This article presents a discussion on the relationship between the educating city and the museum, focusing on the municipality of Taubaté and the Monteiro Lobato Museum, São Paulo/Brazil. Firstly, we conceptualized these terms as well as overviewed and discussed the scientific literature on this theme. In this review, we confirmed the small number of studies that take the relation “museum and educating city” as research object. As such, it is of the utmost importance to develop research in this area.

This article aims to show how the predominance of the family sphere results in an unequal distribution of male/female roles in the public space in Maghreb. Despite considerable progress in terms of development, the inertia of social norms perpetuates the legal inequality between men and women. The latter remain confined, for the most part, in the symbolic family space both inside and outside their home. Although some women’s resistance practices are easily observable, it is equally easy to identify constant processes of neutralization that lock social practices in public by “reasonable accommodations”.

This article is based on ethnography done in two research fields: núcleo Santa Rosa de Agua, from El Sistema, in Venezuela; and núcleo Miguel Torga, from Orquestra Geração, in Portugal. A núcleo is the basic unity of these large socio-educational programs, in which symphonic music is a tool for education in socioeconomically disadvantaged contexts. We focus on “mediations” (Hennion, 2007; Latour, 2006) implemented for the adaptation of the Venezuelan model to Portuguese reality, and for the achievement of the desired results in each núcleo. We show the complexity of intra and inter scales, from individual to institutional levels.

This article proposes an analysis of dance-theater based on the performance/political binomial in which the body is seen as a privileged place for the analysis of power. To this end, the show Antes que matem os elefantes, by the Olga Roriz Company and Eu Sou Mediterrâneo, from Vidas de A a Z, are analyzed in its artistic course and its choreographic and scenic languages in order to understand performance as a place of tension and clash that develops articulations with memory and forgetfulness in a sensory-corporal game. Thus, an analysis of the politics of the ground is undertaken as a way of understanding the performance of violence in the bodies “without organs” of the companies Olga Roriz and Vidas de A a Z, interpreting the floor in which they dance/interprets as a space that proposes an archeology of violence over bodies, transforming them into a microcosm of war. The body is understood here as an “archive” of the Syrian conflict that allows to recover the “weak versions” through the liberation of “ghosts” assuming itself as micro-resistance.

This text aims to present reflections on a way in which the recognition and the inclusion of the most vulnerable beings that inhabit the school world is done, undone and redone. We wonder what the school is doing with the special need education students, especially those with Attention Deficit and Hyperactivity Disorder. Recurring to the interviews with educational professionals we found four forms of working with ADHD students that introduce an ambivalent experience between the exclusion and normalization of differences and the recognition of students’ singularities.