PIERRE VERGER AWARD 2022 | CATALOG

BRAZILIAN ANTHROPOLOGY ASSOCIATION

33rd Brazilian Anthropology Meeting

ORGANIZATION SPONSORSHIP

SUMMARY

WHO WE ARE 14 ORGANIZING COMMITTEE 14 JUDGING COMMITTEE 18 PRODUCTION CREDITS 20 PARTNERSHIPS 20

INTRODUCTION

PROGRAM

PVA2022 POSTER 32 PROGRAM 33

OPENING CONFERENCE 34 Tim Ingold CLOSING CONFERENCE 34 Arnd Schneider

WORKSHOPS WITH ORGANIZERS 34

ROUND TABLES 35

RT01. The visual anthropology 35 field in Latin America

RT02. Uses of images between 36 art and politics

RT03. Exploring photographs and archives 37

RT04. Art and drawing in 38 anthropology and beyond

RT05. Politics and poetics 39 in audiovisual practices

RT06. Homage Roundtable

Contributions of Marc-Henri Piault 40 to visual anthropology

RT07. Homage Roundtable

Contributions of Patrícia Monte-Mór 41 to visual anthropology in Brazil

I DRAWING EXHIBITION 43

INTERWINING GRAPHS: DRAWING TO TEACH, LEARN 44 AND DISSEMINATE BRAZILIAN ANTHROPOLOGY Katianne de Sousa Almeida

ANTHROPOLOGICAL PRINTS: 49 ILLUSTRATING CONCEPTS Adriana Nunes Souza

DRAWINGS OF MARACATU: 53 FROM SKETCHES AND ILLUSTRATIONS Marisa Rodrigues

IN THE WORLDS OF DEMENTIA: 58 MEMORY, DAILY LIFE, AND IMAGINATION Bárbara Rossin

TAQUARA DE TABAJARAS: 62 CONSTRUCTIONS AND RECONSTRUCTIONS Andrey Moraes e Ester Paixão Corrêa

ETHNOGRAPHIC TRANSFIGURATIONS. FIELD NOTEBOOKS WITH “MINUTE DRAWINGS” 66 MADE IN JURY COURTS IN FRANCE Ana Lúcia Pastore Schritzmeyer

“FLASHES OF MEMORY ”: BETWEEN LIFELINES AND 72 ALZHEIMER'S DISEASE Flávia Maria Silva Rieth

ALL WE HAVE IS US: ILLUSTRATING 78 ETHNIC-RACIAL RELATIONSHIPS Osmar Santos, Tamiris Pereira Rizzo e Alexandre Brasil Carvalho da Fonseca

PERFORMATIVE PANORAMAS OF A PARTY IN THE ANDEAN PLATEAU: QUICK ANALOGICAL 110 PHOTOGRAPHIC RECORD OF FIESTA DE LAS CRUCES DE MAYO, IN HUANCANÉ (PERU) Cristina de Branco

PAVILION OF MERMAIDS 114 Vanessa Sander

PÉ CASADO E OLHO NO OLHO: PHOTO ETHNOGRAPHY 118 OF THE GRAB IN THE QUILOMBOLA’S IDENTITY GAMES Felipe Bandeira

POÇO 115: AN IMAGINARY ALBUM 122 Felipe Camilo

TRAVESTI’S QUILOMBISMO 125 Lourival de Carvalho e Jade Lopes

WEAVING LIVE IN BLACK AND WHITE 127 Vinícius Venancio

XI PHOTOGRAPHIC 85 ESSAY EXHIBITION

THE STRAW TAKE DOWN 86 Lucas Coelho Pereira

SÃO JOAQUIM FAIR, BAHIA 90 Lucas Barreto de Souza

UNFRAMING: SANTOME PORTRAITS 94 Emiliano Dantas

INTERACTIONS AND CROSSROADS IN THE EXHIBITION 98 “AFRICAN SPIRITS” OFSAMUEL FOSSO: STREET AS ART GALLERY Thaiane Barbosa da Silva

OUR BEINGS: NEW LINKS AND SPACES 102 Pablo Pinheiro

PHOTOGRAPHING THE INVISIBLE: TAMBOR DE MINA IN THE OPENING OF “SERVIÇO DE CROA” IN THE TENDA NOSSA SENHORA DOS NAVEGANTES 106 IN THE QUILOMBO SANTA ROSA DOS PRETOS, MARANHÃO Juliana Loureiro

XIV ETHNOGRAPHIC 131 FILMS EXHIBITION

AFRO-SAMPAS 132 Rose Satiko G. Hikiji and Jasper Chalcraft

AFRORESISTANCES: LIVING MEMORIES FROM 136 A CORNER OF THE ANDES Luiz Carlos Silva and Yanina Rios Quintero ALÁGBEDÉ 140 Safira Moreira and Lucas Marques

AMARRADO(TANGLED UP) 144 Lucas Coelho Pereira

AUTODERESISTÊNCIA (POLICE KILLING) 148 Natasha B. R. Elbas Neri, Juliana Farias and Lula Carvalho BERIMBAUZEIRO 152 Mário Eugênio Saretta

CANTE,POETA!(SING, POET!) 155 João Miguel Sautchuk

CANTODEFAMÍLIA(FAMILY SONG) 158 Paula Bessa Braz and Mihai Andrei Leaha

CARLOS CAPS DRAG RACE 162 Mihai Andrei Leaha

CINE RABECA 166 Marcia Mansur de Oliveira

CORPOCITY 170 Andrea Barbosa, Gabriela Carvalho e Raul Carvalho

CYBERSHOTA 174

Mihai Andrei Leaha

DESCOMPOSTURA(DECOMPOSING) 178

Alline Torres Dias da Cru, Anaduda Coutinho, Marcio Plastina and Víctor Alvino

DOISIRMÃOS(TWO BROTHERS) 181

Yuri Prado

UNCOUNTABLES: EDUCATION 183 UNDER THE DICTATORSHIP

José Sergio Leite Lopes

UNCOUNTABLES: WOMEN 187 UNDER THE DICTATORSHIP

José Sergio Leite Lopes

UNCOUNTABLES: THE LGBTQIA+POPULATION 191 UNDER THE DICTATORSHIP

José Sergio Leite Lopes

UNCOUNTABLES: THE BLACK POPULATION AND FAVELA 195 RESIDENTS UNDER THE DICTATORSHIP

José Sergio Leite Lopes

UNCOUNTABLES: INDIGENOUS 199 PEOPLES UNDER THE DICTATORSHIP

José Sergio Leite Lopes

UNCOUNTABLES: WORKERS 203 UNDER THE DICTATORSHIP

José Sergio Leite Lopes

KATU: WE ARE KA'APOR 207 Alessandro Campos

KONHUN MÁG: THE WAY BACK 210 TO THE CINNAMON FOREST Clémentine Maréchal, Guilherme Maffei Brandalise, Maurício Ven Tainh Salvador (Cacique daKonhun Mág) and Marcelo Freire de Campos

MAIO(MAY) 215

João Paulo Araújo Silva, Luís Evo and Elis Borde

MASTER SIRSO: WHEN THE WORLD 218 IS SILENCE, VIBRATION IS THE MASTER Geslline Giovana Braga and Emanuela Palma

MEUCHÃO(MY GROUND) 221 Geslline Giovana Braga and Jorge de Jesus

OUR HANDS ARE SACRED 224 Júlia Morim

OUR SPIRITS CONTINUE TO ARRIVE - NHE’ KUERY 228 JOGUERU TERI Bruno Huyer and Kuaray Poty

N H YÃGM YÕG HÃM: 234 THIS LAND IS OURS! Roberto Romero, Isael Maxakali, Sueli Maxakali and Carolina Canguçu

SMALL TALKS OF BRASILEIRINHO 238 Felipe Camilo and Álvaro Graça Jr.

TORÉ 241 Alice Villela and Hidalgo Romero

TRANS NOMAD: 245 THE JOURNEY OF MY LIFE Rossana Fraga Ferreira

A HOUSE AT THE EDGE OF THE WORLD 248 Pascal Cesaro

URBANOGRAPHY OF CAUS 250 Thiago de Andrade Morandi and Regina de Paula Medeiros

WHO WE ARE

ORGANIZING COMMITTEE

VI GRUNVALD (PRESIDENT)

Travesti, professor of the Department of Anthropology and the Graduate Program in Social Anthropology from the UFRRG [Federal University of the Rio Grande do Sul], where she coordi nates the Visual Anthropology Center and integrates the Anthropology and Citizenship Center. She also co-coordi nates the Group for Recognizing Audiovisual/Artistic Universes from the UFRJ [Federal University of Rio de Janeiro], besides being a researcher in several other research groups in the University of São Paulo (USP), such as the NAPEDRA, GRAVI, NUMAS, and PAM. She also has a degree in cin ema from the International Cinema Academy. She is a photographer, au diovisual producer, and her works, both academic and artistic, is related to politics, human rights, gender, sexuality, art, image, performance, cine ma, documental strategies, and queer theory. She is also an artivist (artis tic activist) of the group Revolta da Lâmpada, inspired by queer and inter sectional sources. She is member of the Gender and Sexuality Committee (2021-22) and of the Visual Anthropology Committee (2019-22), of the Brazilian Anthropology Association (BAA), in addition to being the pres ident of the Pierre Verger Award (2021-2022) of the BAA. Her last audio visual work, Domingo, was carried out in the scope of a documental proj ect of transmedia narrative produced with Paulo Mendel and the Família Stronger (http://www.familiastronger.com/), was selected to the Royal Anthropological Institute Film Festival 2019, commissioned by the 21st Biennale of Contemporary Art Sesc_Videobrasil, and has received the award of best film from the Portuguese Anthropology Association (APA) and the National Association in Graduate Studies and Research in Social Sciences (ANPOCS).

WHO WE ARE

AINA AZEVEDO

She is an assistant professor in the Department of Social Sciences in the Federal University of Paraíba (DCS/UFPB). She coor dinates the Laboratory of Anthropology and Drawing (LABAREDA/UFPB) and integrates the Anthropological Laboratory of Graphy and Image (LA’GRIMA/UNICAMP). She is currently part of the Visual Anthropology Committee of the Brazilian Anthropology Association (VAC/BAA). Her main research interests are related to the history of drawing in anthropology and its recovery in the present time. Since 2018, she works in the extension proj ect “Quilombo Histories” in the Mituaçu quilombo’s community, in Conde-PB, where activities related to memory and several graphic arts, such as drawing, and sewing are developed.

CLAUDIA TURRA MAGNI

She has an undergraduate degree in History with a master’s degree in Social Anthropology, both from the Federal University of the Rio Grande do Sul. She has a PhD in Ethnology and Social Anthropology from the Ecole des Hautes Etudes en Sciences Sociales (EHESS) and postdoctoral from the Institut d'Ethnologie Méditerranéenne, Européene et Comparative (IDEMEC). She is a professor in the Undergraduate and Graduate Studies Program in Anthropology from the Federal University of Pelotas, where she also coordinates the Laboratory in Teaching, Research, and Production in Anthropology of Image and Sound (LEPPAIS) since 2008 and the Group of Anthropoetics Research.

DENISE MACHADO CARDOSO

Coordinator of the Research Group in Visual Anthropology and Anthropology of Images - VISAGEM. Coordinator of the Research Group in Indigenous People - GEPI. Coordinator of the Visual Anthropology Committee - VAC/BAA. Advisor of Diversity and Social Inclusion - ADIS/UFPA. Anthropology Laboratory

Arthur Napoleão Figueiredo - LAANF. Av. Augusto Corrêa, 01. Guamá. CEP: 66075-110 - Belém/Pará/Brazil.

EDGAR KANAYKÕ XAKRIABÁ

He is part of the indigenous people Xakriabá in the State of Minas Gerais. Has a master’s degree in Anthropology from UFMG [Federal University of Minas Gerais]. He has free action in the area of ethnophotography : “a way to register an aspect of the culture - the life of people”. In his lens, photography becomes a new “tool” for fighting, allowing the “others” to see with another look what in digenous people are.

FABIANA BRUNO

PhD in Multimedia from the Art Institute/ Unicamp, and she has a postdoctoral in Social Anthropology from the Institute of Philosophy and Human Sciences and the School of Arts and Communication (ECA) from USP. She is the cofounder and researcher in the LA’GRIMA-IFCH/ Unicamp (Anthropological Laboratory of Graphy and Image), and collaborator researcher of the Department of Anthropology from IFCH/Unicamp. She was awarded the CAPES Award of Best Thesis in the area of Applied Social Sciences (2010) with the research

“Photobiography - For an Aesthetic Methodology in Anthropology”, advised by Professor Etienne Samain, PhD. She is the founder and coordinator of projects and contents of ACHO - Collection Archive of Ordinary Histories, in Campinas. She is an advisor, curator, and editor of artistic and photography projects, cura tor of exhibitions and photobooks, in partnership with the Ateliê Fotô and the Fotô Editorial, a publisher in São Paulo.

GLAUCO FERREIRA

He is an art/educator, has a master’s de gree and PhD in social anthropology (UFSC/ UC Berkley), and he is an anthropologist and professor in the Anthropology area in the courses of Social Sciences in the Social Sciences College of the Federal University of Goiás (UFG). He is a professor in the Graduate Program in Social Anthropology - UFG. He was a chief-editor in the Visualidades Magazine (FAV/UFG). He is an integrant and cofounder of the LEX - Laboratory of Ethnographic Experimentations and Social Markers of Difference (PPGAS/UFG). He conducts research in the visu al anthropology field, anthropology of art and aesthetic expressions, address ing artivisms, cinema, visual culture, feminisms, gender and sexuality relations concerning other social markers of difference.

RONALDO CORRÊA

Professor in the UFPR [Federal University of Paraná], where he works in the undergrad uate program and the Graduate Program in Design, research line in Theory and History of Design, and the Graduate Program in Technology and Society, in the research line Mediations and Cultures, from the UTFPR. He has a PhD in the Interdisciplinary Graduate Program in Human Sciences of the UFSC [Federal University of Santa Catarina] (2008). He is interested in themes of theory and history of design, art, architecture; theory and critic of the technical image/ exhibitions, archives and museums.

JUDGING COMMITTEE

EMÍLIO DOMINGOS

Filmmaker, anthropologist, research er, screenwriter, and producer. He works with documentaries. He has an un dergraduate degree in Social Sciences from the UFRJ with emphasis in Visual Anthropology, Urban Culture and Youth. He has a master’s degree from the Graduate Program in Culture and Territoriality, from the UFF. He is currently member of the Hollywood Academy of Arts and Sciences, professor of the discipline Research, Argument, and Script in the Graduate Program in Documentary Cinema from Fundação Getúlio Vergas (FGV-RJ); and associated researcher of the GRUA, Group of Recognition of Artistic/Audiovisual Universes, from the UFRJ. He was a curator of the International Ethnographic Film Exhibition and the Visões Periféricas Festival. As a director, he worked in the feature films: The Slums are Fashion, winner of the Best Documentary Feature Film award by popular vote in the Rio Festival (2019); Do the Gradient Cut, winner of the Special Award from the Jury in the Rio Festival (2016); A Passinho’s Dance Battle; winner of the Novos Rumos Exhibition in the Rio Festival (2012); L.A.P.A., Best Film in the Câmera Mundo Festival, in the Netherlands (2008). He directed 14 short films, in addition to the vid eoclips Alteração (ÉA!) of BNegão e os Seletores de Frequência; Para Onde Irá Essa Noite, Cira, Regina e Nana e Músico, of Lucas Santtana; and Dali of Marcelo Yuka. For TV, he was the general director of the show "Enigma

da Energia Escura” with Emicida (GNT), which he also directed the episode "Eu Falei Faraó - Cultura e Resistência". He is currently developing his new fea ture film project called “Black Rio! Black Power!”, about the soul parties in the 70’s in Rio.

ETIENNE SAMAIN

He was born in Belgium, where he ob tained his degree in Theology (exegesis) from the Catholic University of Louvain. In Brazil since 1973, he became an anthro pologist and photographer, living with the Kamayurá (Alto Xingu, MT) and Ka´apor (Maranhão) communities. He got interested in images, from those present in the myth ical narratives to the ones produced by new technologies. While struggling to make anthropology not only a word science, he ended up bringing it clos er to communication and art. He is also a retired full professor of the Graduate Program in Multimedia from the Art Institute of the Campinas State University (UNICAMP). Among other works, he published the book Moroneta Kamayurá (1991) and organized the collections O fotográfico (2005) and Como pens am as imagens (2012). His recent research addresses the works of Gregory Bateson and Aby Warburg to think human communication in the perspective of Anthropology, Epistemology, and Aesthetics.

ARE

PATRÍCIA PINHEIRO

Professor, collaborator in the Graduate Program in Anthropology of the Federal University of Paraíba (UFPB) and coordi nates projects in the Escolhas Institute. PhD in Social Sciences from the Federal Rural University of Rio de Janeiro (CPDA/UFRRJ). She researches the his torical trajectory of racism and the ways to fight it, socioenvironmental conflicts and the politics for recognizing the rights of the quilombola population.

TAKUMÃ KUIKURO

Filmmaker, member of the indigenous village Kuikuro, currently living in the Ipatse Village, in the Parque Indígena do Xingu. Takumã is nationally and in ternationally recognized for his films and has received awards from the fes tivals: Gramado Festival, Brazilian Cinema Festival from Brasília, Cinema Look, International Cinema Journey of Bahia, Ethnographic Documentary Film Festival, Festival Presence Autochtone de Terres in Vue. In 2017 he received the honorable award “Scholarship of the Queen Mary University London”. And in 2019, he was the first indigenous juror in the Brazilian Cinema Festival from Brasília.

TECHNICAL INFORMATION

EXECUTIVE PRODUCTION

Vi Grunvald (President)

PVA PRODUCTION ASSISTANT Daniele Borges (UFPel)

GRAPHIC DESIGN AND INTRO Victor Uchôa

TRANSLATION Hailey Kaas David Rogers

PARTNERSHIPS

VISUAL ANTHROPOLOGY COMMITTEE / BAA

Coordination: Denise Machado Cardoso (UFPA)

Aina Guimarães Azevedo (UFPB)

Anelise dos Santos Gutterres (MN/UFRJ)

Bárbara Andréa Silva Copque (UERJ)

Guilherme Moura Fagundes (USP)

Jesus Marmanillo Pereira (UFMA)

Lilian Sagio Cezar (UENF)

Lisabete Coradini (UFRN)

Luis Felipe Kojima Hirano (UFG)

Vi Grunvald (UFRGS)

BAA BOARD

Patricia Birman (President - UERJ)

Cornelia Eckert (Vice-President - UFRGS)

Carla Costa Teixeira (General Secretariat - UnB)

Carly Barboza Machado (Associate Secretariat -UFRRJ)

Andrea de Souza Lobo (Treasurer)

Camilo Albuquerque de Braz (Associate Treasurer -UFG)

Fabio Mura (Director -UFPB)

Patrícia Maria Portela Nunes (Director - UEMA)

João Frederico Rickli (Director - UFPR)

Luciana de Oliveira Dias (Director - UFG)

BAA ADMINISTRATIVE SECRETARIAT

Carine Lemos (Administrative Secretary)

Roberto Pinheiro (Administrative Assistant)

Silvane Xavier (Administrative Auxiliary)

BAM EXECUTIVE COMMISSION

João Rickli (Coordination - UFPR)

Cornelia Eckert (UFRGS)

Carly Machado (UFRRJ)

Carol Parreiras (UNICAMP)

Camilo Braz (UFG)

Ciméa Bevilaqua (UFPR)

Paulo Guérios (UFPR)

Ricardo Cid Fernandes (UFPR)

Laura Perez Gil (UFPR)

WHO WE ARE

SPONSORSHIP

Wenner-Gren Foundation

Danilyn Rutherford (President)

Donna Auston (Publishing and Engagement)

SUPPORT

Visual Anthropology Center (NAVISUAL/UFRGS)

Group for Recognizing Audiovisual/Artistic Universes (GRUA/UFRJ)

Visual Anthropology Group (GRAVI/USP)

Laboratory of Anthropology and Drawing (LABAREDA/UFPB)

Laboratory of Teaching, Research, and Production in Anthropology of Image and Sound (LEPPAIS/UFPel)

Laboratory of Graphy and Image (La’grima/ Unicamp)

LEX - Laboratory of Ethnographic Experimentations and Social Markers of Difference (LEX/UFG)

Fotô Editorial

WEBSITE AND TRANSMISSION

Síntese Eventos

INTRODUCTION

PVA INTRODUCTION

The Pierre Verger Awards (PVA), promoted by the Brazilian Anthropological Association (BAA), is one of the main competitive festivals for film, photog raphy and graphic works produced in the scope of anthropological research in Latin America. Through such artistic and political languages for propagat ing knowledge, its exhibitions explore, register, express, and question differ ent sociocultural contexts and experiences.

Since 1996, the PVA happens biannually following the schedule established by these congresses where it constitutes a showcase for visual and audiovisu al production conducted by anthropologists in the contexts of their research. The category of photographic essays was incorporated in 2002. And the draw ing exhibition starts to integrate the festival only in the year of 2022.

Since 2012, in the interstice of the biennium when the BAM occurs, the works go through a national and international circuit with the Itinerant Exhibitions of the Pierre Verger Awards, followed by debates in universities, laboratories/ research centers, and cultural spaces. Due to its longevity, extension, and cul tural and epistemological relevance, this contest has strengthened the articu lation and expansion of the Visual and Multimodal Anthropology, with the ac ademic value recognized in the intellectual production of such fields.

In each award’s edition, an announcement is open with the rules for submit ting the material which at a later time will constitute the Ethnographic Film Exhibition, PhotographicEssayExhibitionand now the DrawingExhibitionof the PVA. In this sense, besides being an award in the strict sense of the term, it is also an introduction and recognition of the film, photographic, and graph ic productions that have anthropological relevance and express heuristic, aes thetic, and political-reflective qualities, promoting the dialogue between visu al/audiovisual languages and anthropology. As with anthropological festivals around the world, the PVA was and still is of crucial importance to consolidate the academic value in the production of images and sounds in the discipline.

From an open announcement published by the BAA, the PVA’s Organizing Committee receives films, photographic essays, and drawings which, after being selected, are presented to an independent jury of international rep utation, invited to do so, to deliberate and grant the awards and honorable mentions of that edition. For this 2022 edition, the Organizing Committee received a total of 109 works, selecting 34 ethnographic films, 12 photo graphic essays, and 8 drawing essays.

In the previous edition, in 2020, due to the COVID-19 pandemics, we have conducted for the first time an online version of the PVA, completely re mote, following the recommendations of social distancing indicated by the World Health Organization and following the production modality of the 32nd BAM. This intercourse introduced new challenges, especially in technical terms, but also huge possibilities of expanding the access to the productions, besides a greater space for discussing them.

Throughout the pandemic period, we, social scientists, all observed in an astonished way the intensification of a series of social problems that were already devastating us in contemporary Brazil. And, more than that, we have mobilized ourselves in several fronts to offer an articulated answer to such issues, advancing, in a digital ágora deeply saturated by infodem ic, qualified discussions and propositions that serve as base to constitute a society with greater social justice and with public politics that consider the different necessities of populations who are affected in different ways.

In this context, where the political calling of our disciplines and actions is called to its social responsibility, we bet on the huge potential of the mul timodal production to consolidate a public anthropology that is not re stricted by the university’s walls. If, in the majority of time, we produce texts that are read by peers and more restrict interested parties, our films and images, on the other hand, come with the promises to reach the civil society in a broader way.

This propagation agenda also includes an increasing process of PVA’ inter nationalization initiated in other administrations, but pretty consolidated in this edition which, besides Brazil, we have researchers from Colombia, Chile, Argentina, Guatemala, Mexico, Spain, Portugal, United Kingdom, United States, France, and Norway.

Moreover, for the first time, all PVA’s program is also available in English, granting the awards’ actual access to an international circuit of discussions that, as we know, only rarely speaks Portuguese. An agenda of accessibility, also started in the previous administration, is also one of our guidelines, even though we know it still not enough in this sense. Either way, all images con tain audiodescription, and all films and conferences also contain subtitles in Portuguese, which were mandatory items according to the announcement. The roundtables, in turn, besides simultaneous interpreting in English, will also have human subtitling in Portuguese.

In the path towards a more democratic and inclusive society, another innova tion of the 2022 edition is the adoption of affirmative actions politics, reserv ing 20% of the selected works for black, indigenous, trans, and/or, disabled anthropologists.

Simultaneously to the exhibition, we will have two masterly conferences with the Professors Tim Ingold and Arnd Schneider, two important references in discussions about Anthropology and images. In addition to those, there will also be five roundtables about important issues that have been mobilizing the visual, audiovisual, and/or multimodal anthropology field, besides two round tables in honor of people who had a huge importance within the field and that have recently passed away, namely, Marc Henri-Piault and Patrícia Monte-Mór.

As an official program of the 33rd BAM, participants of the PVA’s Organizing Committee will also organize workshops proposing the construction of spaces of interlocution focused on people who will participate in the exhibitions and will talk about their works and production processes.

The production of this event, as well as the PVA’s internationaliza tion, would not be possible without the support of the Wenner-Gren Foundation through its conference grant and, in this sense, we express our gratitude for the foundation’s serious and compromised work.

It is famous the idea that, decades ago, Darcy Ribeiro, an iconic intellectual of the Brazilian social thought, expressed when he affirmed that “the ed ucational crisis in Brazil is not a crisis, but a project”. As sad as it is shame ful, this phrase still seems to be a reality in this frightening present time. However, we strongly believe that the Pierre Verger Awards critically adds to other activities from the Brazilian Anthropological Association and other institutions in the constant and endless fight for democracy and a fairer society.

PIERRE VERGER AWARDS

2022

PIERRE VERGER AWARDS 2022 POSTER GRAPHIC DESIGN: VICTOR UCHOA

AUG 22nd MONDAY

9 AM to 11 AM (BRT) 3 PM to 5 PM (BRT) ´6 PM to 8 PM (BRT)

Opening Conference TIM INGOLD

AUG 23rd TUESDAY RT01. The visual anthropology field in Latin Americaa

AUG 24 th WEDNESDAY MR03. Explorando fotografias e arquivos

AUG 25th THURSDAY RT05. Politics and poetics in audiovisual practices

AUG 26th FRIDAY RT06. Homage Roundtable: Contributions of Marc-Henri Piault to visual anthropology

RT02. Uses of images between art and politics

RT04. Art and drawing in anthropology and beyond

AUG 27th

SATURDAY

RT07.

Homage Roundtable: Contributions of Patrícia MonteMór to visual anthropology in Brazil

Closing Conference ARND SCHNEIDER

AUG 28th SUNDAY Awards Ceremony

OPENING CONFERENCE BEYOND WRITING AND DRAWING: IN PRAISE OF SCRIBBLE TIM INGOLD

University of Aberdeen, United Kingdom

CLOSING CONFERENCE

EXPANDED VISIONS: EXPERIMENTS, ETHNOGRAPHY, RESTITUTION ARND SCHNEIDER

University of Oslo, Norway WORKSHOPS WITH ORGANIZERS

PHOTOGRAPHY

08/30, 08/31 and 09/01 from 8 to 10AM.

DRAWING

08/30 and 08/31 from 8h to 10h AM.

FILMS

08/30, 08/31, 09/01, and 09/02 from 8:30 to 10PM.

ROUNDTABLES

1. THE VISUAL ANTHROPOLOGY FIELD IN LATIN AMERICA

The visual anthropology field in Latin America is diverse and presents specific features related to the way the anthropology itself, as an academic knowledge area, was constituted in different countries in the region, in the construction of national, professional, and disciplinary identities which are also very differ ent from each other. This roundtable intends to address this different person al and disciplinary trajectories from the contributions of professionalAs from different countries (such as Peru, Colombia, Chile, Mexico, and Brazil) to reveal the diversity of features, different ethnographic and theoretical approaches, as well as the emphasis that the visual anthropology gains in each national context, pointing out to proximity or distance traces in the different contem porary reflections and doings about the visual anthropology in Latin America.

