Organization Ludopdica) was
finalized and began The research for the project on a hypothetical war in Brazil, which in addition to the book includes
a board game (War of Brazil). The following year, a new work was finalized (Hunger). In addition, another work on
football, a technical text, was finalized and typed and was called Ludopedismo: the science of football art and has a
direct relationship with the work GOL. A monster mavarilhoso by Dilermando Rosa is a compilation of sarcastic and
ironic tales that tells the saga of the main character and those who are part of his life. Another work Advanced Stage
Deposition is in the final editing phase and works with the association between texts, images or text as images
(Concretismos) and has several of his texts present in the pages of social networks like Facebook and Twitter. In addition
to the aforementioned works, there are still three projects. The first is a novel called Guerrila Corazon, which is set in
Pre-Columbian America. The second project is a technical book on suicide and the third is a collection of erotic tales
called Around the World in 80 Women, in which the protagonist goes Their sexual experiences with women from 80

different countries. The idea is that this project be developed in partnership with other writers. Currently, we are
focusing on the Ludopedia project, which integrates the works G.O.L, Ludopedismo, in textual and audiovisual versions,
in addition to the short film Baba. The year 2016 will be dedicated to the launch of this project that will be our practical
debut in the world of literature.
Kaw Malangue about his relationship with literature.

1.1 G.O.L Grande organizao Ludopdica

The Novel G.O.L - Great Ludopdica Organization presents the story of Antnio Gervsio Pinto de Jesus, a young
man who, like most Brazilians, dreamed of being a professional soccer player. In a stroke of luck, he manages to make
his dream come true, but he knows he does not have the technical quality to keep himself in that craft. Nevertheless, it
develops a brilliant career and, the narrative happens exactly in a championship final that will be the watershed in the
life of Bereba (his heternimo ludopdico). As he heads to the Fonte Nova Arena, he passes on his life up to that moment
and experiences a moment of existential crises.
The text was developed with an attempt to make use of football as a central element of fictional narratives that,
despite all its dramatic, comic and dramaturgical load, is still little used in the literary environment of our country.
Taking advantage of the opportunity of the World Cup to be held in 2014, G.O.L is set in a work that can be associated
to the event because they are focused on the same theme. This work is associated with another text (Ludopedism) and a
homonymous social project.
The book was recently released in e-book version by the Amazon platform.

Defender Cleodonor really looked like a shadow. In addition to following Bereba's steps with millimeter accuracy,
he suddenly disappeared; However it was enough that the ball arrived near Bebera for him to return and not let the
tricolor player breathe. He would undo the attacker and give a frightening laugh. The issue was out of the motivational
area and linked to the technical area: if he continued to insist on truncated moves and ball contests, Bereba would

always lose, as Shadow compensated for his undisguised technical deficiency with enviable physical vigor. That's when
the lightning struck. Raul Tocantinense hit a pitch from behind the midfield, who found the tricolor scorer alone, that
is, accompanied by the Shadow.
"Just get the fuck up !!"
As he dominated the ball toward the goal, he had little time to act. Without having planned, acting more
instinctively, Bereba raised his head, looked at the entrance of the area as if to indicate that a companion of yours was
preparing to receive the ball. Cleodonor, who only stared at the attacker's eyes, could do no other action that would not
divert his gaze from his goal in the game and turn to the side Bereba seemed to indicate with his eyes and the movement
of his feet. The moment he noticed that there was no other attacker on the other side, he turned in time to see the ball
pass through the middle of his legs. Almost unbalanced, the defender could not do anything other than grab the tricolor
striker, not to make the fault, but not to fall disgracefully on the ground. That fault was so flagrant that the judge ran
whistling and pointing the lime mark: in the sequence he moved the "panties" and took the yellow to the Shadow. The
tricolor crowd made a deafening roar. Bereba, still on the ground taking some time to rest, was embraced by his
teammates as if he had already converted that goal.
- Who's going to knock? Asked Cazaub, as if no one knew who had such a duty.
Bereba was getting up and before taking the ball and heading where it should go, he looked at his coach. Even
without being versed in lip reading, he clearly identified his commander's order, after all listening to him in that chatter
was impossible.

- It bites, Bereba! Go, you fagot !! Dug, now hit !!! He shouted as he shoved the wind with his hands as if he wanted
to do the same with his subaltern.
Bereba got up, picked up the ball, and marched slowly to the marvelous lime mark. This story of which penalty is
half a goal is an argument that does not hold, is a fallacy. If it was half a goal, a team that had a marked and unconverted
penalty could win a match from half to zero. There is no middle ground on the penalty kick: either it goes or it streaks.
Bereba put the ball in the right place, wishing to put it in a more suitable place. Goalkeeper Faf got out of his
goal, gave a touch to the ball to get it out of the place and certainly made some pounding at the foot of the tricolor
player who did not hear, and heard or called.
"Go, Bereba! Stop this disgrace, damn it !! Just hit the corner, man !! Nothing to invent ... gives a break in the
goal. Send in the keeper's face and shoot! He's not going to defend it, right? "
Bereba stepped away from the ball, put his hands on his waist and waited for the judge's authorization.
- Priiiiiiiiiiiiiiiiiiiiiiiii !!!!
He heard the whistle. He ran to the ball, not looking at the goalkeeper, only looking at her. He kicked the inside of
his right foot. He felt that crescendo of vibration. He waited a few seconds after that vibration exploded. When he raised
his head, he could see the ball passing under Fafa's arm. A spasm took over her heart. Goal! Bereba prepared to run
and hug his companions, when he heard the whistle and saw the judge shaking his hands.

1.2 Ludopedismo: a cincia do Futebol-arte.

Ludopedism: The science of Football-Art is an essay on football itself and its relation to some areas of knowledge
as a way of corroborating its importance beyond the fact of being merely a sport.
The text is divided into five chapters in which football is associated with other areas of knowledge. In the opening
chapter, it is associated with History and Politics. Associates with Physiology and Psychology in the second. The third
and fourth chapters associate it with Art and the creative elements that have arisen in our land. The final chapter is a
summary of the social project G.O.L - Great Ludopdica Organization, which aims to use football as an element of
social reorganization.

The book was recently released in e-book version by amazon's digital platform.


The second low dribble, following a growing hierarchy, is the dummie, also called the cow's knot. It consists of
passing the ball through one side of the marker player, following the opposite side and "meeting" the ball at a future
point. It is said that this dribble was developed by the fact that the soccer players, in the beginning of the accomplishment
of the sport in American lands, generally carry out their matches in the rural zone. Sometimes some animals grazed the
field and ended up disturbing the play, causing the game to be paralyzed and hit the ground. Some players decided,
instead of stopping the game, to prevent the ball from touching the animal. The Dummie was then created in honor of
the said mammal.
In order to perform this dribble, besides the good time of ball that the player must have, it is necessary to have
another characteristic: muscular explosion and, therefore, speed. When touching the ball on the opposite side of the
course, the player must have legs and lungs to reach the round, as he must touch the ball at a distance, not too close or
too far away. Accuracy and speed are essential for this expedient.
There are several examples of the successful application of this dribble in football history, but let us refer to a
recent example of its use, not only by its use, but by the context in which it was applied. The game was worth the semifinal
of the cup of Brazil of the year of 2010 and was disputed between Santos and Grmio. In fact, it was the second game,
being that in the first the gaucho team had won in the Olympic stadium. In the game back at Vila Belmiro, Santos had

to win by the same score or by two goals difference. The two teams went into the locker room, at the end of the first half,
with the scoreline cleared, which gave the classification to the tricolor team. In the second stage, Santos seems to have
decided to remove the rabbits from the top. It started with Goose, who hit a left-handed hard kick from the middle of the
street and opened the game's leaderboard. However, this beautiful goal was no use if it were an only child. They needed
to make another and, importantly, take no goal. Here Robinho decides to give the air of grace. As if competing to make
the most beautiful goal, Belmiro's village seven shirt noticed the forward goalkeeper and struck a touch over him. The
match could end there that was of a good size for the Santos team. But like every great classic, things could not be so
easy. In a failure of marking, the Santos allowed the Grmio to make a goal: the goal that would guarantee the
classification to the final of the cup of Brazil. That was when a less talented player, not necessarily less skillful, decided
to leave his mark. Midfielder Wesley, now at Palmeiras, received the ball in the middle of the field, applied a knot of the
cow on his marker and, almost without an angle, kicked to the goal. As for the beauty of the three goals, the discussion
can continue infinitely: with respect to the importance there is no doubt: Wesley's Dummie and its successful conclusion
were those responsible for Santos's classification at the Brazilian Cup final against a certain Bahian team Ghastly girl
playing in red and black.
This is a notorious example of the practical applicability of the Dummie.

