Filmes

Forest of Tapes
Priscilla Ermel

In "Floresta de Fitas", the composer and multi-instrumentalist from São Paulo Priscilla Ermel revisits her artistic trajectory together with the poet Cora Coralina and the anthropologist Carmen Junqueira, revealing resonances between the musical…

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Forest of Tapes
Priscilla Ermel

In "Floresta de Fitas", the composer and multi-instrumentalist from São Paulo Priscilla Ermel revisits her artistic trajectory together with the poet Cora Coralina and the anthropologist Carmen Junqueira, revealing resonances between the musical creations in analogue studios in the 1980s and the dreamlike universe of the indigenous ethnic group Cinta-Larga with whom the artist lived during this period. The script is based on the stories of these characters who participate in their first album "Saber Sobre Viver", produced by the legendary sound engineer Hugo Gama.
Trailer editing: Rayssa Cordeiro

It was a woman's body
Ewelter Rocha

The essay “It was a woman's body”, by Ewelter Rocha, consists of an audiovisual ethnographic writing experience, having been conceived under the auspices of this presumption. In this perspective, we developed a narrative in which sounds, images,…

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It was a woman's body
Ewelter Rocha

The essay “It was a woman's body”, by Ewelter Rocha, consists of an audiovisual ethnographic writing experience, having been conceived under the auspices of this presumption. In this perspective, we developed a narrative in which sounds, images, texts and speeches intertwine in the construction of a montage that favors intermingling in the same support the evocation of an ethnographic experience and the artistic production that represents its main protagonists. In this case, focusing on the wooden sculptures and clay pieces that depict the butts of Juazeiro do Norte - CE. The essay is based on a twelve-year research that we developed in the hinterland of Cariri Ceará, a region located in the south of Ceará. This essay is part of GIS n.1 - Gesture, image and sound. Anthropology Journal of the University of São Paulo, published in June 2016: revista.usp.br/gis .

research and direction
Ewelter Rocha

edition
Helton Vilar

images
David Aguiar, Antônio José (Pajé),
Ewelter Rocha and Helton Vilar

original track
Ewelter Rocha

electroacoustic track
Germán Gras and Ewelter Rocha

audio post-production
Jean Nands

sound design
Helton Vilar and Ewelter Rocha

string authorship and declamation
Ewelter Rocha

What does Levi-Strauss own to the Amerindians?
Edson Tosta Matarezio Filho

Through interviews with leading experts in the work of the French Master of Anthropology - including some of his former students - this film intends to show how some fundamental concepts of Levi-Straussian Structuralism has its roots in the world…

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What does Levi-Strauss own to the Amerindians?
Edson Tosta Matarezio Filho

Through interviews with leading experts in the work of the French Master of Anthropology - including some of his former students - this film intends to show how some fundamental concepts of Levi-Straussian Structuralism has its roots in the world of the indigenous people as well as in the Western thought. Less than collect a debt, it is a tribute to the greatest anthropologist of all time. Levi-Strauss made the discipline less anthropocentric, while showed us ethical principles from people made up of its relations to the world. Levi-Strauss was the one who best revealed the sophistication of the “savage mind”, putting it in dialogue with the most elaborate philosophy and Western science.

NTSC, color, 50 min, 2014
Directed by: Edson Tosta Matarezio Filho
Screenplay: Edson Tosta Matarezio Filho
Photography: Edson Tosta Matarezio Filho, João Pedone and Leo Fuzer
Editing: Edson Tosta Matarezio Filho and Leo Fuzer
Produced by: Edson Tosta Matarezio Filho
Soundtrack: Marlui Miranda
Realization: Laboratory of Image and Sound in Anthropology (LISA-USP)
Support: Dean of Culture and University Extension

A Pedra Balanceou

The Stone has swung
Carolina Abreu e Marianna Monteiro

The stone has swung explores the exchanges between the popular tradition of Nego Fugido and the performing provocations of agitprop – agitation and propaganda – by theater companies in the metropolis. Transported from its traditional setting in…

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The Stone has swung
Carolina Abreu e Marianna Monteiro

The stone has swung explores the exchanges between the popular tradition of Nego Fugido and the performing provocations of agitprop – agitation and propaganda – by theater companies in the metropolis. Transported from its traditional setting in Acupe, Bahia, the Nego Fugido hits the streets of São Paulo revealing a powerful aesthetic force that converges with the militancy of theatrical groups in social movements of our time. Actors dressed in swirling banana-leaf skirts cut through the urban traffic to break out utopias, struggles and tensions.

