The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto
Abstract
:1. Introduction
1.1. The Context (and the Context of the Context)
1.2. Social Enterprises, the P.L.A.C.E. Model, and the Management of Paradoxes
1.3. Research Objectives, Significance and Main Contribution
2. Methods
3. Results
I wanted to stay three years in each town. To teach, and to leave towards the South of Brazil. But in beach cities, they’re not in need of arts and crafts. And there are no raw materials. Here, there were raw materials and people willing to work. (…) We would scavenge in the woods. (…) This was a project with no funds. (…) We never had any [financial] support by the municipality or the government. (…) We gathered things lying around. Wood, old tins, old glass, fabric.(Toti, social entrepreneur at OdA)
Our project has to do with income generation. You don’t just teach them a technique. You teach them how to make a product that is sellable. They must be able to make money. There’s no use in teaching them papier-mâché so that they will all sculpt the same little doll.(Toti, social entrepreneur at OdA)
[At OdA], we did not sign our name on the pieces. That is, they did not belong to us. They belonged to OdA. (…) Not even the larger pieces. We were not allowed [to sign]. (…) Once someone commissioned a very large ostrich from OdA. So Toti bought the base made of wood, and D. and I sculpted it. The head. The parts. The feet. And then, this guy who only gave the wax finishing decided to sign it. I went… “Nah, I’m not letting this pass. That is just too much. You did not make it. You just coated it with wax. And the piece is yours?” Toti made him remove his signature.(Former employee at OdA)
Toti liked to add sex to the small sculptures [that go on a larger piece]. “Draw a little line here, to show it’s a girl. Put breasts on her. For the boys, draw a small wiener to the side.” People in Bichinho were very simple-minded, rustic people living in the middle of nowhere. So, for them, that was absurd. But they got used to all of it, to the whole sexuality business. I think this broadened horizons for people who had always been so belittled. So they started drawing breasts, willies, minnies. And that stopped being a stigma. So it was a taboo breaker.(Former employee at OdA)
It was impressive, at 11 o’clock, mid-day, we used to see around 60 people passing by to have lunch in their homes. Because [there were too many employees and Toti] could no longer cook lunch for all of them. So, everybody would go home for lunch. We used to see 60 people leaving Oficina de Agosto [at lunchtime]. You don’t see that anymore.(Former employee at OdA)
We started [our bar] in Bichinho in March 2010. (…) We came back from the US after living there for 22 years. (…) We came back after the crisis. We knew the area in Bichinho way before. We had a store for five, six years. We used to come to Brazil and buy stuff. We bought from Oficina a lot. (…) The trucks would come there and stop. And fill it up. Oficina was our main supplier. (…) It was the time of the recycled, the organic, so it was a boom in the US. We had five stores. (…) The reason we came back was that, all of a sudden, the US crashed. (…) We decided to go back [to Brazil] but São Paulo, where we’re from, was out of question. So, we visited Oficina and there was a place to rent right across the street. We always thought it was (…) something that people needed there, some place to have a drink, to have coffee. (…) You had to go all the way to Angela’s just to have a Coke. (…) There was this small place to rent. [We asked] how much is it [per month]? And it was something like 50 bucks, so cheap. Because Bichinho was nothing. Nine years ago, not so long ago. (…) Toti changed that place. People would go to Bichinho just for OdA.(Former entrepreneur in Bichinho)
3.1. P Is for “Promoting Community Champions”
People used to grow fruits and vegetables and barter them. They would only buy the essentials. And with art, other opportunities came along. People improved their houses. Their entire quality of living improved. And all that was provided by Toti. Not just in Bichinho. All the other towns around benefited from it too.(Former employee at OdA)
One of the first things Toti did was to send people to the dentist so that they could smile. So that they could be themselves. This is fundamental. To raise people’s self-esteem so that they can work happily, so that they can burst into laughter. And work gets much more fun like this.(Former employee at OdA)
My family’s reaction to my homosexuality was very serious. They asked me to leave the house. I was 16 years old. So [meeting Toti] changed everything, (…) always helping his friends, always putting us (…) in a position of respect. (…) So, with Toti, we had our gang. We no longer needed to go to the ghetto. Because when that happens, when your family abandons you, you go to the ghetto. And then you are exposed to everything. Drugs, prostitution, theft, dealing, everything. In São João Del Rei there are a lot of ghettoes. (…) I could be dead by now. I would not have survived in São João Del Rei. I could have died in an accident, or from drinking. (…) I’ve had my beverage laced without my knowledge [for example]. Because I was so young, I didn’t know anything. And Toti is concerned about everyone having a home. So [he encouraged us]: “build your own house”. I’m not just talking about financial aid. I’m also talking about ideas. Because he also has an entrepreneurial spirit, in addition to his artistic side.(Furniture designer and occasional OdA’s collaborator)
