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The Image and Sound Laboratory in Anthropology of the University of São Paulo (LISA-USP) recognizes the importance of the activities developed by the Center for Extension and Culture in Afro-Brazilian Arts of USP (NECAAB - Resolution DOE 10/31/2007), which has been promoting research, teaching, culture and extension activities at USP for 28 years and enriching university education through Afro-Brazilian cultural heritage. Its activities present an innovative curricular proposal for the university, which should be valued and enhanced through dialogue with the members of NECAAB and the university community as a whole. To this end, the continuity of its activities and its space is essential.

Given the imposition of a renovation of the headquarters of the Center for Afro-Brazilian Arts, located in Block 28, by the Polytechnic School of USP, for partial occupation of the warehouse by this institution, LISA-USP expresses its support for the Center for Afro-Brazilian Arts to have the current space of its headquarters fully maintained for its use and for its activities to be preserved.

We request that the Polytechnic School reconcile its institutional needs with the maintenance of this important space for the promotion of knowledge, culture and Afro-Brazilian education, which also means defending the right to black history and memory at USP.
 

Photographic records of the visit of Silvana de Souza Nascimento, vice-director of FFLCH, and Rose Satiko, coordinator of LISA and NECAAB, to the nucleus' headquarters, on 04/01/2025.

Evandro Lima, master of the Post-Graduate Program in Social Anthropology at the University of São Paulo (PPGAS-USP) and former fellow of the Laboratory of Image and Sound in Anthropology (LISA-USP), was awarded in 2024 with the Transatlantic Photography Award 2024. The award consisted of a trip and activities at the LetteVerein School in Berlin. The award-winning photo shoot was held during the Festa dos Nordestinos do Jardim Record, an action of the collective Árido 2 de Julho, held in Taboão da Serra, metropolitan region of São Paulo.

For Evandro, the award represents the validation of his work. Son of northeastern parents, he considers that the images produced during the event, in addition to contributing to his training as an anthropologist, also help preserve the image and culture of immigrant populations. During his stay in the German capital, the researcher attended workshops, visits to sights, exhibitions, museums and art galleries. In addition to presenting the award-winning essay, he took a larger series of photographs with cuttings from the outskirts of Taboão da Serra, sharing them with other students and teachers.

Trajectory 

Evandro has a bachelor’s degree in Social Sciences from the Faculty of Philosophy, Letters and Human Sciences (FFLCH-USP) and has worked as a documentalist at the Çare Institute, he was an intern at the Research and Documentation Center of the São Paulo Art Museum (MASP), is a researcher at the Brazilian Football Reference Center of the Football Museum and in the collective Árido 2 de Julho. Experience with photographic collections is a relevant part of his professional curriculum, as a two-year LISA-USP scholarship holder for the Unified Scholarship Program (PUB), an integrated action of the Graduate Pro-Rectories, Research and Innovation, Culture and University Extension and Inclusion and Belonging, Evandro developed activities in the areas of research, sanitation, cataloging and digitization of historical documents, especially photographic. The researcher reports that access to the laboratory’s collection was his first step into the world of photography and where he had contact with the work of important researchers, anthropologists and photographers, among them Sylvia Caiuby, Manuela Carneiro da Cunha, Cláudia Andujar, Curt Nimuendajú and Lux Vidal.

Currently, the laboratory has about 1,900 films, 700 hours of sound recordings and more than 24,000 images (including photos, stickers and glass plates) that dialogue with various themes. Thus, the collection remains as an important source of research for researchers, undergraduate and graduate students, a center for the preservation of the memory of native peoples and a space for exchange between different areas of knowledge, due to the various activities carried out and based at LISA.

The Arid 2 of July and the Transatlantic Prize

Founded by Evandro Lima and Fernando Barbosa, professor of history in the municipal network of São Paulo and master’s degree in History of Education at FEUSP, Árido 2 de Julho is a cultural and academic producer that, through cultural and social actions, seeks to integrate the peripheral neighborhoods of Taboão da Serra with the academic world and scientific production.

