Starting in April we began to evaluate the 463 applications from fifty-six countries that we received this year.  We received a significant increase in candidates from Brazil (from seven in 2005 to over thirty in 2007), so word is slowly getting out.  The Brazilian art community is beginning to understand the opportunities that residency programs offer: time and space to dedicate to production, with no strings attached, while living in an international community of like-minded individuals. With the help of twenty evaluators, we narrowed the selection to 48 candidates, all of whom were interviewed.

With the exception of one committee member, Michele Moure-Reeves, who flew to Brazil as a member of the Alliance of Artist Communities to participate on the panel, all members of Sacatar's selection committees serve anonymously.  This year, five former Fellows participated as members of the selection committees, comprising ¼ of the overall jury.

We want to congratulate the thirty artists from sixteen countries to whom we have the honor of offering Fellowships over the next two years.  It was difficult to make choices among so many highly qualified and motivated artists.

A statement from founding director Taylor Van Horne
Mitch Loch and I founded the Sacatar Foundation in the USA in 2000 and the Instituto Sacatar in Brazil in 2001.  In six years, Sacatar has hosted over 100 artists from 34 countries at our beautiful property on the island of Itaparica in Bahia, Brazil.  Many significant improvements have been made to the estate, including the construction of an administration building, three additional artists’ studios and a woodworking shop.  We have plans to add five more studios, including studios for dance/theater and music, so that we can host eight artists at once.  All in due time.  

For the continued vitality of the institution, it is time for us founding directors to step back.  We are now looking for an executive director to take over guidance, develop policies and yes, raise money, for the continued activities of the Instituto Sacatar.  Candidates must be dynamic individuals with a proven track record in cultural affairs, Brazilian nationals or foreigners with a permanent visa to Brazil and bilingual in English and Portuguese.  Full details can be found in the Portuguese version of this newsletter.  If you know of anyone who might fit the bill, please encourage them to contact us.


We received résumés from over sixty individuals for the internship to assist with the selection process this year.  We were lucky that Luis Oliveira applied, and we are proud to have chosen him.  Luis did such a great job keeping all those files straight that we offered him a full-time job at Sacatar.  He will manage all communications with incoming and outgoing Fellows, as well as maintain the website, database, libraries (books and CDs) and email correspondence of the Instituto. 

Luís Mário Oliveira Gonçalves, 34 years old, born in the District José Gonçalves of Bahia, and commonly known as 'Guigó', is a “mechatronic technologist”, with diverse interests such as philosophy, movies, arts and literature.  The recent move to Itaparica represents an important moment for his personal growth and provides a valuable opportunity for him to interact within the island’s diverse social context.  Luis says that working at Sacatar is “like acting inside of an art piece” – one that mirrors his own artistic, cultural interests.

On July 28, our administrative manager Augusto Albuquerque gave a presentation about Sacatar and participated on a panel specifically about residency programs at the Museu de Arte Moderna in Salvador, Brazil.  This was the first event of its kind ever to be held at the museum and an acknowledgement of the unique and important place in the cultural landscape that residency programs have come to occupy. 

Due to the usual unforeseen circumstances and difficulties, the new Sacatar Fellows arrived, first one, then another, during the first week of August.  They are---in order of appearance:

  • MARISTELA RIBEIRO, a visual artist from Bahia, Brazil
  • ERIK GOENGRICH, an architect and visual artist from Berlin, Germany
  • SOUMER DAGHISTANI, a playwright from Syria (our last Fellow through the UNESCO Aschberg Program, a program currently and unfortunately facing an uncertain future)
  • COLETTE FU, a visual artist from the USA
  • JACQUELINE BOUCHARD, a writer from Québec, Canada. 

Since their arrival, they have shown a great interest in the local scene, taking capoeira classes, studying Portuguese, going to a candomblé ceremony and the lavagem of a local chapel (a festive ‘washing out’ of the chapel by women dressed in the large white hoop skirts of the traditional ‘baiana’) and taking two days off to participate in the Festa da Boa Morte, a festival featuring two unique religious processions, celebrated annually for the last 160 years by the female descendants of freed slaves in the nearby town of Cachoeira.  

Current Fellow Jacqueline Bouchard is at Sacatar through an exchange with La Chambre Blanche in Québec, Canada.  Among all her other activities, she recently met with Jean Jacques Forté, the director of the Alliance Française in Salvador.   Jean Jacques invited her to give a presentation at the Alliance on September 13.  Jacqueline asked, “Can I bring the other Fellows?”  Jean Jacques agreed, and so all of the current Fellows at Sacatar will give a presentation that day.  The event has the additional support of the graduate school at the Escola de Belas Artes of the Universidade Federal da Bahia. 

Sacatar continues to establish exchanges with other residency programs around the world.

  • TAIPEI ARTIST VILLAGE: Bahian artist MARCOS ZACARIADES recently returned from his two-month residency in Taiwan.  Marcos arrived exhausted and disoriented in Taipei, which is on the opposite side of the planet from Bahia, and yet he managed to participate in an exhibition less than three weeks into his residency.  He used video footage from the Terno das Almas, a traditional religious procession that he revived in the village of Igatu where he lives, to denounce the death penalty that, while abolished in most of the civilized world, is still practiced in a few countries like Taiwan and the USA.  Taiwanese artist HUNG-CHIH PENG will begin his residency in Bahia in October.    

  • LA CHAMBRE BLANCHE: Writer JACQUELINE BOUCHARD is currently in residence at Sacatar as part of an exchange with La Chambre Blanche in Québec, Canada.  The Bahian artist VIRGÍNIA MEDEIROS will be in Québec during October and November with a proposal that explores the surprising similarities between Québec and Salvador, two cities with upper and lower cities joined by municipal elevators. 

  • THE NATIONAL ART STUDIOS, KOREA:  TOMÁS RIBAS will travel from his home in Rio de Janeiro to Seoul, Korea as part of our first exchange with the National Art Studio, Korea.  His Korean counterpart, yet to be selected, will arrive in Bahia in December for a two-month residency. 
  • THE SOUTH PROJECT:  This year’s recipient of The South Project/Sacatar Fellowship is Australian artist NATHAN GRAY.  The Brazilian artist for the exchange will be selected from among our nominees in September. 
  • HERB ALPERT FOUNDATION:  While not an artist exchange, Sacatar will also host filmmaker SARAH JANE LAPP, in collaboration with the Herb Alpert Foundation of California.  


Former Fellows recently seen in and about Itaparica: Gabriel Kram, Gerald Cyrus, Greg Beyer, Jane Coffey, Melanie Baker, Myronn Hardy, Paulo Teixeira (mysteriously coming and going between Lisbon and Salvador), Pinar Yolocan, and Sidiki Conde with his wife Deborah Ross.

Photo:  Jane, Inês and Melanie at Carnaval in Itaparica © Taylor Van Horne, 2007

ANINDITA DUTTA (India) had two exhibitions open within a week of each other in New York City, USA: an installation at the LAB on July 25 and another at the Maiden Lane Exhibition Space on August 3, which will run through October 6.