PARTICIPANTS

Alonso Quinteros (Pontificia Universidad Católica del Peru, Peru)

Óscar Guarin (Pontificia Universidade Javeriana, Colombia)

Gastón Carreño (Red de Investigación sobre Documentales, Chile)

Mauricio Sánchez Álvarez (Centro de Investigaciones y Estudios Superiores en Antropología Social, Mexico)

DISCUSSANT | MEDIATOR

Vi Grunvald (Federal University of Rio Grande do Sul, Brazil)

2. USES OF IMAGES BETWEEN ART AND POLITICS

The reflection about art and its political effects and about politics through actions, objects, images, and artistic performances has been an ongoing feature in different research conducted in the Social Sciences field and, es pecially, in the anthropological field in recent years. This roundtable ad dresses the approach of the relations between images, art, and politics, thinking about them from the different ways through which the articula tions between such spheres engender and express themselves in contem porary social scenarios. Theoretical-conceptual discussions and/or ethno graphic scenarios from researchers’ contributions from Spain, Portugal, Argentina, and Brazil will be render problematic in order to reflect upon the strong relations between politics, images, and the different modes of experimentation and artistic practices.

PARTICIPANTS

Roger Sansi (Universitat de Barcelona, Spain)

Paulo Raposo (Instituto Universitário de Lisboa, Portugal)

Greta Winckler (Universidad de Buenos Aires, Argentina)

Guilherme Marcondes (Ceará State University, Brazil)

DISCUSSANT

Guilhermo Aderaldo (Universidade Federal de Pelotas, Brasil)

MEDIATOR

Glauco Ferreira (Universidade Federal de Goiás, Brasil)

3. EXPLORING PHOTOGRAPHS AND ARCHIVES

This roundtable’s proposal is to deepen reflections about the uses and pos sibilities that photographs and photographic archives offer to think, formu late problems, and research proposals in anthropology. Based especially on the trajectories and experiences of researchers in Brazil and Colombia, it in tends to show and debate how recent research enterprises dedicated to the work with images, archives, its montages and remontages has been contrib uting to theoretical-methodological reflections, repercussions, and advance ments in the anthropological field.

PARTICIPANTS

Luis Carlos Toro Tamayo (Universidad de Antioquia, Colombia)

Rachel Rezende (Instituto Moreira Salles, Brazil)

Cristiano Tambascia (Campinas State University, Brazil)

Jamile Borges (Federal University of Bahia, Brazil)

DISCUSSANT

Bárbara Copque (Rio de Janeiro State University, Brazil)

MEDIATOR

Fabiana Bruno (Campinas State University, Brazil)

4. ART AND DRAWING IN ANTHROPOLOGY AND BEYOND

Drawing and other people’s art, in general, have always constituted a source of anthropological inspiration, research, and interlocution about extra-occidental ontologies, its agencies and ways of life. Recently, draw ing has also been retrieved in anthropology, this time as a way of expres sion for anthropologists in academic and artistic works. This roundtable aims to gather researchers and artists who work and reflects upon drawing as its own expression language in anthropology, arts, and beyond, seeking to find similarities and differences that enrich our theoretical and practical perspectives about drawing.

PARTICIPANTS

Benjamín Uaira Uaua Jacanamijoy (Indigenous artist, Colombia)

Sophia Pinheiro (Federal University from Rio de Janeiro, Brazil)

Daniela Rodrigues (CRIA - NOVA FCSH, Portugal)

Edgar Calel Edgar Calel (Visual artist, Guatemala)

DEBATEDORA

Tatiana Lotierzo Hirano (Universidade de São Paulo, Brasil)

MEDIADORA

Aina Azevedo (Universidade Federal da Paraíba, Brasil)

5. POLITICS AND POETICS I N AUDIOVISUAL PRACTICES

The audiovisual production and accomplishment in anthropology mark the creation of the disciplinary field itself as an area of academic and scientif ic knowledge in the beginning of the 20th century. In this context, different forms of constructing knowledge from the relation of distinct alterities in the constitution of an important collection of ethnographic films are emphasized. Throughout its history, the audiovisual anthropology has gotten increasing ly closer to the terrain of artistic creation from the images in movement and the narrative cinema of documental and fictional features. In this roundtable, especially from the trajectories and research produced in Brazil and United States, it will be addressed the different audiovisual contemporary proposi tions in the sense of proposing anthropological ways of expression that are empowered by images and sounds.

PARTICIPANTES

Ruben Caixeta (Federal University of Minas Gerais, Brazil)

Amália Córdova (Smithsonian Institution, United States)

Takumã Kuikuro (Indigenous filmmaker, Brazil)

Edgar Teodoro da Cunha (State University from São Paulo, Brazil)

DISCUSSANT

Marcelo Ribeiro (Federal University of Bahia, Brazil)

MEDIATOR

Ronaldo Corrêa (Federal University of Rio Grande do Sul, Brazil)

6. HOMAGE ROUNDTABLE: CONTRIBUTIONS OF MARC-HENRI PIAULT TO VISUAL ANTHROPOLOGY

When Marc Piault visited Brazil, in 1994, he found a fertile terrain to de velop the visual anthropology which he was already extensively working with in France in the scope of the ComitéduFilmEthnographique. He active ly participated in several of the country’s firsts academic groups, special ized magazines, and ethnographic film festivals in this moment, helping to consolidate the field in Brazil. After retiring in the EHESS, Piault started to split his time between Brazil and France, with a permanent residence in Rio de Janeiro. Due to him passing away in 2020, this table, composed by people who worked with Piault, is thought as a homage to this visual an thropologist extremely important to the visual anthropologies in France and Brazil, recognizing his merits and trajectory as a professor, research er, and filmmaker.

PARTICIPANTS

Laurent Pellé (Comité du Film Ethnographique, França)

José da Silva Ribeiro (Lisboa Open University, Portugal)

Cláudia Turra Magni (Federal University of Pelotas, Brazil)

Clarice Peixoto (Rio de Janeiro State University, Brazil)

DISCUSSANT

Ana Luiza Carvalho da Rocha (Federal University of Rio Grande do Sul, Brazil)

MEDIATOR

Cornelia Eckert (Federal University of Rio Grande do Sul, Brazil)

7. HOMAGE ROUNDTABLE: CONTRIBUTIONS OF PATRÍCIA MONTE-MÓR TO VISUAL ANTHROPOLOGY IN BRAZIL

Patrícia Monte-Mór is considered one of the pioneers of the Visual Anthropology in Brazil, being in charge of organizing countless editions of the pioneer International Festival of the Ethnographic Film, which the first edition was carried out in Rio de Janeiro, in 1993, inspired by other festivals in differ ent Brazilian states. From the seminars linked to this first exhibition, Patrícia organized with José Inácio Parente the book CinemaeAntropologia:horizontes ecaminhosdaantropologiavisual[CinemaandAnthropology:visualanthropology horizonsandpaths], marking important reflections for consolidating the Visual Anthropology in Brazil. Since her passing away in January 2022, this table is organized as a homage to Patrícia’s trajectory, who was also part of the Pierre Verger Prize 2021-2022 organization.

PARTICIPANTS

Fabiene Gama (Federal University of Rio Grande do Sul, Brazil)

Carlos Alberto Mattos (Journalist and film critic, Brazil)

Emílio Domingos (Anthropologist and filmmaker, Brazil)

Eliska Altmann (Federal University of Rio de Janeiro, Brazil)

DISCUSSANT | MEDIATOR

Denise Machado Cardoso (Federal University of Pará, Brazil)

DRAWINGS

Engaged anthropology.

PIERRE VERGER AWARDS

INTERLACING GRAPHS: DRAWING TO TEACH, LEARN AND DISSEMINATE BRAZILIAN ANTHROPOLOGY KATIANNE DE SOUSA ALMEIDA

ABSTRACT

The selected drawings integrate my doctoral research enti tled “Epistemic Fissures in Anthropology: Drawing to get to know”. The objectives of the thesis are to understand the use of drawing both as a pedagogical tool for anthropological train ing, within the academic disciplinary structure at the universi ty, and as a method and analysis incorporated in Brazilian aca demic research.

PRESENTATION OF THE WORK

In this research, I highlight drawing as a possible path for eth nographic production, as well as being a pedagogical resource for teaching. With the deepening of the concept of Graphic Anthropology, the use of drawings in research is demystified and re-signified, bringing authority to their use in the dissem ination of scientific knowledge.

For this exhibition I have selected some productions from the “observant participation” in classes, courses, workshops, and lectures that dealt with the relationship of Anthropology with drawings, taking on another temporality, attention, look, and sensitivity to understand the dynamics in teaching, learning and disseminating Anthropology in Brazil.

EXPANDED PRESENTATION

Frequently, anthropologists, in their ethnographies, need to create strategies to understand the complex subjectivities of their fields of study, so, the drawings can take the place of a resource of dialogue with their interlocutors, promoting a dia logic relationship between the sets of scientific thoughts brought by the acade my and the silenced stories of social groups. Drawing as a method is to assume the challenge of breaking through the limits of the words that, many times, are not said either because of pain or because of the dispute for universalizing narratives.

The epistemic approximation between writing and drawing comes from the speeches, texts, and drawings of the research of the anthropologists Karina Kuschnir and Aina Azevedo (my main interlocutors) who have reflected on the challenges of anthropological research, the questions and solutions that emerge from the act of teaching how to draw and construct graphic narratives in (and about) fieldwork.

When we evoke the language of drawings, we seek to translate visual interpreta tions of concepts beyond words (which are canonically accepted as instruments capable of producing and reproducing scientific thought). Thus, it is imperative to open the debate and force the conceptions of the ways of communicating scien tific knowledge.

The drawing, from an initial reading, which would be an identification exercise, ad mits the interpretation that results from an analytical, deductive, and compara tive effort. Therefore, it works as a document and source, revealing aspects of ma terial life that, sometimes, the understanding of written sources does not reveal. In this way, the production of anthropological knowledge with drawings contrib utes to the promotion of the rupture of the canonical construction of scientific thought and the broadening of epistemic horizons.

That being said, the multiplicity of languages is known to present the cultural di versity of social groups, however, for the field of scientific production, this plural ity is questioned when it comes to validating it as a scientific argument, meaning that, academically, only writing is the format ratified in science. Such imprison ment of ideas is questioned by the American black philosopher and sociologist Patricia Hill Collins (2012), in her arguments she explains language as a field of dis pute. The production of knowledge should not have its foundation anchored only in one type of language (writing), because epistemes are also tactile and not ex clusively abstract.

The main focus of the research is the dialogue with professors and researchers and, eventually, the students who take part in classes, workshops, and lectures that deal with Anthropology and Drawing.

The intention of the research, therefore, is to promote the visibility of drawing with in Anthropology and to encourage the polysemy of the language in anthropological training in Brazil.

The different languages and methodologies need to be celebrated, for it is through the ebullition of heterogeneous mixtures that questions, creations, innovations, and critical thinking emerge. We want the results of scientific production to be dynamic, and consequently, to broaden the epistemic horizons. To design concepts is to lean into their meanings from the inside out. When we face the exercise of creating lines, shapes, textures, and colors, we go deeper into the analysis of the themes we are pro posing to study and, consequently, to analyze.

Drawing is also a chosen way to create an effect with the development of knowledge production. This language shows how, many times, the process of expressing oneself is so complex and so deep that words are not enough.

In contemporary times, Anthropology needs to be a disciplinary field of new ideas and have a restless spirit, consequently, anthropologists are required to the maximum of their abilities to create means for the fissure of the classical research methodologies and traditional epistemologies, that is, to experience their creative potential to sharp en their gaze in front of the context around them and the possibilities of expressions of social groups.

MINIBIOGRAPHY

KATIANNE DE SOUSA ALMEIDA Visual Artist and Ph.D. candidate in Social Anthropology at the Federal University of Goiás (UFG). Master in Social Anthropology by UFG, Specialist in Cultural History by UFG, Specialist in Creative Processes and Products by UFG. Bachelor in Social Sciences with Anthropology from UnB and Bachelor in Fashion Design from UFG. Member of LABareDA (laboratory of Anthropology & Design), mem ber of the Design Group coordinated by Prof. Dr. Patrícia Reinheimer. Participated in the Showcase of Ethnographic Drawings of the Visual Anthropology Committee of the PVA, 2020, and the II Digital Exhibition of Visual Essays promoted by NAVIS, 2021.

ANTHROPOLOGICAL PRINTS: ILLUSTRATING CONCEPTS ADRIANA NUNES SOUZA

Emerging Inhumanities. The slum is the space in which the police act with barbarism and the judiciary and the media reinforce the hatred against the poor and black population that resides there, perpetuating the structure of racism

HONORABLE MENTION DRAWING

ABSTRACT

The paper is an illustrated ethnography of two online events: the 32nd Brazilian Meeting of Anthropology (2020) and John Monteiro Anthropology Journeys of 2021. The body is increasingly perceived as a place of unique experiences and produc ers, through the senses, of ways of know ing and, in this sense, drawing is a tech nique that emerges as an epistemological tool, as a way to access the researched sub jects, and as a practice of memorization.

PRESENTATION OF THE WORK

This work is an illustrated ethnography of two online events: the 32nd Brazilian Anthropology Meeting (2020) and John Monteiro Anthropology Journeys of 2021. Rather than just making notes, the drawings emerged as praxis. A lived and told essay that can invade the senses of the illustrator and the reader in multiple and thus lasting ways. The body is, increasingly, perceived as a place of unique experiences and producers, through the senses, of ways of know ing and, in this sense, drawing is a technique that emerges as an epistemo logical tool, as a way to access the researched subjects and as a practice of memorization.

EXPANDED PRESENTATION

The drawing was a circumstantial escape from quarantine, casual and contin gent attachment. The first workshop I attended was the “drawing workshop for those who can't draw”, taught by professor Patricia Reinheimer (UFRRJ), online, at the beginning of the pandemic. After this first contact, I came across the artistic exercise: minds and hands ready to embark on a task full of experi mentations. Months later, Patrícia was one of the coordinators of a laboratory that proposed ethnography in the first Brazilian Meeting of Anthropology that would be completely mediated by technological devices, the 32nd RBA. This experience made evident to me a new way of thinking and producing knowl edge. We, anthropologists, study culture and its relational meaning with the surroundings, but sometimes we do not realize how drawing, just like writing, is a form of language in which intention and realization challenge each other in a constant process of mediation of symbolizations.

From the crisis of materialistic rationality perceived in the 20th century, es pecially in the post-war period, there has been a return to creative methods. For Karina Kuschnir (2016) anthropology followed a path of rethinking itself and approached values previously not bound to science such as sensitivity and flow. For James Clifford (2002) it was interpretive anthropology that contrib uted to the visibility of the creative (and, in a broad sense, poetic) processes by

which “cultural” objects are invented and treated as meaningful. (Clifford, 2002, p.39). After all, contact with the “other” was making possible new ways of being in anthropology. As Clifford (2002) listed, the modes of eth nographic authority have been changing, but we realize that the place of drawing in the discipline has also been. At first, with the experiential eth nographic mode, drawings were descriptive and sought to “realistically” convey the theory being described. When there was the emergence of in terpretive, dialogic, and polyphonic ethnographic authority, drawing took on new spaces.

Drawing is used by some authors as an epistemological tool, as a way to access the researched subjects, and/or as a practice of memorization. The works of Michael Taussig (2011), “I Swear I Saw This”, and Andrew Causey (2016), “Drawn to see”, are two important contributions to the debate on the potential of drawing in anthropology. Currently, the political dimen sion of representation is an extremely debated topic and, as Eduardo Viveiros de Castro stated, “anthropological knowledge is immediately a social relation” (2002, p.113), thus, besides the understanding that ethno graphic knowledge is a joint construction between the anthropologist and studied community, there is still the third relation which is that of the read er. For Marcel Duchamp, the “creative act” is when the artist passes from “intention to realization through a chain of subjective reactions” (1975, p.73), but this act would end with the public's reception. The research, de spite the rhetoric of objectivity, also follows a path of cooperative experi mentation. The year after the ethnographic essay in the 32nd RBA (2020), I took part in the short course called “llustrated Sensory Ethnographic Essay” in John Monteiro Anthropology Journeys 2021. Another endeav or in search of reaching interpretations of the real. For the researcher and psychoanalyst Christian Dunker (verbal information, 2021) we need a mis trust of reality, as we can only access it by dividing and then juxtaposing these impressions in encounters. Therefore, the professor defends reali ty as an expressive mode. Each linguistic/expressive system (arts, science, politics) would be a system that intends to reconstruct the world through fragments. To dismember the experiences into aesthetic languages would be a subtraction from the world as it is. Thus, the mentioned short course, taught by Katianne de Sousa Almeida, proposed interesting techniques to map the look to help to see. Science is a significant way of interpreting the world, but not the only one. Disturbance and fascination are essential components in this process of constructing knowledge.

In this way, scientific production is connected to the hu man ingenuity of imagining. We don't discover, we create. At the same time, we cannot say that everything is relative, we must say that everything is in relation. So the drawings inspired by the talks at the roundtables and conferences of these two events illustrate concepts and are anthropolog ical prints of those thoughts.

MINIBIOGRAPHY

ADRIANA NUNES SOUZA is a social scientist for whom drawing was an accidental passion. Caught by the oppor tunity of the situation, I allied drawing to my elucubra tions about the historical conception of the body and how it changes, engendering knowledge and rules. In my works, I focus on the pathologization of subaltern existences and how art is exemplifying discourses and/or presenting pos sibilities of re-significations. I am currently studying for my Master's degree in Social Sciences at UFRRJ, I research, through gender view, the difference in visibility strategies of artists and surrealist artists on Instagram.

DRAWINGS OF MARACATU: FROM SKETCHES AND ILLUSTRATIONS MARISA RODRIGUES

3RD PLACE DRAWING

The musical instrument alfaia, or bombo, is generally made of macaíba (a plant), leather and sisal rope. To play it well it needs to be in tune or "tuned", as the maracatuzeiros say, a task that requires more than one person

ABSTRACT

The drawings I bring are records of the field notebook, the result of the re search conducted between 2016 and 2017 with the members of Maracatu Nação Almirante do Forte, located in the west zone of Recife. The disserta tion, presented in 2018, had as its object the relations between humans and non-humans, especially garments and props that make up this maracatu. My insertion in the field was marked by the anguish of not having profession al photographic equipment and the “resentfulness” of the photographs that, taken to exhaustion, had lost their power of dialogue. The practice of draw ing emerged, a priori, not as a planned strategy, but out of the desire to try to reach a sensibility that eluded me.

PRESENTATION OF THE WORK

The drawings I bring are records from the field notebook, the fruit of the re search conducted between 2016 and 2017 with the members of Maracatu Nação Almirante do Forte, located in the west zone of Recife. The disserta tion, presented in 2018, had as its object the relations between humans and non-humans, especially garments and props that make up this maracatu. My insertion in the field was marked by the anguish of not having profession al photographic equipment and the “resentfulness” of the photographs that, taken to exhaustion, had lost their power of dialogue. The practice of drawing emerged, a priori, not as a planned strategy, but arising from the desire to try to reach a sensible goal that eluded me.

EXPANDED PRESENTATION

“On the catwalk of Recife I will fulfill my mission. I want to leave my name engraved, to be televised on the television”. The passage of the praise writ ten by Mestre Teté, president and son of one of the founders of Maracatu Almirante do Forte, created in 1931, is not mere pleonasm. To be “televised on television” is, among the various forms of imagenery expression, one of the most prestigious for the Maracatuzeiros of Almirante.

Whoever arrives at the Maracatu's headquarters, in the Bongi neighbor hood, west zone of Recife, also notices the attachment to photographs. On the walls, are a series of pictures, folders, presentation posters, and ban ners. Designed and printed by the drummers and residents of the commu nity itself, these supports show bodies, faces, garments, and instruments that have already passed through the organization. In projects, Maracatu has already developed sound postcards, which combine sound and image, short films, and DVDs. It is also present on different social networks, such as YouTube, Instagram, and Flickr, besides a website with its domain.

Thus, still during the development of the project, I had easy access to im age content. There was a Maracatu previously recorded on my retina.

When we started the first contacts, I declined the invitation to be come a drummer, a usual approach among colleagues who research with Maracatus. Since my focus was the relationship between Maracatuzeiros and their non-human ensemble, I believed that this would take up time with the production and arrangement of these materials, which usual ly comes before Carnaval. We negotiated that during the rehearsal days I would help with various activities. The main demand at these moments was related to the production of photos to supply the social networks and WhatsApp - and this task was delegated to me. I tried, in a very precarious way, without professional equipment, to produce pictures that I consid ered more “artistic”, but I was not successful. I soon realized that my stan dards were not the same as those of my interlocutors. They only wanted photos in large quantities: light, focus, and framing were not such import ant requirements.

In this task of massive reproduction of snapshots, I got “rancid”, as the locals say, not only of the photographs but of the observation itself, of the “real” that had been repeatedly cut out through these images over months. Suddenly, the people and things, their shapes, reliefs, and colors had, for me, lost their pow er of dialogue, they were saturated.

In one of these rehearsals, I approached the calunga Menininha, a doll that is the Maracatu's maximum entity, sat down on a chair - because I was bored in the field - and took my notebook and began to sketch the calunga. Mestre Teté approached, observed, and showed emotion. Maracatu had never been illus trated. That day, while drawing, we talked a lot. I heard things that had not been said in five months, including an interdict about the calunga. The dynam ics of that moment, provided by drawing and conversation, made me produce new sketches.

I started to represent other things: rehearsals, people, the headquarters, clothes, instruments, and some badly done and unfinished sketches, but that helped me to access new ideas, and, fundamentally, to destructure some cer tainties that I dangerously carried with me. Drawing also contributed to es tablishing new interlocutions, especially with the children - who on other oc casions did not pay attention to me. Even so, despite the power reinvigorated by the sketches, I did not consider that they would compose the dissertation. I had two certainties: the drawings were not a substitute for photographs - even though they lacked aesthetic and technical quality - nor were they a research tool. I was sedimented with the assumptions of objectivity that science carries with it, even those of ethnographic pretension.

It was through my supervisor's observations, attentive to the movements evoked, that I was able to understand that the drawings were not just a cre ative outlet. They produced real things, in me and my interlocutors, perhaps some attunement between artistic sensibilities was created.

After a few years, we continued to bond through the drawings. In 2021, I was asked to create an illustration to celebrate the 90th anniversary of the Nation - postponed to 2022. I made two drawings, one of them was chosen through a vote among the Maracatu members, which will soon be printed on the Nation's shirts.

MINIBIOGRAPHY

MARISA RODRIGUES is a Curitiba native bu thas been living in Recife since 2016. The youngest of four children, she was the first in her fami ly to finish high school and enter a university through PROUNI. She has a Bachelor's degree in Social Communication/Journalism from Positivo University (2006), Bachelor and Degree in Social Sciences from UFPR (2010), and a Master's in Anthropology from PPGA/UFPE (2016) and is a Ph.D candidate in the same Program. During her quarantine, she began to dedicate herself more intensely to drawing. Her illustrations have been auctioned by Coletivo Pão e Tinta, in Recife, and are currently part of the exhibition Patrimônios Periféricos, at Paço do Frevo, also in the capital of Pernambuco.

Becoming other; becoming many

IN THE WORLDS OF DEMENTIA: MEMORY, DAILY LIFE, AND IMAGINATION BÁRBARA ROSSIN

1ST PLACE DRAWING

ABSTRACT

In this essay, I seek to explore various possibilities of observation, description, and registration of the worlds that make up dementias. Through the juxtaposition of drawings and fragments of per sonal diaries, I highlight experiences and percep tions about the disease and the transformations operated on one's subjectivity, memory, and rela tionship with the environment. From this materi al, I hope to open new paths for the decentraliza tion and expansion of writing, as well as to slide between documentation and imagination.

PRESENTATION OF THE WORK

In this essay, I seek to explore various possibili ties for observing, describing, and recording the worlds that makeup dementias. Through the jux taposition of drawings (developed by me and by Regina - diagnosed with Alzheimer´s 10 years ago) and fragments of personal diaries (of Pedro, Regina's only son, and main caregiver), I evidence experiences and perceptions about the disease and the transformations operated on her sub jectivity, memory, and relationship with the do mestic environment. From this material, I hope to open new paths for the decentralization and ex pansion of the writing process, as well as to slide between documentation and imagination.

EXPANDED PRESENTATION

“I write and draw to remember what it is to disappear from my usual world and remain alive, to be able to see, hear, smell and speak. I do it to create a graphic testimony of what I feel like round trips to an upside-down world.” (RAMOS, 2010, p. 19)

“Look at my drawing, Barbara, it's Roberto Carlos' car. I drew a house, a car, and a tree with fruit”, Regina asked me one morning in March 2021 through the Google Meet screen. Every Monday, Regina and I met in the cognitive stim ulation groups for people with dementia at the Reference Center for Elderly Health Care (CRASI) at the Fluminense Federal University. For two and a half years, the period in which I carried out my ethnographic research in the in stitution's workshops, we participated together in playful activities (games, conversations, exercises, drawings) that sought to socialize, raise awareness about the disease, and develop areas considered basic to mental function: at tention, language, memory, visual-spatial capacity, and association of ideas.

In the biomedical literature, dementia is a generic term used to describe a con stellation of progressive, incurable conditions commonly associated with the aging process (ENGEL, 2020; FEATHERSTONE, NORTHCOTT, 2020). Although diffuse, socially stigmatized, and still poorly understood in their realities and symptomatologies, dementias are conditions known to impact memory, be havior, perception, ability to perform activities of daily living, language, and reasoning - Alzheimer's disease is its most common typological manifestation.

In this essay, I try to explore several possibilities of observation, description, and registration of the worlds that make up dementias. Through the juxtaposi tion of drawings (developed by me and by Regina - diagnosed with Alzheimer's 10 years ago) and fragments of personal diaries (of Pedro, my interlocutor's only son, and main caregiver), I highlight experiences and perceptions about the disease and the transformations operated on her subjectivity, memory, and relationship with the domestic environment.

In the illustrations and collages, I present, objects and landscapes that integrate Regina's life (cars, houses, fruits, bags, clothes, trips) are de composed and intertwined with fabrications and twists on the real. The fragments of Pedro's diaries, written between 2012 and 2014, establish a relationship of complementarity or rupture with the illustrations and graphics produced by me and Regina between 2020 and 2022. In many of the works, a certain effect of incoherence or between-temporality be tween the graphic elements was intentionally sought. From this contra diction, I try to highlight how Regina seems to defy the medical progno ses and the past expectations of her son, (re)sewing a new life with and despite the disease. Today she is the one who wakes me up, who shows me the time... “Look, it's ten to seven, hum. Aren't you going to get up? She asks for her medication...She knows all the saints' days in the calendar” (Igor, in an interview at the end of 2021).

From this work of observation, dialogue, and participatory practice with the people with whom I conduct research (INGOLD, 2021), I hope to open new paths of decentralization and expansion of the writing process (through a collective and imaginative construction, within its possibili ties). If the disease reorganizes borders and multiplies itself by interstitial space-time (CRAPANZANO, 2005), I experiment in this essay also to slide between documentation and imagination, between past and present, be tween inside and outside, between self and other.

MINIBIOGRAPHY

BÁRBARA ROSSIN a Master's and is a Ph.D. candidate in Social Anthropology at the Federal University of Rio de Janeiro (PPGAS/Museu Nacional). She has a degree in Social Sciences from the same institution and is a mem ber of the Laboratory of Ethnographies and Knowledge Interfaces (LEIC/ UFRJ). She has research experience in the areas of Anthropology of Law, Anthropology of Death, and Anthropology of Health, with emphasis on the following themes: dementia, time, materialities, memory, death, and emotions. In recent years, she has made drawing a small refuge for her bouts of anxiety and paralysis with formal writing.