1.3 LIAC (English Language with Art and Culture)

The project of the English Language with Arts and Culture (LIAC) course aims to teach English students in a
didactic but playful way, using artistic and cultural elements to facilitate learning. Each topic that is studied will have a
grammatical description, but will also use artistic and cultural passages, such as songs, texts and videos, to show the
student the insertion and action of the English language in practice. In addition to the regular English language classes,
music workshops will be taught so that students who do not have a minimum knowledge of the art can acquire it.

1.4 Fome ( Hunger)

Famel is an unemployed young man who nevertheless develops hundreds of ideas, all imbued with novelty that
could qualify him as an entrepreneur or as a genius. When he finally gets a job in the development of ideas, his most
notable quality, he ends up getting involved in the whole web of conflicts and dramas that emerge from environments
where power and money are more important than the development of the true virtues of human being.

First chapter

Suddenly, my head became an amalgam of wonderful ideas and insoluble problems: those, of the sort that had the
simple pretension to change the world, altering all the negative structure that prevails (va) and that they tried to implant a
whole new model based on Respect and cooperation, as well as providing the practice of true justice, the desire of mankind
since it is understood as such: unfortunately, none of them belonged to me. These, which were the kind that caused
apprehension and fear even of those already used to existential adversities, belonged only to me. Despite this apparent
contradiction, I could see a bright future ahead of me: I was only afraid that it was not mine. I just noticed that I was not
alone when a guy nudged me indicating that it was my turn to go to the bathroom. I breathed a little more willingly, unlike
the way I usually did, and headed for the bathroom, staggering like a poorly controlled puppet. In fact, he had not had
much to drink: he had drunk it! I knew that the drink, mainly consumed at a daily pace as I usually did, is not something
that can increase the lives of men of art, like me. However, it was an excellent remedy for my pains and frustrations, and if
I could not eliminate them, I would at least lessen them to the point of becoming bearable. The momentary malaise caused

by her was compensated by therapeutic help, which probably helped to maintain my life, or rather survival, since the term
life can only be related to existential fullness, something that seems to be light years away from me.

1.5 A arte de fazer arte ( The art of doing art)

The art of making art is an essay that seeks to discuss art in the face of its historical and modern problems, focusing the
analysis on the one who is directly responsible for its creation and execution: the artist. Discussions will also focus on
the artistic work and the effect of these actions. The work is monographically and possibly revised and, from the analysis
of its content, published.

1.6 A Guerra do Brasil (The War in Brazil)

Figura 2: Manuscript of the book (2002)

The War in Brazil is a novel that describes an American invasion of the Amazonian territory of our country. The work
presents all the previous events that triggered the invasion, in addition to the internal political strife that facilitated the
northern war process. Characters from other works will be present in this text, as a way of widening the correlation
between diverse texts.

Being political is much more than representing the yearnings of the electorally valid portion of the population; Is to
enjoy a power that deforms the soul and character of man, but which, nonetheless, is still a power. It is this that makes
those who think themselves mentally adept at settling the sufferings, or at least pretending to diminish, the despised
population and still acquire a personal patrimony for social improvements, go through the internally insurgent

conchavos and disagreements that are the blood of the policy. The money, the influence, the breadth of his acts, and all
the components of the world of the executive and legislative men give to him who enjoys it the sensation of a power as
expansive as that which has embedded in some of its myths which, incredible as it may seem , They end up resembling
more of the resistant citizen than of himself. It is as if he has as much power as his enemy: in many cases it becomes a
supra-divine feeling: people can die, live, dream, give up, decide, thank, complain, love, hate depending on the
particular will of a The only human being. It is a proof, if it is necessary to prove the obvious, unrestricted power that
integrates the congress, the senate or any similar institution. No one pursues a political career for any Franciscan
altruism or similar vocation. Those who go through these forests have the sole purpose of using their power to affect
the popular community. Some who in their lives may have suffered negative situations similar to that of the large portion
of the population may be in solidarity for having knowledge of them and, thus, trying to do good. Many have a
relationship with the people of superiority, and have this term as something pejoratively subjective, they do, or seek to
do, good for themselves, even in some specific sadistic cases, that it negatively affects the population at large.

1.7 Suspreto

The story Suspreto narrates an event in which the protagonist is confused with a thief and ends up facing the
consequences of this confusion. The text was developed as a way to reflect on racial issues in our city, especially those
that refer to blacks. It was also developed to counteract the hegemonic vision of the pretended racial harmony of our

city, showing that, despite being an eminently Afrodescendant city, the racism experienced by the majority of its
inhabitants indicates that the changes have not yet been enough to guarantee the Negro a condition Existential value that
is worthy of it.


When I noticed she was coming up again in the bend below, I experienced chills that I had never felt before. I was
so uncomfortable that I did not know if I would sit, whether I would stand, jump, stand still ... I was completely stunned.
She approached, and I began to pay attention to the queen's face: her eyes, slightly almond-shaped, were of inhibiting
expressiveness; The cheeks were a sun-like smile that might compete on equal footing with the real sun. His whole face
exuded harmony. In fact, it exuded harmony, melody and rhythm. Her beauty was an orchestra. Very fine. But ... did she
blink at me? No, it could not be! Yes, I think he had winked at me. And smile! I struggled for support and managed to at
least keep myself upright. Now I was under uncontrollable pressure. I was not entirely sure that she had actually blinked,
much less it was for me, but the fire that consumed me on the inside affected my reasoning and sense of reality, which
were already very obtuse. When would a girl like that give it to a guy like me? Nothing against me, but it was obvious
that we were part of parallel worlds and, as such, were not found. They should not meet.

1.8 Pau eltrico neles

The short story Pau eltrico neles tale in them narrates the first time Dodo and Osmar saw an electric guitar. From
that experience, they developed the pickup system that gave rise to the Pau Eltrico, the first electronic instrument of
massive body and that possibly gave rise to the electric guitar.


Walking through downtown Salvador, Osmar and Dodo thought about what they should do after first seeing a
group of Frevo from Recife. The intensity and vibrancy of that song still popped in the ears and brains of the two when
they came across an ad on the facade of Cine Guarani.
Benedito Chaves and his electric guitar
- Electric guitar ?!
They had no idea what that contraption might be. A guitar connected to a power outlet? Thought Dodo. A guitar
that plays alone? He was thinking of Osmar here. What was unanimous between the two is that, whatever it was, they
would check. They were not afraid to see the newness of the capital. They were anxious, in fact. Why fear an electric
guitar if you survived the Frevos and Dobrados orchestra?
It was not long before the nightclub entrance window began selling tickets for that party. They were sure to be
witnesses to a unique event. They were proud, but also a little fearful. What if that guitar played alone? What would be
the instrumentalists?

When Benedito entered the stage, the duo breathed more relieved, seeing him putting the guitar on his lap and
his left foot on a wooden support, as traditional guitarists do. After the crowd's hands, Benedito began to finger the
ropes of the Del Vecchio. The music itself was nothing new, but the sound was so intense, strong and shocking that it
seemed to be produced by something of mastodontic proportions. Suddenly, the animal roared: a shrill microphone took
over the environment. Benedito got up, walked to the side of the stage, hugged the instrument, all in order to reduce that
sound that pierced the eardrums as a musical puncture. But not even that uncomfortable detail diminished the desire of
the two friends to absorb that unique experience.

1.8 Fraternidade lingustica da dispora africana

The article Linguistic Fraternity of the African Diaspora discusses the linguistic and cultural elements common in
languages affected by the African diaspora. Brazilian Portuguese, especially in its soteropolitan strand, American
English Blacks, also known as Ebonics and Jamaican English are compared, having as material analysis lyrics of music
and or text produced by artists from these three countries.


