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| Joãozinho Trinta | |
|---|---|
| Name | Joãozinho Trinta |
| Birth name | João Pereira dos Santos |
| Birth date | 1933-05-27 |
| Birth place | Rio de Janeiro, Brazil |
| Death date | 2011-03-17 |
| Death place | Rio de Janeiro, Brazil |
| Occupation | Carnival designer, costume designer, scenographer |
| Years active | 1950s–2011 |
Joãozinho Trinta Joãozinho Trinta was a Brazilian carnavalesco and designer known for transformative contributions to Rio de Janeiro's Carnival, revolutionary parade staging, and flamboyant visual spectacle. He became a leading figure in samba schools, working with prominent institutions and cultural figures across Brazil and internationally. His work connected traditions from Rio de Janeiro to broader currents in Brazilian art and performance.
Born João Pereira dos Santos in Rio de Janeiro in 1933, he came from a working-class neighborhood influenced by local culture and popular festivities, including celebrations in Madureira, Lapa, and the bairros where samba developed. Early life intersected with community institutions like parish communities and regional music scenes connected to figures such as Cartola, Noel Rosa, Pixinguinha, Clementina de Jesus, and Elizeth Cardoso. He took inspiration from street processions, community clubs like Blocos carnavalescos, and regional celebrations tied to municipalities such as Niterói and Duque de Caxias.
Trinta began working in Carnival with smaller groups and samba schools, collaborating with neighborhood organizations and established entities like Portela, Mangueira, Imperatriz Leopoldinense, Unidos do Viradouro, and Beija-Flor de Nilópolis during the 1950s and 1960s. He built relationships with composers and interpreters such as André Filho, Jair do Cavaquinho, Garrincha-era personalities, and directors connected to institutions like the LIESA. Early collaborators included carnival musicians, float makers from Saúde workshops, and scenographers who had worked with theaters such as Theatro Municipal.
Trinta pioneered theatrical and baroque aesthetics in parade design, blending influences from Baroque architecture, Brazilian modernism, and folk imagery associated with Candomblé and Afro-Brazilian religion. He integrated techniques from production designers linked to institutions like Theatro Municipal (São Paulo), painters from the Neoconcretism movement, and costume traditions seen in works by artists like Tarsila do Amaral, Candido Portinari, and designers associated with Grupo dos Onze. His collaborations extended to visual artists such as Hélio Oiticica, Lygia Clark, and Aleijadinho-inspired sculptural references, while embracing craftsmanship from master artisans in São Paulo, Recife, and Salvador. Trinta's approach drew parallels with staging by directors from Teatro Brasileiro de Comédia, cinematic set designers associated with Cinema Novo, and parade concepts informed by the practices of institutions like MAM Rio.
Trinta achieved major acclaim for parade projects with samba schools including Beija-Flor de Nilópolis, where his partnership produced iconic themes, and with Imperatriz Leopoldinense, Unidos do Viradouro, Portela, Mangueira, and Grande Rio. He worked alongside notable composers, maestros, and carnival personalities such as Dunga (samba singer), Jota Pê, Noca da Portela, Monarco, Madruga, and directors like Carlinhos Maracanã. His parades often featured partnerships with visual artists, choreographers from groups like Balé da Cidade, and costume ateliers connected to designers who had collaborated with Gloria Pires, Caetano Veloso, Gilberto Gil, Gal Costa, and Beth Carvalho. Trinta's staging influenced productions at institutions such as Theatro Municipal and inspired crossovers with television programs on networks like Rede Globo and TV Cultura that showcased Carnival spectacle to national audiences.
Trinta received acclaim from cultural institutions including recognition within Carnival championships administered by LIESA and accolades from municipal and state cultural bodies in Rio de Janeiro state. His legacy is preserved in exhibitions at museums such as MIS Rio, Museu do Carnaval, and retrospectives organized by institutions like MAM Rio and Instituto Moreira Salles. Scholars from universities including UFRJ, UFBA, and USP have studied his influence alongside writers and critics linked to publications such as Folha de S.Paulo, O Globo, Jornal do Brasil, and academic presses. His methods influenced later carnavalescos and designers working with schools like Mocidade Independente de Padre Miguel, Beija-Flor de Nilópolis, and Portela and informed international presentations in cities like Lisbon, Paris, and New York City.
Trinta maintained ties to Rio neighborhoods and to cultural figures across Brazil, interacting with personalities such as Alda Merini-era poets, musicians like Chico Buarque, Tom Jobim, Elis Regina, and community leaders from samba circles including Cartola-era members. He died in Rio de Janeiro in 2011; his death was noted by national media including Rede Globo, TV GloboNews, and newspapers such as O Globo and Folha de S.Paulo. His memory is honored in Carnival lore, museum displays, and commemorations by samba schools and cultural institutions like FUNARJ and municipal cultural secretariats.
Category:Brazilian designers Category:Carnival in Brazil