A big problem we have now is that (…) we don’t have laws that protect… that say what is allowed, and what isn’t allowed. (…) People do everything wrong. For example, [formally] these are rural lands. So, there shouldn’t be lots to rent [commercially]. Therefore, you can’t have legal papers. So, everything that is done is done informally. Light is a workaround. Water is a workaround. Everyone builds what they want. (…) In rural areas, you don’t have great supervisory power. Because nobody wants to inspect. Everyone is blood-related. So “Am I going to inspect [my relative]?” (…) And look, we managed to have a mayor here [born in Bichinho], who had worked [at Oficina de Agosto]. He couldn’t do much about it. He did something, pavement, but not much.(Entrepreneur in Bichinho)
My daughter was Bichinho’s first university student. After her, came many others. (…) There is a boy who worked with me. He went to college to study biotechnology, I think. It didn’t work out very well. Then he studied odontology and is now working in Campinas. (…) It will take many years for him to pay us back [the student loan she gave him]. Besides the [moral] support. (…) Studying is fundamental. I always encourage kids to study. (…) There is this guy who teaches guitar to the kids, I’ve been sponsoring him for seven years. We try to do these initiatives to get the kids off the streets.(Angela, entrepreneur in Bichinho)
The English couple [who lived in Bichinho] helped a lot. The people from Cachaça Tabaroa, who are not [originally] from here but were already here. Toti and Celso. Rodrigo from the Automobile Museum. First, we started a movement because there was no garbage collection here. So, the street was full of scattered garbage, the back yards, everything. So, we started holding meetings to inspect what was being done right, what was wrong… And our first initiative was to deal with the garbage. We promoted a week of garbage pick-up. Everyone adhered. Each person was asked to clean their yard. And the companies that were already in Bichinho, with few workers, were responsible for cleaning the streets and vacant lots. We paid for a truck to take it all away. I don’t remember how many truck pick-ups there were, but I believe more than twenty trucks of garbage were collected. (…) Then we looked at the problem of basic sanitation. We even went far. But then the project ended, it didn’t work out. It was quite frustrating for us. Because we managed to get a biodigester to collect sewage. But then the City Hall didn’t follow through. But the garbage issue was something we managed to solve, right? Today you walk around town and you don’t see any garbage. We managed to raise awareness, on the streets, at school, at home. There’s one or two that still litter, yes, but it’s hardly anyone. Nobody throws waste in the water streams anymore. There’s always someone watching, someone who puts up a little sign.(Angela, entrepreneur in Bichinho)
There’s an old social center in Bichinho, like an NGO. (…) If someone shows up, wanting to manage the business diligently, it’s possible to achieve a lot. For example, the sewer here. It would be very easy to at least collect the sewage. But it doesn’t happen. The sewage is all thrown into the river. (…) With so many people coming to live here, it seems that they created a rule that, to be president [at the social center], you cannot be an outsider.(Entrepreneur in Bichinho)
I fear a lot for the future of Bichinho. Because we don’t talk about working together, about choosing the target audience together. This business of allowing anyone to show up and open any sort of commercial activity… (…) I think it’s too risky. (…) I think there should be a partnership between the public and the private sectors to try to protect these things. But I don’t see any sign of this happening. (…) And the University here could do a community project. We could make a partnership. To protect the ruins from the colonial period. To identify the trees, for example, perhaps we will discover a lot of things. And then, with the support of the University, which is a federal agency, we might be able to talk to other agencies that may protect Bichinho. No need to take away someone’s land. [Show them that] ‘you can make money out of this. So, stop destroying it.’ These initiatives are missing. But with this crisis…(Entrepreneur in Bichinho)
3.2. L Is for “Linking Insiders and Outsiders”