Although the slave trade has abducted blacks and blacks from different parts of the continent and sent them to
different parts of the planet, some strategies were developed by these blacks of the diaspora to resist or confront the

hegemonic power of the time. One of these strategies was the linguistic subversion that is evident in the variants of
American English of the black community, Jamaican English and Brazilian Portuguese, especially that of the city of
Salvador, as Luchesi and Rickford point out. This subversion developed differently in the three prominent localities.
However, some linguistic elements are common to the three variations and these elements trace back characteristics of
African languages. By using these elements in such a way as to subvert the language of the deceased, whether Portuguese
or English, blacks developed a linguistic fraternity which, to this day, has its repercussions not only in the languages
but also in the cultures of the aforementioned countries. Works by artists such as Bob Marley, Peter Tosh, Zeca
Pagodinho and Hip-Hop MCs. The identification of the elements that integrate this fraternity go to meet the current
process of positive integration in society of those who have been historically left out of the process of full development
of society. Identifying this linguistic fraternity is a way of intensifying an already existing connection between the blacks
of the African diaspora and, in this way, reinforcing the integration of this group not only in the linguistic environment,
but in the existence as a whole.

1.9 Uma crnica da porra (Crnica)

The article Uma crnica da porra was developed to analyze the polysemy of the term "Porra" within the soteropolitan
context, in which it is not only used as an expletive but also appears as interjection, exclamation and in adverbial
expressions such as casa da porra And cansado pra porra, inside others.


Salvador is a tourist town. Therefore, every year it attracts a considerable number of visitors, whether foreign or
native. Of course, some of our visitors are astonished by a particular characteristic of the Soteropolitan people: the
taste for verbally swearing, henceforth called "palavradismo." From children, even old people, to young people and
adolescents, of both sexes, from the most different social strata, everyone likes to let go of one or another cool term.
And this is not due to any lack of ways that the Soteropolitan people will have. Swearing is used as a feature of stress
or hyperbole: it is an attempt to verbalize all the intensity of an action, feeling, sensation, idea or taste. The term
fucking is perhaps the most recurring use in soteropolitan lands. Much of this is due not only to its unique cathartic
character, but also to the fact that it is a multifunctional and polysemic term that fits into a multitude of

1.9 Estgio avanado De Composio (Hbrid)

It is with great pride that we communicate the virtual launch of the work "Estgio avanado DeComposio" that
brings together concrete poems, proverbial parodies, microcontos, phonetic, syntactic or semantic interventions and
varied texts, in Portuguese and English, which have in common the search By synthesis. This first edition is only
illustrative, after all the book will be published in paperback, in addition to undergo visual interventions to give more
robustness to the work

1.11 A tentativa de fazer algo bom no inferno (Script/Play)

"Soldier Borges, are you awake?" "Sorry, Captain. I was just thinking. - It's all right. But I need you to be awake to find
that bastard. You are one of our most applied soldiers. You already know this and everyone here from the corporation
as well. Sometimes I think you exaggerate a bit ... but your military qualities are unique, boy! We'll need you more than
ever, you know?
"Sir, rest assured that I will be more awake than the vigil itself!
- I know. I just wanted to hear this from you. "And he smiles patting the soldier's shoulder.

(The central light is dimmed, the colored lights begin to rotate giving an idea of movement, and the sound design inserts
the sound of a car running, while the actors who are in it, swing it to give the idea of movement. The soldier Borges and
his companions begin to descend from the vehicle and enter the favela.The interior of the vehicle will be dismantled
from the stage in the middle of the boom caused by that invasion : "They are running with children on their lap, old men
trying to protect themselves, and young men are fleeing." Some "suspects" try to escape but are caught by the
police.When Borges starts to enter the favela while his colleagues run from one side to the other, He walks quietly while a calm and serene song is put on off - until there is again an off-the-kill verb. Suddenly - when he finds himself
alone on the stage and the babble is replaced by a sepulchral silence - he manages to repair A guy trying to hide. He
gives a sadistic laugh, takes out his knife and sets off the young man. Suddenly both are sighted)

1.12 Insanar-te/ insignity (Pea/ roteiro)

Insanar-te/ Insighnity is a screenplay / short film that tells the story of Theo and his passion for a muse he had
created. As evidenced by the double title of the work, it was developed in English and Portuguese.


Theo will be walking off-stage, being followed by the focus. He will finally get to the stage, while he will be stared
at. He is a young man with a beard that denounces his age and dresses in a completely out-of-fashion way.A fish out of

water.As the students' tumult is dissolving, the stage will turn into a Theo will be sitting in his chair, being watched by
the others.The teacher will be making the call - the youthful commotion does not allow us to hear the names that the
teacher announces - until he calls Theo)
- Theodomirus Chrysostomos!
(The students are silent, some frowning, and they watch to see who was the guy who had such a strange name.)
Some suspected who he might be.
- Present, teacher!
As soon as he responds his name, Theo tries not to bother with the general laughter that follows his response.
He feels a little embarrassed but swallows dry, while the stalemate settles again. In off Theo begins to think:
"How could I think of that? University? After all this time? Look at them ... what do you have in common with
them as well as being human? Not much. What the fuck am I doing here? What a shame! Well ... anyway this shit is
going to end quickly and I'm going to go home and never put my feet here again !! "
Theo does not feel very well in that place. Mainly because he feels the wrong man in the wrong place doing the
wrong thing. His heart beats fast but he manages to mask that feeling with a certain pride: it's also a strategy to get
others to avoid him. He wants to be alone without being bothered.
"Hello, what's your name?" Asks a beautiful girl in front of Theo, offering her hand to greet him.

1.14 Cadaverdade (Romance)

Cadaverdade is a novel developed between 96 and 2002. He narrates the misadventures of an unemployed person in the
city of Salvador. The leitmotiv of the work is the attempted attempt at the Carnival of Salvador. This may be considered
the first serious attempt to develop a novel.

I would digress with the pillow, the mattress, my thoughts, my abstinence, my excess, my sheets, and especially,
and denotatively with the mosquitoes that made a point of keeping me company while I tried to remember when I Had
invited them. Sometimes I would have a great idea, make up a song, or make a pun, so I would get up dizzy from the bed
and write down the idea in the first paper I found. I always tried to remember to put a pen and a block of papers at the
side of the bed, so that I did not have to get out of bed to write down the idea, but I kept the promise; He still stood up,
almost frightened, for fear of losing the thread of his skein.
As I wrote in a hurry, in addition to not always turning on the light, so writing in the dark myself, my handwriting,
which was already very good in normal conditions, in many cases, it was impossible for me to "translate", causing me
to I could not read what I had written myself, which in many situations had the same effect of not writing, because I
often gave up decoding my snippets, but that did not worry me much.

1.15 Em fuga da perdio paradisaca/ A tentativa de fazer algo bom no inferno/ Os ventos que moldam a pedra
do sol (Trilogia)

The so-called Trilogy of Stairs began to be formulated in the 2000s. The narrative is centered on the war between
mortals and immortals. In fact, it was a development of two previous works: The Bulwark and The Beautiful Ancient
Futuristic. The first volume of the trilogy tells the life Aghbar, the second tells the life of Azir and the third tells the life
of the son of the two.

The sobriety of that edifice was mercilessly frightening, not only to those who were not accustomed to its omnipotence,
but also to those who, day after day, frequented that colossus. On the outside it had a simple, sober and pleasant facade,
where a grayish hue dominated the coloring, diluted by semitransparent windows dispersed and alternately intercalated,
demonstrating the varied sizes of the rooms arranged in that building. It was impossible to fix the top to the naked eye
without feeling imperturbable nausea and without questioning the attempt to have constructed that aberration formed
by massive doses of concrete, fiberglass, and megalomania. What was seen inside was extremely disturbing. Not even
the warm entrance, adorned with a synthetic marble, which seemed real, or the wide white walls gave a feeling of calm,
peace or any idle feeling, since on every floor descended and raised soldiers that, with the aid of the Their personal
thrusters clinging to their uniforms, and through a ditch that linked directly all levels of construction, were preparing

to become intergalactic guerrillas. They went from room to room, from floor to floor to attend lectures in the
auditoriums, to participate in training in the rooms of cosmic simulation, or simply to meet to discuss subjects that were
directly or not connected to their eternal lives, parading those semblants Like those who knew they would face a war
without knowing whether they would return or whether they would suffer eternally wandering the cosmos, but with that
combative spirit that favors collective life over individual life and is the highest quality of warriors and heroes. The
number of soldiers who were there voluntarily was derisory, since the overwhelming majority were less well-off
immortal youths, or sentenced to some punishment for committing any illegality which, by virtue of immortal rule, were
"invited" to give Its eternal forces in favor of the hegemony of Theo in the universe. That day, in particular, was a very
important day for the entire immortal nation. In addition to the celebration of the thirtieth year of the discovery of
immortality, the first cosmic achievements of real value, such as the victory against the Lo that resulted in the possession
of five stars - Europe, Ganymede, Callisto, Leda, Carme and Lo - pertaining to Jupiter, and From the technical domain
of travel to black holes, making possible the journey to past times, those young people who spent the beginnings of their
immortal lives preparing to use their qualities in favor of "Homo Eternus" in the realm of the cosmos would be
decorated: the formation of the First group of Generals Generalissimos intergalacticos could not, and would not, pass
blank. A siren, imperceptible to the deadly auditory system, sounded indicating to everyone present that the war leader's
speech was about to begin.