The forró held in the neighborhood Garden Record was one of the first demonstrations carried out by the collective, aiming to meet especially the population of northeastern origin, which make up a significant part of the local community, helping to keep their traditions and expressive forms alive. The recordings made on the day of the event culminated in the short film Forró no Record - 1ª Festa dos Nordestinos do Jardim Record - Árido 2 de Julho, available on YouTube. The film was produced by the collective in partnership with LISA.

The photographs produced by Evandro during the event resulted in a set of five images that were awarded by the Transatlantic Photography Award 2024. Held by the Transatlantic Club, an entity founded in 1954 with the aim of integrating Brazilian and European culture, the competition had as its theme "migration", in honor of 200 years of German immigration to Brazil. The award recognized photographs that offered a re-interpretation of the concept of migration, ranging from the displacement of people and animals to the movement of objects.

The contest had three phases and two categories: adult and popular jury. Each candidate should send a series of five photos that dialogue with the proposed theme. In the first phase, the 250 best sets were selected by the judging board; in the second phase, the 10 best sets were chosen for the final stage; and in the third phase, there was the selection of the winners by the judging board and the popular jury. The winners received respectively a five-day trip to Germany, with activities at the LetteVerein School in Berlin, and a Sony Cyber-Shot DSC W830 camera.

Other awards and future plans

Before being awarded by the Transatlantic Club, Evandro participated in other photo contests, such as "Italy is here", held by the Immigration Museum, where he won 3rd place. He was also a finalist in the competition held by the Football Museum, with the theme "The Floodplain and Football" and in the "mObgraphia Award", where his photograph was exhibited at the São Paulo Image and Sound Museum (MIS), all in 2024.

Currently, as a graduate student, Evandro states that photography is a fundamental part of his master’s research, in which he intends to study the football of the floodplain and how social markers are present in the identities of the teams and their members.

The ninth volume of GIS - Gesture, Image, and Sound - Journal of Anthropology of the University of São Paulo is now available.

We invite you to visit the GIS website and read the articles, essays, reviews, translations and interviews published in this volume, available at: https://www.revistas.usp.br/gis/issue/view/13258.

Enjoy your reading!

Website: www.revistas.usp.br/gis

Folha de São Paulo highlighted the exhibition "Trajetórias Cruzadas", which brings together, for the first time, the records of photographers Maureen Bisilliat, Claudia Andujar and Lux ​​Vidal about Brazilian indigenous peoples.

These three foreigners arrived in Brazil in the 1950s and, during the dictatorship, dedicated their lenses and research to portraying indigenous cultures ignored by the government. Bisilliat, who photographed the Xingu at the invitation of indigenous people, summarizes her approach: “My talent was to enter without disturbing and be accepted. If I was good at photography, it’s because I knew how to enter something new without being noticed.”

In the BBC article, the highlight is Claudia Andujar, the article mentions both the exhibition “Trajetórias Cruzadas” and “Claudia Andujar - My life in two worlds”, exhibited at the Pinacoteca of São Paulo.

"They are polyglots, they never lost their accent, but they don't exactly have a mother tongue. They experience the Second World War, and then they move to the United States."

The exhibition “Trajetórias Cruzadas” takes place at Centro MariAntonia, in São Paulo, until 23/02, with free entry.

Read the full articles on Folha de S.Paulo and BBC.

The way of Alabê - Rhythms of the orixás and the Brazilian music" taught by Vitor da Trindade and Elis Trindade

The second edition of the course on culture and university extension entitled The way of Alabê - Rhythms of the orixás and Brazilian music, promoted and held at the Sound and Image Laboratory in Anthropology (LISA) and at the Popular Theatre Solano Trindade (TPST), with support from the Department of Anthropology at USP. The course was coordinated by Rose Satiko Gitirana Hikiji, professor at USP’s Department of Anthropology (DA-USP) and coordinator of LISA, and taught by Vitor Israel Trindade de Souza, musician, master in ethnomusicology from the School of Communications and Arts (ECA) of USP, president and artistic director of Teatro Popular Solano Trindade, and by Elis Sibere dos Santos Monte Trindade de Souza, Afro-Brazilian dance teacher, choreographer and cultural coordinator of Teatro Popular Solano Trindade.

