Public presentation of Rafaela Jacinto’s third book: A música está na minha cabeça with the presence of Cobramor, Maribel Sobreira, Ana Freitas Reis, André e. Teodósio and Fernando Pinto do Amaral. The conversation follows the workshop ‘Deviant Writing Lab‘ with Cobramor and Rafaela Jacinto.

A música está na minha cabeça
Rafaela’s poetry is deviant, making a point of not signing up to any chain, because chains are for those who are chained.

She demands love, one that cries out for the exposure of the scars left by the ruins of a post-capitalist society, based on a score of resistance that offers both the mundane and the epic, were it not for both turning the other cheek. Or in the beautiful words of Vaneigem: “Those who speak of revolution and class struggle without referring to daily life, without understanding what is subversive in love, what is positive in the refusal of constraint, these carry in their mouths a corpse.”

“It’s winter, it’s cold and we listen to music while trying to forget that we have no one to warm our feet and prepare us a fruit salad. We confirm near death, no, we don’t, we have no one to listen to us, no one to make us feel similar, no one to name us. We are the ones who shout our name, but the name doesn’t mean anything, our identity is fluid. Do you see? How to make you who read me, identify with me? God is dead, long live marketing. Congratulations, you have just acquired sincere, ironic and catastrophic poetry.

Deviant Writing Lab and Sassy Haikus Workshop
by Cobramor and Rafaela Jacinto.

The aim of this deviant writing laboratory is to free participants from formalisms and literary aesthetic conventions, creating a form of anti writing using the Dadaist technique of quartering, according to Tristan Tzara.
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Sassy Haikus is a meditative practice of composing haikus (three-verse Japanese poetry) whose essence is “cutting” devoid of judgment.

In this workshop, a set of instructions is followed that aim to connect the participants to a queer diva main character energy idgaf whatever this is modus operandi in order to abolish any constraint caused by mainstream poetry.

At the same time, the whole gesture of construction is subtle, thorough and contemplative.