Today marks an important milestone for Brazilian children – ten years since "Chiquititas" (2013-2015) first aired on free-to-air television, replacing another children’s classic, "Carrossel" (2012-2013). It's noteworthy that this telenovela was the second Brazilian adaptation of an Argentine series with the same name, originally created by Cris Morena and broadcast from 1995 to 2006. The story traces the coming-of-age journey of a group of orphans living in a manor known as Rincón de Luz, initially comprising only girls. The Brazilian version captured the essence of the original while modifying it to suit its target audience, with respect to nationality and Generation Z.
What's remarkable is that "Chiquititas 2013" remains relevant even though it is no longer on the air. It continues to be popular among kids and consistently ranks among the most-watched shows on Brazilian Netflix. It has even received reruns on the same channel, with three reprises happening so far. Recently, it gained a global audience with releases in Angola, Mozambique, Europe, Japan, Australia, Canada, and the United States. As previously mentioned, this telenovela is the second Brazilian adaptation; the first one ran from 1997 to 2001. It serves as a bridge connecting generations with multiple character arcs with different ages, and the story evokes a sense of nostalgia for the 1990s kids. The significance of children's television productions and their ability to address important themes for a developing and impressionable audience.
The major issue with the 2013 version is its limited representation, which doesn't reflect the diversity of Brazil as a nation with a history of people from various backgrounds and cultures, including Indigenous, European, African, and Asian influences. This limitation isn't limited to just ethnic diversity but also pertains to sexuality, identity, and disability. The majority of the children in the show were portrayed as white, straight, cisgender, non-disabled, and adopted by heterosexual couples.
In terms of gender representation, the show exhibited regressive elements, featuring numerous female protagonists and women in empowering job positions, particularly as governesses, shareholders and managers. However, these women, especially the older characters, often perpetuated traditional caretaking and nurturing stereotypes. The villains in the story were portrayed with feminine traits, wearing extravagant clothes, makeup, and nails. They were characterized by a pursuit of capitalist goals, including becoming richer through the abuse and manipulation of the children, rather than adhering to more positive feminine traits. Additionally, the telenovela subtly addressed themes of domestic violence and abuse. Sometimes fostered female rivalry and conflicts among certain female characters. It's important to highlight that one of the female characters was portrayed as a perfectionist and workaholic in the story and followed the Smurfette trope. Many of the happy-endings involved marriage and children, and families though.
Class-wise, the children in the story came from various backgrounds, including those from wealthier households, working-class families, and even homeless children living in the orphanage and on the streets. The main plot revolves around the orphanage owner's refusal to accept his daughter's relationship with his maid's son. This rejection becomes his motivation to establish the orphanage as a solution to hide his unwanted grandchild, whom he kidnaps secretly. Simultaneously, this action serves to improve his public image as the CEO of a prominent company in São Paulo with a supposed humanitarian cause (running an orphanage). The theme of aporophobia repeats throughout the storyline with various characters.
It is important to note that there are Black characters in the telenovela. The adult Black characters in the story follow the servant trope, with a male working as the orphanage's cook and a female character as a housemaid. Additionally, a few Black child characters who were initially treated as outsiders experience bullying and endure juvenile storylines that perpetuate negative connotations. Many of them were in secondary roles. However, there is a notable scene where one of the Black characters straightens her hair, which leads to negative consequences, highlighting the complexities of such actions and societal perceptions.
Furthermore, the telenovela includes instances of cripface, where characters undergo sudden and unexplained transformations, becoming visually impaired or wheelchair users. These portrayals are problematic as they lack depth and sensitivity, potentially reinforcing stereotypes. In some cases, the storyline employs magical solutions to revert these characters to a non-disabled state, which can perpetuate unrealistic and harmful narratives surrounding disability.
In conclusion, these elements within the telenovela can be problematic, especially when considering that the target audience is children. Brazil is a diverse country with a rich history of cultural amalgamation, encompassing various social groups such as Indigenous, European, African, and Asian populations. It is crucial that media, particularly children's television, reflects this diversity and allows all children to see themselves in the stories they consume. Furthermore, with the telenovela being available on television reprises and platforms like Netflix, which often come with a higher cost and less guidance than free-to-air television, it becomes even more essential to ensure that the content is inclusive and considerate of the diverse backgrounds and identities of its young viewers.
It is of utmost importance to be aware of the messages conveyed by such media, including the ideologies, representations, and implications they present to their young target audience. Children represent the future, and the content they consume can significantly influence their understanding of the world. Therefore, promoting inclusive and thoughtful storytelling in children's media is not only a matter of entertainment but also a responsibility in shaping the perspectives and values of the next generation, especially in a media-driven contemporary society.
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