The activities took place between 12/09 and 14/11 in a face-to-face manner and were based on the Raquel Trindade method, which is born with the ancestors of the Trindade family and unites theory and practice, and the motion proposal, sound and well-being as epistemology. The course addressed the rhythms of orixás, dances and manifestations, as well as the influence of these elements in Brazilian musicality, with reference to instrumentalists and priests of the orixás. 

Ogans and Musicality

Vítor and Elis addressed the functions of the ogan, instrumentation, sound and dances in rituals, parties and ceremonies. The communications were based, especially, on the role of music and the ringtones in the cult to the orixás, its importance, particularities and complexities around the different sonorizations, ways of playing and occasions. Among the roles highlighted, there is the ogan alabê, which gives name to the course and also the book Oganilu, The Path of Alabê and O Ogan Alabê, Priest and Musician, authored by Vitor da Trindade. The Ogan alabê is responsible for the maintenance and conservation of sacred instruments, as well as for playing in moments of rituals and festivals.

As Ogan Alabê Omoloyê of the Ilê Axé Jagun, with the help of Elis, Vítor demonstrated some orixás touches, their sonority, particularities and representative forms of dances. Besides highlighting the uniqueness of the atabaque in ceremonies, because it is he who gives the course and rhythm to the cult, should be played only by specialized people and be careful and prepared for each type of event.

The initiative supports the dissemination of ancestral knowledge and African matrix, institutionalized by Law 10.639/03, which makes compulsory the teaching of "Afro-Brazilian History and Culture" in elementary and high school.

For more information about the activities, visit the site: https://sce.fflch.usp.br/node/5676. To know more about the Popular Theatre Solano Trindade, visit the social networks of the theater by link: TPST.

Award-winning thesis follows the cinema of the Manoki and Myky indigenous peoples

An anthropologist who offers audiovisual workshops in villages in Mato Grosso analyzed films on themes such as traditional games and rituals and the relationships between humans and non-humans

Through audiovisual language, the Manoki and Myky indigenous peoples found a way to share their practices and stories. The engagement of young people with audiovisual led to the reactivation of traditions of these peoples, who live in Mato Grosso, the creation of a film collective and the production of some award-winning films. It was from researcher André Lopes' contact and relationship with this process that the doctoral thesis Ijã Mytyli: The Manoki and the Mỹky in their new paths - audiovisual stories was born, winner of the USP 2024 Outstanding Thesis Award in the Innovation category.

A graduate in Social Sciences, André Lopes has been working with the Manoki in the state of Mato Grosso since 2008 and, since 2009, has assisted in the filming and production process of films, offering audiovisual workshops. The first documentary, The Baptism of the Manoki Boys, was produced in 2009. The film presents the initiation ritual of young people into adulthood, which had not been done for 14 years.

“The possibility of recording this ceremony was one of the factors that contributed to its reactivation. This was the first work and then we continued making videos. The master's and doctorate degrees were ways to continue the relationship of collaboration and partnership with these people in the villages”, says Lopes.

According to the anthropologist, his doctorate is an expansion of his master's degree, which also consisted of research and audiovisual production work, but restricted to the Manoki indigenous people. After a visit to the Myky village, he decided to expand his research and offer workshops to this community. Under the guidance of professor Renato Sztutman, the researcher defended his doctoral thesis in Social Anthropology at the School of Philosophy, Letters and Human Sciences (FFLCH) at USP in 2023.

Indigenous Protagonism

The researcher explains the importance of indigenous peoples using tools to create their own cinema. “The idea is for them to take ownership of these audiovisual tools so that they can continue to be the protagonists of their own stories. So that they can tell the stories of their people themselves. Until then, their experience was of outsiders who would come and talk about them or record them, take them away and not return to the community. They didn’t have much control over how this material was shown and distributed,” says Lopes.

