In THE CORTEGE, members of the popular tradition of 'maracatu' take to the streets and pose before the camera minutes before the carnival parade. Wearing costumes that represent distinct roles in the plot performed as an open theatre, court ladies, baianas, prince, princess, ambassadors, king, queen and vassals expose an allegory of social relations (specially between class and race) in Brazilian history, from its colonial foundations to the present day. In these series I explore the conventions of 'light', 'frame' and 'pose' that come from specific movements of the development of portraiture in painting and photography - such as the chiaroscuro of Renaissance and Baroque European painting of the XVII and XVIII centuries, the categorization of subjects as used in ethnographic photography of the XIX century, the expressions of desire and glamour of editorial photography in the XX century) in order to observe social mobility in contemporary Brazil.
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