1.16 Josu na Lama/ Josu in the mud (Biography)

Biography of Josu de Castro, a geographer from Pernambuco based on the analysis of his main works. These
works are part of the personal library. The biography is in the research and registration phase

.1.17 A volta ao mundo em 80 mulheres/ Around the world in 80 women

Compilation of short stories narrating sexual experiences with foreigners. The work presents several countries,
starting with the first letter of the alphabet (Austria) and ending with the last letter (Zaire).

Figura 1: Primeiro conto: austraca.

1.18 LBAC ( Lngua Brasileira com Arte e Cultura)

Mdulo de lngua portuguesa brasileira (Basic Portuguese language module) developed in 2013 for language
learners Portuguese in Dili, Timor-Leste as part of the actions of the Portuguese Language Qualification Program
(PQLP) of the Center for the Improvement of Higher Education Personnel (CAPES). The work presents artistic and
cultural elements in Portuguese language, focusing more precisely on the American variant of the language and its

evolution from foreign language to the official language of the country. Texts, lyrics and video transcripts are used in
language teaching. The module was developed in September 2013 and completed in October of the same year.

1.18 - Se eu soubesse que a vida era assim... (compilao de contos)

Compilation of short stories developed in the early 2000s. Despite the poor quality of the texts, it is in this
compilation that for the first time an incipient version of the story of Berebinha, the king of ludopedia that gave rise to
the entire Ludopedia project, appears. This was our first experience in the development of a compilation of short stories,
an experience that helped us to develop sparse tales (Electric Pau in them, Suspreto and a chronicle of the club) and to
program us to make other collections.

1.19 - Audiovisualismo: o videoclipe como ferramenta no processor de ensino/ aprendizagem de lngua

estrangeira. ( Audiovisualism: videoclip as a tool in the learning process for foreign languages)
In 2010, we were approved in the Master's in Language and Culture at the Institute of Letters of the Federal
University of Bahia and we began to gather material for our research that is focused on the use of artistic and cultural
texts, especially the music video, in teaching foreign language. At the end of 2011, we did the first field work at the
NGO TV Pel, where we put into practice our approach, based on the English Language with Art and Culture module.

During our stay in Timor-Leste, we were retired from the course due to bureaucratic problems regarding
enrollment. In the year 2014, we made a new selection process and were approved. We took advantage of the materials
that were taken on our first approval and we were successful. Because of our experience in Timor-Leste, in a context
where the Portuguese language was, in practical terms, a foreign language, we compiled material to develop the
Brazilian Language with Art and Culture module and put it into practice within the basic Portuguese course for The
Malaysian teachers of the Paul VI School in Dili, Timor-Leste.
At the end of 2015, we will conduct our orientation with Professor Maria Luiza Ortiz, visiting professor at
UFBA chosen to be our guide in this second phase of the course. The text of the dissertation is with all its chapters
written, nevertheless, the fourth chapter will be revised for the insertion of more references to base the thesis defended.
1.20 Diplomacy studies
From the year 2007, we began our studies focused on the area of diplomacy. We have always had an interest in
Diplomacy, much for the fact that I like Rock and study English very early, both the musical style and the most
globalized language in the world. In 2011, we were approved in the public contest for the Bolsa-premio of the
affirmative action program of Instituto Rio Branco and CNPq. In 2016, we are participating in the selection process
for the vacancy of Chancellery Official.

2. Music
My first relationship with music was when I was five when I was amused by the sounds produced by the
electronic waxing machine he used to clean the house. At the age of 7 I began to do Portuguese versions for songs by
artists like Iron Maiden and The Beatles. At age 12, I began to write in English and learned to play the guitar with an
instrument that only had the three bass strings. Since I did not know the chords or notes, I began to create his own
chords and identified them by letters (not knowing that musical notation in Anglo-Saxon countries is done in this way).
Dissonant chords invariably arose. Therefore, at the age of 14 I began to study the guitar through the ciphers, and from
then onI began to compose songs within an "acceptable" standard.
During this time, I played some instruments (drums, bass, guitar) in some bands (Bagaa, Crotalus, Lisergia,
Vacoom, Skilfborn and Killing King) until he set up, together with my theater colleagues (who frequented since 8 years)
My first band: Os Calgulas, in which I acted as vocalist. The experience lasted two shows and a demo tape, until in
1994, he decided to set up his own project called Sofisma. The band started singing in English and with a distinctly pop
sound. In a second moment, in 1996, the band began to sing in Portuguese to make a heavier and dancing sound. After
several changes of formation and concept, the band ended in 1999. In 2003, I recorded a CD-demo with 5 songs (in
English and Portuguese) that ended up not becoming marketable, but that made the artist see the viability Of that project,
but it was done in a more professional way. In the same year, I traveled to Europe (Italy and Slovenia) where I performed
a series of acoustic concerts playing her songs ( "She's my muse", "Mula sin cabeza" and "Homem de bem"). , As well
as songs by artists like Alceu Valena, Joo Gilberto and Luis Gonzaga. My style is basically rock, but whenever possible

associated with other rhythms (Funk, Samba, Oriental music, Chromaticism, etc.). Lyrics can speak of situations from
day to day, or deal with broader and more philosophical themes, but always with a certain amount of irony and
In the last years, I participated in the selective UNIFEST (university music festival) in the year 2006 (when he
was still a student of the Vernacles Letters with the English language of UFBA) - having his song "All that enters has to
leave" Selected for the first phase - continued to compose but also dedicated to the study of new technologies and new
processes, both digital music production and electronic dissemination. In this period, I came in contact with programs
such as: Sound Forge, Pro-tools, Guitar pro, Front Page and Moviemaker. If I do not already have the complete mastery
of these tools, at least you already know them, which can facilitate and streamline the process of musical editing and its
subsequent dissemination. I am currently editing the Kwantws project's drum tracks, plays guitar in Lambada's
Lambada band and produces the Kawakorreria project.
Kaw Malangue about his relationship with music.
2.1 List of composed and registered songs
With a total of about 500 composite songs, the artist has 200 of these songs recorded with lyrics in English,
Portuguese and Spanish and which cover different styles like Rock, Reggae, Forr, Msica erudita, Funk, Thrash metal,
Samba, as well as styles Hybrids that encompass more than one musical strand. All lyrics, music and arrangements are
authored by the artist, except when indicated.

The first compositions were versions of foreign songs of bands like Iron Maiden, Kiss and Michael Jackson.
Then, with the creation of hundreds of fictitious bands, began to write songs for these bands. Many of these songs were
used in real projects.
2.2 Lista de msicas gravadas

The first recording we made of a relatively acceptable song was the song Perigo vista that we recorded on a
homemade cassette recorder in 1991, when we started learning to play the guitar. From that moment, we recorded
countless songs that were our own. We got to record a demo with the band Calgulas, but the cassette tape was not found.
The first group recording came with the Sofisma demo, which contained 8 songs and was recorded directly to the cassette
tape with all the musicians playing live. Then we recorded the demo Nobody Knows tomorrow days that had 5 songs of
its own. As soon as Sofisma ended its activities, we decided to pursue a solo career. Counting from the earliest home
recordings, there is a set of more than 100 songs recorded whether they are their own songs, covers, versions, interludes
and studies. In addition, there are countless number of riffs, melodies, rhythms waiting to be transformed into music.
Since when he began to compose in a more prolific way, the artist always had in mind the realization of a compilation
of songs to start his own musical career. His first idea, developed in the distant year of 1992. The first idea consisted of
a quadruple LP called "Four Frames", in which each cover of each LP reunited formed the face of the artist.

Obviously, the project was not carried out, because of its clearly megalomaniacal character, but it was important to
bring together the musical production valid up to that time and planted the seed for the realization of the longed for "first
album". Some incipient versions of songs like "Untill the death unite us", "Chains of fire", "Everything that enters has
to leave", Love cant let me down and Lost in the city.