TAQUARA DE TABAJARAS: CONSTRUCTIONS AND RECONSTRUCTIONS ANDREY MORAES AND ESTER PAIXÃO CORRÊA

HONORABLE MENTION DRAWING

ABSTRACT

This work is a narrative drawn on the ways of life and organization of the Nova Conquista Taquara Village of the Tabajaras of Paraíba. It was built in the format of a fanzine from im ages and information dialogued with an indig enous person from the community: Paulinho Tabajaras. The narrative tells about the con struction and renovation activities in the vil lage, based on collective work through plant ing, harvesting, fishing, and other aspects.

PRESENTATION OF THE WORK

A village of the Tabajara people, located on the southern coast of Paraíba, is the place which this narrative in fanzine format is about, which aims to portray the ways of life and form of organization of the Tabajaras of the Nova Conquista Taquara village. Using drawing as language, we built a narrative in a pocketbook with a paper folding system. It is folded in half horizontally and has four folds vertically, total ing 15 mini pages, including the cover and back cover. Hand-drawn, this narrative deals with the activities of fishing, planting, and refor estation, among other aspects of community life, built on the dialogue with the indigenous Paulinho Tabajara.

EXPANDED PRESENTATION

The indigenous peoples of the Northeast have been going through a long struggle for the right to their territory. In recent decades some indigenous peoples of the region have had their belonging recognized, expanding the pro cesses of ethnic (re)emergence. The Tabajaras of Paraíba is actively fighting for their territory and the maintenance of their forms of community organization, considering their ways of doing things, using resources from the surrounding environment, making alliances with researchers and other indigenous people, defending their cosmologies, such as the Toré, their graphics, and strengthen ing the figure of a Chief.

The Taquara Village is recent; it has been under construction for five years. It took three years of work to prepare the land, which was difficult to tame since it was a bamboo plant, from which the name of the village “Taquara” originat ed. The construction of the hut, about two years ago, marked the habitation of the village. Today it has approximately 80 families living there, who are agents of construction and reconstruction of the village. In the community there is still no electricity and piped water, people still maintain traditional practic es and a sense of collectivity. The construction of the central hut and the re forms it underwent was a collective process, of collective construction, as is fishing, community farming, and the replanting of native species. The organi zation of the village is based on the central figure of Chief Paulo, who manages the social and political demands of the community, inside and outside the vil lage, such as political activism, which is a constant agenda in the village's ac tions. Understanding these new forms of organization is important for anthro pological knowledge.

One of the possibilities of translating anthropological knowledge into lan guages other than textual is using drawing. For this reason, we chose a visu al narrative that puts drawing and anthropology in dialogue, through a popu lar and accessible language like the fanzine (or pocket booklet). Aina Azevedo inspired us to overcome the paralyzing effect of the fear of marginalization, when she shows the historical and contemporary convergences between drawing and visual anthropology, and encourages anthropologists to use drawing in their field research processes.

Understanding the importance of drawing in anthropological research and the various possibilities of executing it, the result of this image re search in the format of a fanzine is a partial perspective of a research pro cess that is underway with the Tabajaras. But above all, it intends to cir culate aspects of the identity of the Tabajaras of Taquara, to strengthen their ways of existing. We intend this production to return to the commu nity, so that it can be distributed among the people, in a way that they can feel represented positively.

Using the language of drawing is an attempt to narrate how the strug gle for territory, the cultivation of traditional ways of life, and ancestral knowledge, in short, the various forms of organization of the Tabajara peo ples are culturally relevant, because they are part of a process of change and transformation within the historical claim for land rights.

MINIBIOGRAPHY

ANDREY REGY PEREIRA MORAES is an undergraduate student in Anthropology at the Federal University of Paraíba, Campus IV Rio Tinto. He is an Amazonian visual artist who was born in Santa Isabel do Pará. He is a designer, sculptor, painter, and muralist, accumulating knowledge for over 30 years of work in the artistic scene of Pará, as well as in the states of Amazonas, Rio Grande do Norte, Paraíba, and other locations. He is in terested in research in the area of visual anthropology, focusing on ethno graphic drawing in different styles. Besides several works as an artist, he has drawings in ethnographic contexts such as illustrations for a doctoral thesis and illustrations for the cover of an academic journal.

ESTER PAIXÃO CORRÊA was born in a town in the state of Pará, in Tatuaia community. She holds a Master´s in Social Anthropology at the Federal University of Pará and is a Ph.D. candidate in the Social Anthropology Program at the Federal University of Rio Grande do Norte. She is a travel er, writer, photographer, researcher, and artisan, she has published essays, articles, and visual essays in books and academic journals in the field of Anthropology and Art. She researches women, feminism, blackness, an cestry, popular culture, and women travelers. Currently, she is a partici pant in @coletivafeminart, with whom she has developed research on ru ral ancestralities in the Amazon, she is a writer on the blog medium.com/ ikamiabaviajante, and develops academic research on women who back pack through South America.

ETHNOGRAPHIC TRANSFIGURATIONS: FIELD NOTEBOOKS WITH “MINUTE DRAWINGS” MADE IN JURY COURTS IN FRANCE ANA LÚCIA PASTORE SCHRITZMEYER

Every head a sentence. 10/12/2019, 3 pm, Room G, Palace of Justice, Poitiers. Case 16, FN.7, pp. 128-129 (28.0 x 4.0 cm)

ABSTRACT

My field of research in French Jury courts started on 01/2013 and ended on 02/2019. From it resulted in 9 field notebooks with 161 drawings. To select only 10 made in the last 6 years, I considered 5 notebooks (2016 to 2019) with 104 drawings. I pre-selected 29, then 16, and finally came up with 10 that rep resent the 5 types of drawings I did the most: objects (2), sketch-environment (1), groups of people (2), and isolated people (5).

I chose the “Witness Portal” for the opening (D.1) because I was an ethnographer-witness to these rituals of judgments. The drawing was made during a quick break, and I present it, as well as the others, along with texts that show what my field notebooks are like.

The clock, whose hands did not move, “Time suspended and intense” (D.2), I also drew during a pause in which I thought about the many lives narrated, reinvented, evaluated, and decided in a time of suspension, intensi fication, and transfiguration of everyday life.

“The plenary, from above and far” (D.3) is the first drawing in which people appear, though undefined. I sketched the environment and the view I had sitting next to the prosecutor.

When I did D.4, “The plenary, from the middle and close”, I was behind people from the au dience. Another perspective, other percep tions, other ethnographic registers.

In the drawing “Each head, one sentence” (D.5), which occupies the footer of two pages, I tried to capture something of the enigmatic thoughts and emotions of each juror.

The final 5 drawings exemplify, in rapid strokes, what I absorbed from the complexity of some people and situations, like the “Mother-Africa (of the ac cused)” who, with her colorful clothes, deep voice, and strong accent dominat ed the scene while testifying in favor of her son, accused of causing a car acci dent and killing policemen (D.6).

“The defender who drew” (D.7) served in more than one trial that I followed and, when interviewing him, he told me that, like me, he organized his ideas better while drawing.

“The defendant's brave companion” (D.8), with her pink hair, was especially forceful when she spoke up for her companion of almost 4 decades, accused of harassing and raping nieces and acquaintances.

“The embarrassed witness (the accused's ex-girlfriend)” stated, with timidity and pain, the reasons that led her from passion to the conclusion that the ac cused of raping and killing another woman was concealing feelings and ma nipulating her (D.9).

Finally, the set of 10 drawings ends with “A presiding judge” (D.10), a profes sional who declares the trial concluded after reading the sentence and who, during it, occupies the center of the scene, always wearing a red toga and white lapel with black spots indicating his hierarchical position.

PRESENTATION OF THE WORK

The 10 selected drawings, made with BIC pen on paper, integrate a set of 104 distributed over 5 field notebooks filled between 2016 and 2019 during 12 trials by the Jury Courts of Paris and Poitiers. This is the 2nd half of my field research, which started in 2013, for the process of associate professor thesis in the anthropology of law, in which I analyze, compara tively, rituals of the Juries of Brazil and France. I kept the drawings with out retouching, as made, in seconds or minutes, during the trials. In times when tablets and cell phones have become field notebooks, I continue us ing sheets of paper, because in them I find the best support for ethnogra phy and anthropology.

EXPANDED PRESENTATION

On the eve of starting my undergraduate degree in social sciences, in 1981 and 1982, I took drawing courses at Escola Panamericana de Arte (EPA) and, 22 years later, in 2004, I surrendered to a course offered by Museu de Arte Moderna de São Paulo (MAM-SP), especially remarkable for its class es with live models and the “minute drawing” technique. The models, al ways naked, young and old, stayed in a given position for only one minute, during which time we had to transport them to the paper. The wise advice was: don't look at the paper, look at the model. I think this is a good meta phor for what matters most when we ethnography.

I drew a lot during my doctorate in social anthropology, between 1997 and 2001, in Jury Courts in the city of São Paulo, but it was after the course at MAM-SP that I started to draw more and more in the field, and when I recently discovered the works of Karina Kuschnir and her and her in terlocutors, I recognized myself as a member of this powerful group of anthropologist-designers.

I definitely ethnography more and better when I observe and draw on sheets of paper at the same time. Besides the strokes that graphite or ink register when no type of verbalization gives an account of ideas and emo tions, I consider that letters are also drawings, as well as orthographic and punctuation marks, sentences registered horizontally, vertically, oblique ly, abbreviations, arrows, and lines that underline, surround, and erase.

This is how my field notebooks are, lined or not, with white, yellowish, or gray ish pages: full of drawings of objects, environments, people, and words that, with the same force with which they gushed out from the world, bring me back to it whenever I revisit them.

I draw, besides writing, when I consider that words do not reach the register of certain affections, such as the textures and contextures of facial and body expressions, of human and non-human silhouettes, of the magnetism of ob jects and environments. Ethnographic drawings, for me, are not mere illus trations, nor do I make “court drawings”, a specialty that takes designers to rooms where photos and filming are forbidden. In France, I saw several young students practicing this kind of drawing, and while they stopped at one page, I filled several pages in my field notebook. Although, later on, I could technical ly improve my drawings, I never did it, because I understand that it would be a kind of self-betrayal to change my traces out of the context that created them, so much so that I don't know what gives me more pleasure, if the act of draw ing or, afterward, the surprise at what has emerged and remained on the paper.

The 10 drawings selected for this Award are part of a set made up of 161 distrib uted in 9 field notebooks: approximately 1,100 pages, filled between 2013 and 2019 during 22 trials by Jury Courts watched in France (Douai, Paris, Lyon, and Poitiers). This is the field research that underpins the process of associate pro fessor thesis in the anthropology of law, in which I analyze, comparatively, ritu al aspects of Juries there and here. As the Call of the Prize, in its item X.1.c stip ulates that the work must have been done in the last 6 years, as of the date of the RBA in which it will be conferred, I discarded the first 4 booklets (57 draw ings from 10 trials, in Douai, Paris, and Lyon, between 01/2013 and 12/2015) and considered the last 5 (104 drawings from 12 trials, in Paris and Poitiers, be tween 11/2016 and 02/2019).

To select only 10 and to decide whether to leave, totally or partially, the texts in the middle of which the drawings were registered, I pre-selected 29 and clas sified them according to 5 categories: objects, sketches, environments, groups of people, and isolated people. I scanned and printed 16, to better visualize

them as a set and, finally, I arrived at 10 and at an ordered narrative that starts with 2 objects, goes to 1 sketch environment, and goes to 2 groups of people and 5 isolated people (I detail this order in the “Presentation”).

In times when tablets and cell phones have become field notebooks, and when most people barely know what their handwriting looks like, nor even think of drawing what they observe, I continue with my sheets of pa per, for in them I find the best support for ethnography and anthropolo gy. Exposing them, publicly, is a bit uncomfortable and challenging, but I hope to contribute to reflections on the potentialities of ethnographic do ing with “minute drawings.”

MINIBIOGRAPHY

ANA LÚCIA PASTORE SCHRITZMEYER is professor in the Department of Anthropology and the Graduate Program in Social Anthropology at USP, where she leads the Núcleo de Antropologia do Direito (Anthropology of Law Center) (NADIR). She holds a BA in Social Sciences and Law and a MA and Ph.D. in Social Anthropology from USP. She works in the field of an thropology of law, researching and guiding studies on jury trials, juris prudence, narratives of violence, human rights, legal professionals and professions, criminal justice systems, and criminology. She is a CNPq (National Council for Scientific and Technological Development) Research Productivity Scholar, Level 2, and coordinator of the Research Ethics Committee of FFLCH-USP.

“FLASHES OF MEMORY ”: BETWEEN LIFELINES AND ALZHEIMER'S DISEASE FLÁVIA MARIA SILVA RIETH

2ND PLACE DRAWING

ABSTRACT

In this montage of drawings and images from magazines (Projeto Antropoéticas/ UFPEL) I propose the feeling-thinking experience of life and death of my mother with Alzheimer's disease. I reflect on the processes of forgetfulness-memo ry, imagination-hallucination, con sidering the learnings between generations, highlighting those of affiliation. I follow Tim Ingold (2020) to think about affiliation relations, not as fixed lines, but as an entan glement of lifelines, relating to gen erations and environments.

PRESENTATION OF THE WORK

This montage of drawings and images from magazines was elaborat ed as an exercise during the extension project Anthropoetics, of the Bachelor in Anthropology at the Federal University of Pelotas, in the event “Photographs and Images of Horror”. I propose the feeling-thinking expe rience of life and death of my mother with Alzheimer's disease, in an ad vanced stage. The care is palliative, in-home care. I reflect on the processes of forgetfulness-memory, imagination, and hallucination, considering the learning between generations, highlighting the filial relationships. In this sense, I follow Tim Ingold's (2020) perspective to think about affiliation re lations, not as fixed lines, but presupposing a tangle of lifelines, relating to generations and environments.

EXPANDED PRESENTATION

In this montage with drawings and images from magazines, I present the proposition of feeling-thinking (Escobar, 2016) the experience of life and death of my mother who is suffering from Alzheimer's disease. Not very re sponsive, she surprises us in some moments when she thanks us for our ex pressions of affection, remembers her name or her daughters' and son's names in an elusive way, does not recognize the house as hers, and says she is leaving.

In dealing with memory trails in the Alzheimer's disease process, Feriani (2017) discusses the tangled relationships between remembering and for getting, imagination and hallucination, youth and old age, and normal and pathological. The person's complaint about coming home or want ing to leave, associated with disorientation both temporal and spatial, the non-recognition of relatives, the house, or even the city between the folds of appearing and disappearing:

“(...) Alzheimer's disease, marked by vulnerability, dissolution, and con fusion, is itself a tangle of knowledge and practical relationships, a mix

between the organic and inorganic, dementia and lucidity, in trans versality that one does not know where one begins and the other ends.” (p.556)

In my mother's recollections, she often remembered her childhood in São Gabriel, and events experienced in her family of origin that were written in her notebooks. At the time, the writing exercises were a ther apy to slow down the progression of the disease; they are fragments of knowledge passed on from generation to generation:

“I was born in São Gabriel in 1926, it is a town not too big, not too small, it lives on livestock and plantations, mainly rice. Our house was large, with a garden, grapevine, vegetable garden, and fruit trees. Next to our house, we had a store with building materials and a shed for plac ing wood. At the end of the shed, there was a stable with a cow, a calf, and a horse for pulling a cart. This was used to transport materials from the warehouse.

In the same block, a little further on was the large warehouse, with wood, lime, alfalfa, sand, etc... We had everything from glass to hard ware. And there I got used to seeing my father working the counter, making putty, even the hinges and locks could be bought there.

When I was six years old I started to attend Colégio Elementar, which was located on the next block from our house [...] When my father passed away, we moved to Porto Alegre (...)” (Speaking of Myself, p.16)

I did not know São Gabriel and decided to take a trip, following the trac es of my mother's memory. My grandparents' house was demolished and a furniture store was built on the site. The house of one of my moth er's aunts, my grandmother's sister, remains and serves as a reference for me to follow the paths of my childhood: the walks to the square, the way to school. Many old houses are preserved in São Gabriel, allowing me to imagine the place at that time.

Back, I told her that I had visited São Gabriel. At this moment she tells me that she was born in that city, that she lived there with her family until her father passed away, but that today São Gabriel no longer has anything to do with her.

In these traces of memory that fold and unfold in a time that is not linear, it occurs, according to Feriani, flashes of consciousness, which allow us dif ferent accesses to the past, to the polysemy of memory that is also plotted by the imagination.

Based on Ingold, I reflect on the genealogical model in which the line of affiliation is vertically fixed, not being a lifeline because the generation al relations and the inheritances are also fixed. The relationship with the environment is not contemplated due to biological imperatives. From this perspective, the transmission of inheritances is fixed in the fallacy that in formation must “pre-exist the processes that give rise to it” (p. 25).

In this sense, taking the processes of life and death as a tangle of threads, generational learning can alter these designs. They are happenings that in vent other lives, enabling openness to change.

REFERENCES

ESCOBAR, Arturo. Sentipensar con la Tierra: Las Luchas Territoriales y la Dimensión Ontológica de las Epistemologías del Sur. Revista de Antropología Iberoamerica. Volumen 11, número 1, enero- abril, Madrid, 2016.

FERIANI, Daniela. Rastros da memória na doença de Alzheimer: entre a invenção e a alucinação. Revista de Antropologia (Online) São Paulo: USP, 2017 v.60 n.2 p. 532 - 561.

INGOLD, Tim. Antropologia e/como Educação. Petrópolis, RJ: Vozes, 2020.

RIETH, Yedda M. S. Falando de mim. Pelotas, 2016 (mimeo)

MINIBIOGRAPHY

FLÁVIA MARIA SILVA RIETH I work as a professor in the Bachelor's Degree in Anthropology and the Postgraduate Degree in Anthropology (PPGANT) at the Federal University of Pelotas (Ufpel) and, as a researcher in the Urban Ethnographic Studies Group (Geeur). I participate in the Extension Project Anthropoetics, linked to the Laboratory of Teaching, Research, and Production in Anthropology of Image and Sound (LEPPAIS). I devel op works in the areas of heritage, environment, family and kinship, and graphic diaries.

The first drawing belongs to the story "The door ajar". Using the initial scene as north, the drawing represents and expresses climatic, spatial, cultural identity, and architectural aspects: the boiling kettle, the wind coming in through the door, and the colonial and neoclassical style windows (very present in the houses and mansions in Rio de Janeiro in the beginning and middle of the 20th century, the time Lima Barreto lived).

ALL WE HAVE IS US: ILLUSTRATING ETHNICRACIAL RELATIONSHIPS

OSMAR SANTOS, OSMAR SANTOS DO NASCIMENTO JUNIOR (ILLUSTRATOR)

TAMIRIS PEREIRA RIZZO (RESEARCHER) ALEXANDRE BRASIL CARVALHO DA FONSECA (ADVISOR)

ABSTRACT

The work portrays racial-ethnic narratives in a contemporary context. One of the strategies used in the work to portray these relations was the presentation of short stories and illustrations, sometimes based on, sometimes inspired by real facts. The illustrations assume an important role in the mnemonic and sensitive register of each reader. As inspiration for the drawings, besides the stories themselves, the theme “ethnic-racial relations” played an important role in uniting and sewing these stories together.

PRESENTATION OF THE WORK

The work portrays the importance of the Black Movement as the main col lective educator in ethnic-racial relations in Brazil. One of the strategies used in the work to portray these relations was the presentation of short stories. Three narratives were constructed and presented. Illustration entered the work to materialize in the reader's mind graphic possibilities and characteris tics present in each story. This materialization has an important function in the mnemonic and sensitive register of each reader.

As an inspiration for making the drawings, besides the stories themselves, the theme of ethnic-racial relations played an important role in uniting and sew ing these stories together.

EXPANDED PRESENTATION

The illustrations are part of the thesis entitled “All we have is us: places of blackness and political-pedagogical practices in black collectives at uni versity” presented in 2021 in the Education in Science and Health Program at Instituto Nutes at Universidade Federal do Rio de Janeiro (UFRJ).

The research is supported by the theory of Gomes (2017), which recogniz es the Black Movement as the main collective educator of ethnic-racial re lations in Brazil, aimed to identify how the Black movement becomes a collective educator of ethnic-racial relations in a university and, what are their main educational actions and political-pedagogical strategies.

The research used the theoretical-methodological orientation of activ ist research by Hale et al. (2008) and the theoretical framework of art-in formed methodologies by Coles and Knowles (2008). Thus, the study had an exploratory phase that sought to map the black collectives active at UFRJ and a deepening stage of ethnographic character, supported by the contributions of Carvalho (2008) and Nascimento (2019), with the Black Collective Virginia Leone Bicudo in the Psychology course.

The results of the thesis are presented in six chapters. The initial trilogy maps the performance of black collectives at UFRJ, based on a poem by an activist and the composition of an image gallery. The ethnographic work with the Coletivo Preto Virgínia Leone Bicudo resulted in the elaboration of the other chapters, each one preceded by literary tales whose illustra tions were submitted to the I Pierre Verger Award for Drawing.

Among the results, we identify three common movements that black sub jects make in the university socio-spatial formation: they start from be ing adrift, land near the quilombo, and, finally, accommodate existences and produce knowledge. Supported by Santos (2001) we support the the sis of the places of blackness as a forming matrix of this movement, giv ing foundation and conferring specificity to the identity, political, and aes thetic-corporeal knowledge of Gomes (2017).

Subsidized by Freire (2019) and Nascimento (2019), we identify the main educational practices of the Coletivo Preto Virgínia Leone Bicudo, un derstood as cultural actions for typically Afro-Brazilian freedom. The an thropological work with the group allowed us to observe how the collec tive feeds these actions absorbing from the axes present in the places of

negritude subsidies to conform to its political-pedagogical strategies, namely, the pairs spirituality-corporality; memory-language; circularity-brotherhood that relate interdependently through dialogic.

This study locates the production of new knowledge by black collectives at uni versity and highlights the need for the adoption of epistemic quotas in the uni versity, as proposed by Carvalho (2018). Moreover, it reinforces the urgency of the elaboration of a specific university and cultural policies in our universities.

REFERÊNCIAS

CARVALHO, José Jorge. Encontro de Saberes e descolonização: para uma refundação étnica, racial e epistêmica das universidades brasileiras. In: BERNARDINO-COSTA, Joaze; MALDONADO TORRES, Nelson; GROSFOGUEL, Ramón (orgs.). Decolonialidade e pensamento afrodiaspórico. 1. ed. Belo Horizonte: Autentica, 2018. p. 90-120.

COLES, Ardra L.; KNOWLES, J. Gary. Arts-Informed Research. In: KNOWLES, J. Gary; COLE, Ardra L. (orgs.). Handbook of the arts in qualitative research: perspectives, methodologies, examples, and issues. Los Angeles: Sage Publications, 2008. p. 55-70.

FREIRE, Paulo. Pedagogia do Oprimido. 69ª. Rio de Janeiro/ São Paulo: Editora Paz e Terra, 2019.

GOMES, Nilma Lino. O movimento negro educador: saberes construídos nas lutas por emancipação. Petrópolis: Editora Vozes, 2017.

HALE, Charles R. (Org.). Engaging contradictions: theory, politics, and methods of activist scholarship. Berkeley: University of California Press, 2008 (Global, area, and international archive). Disponível em: https://es cholarship.org/uc/item/7z63n6xr. Acesso em: 24 ago. 2021.

NASCIMENTO, Abdias do; KABENGELE MUNANGA; NASCIMENTO, Elisa Larkin; NASCIMENTO, Valdecir. O quilombismo: documentos de uma mil itância pan-africanista. 3a edição, revista. [Rio de Janeiro, Brazil] : São Paulo, SP, Brasil: IPEAFRO   Perspectiva, 2019.

SANTOS, Mílton. Por uma outra globalização: do pensamento único à con sciência universal. 6ª. Rio de Janeiro: Editora Record, 2001.

MINIBIOGRAPHY

OSMAR SANTOS is a student of Architecture and Urbanism at UFRJ and works as an urban sketcher, revealing through drawings the trac es of the city.

TAMIRIS PEREIRA RIZZO is a Nutritionist, she holds a Master's in Public Health from the Federal University of São Paulo (UNIFESP), and a Ph.D. in Education in Science and Health from UFRJ.

ALEXANDRE BRASIL CARVALHO DA FONSECA is a Social Scientist and holds a Master's in Sociology and Anthropology from the Federal University of Rio de Janeiro (UFRJ), a Ph.D. in Sociology from the University of São Paulo (USP), and is currently Pro-Rector of Personnel at UFRJ.

“Work never ends and decrease”.

THE STRAW TAKE DOWN LUCAS COELHO PEREIRA, 2021

PRESENTATION OF THE WORK

In the extreme northern region, between the states of Piauí and Maranhão, winter is a rainy season. It happens from December to the end of June. Summer is dry. Pools and bogs created by waters of the previous season evaporate. Walking through previously flooded places become pos sible, then. It is when fishers and small farmers who reside in the Extractivism Reservation of Delta do Parnaíba organize themselves in groups to cut down carnaúba (Copernicia prunifera) leaves. The powder of this vegetal creates a wax that is valuable in the production of lubricants, cosmetics, and some industrial artifacts. To ob tain it, however, it is necessary to get tangled amidst the carnaúba trees and educate one’s at tention to the sickles and machetes.

EXPANDED PRESENTATION

This is Carnaúba: it appears everywhere. It is dif ficult to disagree by walking across Delta do Rio Parnaíba. The carnaúba tree is present next to the houses’ doors and backyards, on the river’s margins, on the sidewalks of public buildings, on the curbing of avenues. Some calls it the tree of life, because one can take advantage of ev ery part of this tree. From the roots, medicine is made; with the stem, furniture, fences, and hous es. The straws are highly appreciated in the hand icraft of baskets, hammocks, rugs, and whatever creativity allows. They even provide the raw ma terial for producing candles, microchips, wax,

cosmetics, and lubricant products. But before that, obviously, their leaves must be cut down from the top of the trees’ crowns. This is the process I will narrate through images.

Though highly present in the northeastern semiarid region, it is in the car naúba trees where we can find several of them. Together. Lush! Measuring up to 20 meters. Their straws are collected using a sickle. In the Navy Extractivism Reservation of Delta do Parnaíba (the place where the pho to essay took place), the organization for this activity happens in teams. Teams of at least four men who carry out different works collect and pre pare the carnaúba leaf to be grinded in machines. This is the only way to obtain the powder through which derivative products will be produced. However, though the machine performs one of the main technical trans formations (Sautchuk, 2017) of this productive chain, it is only through handling the leaves by human hands that this becomes possible.

The photographic essay is based on my PhD research which was conducted through the Social Anthropology Graduate Program from the University of Brasília. It was 13 months living among ribeirinha communities from the Delta do Parnaíba, between 2018 and 2020. The objective of the thesis was addressing the catch of the uçá-crab in the region’s mangrove but follow ing the catchers in their daily activities took me to a wide set of practices that, articulated with the winter and summer seasons, it would constitute the means (Fagundes, 2019) experienced by my hosts. Thus, photography is used in the research to demonstrate how a collective extrativist practice articulates a set of techniques and lives, not just human, considering that during the straw take down it is necessary to deal with tools, plants, and the wind direction itself during the cut work.

Lelía, Assis, and Marcelo, the characters of this visual narrative, work with their hands when dealing with sickles, machetes, and other iron tools. Their hands bring together, split, cut, carry, and open the leaves. This does not mean that the entire body is not part of such abilities (Ingold, 2002).

Walking is required to access the carnaúbas. It means having a profound knowledge of the area, its terrain, the flooded areas, and the location of the carnaúba trees. Such knowledge is produced by the practical engage ment of people with their environment and life’s trajectories (Ingold, 2002, 2015). Those who invest in this work will also have to deal with the sun’s heat as one can only extract powder from the leaves when they have been scattered on the floor to be dried. Besides describing the gestures

made when collecting leaves, the photo essay thus shows the set of land scapes, plants, and more-than-human agents (Tsing, 2019) which are part of it. The photos are from the 2019 harvest.

