ABSTRACT
The 2014 World Cup's performative politics on the pitch, the ceremonial stage and in the streets are manifestations of trans-modern justice and have a poetic potential: they produce and modify Brazilian habitus and transnational dispositions. In other words, the World Cup stage is made up of communities that display particular characteristics, social organisation and cultural outlook. The World Cup's articulators are divided into different communities that can also blend and synergise to make art and social statements. Those communities' socio-cultural gradations correspond to movements from, and between, region, nation and transnational sites. The 2014 World Cup's communities technopoesis is based on combined uses of old and new technologies, as their democratic discourses were articulated both by Brazilians and individuals living in different sites. The Brazilian World Cup are attractors of global sports tourism, so we should problematise the ways their ceremonial spectacles are produced for the global audiences that assume the role of tourists.
