06 - 11

December

2022

Flup - Festa Literária das Periferias

map Rua Bitencourt Sampaio, 181 - Maré, Rio de Janeiro - Brazil

FLUP is the literary festival of the favelas in Rio de Janeiro. The first edition of FLUP took place in 2012, in Morro dos Prazeres, a favela in the central region of Rio de Janeiro. Since then, it has been held in Vigário Geral, Mangueira, Babilônia (2015 and 2021), Cidade de Deus, and Vidigal, as well as in a region of Rio known as Little Africa (2019 and 2022).

FLUP is always preceded by a formative process for writers, whose works are then published in book format during the festival. So far we have published 30 books. FLUP is also responsible for the Black Narrative Audio-visual Laboratory (Laboratório de Narrativas Negras para Audiovisual), which has fostered the first generation of black
screenwriters in Brazilian history. Another relevant achievement of FLUP is the publication of the first anthology of Brazilian black dramaturgy, Dramaturgia Negra (Funarte, 2019). This formativeprocess takes place throughout the year, with weekly creative writing workshops.

More than one thousand writers have already participated in our events. We hold an average of 150 events per year, including creative writing workshops and poetic slams. In the 2019 FLUP, over 25 thousand people attended our activities. Past keynote speakers include Chibundu Onuzo, Biyi Bandele, Hanif Kureish, Malika Booker, Teju Cole, Akua
Naru, Suketu Mheta, Patricia Hill Collins and Saul Williams. Awards won include the Internal Excellence Awards (London Book Fair, 2016), ‘Faz Diferença’ (O Globo, 2012), ‘Retratos da Leitura’ (Instituto Pró-Livro, 2016) and Jabuti de Fomento à Leitura (2020).

 

The theme of this year’s edition will be 100 years of Black Modernism, which in Brazil had as its starting point the successful six-month season of the group Les Batutas in Paris. During this season, between February and September 1922, the group shared musical influences with other black musicians of the Diaspora, mainly jazz musicians from the United States. The exuberant Brazilian popular music was never the same again after this encounter. The group leaders Donga and Pixinguinha (the most important Brazilian choro composer) returned to Brazil with new instruments like saxophone, banjo, and drums reinventing Brazilian music. It was the first time that black performers and artists received respect and dignity in a European city. The biggest icon of this scene was singer Joséphine Baker, who became the first black woman to go to the Pantheon.