REFERENCES

FAGUNDES, Guilherme Moura. 2019. Fogos gerais: transformações tecnop olíticas na conservação do cerrado. Tese (Programa de Pós-Graduação em Antropologia Social). Universidade de Brasília, Brasília, Brasil.

INGOLD, Tim. 2015. Estar Vivo: ensaios sobre movimento, conhecimento e de scrição. Petrópolis: Editora Vozes.

INGOLD, Tim. 2002. The perception of the environment: essays on livelihood, dwelling and skill. London: Routledge.

SAUTCHUK, Carlos Emanuel. (Org.). 2017. Técnica e transformação: perspecti vas antropológicas. Rio de Janeiro: ABA Publicações.

TSING, Anna. 2019. Viver nas Ruínas: paisagens multiespécies no antropoce no. Brasília: IEB Mil Folhas.

MINIBIOGRAPHY

LUCAS COELHO PEREIRA has a Master and PhD degree in Social Anthropology by University of Brasília, linked to the Laboratory of Anthropology of Science and Technique (LACT). He is a photographer and audiovisual performer. Some of his photographic works received an award by ANPOCS, and the Mariza Corrêa Award for Visual Anthropology. He conducts research in the field of hu man, plant, and animals’ relations; anthropology of practices; ecological an thropology and anthropology of fishing.

SÃO JOAQUIM FAIR, BAHIA LUCAS BARRETO DE SOUZA, 2022.

PRESENTATION OF THE WORK

The photographic essay is the result of a medium length anthropological research, and such research produced the master’s dissertation titled “Artifacts’ lives: Straw art/handicraft in the São Joaquim Fair in Salvador, Bahia,” virtually defended in August 2020. The relation with the place was previously initiated in 2010, through a “photographic walk”, and in 2014, in the context of a PIBIC research involving photography and ethnography of sound, “Anthropological sights and listening re garding the Baía de Todos os Santos [AllSaints Bay]”. The photos compounding the essay were taken between January and February 2022 in collaboration with stallholders and attendees.

EXPANDED PRESENTATION

The straw is a type of material that has a great expression in the most dif ferent spaces in the São Joaquim Fair, in Bahia. It is part of countless ob jects with the most different kinds of use: different types of straws are part of a number of products for sale or in use. The straw artifacts which, through their life lines, appear in this fair, are immersed in continuous pro cesses of social interaction, and tangled, involved in a huge web of social relations (or even in an actual tangle), through which they enforce their agency power, influence human actions, at the same time they are recip ients of the effects of the human actions. The social life of the straw arti facts in the São Joaquim Fair, in Bahia, is the most important point that this work seeks to address. Through images, from a biographic approach, we have included in the narrative aspects of the handicraft’s arts, espe cially in the circulation phase (among the other phases: production and re ception/use): the essay addresses, with emphasis, the circulation phase of the social life of this straw handicraft found in São Joaquim. The eth nography of sound is an ally in this research when addressing the things that are part of the Fair’s corpus, together with the stallholders and their crafts, the attendees, clients, consumers, bystanders, tourists, artists, and curious people passing through this huge, intense, intriguing, and tra ditional street fair in the city of Salvador. We propose an incursion atten tive to the sounds of the fair’s space as much as to the images, the rea son through which photography, an important mediator between art and science, is emphasized in the image’s chronicles that visually present the fair in the margins of the Baía de Todos os Santos, the inner part of the fair and, namely, the straw handicraft that is the focus of this research. We also emphasize features like the race/ethnicity configuration of the people who pass through that space, and the work of vendors and transportation workers (those who carry boards and carts).

The use of photography and the capture of sounds in consonance with the research interests helps locate in the micro and macro analytics, or sys temic, the researcher and the reader in the course of the narrative, besides entering in a set of relations involving things, the camera, the researcher, the research, and the reader, beyond the captured images and sounds. An ethical dimension should be thought when proposing the use of audiovi sual tools in anthropological research. It is of great importance to adopt a strictly ethical and empathetic posture with the participants in process es involving the capture of images and sounds in a field research: people should be aware they are being recorded, filmed, and/or photographed,

they should agree with it and know their image rights, as well as be aware of the necessity of eventually signing a terms of agreement, if necessary, to pub lish the material in specific media. Photos also are part of the research corpus, more than just a methodological tool, it is an important mediator.

MINIBIOGRAPHY

LUCAS BARRETO DE SOUZA from Salvador, Bahia. The author started learn ing photography in 2010 through a professional course in the SENAC-BA; in 2012 in the FACOM/UFBA (extension), and shooting direction in the workshop Curta Colaborativo, in the UFBA [Federal University of Bahia]. He has an un dergraduate and master’s degree by the same university conferred in 2017 and 2020, respectively. He is currently a PhD candidate in social anthropolo gy in the UFRGS [Federal University of Rio Grande do Sul]. Some of his main publications are a photographic essay in Ponto Urbe (NAU/USP), Iluminuras (BIEV/UFRGS), Cadernos Cajuína (IF-Sertão-PE); some of the participations are the 6th Anthropology Equatorial Meeting (REA), as exhibitor, IV Visual Anthropology Meeting of the Amazonian America (IV EAVAAM); collective: CAV/CULT/UFBA, and CINES/UFBA.

UNFRAMING: SANTOME PORTRAITS EMILIANO DANTAS, 2021.

3RD PLACE PHOTOGRAPHIC ESSAY

PRESENTATION OF THE WORK

The photos presented in this work are the result of my PhD research. In this project, I develop my visual narrative between Art and Anthropology, Photography, Sewing, and Bookbinding. Here, I come up with the meeting I believe: we have con structed the expertise through knowledge and abilities. These photos are part of a book that is coherent with the choices I made throughout my long trajectory as a photographer and an thropologist, besides my critical position with the colonial systems. I have been taking photos of vegetable plots for many years, and in this long period, I have been publishing people who stay at these places and how they develop emic categories to explain their world.

EXPANDED PRESENTATION

The photos’ narratives are part of the book that begins in the São Tomé Island. This island is located in the Atlantic Ocean, in the Guinea gulf, in the Equator line, more or less 300 km from the African west coast. Similarly, to the south of Bahia, in Brazil, São Tomé is one of the few places in the world where the cocoa cultivation Is one of the main economic activities ruling the cultural configuration and social organization. In these two places, the existence of cocoa (and coffee in São Tomé) vegetable plots generates a unique way of relating to the earth, the work, housing, distribution of chores, and so on. This is the context I have been studying throughout the construction of my trajectory as a researcher.

The vegetable plots, or the farms of São Tomé have initiated Portugal’s imperialist project of imposing plantation societies, product of the Portuguese colonization. The colonies’ organization was made through dividing the invaded lands, and implementing the sugarcane culture, us ing slavery. This is a process I considered to be as the invasion of the lands and bodies, aiming riches through cultivating food that was not a neces sity in Europe, but luxury products from distant places, focused on the commerce such as sugar, coffee, cotton, and cocoa. The colonization, by inserting new products in the European market, reconfigures the rela tion between the production and consumption, historically transforming the social and economic bases by changing the meaning of work and the idea of person.

In this period, which lasted from the 16th to the 19th centuries, Black peo ple were seen as “paper-men”, objectified as productive unities. In short, the work in the colonies were diversified by the production in large scale, dehumanization, and invasions that laid the basis for Modernity and the Industrial Revolution.

The social economic transformations in the Industrial Revolution peri od have reflected in the bodies that faced the adaptation from manu al labor to mechanizations, the so-called developing world would then lose the respect for physical labor and would value the inputs applied by non-human energies.

If the act of creating and thinking things made by the artisan had changed due to the machine’s interference, the work of enslaved people had also changed with the servitude in the colonial companies. The colonial

production jeopardized a huge part of the manual activity in favor of the con sumption of industrialized products within a capitalist economic system that projected itself through contemporaneity and kept valuing technology and mechanization as symbols for development and progress.

If mechanization has decreased the number of the handicraft factories of pa per, books, inks, and printings, and if, on the one hand, books are symbolical ly considered to be knowledge, to make a book through handicraft is produc ing through the investment in knowledge, in competences that enlarge the multiplicities of spellings. The art, handicraft work, contesting this mechani zation, enlarges the models preestablished by software and printing shops to a huge open field of alternatives for using tools and materials. I started from such opposite direction of the publication run by the printing machines in in dustrial papers, and I propose the handicraft work that develops knowledge and expertise.

Thus, every material was thought from its genesis, including the ink support, glue, and everything else, not the cellulose paper, but the cotton one, which I considered to be the bone marrow, what would embody the work. This would be is due to the fact, in the first place, that it was in the cotton plantations, in 1961, in the province of Malanje, Angola, where a riot and violence wave were unleashed and signalized the beginning of the end of the Portuguese colo nization, when the colonized refused to work in Cotonang (Angola Cotton Company). If the cotton workers marked the history of resistance against the capitalist industrial practices of abusing people and lands, electing cotton as paper for narrative support made me think of the book as an experience capa ble of relating the material with the social past.

MINIBIOGRAPHY

EMILIANO FERREIRA DANTAS has a PhD in Anthropology by Instituto Universitário de Lisboa/ISCTE-IUL, Master’s degree in Anthropology by Federal University of Pernambuco/UFPE, and undergraduate degree in Social Communication with major in photography by Faculdades Integradas Barros Melo/AESO. He is member of the Audiovisual Laboratory of CRIA-ISCTE. He re searches and create photos in São Tomé, Angola, and Cabo Verde.

INTERACTIONS AND CROSSROADS IN THE EXHIBITION “AFRICAN SPIRITS” OF SAMUEL FOSSO: STREET AS ART GALLERY THAIANE BARBOSA DA SILVA, 2021.

PRESENTATION OF THE WORK

These photos show the street as an art gallery, a place of meetings and support for new representations. With the images we can observe the process of inter action present among the passersby and the photo graphic exhibition. An exercise of occupying spaces and producing black (black bodies) representations in the ghettos of Paris.

EXPANDED PRESENTATION

Walking on the streets of Paris is to face the most fa mous phrase known all over the world: Liberté, égal ité et fraternité. However, to understand better the dynamics of this city, it is necessary to look at what happens through the breaches of this officially nar rated history, such history that permeates the social imaginary about the country and its residents, but that has also a physical dimension materialized in the façades of some historical buildings in the city.

Walking through Paris’ downtown and through Saint Denis’ streets (city located in the outlying ghettos of Paris), I could realize the visible difference. In the first day walking in Saint Denis, I saw several Black people, besides Muslim women with their burqas. A friend who invited me to his house told me the neighborhood is considered dangerous. He said with these words “if you say you are staying in Saint Denis for someone who lives in Paris, they will say here is dangerous.”

What makes Saint Denis a dangerous place, but not Paris? What rep resents the danger in such places? Perhaps some specific social groups are not seen as the égalité promise?

In Brazil, people who live in the outlying ghettos and slums are also con sidered dangerous, because of their color and social class. As they are seen as something that need to be fought and extirpated from society, that are considered a police case, crime agents, and in some time ago they were portrayed as the germs of social promiscuity.

The stigma that falls on such groups is part of what Bourdieu has defined as stigma of place, but it is not restricted just to the geographical dispo sition of the neighborhood or location, this stigma also falls on their res idents who try really hard to defend themselves against the accusations made against them, sometimes looking for the production of a new nar rative of their stories or, in other moments, trying to get rid of these stig mas by accusing other integrant of their own social group, once we have seen that both the ghettos and the slums are not homogeneous as they are portrayed by mass media. From this argument, important questions were made: Who are the bodies that walks through the city of Paris? Who, in majority, inhabits the city? Is there a racial, ethnic, or social divi sion in the Paris’ neighborhoods? Which bodies, in majority, occupy the city’s ghettos?

The thesis I am writing has something to do with this story I am trying to tell you. And maybe it manages to bring Brazil and France closer, very dif ferent countries, but with certain similarities, specially concerning those who are described in their society as the different/others, being those who carry the label of living in the slums and all possible derivations, or those who are recognized by their ethnic or religious characteristics, which are far from the values of a republican French society that practices the era sure of those who consider themselves to be different of what is under stood as norm.

Looking the street as a smaller unit of the city allowed me to perceive which bodies inhabits their locations. In Social sciences, the street has been interpreted as an element of the urban space to be thought beyond its common functions. It has been thought as a category expressing a kind of social grammar. In this sense, the relations developed in the street’s space serves as a learning exercise about the urban life and its inhabitants.

Here, besides this “common” use, I call and propose that we can think the street as an “art gallery,” a place for meeting and representation, especially for the ghetto bodies who have in the exhibition the chance to know and un derstand themselves as a group artistically represented. Those images put un der the viaduct of the French ghetto mark the bodies of their “equal,” those who pass and somehow establish this dynamic of crossroads and interaction with the works. Those passersby look the photographed iconic characters and have the possibility of recognizing themselves, not a usual dynamic when we talk about massive art circles. How many Black bodies one can see represented inside the big museums? How many Black bodies are represented in the Louvre Museum? These are questions marking the street as transgression and the possibility of representation for the historically marginalized groups.

MINIBIOGRAPHY

THAIANE BARBOSA DA SILVA PhD candidate in Urban and Regional Planning by UFRJ [Federal University of Rio de Janeiro], photographer and shooting direc tor (AIC-RJ), social scientist (UERJ - State University of Rio de Janeiro), and au diovisual media manager (GMA). I have experience with social and documental photography. Simultaneously, I have been trying to develop authorial works that addresses the dialog between photography and audiovisual.

OUR BEINGS: NEW LINKS AND SPACES PABLO PINHEIRO, 2019

The portrait in Zé Leite’s house at his home (2019).

1ST PLACE PHOTOGRAPHIC ESSAY

PRESENTATION OF THE WORK

OUR BEINGS is a photographic essay about the figure of the northeastern cowboy, whose work is preserved in the region of Seridó, in the Rio Grande do Norte (RN). Seridó is usually portrayed by its dry weath er and thus it is a very difficult place to sur vive. This is the context in which the cowboy appears as a strong and resistant figure. The essay aims to think about the relation estab lished between the rural and urban, when the cowboy’s photo images are presented in the city’s walls using wheatpast. Finally, I try to understand how these images resist time and contribute to preserving memory and building a new image about the northeast ern region and the cowboy.

EXPANDED PRESENTATION

This essay is a product of a long field re search mixing personal curiosity with scien tific unfolding, the result of the interest of investigating the northeastern cowboy’s fig ure, who deals with their boss’ livestock us ing leather clothes as armor for their protec tion, known in the region as “gibão.” Though

they are present in several contexts related to the northeastern dry re gion, the sertão, they still rise questions, especially regarding their work in the contemporaneity.

In the state of RN, the cattle breeding has been transforming itself due to economic reasons imposed by the high productivity necessity; the farms have been changing the way they treat animals and their workers’ profile. The work of cowboy started to transform. However, the cowboy can still be found in the region of Seridó, in the northeastern Sertão. In the course of ten years, I have done several visits to Seridó to observe these cowboys, understand their work, and take photos. I wanted to contribute to preserv ing the cowboy’s memory.

Research born in 2010, in a very naive and personal way, but with a lot of dedication, has transformed with time, revealing knowledge, increas ing links, and transforming myself during the process. I learnt to listen more, understand better the different perspectives working at the same time, and strengthening communication through image (Coradini, L., 2019; Samain, E., 1995). In 2016, after receiving a request from my cow boy friend Zé Leite, I started to take photos to give to the cowboys them selves (Mauss, M., 2013). These photos were taken in black background with a specific light to highlight the figure and its details in a context of be ing an observer-participant like the classic models (Malinowski, B., 2018). As in a context of a shared and affection anthropology (Gama, F., 2016). Though not yet conscious of the anthropological practices, I was already in the field and empirically practicing such methods.

Photography allowed the construction of new links (Samain, E., 2018), producing dynamics for new readers and in new spaces. As I was doing the portraits, I realize I was also constructing a collection of cowboys’ imag es from the region of Seridó. Understanding the power of the images and the necessity for circulating them; in 2019 I chose to create an exhibition in a social network (Instagram) profile, and an experience in Natal with 60 photos in this profile, which would result in wheatpaste around the city, aiming to approximate the cowboy’s figure with the townsfolk, dealing with the thoughts that come from such image. The Instagram profile was then created (@e_n_t_e_s) for this experience in Natal, increasing the in teraction with the cowboys’ families, and a channel for circulating the im ages was established.

After an open call to Natal’s residents, inviting them to adopt an image to put in their houses, they become interested and established the places for putting the images. I started to call people who accepted the images Guardians, and then slowly a group of Guardians of Images appeared (all those who adopt ed the 60 images displayed for adoption). Throughout 2019, after the images were fixed, I started to take photos to register the effects of time and all pos sible interferences (Eckert, C. & Rocha, A. L. C. da., 2013). At every visit to the location to make the registry, I tried to talk with the Guardians. They were un pretentious talks, but they have given me tips of how the relation between the image, the environment, and their personal relation with everything was. An inevitable discovery with many layers and complex relations to understand.

By perceiving new questions about the image, how it could occupy the role of agency in the cowboy’s relations (Gell, A., 2018) and the possible links with the townsfolk, I realized that it was necessary to get close to Anthropology to bet ter understand the power of this relations provided by this action. I realized it was necessary to base the process in scientific anthropological theories and methods to better investigate and understand the results already obtained, or the sum with the upcoming results. The fact is that Anthropology would allow us to build a horizon capable of establishing a dialogue with the cowboys, the images, and the townsfolk.

MINIBIOGRAPHY

PABLO PINHEIRO born in São Paulo, lives in Parnamirim with the title of Acari’s citizen, father of a daughter, married, currently attending the Master’s course in Social Anthropology in UFRN [Federal University of Rio Grande do Norte], member of NAVIS/UFRN, he has an undergraduate degree in Social Communication, has coordinated the college course in Digital Communication/ Photography in UNIP (SP), then he has taught in UnP and Fanec, in Natal (RN). He works as a photographer, visual artist, and cultural producer. He is also in charge of the Publishing and Producing company Deu na Telha, and is one of the founders of Círculo da Imagem. National relevant awards: XIV Funarte Marc Ferrez Award for photography, 33rd Rodrigo Melo Franco de Andrade Award (IPHAN), and the COMIS/ANPOCS - Ana Galano Award (45th ANPOCS Annual Meeting).

2022

Teresa Légua incorporated in Mother Severina sings doctrines to João da Mata and Caboclo Roxo, evoking the enchanted guides of Francisco e Denise who appears in the back of the image with a body performance indicating the moment they are being “croados”, incorporated, by the enchanted

PHOTOGRAPHING THE INVISIBLE: TAMBOR DE MINA IN THE OPENING OF “SERVIÇO DE CROA,” IN THE TENDA NOSSA SENHORA DOS NAVEGANTES IN THE QUILOMBO SANTA ROSA DOS PRETOS, MARANHÃO JULIANA LOUREIRO, 2022.

HONORABLE MENTION PHOTOGRAPHIC ESSAY

PRESENTATION OF THE WORK

In tambor de mina leaded by Mother Severina and her guides in the Tenda Nossa Senhora dos Navegantes of Maranhão’s quilombo Santa Rosa dos Pretos, several rituals are per formed, and I am authorized to film and take photos. Being possessed by the Kino-eye, I re cord images that captured expressions of the invisible, of the enchanted “acting.” The index of their agencies is seen in the performances of the “acted” bodies. In this essay, I present im ages of the tambor da mina in the opening of “serviço de croa,” from Denise and Francisco, conducted by Teresa Légua incorporated in Mother Severina. This was the only phase of the ritual consecrating them as crossed sons of saint the visual recording was allowed.

EXPANDED PRESENTATION

I got to know the tambor da mina, an Afrobrazilian religion from Maranhão, in August 2004. At that time, I was researching territorial issues in the Maranhão’s quilombo Santa Rosa dos Pretos when I was invited by Mother Severina to record the party of her enchanted guide, the Caboclo Cearenso. Her interest in the recording was revealed by herself: “I wanted to see my self dancing”. Once incorporated, “acted”, she loses her “senses”.

At the time to produce and spread images of the spaces, rituals, people, and entities from African diaspora religions was still very restrict. Very dif ferent from the current social and technological scene in which religious people themselves, using their cameras, take photos and record their houses, parties, and performances, then promote in the social medias an intense and dispersive profusion of their images.

With my performance of film-photo, I ensured a privileged position to watch the rituals, between the drums and the altar, and a long-time eth nographical immersion in the Encantaria Quilombola. Since 2004, I have been producing images of the parties and rituals of the tambor de mina in the Tenda Nossa Senhora dos Navegantes in order to Mother Severina, her sons of saints and the enchanted watch themselves dancing, singing, acting; and to the memory of research and quilombola and religious com munity have these image fragments as devices for remembering and con forming a collective memory (Rocha e Eckert, 2013).

Being possessed by the Kino-eye, I record images that captured expres sions of the invisible, of the enchanted “acting”. The indexes of their agen cies (Gell, 2018) are seen in the performances of the “acted” bodies. By identifying these indexes in the faces’ visages, the way of dancing, singing, and talking, in the small objects they insist on using, we are capable of rec ognizing the incorporated entities and thus better interact with them and experience events, to know and get to be known by them, create relations and bonds, produce, and share memories.

In this essay of the series Photographing the Invisible, I present images of the tambor de mina taken on February 12, 2022, in the Tenda Nossa Senhora dos Navegantes, in the opening of the “serviço de croa” from Denise and Francisco, conducted by the Cabocla Teresa Légua incorporated in Mother

Severina. This was the only phase of the ritual consecrating them as crossed sons of saint the audiovisual recording was allowed. They are both from Santa Rita, a city close to the quilombo, and they have met in a party in the Tenda Nossa Senhora dos Navegantes. After years dancing tambor de mina in Santa Rosa dos Pretos and in saloons of the region, their enchanted guides chose Mother Severina for the crossing. The images of the baptism João da Mata and Caboclo Roxo in the croa of Denise and Francisco, and the crossing of their bod ies with the beads regurgitated by Teresa Légua when incorporated in Mother Severina are preserved only in the mental memories of those who were pres ent, sinners and enchanted. For the participants and the future, the images that were shared will take part in the memory conformation of the entire rit ual, of what was seen, heard, and not only the captured moments and scenes.

MINIBIOGRAPHY

JULIANA LOUREIRO is an anthropologist and documentarist. She has an un dergraduate degree in Social Sciences, master’s degree, and PhD in anthropol ogy by UFRJ [Federal University of Rio de Janeiro]. She works with the ethno graphic and thematic fields of visual anthropology, African diaspora religions, popular culture, politics, and environment; with traditional population (qui lombolas, fishers and ribeirinhos).

She has experience in coordinating projects of environmental education, and cinema workshops. She was a substitute professor of anthropology in UFMA [Federal University of Maranhão]. She develops research and extension ac tivities together with the Research Group in Religion and Popular Culture (GPMINA), and the Afrodigital Museum of Maranhão, linked to the Department of Sociology and Anthropology of UFMA, and the Nucleus of Experimentations in Ethnography and Image (NEXT Imagem), and the Nucleus of Art, Image, and Ethnological Research (NAIPE) of PPGSA, in the UFRJ.

PRESENTATION OF THE WORK

These analogical photos were taken in the Cruzes de Maio Party, between May 1st and 5th, 2019, in Huancané, southern region of Peru. Invited by the integrants of the native music and dance group Claveles Rojos de Huancané Argentinian Base, I traveled with some of them from Buenos Aires to the Andean plateau continuing my project of PhD research in Anthropology.

I brought with me an analogical camera and reels. During the groups’ ac tions, specially the Claveles Rojos and their migrant bases gathered in their hometown, I took overlapping and in sequence photos that register the collective, syncretic, and profuse sense of Festa das Cruzes.

PERFORMATIVE PANORAMAS OF A PARTY IN THE ANDEAN PLATEAU: QUICK ANALOGICAL PHOTOGRAPHIC RECORD OF THE FIESTA DE LAS CRUCES DE MAYO, IN HUANCANÉ (PERU) CRISTINA DE BRANCO, 2019.

EXPANDED PRESENTATION

This photo essay corresponds to the analogical visual record taken during the Festa das Cruzes de Maio, between May 1st and 5th, 2019, in Huancané, a little rural city close to the Titicaca Lake, located in the Department of Puno, south ern Peru. I traveled to correspond the goals that were emerging during my PhD research about re-elaborating immigrant aymaras and quechuas identity senses through the performative practices of native music and dance groups of the plateaus in the cities of São Paulo and Buenos Aires. At this moment, I accepted the invitation from the integrants of the Claveles Rojos - Argentinian Base of Huancané and started an ethnography of the ways and motives for

Mobilizing and walking through the city to climb the Poccopaca living mount, May 2019.

seasonal returns of these Indigenous immigrants of aymaras and aymaras descendants, residents in Argentina, to strengthen the reflection about the transterritoriarity implied in the re-elaboration of their immigrant autochthonies.

The Claveles Rojos, like other similar groups, has constituted themselves in small plateau cities with the majority of or 100% people declaring them selves Indigenous. Starting from the 80’s, as their integrants migrate to the national and international department capitals, the group also ex pands and creates their branches in other cities in and out of Peru. As in São Paulo, there is a branch of the group Qhantati Ururi of Conima (a city next to Huancané), and there are branches of some native transnation al music and dance groups also in Bueno Aires They are groups compose of aymaras descendants, in majority (and a minority of quechuas) who are work migrants in these huge south American cities. In the case of the pho tos, every beginning of May, some Claveles integrants travel back to their hometown to play and celebrate the Festa das Cruzes together with their companions who are integrants of the Central or other branches.

In a syncretic manner between the catholic Hispanic liturgy and the in digenous Andean cosmogonies, especially those with aymara references, thousands of peoples celebrate the crosses which are taken to the top of the Poccopaca mount, a living mount that skirts Huancané. Celebrating the multiplied Christ’s cross, they also praise the Poccopaca and, through it, the Pachamama. Countless men and some women go up and down the mount playing almost nonstop the sikus (flutes with crosses tubes, like the pan flute), and bombos (drums), divided among the different groups of si kuris (siku players). Groups that accompany and clash with each other in collective playing among the crowd of people who play the music of each group, at the same time, in the same space, composing the loud aymara musical polyphony which is an attribute of the plateau’s musical practices. Everyone exists in a simultaneous, distinctive, and complementary way. Thus, two of the aymara cosmogony principles are put into practice: the ayni (reciprocity), and the chachawarmi (complementarity). Through the sikuri play, when thousands of pairs play in an interweaved and interde pendent manner between the ira (six tubes siku) and the arka (seven tubes siku), the reciprocity and musical complementarity are practiced. Through

the collective play among groups with hundreds of people playing their own group themes which they hear, differentiate, and multiply themselves at the same moment, the reciprocity and complementarity are put into practice.

Bringing a cinema aura to the photographic scene, I try two different aesthetic devices, the multiple exposure, and the photographic sequence, which serves to represent the multiplicity of elements that composes a sole performative unit. They are there in the same moment, in a long photographic space, con founding and resignifying themselves through their symbiotic and interdepen dent union. The multiple exposition expressively demonstrates the profusion of forms, colors, people, and symbols that compounds that moment, referring ourselves to the aymara musical polyphony. The sequence of overlapped stills contemplates the representation of a collective performance, from beginning to the end, or of one street to the other, or of more than one perspective in the same frame. In an aesthetic complicity with the expressive force of the musical and performative reciprocity and complementarity, these photos are the re sult of recording the real and also an attempt of an imagetic metaphor of what I have been understanding from these cosmogenous principles, deeply impli cated in the exercise of the photographed and ethnographed performance.

MINIBIOGRAPHY

CRISTINA DE BRANCO PhD candidate in the FCT’s PhD program in Anthropology: Politics and Images of Culture and Museology (ISCTE/NOVA), master’s degree in Anthropology: Visual Cultures (NOVA), with interchange in USP [University of São Paulo]. As co-creator, camera, and assembler, she in tegrates the Permanent Visa - Live Collection of the New Migrant Cultures of São Paulo (www.vistopermanente.com) since 2015, filming and editing more than thirty videos for the collection. She was co-creator and programmer of Microcine Migrante, in São Paulo, and Latin-American Microcine, in Lisboa. She is currently in the phase of finishing her first documental film, Santa Mala se Manifiesta, about three Bolivian sisters, immigrants in São Paulo, seam stress and rappers.