2.3 Project Sofisma

With the end of Caligulas, we decided to create a new project. This time, the whole concept, lyrics, songs and
arrangements were developed by us. The band started when we met drummer Joo Lambo and, shortly thereafter,
bassist Thales Taroba. With this training, we recorded the first Sofisma demo which contained 8 songs, such as Ninja
Jiraya, Oriental Life, End of the Love Trip and Mongermito away, and were recorded live, with the band playing all
instruments at the same time, including vocal .

Demo Sofisma:

Bemvindo ao meu mundo

O melhor o pior
Tribunal escolhe
Oriental life
O tempo no passa para mim
Ninja Jiraya
Fim da viagem do amor/ comeo da merda do dio
Voando sem asas
Mongermito longe

All lyrics and songs by Kaw Malangue. Arrangements by Sofisma

In 1997, the band performed some shows and developed a repertoire of about 50 songs, including their own songs
and covers. With one more change of formation (leaving Thales and passing from Kaw Malangue to the bass and the
entrance of the guitarist Daniel Tch), the band recorded another demo "Nobody Knows tomorrow days" in the year of
1999. The band again recorded in English songs such as "Oriental life" "Barbie", "Can you go to Teotiucan" and
"Junkiebox" and the sound was more focused on Heavy Rock. The recording was done on dat tape later transferred to CD.
This time the band recorded all the instruments together and then the vocals and keyboards were recorded.

Demo Nobody knows tomorrow days

1) Firebird


Oriental life
Can you go to teotiuac

In the year 2000, the band suffered their last change with the entrance of bassist Andr B.B. At the end of the year,
the band dissolved.
2.4 Solo project
In 2003, the artist, invited by his friend and musician Brother Carlos, decided to record five songs playing all the
instruments and recording in three different languages (Portuguese, English and Spanish). This was the first experience
in which we were responsible for all the instruments of the recordings. Obviously, the quality was below expectations
and the project was not launched.

Kaw Malangue solo


Vamos na noite nadar/ Lets swimm in the night/ Vamos em la noche nadar
Nomadear ( apenas em portugus)
Voando sem asas/ Flying without wings/ Vollando sin allas
Precipicio precpuo/ Precipice/ Precipicio
Sema/ Sama/ Sema

In 2003, the artist traveled to Slovenia to work in a tourist agency during the day and to perform Bossa nova shows
during the night. Two shows were held, one in Kranj and another in Ljubljana, at events designed to promote Brazilian
culture abroad. It was in Europe that the artist learned the rudiments of two instruments: organ and accordion.

In 2004, disillusioned with the failed attempts to establish himself as a musician and because he was approved for
the UFBa course of vernaculars with modern foreign language, he decided to finish his attempts in the world of music
and dedicate himself to university studies. However, it was on account of the university itself that the artist eventually
returned to the world of music in the year 2008. The UFBa university festival (UNIFEST) was the element that caused
him to return to the world of music. Again, with the support of Brother Carlos, he recorded two songs: "Time does not
pass for me" and "Everything that comes in has to leave". Joined the last one in the contest and was selected for the first
sentence. She learned to play cavaquinho through the development of the Sambeatles project, in which she played samba
versions of Fab Four songs, like "I saw her standing there", "All my loving" and "Nowhere man", among others.

Songs for the project Sambeatles

1) I saw her standing there

2) P.S. I love you
3) Baby its you
4) If i fell
5) In my life
6) I will
7) It wont be long
8) Youre gonna loose that girl

9) You wont see me

10) Nowhere man
11) And your Bird can sing
12) Polithene pam
13) Free as a Bird

In 2011, the recording of the "Kwantws" project began, which was developed as a multimedia project involving
the recording of an ongoing CD, the production of a DVD containing scenes from the recordings and a book telling the
recording process. At the moment, the artist recorded all the backing tracks of the demo of the disc, however the desire
is to finish the demo (with the editing of some tracks, recording of keyboards, percussion, main voice, backing vocals
and eventual effects), Set up a baseband (guitar, bass and drums), rehearse with the band and start the bandwidth
recordings, then edit the CD and release 1,000 copies as a first run. An electronic page will also be developed so that
the songs can be accessed in other parts of the world, after all the songs will also be recorded in English language. Songs
of other artists like The Beatles, recording them with voice and guitar, until the current year, in which the artist records,
being responsible for all instruments and voices, besides having composed and arranged all the songs, except the
indicated covers .

2.5 Project Afro 10 Cents

In 2010, he set up the project "Afro 10 cents" to perform a show in the black conscience week at the Federal Institute
of Bahia (IFBa), an institution where he has been a Portuguese language teacher since April of the year mentioned above.
The show won the DVD Live at IFBa the first product of Uzais productions, a company created by the artist to manage
the artistic products developed by the artist or in those in which he is involved.
The Afro 10 cents musical project was developed by professors Breno Oliveira (English Language) and Marcelo
Cordeiro (Portuguese Language), who are involved in the coordination of languages of Department I of the Salvador

campus. The aforementioned professors were members of the organizing committee of the Ethnic Relations Day of the
IFBA 2010, held on November 18 and 19, 2010, which had its second edition on November 20, 2012.

The objective of the musical project Afro 10 cents is to present to the participants of that journey a cultural sound
mosaic of the national and world artistic production of artists of African descent. Artists of the most varied styles, from
the most diverse origins, as well as from different eras were selected. The intention is not only to entertain the
participants of the journey, through the execution of the songs, but also to intercalate these presentations with
information about the artists presented. It is a way of deepening the cultural element of the initiative, in addition to
highlighting the didactic character of the musical project that is as important as the artistic part. The artists were selected
not only because of their musical importance, but also because of their importance to culture, in its broadest sense.

The artists and songs selected are: The Tincos, O Rappa (misery SA), Jimi Hendrix (Foxy Lady), Tim Maia
(Coron Antonio Bento), Bob Marley (Exodus), Milton Nascimento Life), Leadbelly (Where did you sleep last night),
Ray Charles (Hit the Road, Jack), Bob McFerrin (Dont worry be happy), Little Richard (Tutti Frutti), Gilberto Gil
(Prayer for the liberation of South Africa) And Michael Jackson (Smooth Criminal). The songs chosen present a number
of questions that are directly associated not only with the discussions about ethnic themes but also with the analysis of
the human issue as a whole and the different implications associated with it.
The arrangements of the songs were developed by professors Breno Oliveira and Marcelo Cordeiro with the
intention of bringing a more contemporary approach that may be more delightful by the present public, after all some
songs are not part of the cultural world of the majority of the students of the institution and the Young people who may
come to watch the presentation. With regard to contemporary songs, the arrangements were closer to the original.
In addition to the teachers responsible for production, the band also includes student Emanuel Lorenzo, who plays
bass and backing vocals and percussionist, guitarist and singer Emilie Lapa. In the year 2012, teacher and bassist Aclio
took the place left by Emanuel and Spanish teacher Deise Viana began to assist in the vocal backing.
In this second edition of the project, there was a greater production counting on a specialized company that brought
all the paraphernalia of light, sound and effects. The repertoire featured songs from the first version of the project, but
some novelties like "Please, please, please" by James Brown, Da lama ao Caosby Chico Science and "Morena
tropicana" by Alceu Valena.

2.6 Kawakorreria
Compilations of songs of rock and pop poured to rhythms like Samba and derivatives. The album features versions
of Beatles, Double, Duran Duran and Pink Floyd as well as their own songs that serve as interlude between the versions.
The songs of this project are all instrumental and aimed at a more atmospheric sound. The first versions were recorded
in Dili, Timor-Leste, Bali, Sukuh e Malangue (Indonesia)

List of songs for Kawakorreria

1) A matter of feeling
2) Amor de mulher (Malangue/ Jarre)
3) Bat pa tu
4) Because ( Lennon/ Macartney )
5) Better unborn
6) Big chesse (Cobain)
7) High tide, low tide ( Marley)
8) Caldo de cana
9) Captain of her heart
10) Child in berimbau

11) Dawn patrol ( Mustaine)

12) Killing floor
13) Eleanor Rigby ( Lennon/ Macartney)
14) Everybody wants to rule the world
15) Here comes you man
16) If I fell ( Lennon/ Macartney)
17) It theres a hell bellow ( Mayfield)
18) In too deep ( Collins)
19) It wont be long ( Lennon/ Macartney)
20) Jailbreak ( Lhinot)
21) Kick in the eye ( Ash, Murphy, David. J, Haskins)
22) Last days ( Ice-t)
23) Life is a long song ( Anderson)
24) Monofilia ( Malangue)
25) Mule without head ( Malangue)
26) One step beyond
27) Out of space ( Romeo)
28) Pictures od matchstick man
29) Preludin ( Malangue)

30) Prodigal son ( Harris)

31) Rosa
32) Shame on the night ( Dio)
33) Solace of you ( Reid)
34) Sukuh Blues ( Malangue)
35) Sunday morning
36) Ticket to ride ( Lennon/ Macartney)
37) Time
38) Umbrella
39) Wanna be starting something ( Jackson)
40) Wuthering heights ( Bush)
41) Youve got to hide your love away ( Lennon/ Macartney)
2.7 Project Kyppws
The Kyppws was formed in 2015. Idealized by Kaw Malangue (Guitar and voice), it is also formed by Joo Bonfim
(drums) and Daniel Santana (bass). Kyppws was a trio that sought to develop organic music notably influenced by the
experiments developed in world popular music in the years 60-70, but also including elements from other musical,
literary and conceptual sources. The band ended its activities in late 2015 due to musical and aesthetic differences.