Research: Carolina Abreu e Marianna Monteiro      
Script: Aline Sasahana, Carolina Abreu e Mariana Palumbo      
Edition: Aline Sasahana, Carolina Abreu, Mariana Palumbo e Ricardo Dionisio      
Sound editing: Simon Simantob      
Art: Sofia Costa Pinto e Filipe Vianna
Audio post-production: Simon Simantob
Post-production: Filipe Vianna
Production: LISA     
Grant: Fundação de Apoio à Pesquisa do Estado de São Paulo - FAPESP
Universidade de São Paulo - USP
Projects: Antropologia da Performance: drama, estética e ritual (Projeto Temático FAPESP n. 06/53006-2); A experiência do filme na antropologia (Projeto Temático FAPESP n. 09/52880-9)
Research project: (post doctorate by Carolina Abreu in DA FFLCH/USP, 2012-2015). Espaço, corpo e memória: arte e política nas realizações do teatro de grupo paulistano

Afrosampas
Rose Satiko G. Hikiji and Jasper Chalcraft

The African presence in Brazilian music manifests itself in different ways. If in 1966, Baden Powell “Rio-fied” candomblé with the Afro-sambas he composed with Vinícius de Moraes, half a century later we experienced an unprecedented moment with…

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Afrosampas
Rose Satiko G. Hikiji and Jasper Chalcraft

The African presence in Brazilian music manifests itself in different ways. If in 1966, Baden Powell “Rio-fied” candomblé with the Afro-sambas he composed with Vinícius de Moraes, half a century later we experienced an unprecedented moment with the arrival of musicians from different African countries in the metropolis of São Paulo. In the film Afro-Sampas we see what can happen when musicians from both sides of the Atlantic are brought into contact in the city where they live. Yannick Delass (Democratic Republic of Congo), Edoh Fiho (Togo), Lenna Bahule (Mozambique), and the Brazilians Ari Colares, Chico Saraiva and Meno del Picchia accept our invitation to a first meeting in which they share sounds, memories and creativity.

Afro-Sampas is part of a 5 year research project, coordinated by the film’s two directors, called ‘Being/Becoming African in Brazil: African musics and heritages’. This project is funded by FAPESP (São Paulo Research Foundation), and is part of a larger academic project in Brazil entitled ‘Local Musicking: new pathways for ethnomusicology’. The project’s objective is to analyse the creative African diaspora in Brazil. In this film, we promote musical encounters between African musicians with whome we have been working since 2016 and Brazilian musicians who live and work in São Paulo. They share sounds, memories and creativity, exploring both musical and social issues in their encounters.

Musicians interviewed:
Yannick Delass
Meno Del Picchia
Lenna Bahule
Edoh Fiho
Ari Colares
Chico Saraiva

Direction, cameras and research:
Jasper Chalcraft
Rose Satiko Gitirana Hikiji

Edição e cor:
Ricardo Dionisio

Direct Sound:
Jasper Chalcraft
Ricardo Dionisio

Mixing and Mastering:
Jean Nands
Ewelter Rocha

3rd place in the category Ethnographic Film - Mid-Length at the 2022 Pierre Verger Awards, organized by ABA (Brazil, 2022), selected for the Portuguese Association of Anthropology film show (Portugal, 2022), received the award for best feature film at the 44th ANPOCS annual meeting (Brazil, 2020) and screened in the UK at the Africa in Motion festival.

Trailer

What the river told me
Lia Malcher

The film “What the River Said to Me” follows the trajectory of singer and composer Cleide Vasconcelos from Quilombo do Arapemã, which is located on the left bank of the Amazon River in front of the city of Santarém, west of Pará. Cleide is a…

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What the river told me
Lia Malcher

The film “What the River Said to Me” follows the trajectory of singer and composer Cleide Vasconcelos from Quilombo do Arapemã, which is located on the left bank of the Amazon River in front of the city of Santarém, west of Pará. Cleide is a quilombola leader from lower Tapajós region and music accompanies her in her daily life, becoming an important tool in the fight for her territory and in the relationships she builds with her family and with the social movement.

