“…This approach allows a better comprehension of the balance between luxury and the scarcity of resources, because, since every practice is composed by the dimensions of activity and organization (SCHATZKI, 2003), the organization's understanding (know-how) of the social practices becomes a relevant aspect so that a certain activity is carried out. In order to deal with the aesthetic aspects demanded in the parades (FARIAS, 2015), based on a limitation of resources, which happens in many samba schools (ARAÚJO, 2009), we assumed that the notion of "understanding" has to cover the material dimension of a practice, possibly causing the actors' creative capacity to emerge. The materiality is present in creative work, that is accomplished through affective, social and material connections (DUFF; SUMARTOJO, 2017); it also has centrality in the creation of something new (ISLAM; ENDRISSAT; NOPPENEY, 2016).…”