BARBARA CERVENKA and MARION JACKSON curated ‘Expressions of Faith: Popular Art of the Northeast of Brazil,’ coming soon to a city near you, if you’re lucky.

CAROL BARTON (USA) has upcoming paper-engineering workshops on September 8  and September 15-16 in Glen Echo, Maryland, USA (  Her how-to book, The Pocket Paper Engineer, developed in part during her residency at Sacatar, can be ordered on-line at

CELIA DE VILLIERS (South Africa) presented a lecture about the WasteArt Foundation at the 4th World Conference on Environmental Education at Durban, South Africa.   The Foundation promotes art and craft made from waste material.

DIANA BLOK (Uruguay > Netherlands) had an exhibition of her photography at the Turner Carroll Gallery in Santa Fe, New Mexico, USA, from July 13 to August 1.  She exhibits a photograph she took in Itaparica in a group show ´Cage d’oiseaux ´ (Bird in a Cage) at the gallery Cabalus in Vézelay, France, from August 8-31.

EFFAT YEHIA (Egypt) won the ‘Award for Best Rising Director’ at the National Festival Awards in Egypt, with the play ‘The Memory of Water,’ which also garnered a Best Actress Award and Best Supporting Actress nomination.

ERMAN (Cuba > USA) has a solo exhibition, ‘Cortando, Cociendo y Recordando,’ at Central Fine Arts Gallery, Broward College, Davie, Florida, USA.  The exhibition, which will be accompanied by a catalogue, opens August 23 and closes on Sept 18, 2007.

INÊS RAPHAELIAN (Brasil) gave a lecture entitled ‘Expedition Armenia’ on July 15 at the Paço das Artes in São Paulo, Brazil.  She undoubtedly shared the results of the faux archaeological expedition undertaken on the beaches of Itaparica during her stay at Sacatar and the subsequent presentation of the ‘unearthed’ artifacts at the Armenian Biennale.

JANE COFFEY (USA) spent the first part of August in St. Mary’s, Alaska, camping out at the Yukon River intertribal conference to write an article for Orion Magazine.  Her travelogue from her previous trips to Argentina will be published in GeoTimes in October. 

KOSTANA BANOVIC (Yugoslavia > Netherlands) will be part of a group show at the Phoebus Gallery in Rotterdam, Netherlands, opening September 9.

KRISTIN CAPP (USA) recently completed a three-month program, teaching black and white photography to students of the Wellpinit High School on the Spokane Indian Reservation, the result of a grant for the Northwest Museum of Arts and Culture in Spokane, Washington, USA.  An exhibition of her work will run from August 14 to October 14, 2007, at the Galeria Eduardo H. Fernandes in São Paulo, Brazil. 

LELLA HEINS’ (ITALY > USA) latest play, ‘The Theory of Color,’ is the winner of the Jump Start New Plays Series funded by the New York State Council on the Arts and the Department of Cultural Affairs of the City of New York. It enjoyed a three-week run at the Medicine Show Theatre in New York in July.   

LUCIO GREGORETTI (Italy) wrote this about his composition, ‘Mundus Novus’ for flute and piano, which premiered at the Long Island Composers Alliance in New York on April 30 and in Philadelpia on May 1:  “A piece sketched during my residence at Sacatar. It contains several elements inspired by Sacatar as: imitation of capoeira rhythms and berimbau sounds obtained by hitting piano wires, quotations of Sacatar birds' tunes, hidden quotations of Lavagem do Bonfim marching bands tunes, pagode rythms, and so on.”

(USA) will see his second book of poetry, ‘The Headless Saints,’ published in March 2008.  He came to Bahia in August to complete research for his nearly finished novel, in which the Bahian town of Cachoeira plays an important part.  

OPAL PALMER ADISA has a new book out, Until Judgement Comes, that can be ordered at 

PADMA VISWANATHAN, (Canada > USA) after moving to Arkansas from Canada, has accepted a 2-book contract with Random House Canada, to publish her first and second novels.  She was working on the first novel while a Fellow at Sacatar.  The Toss of a Lemon, set in southeast India between 1896 and 1962, tells the story of Sivakami, married at the age of 10 and widowed at 18. Sivakami chooses, in defiance of family and custom, to raise her children in her own house, which she leaves only three times in the following 60 years. A publishing date has been set for spring 2008. At the left, Padma with husband Geoff and two-year-old son Ravi.

(Brasil), at the conclusion of her residency, returned to Livramento where she painted a mural.  “We painted the mural in three days but everything was washed away in fifteen minutes of heavy rain.  The only fragment remaining was the image of Saint Anna of Livramento, obviously because it was the only part of the mural that was dry.  But horrors!  The city called it a miracle!  The priest is telling everyone to go pray at the painting!”

PINAR YOLOCAN (Turkey > USA) has returned twice to the island of Itaparica since her residency in December 2006 / January 2007.  She continues her photographic essay of the elderly women of the island, whom she photographs dressed in elegant costumes she fabricates out of meat by-products.  The exhibition is scheduled to open at the Rivington Arms Gallery in New York City on November 29, 2007. 

Pinar Yolocan and Her Models © Augusto Albuquerque, 2007

RONALDO MACEDO BRANDÃO (Brasil) created the sets for ‘Cittá,’ choreographed by the No Ar Dance Company and winner of five awards, including Best Dance Presentation 2006.  The group recently performed the award-winning piece at Palácio das Artes in Belo Horizonte, Brazil. 

SIDIKI CONDE (Guinea > USA) and DEBORAH ROSS (USA) are in Itaparica during August and part of September, where they have rented a house in front of the Forte de São Lourenço.  Sidiki will return to the USA to receive a great honor, a National Heritage Fellowship.  National Heritage Fellowships begin with nominations from ordinary citizens who put forward local folk and traditional artists that they feel are deserving of national recognition and who embody artistic excellence, authenticity, and significance within their tradition. Each year, a select group of these artists come to Washington, D.C. to receive their awards in a public ceremony and perform in a concert celebrating ´our nation of nations´ during late September.   This year, Sidiki Conde is one of the twelve honorees.

SOLANGE LIMA (Brasil > France) is traveling France this summer with the high-aerial production ‘Canela Fina,’ developed during her residency at Sacatar. 








SOPHIE LECOMTE (France) and her baby Luna joined
European-based Fellows SOLANGE LIMA, DIANA BLOK and
others at a Sacatar reunion in Paris, France, held in January.










VIGA GORDILHO had an individual show, ‘EXPOSIÇÃO A CÉU ABERTO,’ comprising 32 images of her work on large panels mounted throughout the Campo Grande, the central square in Salvador, Brazil, during the month of June. 







WILSON SUKORSKI performed live accompaniment to Fritz Lang´s silent film ´Harakiri´ as part of the First Silent Film Festival at the Cinemateca Brasileira in São Paulo, Brazil, on August 19.