Direction and Screenplay: Lia Malcher
Executive Producer: Keké Bandeira
Photography: Bárbara Vale
Participation: Cleide Vasconcelos, Laura Vasconcelos, João Carlos Vasconcelos, Renata Vasconcelos e Bruno Vasconcelos 
Images and editing: Lia Malcher
Audio and underwater and aerial images: Keké Bandeira 
Production Assistant: Victória Ananda
Camera Assistant: Carlos Matos
Boatman: Celivado Batista
Lodging: Renata Vasconcelos
Libras Interpreter: Kellen Garcia

From over on the east side
Carolina Caffé e Rose Satiko Gitirana Hikiji

From the East Side, where the city ends (or begins), comes rhymes, colours, and gestures which mark the space. For the artists of Cidade Tiradentes, their experience of the urban periphery provides both the basis and motivation for their works.…

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From over on the east side
Carolina Caffé e Rose Satiko Gitirana Hikiji

From the East Side, where the city ends (or begins), comes rhymes, colours, and gestures which mark the space. For the artists of Cidade Tiradentes, their experience of the urban periphery provides both the basis and motivation for their works. These works dialogue with the challenges and dreams of this São Paulo district that grew as the artists themselves grew up. The film follows the life and transformations of street dance, graffiti and rap in this area, which is thought to be the largest social housing complex in Latin America. In this place, marked by exclusion, the population manage their difficulties with their own particular dynamics of sociability, housing and appropriation of territory.

Credits: NTSC, color, 44 min, 2010
Direction, research and script: Carolina Caffé and Rose Satiko Gitirana Hikiji
Editing and Screenplay: Karine Binaux
Cinematography: Rafael Nobre
Handycam Direction and Local Production: Daniel Hylario, Bob Jay and Michelle Fleury
Executive Production: Carolina Caffé and Rosana Shimura
Executive Production Assistant: Alinie Nascimento
Editing Technician: Ricardo Dionisio
Animation (graffiti): Andre Farkas and Arthur Guttilla
Original soundtrack: Thomas Rohrer
Sound design post audio production: Ewelter Rocha and Mauro Darcio
Colorization: Ricardo Dionisio and Mauro Darcio
Assistant Photographer: André Peniche
Direct Sound: Tomires Ribeiro
Art: Felipe Félix
Research and Production Assistant: Nathalie Ferreira
Co-Production: Movie&Art
Production: Sound and Image Laboratory of Anthropology (LISA-USP); Pólis Institute and W.S. Productions
Support: Etnodoc - Edital de Apoio a Documentários Etnográficos sobre Patrimônio Imaterial; FAPESP
Research projects: Sociocultural cartovideography of Cidade Tiradentes: cidadetiradentes.org.br
Realization: Pólis Institute
Thematic Project "Anthropology of Performance: Drama, Aesthetics and Ritual"
Support: FAPESP
Thematic Project "The Experience of Film in Anthropology
Support: FAPESP

http://www.usp.br/ladoleste/la_do_leste.html

In serenade night
Giulia Durães Gonçalves

In São Roque, in the interior of São Paulo, residents and tourists gather monthly in a centenary house to follow the performances of the Grupo de Choro, Seresta e Serenata, which for ten years has been rescuing musical practices from the local…

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In serenade night
Giulia Durães Gonçalves

In São Roque, in the interior of São Paulo, residents and tourists gather monthly in a centenary house to follow the performances of the Grupo de Choro, Seresta e Serenata, which for ten years has been rescuing musical practices from the local past. Following the path of these sounds that connect houses, streets, people and temporalities, the film presents the memories that cross the engagement with music in this context, where remembering the past is also a way of building a space of sociability in the present. Three characters linked to the Group guide the development of the film: Mari (coordinator), Bela (godmother) and Zé do Nino (host).

NTSC, color, 20 min, 2023.
Direction and research: Giulia Durães Gonçalves.
Guidance: Rose Satiko Gitirana Hikiji.
Editing: Giulia Durães Gonçalves.
Cameras: Giulia Durães Gonçalves, Iara Marinho Ribeiro, Natália de Andrade Ribeiro, Isadora Durães Gonçalves.
Sound recording: Giulia Durães Gonçalves, Heloísa Durães Gonçalves, Iara Marinho Ribeiro, Natália de Andrade Ribeiro.
Realization: LISA
Support: FAPESP

Beata, uma santa que não sorri

Blessed, a saint who does not smile  
Ewelter Rocha

As a result of the doctoral research “Vestiges of the sacred: an ethnography of forms and silences”, the film makes a “pilgrimage” with the intention of locating the old blessed women in Juazeiro do Norte - CE and understanding the tensions…

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Blessed, a saint who does not smile  
Ewelter Rocha

As a result of the doctoral research “Vestiges of the sacred: an ethnography of forms and silences”, the film makes a “pilgrimage” with the intention of locating the old blessed women in Juazeiro do Norte - CE and understanding the tensions between the penitential devotion of these ladies and the vicissitudes of the contemporary world. As an ethnographic device, the documentary portrays the process of elaborating a body of blessed by sculptors from Juazeiro do Norte. His works reveal the subtleties that constitute the penitential identity of a woman's body, defined by an ambiguity, whose form conjures in the same support the attributes of a saint and a woman of the world.

