Abstract
At the beginning of June 2013, a small group of people staged a protest in São Paulo, Brazil's largest city, against the increase in public transport fares. In the following weeks more than 1.2 million Brazilians took to the country's streets. The demands evolved, increased and became more individual: against corruption and repression by the police and against the billions being spent on stadiums for the 2014 Football World Cup in favour of higher investments in education. Brazilians in other cities around the world also took to the streets in support of this huge wave of popular indignation. In the middle of this eloquence, museums remained silent. Inspired by the Cannibal Manifesto, a text written in 1928 by the modernist Oswald de Andrade, which changed the way Brazil looked at itself and the world, this article discusses the distance between some important museological concepts defended in Brazil – such as New Museology and Social Museology – and the absence of a practical response from museums to this wave of social protests. If museums are spaces for dialogue and for finding answers to social issues, should not Brazilian museums be more agile in reacting to what is taking place around them?
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