He exalted, in art, the place’s identity. (…) Before, we kept copying João VI chairs, Louis XV chairs, Marie Antoinette cabinets… [The design style was] always very imperial, colonial. (…) He branded that little flower that the artisan had already been making and which had no value. (…) He transformed handicraft throughout Brazil. All furniture and objects made of iron and wood nowadays [in Minas Gerais], they all came from Toti and Celso.(Furniture designer and occasional OdA’s collaborator)
Toti has no prejudice. If an ex-alcoholic relapses, Toti prefers that they come in to work. Toti asks ‘you’re not going to cut your finger on the saw, are you? If you’re ok to work, so come in’. He prefers the person nearby. He takes care of everyone. He doesn’t forsake anyone. If someone has a problem with the law, they turn to Toti. And everyone wants to protect Toti in return. They are even a bit overprotective of him.(Furniture designer and occasional OdA’s collaborator)
3.3. A Is for “Assessing Local Capacities”
It all started with people coming by, looking for jobs. And I would ask “what can you do?”, [they would reply, for instance] “Embroidery”. (…) In this village, almost everyone was born here. So, they know how to embroider, they know how to grow vegetables, they know how to make shingles, they know how to build a house, they know how to do everything. Because we’re in the middle of nowhere. Well, it used to be far from everywhere. (…) There was no transportation. The bus used to come once a day. (…) So it wasn’t difficult to start the project here. It was well accepted. First thing: the community accepted it. (…) The gardener working here, I would look at his work and think “this guy is an artist”. So, I went up to him and asked “do you want to be a woodworker?”. Now, he is the best woodworker ever, he can make anything. (…) We have an [artisan] here who used to be a bricklayer and nowadays he does embroidery.(Toti, social entrepreneur at OdA)
[Showing photographs] these are signs of the gold colonial period. I think geotourists would be interested in seeing this. But this is deteriorating. (…) For example, they used to make tanks out of stone to wash the gold. They used to make vaults, to keep gold and diamonds safe. The walls are as thick as this table, and eight meter tall. (…) There are many ruins here. They are all taken for granted. (…) Now people are stealing those large rocks.(Entrepreneur in Bichinho)
3.4. C Is for “Conveying Compelling Narratives”
He bought a bunch of crucifixes and took Jesus off the crosses. He positioned Jesus sitting on a sofa, with his arms spread wide against the back of the sofa. He cut Jesus at the waist, and laid him down in a bathtub, arms outstretched on the sides of the tub. That is, he took Jesus out of the representation of suffering [into a representation of relaxation or enjoyment]. (…) The priest in Tiradentes prohibited the exhibition of the pieces during Semana Santa. He said it would be sacrilegious.(Furniture designer and occasional OdA collaborator)
My life changed 200%. Toti helped me be recognized [as an artist]. Customers that arrived at Oficina de Agosto were sent here by Toti. “Oh, there is this former employee that does this sort of work, go there”. And I used to sell to Toti, and Toti sold to other people. Then I started selling on my own. (…) Toti built this studio for me. Then I was able to build on my own. I built ten more houses in Bichinho. The property where the gas station [is located] belongs to me. The other house as well. The house where Oficina de Agosto’s shop used to be. The other one belongs to my daughter. And all that came from [my work in my studio] here. (…) I rent them out for income. I built a gym and physiotherapy clinic for my daughter in Tiradentes.(Former employee at OdA)
Young people are following new paths, one wants to be a fashion designer, the other wants to work with tourism. Lili left Oficina to be a teacher. (…) I didn’t go to college. So going to college, for me, was something extraordinary. (…) [The new generation] is going to college. We are very proud. (…) But I think that starting with arts and crafts gives you good background experience. So, Oficina de Agosto is a starting point for different careers.(Toti, social entrepreneur at OdA)
3.5. E Is for “Engaging Both/And Thinking”
I see a growing interest in Bichinho. But not just the small artisan who makes his art in the back yard and then opens up a small door [in the front of his house to sell it]. We’re starting to see something different happening. I don’t know if this is good. I prefer Bichinho the way it was before I came to live here. You start seeing buildings that have nothing to do with the place. I like adobe [constructions], I like wood. I like white façades with blue, or green doors, you know, the colonial [style]. And even the simplest people here valued it [the colonial style]. You start to see things that are simpler and uglier, I think. Stuff made of containers, for example. I’m not against it, but I wouldn’t build something like that. I think Bichinho is transforming, I don’t know if that’s going to be good. People start to show up, selling things that have nothing to do with Bichinho’s history. Even Chinese products.(Entrepreneur in Bichinho)