Brazil / 32min / Color / NTSC / 2014
Research and direction: Ewelter Rocha
Screenplay and Editing: Helton Vilar and Ewelter Rocha
Images: Ewelter Rocha, Pajé, David Aguiar and Glauco Vieira
Original track: Ewelter Rocha
Electroacoustic Track: Germán Grás and Ewelter Rocha
Sound Design: Helton Vilar and Ewelter Rocha
Audio post-production: Mauro Dárcio
Authorship and declamation of cordel: Ewelter Rocha
Fiddle Interpreter: Brena Correia
Thematic project FAPESP "A experiência do filme na antropologia".

Mapana

MAPANA
Edson Matarezio

Mapana is the name of an association of women from the Ticuna people. Located in Belém do Solimões (8 thousand people), it is the largest community of this indigenous group, the largest one in Brazil. This association provides products from its…

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MAPANA
Edson Matarezio

Mapana is the name of an association of women from the Ticuna people. Located in Belém do Solimões (8 thousand people), it is the largest community of this indigenous group, the largest one in Brazil. This association provides products from its crops for school meals in all schools in Tabatinga (AM). With its results, size and volume of production, it is a unique experience that serves as an example for other indigenous and community associations.

Direction, photography, research: Edson Matarezio
Editing: Ricardo Dionísio and Edson Matarezio
Music: Djuena Tikuna (song Ngetchautumau) and Ondino Casimiro
Production: Laboratório de Imagem e Som em Antropologia (LISA-USP)
Support: FAPESP, Thematic Project “O Musicar Local - New trails for ethnomusicology”, 16 / 05318-7 and project “From the girls' point of view”, 2015 / 11526-9.

Acknowledgments: To all FUNAI CR Alto Solimões employees, especially Mislene Mendes, Hermísia Pedrosa and Leopoldo Dias. To Br. Paulo Braghini and all the Capuchin friars of Belém do Solimões. To Ticuna singers Djuena Tikuna and Ondino Casimiro. Adelina Fidélia Ramos and all the women and men who are part of the Mapana Association.

Caminho de Mutum

Mutum Path
Edson Matarezio

The Ticuna Indian Ondino Casimiro is a very unique person in his people. One of the great connoisseurs of the so-called Festa da Moça Nova, the ritual of female initiation. His fame as a singer took him far, performing in Manaus, São Paulo and…

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Mutum Path
Edson Matarezio

The Ticuna Indian Ondino Casimiro is a very unique person in his people. One of the great connoisseurs of the so-called Festa da Moça Nova, the ritual of female initiation. His fame as a singer took him far, performing in Manaus, São Paulo and even a tour in Italy. He knows like no one the basket weaving arts and is responsible for officiating the Catholic Mass on Sundays in the small chapel of the community. A dedicated teacher of the children of the community, every morning it is possible to hear him teaching in both languages, Ticuna and Portuguese. There is no doubt that Ondino is a erudite in his culture and a skilled translator of the white world for the Ticuna and vice versa.

NTSC, color, 20 min, 2018.
Direction: Edson Tosta Matarezio Filho and Marília Senlle
Research and Screenplay: Edson Tosta Matarezio Filho
Photography: Edson Tosta Matarezio Filho and Marília Senlle
Editing: Edson Tosta Matarezio Filho and Leo Fuzer
Production: Edson Tosta Matarezio Filho
Realization: Laboratório de Imagem e Som em Antropologia (LISA-USP)
Support: FAPESP, Thematic Project “O Musicar Local - Novas trilhas para a etnomusicologia”, 16 / 05318-7.

Trailer

Two Brothers
Yuri Prado

Every September 27, Julio Valverde and his family perform a Cosme and Damião caruru at Soteropolitano, a Bahia food restaurant located in São Paulo. Over 25 years, the promise to offer this party has been fulfilled. Will it be able to withstand…

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Two Brothers
Yuri Prado

Every September 27, Julio Valverde and his family perform a Cosme and Damião caruru at Soteropolitano, a Bahia food restaurant located in São Paulo. Over 25 years, the promise to offer this party has been fulfilled. Will it be able to withstand the impacts of the pandemic?

