ABSTRACT
Facing the risks that the position of artistic creation has globally announced, it has increasingly been based on a participatory logic, in different configurations, and in some cases taking on a community dimension. The interest in participatory artistic practices is not new, having had, in previous moments of history, a determinant action. Independently of the legitimacy of the different configurations of participatory artistic practices, the communitarian ones define themselves as having their own field that integrates action and thought based on participation in a process of collective artistic creation triggered by the cultures, identities, stories, traditions, and emotional necessities of the people and collectives which are approached artistically, and configure a dramaturgy. The analysis of the collective is based on the Monumoments project, developed in a public space called Tiradentes Square, in the city centre, which proposed a dialogue questioning the statues that refer to central historical moments of Brazil.