During the research, the young people from these communities created, together with the anthropologist, the Ijã Mytyli Collective of Manoki and Mỹky Cinema so that they could continue their productions. “The creation of an indigenous cinema collective was a proposal that we created together. We brought together the young people from these two peoples to give greater synergy to these productions and, over the years, we managed to obtain funding so that these communities also had equipment. So today the three largest communities have professional cameras, microphones and tripods, they are well equipped to continue doing these audiovisual activities,” explains the researcher.

Lopes's doctoral research focused on studying the themes that were portrayed in films made by indigenous people. The anthropologist defined the approaches in partnership with the village residents. “The indigenous people chose what they were going to film. As they chose the research topics, we went deeper into the themes anthropologically. So, the choice of the thesis topics was made in partnership with these young people,” he says.

Audiovisual narratives

With the support of the Image and Sound in Anthropology Laboratory (LISA) at USP, Lopes produced three feature-length films and five short films directed by indigenous people, which are part of his research. The objective was to understand the uses of audiovisual images and the meanings of the appropriation of this language by indigenous peoples. To do this, he uses the concept of cosmopolitics, which refers to the links between human and non-human beings in a worldview that does not divide culture and nature as separate universes.

“The circulation of images and sounds among indigenous peoples operates interethnic mediations, between indigenous and non-indigenous people, or intergenerational mediations, between different groups within the same society. However, indigenous films often feature not only the humans who inhabit this plane, but also beings who inhabit other ontologically different worlds and with whom they must have cosmopolitical diplomacy,” he points out.

According to the researcher, the use of video by indigenous peoples functions as an amplified cosmopolitical mediation. “Indigenous cinema operates an amplified cosmopolitical mediation because they also want to convey these messages that come from these multiple spiritual worlds. They want to convey this message to non-indigenous people, who are unaware of the existence of these beings,” adds Lopes.

Among the films included in the research, two portray the head ball games of the Manoki and Myky, a type of soccer played exclusively by men, in which only the head can touch the ball. The film Ãjãí: the head game of Myky and Manoki presents this practice and the preparations for the game and won the award for best feature-length documentary at Cine Kurumin.

In this game, participants must reach the opposing team's field without them being able to hit the ball back. To score a point, teams must make three consecutive winning shots. Competitions can last up to three days, since the contests only end when all bets, prizes in dispute, have been won. The prizes are varied, such as goods, seeds and cultivation elements. Although they do not participate in the field, women play a central role in the games because they prepare the bets and the food for the days of celebration.  

The other productions that make up the research are The spirits only understand our language, Weaving our paths, Piny Pyta: the strength of our medicines, Pinjawuli: the poison reached me and Jãkany Ãkakjey: our food. The first two films show the resistance of the Manoki people and their hope of speaking their indigenous language again, as currently only six elders of the community still speak the language, which is a way of communicating with the spirits. The third film presents the indigenous people's means of resistance during the pandemic. Pinjawuli is based on a dream of the director himself, Bih Kezo, and criticizes the contamination of crops by the use of pesticides. Jãkany Ãkakjey discusses the relationship between the living and the dead and the preparations on the community farm for the sacred Yetá ritual.

This text was originally published by Jornal da USP on 11/21/2024, at 6:48 pm. Read the original here.

It is with great satisfaction that we communicate that the doctoral thesis "Ijã Mytyli: The Manoki and the Mỹky in their new audiovisual-stories" of the researcher André Luís Lopes Neves, under the guidance of professor Renato Sztutman, received the USP Outstanding Thesis Award in the area of knowledge of Innovation.

André defended his PhD thesis in Social Anthropology at the University of São Paulo (USP) in 2023 and, since 2008, has been researching and working with the peoples Manoki and Mỹky, in the state of Mato Grosso. In addition, since 2011, has been conducting audiovisual workshops with five other indigenous peoples of Brazil, with activities involving production, filming, editing and directing videos in a shared way. 