Direction and Editing: Yuri Prado
Images: Yuri Prado and Thiago Faria
Soundtrack: Julio Valverde and Yuri Prado
Country: Brazil
Language: Portuguese
Production: Laboratory of Image and Sound in Anthropology / LISA-USP
Support: FAPESP (Fapesp Process: 2019/27545-3)

São Palco – an Afropolitan City
Jasper Chalcraft and Rose Satiko Gitirana Hikiji

What do African artists who arrive in Brazil bring with them on their journey? How do Brazil's African diasporas interact - the new creative diaspora and the historic one that turned the Atlantic into a cemetery? What stages are sought…

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São Palco – an Afropolitan City
Jasper Chalcraft and Rose Satiko Gitirana Hikiji

What do African artists who arrive in Brazil bring with them on their journey? How do Brazil's African diasporas interact - the new creative diaspora and the historic one that turned the Atlantic into a cemetery? What stages are sought out, occupied or constructed, and then filled with the performances of artists who cross the ocean? Ancestral identities are updated in performances that construct an Afropolitan present in a metropolis where it is necessary to be bold, to colour the grey.São Palco - an Afropolitan City presents the city of São Paulo itself as a kind of meta-stage occupied by artists from Togo, Mozambique, the Democratic Republic of Congo and Angola, among other African nations, in dialogue with the Brazilian population and all of its openings, contradictions and tensions.

Direction, cameras and research
Jasper Chalcraft
Rose Satiko Gitirana Hikiji

Editing and colour
Ricardo Dionisio

Direct sound
Jasper Chalcraft
Ricardo Dionisio
Rose Satiko Gitirana Hikiji

Original soundtrack
Yannick Delass (composições e interpretação)
Meno Del Picchia (produção musical)

Mixing and Mastering
Jean Nands
Ewelter Rocha

Trailer/Teaser Editing:
Rayssa Cordeiro

Iburi: Trumpet of Ticunas
Edson Tosta Matarezio Filho

This documentary records the process of building and running the trumpet Iburi, a Ticuna Indians instrument that is played during the ‘Festival of New Girl’, the female initiation ritual of the Ticunas. The girl who menstruated for the…

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Iburi: Trumpet of Ticunas
Edson Tosta Matarezio Filho

This documentary records the process of building and running the trumpet Iburi, a Ticuna Indians instrument that is played during the ‘Festival of New Girl’, the female initiation ritual of the Ticunas. The girl who menstruated for the first time will be primed recluse until her Party, which in the end will liberate her from seclusion. Behind the place of imprisonment will be the tools that will counsel the girl. The¬se instruments can not be seen by women, children and especially the girl being initiated. Parallel to the construction of Iburi, the film shows the story of To’oena, “the first new girl” who, in time of myth, broke the taboo and paid with her life.

___________
IBURI - TROMPETE DOS TICUNAS
Este documental registra el proceso de construcción y ejecución de la trompeta Iburi de los indios Ticuna, instrumento que se toca durante la Fiesta de la Moça Nova, ritual de iniciación femenina de los Ticuna. En su primera menstruación, se recluye a la joven hasta que la Fiesta esté preparada; al final, ella saldrá de su clausura. Detrás del lugar de reclusión, están los instrumentos que aconsejarán a la joven. Las mujeres, los niños y, principalmente, la joven que va a ser iniciada, no pueden ver estos instrumentos. En paralelo a la construcción del Iburi, el documental muestra la historia de To’oena, la “primera chica joven” que, en el tiempo del mito, violó este tabú y pagó con su propia vida.
_______________

Direction: Edson Tosta Matarezio Filho
Screenplay: Edson Tosta Matarezio Filho
Photography: Edson Tosta Matarezio Filho
Editing: Edson Tosta Matarezio Filho and Leo Fuzer
Production: Edson Tosta Matarezio Filho
Realization: Laboratory of Image and Sound in Anthropology (LISA-USP)
Support: FAPESP

Family Song
Paula Bessa Braz and Mihai Andrei Leaha

A family decides to open a classical music school in their own house. The young six Cruz brothers start to teach various musical instruments to the children in their neighborhood. Little by little the house becomes a musical meeting place in one…

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Family Song
Paula Bessa Braz and Mihai Andrei Leaha

A family decides to open a classical music school in their own house. The young six Cruz brothers start to teach various musical instruments to the children in their neighborhood. Little by little the house becomes a musical meeting place in one of Fortaleza’s most dangerous neighborhoods. But in order to live their dream of becoming professional musicians the family need to look for new horizons. How far will music take them?