Gabriel Kram speaks about his stay at Sacatar

In June of 2006, I arrived on Itaparica Island, off the coast of Salvador, Bahia, Brazil, for the beginning of my artist residency at the Sacatar Foundation.  This was my third artist residency, my first outside of the United States.  I was admitted to Sacatar on the basis of my writing portfolio, and when people asked me what I did I told them I was a writer.  I had, at the start of the residency, been writing fiction for eleven years.  I had published in literary magazines, and written critical pieces.  Six months prior to arriving at Sacatar, I had completed my first novel, which was the re-working of a book I had begun a decade earlier.  The manuscript was making its rounds through a gauntlet of literary agents and editors: I had, at that time, queried more than sixty agents.
I arrived at Sacatar deeply fatigued, which seems to be my pattern with residencies.  Usually I don’t know I am tired, but this time I did.  The spring had been brutal with work for me, and underlying this exhuastion was a feeling of hopelessness that had been mounting in me since March when I attended a Native American ceremony and came away with the feeling that our country was ecologically doomed; that we had passed some kind of tipping point beyond which there was no hope of turning back.  Let me contextualize that statement by explaining, also, that in some way this was the subject of my novel, about a group of superheroes who may or may not be mental patients.  I consider American culture to be rather seriously mentally ill, and what the ceremony had reflected back to me seemed to me a confirmation that nothing could be done.
Itaparica Island is an hour by ferryboat from Salvador, which is the colonial capital of Brasil and the cultural capital of Bahia: the norde-este.  Sacatar is an oasis on the north end of the island.  The sea laps at the doorstep.  There are peacocks and fountains on the property; the buildings are open to the air, blending indoor and outdoor space; the verandah in Casa Grande is home to two delicious hammocks.  My writing studio was an elevated wood and glass box, floating bird-swoop high, with floor to ceiling windows that retracted to let the wind pass through.  The desk was set up so that I found myself looking out over a stretch of beach, glassy in the brilliant light, wherefrom at low tide a roving game of beach soccer brought constant shouts.  For the first couple of weeks I edited short stories and read novels lying in one of the hammocks.  When I had finished working on stories I went back to working on a historical novella I had begun several years earlier.  But the urgency wasn’t there.  I collected shells on my desk, and I would find myself sitting at the computer staring off.  It is a hard thing for a writer to admit that he has nothing to say– but I think I knew this when I got there.  My body knew it.  It was the most beautiful writing studio I have ever seen, and everytime I went up there I felt like I was in prison.
I was talking to the other artists about this, and to Taylor, the director.  I remember lying on the hammock, trying to tell him that I felt the problem was not only, or not even that I didn’t have any more stories to tell–but that the very way I had been telling stories, for years, seemed like it was making me unhappy.  I guess I’d been taught, and taken as truth, that story begins with conflict.  My stories were about people at odds with the world, or at odds with themselves.  I’ve always thought of the artist as a mirror: the person who holds up to a society its reflection.  And when I looked at America, in 2006, what I saw was crazy, and so that was the world I rendered back.  I thought that my writing would be somehow homeopathic.  A little distillate of the disequilibrium reflected back that would somehow cause people to say, “Ah hah- that’s us,” and that in showing them this they would somehow be cured.  But I found myself, in Brasil, as I got more and more comfortable in a culture that seems much less alienated from joy, realizing that all the time I spent metabolizing insanity– if I’m going to write a character who is in conflict, I have to inhabit a space of conflict from which to write– was making me crazy.  Or at least unhappy.
And I couldn’t even imagine what an art would look like that didn’t do this.  And that was when I met Chico Liberato.  His wife, Alba, a poet, invited me to a poetry reading in Salvador after visiting the foundation to set up a screening of the work of two of the other resident artists.  I travelled back to Salvador with her on the ferryboat, her husband picked us up at the ferry building, and we drove to their house in Trobojy, high on a ridge near the airport.  It was eight o’clock and already dark when I walked through the front door into the living room.  The house was set up around a central outdoor courtyard, the windows ironwork grills, so that air and nightsounds moved through.  There was an altar set up across from the door with statues of St. Francis and pictures of Saint Anthony.  A terracotta rocking horse, a clay bowl on the floor filled with bananas.  And paintings.  Everywhere.
I used to paint.  My mother is a painter, and since I was little there was always her studio.  The mouse skeleton she kept in a wooden box; dried flower pods.  Things that used to show up in her still-lifes, but were more, to me, fragments of a kind of immediate connection to the world.  I drew and I painted until I was about twenty, when I became somehow serious as an artist, and stopped giving myself permission to paint.  I don’t know why.  Maybe it was frustration– that is what I thought at the time.  That I couldn’t paint what I could see; that I didn’t have the technical skill for it, and so it drove me to distraction.  Maybe it was fear.  Maybe it was a need to have one thing that I was focused on, because this is a society where the first question strangers ask you at a party is, “So what do you do?”  (In Brasil, they never ask you this.)  I was a writer.
Philomena, a Brasilian painter at Sacatar, had taught me how to stretch a canvas a couple of weeks before, and I had prepared it and begun reproducing a Pierre Verger photograph.  But then I went to Chico’s, and I saw the canvases on his walls.  Not paintings, but life.  I could tell you that they stopped me in my tracks, that I had to, at first, sit down.  I could tell you that I started to cry, and then I wandered through his house, stupified, my eyes up against the canvases, stepping away from them and back toward them, taking them in, drinking them.  I could tell you that I started vibrating that night; that something shook loose in my body and woke up.  I could tell you all this, and it would be true.  But it doesn’t really matter.  What matters is this: an artist is a mirror.  And that mirror can throw back fracture or wholeness.  If it throws back wholeness, art will humble you, and make you grateful to be alive, and show you how beautiful and how good it can be.  If you throw back wholeness the making of it will make you more whole, and the viewing of it will make more whole your audience.  Which isn’t to say there is not a place for the other kind.  But let me tell you, brothers and sisters, for it’s very simple: art like that makes you feel good.  And that was how I began to paint.

Gabriel Kram paints and sculpts in San Francisco and Brasil.  His portfolio is available online at; you can buy his novel, “The Hand of God Speaks” at

from an email from KOSTANA BANOVIC (Yugoslavia > Netherlands)

“Some people stole my heart. Do you know David? He taught me samba and arroche. I was dancing with him for weeks not knowing anything about his life and at the end, on my last day I went to say goodbye to him and I saw where he lived and I burst in tears. He lives in a kind of corridor which he calls a house, without windows, a space which is as wide as a door... and a baby crawling around… If I knew this I would force all fellows to also pay for dance lessons.  So, I took some sorrow with me…

love, Kostana”

When we contacted Kostana to provide a photograph of David, she gave us this update:

“I am still in touch with David.  He is planning to baptize his daughter in December, and he asked my friend and me to be present. I am saving and planning to come.”