PAVILION OF MERMAIDS VANESSA SANDER, 2018-2019.

Barbed wire.

HONORABLE MENTION PHOTOGRAPHIC ESSAY

PRESENTATION OF THE WORK

“Pavilion of Mermaids” shows everyday scenes in the man’s penitentiary São Joaquim de Bicas. This institution shelters, since 2009, the first LGBT wing of the prison system of Minas Gerais, where any prisoner who opts to sign a document identifying themselves as travesti or homosexu al is sheltered in a pavilion. The images were reg istered during the celebrations of the LGBT Pride and Transgender Day of Visibility, which took place in 2018 and 2019, and captures a moment of articulation of the political discourses about imprisonment and gender and sexuality.

EXPANDED PRESENTATION

The essay is linked to ongoing research aiming at the circuits of criminalization and imprison ment of travestis and transexuals, considering one of the key places the LGBT wing in a men’s penitentiary unit. By placing the prison in an en larged web, I describe the ties that connects it to the LGBT movement, State’s norms, discours es about sexual violence, prostitution territo ries and technologies of gender. Thus, my objec tive is to analyze the institutional webs that led to the creation of LGBT Prisoners as a new sub ject of law, as well as the dilemmas involved in

the managing of these laws by the prisoners and the different instances of the prison administration, and its effects in the public security system itself. The research thus offers significant elements for analyzing the rela tions of mutual constitution between gender and State, specially between gender and the prison system.

In this scenario, I analyze the institutional stalemates imposed in manag ing travestis and transexuals serving time, emphasizing how the prison’s politics, as well as the imprisonment politics, produce meaning and intelli gibility for the subjects, bodies, and relations, in a way that the affections and desires cultivate within walls become essential places both for regula tion and agency. In this sense, the imprisonment of queers, fags, and their husbands and the detailed examination, the segmentation and the social spatial expansion of the prison space accompanying it, reveal a lot about the state punitive apparatus in a large scale. Thus, the LGBT wing, more than providing a portrait of a local prison context, converts itself in a priv ileged heuristic space to analyze the processes of co-production between the gender and State which tangles themselves yet to the moral gender di agrams from the crime world.

Therefore, this photographic registry is connected to a reflection about the complex and heterogeneous nature of the moral regulation modes of the gender expressions, and the sexual erotic practices involved in the complaints around the everyday management of imprisoned travestis and transexuals. If, on the one hand, the creation of politics and penitentiary spaces specific to travestis and transexuals in men’s units is justified main ly due to the risk of them becoming victims of sexual violence, on the oth er, the suppression of travestis from the possible transferences to wom en’s prisons, ensured by recent decisions of the superior courts, deals with the threat that they themselves become the perpetrators of such violence in these spaces. A complex narrative and institutional architecture that are built from certain notions of body and gender conventions tangled to race and class attributed, images of possible victims and perpetrators in the prison’s system.

This ambivalent place of desire and danger that travestis occupy in the prison’s system made some of my research interlocutors qualify themselves as mer maids. This allegoric interpretation of their conditions as inmates is related to the capacity of these figures to confuse fixed categories with their hybrid bod ies. Thus, the mermaids, figures of mythic density that are the title of this visu al essay, are remembered by the aesthetic fascination they produce, but also by the dimension of danger of their hypnotic singing and are an archetypical expression of seduction. This ambiguity also permeates the lives of the pavil ion’s mermaids, who before the presence of the men entering the LGBT wing, would define themselves as these aquatic entities capable of deviate sailors, the metaphor for the inmates they get involved, from their common paths. Besides, their pisciform figures can also be seen as possessing some monstru ous and abject, which produces fear and repulsion. Thus, the mermaids that inhabit these images produce a type of dimension for mediating oceans and continents, between prison and open world, establishing multiple connec tions between the inside and outside walls, bringing fluidity to the territo ries and identities. Moreover, they move in violent oceans, defying the simple gendered classifications of victims and perpetrators, rejecting the “passivity” or “inaction”.

MINIBIOGRAPHY

VANESSA SANDER is an anthropologist with an undergraduate degree in Social Sciences by Federal University of Minas Gerais. She has a master’s degree in Social Anthropology by Campinas State University (Unicamp), with research about the intergenerational relations constructed by sex work on the streets. In 2021, she concluded her PhD in Social Sciences in the same institution, linked to the Pagu Gender Studies Nucleus, where she developed research about the circuits of criminalization and imprisonment of travestis and transexuals.

PRESENTATION OF THE WORK

The Quilombola’s Identity Games exist for nineteen years, always in the black aware ness week, in November. In the games, the communities, besides debating public poli cies, compete among each other in several sport’s modalities, and among them there is the Grab (also known as Marajoara Fight, its commercial name). This sport’s practice is one of the most diverse ways of cultur al resistance from the Quilombolas com munities of Salvaterra, Cachoeira do Arari, and Ponta de Pedras. This work is a pho to ethnographic construction of this mo ment of fighting, resistance, and amuse ment among the Quilombola’s Identity Games in Marajó.

EXPANDED PRESENTATION

This study is part of the photo ethnograph ic construction (ACHUTTI, 1997) that I have been doing in the last three (3) years of the Quilombola’s Identity Games, which is a moment of sharing, playing, dancing, eat ing, disputing, reunion, perceptions, and a lot of ancestry, which gathers the sixteen quilombola communities from the city of Salvaterra, in the Marajó island.

2ND PLACE PHOTOGRAPHIC ESSAY

I have written once that “the identity games constitute themselves as a process of cultural, social, and historical reaffirmation, as well as the re affirmation of the lives of different generations [...]” (BANDEIRA NETTO, CARDOSO and SANTOS, 2021, p. 173), which aims to fight the coloniali ties that were/are imposed in a process of valuing the ancestral culture, identities, knowledge, and beyond, thus constituting itself as a moment of counter-coloniality (BISPO, 2013).

Therefore, I can say that the games are a nonpartisan affirmative politi cal act that seeks to list demands and debate topics related to the every day fight related to the daily suffering of the quilombola people, once the coexistence is not harmonious, in the majority of time, with those who are not quilombola, specially with the great farmers and businessmen.

This political act aims to construct a posture of the older or young people, and the constitution of a political thought by all those who are concerned with the collective.

It is in the games that we seek to build bridges and emphasize the impor tance of being part, but not only being part because one was born in the quilombo but being part due to one feeling as the integrant part of a great er whole, where one’s presence is crucial to the quilombola’s fight.

Thus, we have the perception that the games are indeed a moment of re laxation but is also a moment of political confrontation against the great er spheres of the State. Especially when we talk about institutional rac ism and the protection of the ancestral culture that can be shared and/or unique to each community.

This conceptual definition of what is, in this moment, the quilombola’s identity games, is a collective construction as it comes from my own per ceptions, as a quilombola and researcher who participates in the games, the talk circles, and act as a photographer, and also, from the leaders of the quilombola’s communities who, together with their own perceptions, helped me in the construction of such concept, thus being a shared con ceptual construction. They have read what was written and suggested changes, additions, and erasures. Therefore, this conceptualization is a collective construction between those who made and coordinate the iden tity plays, and those who research seeking to understand how they inter pret and signify this moment of political interaction transformed in the game’s moment of relaxation.

In this context the Grab appears as one of the most anticipated disputes of all games. This dispute occurs in two days, because it requires a lot of physi cal strain, causing exhaustion, and sometimes people even pass out due to fa tigue. The Grab, which has other names depending on the place it occurs, but that it is essentially the same fight and can be also called Slathering, Takedown and/or Head-clash, is an ancestral fight that has roots in Africa and found its way to Marajó, being resignified in the fields by enslaved black peo ple who after freedom started to work as cowboys in the region, thus this fight is associated with the clashing between buffalos, religiosity and fighting in general. In the quilombos, it is signified as an element of ancestral resistance and strong cultural substance, being practiced as a relaxation tactic in festive events in the communities, next to the fields in soccer games and/or next to the rivers in the tide baths. In the Quilombola’s Identity games, it is the peak of the disputes between communities.

REFERENCES

ACHUTTI, Luiz E. R. Fotoetnografia: um estudo de antropologia visual sobre o cotidiano, lixo e trabalho. Porto Alegre. Tomo Editorial; Palmarinca. 1997. 208 p. BANDEIRA NETTO, Felipe. CARDOSO, Denise. M. SANTOS, Paulo, H. S. Imagens de Campo - Apresentação fotoetnografica dos Jogos de Identidade Quilombolas do Marajó.

SANTOS Antônio Bispo dos. Colonização, Quilombos, Modos e Significações. 2015. Brasília. INCTI/UnB.

MINIBIOGRAPHY

FELIPE BANDEIRA I am a quilombola, Black cis, gay men, professor of so ciology, philosopher, and visual anthropologist. I have a master’s degree in Education in Sciences Member of the Research Group in Visual Anthropology and Anthropology of Images - VISAGEM. Quilombola leader.

POÇO 115: AN IMAGINARY ALBUM FELIPE CAMILO, 2021.

Polyptych with two old photographs and their respective verses. [left] The brothers Álvaro and Lúcia Graça in the 1960s at Ponte Metálica - Poço da Draga, Fortaleza, Ceará. [Below] Brothers ngelo and Álvaro [Jr.]. Both photographs are from the family collection of Maria Clara Graça and Álvaro Graça Júnior from Poço da Draga, Fortaleza, Ceará.

PRESENTATION OF THE WORK

“Poço 115: An imaginary album” appears with the theses “Visible Community”: image and memory narrators of the Poço da Draga”, from Felipe Camilo (PPGS/UFC, 2021) with Glória Diógenes as advisor. Starting from a shared eth nography and an exercise of anthropological restitution, the research resulted in a collective exhibition of family albums of the Poço da Draga with curator ship and edition from Felipe Camilo with Álvaro Graça Jr. and Cristina Maria da Silva (UFC). The essay has 07 diptychs, 07-decade photos, and different sup ports among each other. The work inaugurates an archive of vernacular pho tos of this seaside community, in majority Black, with a lot of significance for the Fortaleza’s (CE) memory.

EXPANDED PRESENTATION

The essay “Poço 115: An imaginary album“: is a part of the exhibition “Poço 115: Trails in the City”, the result of the thesis “Visible Community: image and memory narrators of the Poço da Draga”, from Felipe Camilo (PPGS/ UFC, 2021) with the professor Glória Diógenes, PhD. (Lajus/UFC) as advisor. Starting from a shared ethnography and an exercise of anthropological resti tution, the research resulted in a collective exhibition of family albums of the Poço da Draga with curatorship and edition from Felipe Camilo with the resi dent/documentarist Álvaro Graça Jr. and the professor Cristina Maria da Silva, PhD (UFC). The work that inaugurates a first version of an archive of almost 300 vernacular photos of this seaside community, in majority Black, with a lot of significance for the Fortaleza’s (CE) memory, was exhibited simultaneously in its territory and in a museum in the surroundings (2021-2022). The project is the result of partnerships with the NGO Velaumar, the Laboratory of Arts and Youth (Lajus/UFC), and the Group of Study and Research Rastros Urbanos (UFC), Museum of Contemporary Art of Ceara / Dragão do Mar, Fresta Lab., and was supported by the IFoto.

The essay has 07 diptychs, 07-decade photos, and different supports among each other, having in its capacity album archives of 10x15cm and images pro duced and shared via cellphone. As those who unfolds and fix with the con tents of an atlas, as Aby Warburg would say, the essay is a montage, a compo sition, a board to put neighbor images to create a sight together.

This small constellation of visual fragments is from a century-old com munity founded next to Ponte Velha, the first port of Fortaleza (1906, 115 years), region of the iconic Ceara’s abolitionist fight, of the “Dragão do Mar”, and that currently shelters people of black skin who are con stantly fighting for keeping their houses in the touristic shores of the capital. Among the images, we can see part of the collection of the Brasileirinho Futebol Clube, a soccer team from the community since 1982 led by Alvinho Graça and then Álvaro G. Jr. - who collaborat ed with this project that amidst the COVID-19 pandemic gathered the old team’s players in a WhatsApp group to “review” photos and old matches. From this experience, the short film documentary Resenha do Brasileirinho [Brasileirinho’s Review] has appeared and it was di rected by Felipe and Álvaro, available to follow the photographic es say in the exhibition space. The Poço 115 also addresses the relation of the city and the beach, the childhood, old age, and the fights of the sea side populations. The photos of the family albums of the following res idents of Poço da Draga (Fortaleza/CE): Álvaro Graça Jr., Ivoneide Gois, Izabel Cristina Lima, Cláudio Vasconcelos, Francisca Iolanda and Sérgio Rocha. Before the Brazilian colonial law and the efforts for maintaining the images’ share, the essay and its support may be perceived as a ges ture of resisting the necropolitics (as Mbembe asserts) that affects the Black and Amerindian populations in our country.

MINIBIOGRAPHY

FELIPE CAMILO Black author who emphasizes photography and cin ema. He is dedicated to documentary and experimentation. Member of the Ifoto/Ce. Researcher by UFC/CAPES and collaborator in Lajus and Rastros Urbanos, he wrote a thesis about anthropology, image, memory, and blackness in Poço de Draga. He has worked as a pro fessor in the Institute of Art and Culture of UFC. Is the author of the photobook Perecível, and of the artist book Álbum Preto. Directed the documentaries Aluá, Resenha do Brasileirinho, and Oestemar. Is co-producer of the Festival of Experimental Photography Efêmero and curator of the exhibition Poço 115 - Rastros na Cidade.

TRAVESTI’S QUILOMBISMO LOURIVAL DE CARVALHO AND JADE LOPES,

At 6:27 am, Jade leaves her house to fish during the high season. “It's six months in the water; six months on earth,” she described amphibious life around the Amazon River.

PRESENTATION OF THE WORK

The essay portraits the daily work live of Jade, a travesti and quilombola, in the quilombo Surubiu-Açú, in the region of Baixo Amazonas, in Santarém, in the state of Para (BR). “It is six months in the water; six months on the earth”, she described the amphibian life in the surroundings of the Amazon River. With 56 years-old, Jade works as a farmer, beekeeper, and fisher. She is praised by her gift of “fixing/pulling”, which involves techniques of massages and prayers in muscular and bone bruises. She is a quilombola leader and president of the local soccer team, her trans body is added to the ancestral resistance of the Indigenous and Black fight in the region.

EXPANDED PRESENTATION

The proposal of this ethnographic study is to understand the community norm around the right to difference, in which one can ob serve educational and legal process con sidering the plurality of ways to be and ex ist. The decolonial perspective helps the epistemic turn in search for knowledge pro duction in which modern and community solutions for the difference theme are prob lematized, mostly in the context of homo transdissident bodies. Thus, the extensive description of Jade’s daily live, a quilombo la and travesti who, at 56 years old, her dif ference within a community that symbolizes an ethnic and racial resistance, adds, in this case, the dissident sexualities and bodies to the cisheteropatriarchal norms.

MINIBIOGRAPHY

LOURIVAL DE CARVALHO PhD candidate in Law by University of Brasilia (UnB) in the research field of Society, Conflict and Social Movements. He has a master’s de gree in Human Rights and Citizenship by UnB. Undergraduate degree in Law by the State University of Piauí (UESPI). Lawyer. Member of the Research Group in Anthropology and Human Rights of CNPq and the Center of Studies in Inequality and Discrimination (UnB).

JADE LOPES co-author, community leader of the Association of the Remaining of the Quilombo of the Quilombola Community of Surubiu-Açú. Farmer. Fisher; Beekeeper. Puller. Fixer. Blesser.

WEAVING LIVE IN BLACK AND WHITE VINÍCIUS VENANCIO, 2019.

In a strong zig zag, Beto makes the lancer, a wooden concave object, intercross the threads in different positions.

PRESENTATION OF THE WORK

Amidst an environment of complete concentration, Beto de Brito, one of the greatest names of weaving in Santiago (Cabo Verde), daily produces several meters of the panu di terra. This is one of the oldest expressions of the Cabo Verde’s material culture, which arrived in the country through the enslaved who were forcedly carried into there to work in the cultivation of cotton monocultures. From that time until now, some things remained the same in the process of pro duction and consumption of the panu di terra, at the same time that other things were altered. But, between the past and the present, Beto shows us a continuum: the weavers, most of the time, continue to weave life in black and white.

EXPANDED PRESENTATION

This photographic essay is part of my master’s research called: Created in Cabo Verde: Discourses about the nation in the production of “original” Cabo Verde’s souvenirs in the Santiago Island. In this research, I tried to understand how the field of production of souvenirs and handicrafts considered “original” from Cabo Verde has constituted to generate a national competition with the products imported from China, Senegal, and Guinea-Bissau. In this context, I met Beto de Brito, a central figure and one of the greatest names in the production of panu di terra in Santiago. He learned the craft with a neighborhood, reasserting the practice transmission between men of the same place/family.

Weaving, which is nowadays an extremely solitary activity demanding a lot of con centration, had its beginnings in the first centuries of Portuguese colonization, a pe riod when the cotton monoculture started to be introduced in the agrarian islands of the Cabo Verde archipelago. In this period, the panu di terra was used as a curren cy, specially to acquire bovines and in the exchanges that permeated the trade of en slaved in the Guinea coast.

According to historical sources, the panaria would have appeared in Cabo Verde is lands, with enslaved people who took the knowledge of instruments and techniques to the continent with them. The old panu, the traditional, was composed by 6 bands and was used in majority by women. They used it for the most different purposes, be it to carry the children, to bind in the head or the waist, as a shroud, and it also had its ritual characteristic, once in the past it was gifted from husband to wife when she had a fidju matxu (a male son), especially if it was the first one.

Currently, it is very rare to find the panu composed by 6 bands, and its production pro cess suffered a significant change: the lines, which were made from the cotton that was planted in the country, ceased to be produced in this manner and started to be bought ready from Senegal, Brazil, and Portugal, reducing the time and work em ployed by the weavers (which are mostly men). However, the loom continues to be a very important piece to produce the panu di terra. Its structure, which is generally produced by the weavers themselves, is composed by the pente the fiche, a part that hits the recently released thread through the lancer to unite it to the cloth, the liço di pedal, a part accompanying the pedal and, as its name suggests, brings closer and move away the frame lines to pass the thread that is in the lancer; the liço di desenho, which allows the panu di terra’s ethnomathematics, i.e., move away and brings clos er the frame threads in order to the thread that gets out of the lancer interweaves

the loom’s threads to produce the desired drawing; and the tábua de abridor, which has a function similar to the liço di pidal, being used to separate the threads to allow the lancer’s passage. It drops as soon as the pente the fiche hits.

The part that holds the panu next to the weaver is movable, turning the panu in a way that the part of the cloth that is ready can be collected and the weavers do not need to stretch themselves too much to pass the lancer and hit the thread. This part is secured by a metal shaft that is perpendicular to it. Besides the set of threads that weaves the panu through the lancer, the panu di terra is made with the threads that are assembled perpen dicular to the liços, which hold the threads that are secured and near to the loom’s struc ture. In this frame, which is the longest part of the panu, the weavers often use more than 200 threads. The frame’s color is always the same, composed by ¾ of black threads and ¼ of white threads. The color that changes is the one from the threads that stay in the lancer, though the traditional one is black, any other color can be used, including red and blue together, representing the colors of the national flag, pretty common in the sou venir’s market.

Besides color diversification, the panu’s uses are also changing. As Beto points out, they are sold directly to the souvenirs’ stores, but also to other artisans seamsters, which ap ply the panu to other pieces like clothes, bags, and sandals. This multiplicity of uses for the panu di terra shows that, even if it is a traditional item, it adapts to the contemporary de mands, demonstrating once again that the culture can be everything but static

MINIBIOGRAPHY

VINÍCIUS VENANCIO Voluntary professor in the University of Brasília. He has a mas ter’s degree (2020) and is a PhD candidate in Social Anthropology by the University of Brasília. Integrates the group of Research Groups of Ethnology in African Contexts and Ethnography of the Circulations and Migrant Dynamics, the Zora Hurston Collective of Black students from the PPGAS/UnB, and the African Studies Committee, from ABA. He has research experience regarding the family’s organization, gender relations, commerce, production of handicrafts, and touristic and migrant flows in Cabo Verde, and since 2017 he produced visual narratives about the Cabo Verde’s society. He is currently researching migration and the construction of citizenship for West-African women in Cabo Verde.

ETHNO

AFRO-SAMPAS ROSE SATIKO GITIRANA HIKIJI AND JASPER CHALCRAFT

3RD PLACE FILME ETNOGRÁFICO (MID-LENGHT FILM)

SYNOPSIS

The African presence in Brazilian music is manifested in a variety of forms. While in 1966, Baden Powell gave a Rio spin to candomblé with his Afro-sambas, composed with Vinícius de Moraes, a half century later we are living through a unique moment with the arrival of musicians from different African countries in the São Paulo metropolis. In AFRO-SAMPAS we can observe what can happen when mu sicians from either side of the Atlantic are placed in contact in the city where they live. Yannick Delass (Democratic Republic of the Congo), Edoh Fiho (Togo), Lenna Bahule (Mozambique) and the Brazilians Ari Colares, Chico Saraiva and Meno del Picchia accept our invitation to a first encounter in which they experiment with sonorities, memories and creativities.

CREDITS

Direction, camera and research

Jasper Chalcraft

Rose Satiko Gitirana Hikiji

Editing and colour Ricardo Dionisio Sound

Jasper Chalcraft Ricardo Dionisio

Mixing and mastering

Jean Nands

Ewelter Rocha

COMMENTS BY THE DIRECTORS

Afro-Sampas is the third film collaboration we have made in our research on what we describe as the African ‘creative diaspora’ in São Paulo. Since 2016 we have accompanied African musicians and artists recently arrived in Brazil, observing how their musicking affects the city and how it is af fected by it. In this film, our ears listen attentively to the exchanges of mu sicalities and experiences that occur when African and Brazilian musicians accept our invitation to meet in the city where they live.

MINIBIOGRAPHIES

ROSE SATIKO GITIRANA HIKIJI is a brazilian anthropologist, the granddaugh ter of Japanese migrants who arrived in São Paulo in the 1930s and Sergipanos with African, indigenous and European roots. Professor of the Anthropology Department of FFLCH-USP. Vice-coordinator of the Laboratory of Image and Sound in Anthropology. Author of the books Imagem-violência and A músi caeorisco, co-organiser of Aexperiênciadaimagemnaetnografia, Escriturasda Imagem and Imagem-Conhecimento, among other works. Co-director of Afrosampas,WoyaHayiMaweWhereareyougoing?Tabuluja,Guitar-Song,FabrikFunk, Art and the street and director of Cinema from the Slums, among other films. CNPq productivity award holder and principal research on the project “Local Musicking” (FAPESP).

JASPER CHALCRAFT is an english anthropologist and documentary maker. Co-organizer of the book The Making of Heritage: seduction and disenchant ment. Co-director of Afro-sampas (2020), WoyaHayiMaweWhereareyougo ing? (2018) and Tabuluja (2017), he is developing the research project “Being/ becoming African in Brazil: Musical making and African cultural heritage in São Paulo,” as part of the FAPESP project “Local Musicking” in partnership with Rose Satiko Hikiji.

AFRORESISTANCES: LIVING MEMORIES

CORNER OF THE ANDES YANINA RIOS AND

CARLOS SILVA DOS SANTOS JUNIOR

SYNOPSIS

This short documentary presents five black voices of diverse ages and from different territories within the city of Arica, talking about their mem ories, longings, traditions and de sires for their lives and their people. Recalling the ancestral foundations or piezas, the elders, abuelosyabuelas, recount through their histories and inspirations how, faced with the mor tal experience of African slavery, the Chilean Afro-descendent tribal peo ple resisted, still resist and recre ate themselves, composing different ways of life in a corner of the Andes mountain range.

CREDITS

Direction

Yanina Rios Co-direction

Luiz Carlos Silva dos Santos Junior Script

Luiz Carlos Silva dos Santos Junior Soledad Hernandez Gonzalez

Yanina Rios Diego Araya Editing script

Yanina Rios Diego Araya

Luiz Carlos Silva dos Santos Junior Soledad Hernandez Gonzalez

Interviews and editing

Yanina Rios Diego Araya

Financing

Luiz Carlos Silva dos Santos Junior Soledad Hernandez Gonzalez

COMMENTS BY THE DIRECTORS

The pandemic failed to deter the work of Afro-descendants in Arica. For years we have made visible the struggle of the Afro-Chilean people in di verse settings. Despite the constant denial of access to spaces of pow er and decision making, the struggle for rights has been on-going. In this context, the idea emerged of making an audiovisual project that forays into Afro-descendent memories-experiences in Arica, the locality where the anthropologist and director Yanina Rios was born and raised and the ‘field site’ of anthropologist Luiz Carlos Silva dos Santos Junior for his PhD research at UFBA. This short documentary invites us to think about and question one-dimensional models of history and Afro-descendance.

MINIBIOGRAPHIES

YANINA RIOS QUINTERO is a social anthropologist, artist, Afro-Chilean and activist in the Afro-Chilean anti-racist movement, participating in its pro motion, organization and investigation. As a student at UNAM-Mexico, she took part in Afro-feminist organizations, which led to the making of the short film: Perspectivesofameandawe:experiencesofracializedwomeninMexicoCity (2019). Based on her own ancestrality she later co-developed the ChileanBrazilian ethnographic documentary Afroresistances: living memories from a corner of the Andes. She is currently in the process of producing Cimarronas: blackresistancesinArica, her first full-length film.

LUIZ CARLOS SILVA DOS SANTOS JUNIOR is 31 years old, born and raised in Salvador, Bahia, an activist of the Unified Black Movement (MNU-Bahia), a lawyer trained at the Faculdade Ruy Barbosa (2012) and a social scientist and anthropologist trained at the Federal University of Bahia (2021) with an MA in Anthropology from the Postgraduate Program in Anthropology of the Federal University of Bahia (UFBA) and currently working on a doctorate at the same institution. Currently on a PhD sandwich placement with a grant from CAPES PRIN at the Doctoral School in Anthropology of the Pontificate Catholic University of Chile (PUC). He is one of the editors of the journal Odu: Contracolonialidade e Oralitura (2021). He is a member of NANSI, coordinated by Marcio Goldman.

1ST PLACE FILME ETNOGRÁFICO (SHORT FILM)

FILMS

SYNOPSIS

From the scrapyard to the candomblé yard, Zé Diabo fashions gods in his workshop follow ing the path of Ogum.

CREDITS

Direction

Safira Moreira

Original script Lucas Marques Executive production and coordination

Alana Silveira Production Tainana Andrade Maria Garcia

Cinematography Rafael Ramos

COMMENTS BY THE DIRECTOR

Sound Technician Caíque Melo Soundtrack C-AFROBRASIL

Image editing and post-production Tenille Bezerra Mixing Ernesto Sena Design Edson Ikê

The film is the outcome of a partnership between the anthropologist Lucas Marques and the filmmaker Safira Moreira and seeks to depict part of Lucas’s MA research on the tools used by Orishas. The short film pres ents the path followed by Zé Diabo in the process of making Orisha tools while he reoccupies his recently reformed archway on the Conceição da Praia Hillside. Permeated by accounts of the history of José Adário and his knowledge as a candomblé priest, the film shows us images from his ev eryday life – from the scrapyard to the workshop – capturing details im bued with the mysteries of the process of transforming scraps of metal into sacred object, revealed by the fire and by Ogum.