Genre: Cocumentário musical
Direction: Paula Bessa Braz e Mihai Andrei Leaha
Images: Mihai Andrei Leaha
Sound: Paula Bessa Braz
Editing: Paula Bessa Braz e Mihai Andrei Leaha
Post production image: Mihai Andrei Leaha
Post production sound: Ewelter Rocha e Jean Nands
Visual identity: Mateus Torquato 
Cast: Família Cruz

2nd place in the Ethnographic Film - Full-Length Film category at the 2022 Pierre Verger Awards, organized by ABA (Brazil, 2022) and special mention at the In-Edit Brasil Musical Documentary festival.

Adó - Mestre dos Sons
Jorge Vasconcelos Lampa

Mestre Adó, Ediney de Sena, is a capoeira master from and in Santo Amaro da Purificação, Recôncavo da Bahia, active with his group, the Angola Cultural Association, since 1978. Among other masteries, skills, and responsibilities, a capoeirista…

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Adó - Mestre dos Sons
Jorge Vasconcelos Lampa

Mestre Adó, Ediney de Sena, is a capoeira master from and in Santo Amaro da Purificação, Recôncavo da Bahia, active with his group, the Angola Cultural Association, since 1978. Among other masteries, skills, and responsibilities, a capoeirista must master various musical skills and practices. Repertoire, instrument construction, mastery of order and organization, including sound, of activities (rodas, training, etc.), and much more.

Mestre Adó, for his virtuosity in vocal and instrumental performance and other attributes, is a reference in the art, in Bahia, in various locations in Brazil, and around the world. The central theme of the film is the aspects that configure him as a Master of Sounds and all the implications and interconnections with the complexity of the dimensions that comprise the art of capoeira.

Production, Research, and Direction

Jorge Vasconcelos Lampa

Images

Jorge Lampa
Evandro Silva

Additional Images

Beatriz Tolu
Betão Aguiar
Danillo Barata

Editing

Jorge Lampa
Ricardo Dionisio

Color Grading

Ricardo Dionisio

Pulse - A video with Alessandra
Rose Satiko Gitirana Hikiji

A shared anthropology experience, the video results from the meeting of anthropologist Rose Satiko Hikiji with Alessandra Cristina Raimundo, a young violinist who was concertmaster of a Guri Project orchestra for five years. The video presents…

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Pulse - A video with Alessandra
Rose Satiko Gitirana Hikiji

A shared anthropology experience, the video results from the meeting of anthropologist Rose Satiko Hikiji with Alessandra Cristina Raimundo, a young violinist who was concertmaster of a Guri Project orchestra for five years. The video presents Alessandra's relationship with music and her reflection on this relationship, woven into the audiovisual production process that resulted in the short Vírus da Música, directed by her.

NTSC, color, 32 min, 2006.
Direction, script and research: Rose Satiko Gitirana Hikiji
Editing: Rose Satiko Gitirana Hikiji, Giuliano Ronco and Fernanda Frasca
Images and sounds: Rose Satiko and Giuliano Ronco
Production: Laboratory of Image and Sound in Anthropology (LISA-USP)
Support: FAPESP

Dancing Black Memories
Érica Giesbrecht

In Campinas, São Paulo, black men and women, with ages between 70 and 90 years, are active in a black cultural movement, that is essentially dedicated to recreating African-Brazilian musical repertoires considered
traditional. Although seen…

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Dancing Black Memories
Érica Giesbrecht

In Campinas, São Paulo, black men and women, with ages between 70 and 90 years, are active in a black cultural movement, that is essentially dedicated to recreating African-Brazilian musical repertoires considered
traditional. Although seen as the most experient people in this musical traditions by the current communities, their youth memories do not directly refer to jongos, samba de bumbo or maracatus, but to gala balls. In a conjuncture marked by segregation, from the 40s to the 60s in São Paulo, these dances, attended mostly by blacks, are revisited in the film, showing their importance for the formation of a black community started in past and continuing into the present.

 

NTSC, color, 70 min, 2015
Direction, Production and Research: Érica Giesbrecht
Main actors: Aluísio Jeremias, Carlos Augusto Ribeiro, José
Antônio, Leonice Sampaio Antônio, Rosária Antônia
Screenplay: Carolina Gama, Érica Giesbrecht
Edition: Carolina Gama, Ricardo Dionísio
Original music score and sound design: Ewelter Rocha and Mauro Dárcio
Cameras: Coraci Ruiz, Érica Giesbrecht, Guilherme Spagiari, Luana
Veiga, Ricardo Dionísio, Ticiano
Monteiro
Audio capture: Renan Begossi Franchi
Support: Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP
Realization: Laboratório de Imagem e Som em Antropologia (LISA-USP)

Musical Participations: Leopoldo Orquestra Tupã, Grupo Casarão SP,
Grupo de Teatro e Danças Populares Urucungos Puítas e Quijêngues,
Comunidade Jongo Dito Ribeiro, Elivelton Leite, Helio Augusto, Lucas
Souza Lima, Escola de Samba Rosas de Prata.