During his doctoral research, André produced two feature films and five short films co-directed by indigenous people, which are part of his thesis. Besides method, the use of audiovisual resources was a form of mediation of the study and presentation of its results. The researcher chose to use audiovisual tools so that the research could be better shared with groups, as well as to offer a form of counterpart for communities. 

The methodological proposal of the study was to displace the principle "evans-pritchardiano", according to which the anthropologist should study what he finds in the field, to choose to study and deepen in the topics that indigenous filmmakers choose to film in the field, above all the elements that are edited and included in the films. Several subjects were topics of the anthropological research, such as the 'ãjãí' parties, which are the ball games (a new theme in the ethnographic literature), and the rituals of initiation of boys to the house of the spirits Jeta.

With the increase of interest of young people in audiovisual production, during the research was created the Ijã Mytyli Collective of Cinema Manoki and Mỹky, as a way of continuity and dynamization and indigenous protagonism of the activities that were already happening, above all the training of new filmmakers within the communities, directors who tell their own stories with their equipment of capture and editing. 

The film 

The uses, meanings and agencies attributed by the Manoki and Mỹky to audiovisual resources have shown that they operate as amplified cosmopolitical mediators of interspecific relations. The cinemas (in plural) made by indigenous peoples have offered a viable way to get to know their worlds closely and learn how to better care for our relations between humans and non-humans that co-inhabit our planet.

The award included theses defended between January 1 and December 31, 2023, which within their areas of expertise, dialogue with the areas distributed in the UN’s Sustainable Development Goals (SDGs).

Some of the films produced are available on LISA’s website

Exhibition connects the trajectories of Claudia Andujar, Lux Vidal and Maureen Bisilliat

Now in their nonagenarians, they settled in Brazil in the 1950s and produced a vast photographic collection on indigenous themes.

In 2015, anthropologist Sylvia Caiuby Novaes was leaving the cinema when a scene caught her attention. She saw photographers Claudia Andujar and Maureen Bisilliat and anthropologist Lux Vidal walking together down Augusta Street in São Paulo, arms intertwined. “This image inspired me to investigate the affinities between those three women,” recalls Caiuby Novaes, a professor in the Department of Anthropology at the University of São Paulo (USP).

The idea gave rise to the research project “Photographs and trajectories: Claudia Andujar, Lux Vidal and Maureen Bisilliat”, coordinated by Caiuby Novaes, with support from FAPESP, between 2019 and 2022, which resulted in a website and more recently in the exhibition Trajetórias cruzados, on display until February 2025 at the Centro MariAntonia at USP. “They have several things in common that go beyond the fact that they are now in their nonagenarians”, says Caiuby Novaes, who curated the exhibition with anthropologist Fabiana Bruno, deputy coordinator of the Anthropological Laboratory of Writing and Image (La’grima) at the University of Campinas (Unicamp) and a collaborating researcher at the Department of Anthropology at USP.

According to the curators, the intersections begin in childhood: all three were born in Europe in the 1930s, a time when totalitarian regimes such as Nazism were on the rise. Swiss-born Andujar, for example, grew up between Hungary and Romania (see Pesquisa FAPESP issue no. 276) and, during World War II, her father and his paternal family, of Jewish origin, were sent to the concentration camps of Auschwitz, in Poland, and Dachau, in Germany. Vidal was born in Germany and spent most of his childhood and youth in Spain and France. “His family moved several times because of World War II and the Spanish Civil War,” says Bruno. British-born Bisilliat lived in several countries, such as Denmark, Colombia and Argentina, as a child because of her father’s profession, who was a diplomat.

