Las deficiencias de las políticas públicas con el sinhogarismo obligan a la búsqueda de alternativas que conviertan a las personas sin hogar (PSH) en actores y no solo en sujetos pasivos, asistencializados y burocratizados. Este artículo describe las lógicas, logros y retos de un proyecto de investigación y artivismo desarrollado durante una década con PSH en Sevilla, con el objetivo de comprender y contribuir a revertir su situación de exclusión, y muy particularmente la institucionalización de las PSH en centros de acogida. Enmarcado como investigación-acción-participativa, el proyecto se ha articulado con dos métodos; por un lado, la Creación Colectiva Teatral (CCT), y por otro, la Etnografía, entendida como práctica de con-vivencia, diálogo y experimentación. La propuesta ha permitido la problematización, comunicación y deconstrucción de ciertos obstáculos experimentados por las PSH, y ha generado ámbitos de creatividad, educación e investigación-acción, tanto en la gestación, representación y recepción de las obras teatrales, como en su difusión en Internet y las redes sociales. Ello ha alentado el empoderamiento y la capacitación de las PSH, notablemente identificadas con un proceso de creación basado en el aprendizaje mutuo de los presupuestos ontológicos, epistemológicos, axiológicos y emocionales del científico y las PSH.

The objective of this study was to analyze the temporal evolution of the number of human trafficking cases notified by the health system in Brazil, considering the characteristics of the population. This article carries out a descriptive study on reports of trafficking in persons in consultation with the Department of Informatics of the Unified Health System. This is a profile of reported trafficking in persons in Brazil between 2009 and 2017. Incidence rates were calculated with adjustments to the population record for each year and presented on a scale of 1:1,000,000 inhabitants. We developed a Poisson regression model to evaluate the ratio of the incidence rate. According to available data, there were 1,011 victims reported in the health system during the study period. The predominant profile of the population exposed to such violence is female, aged between 20 and 29 years, with low education and brown skin. There was a trend growth of annual reports about 10 percentage points ( p < .0001) and all regions had significantly higher incidence rates than the Southeast ( p < .0001), mainly Midwest, North and South. This means that the regions with the highest incidence rates have international land borders. Given the predominance of women in young adulthood, it is inferred that the majority were trafficked for sexual exploitation. This research represents a pioneering approach to the use and modeling of human trafficking data available in the Brazilian public health system. There is a probable underreporting of cases of trafficking in persons who transit health services. As such, identification methods for hard-to-reach populations should be integrated into future research on human trafficking to increase the likelihood of capturing victims.

This article explores how creative theatre is used in the area of social work with homeless individuals in Seville (Spain). We look at how applied theatre can be used as a tool for encouraging the development of capacities amongst this group, which is largely excluded from mainstream society. To do this, we focus on our experiences in this area, with the aim of showing how social work and theatre can combine to form a powerful tool for fostering the development of agency and empowerment at an individual and group level. We also explain how theatrical performances are able to create spaces where homeless individuals and mainstream society are able to interact with one another beyond strictly institutional settings.

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In this article, through the lens of critical theory and collective theatre creation, we will look at how a group of homeless individuals in the city of Seville (Spain) has been able to assert their human rights using art. Through the words of the actors themselves, we will reveal the obstacles they face in accessing the city’s public sphere, and their deconstruction. By creating and producing plays, as well as interacting with the audience, the participants became not just actors, but citizens with rights. Collective theatre creation, as adapted by the authors within the context of their research in the field of social work, provides insights into how art has the power to become a strategy for helping those living on the fringes of mainstream society reclaim their place in it politically and culturally. This research has been made possible thanks to the commitment of the members of Teatro de la Inclusión, a theatre group and socio‐artistic project that ran for twelve years and allowed homeless individuals, tired of being passive subjects, dependent on external assistance and subject to endless bureaucracy, to become amateur actors. In doing so, they created for themselves dignified forums in which to express themselves within their city and put their communicative and artistic skills into practice.

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