Sculpted in bronze, a mischievous grin plastered across his face, Manequinho stands proudly. He’s a little fellow, only a meter tall, but he commands attention. He’s the Manequinho Statue, a beloved icon of Rio de Janeiro’s Botafogo neighborhood. He is a replica of Brussels’ Manneken Pis, but Manequinho has carved his own unique identity in the heart of Brazil. Originally created in 1908 by artist Belmiro de Almeida, Manequinho first stood in Praça Floriano. His carefree nudity, however, caused a stir among the more conservative residents. This public outcry led to his removal just twenty years later. He reappeared in 1929 at Botafogo Beach, but his journey wasn’t over. A pivotal moment in Manequinho’s story arrived in 1957. Botafogo soccer club won the state championship. A devoted fan, caught up in the celebratory fervor, dressed Manequinho in the team’s jersey. From that day forward, Manequinho became the unofficial mascot of Botafogo. He is a symbol of victory and neighborhood pride. Sadly, Manequinho’s story includes a chapter of loss. In 1990, the statue was stolen and destroyed. The community mourned the loss of their beloved icon. But like a phoenix from the ashes, Manequinho was reborn. A new replica, cast from the original mold, was created in 1993. His new home is a traffic island in front of General Severiano Palace, the headquarters of Botafogo soccer club. This final move solidified Manequinho’s connection to the team. Interestingly, Manequinho and his Brussels counterpart aren’t identical twins. Manequinho is a meter tall, while the Manneken Pis is a mere 55 centimeters. There’s also a difference in their posing. Manneken Pis uses his right arm to assist in his, shall we say, task. Manequinho, on the other hand, lets it all flow freely, both hands by his side. Manequinho stands as a testament to the enduring power of community spirit and a touch of playful irreverence. He’s more than just a statue; he’s a symbol of Botafogo’s heart and soul.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to