2.8 Project Lambamor

The band Lambamor was formed in 2015 originating from the band The Hotass. Formed by Matheus Spiller
(drums), Bruno Verozes (bass), Kaw Malangue (guitar) and Bete Feitosa (vocals). The band develops several types of
musical genres, especially Rock, Caribbean music, Ax roots. The band will participate in the edition of La cuisse present
in the project Kwantws 2016.

2.9 Project Kwantws 2016

The idea of realizing a solo project has always been in our mind since time immemorial. The first clearest project
was the compilation Four Frames / Four Scenes that reunited several composite songs until that moment. Throughout
his life, he recorded his own songs, covers and varied types of songs. After experimenting with bands, he decided in
2003 to record five demo songs to facilitate the process of selecting musicians to accompany him. In 2008, he decided
to record three songs to participate in the UNIFEST contest aimed at university students and had his song All that enters
has to leave selected. In 2010, he decided to record in a more organized way all the songs of the Kwantws project. The
initial idea was that these recordings would serve as a demo to aid in the selection of musicians to accompany him in
this endeavor. He finished the recording of the batteries in 2011 and the following year recorded basses, guitars and
voices. These versions were very incipient, but were used to send musicians to integrate the project.

After numerous attempts, we resolved to face, not enough the composition, execution of all instruments and voices,
the electronic edition of the project archives. We started working on these tracks in September of 2015 and in December
we finished a first version of all the batteries of the disc. In the year 2016, we will edit the other instruments, record
some possible effect or overdub, mix and master the songs to be released in the second half of that year.
The project consists of 12 own songs and 5 covers. Some of the songs themselves have been recorded in previous
attempts, while others have their first chances. There are songs from all of our stages and, because of that, they embrace
a broad style of influences. The disc will be available in the Brazilian and English language versions.

Project Kwantws
1) Vamos na noite nadar/ Lets swimm in the night
2) Ar em beque/ Out of track
3) Precipicio/ Precipiece
4) A nica certeza/ The only certainty
5) Mongermito longe/ Monkermit too long
6) Sema/ Sama
7) Santa puta/ Saint Slut
8) Padimatl ( instrumental)
9) T na hora/ Its time
10) Oi l a constelao/ Look out the constellation

11) Tudo que entra / Evrything gets in

12) Diastlica
13) Sunhine of your love
14) Get on the floor
15) Lugar nenhum
16) La cuisse
17) Youve got to hide your love away

3. Social projects
3.1 LIAC Lngua Inglesa com Arte e Cultura.
The project of the language course English language with art and culture (LIAC) aims to teach students the English
language in a didactic but playful way, using artistic and cultural elements to facilitate learning. Each topic that is studied
will have a grammatical description, but will also use artistic and cultural passages, such as songs, texts and videos, to
show the student the insertion and action of the English language in practice. In addition to regular English language
classes, music workshops will be given so that those students who do not have a minimum knowledge of the art can
acquire them.
The LIAC project has as its primary action the accomplishment of English language classes for the low income
population using artistic elements, but will be carried out complementary actions that aim to help in achieving the final
intent that is to enable students in writing, reading, , In the interpretation of the language studied. Divided into ten
programs, which will be carried out in ten months, the project will begin with grammar classes in which the notes will
be made in said artistic or cultural material with exercises of their own. Song lyrics, book excerpts, film dialogues,
excerpts from interviews or speeches will be used as para-didactic elements. The project was put into practice in two
specific moments: in 2010, when we had not finished the module and in 2012, when the first version of the module was
already defined. Also, it was from this experience that we developed the concept of Cultural Approach and

Audiovisualism that are the bases of our master's thesis. This same approach was used in basic Brazilian language classes
in Dili, Timor-Leste in the year 2013 and that generated the Brazilian Language with Art and Culture module.
In 2016, the project was adapted to the youtube platform. We recorded a demo version of the project to indicate
how it should be developed from now on. This release introduces the fourth chapter of the project dealing with personal
description and about Malcolm X.

3.2 Studio Virtual

The virtual Studio Project (registration of amateur musicians) has as main objective to catalog information and
electronic files of amateur musicians, and the pilot experience will be given in the city of Salvador.
Initially will be selected 200 amateur musicians, who will have their data and works available in the great network.
The registration will be available in electronic page, in the Portuguese and English versions, so that its dissemination is
as wide as possible, taking advantage of the new level of connection and caused by the Internet.
The registered artists will be divided into five specific areas: singers, composers, lyricists, instrumentalists and
musicians (those who develop two or more musical activities). Personal data, a brief history of the artist, his / her photo,
a video file containing a brief presentation of the artist, and some digitized work will be available on the personal page
of each selected person.

The project also seeks to assist amateur musicians who do not have material and logistical resources in the
production and dissemination of their works. They will have their works scanned and made available on the project's
electronic page, in addition to receiving their personal page, with text, audio and video files, on DVD-ROM (which is
the product we call E-PRFL). If on the one hand they will have the wide and unrestricted disclosure characterized by
the great network, they will also be able, in the way that they deem convenient, to divulge their works themselves.
3.3 Projeto G.O.L
The Great Organization Of Ludopedism was developed to be an autarchy directly linked to the Ministry of Sports,
which also counts on the assistance of the Ministries of Culture and Communications in its structuring and technical
support. It consists of a methodological plan that aims to achieve a less unjust social remodeling, using as igneous
particle and aggregator the Ludopdio. We seek not only to train high level athletes but also to help in the process of
training the individual, after all the development of the sport, the beneficiaries of the project will also have resources
that will increase their cultural level and also promote an interaction with the community where they live , Study or
The G.O.L begins with the assignment of a room belonging to the Ministry of Sports or Culture or a related
institution, for the implementation of the central office. The physical structure of the room is composed of: computers,
tables, cabinets, shelves and all the elements common to a modern office, taking into account the current mindset of
automation and digitization, which allows a lower expense and a higher quality. This structural issue is of utmost

importance for the full and effective realization of the G.O.L, otherwise all the other stages of the project will be
The hierarchical structure of the G.O.L goes from the general superintendent until reaching the young beneficiary,
By other levels that interact with each other: they will be detailed later. Each neighborhood, taking the expression in the
widest possible sense, of the large cities of the country (over one hundred thousand inhabitants) and each region of the
small cities will have a specific place to use, knowledge and interaction with the G.O.L. project. These locations are
called Ludopedical Communities. The installation of the Ludopdica Community must be made from the construction
or adaptation of sites for the installation of the entire G.O.L structure that will have training camps and rooms for the
courses and administrative areas of the entity. The number of courses and vacancies should be proportional to the quota
of each neighborhood: populous neighborhoods, obviously, should have a greater availability of vacancies.

4. Seminrios

4.1 Ludopedismo A Cincia do Futebol Arte.

The seminar Ludopedismo: the science of football art was developed based on the homonymous literary work,
authored by the speaker. Each of the days of the seminar will be dedicated to one of the chapters of the book, which
associates football with politics. History, Psychology and other areas in order to show that the importance of football
transcends the limits of the "four lines".