The jury / Picolation / the collage workshop / the collages
Photos: Taylor Van Horne

For the last three years we have held a coloring contest for the children of the employees of Sacatar, but this year it went big.  On October 16, the current Fellows juried the children's coloring while hungry for lunch.  This made for quick decisions.  After lunch we mounted an exhibition of the drawings in the gallery of the Itaparica Cultural Center and Library.  We invited Picolation, the most famous popsicle vendor in Brazil (I won't try to explain why; Let it suffice to say that he is an accomplished street performer) who got the night rolling, distributing free popsicles and getting all the children to dance to his hip-hop popsicle cart.  All the children present---and there were a lot---participated in a ten-minute charette, where they produced collages of fabric and paper scraps.  Certificates and art supplies were distributed to the winners.  Then young members of the dance troupe from Prole de Taparica, a grassroots cultural center located about twenty minutes from Itaparica by car, performed capoeira, followed by the inevitable samba de roda (samba in a circle), when we all took turns doing the samba, well or poorly.  Both are valid.


There are some changes at our website  In addition to this edition of the newsletter, we recently posted a new Tour, under INFORMATION, that shows the entire property, including the studios built last year.  There are also new ALUMNI pages with pictures and comments by the most recent Fellows.  Check them out.

For those of you interested in applying for a Fellowship at Sacatar, the next postmarked deadline will be April 10, 2007.  Sacatar considers for its Fellowships people in all creative pursuits and from any nation on earth.  All application materials must be sent to the Instituto Sacatar in Brazil.  Full details can be found under APPLICATION at

We will work once again with the UNESCO/Aschberg bursary program in 2007, offering two Fellowships, in music composition and visual arts.  The UNESCO bursaries to Sacatar are restricted to artists over the age of 25 and from Africa, Asia, the Middle East, Australia or the Pacific Islands.  The application deadline for UNESCO will be April 30, 2007.  Full details for these bursaries, and many others around the world, will soon be available at


At the Old Black Bar, from left to right, Kostana Banovic, Bernd Lichtenberg,
Mitch Loch, Karl Ciesluk and Mithu Sen
Photo: Taylor Van Horne

The most recent Fellows arrived on October 9, 2006.  On October 12, President Mitch Loch and director Taylor Van Horne took them to dinner at the Old Black Bar in Alto das Pombas, a neighborhood of Itaparica well-known to many of the former Fellows, full of children and music, where several of the employees of the Instituto Sacatar live.  From left to right in the photo above are video and installation artist KOSTANA BANOVIC, born in what is now Bosnia and living in the Netherlands; Canadian sculptor KARL CIESLUK; Mitch Loch; German screenwriter BERND LICHTENBERG (Good-bye, Lenin); and Indian artist MITHU SEN, a UNESCO/Aschberg bursary recipient to Sacatar.    They will be joined in the coming weeks by American writer EJ LEVY and filmmaker DIEGO QUEMADA-DIEZ, born in Spain and now living in Los Angeles, California.  The six artists will be in residence until December 11, 2006.

Another new arrival:  the turtle we call 'F,' which we found walking down the main street of Itaparica during the last week of September.  None of the neighbors claimed her and so now she has moved into the Water Studio, which she shares with Karl and the koi.


At the ACBEU opening, from left to right, Anindita Dutta, Heather Figi, Erman,
Lavonne Mueller and Ersi Sotiropoulos, behind an artwork by Erman
Photo: Mitch Loch

During the last two weeks in September, there was an exhibition of two of the Fellows' work at the Gallery of the Associação Cultural Brasil – Estados Unidos, in Salvador, Brazil.  ANINDITA DUTTA from India and ERMAN, an American born in Cuba, exhibited their work.  Also at Sacatar during this residency were American playwright LAVONNE MUELLER, Greek novelist ERSI SOTIROPOULOS and American composer and violinist HEATHER FIGI.


Filmmakers Reynold Reynolds and Stacey Steers
Photo: Taylor Van Horne

During the last week in July, the Instituto Sacatar and DIMAS, the state film board of Bahia, co-hosted an exhibition of short films by American filmmakers STACEY STEERS and REYNOLD REYNOLDS, both Sacatar Fellows at the time.  The films ran for a week in the main theater and the screenings continued in the smaller video theater during the month of August.  Other Fellows in residence during that period were PHILOMENA BOHNENBERGER, a painter from Porto Alegre, Brazil, and GABRIEL KRAM, an American writer who began to paint and sculpt during his stay in Bahia.

While at Sacatar, Reynold learned that his gallery had sold one of his films to the permanent collection of the Museum of Modern Art in New York.  Congratulations, Reynold!


In Melbourne, from left to right, Magdalena Moreno, Vicky Shukuroglou and Elida Tessler

The South Project is an Australian initiative to create cultural exchanges across the southern hemisphere.  With the support of The South Project, Sacatar did an artist exchange earlier this year with RMIT University in Melbourne, Australia.  Australian VICKY SHUKUROGLOU extended her stay for four months after her residency at Sacatar, arriving in Australia two days before Brazilian artist ELIDA TESSLER left for Brazil after her two-month residency at RMIT.  In the photo are Magdalena Moreno, coordinator for The South Project, Vicky and Elida.

During the first week in October, Mitch and Taylor attended the international conference of The South Project, this year held in Santiago, Chile.  There they met Magdalena and Elida for the first time.  Immediately after the conference, they went to the opening days of the 27th Biennale in São Paulo, Brazil, to research artists for possible Fellowships and future exchanges.  As part of the Biennale brouhaha, there was an opening at the Centro Cultural São Paulo, where former Fellow INÊS RAPHAELIAN is now director of visual arts.  Former Fellows visual artist RODRIGO BUENO and poet SÉRGIO ALCIDES also came to the CCSP event.

At the CCSP opening in São Paulo on October 10, Taylor Van Horne, Inês Raphaelian,
Rodrigo Bueno, Sérgio Alcides and Mitch Loch.

In late August and early September, Taylor and Mitch were in Montréal and Québec where they discussed possible exchanges with several residency programs in that Canadian province.  Nothing certain yet…These exchanges are not easy to set up.  Therefore, we are pleased to announce that we will once again do an exchange with the TAIPEI ARTIST VILLAGE in Taiwan.  TAV will announce the 2007 Fellowship winner at the end of October, selected from among the five Brazilian nominees that Sacatar sent in September.


The new pier at Sacatar
Photo: Mitch Loch

Global warming or not, the sea has been acting up!  We recently built a seawall to save several of the larger trees that grow adjacent to our beach.  Above, the workers celebrate the wall's conclusion.


Photo: Mitch Loch

My name is Raimundo Carlos Conceição Silva.  I am twenty-six years old and live in Alto das Pombas, Itaparica.  For the last four years I am living with my girlfriend, Ana.  I am working now at the Instituto Sacatar for five years where I am the assistant to the Property Manager, Janilton Lemos.

I like working at Sacatar.  Most of the time it is a peaceful place and my coworkers are very cool.  I worked with MAUREEN FLEMING on the lighting for the performance she did at the Itaparica Cultural Center and I helped ANINDITA DUTTA fabricate some of the materials she used in her recent exhibition at ACBEU in Salvador.  The truth is I am always helping the artists with something, fixing things or helping them to find materials.

