Brazilian Cantoria and Slam: poetics of performance



Slam. Cantoria. Performance. Comparative literature. Body.


This article aims to compare two oral poetic genres, cantoria and slam, from the perspective of performance art, exploring their similarities and differences. Based on performance art studies and scholarly works on the two genres, viewed as poetics constituted as a technique, the authors consider the body's use as a technical object (Mauss, 2003). The importance of improvisation in cantoria and the unprecedented feature of slam are emphasized, while the goal is to highlight the scenic character of the two poetic acts marked by speed and forcefulness in the game. The text verifies the analogy drawn between the two genres based on the scenic character of their performance.


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Biografia do Autor

Tiago Barbosa Souza, Universidade Federal do Piauí (professor); Universidade Federal do Ceará (doctoral student).

Tiago Barbosa Souza is a professor at Universidade Federal do Piauí, where he lectures in the areas of French language and literature. He graduated in Portuguese-French from Universidade Federal do Ceará and has a master’s degree in Compared Literature from the Letras Program at the same institution, where he is presently studying for his doctoral degree. He researches orality and performance in literature, body representation in literature and French teaching for academic mobility.

Martine Suzanne Kunz, Universidade Federal do Ceará

Martine Suzanne Kunz is French, naturalized Brazilian since 1991. A retired full professor at Universidade Federal do Ceará since July 2019. She is still linked to the institution as a voluntary researcher (PROPAP) at PPGLetras of the university. She researches compared literature involving works of French or lusophonic expression. aside from that, she started in 2019 another research project entitled A French translation for chosen works by Monteiro Lobato.



Como Citar

Souza, T. B., & Kunz, M. S. (2021). Brazilian Cantoria and Slam: poetics of performance. Revista Brasileira De Estudos Da Presença, 11(2), 01–22. Recuperado de



Performance e Antropologia