Marruá na Amazônia - Street, River and Forest Theater
Carolina Abreu

Performing street theater, a group of young artists travels at the Amazonian rainforest creating encounters and dances. Playing the siriri, cururu, coco, ciranda and boi the Grupo Teatral Parlendas invites the people to the square. With the play …

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Marruá na Amazônia - Street, River and Forest Theater
Carolina Abreu

Performing street theater, a group of young artists travels at the Amazonian rainforest creating encounters and dances. Playing the siriri, cururu, coco, ciranda and boi the Grupo Teatral Parlendas invites the people to the square. With the play Marruá, they rescue and provoke the recount of the history of Brazilian's that live in territories of resistance and fight. Through these paths, the theater braids with the ritual and the party.

Direção
Carolina Abreu


Roteiro
Carolina Abreu


Pesquisa
Carolina Abreu


Argumento
Carolina Abreu
Natália Siufi


Câmera
Carolina Abreu


Edição
Leo Fuzer


Edição de Som
Leo Fuzer


Voz off
Fernanda Azevedo


Ilustrações
Annaline Curado


Registro Fotográfico
Annaline Curado


Orientação Audiovisual
Rose Satiko Gitirana Hikiji 


Projeto temático
A experiência do filme na antropologia



Direção
Carolina Abreu


Roteiro
Carolina Abreu


Pesquisa
Carolina Abreu


Argumento
Carolina Abreu
Natália Siufi


Câmera
Carolina Abreu


Edição
Leo Fuzer


Edição de Som
Leo Fuzer


Voz off
Fernanda Azevedo


Ilustrações
Annaline Curado


Registro Fotográfico
Annaline Curado


Orientação Audiovisual
Rose Satiko Gitirana Hikiji 


Projeto temático
A experiência do filme na antropologia


Realização
Laboratório de Imagem e Som em Antropologia - LISA
Grupo de Antropologia Visual - GRAVI
Núcleo de Antropologia, Performance e Drama - NAPEDRA


Produção 
Laboratório de Imagem e Som em Antropologia - LISA


Apoio
Fundação de Apoio à Pesquisa do Estado de São Paulo - FAPESP
Universidade de São Paulo - USP
Fundação Nacional de Artes - FUNARTE

Woya hayi mawe: where are you going to?

Woya Hayi Mawe - where are you going to?
Rose Satiko G. Hikiji and Jasper Chalcraft

Woya hayi mawe: where are you going to? These lyrics echo Mozambican musician Lenna Bahule’s explorations both in her birthplace - Maputo - and in her adopted home of São Paulo. From the stage to the urban outskirts, we see how Lenna deals with…

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Woya Hayi Mawe - where are you going to?
Rose Satiko G. Hikiji and Jasper Chalcraft

Woya hayi mawe: where are you going to? These lyrics echo Mozambican musician Lenna Bahule’s explorations both in her birthplace - Maputo - and in her adopted home of São Paulo. From the stage to the urban outskirts, we see how Lenna deals with the difficulties of being a black female musician in both Brazil and Mozambique. The artistic world of São Paulo demands her Africanity, her African references, her roots. Yet in Mozambique Lenna is now known for her success in Brazil: she brings some of Brazil’s cultural power to the stage in Maputo. Returning to Mozambique, she rediscovers her home country with new eyes. Lenna meets and works with an inspirational new generation of Maputo-based musicians, who she involves in the production of a show in Maputo’s Centro Cultural Franco-Moçambicano. From this major cultural institution, to her grandmother’s farm and a social project in Maputo’s outskirts, we see Lenna and the Maputo artivists investigating Mozambique’s traditional and popular musics and discovering new musical and activist routes. Navigating between activism and the stage, between an imagined ‘Africa’ that Brazil demands of her, and a Brazilian cosmopolitanism São Paulo has given her, Lenna discovers - in a traditional Chopi song that travels - that her musical roots were even more powerful than she imagined.