MINIBIOGRAPHY

SAFIRA MOREIRA was born in the Engenho Velho da Federação district of Salvador in 1991. For years she has worked with images of black people, sur rounded by a politics of memory. She is the cinematographer, director and scriptwriter. She trained in filmmaking at the Escola de Cinema Darcy Ribeiro. She scripted, directed and edited her first short film Travessia(Crossing), which won awards at diverse national and international film festivals, distributed by Vitrine Filmes in 2018 and the opening film of the International Film Festival Rotterdam in 2019. She also directed the photography for the short film Me, MyMotherandWallace(Carvalho Brothers), awarded Best Film by the popular jury of the Brasilia Festival of Brazilian Film, and for the full-length film The NocturnalMatter(Bernard Lessa), awarded the prize for Best Film at the Futuro Brasil show of the Brasilia festival. In 2019 she wrote and directed the docu mentary series IyasIdanas–KitchenWomen, now in post-production. In 2020 she launched the series BlackLooks on IGTV (Instagram). She is currently de veloping her first full-length film, Cais (Wharf), receiving awards from Fundo Avon Mulheres do Audiovisual and RUMOS ITAÚ CULTURAL. In 2021 she di rected the short film Alagbedéand the web series Nebulosa(Nebulous).

LUCAS MARQUES has a PhD in Social Anthropology from the National Museum/ UFRJ. He is a photographer and audiovisual producer, and he researches af ro-Brazilian material culture and art for more than 10 years, especially those related to the candomblé universe. He is associated to the Symmetrical Anthropology Nucleus (NAnSi).

AMARRADO(TANGLED UP) LUCAS COELHO PEREIRA

SYNOPSIS

To catch crabs is to become entangled in a vast forest of roots. The wade through the mangrove swamp keeps the secrets of those who manage to keep their bal ance in the uncertainty of the mud and educates the gaze to the location of the crustaceans. In the Parnaíba River Delta between the Brazilian states of Piauí and Maranhão, amarradomeans a catch of for ty crabs. Finding them is a challenge even for the most experienced crabbers.

MENÇÃO HONROSA FILME ETNOGRÁFICO (MID-LENGHT FILM)

CREDITS

Direction, script, research, camera and production Lucas Coelho Pereira

Cast

Vinvin (José Wilson Monteiro Figueiredo)

Lelía (Manoel Raimundo Carvalho da Silva)

Querido (Roberto Quelis da Silva Nascimento)

Seu Chico (Francisco das Chagas de Oliveira Ribeiro)

Sérgio (Paulo Sérgio Carvalho da Silva)

Dunga (Antônio Carlos Fernandes da Rocha)

Zito (João Fernandes da Rocha)

Francisco (Francisco das Chagas Ferreira da Silva)

Original soundtrack

Lívia Coelho Pereira

Editing and post-production

Ronald Moura (Pense Produtora)

Script consultant

Ana Clara Ribeiro

Production consultant

Fernanda Vidigal

COMMENTS BY THE DIRECTOR

When I filmed Amarrado, my intention was to allow the spectator to experi ence crab catching up close through different shots and senses. Before tak ing my camera to the mangrove swamp, I spent five months just walking in the company of the crabbers. This period was essential for my relationship with them to deepen and for various histories about the crabs to emerge, includ ing the difficulty of catching them. These histories guided me to write a script in which the difficulties of crabbing were highlighted through my hosts’ move ments and bodily expressions, needing few words.

MINIBIOGRAPHY

SAFIRA MOREIRA holds an MA and a PhD in Social Anthropology from the University of Brasília, linked to the Laboratory of Anthropology of Science and Technique (LACT). He is a photographer and filmmaker. Some of his photo graphic work has received awards from ANPOCS and the Mariza Corrêa Visual Anthropology Award. He undertakes research in the field of the relations be tween humans, plants and animals; the anthropology of practices; ecological anthropology; and the anthropology of fishing.

(POLICE KILLING)

NERI AND LULA CARVALHO

1ST PLACE FILME ETNOGRÁFICO (FULL-FILM)

SYNOPSIS

Police Killing is a documenta ry about the killing of citizens by police officers in Rio de Janeiro, in cases classified as legitimate self-defence. The film depicts the fight for justice by mothers whose children were killed, accompany ing them in their journey through the institutions of the State, from the moment when an individu al is killed to the phases of even tually abandoning prosecution or trial by jury.

CREDITS

Direction

Natasha Neri Lula Carvalho

Storyline and script

Natasha Neri

Juliana Farias

Executive producers

Lia Gandelman

Joana Nin

Cinematography

Lula Carvalho Asc, ABC

Pedro Von Krüger

COMMENTS BY THE DIRECTORS

Assistant directors

Leonardo Nabuco

Juliana Farias

Production director

Bruno Arthur Editing

Marília Moraes, EDT.

Original soundtrack

Alberto Continentino

Filming the transformation of mourning into struggle and capturing the de liberate inertia of the justice system through the camera’s lens was a power ful ethnographic experience lived through cinema, which is also a tool in the struggle of mothers whose children were killed by the State. The camera is placed by their side, at the burial of their children, in the protests and in the jury court hearings, and propose that the spectator experience fragments of their pain and indignation by sharing with these women the theatre of the jus tice system. The film is based on the relations established in the field between the researchers Natasha Neri and Juliana Farias and the mothers depicted in the film, and the shots filmed reflect this complicity.

MINIBIOGRAPHIES

NATASHA NERI is a journalist, a filmmaker, a Master in Anthropology from PPGSA/UFRJ, and a researcher in the areas of State violence, criminal jus tice and human rights. She is co-author of the book QuandoaPolíciaMata: homicídiosporAutosdeResistêncianoRiodeJaneiro (Booklink, 2013) and director of the documentary Auto de Resistência (Police Killing), winner of the ÉTudoVerdadeaward (2018). She was a researcher for the Nucleus for Studies of Citizenship, Conflict and Urban Violence at UFRJ, Amnesty International Brazil and ISER. She has worked as a consultant for the Association for the Prevention of Torture (APT) and UNODC. Currently she is a consultant for PNUD in the context of the Making Justice Program.

JULIANA FARIAS is an anthropologist and scriptwriter. She works as a col laborating researcher for the Nucleus of Gender Studies PAGU/Unicamp, having developed research projects on militarization, gender violence and the control of bodies and territories from the perspective of the anthropol ogy of the State, human rights violations and State racism. Author of the book GovernodeMortes:umaetnografiadagestãodepopulaçãodefavelasno RiodeJaneiro(Papeis Selvagens, 2020); coauthor of Violênciasdegêneroem contextosmilitarizados:umacartografiaescritapormulheres (FASE, 2020). She is a member of the Citizenship, Violence and State Administration Committee of the Brazilian Anthropology Association (BAA).

LULA CARVALHO is a cinematographer, a member of the Oscar Academy and the American Society of Cinematographers. She has filmed movies like EliteSquadand EliteSquad:TheEnemyWithin by José Padilha, Budapest by Walter Carvalho, The Dead Girl’s Feast by Matheus Nachtergaele, Decemberby Selton Mello, AWolfattheDoorby Fernando Coimbra, among others. Outside Brazil, she has filmed movies like Robocopby José Padilha, released by MGM and Sony Pictures, Teenage Mutant Ninja Turtles and TeenageMutantNinjaTurtles:OutoftheShadows by Paramount Pictures, and the Narcosseries for Netflix.

BERIMBAUZEIRO MÁRIO EUGÊNIO SARETTA, MARCO ANTONIO POGLIA AND MAGNÓLIA DOBROVOLSKI 2021, 20’

FILMS

SYNOPSIS

In the south of Brazil, Mestre Churrasco ex plores sonorities and forms of being in the world through the creation of unusual ber imbaus (musical bows). The relationship be tween the body, nature and musicality, al ways marked by the playful expression and the inventive spirit of the main character, compose the documentary’s narrative.

CREDITS

Direction, production and script Marco Poglia

Magnólia Dobrovolski Mário Saretta

Cast

Mestre Churrasco Soundtrack Mestre Churrasco Ìdòwú Akínrúlí

COMMENTS BY THE DIRECTORS

Film produced over three years, complet ed during the Covid-19 pandemic with fund ing from the Aldir Blanc Law. Berimbauzeiro includes a version with audio description and SDH subtitles, as well as subtitles in Portuguese, Spanish and English.

MINIBIOGRAPHIES

MÁRIO EUGÊNIO SARETTA is an anthropologist with an MA and PhD in Social Anthropology. Professor in Social Anthropology at the Escola de Belas Artes e Música do Paraná (Embap/UNESPAR). She pro duced and directed the full-length documentary film EpidemiadeCores (Epidemic of Colours), which was shown in cinemas throughout Brazil and broad cast on Canal Brasil and SESCTV.

MARCO ANTONIO POGLIA has PhD in Social Anthropology on the Postgraduate Program in Social Anthropology at UFRGS and a member of the capoeira group Áfricanamente Escola de Capoeira Angola. A member of GeAfro – Afro Studies Group (NEAB/UFRGS) and general coordinator of the re search and audiovisual project “Angola Poa: ex pressions of Angolan capoeira in Porto Alegre,” re alized in partnership with the visual artist Magnólia Dobrovolski. Produced and directed with Vinicius Correa the short documentary A Vida Tocando (Best Ethnographic Film at the Cine Tornado Festival 2017).

MAGNÓLIA DOBROVOLSKI is a visual artist, Angolan capoeira trainer and researcher of popular strat egies to safeguard capoeira. MA student on the Postgraduate Program in Museology and Heritage at UFRGS and graduate in Visual Arts from the UFRGS Institute of Arts. She has been a member of the capoeira group Áfricanamente Escola de Capoeira Angola for thirteen years and has worked as an art educator on diverse social projects. She co-produced the documentary series Angola Poa: expressionsofAngolancapoeirainPortoAlegre.

CANTE,POETA! (SING, POET!)

MIGUEL SAUTCHUK

SYNOPSIS

The repente musical poetry of north-eastern Brazil is presented through the sound of the guitars and the voice of the singers, revealing the richness and depth of its improvisation.

CREDITS

Direction and storyline

João Miguel Sautchuk Produção

João Miguel Sautchuk André Leão Mauro Lira Nícolas Lopes Research

João Miguel Sautchuk Daniel Simião André Leão Felipe Porfírio Silva Amalle Pereira Wagner Chaves Script

Igor Z. Cerqueira

Camera Carol Matias

Rivelino Mourão Sound

Chico Bororo Daniel Moraes (Jack) Marco Rudolf Editing, colourization and post-production Sergio Azevedo Sound design and mixing Olivia Hernández

COMMENTS BY THE DIRECTOR

A major challenge faced in the conception of this film was the choice, or construction, of an audiovisual language with some connection to the aes thetics of the repente. Since the scenic and visual dimensions are not a pri ority or specific focus of reflection for the repentistasinger-poets, the path chosen was to look for aesthetic elements more central to the genre, em phasizing the sonority of voices and guitars, the rhythm of the poetic ex change and its alternation with conversations, requests and prose forms that intersperse the baiõesof poetry. Thus the spatial elements and imag ery combine with the sound, time, flow, interactions, poetic dialogue and its messages.

MINIBIOGRAPHY

JOÃO MIGUEL SAUTCHUK was born in 1979 in Brasilia where he grew up and studied. The interest in music permeated his first academic train ing in history and later in anthropology, with the musical theme central to his MA and PhD in the latter area. He was a professor at the Federal University of Piauí and is currently associate professor at the University of Brasília. His main research themes are improvisation in poetry, music and language, ethnomusicology, linguistic anthropology, the anthropological analysis of rituals, and ideologies of culture and nationality in popular mu sic. In collaboration with IPHAN, he coordinated the research for the regis ter of repenteas Intangible Cultural Heritage of Brazil.

2ND PLACE FILME ETNOGRÁFICO (FULL-FILM)

SYNOPSIS

A family decides to open a classi cal music school in their own home: Bento, Lane and their six children –Axel, Maíra, Cecília, Mírian, Victória and Bruno – put together the Magical Chords Project. The Cruz siblings then organise to give lessons and teach the other children of the neighbourhood about what they love. Little by little, the house is transformed into a lo cale of musical encounters in one of the most dangerous neighbourhoods on the outskirts of Fortaleza. But to achieve the dream of making a living from music, a little more will be need ed. Where will music take them?

CREDITS

Direction

Paula Bessa Braz

Mihai Andrei Leaha Genre

Documentário musical

Camera

Mihai Andrei Leaha Sound

Paula Bessa Braz Editing

Paula Bessa Braz Mihai Andrei Leaha Montage

Paula Bessa Braz

Mihai Andrei Leaha Image post-production

Mihai Andrei Leaha Sound post-production

Ewelter Rocha Jean Nands

Visual identity

Mateus Torquato Cast

Família Cruz

COMMENTS BY THE DIRECTORS

In this film, using a sensitive, sensory and immersive approach, atten tive to body gestures, the music and the silences, we seek to shed light on the unique relationship that this family has established with music mak ing, revealing how this relation becomes present in other areas, wheth er in the way in which these young people plan their lives and articu late their dreams, or in the form in which they think about themselves in today’s world.

MINIBIOGRAPHY

PAULA BESSA BRAZ is an anthropologist, filmmaker and researcher in Social Anthropology at the University of São Paulo (USP) where she is cur rently working on her doctoral research. FamilySong is her debut in cine matographic direction and was conceived as a film-based ethnography for her MA degree, where the aspects of the senses and the sensible in music making are approached from a sensory perspective, revealing the raw at mosphere of everyday intimacy and delicacy of the family with whom she lived and researched.

MIHAI ANDREI LEAHA is an audiovisual researcher and filmmaker, work ing in the area for more than ten years. He is currently pursuing a postdoc torate in Social Anthropology at the University of São Paulo (USP) and is a member of the board of the Visual Anthropology Commission, IUAES and other organisations, involved in the curatorship, promotion and program ming of ethnographic films for various conferences and festivals.

CARLOS CAPS DRAG RACE MIHAI ANDREI LEAHA 2022, 25’

FILMS

SYNOPSIS

Three Brazilian drag queens prepare for a Drag Race in São Paulo. While they get ready for the show, Satine, Di Vina Kaskaria and Gabeeh Brasil share the ex periences and struggles lived by them in the process of creating their drag cos tumes and transforming themselves into multi-artists. During the competition, this transformation is revealed and performed, blending with the Caps Lock festival in São Paulo’s vibrant independent electron ic music scene.

1ST PLACE FILME ETNOGRÁFICO (MID-LENGHT FILM)

CREDITS

Direction

Mihai Andrei Leaha Production

LAVANDERIA DOCS & LISA

Project

Mihai Andrei Leaha

Leonardo Cravo

Paula Bessa Braz Satine Di Vina Kaskaria Gabeeh Brasil

Direction and research

Mihai Andrei Leaha

Camera

Mihai Andrei Leaha Leonardo Terra Cravo

Location sound

Paula Bessa Braz Editing

Leonardo Terra Cravo

Colour grading

Mihai Andrei Leaha

Sound mixing mastering

Ewelter Rocha Jean Nands

Motion design e design

Júlia Quevedo

Laser graphics

Paulinho Fluxus

COMMENTS BY THE DIRECTOR

The director’s vision for the film draws on specific stylistic strategies and methodologies. The filming approach is inspired by direct cinema and genre films like ParisisBurning, which takes the mounting of a show as a narrative device. The drag performers are “caught by the camera” and pro voked by it as they undergo their metamorphosis before the show. While they get ready for the ball, Satine, DiVina Kaskaria and Gabeeh Brasil re veal intimate details about the challenges and consequences of becom ing a drag queen in Brazil. The direct approach in cinema is raw, just like the confessions, which the spectator experiences as an involved witness. This strategy defines the setting for the subsequent show and for partici pation in the festival, which is now experienced more closely since we have already explored the meanings around being and making a drag queen. Additionally, the film uses a collaborative approach in which the charac ters and partners in the production are considered co-creators. The film benefits from this set of aesthetic perspectives and visions, both the club bers and the anthropologists and other colleagues.

MINIBIOGRAPHY DO DIRETOR

MIHAI ANDREI LEAHA is a Romanian audiovisual researcher, anthropolo gist, writer, filmmaker and educator, currently living in Brazil. As a member of CVA (Visual Anthropology Commission), CEVA and other organisations, he has a long-term involvement in curating, promoting and programming ethnographic films at various conferences or festival events. He taught Visual Anthropology in Cluj and São Paulo, and has organised conferences and workshops on multimodal anthropology in Romania, Brazil and Peru. The filmmaker is currently working on a postdoctorate at the University of São Paulo, researching the local DIY electronic music scene and developing new film projects in audiovisual ethnomusicology. www.mihaileaha.com

CINE RABECA MARCIA MANSUR

SYNOPSIS

Temporal dimensions that emerge from the relationship between the visible and the imagined, memory and the experience of the present. Setting out from the cinemat ic device and through an experimentation that mixes music and the archive, time and memory are articulated in a singular space. The cine-concerto winds its way through the sonorities of the Pernambuco sugar cane fields, interweaving a live soundtrack with images produced by ethnographers and artists in the years from 1991 to 2009, exploring ways of bringing to life archives produced in anthropological research. On screen, the musicians Luiz Paixão and Renata Rosa stage a cinematographic re-en counter with their trajectories, improvise toadaswith their rebecs and recreate them selves through recollections.

CREDITS

Direction

Marcia Mansur Production

Marcia Mansur With

Luiz Paixão

Renata Rosa

Script

Luisa Pitanga

Marcia Mansur

Co-direction (filming)

Hanna Godoy Photograph

Hanna Godoy Luciana

Luisa Pitanga Marcia Mansur

Rodolfo Figueiredo

Uirá Ferreira

Montage/editing

Iolanda Depizzol

Marcia Mansur

Editing assistant Guilherme Leandro

Sound mixing and design Guilherme Destro Sound mastering Daniel Teixeira

Producer

Estúdio CRUA

http://estudiocrua.com. br/cine-rabeca/

Support for digitalizing material

Laboratory of Image and Sound in Anthropology at the University of São Paulo | LISA - USP

Project developed in artistic residency at the Center for Contemporary Studies of the Museum of Image and Sound of São Paulo (2018)

FILMS EXHIBITION

COMMENTS BY THE DIRECTOR

At the beginning of the 2000s and the arrival of digital video, I lost access to the players that played tapes filmed with Luiz Paixão over the years. A small styrofoam box with 23 Hi8 video tapes accompanied me on succes sive moves between houses and countries. The scenes and testimonies gradually became forgotten and the material transformed into an archive. I kept vague memories, activated by labels: Passion at the Sugar Mill, Rehearsals from the first CD, Sea Horse on Maíca’s birthday. Returning to this material was a permanent project. The music led the archives back to life and the montage dwells on time, memory, vanishings and the inces sant fabrication of images.

MINIBIOGRAPHY

MARCIA MANSUR is a doctoral student (UNICAMP) and has an MA (UFPE) in Anthropology, having graduated in Social Sciences (UFRJ). Co-founder of Estúdio CRUA, she produces documentaries and training activities using new media for social impact. Director, scriptwriter, editor and researcher in short films. Co-director of the full-length film TheSoundoftheBells(2017), shown at festivals like Biarritz Amérique Latine (France) and the Margaret Mead Film Festival (NY), receiving awards like the Best Transmedia Documentary Project and the Best Anthropological Documentary of the V Madrid Audiovisual Anthropology Show, the Golden Tree Documentary Film Festival (Frankfurt), Best Film at the John Monteiro Anthropology Conference and the Rodrigo Melo Franco de Andrade Award (IPHAN).

CORPOCIDADE (CORPOCITY) ANDREA BARBOSA, GABRIELA CARVALHO AND RAUL CARVALHO 2021, 8’

SYNOPSIS

A group formed of students and re searchers decides to combine the ex perience of producing images with the experience of producing sounds to col lectively think about the relation be tween body and city, a process that was coincided with the Covid-19 pandemic. The result of this experience is a senso ry encounter with other forms of pro ducing knowledge, expressing oneself and relating to the world around us.

CREDITS

Direction

Andrea Barbosa

Gabriela Carvalho Raul Carvalho

Production

Andrea Barbosa Gabriela Carvalho

Script

Andrea Barbosa Andrea D´Amato Beatriz Campos

Gabriela Carvalho Gustavo Zavistoski Lucas Oliveira

Maria Fernanda Assis Milena Cidrão Editing

Raul Carvalho

Camera

Alannis Oliveira

Ana Beatriz Oliveira Andrea Barbosa Andrea D’ Amato Beatriz Campos Lima Danillo Silva Erika Paulo dos Santos Gabriela Carvalho Gustavo Zavistoski Herbert dos Santos Jessica de Barros Queren Queila Lucas Oliveira Maria Eduarda Teixeira Maria Fernanda Assis Milena Cidrão Mirela de Meireles Thainá Batista

Soundtrack Gabriela Carvalho Maria Fernanda Assis

Mixing

Alandson Silva Tatiane Vesh

XIV

FILMS EXHIBITION

COMMENTS BY THE DIRECTORS

This is a film that sets out to think about the city (or cities) through the re lationship that bodies (in all their singularities and differences) are capa ble of maintaining with it. In this film, the production of images and sounds emerges as a possibility for sensory assemblages, opening up channels for reflection and dialogue, and indicating paths for the construction of a shared knowledge. In the work, image and sound work together, articulat ed in an experience of sensory approximation to the world where bodies, by photographing and musicking their lived and imagined city, create and recreate the everyday, daily life, lending it other senses and meanings and situating themselves as producers of a sensible and legitimate knowledge about the world, people and things.

MINIBIOGRAPHY DES DIRETORES

ANDRÉA BARBOSA is an anthropologist, professor of the Department of Social Sciences of the Federal University of São Paulo/UNIFESP where she coordinates VISURB (Visual and Urban Research Group) since 2007 and is a member of the editorial team of the journal GIS–GestoImagem e Som of the University of São Paulo since its creation. Author of the books São Paulo Cidade Azul (Alameda/FAPESP, 2012) and Antropologiae Imagem (Zahar, 2006); organiser and author of the book AExperiênciada ImagemnaEtnografia(Terceiro Nome, 2016). She directed the documenta ries TheRestistheDay-to-Day(2001, Brazilian Reality Award at the Rio de Janeiro University Film Festival), OutoftheCorneroftheEyes(2006), In(it) self (2006, Award from the Brazilian Documentary Makers Association at the International Ethnographic Film Festival), PathsofMemory:Miriam Moreira Leite (2007), Pepper in the Eyes (2015), Corpocity (2021) and Photoaffect(2022).

GABRIELA CARVALHO is graduated in Social Sciences from UNIFESP, re searcher for VISURB and CMUrb and a musician trained at the São Paulo State School of Music.

RAUL CARVALHO is an audiovisual editor trained at the Criar Institute of TV, Cinema and New Media. He has worked for more than ten years in the audiovisual sector.

CYBERSHOTA MIHAI ANDREI LEAHA 2022, 19’

PIERRE

2022

XIV

FILMS

2ND PLACE FILME ETNOGRÁFICO (SHORT FILM)

SYNOPSIS

Nubia is a clubber and photographer from the independent electronic music scene in São Paulo. Walking through São Paulo city centre during the SP na Rua event, she takes photos while she dances and inter acts with friends and performers. Her pho tos reveal an original political and aesthet ic gaze that vividly captures the scenes from this fascinating universe.

CREDITS

Direction & research

Mihai Andrei Leaha Production

LAVANDERIA DOCS & LISA Project

Mihai Andrei Leaha

Leonardo Cravo

Paula Bessa Braz Núbia Fernamo Camera

Mihai Andrei Leaha

Leonardo Terra Cravo Location sound

Paula Bessa Braz Editing

Leonardo Terra Cravo Colorgrading

Mihai Andrei Leaha Sound mixing mastering

Ewelter Rocha Jean Nands

Motion graphics & design

Júlia Quevedo

COMMENTS BY THE DIRECTOR

The director’s vision of the short film Cybershotais a collaborative approach to the work and the conception of art of Núbia Fernamo. The artist’s photos are taken as a starting point, a pretext and a catalyst for different histories that un fold during the film. Curatorship of the photos was shared by the director and the artist, while the scenes, filmed in realist form, offer a glimpse of Núbia’s im age production laboratory. The montage juxtaposes two scenes that are com plemented by a feedback interview and a discussion in conversational style that explains the artist’s vision of photography, activism and public space. The result is a kaleidoscopic vision of São Paulo’s independent music scene.

MINIBIOGRAPHY

MIHAI ANDREI LEAHA is a Romanian audiovisual researcher, anthropologist, writer, filmmaker and educator, currently living in Brazil. As a member of CVA (Visual Anthropology Commission), CEVA and other organisations, he has a long-term involvement in curating, promoting and programming ethnographic films at various conferences or festival events. He taught Visual Anthropology in Cluj and São Paulo, and has organised conferences and workshops on mul timodal anthropology in Romania, Brazil and Peru. The filmmaker is currently working on a postdoctorate at the University of São Paulo, researching the lo cal DIY electronic music scene and developing new film projects in audiovisual ethnomusicology. www.mihaileaha.com

2022

DESCOMPOSTURA (DECOMPOSING)

ALLINE TORRES DIAS DA CRUZ, ANADUDA COUTINHO, MARCIO PLASTINA AND VÍCTOR ALVINO 2020, 7’

SYNOPSIS

An experimental film with images in motion of black wom en of various ages, filmed while they worked, using an aes thetic of fracture. Their bodies were positioned by the eyes of middle-class white men as though they were parts that served as props, support and spectators of lives that depend on these women. The film breaks up this visu al aesthetic. It allows us to see that, between who filmed and who entered, on the margins, into focus, there was a black female gaze. One that stared, confrontationally, at the camera, demonstrating affirmation, contestation and discomfort.

CREDITS

Direction

Alline Torres Dias da Cruz

Anaduda Coutinho

Marcio Plastina

Víctor Alvino

Script

Alline Torres

Anaduda Coutinho

Marcio Plastina

Víctor Alvino

Som Alline Torres

Anaduda Coutinho

Marcio Plastina

Víctor Alvino

Montagem

Alline Torres

Anaduda Coutinho

Marcio Plastina

Víctor Alvino

Edição

Pedro Bonfim

Víctor Alvino

COMMENTS BY THE DIRECTORS

Descompostura was made in the con text of Arquivo em Cartaz 2020, the International Festival of Archive Cinema, in the Magic Lantern work shop, under the supervision of Professor Patricia Machado.

MINIBIOGRAPHY

ALLINE TORRES has PhD in Anthropology (MN/UFRJ) and writ er, Descompostura is her debut short film. The storyline emerged from re search and articles on Rio de Janeiro’s suburbs and black women in the post-emancipation period.

VÍCTOR ALVINO is a filmmaker and editor. Graduate in International Relations (UFRRJ). He has collaborat ed on twelve short films (as direction and production assistant) and a the atre play (producer).

ANADUDA COUTINHO studies at UNIRIO and is a member of an exten sion project in the area of Archivology and Cinema. A specialist in Cultural Administration, she has worked for twenty years on cultural sponsor ship programs.

MARCIO PLASTINA has MA in Education and a graduate in History from UFF. Teacher in Primary Education for 31 years.

DOISIRMÃOS(TWO BROTHERS) YURI PRADO 2021, 32’

SYNOPSIS

Every 27th of September, Julio Valverde and his family make a caruru (okra and shrimp) dish in celebration of Cosmas and Damian at Soteropolitano, their restaurant serving Bahian food located in São Paulo. The prom ise to offer this feast has been fulfilled every year for the last 25 years. But will it be able to resist the impacts of the Covid pandemic?

CREDITS

Direction and editing

Yuri Prado Images

Yuri Prado

Thiago Faria

Colour correction Ricardo Dionisio

Soundtrack

Julio Valverde Yuri Prado Production Laboratório de Imagem e Som em Antropologia / LISA-USP Support FAPESP

COMMENTS BY THE DIRECTOR

To think of Julio Valverde is to think of Soteropolitano, the restau rant he has fronted for more than 25 years, passing through rough times and good times alike. Of all the many soul foods offered by Soteropolitano, the Cosmas and Damian caruru occupies the place of honour: it is the moment to give thanks for the protection of the twin boys, to ask for new blessings for the year ahead, and, above all, to fulfil an irrevocable family promise. The film Two Brothers seeks, then, to depict the faith and resilience needed to keep a place up and running, understood as both a physical space and an ideal.

