In the late 1600s, the village of Salem, Massachusetts was gripped by a wave of mass hysteria known as the Salem witch trials. During this time, numerous individuals, mostly women, were accused of practicing witchcraft and were subsequently imprisoned and executed. This dark period in history has become a subject of fascination for many, and one aspect that continues to captivate people is the "Salem witch getup". The Salem witch getup refers to the attire worn by those accused of witchcraft during the trials. While it may be tempting to envision the stereotypical image of a witch with a pointy hat and broomstick, the reality is that the clothing worn by the accused during this period was quite different. The accused were often stripped of their ordinary garments upon arrest and made to wear a plain, unisex garment known as a "witch's shift".

History of the Brazilian yellow jersey: how the yellow-gold became Brazil's color

The yellow uniform of the Brazilian national soccer team, known as "canarinho (canary) jersey", became one of the most famous symbols of Brazil. However, it was not born with the Brazilian national footbal team.

Its creation is after the FIFA 1950 World Cup, the year in which the fateful defeat at Maracanã postponed the Brazilian dream of winning its first FIFA World Cup. Irony of fate or not, it was made by the hands of a Brazilian whose heart was on the side of the tormentors: Uruguay.

"Meaningless the current CBD jersey" (1953), автор – Correio da Manhã NewspaperThe Football Museum

HOW EVERYTHING STARTED: THE CONTEST CREATION

In 1953, in partnership with the Brazilian Sports Confederation, CBD, then managing body of Brazilian football, the Correio da Manhã newspaper published a competition for the selection of a new uniform for the national team, dressed in white at the time.

The justification was that the white jersey did not carry the idea of Brazilian nationality, as it did with its Uruguayan and Argentinean neighbors. It was a condition of the contest to be present in the uniform the four colors of the Brazilian flag.

Replica of the jersey used by the Brazilian national team , Museu do Futebol, 1930, Владелец коллекции:

Replica of the jersey used by the Brazilian national team , Museu do Futebol, 1950, Владелец коллекции:

"Rules of the contest for the new brazilian football jersey" (1953), автор – Correio da Manhã NewspaperThe Football Museum

CONTEST RULES

In the contest rules contained that competitors should consider models for the whole uniform of the players, which included jersey, shorts and socks. In addition, the model chosen could be, at CBD's discretion, used in other sports modalities.
It also established as a condition that the uniform would have to contains CBD symbol in some part of it and do no have the presence of the name "Brazil" and the national flag or conception that could confuse it with it.

"Newspaper article about the support of the press to the new jersey´s campaign" (1953), автор – Correio da Manhã NewspaperThe Football Museum

CAMPAIGN SUPPORT

The demand for a new uniform was shared by most people at the time, inside and outside the world of football.

"Adermir Menezes' goal in the 1950 World Cup" (1950)The Football Museum

But, if in 1953, there was this public appeal, years before the idea seemed misplaced. In the South American 1916, held in Argentina, Brazil got to wear the green and yellow. The model was abandoned after being rejected by the Brazilian elite: they were not satisfied with the use of national colors in a football uniform!

"Newspaper matter shows different opinions about the new brazilian jersey." (1953), автор – Correio da Manhã NewspaperThe Football Museum

After the defeat in the 1950 FIFA World Cup, a real national tragedy, the contest for a new jersey came to seek a renewal in the mood of the nation on football. And it had relative success. According to the newspaper, more than 300 people competed with graphic designs for the new jersey.

"Fonfon magazine about the Brazilian defeat in the 1950 World Cup" (1950), автор – Fon Fon MagazineThe Football Museum

But who could imagine that a Brazilian born on the border between Brazil and Uruguay, who cried with defeat in 1950 but also thrilled with the Uruguayan victory, would be the winner of the contest?

"Schlee in front of an world map" (2007), автор – Gilberto PerinThe Football Museum

ALDYR GARCIA SCHLEE

The creator of the "canarinho" jersey, lived at the time of the contest in Pelotas, Rio Grande do Sul, working as an illustrator in the local newspaper. As a teenager, he trained his drawings in the stands of stadiums, making sketches of plays through designed dolls, in the molds of goals reproductions printed in Uruguayan newspapers.

"Schlee and his drawings" (2007), автор – Gilberto PerinThe Football Museum

CHALLENGE: THE FOUR COLORS

The mandatory presence of the four colors of the Brazilian flag was the biggest challenge of the contest, according to Schlee: "I was scandalized because they demanded that the four colors of the flag had to be used," he recalls. "Up to three colors, okay. But with four it gets really difficult. No team uses four colors. And the four colors of the flag together do not match much. How can you combine yellow and white on a shirt? It ends up with the national colors of the Holy See! "(SCHLEE apud BELLOS, 2003, p.63)

"I made over 100 drawings. I made two tracks with an x. I made a V like Vélez Sarsfield's. I came to the conclusion that the shirt had to be all yellow. "(Idem, p.64)

CREATIVE PROCESS

The author's choice was a blue and white shorts, leaving the green and yellow to the jersey. Schlee thought the green would be inconsistent with blue shorts and then opted for the choice of yellow on the jersey.

When he was painting the final version of the drawing, Schlee used the colors he had on hand: the jersey became yellow-gold and the shorts became cobalt blue. They were not exactly the same colors as the national flag, but the shades were accepted, and so are in the uniform until today.