Direction, photography and research: Jasper Chalcraft e Rose Satiko Hikiji
Editing, colour: Ricardo Dionisio
Direct Sound: Jasper Chalcraft
Additional Direct Sound: Rose Satiko Hikiji, Maria Carolina Botinhon de Campos, Danilo J. de Oliveira, Luiza Fernandes Coelho, Ricardo Dionisio, Klaus Wernet
Additional cameras: Ricardo Dionisio, Danilo J. de Oliveira, Marina Decourt
Mixing and Mastering: Jean Nands, Ewelter Rocha
Mixing Nômades Sesc São Paulo: Danilo Moraes
Production: Laboratório de Imagem e Som em Antropologia (LISA-USP)
Translation (English version): Jasper Chalcraft
Translation (italiano): Anna Beatriz Geronimi Benine
Revision (italiano): Heloisa Barbati
Research project
“Being/Becoming African in Brazil: migrating musics and heritages” (Fapesp grants 2016/05318-7, 2016/06840-9 and 2016/24445-0)
Support
This film is part of the project Being/Becoming African in Brazil: migrating musics and heritages (grants 2016/04404-7 and 2016/06840-9 São Paulo Research Foundation - FAPESP).
This study is part of the Afrosampas collection and was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001
Research groups
Pesquisas em Antropologia Musical (PAM)
Grupo de Antropologia Visual (GRAVI-USP)

Cast (in order of appearance)
Lenna Bahule
CLARIANAS Naloana Lima e Martinha Soares
NÔMADES (SÃO PAULO) Vinicius Costa, Erik Ekstrom, Edu Sattajah, Lilian Rocha, Luana Baptista, Victoria dos Santos, Camila Ronza
BANDA NÔMADES (SÃO PAULO) Sérgio Reze, Ari Colares, João Taubkin
Danilo Moraes
GUMBOOT Rubens Oliveira, Washington Gabriel, Pamela Cristina, Munique Mendes, Danilo Nonato, Samira Marana Diego Henrique, Silvana de Jesus
BAHULE QUARTET Lenna Bahule, Gabriel Draetta, Ed Woiski, Kiko Woiski
NÔMADES (MAPUTO) Rukan, Suke Tanni, Abençoada Mondlane, Albertina Ngulela
BANDA NÔMADES (MAPUTO) May Mbira, Nelson, Stelio Zoé, Tony Chabuca, Cheny Wa Gune
GRUPO HODI Elias Manhiça, Augusto Manhiça, Fernando Sitoe, Vasco Sitoe
Mingas (Elisa Domingas Salatiel Jamisse)
Bob Moway

Honorable Mention in the feature film category, in the Ana Maria Galano award, at the 45th ANPOCS Annual Meeting.

Trailer 1 Trailer 2

Prelúdio
Rose Satiko Gitirana Hikiji

Young music students talk about the meanings of learning in their lives. The soundtrack is the rehearsals and presentations of Projeto Guri, an initiative by the São Paulo State Department of Culture to teach music to children and young people…

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Prelúdio
Rose Satiko Gitirana Hikiji

Young music students talk about the meanings of learning in their lives. The soundtrack is the rehearsals and presentations of Projeto Guri, an initiative by the São Paulo State Department of Culture to teach music to children and young people from low-income families. The video was conceived during the director's research, which focuses on the relationship between musical practice and social intervention.

NTSC, color, 13 min, 2003.
Direction, script and research: Rose Satiko Gitirana Hikiji
Editing: Rose Satiko Gitirana Hikiji
Production: LISA
Support: FAPESP
FAPESP Thematic Project "Image in Focus in the Social Sciences".

Planetary Tribe
Carolina Abreu

Drawing on nine years of ethnographic research, the film comprises an audiovisual essay on the experience of electronic music parties in Brazil – raves – and their celebration of a “tribe” that crosses national borders. Held during the Universo…

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Planetary Tribe
Carolina Abreu

Drawing on nine years of ethnographic research, the film comprises an audiovisual essay on the experience of electronic music parties in Brazil – raves – and their celebration of a “tribe” that crosses national borders. Held during the Universo Paralello festival, which took place on the paradisiacal Ilha D'Ajuda (BA) for New Year's Eve 2010, it deals with interactions between ravers and indigenous people who were specially invited to the event. Through the juxtaposition of spectacle and ritual, the technological party reveals utopias, hopes and tensions.

Technical data: NTSC, color, 37min, 2011
Direction, research and script: Carolina Abreu
Editing: Ricardo Fernandes, Leo Fuzer
Submission: Marcelo Demari
Additional Voice-Off: Ana Teixeira
Audio Mixing: André Rato
Production: Performance and Drama Anthropology Center – NAPEDRA
Production: Laboratory of Image and Sound in Anthropology (LISA-USP)
Thematic Project "Anthropology of performance: Aesthetic and ritual drama"
Research Project: Rave Experience: Between the spectacle and the Ritual
Support: FAPESP
Festival: Selected for the IX Pierre Verger Award of Ethnographic Video of the Brazilian Association of Anthropology (2012). July 4, 2012