Videos
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.
Fragments of Richard Schechner's talks, lectures and seminars in Brazil during his visit in the mid of 2012. The author and researcher reflected about the contemporary conditons of intelectual and artistic production at a seminar in the Anthropology Department of FFLCH/ University of São Paulo. He talked about some of his concepts between the field of theater and the anthropology in a fecund dialog with the Núcleo de Antropologia, Performance e Drama - NAPEDRA, coordenated by Professor John Dawsey, and also he danced with the Núcleo de Artes Afro-Brasileiras.
The artist Izabel Lima travels the peripheral neighborhoods of São Paulo to present her itinerant show, taking a suitcase and her accordion with her. On this trip, the artist reveals to us the world of cultural production in the periphery, but, above all, the sense of being an artist and a woman in the “quebrada”.
Video class directed to the young public on doctoral thesis awarded in 2014 with the Capes Prize for Thesis in Anthropology and Archeology and with the Grand Prize “Sérgio Buarque de Holanda” for Thesis in the large area of Human Sciences, Linguistics, Letters and Arts, Applied and Multidisciplinary Social Sciences (Education).
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.
For almost a year, depending on the negotiation between priest, party-goer and reveler, five men go on a journey as emissaries of Divino Espírito Santo. They travel through the rural and urban area in the vicinity of São Luiz do Paraitinga and Lagoinha, to Taubaté, on one side, and Cunha, on the other, singing from house to house to bless and ask for gifts for the great party in celebration of the Divino in the city , at the time of Pentecost. Perhaps the Folia giro is the most significant part of the celebration of the Divino. It is significant in time: it acts before, after and during the Festa do Divino, passing through the whole year and not just in the nine days of the feast; it is significant in space: it covers the urban and rural areas, including everyone; it is significant in its nature: it brings together sacred and profane, infecting daily life with divinity in the lively landings of the Divino in rural neighborhoods and in the urban peripheries of the Paraíba Valley. In this video, the singing of Folia do Divino is being stitched together with the life of Seu Vicentinho and Dona Terezinha. He, master of revelry of the Divino, she, devotee of the Divino, each in their own way, they share the experience at the same time everyday and miraculous that faith in the Divino provides them.
The Manoki people lives in northwestern Mato Grosso, Brazil and one of their main economic activities is the selling of pequi on highways which cross their lands. During a video workshop, the youngsters decide to present aspects of their villages and the process of gathering and selling of this fruit to the outside world. Incited by the possibility of filming and starring their own film, they search out for the village elders in attempt to find any myths about pequi. The making of this film was a process shared between indigenous and non-indigenous videomakers: from the main concept and filming to the editing and post-production. All images were recorded by the Manoki videomakers.
Every year, adults seek out the archives of the CASA Foundation (Centre for the Socio-Educational Attention of Adolescents, São Paulo, Brazil) searching for the dossiers from the period they spent (as children or teenagers) in public orphanages. What is it that makes these adults try to recover the threads of their lives? Between 2009 and 2013, more than 50 dossiers were analyzed, along with interviews, about men that were sheltered, between 1947 and 1974, in the Batatais Agricultural Institute for the Underages (IAMB/SP). Records; truths (?); the right to biographical memory; stories of “abandoned families”; accounts of work and care experiences; present bonds among “ex-underages”; the dialogue between old photos and a visit to the now-ruined IAMB building, guided by one the interviewers, all compose this documentary.
Documentary video that presents, in the voice of former students of Professor José Guilherme Magnani, from the Department of Anthropology at the University of São Paulo, field experiences carried out during the graduation in Social Sciences at USP. In order to record and constitute a memory of these experiences, one of the hallmarks of the Center for Urban Anthropology (NAU), four interviews were conducted with researchers who participated in courses taught by Magnani: Renato Sztutman (Professor in the Department of Anthropology at USP), Melissa de Mattos Pimenta (Professor at the Department of Sociology at the Federal University of Rio Grande do Sul), Ricardo Mariano (Professor at the Department of Sociology at USP) and Márcia Gobbe (Professor at the Faculty of Education at USP) .The interviews show how the first works contributed to the construction of the academic careers of these researchers.The video is part of the Project NAU Collection - USP Memory.
Poetry above all deals with the relationship that poetry establishes with the city (spaces, soirees) and with writers and readers. Poetry is the film’s main character, which interacts and reacts, which may be exposed or overlapped by everyday walls, but following its own path adapting to time, space and new tastes and desires.
Captain França an important Sateré-Mawé leader, considered education as a political instrument. Today, many of his sons and grandsons who studied or already graduated in educational institutions such as the Universidade Estadual do Amazonas, live in the city of Parintins. They and other Sateré-Mawé tell us about life in the city and at the Indigenous Reserve, their personal experiences and life stories.
These narratives are about their ethnic group, their communities, families, crafts and aid to saterés in transit throughout the city. They also talk about their language and rituals, their religions and the many meanings of being sateré, bequeathing to the next generations aspects of their culture and tradition.
This film is a visual ethnography of the religious experience during the Holy Week of Huaraz, Peru. It is focused on a group of processional sculptures known as Jewish and Roman soldiers, which were miraculously saved from destruction in the devastating 1970 earthquake. Considered saints by their owners and devotees, these soldiers are at the core of a tense dialogue between folk and orthodox forms of Catholicism in the Peruvian Andes.
Cidade Tiradentes, in the far eastern district of São Paulo, place where the city ends, in the words of Daniel Hylario, our narrator. From there, come rhymes, colours, and gestures which mark the space. For the artists of Cidade de Tiradentes, their experience of the urban periphery provides both the basis and motivation for their works. These projects 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 manages their difficulties with their own particular dynamics of sociability, housing and appropriation of territory.
"Mira, Chica ..." is a fiction created for presentations of the performance of the same name, by Regina Müller and Ana Goldenstein, continuation of the project "Chica Chic, Carmen in performance." With autobiographical approach, deals with the relationship between parents and children, gender, sexuality, and pop culture. Presents the birth of a creature that ends up shaping a Carmen Miranda "queer" and "clowning" in the criticism of conventional gender roles. Adds to the research process, the experience of creation by a collective.
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.