I wish that Sacatar was even more open to the people here in town.  It would be great if Sacatar offered courses and helped the young people here occupy their time because in Itaparica there are few opportunities for work and few cultural options.

On Saturday afternoons and Sundays, when I am not working at Sacatar, I am building my house.  At night there is just time to be with my girlfriend and sleep (laughs).  I don’t want anything more than to have my work and to die old.  I don’t want to die young.  Besides that, I want to study, because I started working very young and my studies were always put off until later...


ABHIJIT GUPTA was in a group show, Addressing Unreason, at the Gallery Sumukha in Bangalore, India, from July 24 to August 4, 2006.

DANIEL GWIRTZMAN and his dance company premiered Encore at the Kumble Center for the Performing Arts in Brooklyn, New York, USA, on October 7, 2006.

ELIDA TESSLER exhibited her ongoing installation Você Me Dá a Sua Palavra?, at the Centro Cultural Estación Mapucho in Santiago, Chile, during The South Project conference in early October.   She worked on this installation during her exchange residency with our partner, RMIT University in Australia, earlier this year. 

HEATHER FIGI completed her residency at Sacatar in early October.  She and the Great Noise Ensemble will perform in Washington, DC, USA, music that she composed while at Sacatar: on November 17 at the Sumner School, The Softest Bite for Alto & Soprano Sax, 2 Violins, Vibes & Piano and on January 26, 2007 at the Sitar Center, Que Bueno Baila Usted for Flute. Alto Sax, Violin, Bass & Piano. For more info:

INÊS RAPHAELIAN was invited to participate at the Biennale of Gyumri, in Armenia, from August 2-16, 2006.  She exhibited twenty photographs from the Itaparica Archaeological Site Project, produced during her residency here.  At Sacatar, she produced faux archaeological fragments embedded with 'lost' computer languages.  These were subsequently buried on the beach and an ‘archaeological team,’ comprised of the other artists in residence, excavated the site.  The photo exhibition has since traveled to the Philippines where it is on display in Manila.  The Project can be seen at

KEITH LORD was in a group show at Bank, a gallery in downtown Los Angeles, California, USA.  The opening was on July 15, 2006.

KRISTIN CAPP has published her most recent book of photographs, Zimbabwean Musicians +, with Africa World Press.

LONG BIN CHEN has work in a group show about the Dalai Lama.  The show originated at the Fowler Museum in Los Angeles and will continue on to Chicago in October, then New York City in March 2007. He has another exhibition in Hong Kong in October.

MITHU SEN, currently in residence, has her work in a group show by three artists, All That's Solid Melts into Air, at the Indar Pasricha Contemporary Gallery in London, England.  The exhibition opened on September 26, just days before her arrival in Bahia.

MUTHUKRISHAN RAMALINGAM had a show of his paintings in Mumbai, India, from August 3 to August 25, 2006. 

OPAL PALMER ADISA announces the publication of Eros Muse, her most recent collection of poetry and essays. 

PHILOMENA BOHNENBERGER has a one-person show, Cenas de Cinema, at the Museu de Arte Contemporânea do Rio Grande do Sul, Brazil, including work that she concluded while in residence at Sacatar during the months of June and July.  The show runs from September 29 to October 29.

RONALDO MACEDO did sets and costumes for the dance piece, Città, performed by the award winning dance troupe, No Ar Cia. de Dança.  The performance was at the Casa do Conde in Floresta, Brazil, from June 29 to July 9, 2006. 

SOLANGE LIMA continues to develop Canela Fina, the acrobatic performance that she developed during her stay at Sacatar in January and February of this year with the participation of local poet Dinalva do Céu.  Working with Alex Haffner in France, she constructed a substitute for the coconut palms of Sacatar.  She kept the costumes made on the island (along with fond memories of dona Dinalva) and presented Canela Fina during the "Fête de l'Humanité" in France.

SOOK JIN JO has had her work published in A Sculpture Reader: Contemporary Sculpture  Since 1980.  She also has an exhibition starting October 26 at the Galerie Gana in Paris, France.

SOPHIE LECOMTE was in a group show, Ne me raconte pas d’histoires, at the Maison Chevolleau in Fontenay-le-Comte, France, from July 7 to September 30, 2006. 

VIGA GORDILHO, CELIA DE VILLIER and GEMA HOYAS FRONTERA were Fellows in August 2004.  The three continue to collaborate, currently with a traveling group show, Afetos Roubados no Tempo, that includes the work of 730 artists (two for each day of the year).  Each artist submits an object the size of a human heart.  The show has been traveling around Brazil for almost a year now and will be in São Paulo at the Espaço Eugenie Villen, Faculdade Santa Marcelina from October 26 to November 23.  The show will travel to Spain and France on its way to its final destination in South Africa.  Details at


Photo of Melanie Baker

Former Fellow MELANIE BAKER in her studio with recent work (photo: Mitch Loch).  She will be part of a group show, Psychoideology: Spirituality, Politics and Identity in Search of a New Paradigm, at Roebling Hall, New York, USA, from October 19 to November 11, 2006.






The UNESCO/Aschberg bursaries are generous fellowships---providing airfare, studio, stipend, room and board---to over 40 residency programs around the world. Two Fellowships are awarded annually to the Instituto Sacatar, one in visual arts and the other in theater/puppetry/performance. The deadline for applications is April 30, 2006. The UNESCO fellowships have geographic restrictions; for the Sacatar Fellowships, artists must come from Africa, Asia, the Middle East, Australia or the Pacific islands. Each residency's restrictions are different, so check opportunities for your discipline and geographic area at . This is a great program!


Photo by Taylor Van Horne.

On February 17, as the sun set on a beautiful afternoon, we celebrated the inauguration of the new studios and workshops of the Instituto Sacatar. The studios have evocative names: Água (Water), Terra (Earth) and Esfinge (the Sphinx). Along with the comfortable and elegant new administration building and the spacious workshop, all recently built, a new architectural era at Sacatar begins!

Australian sculptor Vicky Shukuroglou in the Water Studio.
Photo by Mitch Loch.

Invited guests from the island and Salvador visited the artists in the new studios and watched a theatrical performance in a café-théatre setting, beneath the coconut grove. Jamaican writer OPAL PALMER ADISA opened the evening's presentations, reading some slightly erotic love poems to the island of Itaparica (in English, followed by Portuguese translation). We then listened to excerpts of a piece by Italian composer LUCIO GREGORETTI.

The highlight of the evening was a theatrical piece, with SOLANGE LIMA, a Brazilian acrobat and theater performer living in Paris, and dona DINALVA DO CÉU, a poet from the island of Itaparica. Solange performed high in the air on a rope hanging between two coconut palms while dona Dinalva declaimed her improvisational verses below. There was a buzz of confusion and amazement in the audience when, as part of the performance, Dinalva took scissors and whacked off most of Solange's hair.

