It is the third adaptation (2001-2006) of the children and youth series of books, titled after the same name and written by Monteiro Lobato (1882-1946). The story begins when Pedrinho goes on vacation to the farm where his grandmother (Dona Benta) and cousin (Narizinho) live. Tia Nastácia, Tio Barnabé, and many other fantastic creatures also reside there. Upon his arrival, a series of diverse adventures commence between the two cousins, accompanied by characters from well-known stories and mythological creatures from Brazilian folklore. The series is a valuable source of knowledge, culture, and life lessons. However, it's worth noting that the author has faced criticism for certain racial undertones in his work. Nevertheless, in television adaptations, there have been alterations to the dialogue.
The target audience for these adaptations is primarily children, which emphasizes the need for caution. Canadian psychologist Albert Bandura (1925-2021) elaborated on this concept in his social experiment conducted during the 1960s. The experiment involved children, their parents, and a Bobo doll. It centered on children aged 3-6 observing the aggressive behavior of adults towards the doll, and then their subsequent behavior when left alone with the Bobo doll. Bandura concluded that the learning process was significantly influenced by observing social interactions. Applying this conclusion to the context mentioned, it becomes evident that when a viewer consumes any media product, their behavior can be influenced by it. People tend to mimic or model their behavior based on what they see. This is why criticisms are raised when Monteiro Lobato's novels are included in the Brazilian school curriculum, especially among an impressionable target audience.
However, it is crucial to recognize that Monteiro Lobato was born into a society that was on the brink of the abolition of slavery in Brazil in 1882, just six years before the official signing of the Lei Áurea (Golden Law) that abolished slavery in the country. Brazilians understand that the formal abolition was only a beginning, as many former slaves continued to face labor inequality, lack of access, and pervasive prejudice. It's important to note that when Monteiro Lobato wrote 'Sítio do Picapau Amarelo,' the kitchen was not considered an elite space; rather, it was associated with former female (typically) slaves. This invisibility is even more apparent when considering cookbooks and culinary products, which are often named after Dona Benta, instead of Tia Nastácia, the house cook and maid. To this day, the consequences of slavery persist, despite inclusion policies. I believe that Monteiro Lobato's books are a reflection of the society in which he was raised, a society marked by its history of enslavement.
In the existing versions of 'Sítio do Picapau Amarelo,' we find representation through three prominent black protagonists. Tia Nastácia, inspired by Anastácia, a cook and babysitter for the writer's children (as mentioned in an interview with journalist Silveira Peixoto), symbolizes folk wisdom. Tio Barnabé also embodies intelligence and is a skilled handyman. Through these characters, Monteiro Lobato clearly recognized the vital role of African influence in shaping Brazilian culture. Lastly, it's worth noting that Lobato authored 'Saci Pererê,' a character deeply rooted in Brazilian folklore, representing an integral part of the African heritage within the Brazilian identity.
I would dare to say that Monteiro Lobato was ahead of his time regarding feminism through his creation of Emília, Narizinho's outspoken moppet, brought to life with 'speak pills' from Doctor Caramujo, and Dona Benta. It's essential to recognize that during that period, Brazilian women didn't even have the right to study, vote or work, and were often confined to obeying their fathers and husbands.
Emília, a doll personified as a girl, unapologetically speaks her mind, emphasizing women's right to express themselves and have a voice. She is curious, questions everything around her, and is not easily persuaded, as seen in Narizinho's persistence regarding Emília's wedding.
Dona Benta embodies ancestral wisdom and is highly cultured, authoritative, and the owner of an expansive farm. In contrast, Narizinho conforms to the values of her era when she marries Príncipe Escamado at early age, aligning with the 'girly girl' stereotype and assuming a more passive role. This stands in stark contrast to her male cousin, Pedrinho, who is active, recognized for his bravery, and celebrated for his adventurous spirit.
Just as this classic from Brazilian literature and television teaches, we should adopt the inquisitive nature of Emília, the wisdom of Tia Nastácia (coupled with her unwavering dedication to her work and family), the intellect of Dona Benta, and the resourcefulness of Tio Barnabé. We should also embrace the bravery of Pedrinho. These characters and their qualities serve as valuable models for us.
Through this representation, wisdom, and shared experiences, we can incorporate these aspects into our own lives permanently. Recognizing Monteiro Lobato's indelible mark on Brazilian culture, literature, and history is essential. This is especially poignant for the younger audience, as his birthday is celebrated as Brazilian Children's Book Day.
Moreover, we can learn from Lobato how to consider the perspectives of readers and how literature can serve as a tool for dismantling societal paradigms, including those related to racial prejudice and gender evaluation. Above all, Lobato's books and their adaptations hold a special place in the hearts of many Brazilian families and generations. They are a cherished part of the warm and sacred tapestry of childhood memories that we can all relate to.
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