MINIBIOGRAPHY

YURI PRADO is a postdoctoral researcher in Social Anthropology at USP and is currently on a research internship at the École des Hautes Études en Sciences Sociales (EHESS) in Paris. He is a mem ber of the FAPESP thematic project “Local musicking: new paths for ethnomusicology” and the research group PAM (Research in Musical Anthropology). Trained in Music (Composition) at the Department of Music of ECA-USP, he has a PhD from the same in stitution, including a research period in ethnomusicology at the Université Paris VIII. As an arranger and composer, he has won the I USP Chamber Orchestra Composition Competition (2010), the XIX Nascente-USP Award (2011) and the I Symphonic Jazz Orchestra Composition Competition (2015). As a documentary maker, he has produced the films OneSteptoWin(2020) and TwoBrothers(2021).

UNCOUNTABLES: EDUCATION UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES 2021, 14’54”

SYNOPSIS

The episode EducationundertheDictatorshipaddresses the trajectories of students, teachers, academics and members of the technical-scien tific staff of the universities and schools affected by Brazil’s dictator ship. Eschewing the usual approaches to the topic, the film demon strates that the victims of the dictatorship were not limited to the official number of people killed and disappeared during the period. There were a large number of students, for instance, who experienced the violence of the repression in the period, the mass imprisonments and the forced disappearances. The episode also tells the histories of academic staff and public workers whose careers were interrupted, who left the country or who even lost their life under the dictatorship.

CREDITS

Direction

José Sergio Leite Lopes

Script and research Lucas Pedrett Luciana Lombardo Narration

Jardel Leal

Edição Rubens Takamine Motion design

Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes Lucas Pedretti Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production

Ricardo Favilla

Post-production Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration Thamyres Lopes Support

UFRJ Forum of Science and Culture

Social Movements Memory Program – MEMOV/CBAE/UFRJ

CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s violence against women, the LGBTQIA+ population, the black population, favela resi dents, indigenous peoples, students and educators, and rural and city work ers. Each episode is narrated by someone who personally experienced the im pacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the traditional narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an ag ile narrative using an accessible language, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A mem ber of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ). History teacher in prima ry school in the public education system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advisor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship website (www. historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF. Previously a teacher on community university en trance courses (1996 to 1999), history teacher in the municipal and state public education systems (2001 to 2009), substitute professor in History at UFF (2007 to 2009) and part-time professor at PUC-Rio (2009 to 2018). She has research experience in the following areas: archives, political police, workers and unions, book publishers and editors, literary censorship, didactic books, the dictatorship and the politics of memory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an undergraduate de gree (2002) and teaching degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A post doctoral researcher (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating researcher for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a consultant to the OABRJ Commission of Human Rights.

UNCOUNTABLES: WOMEN UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES 2021,

SYNOPSIS

This episode explores the violence against women during the military dic tatorship. The memory of the period tends to prioritize men – white, het erosexual, most of them associated with the armed struggle – whether in films or in literary and cultural productions. However, the participation of women in multiple forms of resistance was far from secondary. Feminist participation in the struggle against the dictatorship was associated with the movement for amnesty. Mothers and relatives led the public denunci ation of rights violations in the public sphere. At the same time, the mili tary regime used sexual violence as a form of torture, demonstrating the indissociability between gender and the State, morality and politics.

CREDITS

Direction

José Sergio Leite Lopes

Script and research Lucas Pedrett Luciana Lombardo

Narration

Jardel Leal Edição

Rubens Takamine Motion design Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes

Lucas Pedretti

Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production

Ricardo Favilla

Post-production Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration Thamyres Lopes Support

UFRJ Forum of Science and Culture Social Movements Memory Program – MEMOV/CBAE/UFRJ CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ

Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s violence against women, the LGBTQIA+ population, the black population, favela resi dents, indigenous peoples, students and educators, and rural and city work ers. Each episode is narrated by someone who personally experienced the im pacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the traditional narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an ag ile narrative using an accessible language, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A member of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ). History teacher in primary school in the public education system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advisor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship website (www.historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF. Previously a teacher on community university entrance courses (1996 to 1999), history teacher in the municipal and state public education systems (2001 to 2009), substitute professor in History at UFF (2007 to 2009) and part-time professor at PUC-Rio (2009 to 2018). She has research experience in the following areas: archives, political police, workers and unions, book publishers and editors, literary censorship, didactic books, the dictatorship and the politics of memory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an undergraduate degree (2002) and teaching degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A postdoctoral researcher (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating research er for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a consultant to the OABRJ Commission of Human Rights.

UNCOUNTABLES: THE LGBTQIA+ POPULATION UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES

SYNOPSIS

This episode examines the violence perpetrated by the military regime against the gay and transsexual population, today known under the LGBTQIA+ label. Their dissident bodies and sexualities became targets of the dictatorship’s repressive apparatus and its desire to con struct a society in line with “morality and good customs.” The preoccupation with the “apol ogy for homosexuality,” frequently associated with international communism, served to blur the frontiers between morality and politics, justifying various forms of censorship and dismissals. Police beatings, imprisonments and torture confronted the nascent resistance in night clubs, cruising spaces and gay and lesbian pride movements.

CREDITS

Direction

José Sergio Leite Lopes

Script and research Lucas Pedrett

Luciana Lombardo

Narration

Jardel Leal

Edição Rubens Takamine

Motion design Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes Lucas Pedretti Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production Ricardo Favilla

Post-production Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration

Thamyres Lopes

Support

UFRJ Forum of Science and Culture

Social Movements Memory Program – MEMOV/CBAE/UFRJ CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s vi olence against women, the LGBTQIA+ population, the black population, favela residents, indigenous peoples, students and educators, and rural and city workers. Each episode is narrated by someone who personally ex perienced the impacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the tradition al narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an agile narrative using an accessible lan guage, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A member of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ).

History teacher in primary school in the public education system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advisor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship website (www.historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF. Previously a teacher on community universi ty entrance courses (1996 to 1999), history teacher in the munic ipal and state public education systems (2001 to 2009), substi tute professor in History at UFF (2007 to 2009) and part-time professor at PUC-Rio (2009 to 2018). She has research experi ence in the following areas: archives, political police, workers and unions, book publishers and editors, literary censorship, didactic books, the dictatorship and the politics of memory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an undergraduate degree (2002) and teaching degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A postdoctoral re searcher (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating researcher for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a consul tant to the OABRJ Commission of Human Rights.

UNCOUNTABLES: THE BLACK POPULATION AND FAVELA RESIDENTS UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES

SYNOPSIS

This episode explores the theme of the violence directed by the military re gime against the black population and favela residents. Historically prime targets of state violence in a deeply racist country, this portion of the pop ulation was also heavily affected by the arbitrary actions of the dictator ship, despite the myth of racial democracy. Examples include clearances for real estate speculation and the enrichment of the dominant classes fa voured by the regime; young black men executed by death squads and ex termination groups; favela residents arbitrarily arrested and tortured un der the allegation of ‘vagrancy’; and the censorship and persecution of black cultural manifestations.

CREDITS

Direction

José Sergio Leite Lopes

Script and research Lucas Pedrett Luciana Lombardo

Narration

Jardel Leal Edição

Rubens Takamine Motion design Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes Lucas Pedretti Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production

Ricardo Favilla

Post-production Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration Thamyres Lopes

Support

UFRJ Forum of Science and Culture

Social Movements Memory Program – MEMOV/CBAE/UFRJ CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ

Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s violence against women, the LGBTQIA+ population, the black population, favela resi dents, indigenous peoples, students and educators, and rural and city work ers. Each episode is narrated by someone who personally experienced the im pacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the traditional narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an ag ile narrative using an accessible language, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A member of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ). History teacher in primary school in the public ed ucation system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advi sor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship website (www.historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF. Previously a teacher on community university entrance courses (1996 to 1999), history teacher in the municipal and state public education systems (2001 to 2009), substitute professor in History at UFF (2007 to 2009) and part-time professor at PUC-Rio (2009 to 2018). She has research experi ence in the following areas: archives, political police, workers and unions, book publishers and editors, literary censorship, didactic books, the dicta torship and the politics of memory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an undergraduate degree (2002) and teaching degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A postdoctoral researcher (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating researcher for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a consultant to the OABRJ Commission of Human Rights.

UNCOUNTABLES: INDIGENOUS PEOPLES UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES

SYNOPSIS

This episode examines the military regime’s violence against indigenous peoples, who were the target of forced transfers, massacres and epidem ics in the name of development and national security. Business leaders, bankers, landowners and State agents formed alliances to ‘pacify’ isolated indigenous peoples and accelerate their ‘integration’ into national society. Removing them from their lands, they built roads and hydroelectric plants and installed economic activities like farming and mining, generating pol lution and destruction. At the same time, the film also depicts the fight of sertanistas, anthropologists and missionaries, the emergence of the uni fied indigenous movement and the challenges of the democratic period.

CREDITS

Direction José Sergio Leite Lopes

Script and research Lucas Pedrett Luciana Lombardo

Narration

Jardel Leal Edição

Rubens Takamine Motion design Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes

Lucas Pedretti

Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production

Ricardo Favilla

Post-production

Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration Thamyres Lopes

Support

UFRJ Forum of Science and Culture Social Movements Memory Program – MEMOV/CBAE/UFRJ CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ

Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s violence against women, the LGBTQIA+ population, the black population, favela resi dents, indigenous peoples, students and educators, and rural and city work ers. Each episode is narrated by someone who personally experienced the im pacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the traditional narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an ag ile narrative using an accessible language, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A member of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ). History teacher in primary school in the public education system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advisor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship web site (www.historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF. Previously a teacher on community uni versity entrance courses (1996 to 1999), history teacher in the municipal and state public education systems (2001 to 2009), substitute professor in History at UFF (2007 to 2009) and part-time professor at PUC-Rio (2009 to 2018). She has re search experience in the following areas: archives, political po lice, workers and unions, book publishers and editors, literary censorship, didactic books, the dictatorship and the politics of memory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an undergraduate degree (2002) and teaching degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A postdoc toral researcher (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating researcher for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a consultant to the OABRJ Commission of Human Rights.

UNCOUNTABLES: WORKERS UNDER THE DICTATORSHIP JOSÉ SERGIO LEITE LOPES 2021,

SYNOPSIS

This episode looks to describe the impacts of the dictatorship on rural and city workers. The themes approached range from economic policy and the squeeze on wages and its effects on the living conditions of the working class to the frequent cases of political surveillance, interventions and open repression of unions, worker movements and their leaders, and peasant leaders.

CREDITS

Direction

José Sergio Leite Lopes

Script and research Lucas Pedrett

Luciana Lombardo

Narration

Jardel Leal

Edição Rubens Takamine

Motion design Fernando Fernandes Storyline

Felipe Magaldi

José Sergio Leite Lopes Lucas Pedretti Luciana Lombardo Virna Plastino

Executive production, coordination of production and post-production Ricardo Favilla

Post-production Paradox

Soundtrack

Felipe Magaldi

Gamela - E'S Jammy Jams

Opening narration

Thamyres Lopes

Support

UFRJ Forum of Science and Culture

Social Movements Memory Program – MEMOV/CBAE/UFRJ CNPq

FAPERJ

Sponsored by Memory and Truth Commission/UFRJ Nucleus of Memory and Human Rights Institute of Culture and Movement – ICEM

COMMENTS BY THE DIRECTOR

Divided into six parts, the series explores the Brazilian dictatorship’s vi olence against women, the LGBTQIA+ population, the black population, favela residents, indigenous peoples, students and educators, and rural and city workers. Each episode is narrated by someone who personally ex perienced the impacts of the dictatorship, representing the uncountable collective subjects affected and not always remembered in the tradition al narratives. The idea is for the films to present an aesthetic closer to the universe of the internet than that of classic documentaries. Our aim, therefore, has been to achieve an agile narrative using an accessible lan guage, anticipating future divulgation of the films and combatting the growing denialism in Brazil on the topic of the dictatorship.

MINIBIOGRAPHIES

JOSÉ SÉRGIO LEITE LOPES is full professor of the Department of Anthropology of the National Museum, Federal University of Rio de Janeiro (UFRJ). Former director of the Brazilian College of Higher Studies at UFRJ – CBAE/UFRJ (20122019). Graduated in Economics from the Pontificate Catholic University of Rio de Janeiro (1969) with an MA in Social Anthropology from UFRJ (1975) and a PhD in Social Anthropology from the same institution (1986). Undertook a postdoctorate at the École des Hautes Études en Sciences Sociales de Paris (1988-1990). Coordinates the Memory of Social Movements Program –MEMOV/CBAE/UFRJ and the Memory and Truth Commission/UFRJ.

FELIPE MAGALDI Graduate in Social Sciences from the Federal University of Rio de Janeiro (2012), MA in Anthropology from Fluminense Federal University (2014) and PhD in Social Anthropology from the National Museum, UFRJ (2018). Postdoctoral researcher at the National University of Córdoba/ CONICET (2018-2020) and UFRJ/CAPES (2020-2021). Currently a postdoctor al researcher at the Federal University of São Paulo (FAPESP) and a collabo rator for the Nucleus of Memory and Human Rights of the Memory and Truth Commission CMV/UFRJ. He primarily works on the following themes: mental health, social memory and human rights.

LUCAS PEDRETTI Doctoral candidate in Sociology at the Institute of Social and Political Studies (IESP/UERJ). MA in the Social History of Culture (2018) and graduate in History (2015) from PUC-Rio. A member of the Nucleus of Memory and Human Rights of the Brazilian College of Higher Studies (CBAE/UFRJ). History teacher in primary school in the public education system of Maricá (RJ). Previously a researcher for the Institute of Studies of Religion (ISER) and an intern for the Rio State Truth Commission. Collaborated with the Nucleus of Human Rights at PUC-Rio. He was advisor to the State Coordination Group for Memory and Truth from January 2016 to August 2017. Editor of the History of the Dictatorship website (www.historiadaditadura.com.br).

LUCIANA LOMBARDO PhD in Social Anthropology from UFRJ (National Museum), MA from the same institution, graduate in History from UFF.

Previously a teacher on community uni versity entrance courses (1996 to 1999), history teacher in the municipal and state public education systems (2001 to 2009), substitute professor in History at UFF (2007 to 2009) and part-time pro fessor at PUC-Rio (2009 to 2018). She has research experience in the follow ing areas: archives, political police, work ers and unions, book publishers and edi tors, literary censorship, didactic books, the dictatorship and the politics of mem ory. Currently works on the Commission of Memory and Truth and the Forum of Science and Culture at UFRJ.

VIRNA PLASTINO PhD (2013) and MA (2006) in Social Anthropology from the National Museum/UFRJ. She has an un dergraduate degree (2002) and teach ing degree (2003) in Social Sciences from the Federal University of Rio de Janeiro. Previously Executive Secretary of the Rio de Janeiro State Truth Commission (2013-2015) and Coordinator of the State Coordination Group for Memory and Truth of the State Secretary for Human Rights (2016-2017). A postdoctoral research er (2018-2020) at the Brazilian College of Higher Studies (CBAE) and the Forum of Science and Culture of UFRJ (2021). Currently a collaborating researcher for the Commission of Memory and Truth at UFRJ. Since 2019 she has been a con sultant to the OABRJ Commission of Human Rights.

KATU: WE ARE KA'APOR ALESSANDRO CAMPOS

SYNOPSIS

A film made at the request of Ka’apor leaders from Axinguirendá village, Alto Turiaçu Indigenous Land, in the state of Maranhão, who organised to make their own film. This wish emerged after watching images of their an cestors, made in 1949 by Heinz Forthmann and Darcy Ribeiro, as well as productions made by indigenous filmmakers over various nights in the vil lage’s ohú (communal house). Mobilized by the power of the audiovisual, they decided to show – and at the same time revitalize – their culture and make themselves known in the same form that their other relatives had done in the films.

CREDITS

Direction

Alessandro Campos

Script

Ximí Ka'apor Valdir Ka'apor Diquixim Ka'apor Fernando Ka'apor Camera/sound Alessandro Campos

Montage Moyses Cavalcante

COMMENTS BY THE DIRECTOR

Without doubt, making this film with my Ka’apor friends was an unforget table experience. Especially as a film conceived and desired by themselves and not – as usually happens – a researcher who proposes or makes a film about rituals and festivals. Everything unfolded in their own time and in the way they wanted. The final edit was approved by them before being shown anywhere outside the village. After this interest in the audiovisual and its potential, absorbed by them in my own autonomous way, I devel oped an audiovisual workshop project in the village that grew in strength, culminating with the creation of the Nhade’ã Ka’apor cinema collective.

MINIBIOGRAPHIES

ALESSANDRO CAMPOS Sociologist, anthropologist and filmmaker. Assistant coordinator of the Visual Anthropology and Anthropology of the Image Research Group VISAGEM – Federal University of Pará/Brazil, he coordi nates the Ethnographic Film Festival of Pará, the Cinema and Anthropology Colloquium of Amazonia and the Visual Anthropology of Amazonian America Meeting. Supervisor of the Summer Course in 2018/2019 of MDOC – Melgaço International Documentary Festival, winner of the 2018 PROEX/UFPA Art and Culture Award and recipient of an award at the X Recife International Ethnographic Film Festival.

XIMÍ KA'APOR is the leader of Axinguirendá village, the second largest of the Ka’apor people, where the film was made.

DIQUIXIM KA'APOR is the teacher at the school that operates inside the village, always concerned with strengthening his culture.

VALDIR KA'APOR is the nursing assistant who works in the village health post and father of Diquixim.

FERNANDO KA'APOR is one of the most active leaders of this people who had the initial idea of making this film.

KONHUN MÁG: THE WAY BACK TO THE CINNAMON FOREST CLÉMENTINE MARÉCHAL, GUILHERME MAFFEI BRANDALISE, MAURÍCIO VEN TAINH SALVADOR AND MARCELO FREIRE DE CAMPOS

SYNOPSIS

Since 2008, the Kaingang people have been fighting to recover the territory of their ances tors in the municipality of Canela, Rio Grande do Sul. The documentary presents their return to the land where their ancestors were massacred at the end of the nineteenth century. It was these ancestors who, through the intermediation of the kujà (spiritual leaders), called the Kaingang to return to the National Canela (Cinnamon) Forest and who guide them in the life projects developed in the process of retaking the land. The documentary, which was made through a partnership between the Kaingang involved in the reclaiming of Konhun Mág and researchers from various areas of knowledge, seeks to make visible and strengthen the Kaingang people’s fight to take back their territory.

CREDITS

Direction

Clémentine Maréchal

Guilherme Maffei Brandalise

Maurício Ven Tainh Salvador

Marcelo Freire de Campos Project, script and production

Clémentine Maréchal

Guilherme Maffei Brandalise

Marcelo Freire de Campos Maurício Venh Tain Salvador

Participation in the documentary

Zílio Jagtyg Salvador

Nilda Kengrimu Nascimento

Maurício Ven Tainh Salvador

Iracema Ga Teh Nascimento

Alcir Ká Fág Salvador Faustino Kover Nascimento Comunidade

Kaingang Konhún Mág

Ana Elisa Freitas De Castro

Filming

Clémentine Maréchal

Guilherme Maffei Brandalise

Iury Fontes dos Passos

Marcelo Freire de Campos Editing

Marcelo Freire de Campos

KaingangPortuguese translation

Maurício Ven Tainh Salvador

Subtitles

Clémentine Maréchal

Guilherme Maffei Brandalise

Milena Weber

Support team

Ada Herz

Iury Fontes dos Passos Milena Weber

Earlier filming

Juliano Belém Bruno Pedrotti

Clémentine Maréchal Lucas Icó

João Maurício Farias

Acknowledgements

Konhun Mág

Kaingang community: Zoraide Pinto

Nilda Kengrimu Nascimento (in memorian)

Viviane Farias Márcio Salvador

Adilson Padilha Nascimento Jardel Lopes

Iracema Ga Teh Nascimento Ada Hertz

João Maurício Farias Celvio Cassal Lucas Icó

Ana Elisa Freitas De Castro Rodrigo Venzon

All those who took part in the activities involved in the Konhun Mág Land Reclaim in Porto Alegre, Canela and Caxias do Sul. All the partners of the Indigenous Land Reclaims

COMMENTS BY THE DIRECTORS

The documentary project began in 2019 during the Kaingang Conference, an UFRGS psychology course extension project. It was the first encounter be tween the team and Maurício Salvador. Researchers in history, anthropology and filmmaking joined together with the Kaingang community in their fight to recover their territory. This partnership began with small videos published on social media with the aim of increasing the visibility of the Kaingang’s dai ly struggle to reclaim the land and to increase recognition of their culture in a region of the country where prejudice is rife. With funding received under the Aldir Blanc Law, the team was able to make this full-length documentary, deepening the relationship between the Kaingang and their territory.

MINIBIOGRAPHIES

CLÉMENTINE MARÉCHAL is an anthropologist with an MA and PhD in Social Anthropology from the Federal University of Rio Grande do Sul and a member of the Nucleus of Anthropology of Indigenous and Traditional Societies. She has accompanied the Kaingang in the processes of reclaiming their lands since 2013 and undertook part of her doctoral research with the Kaingang from the Konhun Mág community. Recently she has accompanied indigenous Warao families (originating from Venezuela) in Porto Alegre. Her research interests focus on historical and political anthropology, indigenous ethnology, migra tion and economic anthropology. She has also been a member of the Catarse Collective since 2019, an audiovisual cultural production work collective

GUILHERME MAFFEI BRANDALISE is a historian currently working on an MA in Social History at UFRGS, researching the trajectory of the leader João Grande, who resisted the advance of the colonizing front in the Serra Gaúcha region in the mid-nineteenth century and the relations between these conflicts and European colonization of the region today known as Serra Gaúcha. He has also been active in the scientific divulgation of the indigenous history of Rio Grande do Sul as scriptwriter for the Desapaga POA project in 2021, and cur rently works in the educational sector of the RS Memorial in Porto Alegre.

MAURÍCIO VEN TAINH SALVADOR is lead er of the Konhun Mág land reclaim. He is 26 years old and is the son of Zílio Jagtyg Salvador and Nilda Kengrimu Nascimento who were the first to begin the recovery of the traditional Kaingang territory in the Canela region. After their deaths in 2017, Maurício assumed leadership of the re claim, pioneering a life project in the terri tory in accordance with the values taught by the kujá and by the ancestors. He main tains partnerships with various local actors and students with the aim of increasing the visibility and appreciation of the Kaingang identity in the region.

MARCELO FREIRE DE CAMPOS is a graduate in Publicity and Advertising from UFRGS. He works in cultural and audiovisual pro duction, having worked for two years on the Unasus-UFCSPA project, in the area of Family and Community Medicine, and for three years on the Unimúsica project run by the Department of Cultural Diffusion at UFRGS. He is also a freelance producer and video editor, working in the production of music videos and documentaries.

SYNOPSIS

MAIO is a documentary produced independently by Primata Filmes that de picts the day-to-day life of the Porto Inglês fishing community in Cape Verde, proposing a critical perspective of the current situation of low fish stocks in the region, caused by industrial fishing by national and foreign boats. Our aim was to foreground the discussion on the lack of fish in the archipelago, pro jecting the voice of the men and women who suffer daily from the mistaken choices of the current state management of fisheries, but also demonstrating the reasons that justify a future investment in the artisanal fishing communi ty of the islands.

CREDITS

Direction

João Paulo Araújo

Luís Evo

Production

Primata Filmes

Camera, editing and montage Luís Evo

Script

Elis Borde

João Paulo Araújo

Luís Evo

Soundtrack Tibau Tavares Sound

Elis Borde Research João Paulo Araújo

Art and publicity Luís Evo Translation

Pedro Andrade Pedro Matos

XIV

FILMS EXHIBITION

COMMENTS BY THE DIRECTORS

The principal aim of this film is to situate the artisanal fishers of Cape Verde as actors qualified to discuss the low fish stocks in Cape Verde, clearing away local social barriers that have historically kept them distant from the spheres of power.

MINIBIOGRAPHIES

JOÃO PAULO ARAÚJO is a federal public worker employed at the Ministry of Labour since 2009. He has a degree and MA in Anthropology from UFMG, the institution where he is currently completing his doctorate.

LUÍS EVO is a documentary maker and samba enthusiast. In 2013, he found ed Primata Filmes whose work is focused on producing and making audio visual and promotional works for the areas of music, dance and theatre.

ELIS BORDE is assistant professor of the Department of Preventative and Public Medicine at the UFMG Medical Faculty. She is trained in Public Health and conducts research on social inequalities in health, territorial conflicts and health, and urban violence.

MASTER SIRSO: WHEN THE WORLD IS SILENCE, VIBRATION IS THE MASTERE EMANUELA PALMA 2021, 68’

SYNOPSIS

Master Sirso is a deaf man, black, his trajectory a history of the rights his torically denied in Brazil. Resident of the outskirts of Cascavel in Paraná, Sirso lost his hearing in 1974 at the age of four. He is one of the victims of the meningitis epidemic whose existence was refuted by the military dic tatorship. Life acquires a new meaning when he enters the Capoeira cir cle, feels the vibration of the sound of the berimbau, breaks the silence, learns to speak and sing, and becomes a Master. In the circle of life, the fight against racism and for inclusion continues.

CREDITS

Direction

Emanuela Palma Executive production Leo Carnevale

Script

Geslline Braga

Cinematography

Bia Herbstrith

Camera assistant Maryah Pasquini

Montage

Thais Inácio Cristiano Requião

Sound editing Rodrigo Boecker Soundtrack

Fábio Barbosa and Alisson Santos

Colour correction Cristiano Requião

Research

Emanuela Palma Geslline Braga

Design

Alê Karmirian

Bia Herbstrith

Producer Marcella Lucas

Producer and media assistant Andressa Scardua

Accessibility resources and subtitles

Raça Livre EN, FR and ES translation Marcella Lucas

Montage consultancy Giovanna Giovanini

Additional camerawork

Ederson Bastiani José Carlos Santana

COMMENTS BY THE DIRECTOR

Production of the documentary MasterSirsobegan in 2015 when I met the protago nist at a Capoiera even in the city of Cascavel, where I also first encountered the re searcher Geslline Giovana Braga, whom I later invited to write the film script. We never imagined that the project would be so relevant to the current moment through which the country is passing. Sirso’s trajectory invites us to dive deep into Brazil and reveal the histories of people made invisible who the State insists on silencing and wiping from history. Anthropological documentary cinema provides us with the op portunity to put ourselves in the place of the other, “without subjugating, underesti mating or looking down on them,” as Jean Rouch would say.

MINIBIOGRAPHIES

EMANUELA PALMA is a photographer, filmmaker and cultural producer with a post graduate degree in Photography and Image from the Cândido Mendes Faculty. She gives free course in documentary making, editing, cultural production and script writing. She directed and produced the documentary Interoceanic:fromtheAmazon to the Pacific and the short film RootsandQueens, and also directed and produced the documentary Master Sirso: when the world is silence, vibration is the master . She is a member of the Rede Emancipa movement, director of Palma Produção – im pact projects, and cofounder of the Aruá Institute. Between 2013 and 2018 she was production coordinator of the Cinema and Human Rights Film Festival in Porto Velho, Rondônia.

GESLLINE GIOVANA BRAGA is a photographer and anthropologist, a graduate in jour nalism and sociology, specializing in photography. She has an MA (UFPR) and PhD (USP) in Social Anthropology. She completed a postdoctorate in Cultural Geography.

A curator, producer of books, documentaries and exhibitions. She has been a profes sor at higher education institutions since 2002. Between 2011 and 2013 she was sub stitute professor of the UFRP Department of Anthropology. Founder of the Magnolias Women’s Collective. She is coordinator of the Southern Region of the Committee of Heritage and Museums of the Brazilian Anthropology Association and coordinator of the Forum of Entities in Defence of Brazilian Cultural Heritage in Paraná.

MEUCHÃO(MY GROUND)

GESLLINE GIOVANA BRAGA AND JORGE DE JESUS 2021, 47’

SYNOPSIS

The Black Social Clubs of Rio Grande do Sul as places of black struggle and resistance against racism and racial segregation in the state.