Dona Dinalva comes from one of the poorest neighborhoods on the island of Itaparica. This was her first theatrical presentation in all her 68 years. Solange conceived and directed the collaboration with Dinalva. LUCIO GREGORETTI did the sound design. (Solange plans to take this production to Paris for France/Brésil 2006 and on tour through Europe and Japan in 2007.) The event was further graced by the distribution of DINALVA DO CÉU's first published chapbook, with illustrations and production design by the Australian artist, VICKY SHUKUROGLOU.

Dinalva do Céu and recently shorn Solange Lima after the performance.
Photo by Mitch Loch.

The multi-purpose evening was also a going-away party for the last group of residents (December 28, 2005 – February 20, 2006) comprising, for the first time in the history of Sacatar, artists from five continents:

Lucio Gregoretti , composer from Rome, Italy
Opal Palmer Adisa , a Jamaican writer, living in Oakland, California
Long Bin Chen , sculptor from Taiwan
Vicky Shukuroglou, sculptor from Australia
Solange Lima , a Brazilian circus performer living in Paris, France.

The party was held the day before LONG-BIN CHEN's birthday and happened to fall on the very day of Solange's. (Hence the haircut: it was a shocking re-birth!) A special birthday cake, as delicious as it was beautiful, finished off the evening in high style.

Solange Lima, Long-Bin Chen and their Taiwanese-Brazilian birthday cake.
Photo by Mitch Loch.


Here are the results of our efforts to establish international exchanges, in which we send Brazilian artists overseas and receive artists from collaborating international institutions:

LONG-BIN CHEN came to Sacatar as part of an exchange of artists with the Taipei Artist Village in Taiwan. The Bahian artist IÊDA OLIVEIRA went to Taipei in August and September of last year.

Long-Bin Chen with a Buddha made from telephone books.
Photo by Taylor Van Horne.

VICKY SHUKUROGLOU came to Sacatar as part of an exchange through The South Project, an initiative based in Melbourne, Australia, to promote cultural exchanges across the southern hemisphere. Brazilian artist ELIDA TESSLER , from Porto Alegre, Rio Grande do Sul, will go to Melbourne, Australia, starting in May 2006 for a three-month residency at RMIT University.

We are very pleased with our success in establishing these exchange opportunities. In 2007, we hope to repeat these exchanges with Taipei Artist Village and The South Project. We continue to seek partners for similar exchanges around the world. Please contact us if you have any ideas or suggestions in this endeavor: .


Sometimes things work like this in Bahia. On Friday we saw that the exhibition space of the Galeria do Conselho in downtown Salvador was standing empty. On Monday we met the director, whom we did not know. On Tuesday we received approval for an exhibition and on Friday we hung the show!


Graphic design by Abhijt Gupta.

All four artists in residence at the time participated. Abhijt Gupta (India) showed drawings inspired by the cordel poetry of the Brazilian northeast and sculptural drawings on delicate dried palm fronds. The whimsical assemblages of NGAMANYA BANDA (Zambia) breathed new life into recycled objects found on the beach and other discards of civilization. LISA BEATMAN (USA) exhibited her bilingual poem-posters, her first venture into visual art. LASHAWNDA CROWE-STORM (USA) shared the work she developed with the students of the João Ubaldo School in Itaparica, who used traditional handicrafts to explore issues of black consciousness.


On November 12, 2005, directors Mitch Loch and Taylor Van Horne hosted an alumni party in São Paulo at the home of former Fellow RODRIGO BUENO. Most of the former Fellows from the São Paulo area were in attendance, with many guests. The improvisational drumming and samba de roda were definitely more Bahia than São Paulo. Thank you, Rodrigo, for your consistent grace and hospitality!

Former Fellows Regina Machado (storyteller) and Inês Raphaelian (sculptor)
with Director Taylor Van Horne.

Photo by Mitch Loch.


BRAD FOX will be featured in the anthology 'Celestial Grafitti,' edited by legendary poet and photographer Ira Cohen, to be released this spring in New York. The anthology will include a selection of his stories from 'Accidents,' the collection he finished during his residency in the fall of 2003.

CHERYL STRAYED (USA) published her novel 'The Torch,' which she completed during the same residency session as Brad.

EDWARD BARNES (USA)---after a residency at Valparaiso, Spain last September---is orchestrating and arranging Scott Joplin's 'Treemonisha' for Lincoln Center in New York City.  After that, he will be musical director for a production of 'Cabaret,' before heading to the Verbier Festival in Switzerland.  

FRANCES DE PONTES PEEBLES (USA) published the short story 'The Disappearance of Luisa Porto' in the winter issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story . The story recounts the disintegrating lives of two unmarried sisters in Recife, Brazil. The issue, designed by Tom Waits, includes stories by Joyce Carol Oates, Wayne Wang and other luminaries of American literature.

INÊS RAPHAELIAN (BRAZIL) is now the visual arts director for the Centro Cultural de São Paulo, in charge of all municipal art exhibitions in the city.

JANE INGRAM ALLEN (USA) published the book 'Made in Taiwan,' the result of 18 months of research as a Fulbright scholar, with the support of the Taiwan Council of Cultural Affairs. The book presents handmade paper fabricated from 135 different plants native to the island of Taiwan. To purchase a copy of the book, a bargain at USD$25.00, make your request to .

LELLA HEINS (ITALY>USA) had two concert presentations of the children's musical, "Oriundina, the Mermaid of Itaparica' in New York. She began to develop this theater piece while a resident at Sacatar. The piece now includes additional songs with lyrics by Lella and music by Carman Moore. Alexander Harrington directed the concert presentations.

Lella Heins takes a bow.
Photo provided by Lella Heins.

MAUREEN FLEMING (USA) is currently in Korea with a Fulbright scholarship, working with dancers at the Seoul Institute of the Arts. The prestigious ballet of the Teatro Castro Alves in Salvador, Brazil, has offered Maureen a month-long choreographic workshop with the salaried ballet corps, culminating in a video and presentation at the Mercado Cultural, an arts festival held annually in December. 

MELANIE BAKER (USA) exhibits work in the 'Surveillance' show at the Jersey City Museum, USA, from February 2 to August 20. She also exhibited at LMAKprojects in Brooklyn, from February 17 to March 26, in the show 'Regeneration Room,' curated by Franklin Evans.

MUTHUKRISHNAN RAMALINGAM (INDIA) exhibited paintings of his 'Impressions of Brazil' at the Welcome Art Gallery at the Chola Sheraton Hotel in Chennai, India, January 24-30. He created the works during his three-month stay at Sacatar.


Detail from 'Impressions of Brazil"
Photo by Mitch Loch.

RASHEED ALI (USA) returned to Bahia during carnaval this year. His CD 'Tristeza e Beleza na Cidade Negra,' which he composed during his residency, and his new CD, 'Agua que Va a Caer,' are available on his record label Digital Rain Factory and will soon be featured on iTunes & Rhapsody.

RONALDO MACEDO (BRAZIL) exhibited the installation 'Panóptico' in conjunction with the play 'A Acusação' in the Teatro Francisco Nunes in Belo Horizonte, Minas Gerais, Brazil, from February 7-22.