The passage through New York before settling in Brazil is another common point in the trajectory of the three women, who lived and studied in the North American city from the 1940s onwards. “Claudia attended Hunter College, where she began painting canvases inspired by abstract expressionism,” says Bruno. “At the same time, Lux received a bachelor’s degree in arts from Sarah Lawrence College, where she studied anthropology, literature and theater. And Maureen, who began painting in 1952, in Argentina, studied five years later at the Arts Students League, also in New York.”

Bisilliat, who had already been to Brazil in the early 1950s, moved permanently to the country at the end of 1957. “Claudia arrived in 1955. When they came to live here, they both abandoned painting and began to dedicate themselves to photography,” says Caiuby Novaes. In the 1960s, they both began to work as photojournalists for magazines such as Realidade, published by Abril. The essay Caranguejeiras (1968), which Bisilliat did for Realidade, dates back to this period and records a group of women crab collectors in Paraíba – some of the photos can be seen in the exhibition. “Since the 1950s, they have traveled extensively throughout Brazil and South America, including alone, which was not so common at the time. It is enough to remember that it was only with the Statute of Married Women, in 1962, that women began to have the freedom to travel unaccompanied in Brazil,” continues the anthropologist.

In addition to their work in photojournalism, the curators highlight another contribution made by the duo. “Claudia and Maureen played an important role in introducing photography into Brazilian exhibition spaces, such as museums and exhibitions, such as biennials, especially in the 1970s,” says Caiuby Novaes. “Among other things, they became members of the Photography Sector Committee at MAC [USP Museum of Contemporary Art] in 1970.”

Both Andujar and Bisilliat were awarded FAPESP grants to carry out research projects. Due to this support granted between 1976 and 1978, the former continued the photographic record of the Yanomami, which she had begun in 1970, during a project for the magazine Realidade, and also continued collecting drawings made by them. An enthusiast of Brazilian literature and popular culture, Bisilliat received grants for “Existence of the magician in Brazilian reality: Mario de Andrade. The magical presence in Brazilian reality: Roger Bastide”, in 1981, and “Brazilian popular clothing: Devolution, freely inspired by the writings of Mario de Andrade”, in 1984.

Of the three, Vidal (see Pesquisa FAPESP issue no. 251), who is a professor emeritus at USP, has the career most closely linked to the academic world. After arriving in São Paulo in 1955, she taught at the Alliance Française and the Liceu Pasteur, and in 1967, she returned to study anthropology at USP. Two years later, she became a professor at that educational institution and from then on developed research with several indigenous peoples, especially the Mebengokré-Xikrin, from Pará. “Over the decades, Lux took around 5,000 photos, which are kept at the USP Image and Sound Laboratory in Anthropology. Some of the material on display was published in her books, but until then it had never been seen in large format,” says Bruno.

Divided into three rooms, the exhibition features around 300 photographs, Xikrin and Yanomami drawings, as well as the video Aqui é o mundo [Here is the World], directed by Maíra Bühler, which records a meeting between the three photographers at the end of last year. Fifty percent of the images on display are about indigenous themes and reflect a strong connection with this issue. Bisilliat, who first visited Xingu National Park in the early 1970s, published two books about her travels: Xingu (Editora Práxis, 1978) and Xingu/Território tribal (Livraria Cultura Editora, 1979), the latter in partnership with indigenous scholars Claudio Villas-Boas (1916-1998) and Orlando Villas-Boas (1914-2002). She also directed the documentary Xingu/terra (1981), in partnership with Lúcio Kodato.

However, involvement with indigenous issues is not limited to recording images. In the late 1970s, Andujar helped found the Commission for the Creation of the Yanomami Park (CCPY), which fought for the recognition of the territory of this people, which was only approved in 1992. Vidal contributed to the creation of several indigenous organizations, such as the Pro-Indian Commission of São Paulo, in 1978.

Some of Vidal's images were restored for the exhibition based on scientific initiation research funded by FAPESP by photographer Isabella Finholdt, at the School of Communications and Arts (ECA) at USP, under the guidance of photographer João Luiz Musa. The study, which was part of the project “Photographs and trajectories: Claudia Andujar, Lux Vidal and Maureen Bisilliat”, investigated, for example, ways of treating analog images produced between the 1960s and 1980s.