CREDITS

Direction

Geslline Giovana Braga Jorge de Jesus Script André Costantin Geslline Giovana Braga Editing Lucas Mambilla Cinematography

Alceu Silva Executive production Daniel Herrera Production Geni Onzi

COMMENTS BY THE DIRECTORS

Made with funds from the Aldir Blanc Law at the start of 2021 when the Covid pandemic was worsening, part of the film needed to be made re motely when the clubs were temporarily suspended. Although the script already included the use of photos, the initial intention had been to film the club’s activities, which was not possible.

MINIBIOGRAPHIES

GESLLINE GIOVANA BRAGA is a photographer and anthropologist, a gradu ate in journalism and sociology, specializing in photography. She has an MA (UFPR) and PhD (USP) in Social Anthropology. She completed a postdoc torate in Cultural Geography. A curator, producer of books, documentaries and exhibitions. She has been a professor at higher education institutions since 2002. Between 2011 and 2013 she was substitute professor of the UFRP Department of Anthropology. Founder of the Magnolias Women’s Collective. She is coordinator of the Southern Region of the Committee of Heritage and Museums of the Brazilian Anthropology Association and coordinator of the Forum of Entities in Defence of Brazilian Cultural Heritage in Paraná.

JORGE DE JESUS is a DJ and documentary maker.

OUR HANDS ARE SACRED JÚLIA MORIM

3RD PLACE FILME ETNOGRÁFICO (SHORT FILM)

FILMS

SYNOPSIS

For the women of the Pankararu people in Pernambuco, being a midwife and bringing new lives into the world by their own hands involves a gift, courage, respect and ancestry.

CREDITS

Direction

Júlia Morim Production

Júlia Morim and Olívia Morim

Cinematography

Marcelo Lacerda

Sound and mixing

Lucas Caminha

Montage

Amandine Goisbault

Colour correction

Tiago Campos With

Jula (Juliana Maria da Silva)

Mãe Dôra (Maria das Dores Silva Nascimento)

Cássia (Rita de Cássia da Silva)

Tia Ana (Ana Maria dos Santos)

Darinha Pankararu (Jacilene Maria dos Santos)

Neide (Maria Ivaneide de Sá)

Jacira (Jacira Torres da Silva)

Luzânia (Maria Luzânia Alves)

Tixa (Maria Cícera dos Santos Oliveira) Gilda (Gilda Maria da Silva)

Lena (Maria Marlene das Graças) Maria de Lurdes (Maria das Dores de Jesus)

Leda (Maria Edineide dos Santos Arnaldo)

Sponsored by Museum of the Midwife

Bebinho Salgado 45

The film was partially made with funds from the 3 Ayrton de Almeida Carvalho Award for the Conservation of the Cultural Heritage of Pernambuco.

XIV

FILMS EXHIBITION

COMMENTS BY THE DIRECTOR

The film explores the meanings and sense of being a midwife among the Pankararu. At the same time it demonstrates the vital role played by Mãe Dora in maintaining and transmitting traditional knowledge relating to care during the cycle of pregnancy, birth and the postpartum period, as well as the network established among these women. A relationship of many years with Mãe Dôra enabled a proximity and intimacy in the making of the film, which takes as its epicentre an encounter to paint a mural on which the universe of giving birth is depicted.

MINIBIOGRAPHY

JÚLIA MORIM is a graduate in Social Sciences (UFPE) with an MA in Anthropology (UFPE), a specialist in Museums, Identities and Communities (FUNDAJ). Doctoral candidate in Anthropology at PPGA/UFPE working in the areas of the anthropology of health, audiovisual anthropology, heri tage, memory and museums. She is a researcher for the Laboratory of Visual Anthropology (LAV/PPGA/UFPE) and the Observatory of Museums and Cultural Heritage (OBSERVAMUS/PPGA/UFPE). Member of the tram that has been developing the Museum of the Midwife initiative, an ex perimental museum. She has directed the short films Symbiosis (2017), Avoidable(2019), OurHandsareSacred(2021) and Ruth(2021).

OUR SPIRITS CONTINUE TO ARRIVE -NHE’ KUERY JOGUERU TERI KUARAY POTY (ARIEL ORTEGA) AND BRUNO HUYER 2021, 15’

XIV ETHNOGRAPHIC FILMS EXHIBITION

1ST PLACE FILME ETNOGRÁFICO (SHORT FILM)

SYNOPSIS

In Tekoa Ko’ ju, Pará Yxapy, a Mbya Guarani woman, takes the first care of her child, still in her womb, and, along with her relatives, re flects on what her pregnancy means amid the Covid-19 epi demic in Brazil.

CREDITS

Direction

Kuaray Poty (Ariel Ortega)

Bruno Huyer

Participation

Pará Yxapy

Kerechu Miri (Elza Ortega)

Pará Rete (Elsa Chamorro)

Camera and sound

Kuaray Poty (Ariel Ortega)

Editing Bruno Huyer

PT subtitles

Kuaray Poty (Ariel Ortega) Pará Yxapy

Bruno Huyer

EN subtitles

Karen Villanova

Coordination

Christine McCourt Maria Paula Prates

Collaboration

Equipe Brasil Meridional PARI-c

Sponsored by PARI-c (Platform for Anthropology and Indigenous Responses to COVID-19), UKRI Medical Research Council, NIHR (National Institute for Health Research), UK Aid, City University London, UFCSPA, UFSB, USP.

COMMENTS BY THE DIRECTORS

This short film emerged from a wide-ranging research project on indige nous responses to Covid-19, financed by British institutions in health re search like the IKRI Medical Research Council and NIHR (National Institute for Health Research) and supported by Brazilian institutions like UFCSPA, UFSB and USP. The research was conducted in diverse regions of the coun try and involved numerous indigenous and non-indigenous researchers, who collaborated in a deep investigation into the different responses and understandings in relation to the coronavirus in their communities. As a result, we obtained research notes and audiovisual productions that de pended exclusively on well-established relations of trust and friendship, since all the work was produced remotely. The same applies to this short film, produced by two friends who investigated the effects of the coronavi rus in the villages where one of them lives during his own wife’s pregnancy. It is interesting to note how the long-term relations of trust and dialogue were premises for the research and the film, making possible this inquiry into the impact of the virus and the pandemic in the intimacy of a pregnan cy. Set in the worrying context described above, the film inhabits an inti mate space between a mother and her child, still in the womb. Convoking the gods and their knowledge to participate, she attempts to traverse the chaotic and challenging context of the pandemic, at the same time as she cares for her baby with a keen sensibility, welcoming the child as a recent ly arrived spirit and as a sign of her own health and that of her world. Even amid the aggression of the arrival and spread of Covid-19 in Brazil, we try to show the strength and logic of Mbyá care of the divine spirits that settle in babies while they are still in their mother’s womb. These dimensions are subtly articulated by Pará Yxapy and her family. Located between non-in digenous concepts of health and the Mbyá meanings concerning the body, disease and health, she composes her own itinerary in the care for her child and in her conversation with the divinities.

MINIBIOGRAPHIES

KUARAY POTY (ARIEL ORTEGA) is a Mbyá-Guarani artisan, filmmaker and thinker. He has worked in cinema since 2007 when he was director of the film Mokoi Tekoa, Petei Jeguata (Two Villages, One Walk), winner of the 2008 ForumDoc BH. He later directed other award-winning films like TheBicycles of Nhanderu (2011), Guarani Exile (2011), Tava,theHouseofStone (2012), Mbya Mirim(2013) and OnthepathwithMário(2014). Today he lives in Tekoa Koe'ju, in São Miguel das Missões, Brazil, where he works in recuperating degraded for est areas with the Indigenist Work Centre (CTI) and is a member of the MbyáGuarani Cinema Collective and the Ará Pyau Cine Collective (Argentina).

BRUNO HUYER is a graduate in Social Science from the Federal University of Rio Grande do Sul (UFRGS) with an MA in Social Anthropology from the Federal University of Santa Catarina (UFSC). He has worked on various projects with Mbya-Guarani peoples of southern Brazil and northern Argentina since 2008. From 2016 he began to work with Vídeo nas Aldeias, participating in various audiovisual productions with indigenous peoples in Brazil. Since 2019 he has been a technician in Anthropology at the National Institute of Historical and Artistic Heritage (IPHAN) in Salvador, Bahia, and continues to participate in research projects in anthropology, indigenous ethnology and health, including making use of audiovisual toolsl.

PARÁ YXAPY (26 October 1985) is an indigenous Brazilian teacher and film maker, born in Kunhã Piru in Missiones municipality, Argentina. Since 2000, she has lived in Koenju, a Mbya-Guarani village located in São Miguel das Missões/RS. She has participated in film shows and festivals in Brazil and in ternationally, like the American Native Film Festival, forumdoc.bh, Lugar do Real, Berlinale, FINCAR, among others. She took part in the production of The BicyclesofNhanderu(2011), GuaraniExile(2011), Tava,theHouseofStone(2012), MbyaMirim (2013), On the Path with Mario (2014), TekoHaxy–ImperfectBeing (2018) and NhemonguetaKunhãMbaraete(2020).

FILMS EXHIBITION

CHRISTINE MCCOURT has a PhD in Social Anthropology from the London School of Economics (LSE) and is Professor of Maternal and Child Health at the School of Health Sciences of City University London, where she is lead researcher for the Centre for Maternal and Child Health Research. She teaches undergraduates and postgraduates, as well as conducting and supporting a series of research projects. Her main interests are moth erhood and women’s health with a particular interest in women’s experi ences of childbirth and motherhood and in the culture and organisation of maternity care. She worked for several years in the application of anthro pological theory and methodology to the study of ‘western’ health and is also chief editor of the InternationalJournalonAppliedAnthropology and AnthropologyinAction.

MARIA PAULA PRATES is assistant professor of Social Anthropology at the Federal University of Health Sciences of Porto Alegre (UFCSPA), Brazil, and professor on the Postgraduate Program in Social Anthropology (PPGAS) at UFRGS, Brazil. During the period between 2018-2020 she held a Newton International Fellowship at City University of London (London/ UK). PhD in Social Anthropology from the Postgraduate Program in Social Anthropology of the Federal University of Rio Grande do Sul, having con ducted a doctoral sandwich period at the Laboratoire d’Anthropologie Sociale (Collège de France/CNRS/EHESS) in Paris. During this period she developed her studies as Chaire d’Anthropologie de la Nature. Leader of the Laboratory of Alterities Research Group and linked as a researcher to the Nucleus of the Anthropology of Indigenous and Traditional Societies (NIT-PPGAS/UFRGS), Brazil, the Bioethics and Human Rights Research Group (UFCSPA), Brazil, and the Centre for Maternal and Child Health Research (City University of London), UK. She is currently linked as a re searcher to City University of London and is Research Fellow in Medical Anthropology of the Anthropocene at University College London (UCL/ UK). Her areas of research are indigenous ethnology and the anthropol ogy of the body and health. Her current research themes are childbirth, midwives and modes of care among indigenous women; maternal global health, non-institutionalized midwives and the Anthropocene.

N H YÃGM YÕG HÃM: THIS LAND IS

ROMERO, ISAEL MAXAKALI, SUELI MAXAKALI AND CAROLINA CANGUÇU

MENÇÃO HONROSA FILME ETNOGRÁFICO (FULL-FILM)

SYNOPSIS

In the past the whites did not exist and we lived from hunting with our yãmĩyxop spir its. But the whites came, felled the for ests, dried up the rivers and scared away the animals. Today our tall trees have van ished, the whites have surrounded us and our land is tiny. But our yãmĩyxop are very strong and teach us the histories and songs of the ancients who once walked here.

CREDITS

Direction

Isael Maxakali

Sueli Maxakali Carolina Canguçu

Roberto Romero With Delcida Maxakali Totó Maxakali

Mamei Maxakali

Pinheiro Maxakali Manuel Damázio Arnalda Maxakali

Dozinho Maxakali

Vitorino Maxakali Israel Maxakali Marinho Maxakali

Américo Maxakali Veronildo Maxakali Noêmia Maxakali Pedro Vieira

Joviel Maxakali Neusa Maxakali Manuel Kelé

Tevassouro Maxakali

Production

Paula Berbert Camera

Isael Maxakali Carolina Canguçu Jacinto Maxakali Alexandre Maxakali Sueli Maxakali Roberto Romero Sound Marcela Santos Montage Carolina Canguçu Roberto Romero

COMMENTS BY THE DIRECTORS

As we see that more and more people are watching this film, we feel that they are recognizing us and that gives us strength. The dream was to make the film, this documentary. But it is incredibly sad because we lost an enor mous territory! We became very afraid of the farmers too. But we had to go because the land is not theirs, it is ours. They are the ones who need to be afraid of us. But they also killed a lot of people on this land. And there where they spilled blood, the spirit of the person will dwell. But we will continue, carrying on the struggle of our kin. (Isael and Sueli Maxakali)

MINIBIOGRAPHIES

SUELI MAXAKALI has a PhD in Literary Studies (Recognized Erudition) from UFMG and is a filmmaker, teacher and photographer. She co-directed the films WhentheYãmiyCometoDancewithUs(2011), Yãmiyhex:theSpiritWomen (2019) and Nũhũ yãgmũ yõg hãm: This Land Is Ours! (2020). She published the book of photographs KoxukXopImagem (Beco do Azougue Editorial, 2009) with photographs of Maxakali women in rituals and ev eryday life in Aldeia Verde. She was a teacher on the Transversal Training Program in Traditional Knowledge at UFMG in 2016, 2017 and 2019.

CAROLINA CANGUÇU has an MA in Social Communication from UFMG and currently coordinates the Interprogramming of TV Educativa in Bahia. She is an editor, researcher and teacher of cinema, as well as curator of doc umentary film festivals. She works with traditional peoples on audiovi sual training courses. She was a member of the Filmes de Quintal collec tive for twelve years, realizing the forumdoc.bh, Festival of Documentary and Ethnographic Film of Belo Horizonte. She is also a contramestra of Angolan capoeira.

ROBERTO ROMERO has a PhD in Social Anthropology from the National Museum (UFRJ). He is a member of the Filmes de Quintal collective and one of the organisers of forumdoc.bh, Festival of Documentary and Ethnographic Film of Belo Horizonte. He was assistant director of the fulllength film Yãmiyhex:theSpirit-Women(Sueli and Isael Maxakali, 2019).

SMALL TALKS OF BRASILEIRINHO FELIPE CAMILO AND ÁLVARO GRAÇA JR. 2022, 21’

SYNOPSIS

Through old photos, audio clips and images from WhatsApp, the documen tary presents the history of Brasileirinho, a suburban football team based since 1982 in Poço da Draga, a centuries-old and resistant community of descendants of fishers and dockers on the waterfront of Iracema Beach in Fortaleza, Ceará. Produced over a four-year period, the film is traversed by the Covid-19 pandemic and by the social isolation of the team’s players who began to ‘review’ their memories as a group via their mobile phones.

CREDITS

Direction

Felipe Camilo

Álvaro Graça Jr.

Realization

Álvaro Graça Jr. Felipe Camilo

Production

Fresta Lab

COMMENTS BY THE DIRECTORS

Cast (in order of appearance)

Carlos Sales - Bibi Alvinho Graça

Álvaro Graça Jr.

Cláudio Vasconcelos – He-man Sérgio Rocha – Serginho

João Brito – Joãozinho Meu

The film encourages us to think about the changes in the status of imag es and the ethnographic experience, as well as evoking the possibilities for collaboration and restitution between researcher and researched, be tween documentary makers and those they film. With the excuse of ac companying a group of old football players, we also learn a bit more about Poço da Draga and the relation of its territory and its narrators to images. In this way, we also ponder the relation between city and beach, between individual memory and the collective, heterogenic and dynamic construc tion of collective forms of remembering and preserving the histories of a black population in a country marked by colonial erasure.

MINIBIOGRAPHIES

ÁLVARO GRAÇA JR. Resident of Poço da Draga and a filmmaker specializing in the cinematog raphy and direction of documentaries, he has worked in the area for more than ten years. A graduate from the NGO Alpendre, he has made documentaries on the community in which he was born, like Small talks of Brasileirinho and TheOldandNewPoçodaDraga. During this pe riod he has also collaborated on short and full-length fictional films and video-danc es. His work has been screened at festivals like CineCeará and the MERCOSUL Festival of Young Filmmakers. He is co-creator of the ex position Poço 115 – Traces in the City

FELIPE CAMILO Black artist specializing in pho tography and cinema, focusing on documenta ry and experimental work. A member of Ifoto/ Ce. Researcher for UFC/CAPES and collabora tor with Lajus and Rastros Urbanos, he wrote his thesis on anthropology, imagery, memo ry and negritude in Poço da Draga. Previously professor at the Institute of Culture and Art at UFC. He is author of the photobook Perecível and the artbook Álbum Preto . Director of the documentaries Aluá, SmalltalksofBrasileirinho and Oestemar . He is co-creator of the Efêmero Festival of Experimental Photography and cu rator of the exposition Poço115:TracesintheCity .

TORÉ

MARTINS VILLELA PINTO AND HIDALGO ROMERO

SYNOPSIS

The Kariri-Xocó, an indigenous people of Alagoas, live along the shores of the São Francisco river. Stripped of their language and their ancestral lands, in 1978 they began a movement called Retomada, Reclaim. In 2015, the KaririXocó took back another portion of their ancestral lands, expropriated over the course of Brazil’s colonial history. This film accompanies one day immersed in the Kariri-Xocó songs in the reclaimed lands.

CREDITS

Direction and script

Alice Villela

Hidalgo Romero

Montage Hidalgo Romero Research

Alice Villela Camera

Coraci Ruiz

Additional images Hidalgo Romero

Production and sound

Júlio Matos

Mixing and sound design

Augusta Gui

Colour correction

Pedro Pinho

Post-production and mastering Lucas Lazarini

Executive production Marcelo Félix Júlio Matos Marcinho Zóla

Production interns Bruna Schroeder Jean Fichefeux

Estágio de produção Ana Luíza Fretta Jéssica Isidoro

Graphic art Bia Porto Sponsored by Laboratório Cisco Support ANCINE and Fapesp

COMMENTS BY THE DIRECTORS

The proposal for the film was to encounter audiovisual resonances and equiva lences to the experience of immersion in the Kariri-Xocó songs. In fact, the direc tors reedited material that had been filmed for the documentary series Taquaras, Drums and Guitars directed by Hidalgo Romero and made by Produtora Laboratório Cisco in Campinas, São Paulo, about which Alice Villela had conduct ed postdoctoral research at USP’s Department of Anthropology. The montage was guided by the ideas of immersion and intensity and set out from a series of questions: how can the film communicate the intensity of a musical experience that involves all the senses? How to convey the dimension of ritual experience through the film’s sound? How to work with time in the montage to construct the idea of immersion? How can the intensity of the ritual be constructed? How to convey the context of the Toréperformance while eschewing an exoticized rep resentation of indigenous people singing and dancing?

We opted for an observational-sensory approach without interviews. To explore the idea of immersionin musical performance, we made special use of long takes as a form of working with time in the montage, constructing the possibility of the spectator’s immersion. The capture of images during the musical performances was guided by an attempt to approximate the camera’s observation with the ex perience of someone taking part in the musical performance. Exploring the in tensityof the performance was also a starting point. One way of using the mon tage to convey the idea of intensity was to use close-ups of faces, for example, showing complete involvement in the music. Another form of exploring inten sity in the short film was to construct a final sequence of songs in a crescendo. To add a degree of context and framing to the proposed experience, we worked with intertitles and a speech by Pawanã Crody, master of song, at the beginning of the film. In summarized form, the intertitles describe the context of reclaim ing the lands where the ritual was held and connect the songs to the struggle and resistance, something that appears in diverse testimonies of Pawanã not in cluded in the film. Finally, the proposed experience is completed in the relation with the spectator: hence the feedback from the different audiences is extreme ly interesting.

MINIBIOGRAPHIES

ALICE VILLELA is a postdoctoral researcher at the USP Department of Social Anthropology, studying the relations between the audiovisu al and music making with the FAPESP thematic project “Local musick ing: new paths for ethnomusicology” (Unicamp/USP). She has a PhD in Social Anthropology from PPGAS/USP (2015) and an MA in Arts from IA at Unicamp (2009). A member of GRAVI – Visual Anthropology Group/ USP, o NAPEDRA – Nucleus of Anthropology, Performance and Drama/ USP e o PAM – Research in Musical Anthropology/ USP. Conducted a re search placement at EREA / LESC/ CNRS/ Université Paris X Nanterre, Paris, France (2013/2014). Along with Hidalgo Romero, directed the films Happenings(2009) and TheFightbetweentheDogandtheJaguar(2013).

HIDALGO ROMERO has an MA in Multimedia from Unicamp. He took the ‘Film Script’ workshop at the San Antonio de los Baños International Film and TV School in Cuba in 2005. He has been a member of the Laboratório Cisco documentary production company since 2006, where he works as a director, producer and editor. He is director of the television seriesTaquaras, DrumsandGuitars(1st and 2nd seasons, 2015 and 2019) and FromtheSource totheMouth(2020). In 2019 he directed the full-length film FactoryFloor in partnership with Renato Tapajós. He also edited the series FactoryFloor (2017) and the full-length film LeftinaTrance(2018). He directed and ed ited the short films Happenings(2009) and RioVerdadeiro(2017) as well as the mid-length film TheFightbetweentheDog andtheJaguar(2013).

NÔMADE:

XIV

JOURNEY OF MY LIFE ROSSANA FRAGA FERREIRA

FILMS

2ND PLACE FILME ETNOGRÁFICO (MID-LENGHT FILM)

SYNOPSIS

The documentary TransNomad–thejourneyofmylife recounts the project to journey through South America of a black trans hitchhiker. The story interweaves elements from the everyday trans and LGBTQIA+ world with society and public space, raising questions such as transitioning and family, gender identity, pass ability, prejudice, use of a social name and the work market. The film tells of the journey of an oppressed body and the forms of expression encountered to find a place in the world. (2021).

CREDITS

Direction

Rossana Fraga

Production

Natasha Roxy Rossana Fraga

On screen

Adriana Ponciano

Cecília Sifuentes

Natasha Roxy Sophia Ponciano Camera Rossana Fraga

Archive images

Gabriel Araújo Natasha Roxy

Montage Tatiana Gouveia

Colour correction and graphics

Marcelo Goulart Support

INARRA / UERJ

Acknowledgments

Bárbara Copque

Paula Lacerda

Clarice Peixoto Marcos Albuquerque PPCIS/UERJ Sara York Lana de Holanda Benny Briolly Tatiane Goldsmith Clara Fraga Cecilia Fraga Claudio Costa Ana Maria Fraga Djalma de Lima Elena Martín

Clarice Gouveia Beatriz Mello Cenobitch Monroe Jorge Santana Amanda de Paula Cristiane Rangel Erica Gaspar Vanessa Soares Anderson Gomes Nielsen Oliveira Thaiane Barbosa Thiago da Costa Guilhermo Marcondes

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FILMS EXHIBITION

COMMENTS BY THE DIRECTOR

The ethnographic documentary film TransNomad–thejourneyofmylife sets out to depict the everyday working life and experiences of Natasha Roxy, a black trans woman and hitchhiker. It aims to comprehend the rep resentations concerning the production and divulgation of images con structed through the agency and mobility of Natasha and how her body dialogues with the everyday world of public spaces, including the internet.

MINIBIOGRAPHIES

ROSSANA FRAGA Photographer, researcher and producer of audiovisu al content. Graduated in Arts from UFF, she has a postgraduate degree in Urban Sociology and an MA in Social Sciences from UERJ.

NATASHA ROXY Trans woman, author of the project Trans Nomad, which proposes the production and exhibition of audiovisual content, produced on the basis of her travels through South America.

TATIANA GOUVEIA Trained in Communication at UFRJ, she works as an ed itor and teacher of audiovisual editing.

MARCELO GOULART éGraduate in Cinema, with an MA in Science of Art from UFF, she has worked as a producer in audiovisual post-production for more than ten years

UNE MAISON AU BORD DU MONDE

SYNOPSIS

Created twenty years ago in Gardanne, ’La Maison’ is a centre specialized in end-of-life care. This human adventure was made possible by the work of many volunteers, care assistants, cooks, nurses, doctors and psycholo gists who joined forces to face the unacceptable, imagining and conceiv ing a form of patient care that would be completely respectful of the peo ple coming to them. This film tells their story just as some of the founding members are preparing to retire, but it is also a testimony to years of struggle, joys, sorrows and the satisfaction of seeing their successors take on the challenges to come.

Camera

Pascal Cesaro Sound

Nans Mengeard Montage Jean-Michel Pérez Graphics

Anissa Touil

COMMENT BY THE DIRECTOR

Mixing

Pierre Armand

Production assistant

Valérie Dupin

Co-production CNRS Images

Production manager Jennifer Gastine

The film proposes to think about the human, social and economic mutation arising from the experience of these caregivers and their questions about the continuity of their work over the years, as well as the satisfaction of seeing emerge successors who can face the challenges that lie ahead.

MINIBIOGRAPHY

PASCAL CESARO Pascal Cesaro is a film director and lecturer at the University of Aix-Marseille since 2010. He questions the use of film as a research tool in the humanities and social sciences and his scientific activ ities are developed through research-action projects on cinematograph ic practices that can be described as collaborative and on ways of filming work, particularly in the health sector.

URBANOGRAPHY OF CAUS THIAGO DE ANDRADE MORANDI, RODRIGO RIBEIRO AND RODRIGO SCALABRINI 2021, 23’47”

SYNOPSIS

From a total of 25 interviews, the se lection of four of them constituted the first Urbanography of Caus vid eo, which, based on ethnobiograph ical accounts, depicts the everyday life of taggers and graffiti artists from the metropolitan region of Belo Horizonte. Containing narratives from Gud, Sodac, Kawany Tamoyos and Goma, as well as images with aspects of ethnofiction and cinema verité, the documentary proposal was created through the doctoral re search of Thiago de Andrade Morandi in conjunction with Rodrigo Ribeiro and Rodrigo Scalabrini, creators of the Caus Project, which aims to pro mote urban artists.

CREDITS

Direction and script

Thiago Morandi

Rodrigo Scalabrini

Rodrigo Ribeiro

Cinematography

Thiago Morandi Images

Thiago Morandi Rodrigo Scalabrini

Editing and montage Ana Nolasco

Thiago Morandi

Post-production

Thiago Morandi Support

Kelen Jaques

COMMENTS BY THE DIRECTORS

This film is a collective construction, based on a shared anthropology, which involves my work as a film researcher, specializing in street eth nography and the ethnography of duration, and the effective participa tion of my interviewees, in particular the creators of the Caus Project, who made it possible for me to approach the other interviewees who consti tute my doctoral research on the Postgraduate Program in Social Sciences at PUC Minas.

MINIBIOGRAPHIES

THIAGO DE ANDRADE MORANDI is a doctoral candidate in Social Sciences at PUC Minas, with an Interdisciplinary MA in Arts, Urbanities and Sustainability and a degree in Journalism from UFSJ. He is a videomaker and photographer, receiving awards and participating in diverse festivals, academic meetings and other events.

RODRIGO RIBEIRO is an anthropologist with a degree in Social Sciences from PUC Minas, owner of the brand Ancestral, which produces clothing inspired by urban arts. He is one of the creators of the Caus Project, which aims to promote graffiti artists from the metropolitan region of Belo Horizonte.

RODRIGO SCALABRINI has been a graffiti artist for almost three decades and belongs to one of the first generations of urban artists from Belo Horizonte. Owner of a graffiti shop, which, as well as selling work for artists, promotes events. The shop suspended its activities due to the Covid-19 pandemic. Sacalabrini is one of the creators of the Caus Project, which aims to valorise the urban artists of Belo Horizonte and the surrounding region.

TYPOGRAPHIES

MODET (BODY)

PLAU (TITLES AND CHAPTERS)

OCTOBER | 2022