SOOK JIN JO (KOREA>USA) exhibited the site-specific installation, 'My Brother's Keeper,' at the Outdoor Gallery in Brooklyn, New York, from January 27 to February 26. In April she will execute a site-specific sculpture in a river as part of the Biel Canal Project in Switzland. She is also preparing a traveling exhibition to Germany and Korea.

Installation view: 'My Brother's Keeper' by Sook Jin Jo.
Photo provided by Sook Jin Jo.

VICKY SHUKUROGLOU (AUSTRALIA) remained in Bahia after her residency in February to complete a 3-meter long sculpture of a whale in front of the ecological institute Pró-Mar, as well as an underwater habitat made out of whalebones to be installed in the reef in front of Pró-Mar's headquarters on the island of Itaparica.

Vicky with her whale and Sacatar's newest permanent resident, Diana the beagle.
Photo by Mitch Loch.


My name is MARIA BERNADETE NICÁCIO VIEIRA, but I'm known as DETE. I was born here in Itaparica on April 8, 1967. I am 38 years old. I have two boys, Yuri who is nine years old and Ivis who is one year, eleven months (photo). I have lived with my husband for about the last twelve years. We have a great relationship. I have a degree to teach grade school. I have worked at the Instituto Sacatar for the last three years in house management. I try to do my job at Sacatar to the best of my abilities.

Photo by Mitch Loch.

My best experience with the Fellows was with CELIA DE VILLIERS and VIGAGORDILHO; they gave me the opportunity to learn to embroider. It was very cool. I even embroidered a pillow for myself. In addition, (I like) the experience of meeting people from other countries with different languages and customs. Each group brings something new. Sacatar is important to the community: the artists that come here give opportunities to the young people of Itaparica, and even the older people, to exhibit their talents.


There are residency programs out there perfectly structured towards providing total isolation and time-out for the artist-in-need. There are residency programs that send the artist home after experiencing strongly beneficial collegial opportunities. And there are residency programs set in awe-inspiring locations that provide the deserving artist with a sense of both personal and aesthetic renewal.

Photo by Mitch Loch.

Our residency program on the island of Itaparica, by default, necessarily places the artist smack dab in the middle of African-Brazilian culture, and we encourage our residents to allow their experiences here to impact their projects, in whatever way at all. Our most recent group took full advantage of the local holiday season, one festival after another, beginning with “Nosso Senhor dos Navegantes,” a New Year's Day maritime procession for Baiano mariners and fishermen. The Instituto Sacatar chartered a schooner that day, which joined hundreds of other boats parading by sea along the coast of Salvador. This group was also fortunate to be invited to an island Caruru, a traditional feast hosted by the Catholic saints, Cosme and Damião, now incorporated into the African-Brazilian candomblé pantheon. Traditionally, seven hungry boys from the neighborhood are chosen to take their place at the communal table and to eat before all other guests. (See my photo above.)

It is when Sacatar Fellows allow our community and its local culture to deepen their residency experience and to affect their world-view that we– the Sacatar board members, directors and staff – know we have reached our goals. With great appreciation.

Mitch Loch


Please send your comments and suggestions for this and future issues of the Jornal Sacatar to .




O, our resident peacock


Sacatar has been closed since February for new construction. We are building two open-air visual arts studios, a writer´s studio, a new workshop and a small administration building. We have future plans for a composer´s studio and another small studio for dance and theater. The new buildings wrap around the coconut grove and face the sea. With this year´s additions, each artist will have an individual workspace apart from his or her bedroom suite. Now if we can only finish construction before the arrival of the next group of Fellows on October 24…


This year Sacatar received 433 applications from over sixty countries, an increase of 30% from our last selection process in 2003. We will award 24 two-month Fellowships---including airfare, studio, room and board---through 2007. Due to the large number of qualified candidates, there will be no general selection process in 2006.

We continue to offer annually two Fellowships with stipends through the UNESCO/Aschberg bursary program. This year we received 44 applications from 29 countries for these two Fellowships in visual and performing arts. For artists who meet the UNESCO criteria (, the next application deadline will be April 30, 2006.

In addition, we have established two exchange programs, with the Taipei Artist Village in Taiwan and The South Project in Australia. The Brazilian artist Iêda Oliveira returned from two months in Taiwan at the end of August 2005. The Taiwanese and Australian artists will come to Sacatar in January 2006. The South Project will announce the Brazilian artist to Australia at the end of September.


From August 1-5, 2005, our manager Augusto Alburquerque and President Mitch Loch represented Sacatar at the First International Cultural Conference ( held in the historic diamond-mining town, Lençóis, in the central highlands of the state of Bahia, Brazil.

In the photo, from left to right: Augusto, Hélène Kelmachter (Fondation Cartier, Paris, France), Mitch, Phillip Bahar (Walker Art Center, Minneapolis, USA), Penelope Dannenberg (New York Foundation for the Arts, New York, USA) and Patty Bryan (Dance Brazil, New York, USA).


Applications must be postmarked by September 30, 2005, for residencies at Buchsenhausen, Innsbruck, Austria. For more information, go to


Carol Barton published “The Pocket Paper Engineer: How to Make Pop-Ups Step-by-Step,” an elegant accessible guide that steers you through the process of designing and constructing pop-ups. She began the book while at Sacatar, working with the children of Alto das Pombas, Itaparica. To see her work and to order a copy of her book, visit

While at Sacatar, Faith Adiele completed her book “Meeting Faith: The Forest Journals of a Black Buddhist Nun,” which received the PEN Beyond Margins Award for Best Biography/Memoir of 2004. Her book, with new subtitle--- “Meeting Faith: An Inward Odyssey” ---was released in paperback in July 2005 by W.W. Norton & Company. She was a Fellow at Civitella Ranieri in Umbertide, Italy, this summer. At Hedgebrook this fall she will finish her memoir “My Journey Home,” the basis for the 2004 PBS documentary about her.

Gema Hoyas exhibited the work she did with the artisans of Itaparica in August 2004, in a group show at the Galería Ibalart in Valencia, Spain. She sent copies of the catalogue to all the women of Itaparica who worked on the project.

In June 2005, Gerald Cyrus had a one-man show of his photography of the Harlem jazz scene at the Sol Mednick Gallery at the University of the Arts in Philadelphia, Pennsylvania, USA. A Pew Foundation Fellowship in the Arts will allow him to take time off from teaching in 2006, when he hopes to return to Brazil.

Greg Beyer started his first year as Assistant Professor of Percussion at Northern Illinois University in the USA and composed a new piece of music for a berimbau sextet. Here he is shown with some of his students.

Jane Ingram Allen is organizing the Guandu International Outdoor Sculpture Festival in Guandu Nature Park in Taipei, Taiwan. The exhibition will run from November 2005 through April 2006. Among the six participating sculptors will be Iêda Oliveira, who just returned from Taiwan on an exchange between the Fundação Sacatar and the Taipei Artist Village.

On April 30, 2005, at The Stone in New York, NY, USA, Laura Andel presented her composition for ten musicians, “In::tension:”, which captures the rhythms experienced during her residency at Sacatar.