In total, the photographic collection of Andujar, managed by Galeria Vermelho, Bisilliat, now housed at the Instituto Moreira Salles, and Vidal, contains more than 50 thousand images. “In relation to the indigenous issue alone, they recorded several themes such as daily life, hunting, houses, villages, rituals and body painting,” says Bruno. “Deciding which of these images would be included in the exhibition was one of our greatest challenges,” he concludes.

Photographs and trajectories project: Claudia Andujar, Lux Vidal and Maureen Bisilliat (nº 18/21140-9); Regular Research Grant Modality; Principal Investigator Sylvia Caiuby Novaes; Investment R$ 122,099.06.

This text was originally published by Pesquisa FAPESP under the Creative Commons CC-BY-NC-ND license. Read the original here.

Directed by Aurélio Prates and Kelwin Marques, the short is the first editing exercise based on images taken in São Paulo and Recife. In the royal processions of the Nations of Maracatu, in the middle of the 20th century, the figure of the Baiana began to be occupied by transvestites, chickens, and other bodies for which femininity was not presupposed. The film seeks to present the relationship of the Bahianas Ricas do maracatu with their ancestries, which can occur both from the memory of the older Bahian women, as well as from contact with more-than-human females such as the Yabás, the Mestras de Jurema, Pombagiras, etc.

Kelwin is a master's student in Social Anthropology at the University of São Paulo (USP), supervised by professor Sylvia Caiuby Novaes, and a researcher at the Visual Anthropology Group (GRAVI). He has experience in the areas of photography, visual anthropology, anthropology of Afro-Brazilian populations and ethnomusicology.

The award event takes place between November 11th and 14th, 2024 as part of the John Monteiro Anthropology Journeys at the State University of Campinas (UNICAMP).

In the 2024 edition, the Journal of Audiovisual Ethnomusicology (JAVEM) magazine presents a curation of five films that explore the multisensory dimensions of the interaction between music, culture and multimedia, in addition to standing out for the search for interactive methodologies, the exploration of sensory experiences and of the complex socio-political worlds in which music is present. Among the selected works, the new edition of JAVEM features two productions carried out by researchers from the Musical Anthropology Research Group (PAM) at the University of São Paulo (USP).

Open Gasy presents the challenges a Malagasy musician faces in the French World Music scene, the complexities of the work, the need for adaptation and the complexities of musical authenticity. Directed by Yuri Prado, the film is available on the website of the USP Image and Sound in Anthropology Laboratory (LISA). Yuri Prado is a postdoctoral student in Social Anthropology at USP, supervised by professor Rose Satiko Hikiji, having completed a research internship at the École des Hautes Études en Sciences Sociales (EHESS), in Paris. Graduated in Music (Composition) from the Department of Music at USP, he has a Direct Doctorate from the same institution, with a research internship in ethnomusicology at Université Paris VIII.

The film Toré, directed by Alice Villela, presents a visceral experience of spiritual and community practices, working on the role of indigenous cultural identity and its resistance strategies through musicality and dance and the strengthening of community ties. Alice Villela completed her post-doctorate in Social Anthropology at USP, also supervised by Professor Rose Satiko. He worked for more than ten years with the Asuriní people of Xingu, in Pará, developing master's and doctoral research on image and shamanism. Currently, he is carrying out research linked to the struggle for land and the music of the Kariri-Xocó, an indigenous people from Alagoas. Researcher and director of documentary films with indigenous peoples, she works as a collaborator at the Cisco Laboratory, having directed several documentaries such as Acontecências (2009), Toré (2022) and Na Volta do Mundo (2022).

Based at LISA, since 2011, PAM has been dedicated to studying the dialogues between anthropology and music within the scope of the research line “Expressive Forms and Regimes of Knowledge” of the Department of Anthropology at USP. The line of research deals with the relationships involved in different regimes of knowledge production and aesthetic expression.