"Sketches by Schlee" (1953), автор – Aldyr Garcia SchleeThe Football Museum

"Sketches of players wearing the models of jersey" (1953), автор – Aldyr Garcia SchleeThe Football Museum

INSPIRATION

The model designs were inspired by the following players: from left to right, Luisinho, Internacional of Porto Alegre, Pinheiro, Fluminense F.C., Ademir Menezes, the Queixada, Vasco da Gama and Baltazar, S.C. Corinthians Paulista.

"Models for brazilian jerseys by Schlee" (1953), автор – Aldyr Garcia SchleeThe Football Museum

"Replica of the jersey used by the Brazilian national team" (1954), автор – Museu do FutebolThe Football Museum

"Bellini raises the World Cup trophy in 1958" (1958)The Football Museum

The new yellow jersey soon won the sympathy of the fans, that associated it to good luck.

Despite this, in the 1958 World Cup final, when the so dreamed title was very close, the selection of Garrincha, Pele, Zagallo, Didi and so many other stars entered and field without the "canarinho" jersey. In the final between Brazil and Sweden, FIFA had determined that it would be the home team (Sweden) who would play with its official shirt. As both teams wore yellow, Brazil had to improvise their jersey number 2. Paulo Machado de Carvalho, head of the Brazilian delegation in that World Cup, decided that Brazil would play in blue, the color of the mantle of Our Lady of Aparecida, the Catholic patron saint of Brazil.

"Replica of the jersey used by the Brazilian national team" (1958), автор – Museu do FutebolThe Football Museum

"O abraço dos campeões" (1994), автор – Placar | Dedoc Abril Foto Alexandre BattibugliThe Football Museum

If, until the choice of the Brazilian shirt, there was no unanimous national team shirt design, with the invention of "amarelinha" (another name for the yellow kersey), this issue seems to have been closed. With the conquest of the world, Brazilian "art-football" crossed borders and became known all over the world. Carried by the players, the yellow jersey, used until today, past the football fields and bleachers as well.

GOVERNO DO ESTADO DE SÃO PAULO
Governador – Geraldo Alckmin
Secretário de Estado da Cultura – José Roberto Sadek
Secretária Adjunta de Estado da Cultura – Lúcia Camargo
Chefe de Gabinete – João Manoel da Costa Neto
Coordenadora da Unidade de Preservação do Patrimônio Museológico – Renata Motta

IDBrasil Cultura, Educação e Esporte
Organização Social de Cultura gestora do Museu do Futebol
Conselho de Administração
Presidente – Carlos Antonio Luque
Vice Presidente – Clara de Assunção Azevedo
Diretor Executivo – Luiz Laurent Bloch
Diretora Administrativa e Financeira – Vitória Boldrin
Diretora Técnica do Museu do Futebol – Daniela Alfonsi

Exposição virtual “História da camisa canarinho”

Realizada a partir da ideia original de Gilberto Perin e Aldyr Garcia Schlee

Curadoria, pesquisa e textos – Aira Bonfim e Fernando Breda
Apoio à seleção de imagens – Camila Aderaldo e Julia Terin
Edição de imagens – Rafael Lumazini
Edição final – Daniela Alfonsi

Realização do Núcleo do Centro de Referência do Futebol Brasileiro – CRFB – do Museu do Futebol
Coordenação – Camila Chagas Aderaldo
Pesquisadora – Aira Bonfim
Assistente de Pesquisa – Fernando Breda
Bibliotecário – Ademir Takara
Assistentes de Documentação – Julia Terin e Dóris Régis
Estagiárias – Ligia Dona e Nivea Souza

Agradecimentos
Gilberto Perin
Aldyr Garcia Schlee

Некоторые истории создаются независимыми авторами и не всегда отражают позицию организаций, предоставивших материалы.

Rio 2016 The Mascot

The name of the Olympic mascot pays tribute to Brazilian poet and lyricist Vinicius de Moraes.

The accused were often stripped of their ordinary garments upon arrest and made to wear a plain, unisex garment known as a "witch's shift". This shift was a simple, shapeless dress made of rough fabric that reached the ankles. The purpose of this attire was to humiliate and dehumanize the accused, separating them from their previous societal roles and marking them as outsiders.

Description

Vinicius is a mix of different Brazilian animals. His design takes inspiration from pop culture, as well as video game and animation characters. Alongside his Paralympic Games colleague, Vinicius represents the diversity of the Brazilian people and culture, as well as its exuberant nature.

Apart from the witch's shift, accused witches were also subjected to various humiliating practices. They would have their hair shaved off, leaving them bald and exposed. This act further served to strip them of their identity and symbolize their supposed alignment with evil forces. Additionally, witches were often bound with ropes or chains, further reinforcing their status as prisoners and criminals. Although the Salem witch getup may seem strange and archaic to us today, it is important to remember the historical context in which it originated. The mindset of the time was deeply rooted in superstition and a belief in the supernatural. The accused were seen as vessels of evil, and the purpose of the attire was to reinforce this notion and maintain social order. In conclusion, the Salem witch getup was a form of attire worn by those accused of witchcraft during the Salem witch trials. It consisted of a plain, unisex dress known as a witch's shift, and often included the shaving of the accused's hair and the use of restraints. This attire served to dehumanize and humiliate the accused, perpetuating the belief in their supposed association with dark forces. Although today we may see it as cruel and unjust, it is crucial to understand it within the historical context of its time..

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