In July, Harper Collins published Patricia Chao´s second novel,“Mambo Peligroso”, the story of the New York mambo scene, which she worked on while at Sacatar. For more information, please visit

Daniel Gwirtzman Dance Company performs PUZZLE
Date: Saturday, September 17
Time: 4PM to 6PM
Location: Highbridge Park Playcenter on
West 173rd Street & Amsterdam Avenue, New York City

Carlos Estevez has a one-man show, “Procesos Ireversibles,” at the Couturier Gallery in Los Angeles, California, USA, which opened on September 9, 2005. 

Melanie Baker participates in a group show, "The Disasters of War: From Goya to Golub," from September 10 through December 11, 2005, at the Ezra and Cecile Zilkha Gallery, Center of the Arts, Wesleyan University, in Middletown, Connecticut, USA. 

From September 8 to October 2, 2005, Diana Blok has an exhibition entitled “Paradise in Disguise” at the Melkweg Galerie in Amsterdam, Netherlands. The photographs in the show register her stay at Sacatar and can be seen in the most recent issue (number 77) of European Photography as well as at her new website . Her fellow residents may wish to visit the site to see themselves in the show, as well as their pet chicken Típico, who makes an appearance before his untimely death.

Peter Mueller has scheduled a residency in 2006 at the Djerassi Resident Artists Program, near San Francisco, California, USA.

In January 2005, Rodrigo Bueno exhibited his paintings, collages, portraits and landscapes in a show called “Mata Adentro” in São Paulo, Brazil.

The artist Viga Gordilho is curating the show " Afetos Roubados no Tempo". The show/installation will open on November 17 th thru December 21 st, in the Goethe Institute of Salvador.

Silvia Torti ´s book, “The Scorpion´s Tail” was published by Curbstone Press in July 2005. The book deftly unites disparate elements and voices in the tale of the Zapatista rebellion of January 1, 1994, in Chiapas, Mexico.

In April, Margot Liebman finished a mural with the help of the kids of the Oficina das Artes in Itaparica.

"The first day I was scheduled to offer an arts workshop to the children of Itaparica, I prepared myself as I normally do for all the workshops I had given for young people in New York City. I thought, kids are the same everywhere, how could the kids here be that different? They look like they could be from New York, they are playful and funny and creative, just like the kids I know in New York, but they weren’t exactly the same. The kids in Itaparica have an unguarded generosity and a sense of community, an unabashed warmth about them that you just don’t find in the city. I had such a great time with them, and learned so much – I think I was the student and they were the teachers."

Margot Liebman








Application Deadlines for 2005/2006

The postmarked deadline for applications for our residency program at the Fundação Sacatar in Brazil this year is April 11, 2005. Due to the high volume of applications anticipated, late and incomplete applications will not be evaluated. The application process is open to individuals and small groups in all creative fields and from all countries. You can find complete information and the download of the application form at our site These applications should be sent to our office in the United States:

Sacatar Foundation / P.O. Box 2612 / Pasadena / CA 91102-2612 / EUA

We continue to offer two bursaries each year through the UNESCO/Aschberg program. This year, the scholarships are restricted to artists from Africa, Asia or the Pacific. One bursary will be awarded in visual arts and the other in theater/performance/puppetry. The deadline for the UNESCO/Aschberg bursaries will be April 30, 2005. Full details are available at These applications should be sent directly to our headquarters in Brazil:

Fundação Sacatar / Rua da Alegria 10 / Itaparica / BA 44460 / BRASIL

There are many other opportunities available around the world through the UNESCO/Aschberg bursary program, each with its own restrictions. It's worth checking out!

Our Last Group of Fellows

We fondly call the resident artists here Fellows. Our last group of Fellows spent three months, from the beginning of November 2004 until the end of January 2005. As usual, we had five artists:

Dilara Begum (Jolly) Visual Artist Bangladesh
Imran Hussein (Piplu) Visual Artist Bangladesh
Margot Leibman Visual Artist EUA
Maureen Fleming Dancer EUA
Muthukrishnan Ramalingam (Ram) Visual Artist Índia

The results of their work were seen at the IV International Sacatar Exhibition at the Library and Cultural Center Juracy Magalhães in Itaparica, Bahia, Brazil, with the opening held on January 25. Jolly exhibited four large anti-war canvases; Ram, who is deaf, showed about twenty of the many canvases he painted of his impressions of Bahia, contrasting the social mores of Brazil with those of his native India: lots of languorous women in saris next to voluptuous women in tiny bikinis. Margot shared the work she did during workshops with the children of the Oficina de Arte and at the Cultural Center Prole de Taparica, both located here on the island of Itaparica. Piplu also worked with and for the children. He exhibited his costumes, flying monsters, doll fruits and other delights. Maureen presented her choreographies derived from bhuto. The director of the library is a conservative fundamentalist evangelical Christian, but she praised the beauty of Maureen's dance, even though Maureen 'wore' nothing more than the black sand she had taken from the beach in front of Sacatar.

MauMaureen presented other choreographies at the IV Performance Panel at the School of Dance at the Federal University of Salvador, Bahia. As a result of her residency, Maureen has been invited to return at the end of 2005 to present her work again at the Mercado Cultural, a vast theater and dance festival held annually in December in Salvador.

Sacatar is growing...

Starting the second week of February, we began construction on several new buildings, which we hope to finish in the coming months, including a new administration building, a larger workshop and two open-air visual arts studios. Future plans include a studio for a writer, one for a musician/composer and a studio for dance and theater. All the studios will be built around the existing coconut grove next to the big house.

We will not host artists during construction.

International Exchanges

This year the Fundação Sacatar undertakes its first residential exchanges with other international programs: the Taipei Artists Village e The South Project de Melbourne, Austrália In both cases, Sacatar will receive an artist nominated by the partner institute, which in exchange will host a Brazilian artist for two months.

The Taipei Artist Village awarded a residency to Iêda Oliveira, the first woman from Bahia to exhibit at the São Paulo Bienale, in 2004. Iêda's residency will take place in July / August 2005. The Taiwanese artist has not yet been selected but he or she is scheduled to come to Brazil at the end of 2005 or the beginning of 2006. In both cases, the artist will receive airfare, logistical support and room and board.

The purpose of The South Project is to support intercultural exchanges across the southern hemisphere. An Australian artist will come to Sacatar at the end of this year or the beginning of the next. A Brazilian artists will spend two months in Melbourne later in 2006. Applications for the pre-selection of Brazilian artists are open at the Fundação Sacatar. Interested Brazilians can contact us at We will also nominate Brazilians from among those who apply to our regular residency program in Itaparica, Bahia.

We hope to establish other international residency exchanges and we are open to discuss opportunities with other institutions that can provide, as we do, airfare, room and board and logistical support.

This marks the end of our fourth season. We have received over seventy artists from nearly thirty countries. Many of our former Fellows have returned on their own to experience more of the magic of Bahia. We are very grateful for all that we have managed to achieve in this short time and happy to have the opportunity to share Bahia with artists from around the world.

Until later, with more news...