Reaching the tenth edition is a milestone. In a context where novelty, immediacy, and the productivist logic of “success” set the tone, being able to repeat and test, edition after edition, is a privilege. It is also an act of uncompromising optimism: we insist, test, and repeat because we believe that encounter, risk, and continuity are fundamental pillars for the living arts.

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This is how Farofa reaches its tenth edition: continuing to provoke encounters, welcoming risks, and leading the process. Once again, we immerse ourselves in questions about seeing and doing in the performing arts; once again, we place the process at the center, shifting the finished product to another moment (and questioning the words “product” and “finished”); once again we place time as a poetic element, proposing to artists and audiences a new perspective on its action on creative processes - what if we had time to show, not the finished shows, but their creative journeys? What if we could think of the maturation time of a show not as a stage to be accelerated, but as a poetic stage in itself? And, once again, we look at it from the point of view of production, that is, from those who are continually engaging with and reflecting on the market, to understand how to continue generating work opportunities.

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Now, Farofa adds territoriality to its recipe. Celebrating one year of Casa Farofa's existence, the 2026 edition takes over Bixiga, starting at Rua 13 de Maio, distributing its program across five cultural spaces - Casa Farofa, Teatro da Vertigem, Teatro Manás Laboratório, the headquarters of the Estelar de Teatro company, Teatro do Incêndio -, bars, and even the home of one of the neighborhood's residents. Thus, we invite artists, audiences, and residents of the region to think of Bixiga as a territory of permanence and transit, of encounter and flow, an area to live in and frequent in its plurality: in encounter, in conviviality, in celebration, and in creativity.

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We decided to shine a light on independent spaces—facilities that are extremely important for the enjoyment of artistic works in the city, but which are ignored by the government. The absence of policies for these spaces weakens the much-desired idea of circulation, so in order to bring the discussion to the fore, we have made independent spaces a fundamental ingredient of this Farofa, already experimenting with the possibility of a theater circuit in the future.

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In Farofa do Processo 2026, more than 60 artistic processes will inhabit the Bixiga neighborhood, in a friction between the concept of artistic residence and residential residence. The street becomes a creative space, the bar becomes both an after-party space and the stage itself, and the theaters open their doors, as do the houses on the street, to invite the neighborhood to take a risk, for the tenth time.

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