Communities as Co-Creators: Telling Stories with Alexandre Keto

*‘Mother and Children.’ (Photo Credit:https://news.bahai.org/story/1173/slideshow/8/*)

By Daniella Angulo

Alexandre Keto (@alexandreketo) is a Brazilian street artist. In 2016, he worked with Paint the Change for our #EducationIsNotACrime campaign, which brought international attention to how the Baha’i religious minority in Iran are barred from higher education. This fall, we’re reconnecting with our featured artists to explore their work since then. Keto’s ‘Mother With Children’ can be seen in New York.

Keto also works for communities, with communities. For his latest project, ‘Obra de Arte,’ he works in Brazilian favelas to create ‘art with a purpose.’ Through this, he tells local stories through art and ensures it is also functionally useful. We caught up with him as he’d just returned from Burkina Faso, where he is beginning similar work rooted in Tiébélé traditions.

This interview has been edited for length and clarity.

How did you first enter the world of public art for change?

“The way I got into art wasn’t museums or travel. As a kid, art supplies were my favorite toys. Then, when I went to a hip-hop class at my community center, I saw the impact graffiti could have. I’m from a neighborhood with social problems. By introducing us to more, the center was trying to redirect us into something positive. I never wanted to be an artist to exhibit in London. For me, art has always been a tool to engage communities.”

Online, Keto has been open about the challenges he faced during COVID-19. Brazil was widely recognized as having one of the world’s worst COVID responses. This took a toll on all parts of society. For Keto, the stress saw him say goodbye to art. Luckily, he came back!

If you don’t mind, can you speak about the break you took from art? How did you decide to return?

“In 2022, I gave up on art. As an independent artist during COVID, I didn’t know what to do. Being an artist from the ‘hood,’ the thought of giving up comes every six months. Before, I always kept going. This time, I had a lot of internal conflict. I had to take care of myself.

I took a trip to Egypt, but not as an artist. I was just trying to feel it out. Many of these temples took over 200 years to build. Four generations of people worked on them. That’s why they’re still up, still brilliant, still beautiful—there were so many hands on them, so many energies.

It made me want to be an artist again, but with a different approach. I wanted projects with more longevity that involved the community. As an artist, I'm supposed to push the limits, not maintain them.”

*Children playing by Keto’s work in the Mangueira favela. (Photo Credit:* *@alexandreketo*)

Talking about working with communities made me curious about all the different places Alexandre has worked in. He’s been commissioned by high-profile groups like Doctors Without Borders and UNESCO, while also taking on projects in Brazilian favelas, Burkina Faso’s Tiébélé village, and Somerville, Massachusetts – a seemingly random town close to where I live in Connecticut. I wanted to know what these experiences had in common.

Having worked in places ranging from the UN to favelas, how do you navigate between these ‘high’ and ‘low’ places? What draws you to each space?

“Going to different places helps you see the similarities we all have. Once, I asked someone from the favela if he would ever leave. He said, no, because he had two daughters. In the favela, no one messed with them. He was afraid discrimination in the city would put them in danger.

That made me realize that people from the favelas are scared of people from the city, just like the city is scared of the favelas. Society’s created a divide.

I see my art as a key. I have access to doors. When I go to villages like Tiébélé in Burkina Faso, it’s the same door I open to work with the UN, in the favela, in Paris. What fascinates me are the exchanges; how we are in all places. I go because I'm learning.”

*A co-created project in the City of God favela referencing braided hair. (Photo Credit: Alexandre Keto)*

Before our conversation, Alexandre shared his two latest projects with me. One is in Brazilian favelas, and another is based in the Tiébélé community of Burkina Faso. Brazilian favelas are home to high rates of drugs and criminal activity—but this reputation belies community dynamics and local social networks. The popular 2002 movie, ‘City of God,’ is about one of these favelas, bringing them to international attention.

Through ‘Obra de Arte,’ Alexandre worked in nine favelas, going one at a time. He used building materials to reinforce their houses, transforming them into new canvases. He collaborated with locals every step of the way. The eventual murals from this project share residents’ stories. You can find more on his Instagram.

Can you share how you thought of “Obra de Arte / Fine Art Construction,” and your relationship with community members?

“I was bothered by people creating art just to create, without a purpose. We’ve got to be careful when going to working communities. We need to go to every place with respect. We’re there to learn, not teach.

Some people paint to ‘bring light, bring color.’ We can do more. What are we going to do? At the end of the day, I’m the one getting paid, traveling, doing partnerships. What real impact have I created for the community?

My vision became, ‘Let’s go to the community, show respect, work together, and build together.’ I won’t decide what I’ll do at your house. You’ll decide with me what we’ll do. I hire local bricklayers and buy materials from the community. Involving more people helps them feel part of the project. All of this makes them co-creators. It helps them understand that they can do this too.

In the City of God, a lady wanted me to paint braids, because her granddaughter braids hair. I was talking with her about how the piece would keep animals out of her house. She looked at me and said, “You’re gonna protect me from bullets.”

I wasn’t even thinking about that. There aren’t shootouts near my house. This is what art is for: to help you see different realities. We can’t talk about art changing the world when you’re not safe. If art protects your house and is useful, it’s art with a purpose: art with and for people.

I always did social work and art, but now it’s different. Instead of doing it myself, I’m teaching others how.

*Keto in Tiébélé. (Photo Credit: Alexandre Keto)*

With 56% of Brazilians identifying as Black, Brazil is home to the most people of African descent outside Africa. As part of the African diaspora, Alexandre is very connected to his roots. He feels called to honor this heritage, especially as Brazil’s race relations are tense and marked by police brutality. After having explored other African countries, he is now working in Burkina Faso’s Tiébélé community.

Tiébélé is known for its beautiful paintings on the outside of local homes. This art is rich with symbols offering protection and sharing cultural knowledge. Local Kassena women have continued this tradition over generations. Keto is helping the community make doors, which they then decorate according to custom.

What drew you to work in Burkina Faso?

“Everything about West Africa fascinates me. After I became an artist again, my work transitioned from murals to houses and cement work, stained glasses and doors. When it became more about turning the home into art, I started wanting to work with traditional architecture. Burkina Faso has always been on my radar, so it was very natural. People don’t go to Tiébélé, and they’re suffering from a lack of tourism. That’s where respect and a big heart comes in. If you come with good energy, they feel it.

I love Tiébélé’s art and architecture. I don’t want to touch any of it. Women hold the community’s artistic knowledge and are in charge of making traditional paintings for their homes, but it’s sad to see it at risk. The new generation is becoming detached from the traditional.

When I went, I realized they didn’t have doors. I said, ‘if you want doors, I can make them. I would love to make a door with you.’ I think that’s why I was welcomed and able to do everything I did—carving doors, working with the community. I’m supporting a collective way where we engage more people in the culture.”

Alexandre will be spending the next year in Tiébélé to continue this project. Watch this space—we’re excited to be following up with Kassena leaders to learn more about their felt community impacts and experiences as artistic co-creators soon. Thank you to Alexandre for taking the time to chat!