[Why doesn’t OdA let you sign the pieces?] So that the name of the person who made it won’t show. Otherwise, instead of buying from OdA, people would look for us directly. Things are expensive there. With us, it would be cheaper. (…) Because they have a brand. For some people, their dream is to own a branded piece from OdA. The art pieces are considerably expensive there.(Former employee at OdA)
4. Discussion
4.1. How OdA’s Case Compares to Other SEs
4.2. Managing the Paradoxes of Place in Bichinho
[How do you feel about all the people who have copied from you, from OdA?] That was the idea for starters. The idea was that people would take the originals and give them continuity, transforming them as well. But that’s difficult. In order to do that, they would have to travel, they would have to see things. [Don’t you get offended by the copies?] No, absolutely not. The teachers [trained here] get a little offended, because it’s their livelihood. So, if the neighbor starts doing something similar… But, in the end, it all works out. Because it sells over there, but it also sells here. We used to be the only ones selling. Now, we are 400 arts and crafts shops sharing the sales. It’s not the same product, but the good thing is the influx of visitors.(Toti, social entrepreneur at OdA)
Before, it was better. Before, you were able to sell everything you made. It wasn’t crazy like it is now, with these megastores making loads of money, steamrolling the small ones. So, some of us are left behind. Me, for instance, I should have a shop on the main street. But how would I pay for rent? Rent is crazy (…) A lot of them say it’s their own production. But it isn’t. (…) Unlike me, I sculpt it from scratch. (…) Angela’s restaurant is selling like crazy. It was on the New York Times. So, tourists started coming. It became this madness. In the past years, there have been traffic jams in the weekends. Nobody moving forward nor backwards. Now it’s a little less [busy].(Former employee at OdA)
Before, tourists used to come all the way from São Paulo [just] to visit Oficina de Agosto. Then people started buying from us once, twice. They learned how we did it, and opened up their own stores out of here. They hired a welder and started making stuff. (…) Arts and crafts were banalized. There are factories that make [folk art] now. (…) So, people think “why will I go all the way to Bichinho, if I can buy the same things in Prados? Or in Tiradentes”. (…) The road should be paved. People with expensive cars stop half-way because of the road’s condition.(Former employee at OdA)
The customers who used to visit Bichinho because of Oficina de Agosto don’t come here anymore. Because in tourism… In almost every business, you have to choose your target audience, right? If you’re going to make cachaça, who are you going to sell to? What kind of cachaça, packaging, what market are you targeting? Tourism is the same thing. One type of audience does not cohabitate with another type of audience. (…) So the tourists who came here, who were willing to pay R$10,000 (around U$2000) for a work of art, they don’t come here to share the space with these customers that come today, by van, by bus. It became too popular, right? The upper-class audience with more money, they want more exclusive stuff, right? Which is what we used to have here: exclusivity.(Entrepreneur in Bichinho)
5. Conclusions
Author Contributions
Funding
Informed Consent Statement
Data Availability Statement
Acknowledgments
Conflicts of Interest
References
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Respondent | Relationship with the Place |
---|---|
Antonio Carlos Bech (Toti) | Social entrepreneur at OdA |
Sonia Vitaliano | Business partner at OdA |
B | Former employee at OdA |
D | Former employee at OdA |
H | Former employee at OdA |
M | Former employee at OdA |
AL | Former employee at OdA |
C | Employee at OdA |
AD | Furniture designer and occasional collaborator at OdA |
I | Friend and former event planner at OdA |
Angela | Entrepreneur in Bichinho |
Fábio Mattioli | Entrepreneur in Bichinho |
Alexandre Tabaroa | Entrepreneur in Bichinho |
Peter Fedewicz | Former entrepreneur in Bichinho, currently in Tiradentes |
Fernando Paulo Dias | Former entrepreneur in Bichinho, currently in Tiradentes |
Ted Dirickson | Entrepreneur in Tiradentes |
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Walther, L.; da Costa, C.E.F. The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto. Sustainability 2022, 14, 125. https://doi.org/10.3390/su14010125
Walther L, da Costa CEF. The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto. Sustainability. 2022; 14(1):125. https://doi.org/10.3390/su14010125
Chicago/Turabian StyleWalther, Luciana, and Carlos Eduardo Félix da Costa. 2022. "The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto" Sustainability 14, no. 1: 125. https://doi.org/10.3390/su14010125
APA StyleWalther, L., & da Costa, C. E. F. (2022). The Renewal of Arts, Lives, and a Community through Social Enterprise: The Case of Oficina de Agosto. Sustainability, 14(1), 125. https://doi.org/10.3390/su14010125