4.2 O Quilombo literrio de Lima Barreto: A aceitao de Clara dos Anjos no cnone.
The work "Clara dos Anjos" by Lima Barreto is a revolutionary work. In its form, it is a work that uses the
colloquial language and reproduces, with unique fidelity, the way of life and the costumes of the suburban people of Rio
de Janeiro at the beginning of the last century. In its content, it has as protagonist a young, poor and naive young woman
who is seduced by a young white, malandro and of a social level a little higher, although he is also not a member of the
more affluent classes. Although this work was written between the end of 1921 and the beginning of 1922 (year of the
author's death), it was only 26 years after it was released. And its release at the time did not elicit much criticism from
readers, even though readers were attracted to such an atypical story. So what were the reasons that led "Clara dos

Anjos" to oblivion and, in counterpoint, made "The sad end of polycarp Quaresma" become a canonical work, both
works are the result of the artistic ability of one writer? Can we consider Lima Barreto a canonical writer?
4.3 Abolicionismo no sculo XXI na obra Contos Negreiros de Marcelino Freire
If we are to compare the life of the slaves to colonial times with the lives of the people who belong to the less
favored classes in our society, we will see that similarity is so evident that trying to deny it is an arduous task, whereas
those who relate a way of life To the other they make a correlation that is more than simply interesting: it is prime.
When an artist says that "the favela is the new slave" and another shout that "every shack has a little slave ship", they
are objectively exposing the "true" truth: so long since the time of slavery, we can To note that the structures are still
the same, although the costumes, lighting, and ambiance have been implemented. Brazil perversely, after all relies on
the alienation of its own people, still retains many characteristics, negative, of its colonial era. And these traits affect,
on a larger scale, negatively the black population as it affected in remote times. That is, little has changed, in fact. And
the changes that may have occurred were not positive.

4.4 Casa grande e senzala

As can be seen from the very title of the work, the author starts from an alleged dichotomy between blacks and
mestizos, and whites. However, in the course of the text, we will see that the author seeks an explanation of how our

people became so mixed and with characteristics as their own, and instead of treating the two groups (black and white)
as elements that separately gave their respective Homo brasilis, he tries to understand why our people ended up being
formed in a peculiar and diverse way from other countries of the new world, especially the United States, where the
author studied for a long time and probably began to Identify and question the variables responsible for the formation
of the Brazilian people. Gilberto Freyre questioned: Why was there such a difference between the formation of the
Brazilian and American peoples, if they were basically composed of the same ethnic groups (European whites, native
Indians and African blacks)? From this questioning, it begins to delve into the dynamics between these ethnic groups
in Brazilian lands. And it is at this moment that your analysis stands out. Freyre will be the first Brazilian social scientist
to recognize and accept the strong, if diffused, influence of the Negro in the formation of the national character.
Obviously, his work at the time caused much controversy, but nowadays it is recognized as a reference in studies of the
formation of the character of the Brazilian people.
4.5 Kcor do Rock (artigo e comunicao oral)

Figura 3: apresentao oral do ensaio Kcor do Rock.

The article Kcor do Rock discusses, from a recent statement by the musician Seu Jorge, the relation of Rock to
the ethnic issue, especially that related to the context of the United States in the 50s and 60s of the last century. Through
a diachronic clipping, we seek to discuss the participation and importance of the black element in the creation and
dissemination of the style that is the most democratic of all of modern music. Through the analysis of artists and works
and emblematic situations in the creation of style, we try to identify the real importance of blacks in the process of
development of Rock, and its relations with the white elements, opposing mainly the official positions diametrically
opposite two poles of the style : United States and England. From these analyzes, we seek to critically discuss the
dialogical relationship between what was defined as white music and black music and the need to use Rock as an example
of hybridism that, in the end, is the basis of all elements considered as Pure Everything that is "created" in a culture is

the result of the joining together of at least two other things that already exist. Rock is a very fertile ground for discussing
these issues because it was, and still is, one of the elements that most integrates people around the world.
The article was published in the annals of the II International Congresso of the Rock held durig 4 to 7 july 2015,
at the UNIOESTE campus in Cascavel, Paran. On July 6th at 2:30 p.m., Kcor's oral communication of Rock was
presented to the congressmen interested in discussing issues related to ethnicity and its relation to the formation and
development of Rock, not only as a musical style, but as a philosophy of life.

5. Approvals, classifications and participations.

5.1 Approval do seminary Ludopedismo A Cincia do Futebol Arte in the Project Copa Cultural by the Ministery
of Culture 2014.
5.1 Approval in Literature and Language with modern language at Federal University of Bahia ( UFBA)
5.2 Approval for Master in Applied Linguistics (UFBA) 2010.
5.2 Approval for the scholarship to Diplomacy Studies (CNPQ/ IRBr) 2011.
5.3 Approval in the public tender to Procuradoria Geral do Estado da Bahia. (23)
5.4 Approval for Professor substituto de lngua portuguesa (campus Salvador) of IFBA ( 2010) (4)
5.5 Approval in the public tender to Assistente administrativo do SEBRAE (2013). (2)

5.6 Approval in the public tender to Professor substituto do IFBaiano (campus Valena) 2013. (2 )
5.7 Participation at project Empreendedor nota 10 (SEBRAE)
5.8 Participation at course Negcios em msica (Music Business) (SEBRAE)
5.9 Participation in the Seminrio sobre Lima Barreto
5.10 Approval at public tender to Portuguese Teacher at PQLP/ CAPES to East-Timor (2013)
5.11 Classification to Secretria de Cultura do Estado da Bahia (High school server). (6)
5.12 Classification to English Language Teacher at IFBA (campus Salvador) 2010.
5.13 Participation in the course of correctors of texts from ENEM 2012.
5.14 Participation as corrector at ENEM 2012.
5.15 Membro da comisso da Jornada de relaes tnicas at IFBA 2010.
5.16 Participation at Ethnic Relations Congress at IFBA 2010 com a banda Afro 10 Cents.
5.17 Participation at Ethnic Relations Congress at IFBA 2012 com a banda Afro 10 Cents.
5.18 International press analist Salvador Carnaval 2002.
5.19 Artigo sobre o Carnaval published at Gorenski Glas newspaper from Slovenia 2002.
5.20 Revision of the dissertation Descaminhos do trem: as ferrovias da Bahia e o caso do trem da Grota.
5.21 Computer course (Expanso Informtica) 1998.
5.22 Computer course (Visonet) 1999.
5.23 English Teacher at Yazigi 2010.
5.24 English Teacher at TV Pel 2010.

5.25 English Teacher at N.G.O ACASA 2005.

5.26 Participation at the Assesment bank Uso da lngua Mambae. In Eart-Timor, 2013.
5.27 Participation at the symposium Educao, Cincia e Cultura in East-Timor-Leste 2013 with the communication
Falo brasileiro.
5.28 Participation at the extension course Descolonizando a Lngua Portuguesa East-Timor, 2013.
5.29 Brazilian Portuguese Teacher at no Institute of Business East-Timor 2014.
5.30 Brazilian Portuguese Teacher at colgio Paulo VI East-Timor 2013.
5.31 Approval in the public tender do Instituto Federal Catarinense (Portuguese/ English) 2015. (26)
5.32 Approval for professor substituto de Literatura Brasileira at UFBA 2015.
5.33 English Teacher for NUPEL at UFBA 2015.
5.34 Aprovation scholarship pro-cota CAPES, December 2016.

6. Diverse
6.1 Uzais Produes artsticas ( Artistic company)

Uzais artistic productions is an individual artistic-cultural company that initially takes care of the intellectual
property of the musician and writer Kaw Malangue (Marcelo Cordeiro do Nascimento), native of Salvador-Bahia. It is
divided into four branches; Uzais records, which takes care of the conception, creation, divulgation and protection of
the phonographic records, songs, audio files and the like; Uzais editor, who is responsible for the creation, edition,
distribution and protection of literary records in their scope (chronicles, short stories, biographies, non-fiction, etc.);
Uzais films, which elaborates, produces, discloses and protects film and related records, and Uzais entertainment,
responsible for merchandising (shirts, caps, etc) games, software and other works that do not fit in the profiles of previous
branches. All of them are autonomous companies in their interference, but are umbilically linked to Uzais Produes.
The company is represented by the aforementioned names mentioned above and by the symbol that will be printed on

the products it creates, develops and distributes. The artistic works indicated with the symbol or one of the names, will
be linked to the unitary partner, except those that are indicated, since the company, in the course of its performance, can
launch works of other artists, however with the obligation to take care of the property Intellectual of Kaw Malangue.
The company was opened in 2011 and completed in 2013.

6.2 A cor do paradoxo

"The color of the paradox" seeks to instigate the discussion about what it is to be black, using for this the story
of the life of the American singer-songwriter Michael Jackson and relating to the life of Waldir Mota Nris (Gemile
Waljam), a dancer who lives In So Gonalo do Retiro (Suburb of Salvador) and works as the artist's look-alike, in
addition to questioning young people from the black soteropolitan community about their opinions regarding not only
the changes that occurred with the singer but also those that occur with black citizens, Who, when smoothing or
lightening their hair or wearing clear colored contact lenses, still have doubts about the acceptance of their own

6.3 U Mondu Mavarilhoso de Dilermando Rosa (Quadrinhos/ contos)

Dilermando Rosa is a very particular subject. During the day, when he is usually sober, he is an elegant and
quite poetic fellow. He has the healthy habit of walking through the districts of the city of Salvador to recite verses of
renowned authors, or those of his own work, lyrics of romantic songs, cantilenas, trovas and any other artistic
intervention of a similar nature.
Like any poet, Dilermando Rosa spends his neurons, vocal chords, physical-artistic disposition and soul aiming
at a single goal: to conquer his muses. Perhaps that is why the girls in the neighborhood where he lives, and adjacencies,
and those in the college in which he studies - obviously - philosophy, run away from him as the devil flees from the cross.
In his artistic-cathartic furor, Dilermando may not notice how inconvenient he is. If for him to declaim a poem - which

he calls the "tear of God" - for minutes on end it is one of the most exalted moments of his existence, for the poor woman
who gives a soft to accept a "basic cantileninha" is A real martyrdom!
"O goddess of the fields impregnated by the sweet smell of the spring flowers, let this poor knight have the
blessing to see it as it has come into the world and thus be able to shed the flower of love that sprouts in my deepest
6.4 Charges de Matemtica com Cultura de Timor

Charges developed in partnership with the professor of mathematics Leonardo Menezes for the Timorese
newspaper Mataladan. The cartoons were published in the newspaper's editions during the months of January to April

6.5 Ludopdia (histrico das obras Ludopedismo, G.O.L e Baba, e do projeto social G.O.L)
Compilation of texts focused on the analysis of football as a guiding element in the life of Brazilians. These texts,
despite the different natures (articles, social projects and fictional texts) interrelate not only in the theme, but also in the
fact that a passage, chapter or citation of a work appears, in a developed or summarized way, in another, Creating a
metalinguistic link that deepens and deepens the larger project called Ludopedia.

6.6 Sema (Documentrio)

Documentary about the relation between religious manifestations of the city of Salvador and those developed by
the dervishes followers of the Sufi current of the Muslim religion. This connection is illustrated mainly by the
relationship between music, dance, and spiritual elevation. Inspired by the author's own song "Sema".

6.7 Guerra no Brasil (Jogo/ livro/ filme)

Figura 4: Manuscrito do texto.

The War in Brazil project consists of an artistic and cultural activity composed of a game, a book and a film in
which a hypothetical civil war occurs in our country. The book was monographed between the years 2004 and 2006, the
rules of the game (at first a board game) and a screenplay idea of the film has also been outlined.

6.8 Participation at the activityTandem da Agncia Brasileira de Cooperao (SENAI) in East Timor 2013.

During the year 2013, we participate in the Tandem activity, which consists of the linguistic and cultural exchange
between Brazilians and Timorese. This activity consisted of sharing experiences with Timorese natives and assisting them
in studying the Portuguese language, in its Brazilian variant.

6.10 Fake bands and football teams

During my adolescence, I usually creates innumerable artistic projects, usually linked to the visual arts and comics.
But, since that time, we have unconsciously sought to associate various artistic areas in a single medium. Sarabinha in
the musicland tells the story of a young footballer entering a magical world of music (Musicland). This story was not
finalized as it had been with others.
The case of the other examples is diverse. The magazine Express Roland was made to tell the news of the fictional
bands that we created during childhood and adolescence. We created everything that was connected to a band: name,
musical style, members, logo, records, songs, interviews and what else my imagination dictated. Dozens of bands and

hundreds of songs were created and although none of them have served our more professional experiences with music,
they were instrumental in our development as a composer. The cover features the main material with the band Killing
King (which later became the name of a real band I set up in the early 1990s) and additional material with the bands
Wrills and Bongotogos.
However, the most peculiar of all my artistic production was the creation of fictitious times and their unfoldings.
The whole idea arose in an artistic outburst caused by an unbearable physics class when I was 12 years old in 1988. On
a sheet of the notebook, I began to draw the flag of a team and as it was with some crayons, I started to paint the colors
of the flag. Then I put those colors in a uniform, turned the page and started to draw the team players. The first team I
created was called Galdinia Futebol Clube, the second was called Rosca F.C. The image team, Arbidiocese E.S.D, was
probably the fourth. At the end of this class, he had 12 complete teams.
Not content just to create the teams, I decided to convince a colleague to create their teams too and we started to
compete in championships. We played button football at the time and in our matches there was no room for Flamengos,
Bahias, Vascos, nor for idols like Zico, Beijoca or Roberto Dinamite. We got to the point of creating our own currency
so that we could buy and sell athletes from one another. It is seen that the fascination with football has always been
something that had a central importance in my life.
6.11 Mente no mente (Short story)

Short film done with students of the Federal Institute of Bahia in the year 2010. With the help of the students of
the class of chemistry 8811, we developed the script of the short film Mente no mente. We brought the main idea and
with the students we defined the main script and the participation of each of them in the film, whether as actors, actresses,
technical staff and the like, according to the preference of each one of them.

6.12 Assassa (Curta metragem)

In 2010, we created the Assassa (Savior Savior Association) project. The idea was to produce a short film to
participate in contests of the genre. We developed the script and had the assistance of our colleague Paulo Raviere and
Anderson "piu-piu". We edited and finished the short that, despite lacking in qualities, presented an ironically peculiar

6.13 Harmonia dos casais (Short story)

Short screenplay completed in 1998. He presents a scene in which two couples are having dinner and when the
two women go to the bathroom, an alternation of dialogues begins between the two women and the two men. The comic
effect lies in the fact that when a man asks something, the scene cuts to the response of the woman who, despite
answering another question, seems to us ironically coherent.

6.14 Diastlica (Music video script).

Diastolic is a song from the Kwantws project. The idea for the video clip of that song came in a dream. In it, we
imagined ourselves in a pasture, living as if we were some kind of animal. Suddenly, shadows appear that come to chase

us. During the escape, just joining us to others and suddenly began to be guided to a small door where we are separated
one by one. When we notice the situation, we look up and see the stake of the magarefe ready to stick our skull. The
scene cuts and there is a group of oxen eating in a human steak house.

6.15 Library of football, music and culture.

With more than 100 books, 50 DVDs, 50 discs and magazines, newspapers and separate records, our library has
works from the field of football studies, biographies of players, musicians and artists. Books of philosophy, history,
sociology are also part of the collection that we wish to make accessible to the general public.

6.16 Short story Professor de Ludopedismo of Paulo Raviere.

In the December issue of Piau magazine, there is a tale known as Professor of Ludopedism by the writer Paulo
Raviere in which we are presented as a character. In it, we present (in this case, the character) a critical view of art and
other subjects that interest us.

6.17. Apparition at Domingo do Fausto in the arquivo confidencial

During the presentation of the arquivo confidencial confidential archive with actor Wladimir Brichta, a photo of us,
probably from the year 1987, was shown when former teacher Hilda Figueiredo commented on the theater group that
we were also part of at the time.

6.18 Question to the Brazilian selection coach Tite at Esporte Espetacular

In the Esporte Espetacularon September 26, 2016, we had a question sent via Twitter selected, among 6,000
questions to be asked to coach Tite. The question we asked was the first to be made to the Brazilian coach, which may
indicate the pertinence of the same.
6.19 Participation at UFBA's 70-year Congress

Between July 14 and 17, we participated in the UFBA's 70-year Congress, with the group of good teaching practices
of the Nucleus of Extension and Research in Languages (NUPEL), the Institute of Letters, and the presentation of the
oral communication " Audiovisualism: the use of video clips in language teaching ". The NUPEL group was coordinated
by German teacher Denise Scheyerl and had the participation of teachers Wesley de Souza (German), Viviane da Silva
(Spanish), Lucas Santos (French) and Cristiane Souza (Italian). We represent, in this group, the area of English language.
Our most direct contributions to the presentation were the insertion of the analysis of the song Pocket Calculator by the
German band Kraftwek to corroborate the importance of multilingualism, not only in the study of languages but in the
absorption of a general culture, besides the edition of the videos and music used in the presentation. In the case of the
second presentation, we were responsible for all stages of its development.