Carelli, Moi, Un Indien
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Transcript of Carelli, Moi, Un Indien
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V I DEO I N T HE V I L L A GE S EXHI B I T I O N: T HRO U GH I ND I A N EY E S 21
PR IM E IR O S
C O N TATO S
Quando,aosdezesseisanos,aterrissei pelaprimeiravez
naaldeiaXikrin,no suldo Par,descobri queo mundo
eramuito maisdiverso efascinantedo queeu tinhasus-
peitado at aquele momento . A partir do instante em
queavistei,ao longo dapista,aquelassilhuetasescuras
de jenipapo eemseguidasenti aquelecheiro deresina
perfumadaedeurucum,
passei a terumanovapercep-o da humanidade. A fotograf ia se tornou para mim
umanecessidadedecomparti lharessenovo mundo que
eu descobria.
Aos vinte anos eu jmorava na aldeiaXikrin , e meu
envolvimento comos ndiospassou aser total .Eu sim-
plesmente queria ser ndio, mas os ndios queriam um
amigo que lhesdesseaschavesdecompreenso do que
sepassavaao redordeles,osajudasseasedefenderdas
doenasque mal tratavam a aldeia. Quanto maior era o
meu
envo
lvim
ento
,
menos t
empo m
esobr
avap
arafoto-grafar.Eu aprendi desdeento quearteemilit nciadi fi-
cilmente andam juntas. Aqueles povos com osquais eu
maisconvivi e trabalhei foramaquelesqueeu menosfo-
tografei.Naquela pocaaconteciana regio aguerrilha
do Araguaia.
AM I L I T N C IA I N D I G E N I S TA
Do livre convvio na aldeia resolvi entrarpara a Funai,
na iluso depoderajudarmelhor.Mas,rapidamente, fi-
cou claro o quanto o paternal ismo autoritrio do go-
verno, a famosa tut ela do ndio, era al tamente perni-
cioso paraos ndios,po lit icamentedesmobi lizador.No
seriao Estado queiriamudarasituao dosndios,mas
elesque teriamqueretomaro seu destino emmos.
Do indigenismo de Estado, migrei para o indigenismo
Moi, un Indien
V I NCENT CARELL I
Indigenista , document arista e fund ador do Vdeo nasA lde iasF i lm-makerand founder of V ideo in the Vi l lages
Moi, un Indien
Firstcontacts
When,at theageofsixteen,I landed fort hefirst
timei n aXikrin village, in thesouth oft heState
ofPar,I discovered that theworld wasmuch
morevaried and fascinating than I had suspected
untilt hat moment .Fromt heminuteI sawt he
darksilhouettespainted with genipap besidethe landing strip and then caught thesmell
ofperfumed resin and urucum,I gained a
newperception ofhumanity.Photography
becameaneed to sharet hisnewworld that
I wasdiscovering.
At theageoftwenty I wasalready living
in theXikrin village.At thist ime,t heguerrilla
warfareofAraguaiahad begun in theregion.
In thevi llage,my involvement with theIndians
becametotal .I simply wanted to be Indian,
but theIndianswanted afriend who could givethemt hekeysto understanding what went on
around them,to help themdefend themselves
fromthediseasest hat mal trea ted thevi llage.
Thegrea termy involvement ,t he lesst imewas
lef t forphotography. I learnt then that art and
activismrarely go together.Thegroupswith
whomI spent most timeand worked with were
theonest hat I photographed least .
Indigenousadvocacy
From living freely in thevi llageasI had been,
I decided to join Funai, in thei llusion ofbeing
ablet o help more,but I soon sawhowt he
Brazi lian government sauthoritarian paternal ism,
thefamoust utelageoft he Indian,wasextremely
dangerousfort he Indians,in itscapacity to
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32 MOSTRA VDEO NAS ALDEIAS : UM OLHAR INDGENA
patrimony oft he Indiansiscultural , liveculture,
not just forthembut also formill ionsofBrazi lians
who haveno ideawhat goeson in thiscountry.
Themeaningofthisexhibitionand
the
opening
of
a
new
cycleThe Idea oft hisshowing ist o present to thepub lic
thesenewauthorst hat aregiving an original and
refreshing contribution,areal expression ofBrazi ls
cultural di versit y.Weconcluded thecycle ofVideo
in theVillagesand opened anewone,Video from
theVi llages.TheIdea ofan interchangeof
in formation among thevi llagescontinues in the
project ,but nowt heIndianshave thechancet o
produceand wa tch theirown works.
Ourattitudeisactivistbecausewecontinue to
placet heproject at theserviceoft he indigenousmovement .Ourworkisto convincet he leaders
oft hismovement that art isapowerfult ool for
transformation,i t reflectst heiridentity and
transla tesan aestheticemotion that can beshared
by people ofot hercultures. In thissense,i t ismore
ef ficient than thepamphle t video,t hereport video
ort hevideo o fmee tings.Cinemamay beapowerful
instrument forraising awareness,i fi t isnot used in
aut ilit arian way and with abureaucratic language.
Weneed much morei ntercultural dialogue,for
the Indian to stop being acuckoo in thenest,
astranger in his/herown land.Theabsenceoft he
indigenoust heme in theBrazi lian educational
systemand thereproduction oft heeternal
clichsand prejudices in themedia,perpetuate
thi sdistance,t his ignorance.
The Indianscan and want to takepart in
modernity,to beincluded in thiscountry,enjoy
full citizenship ,i ft heiridentity and diffe rence
arerespected.I t isvi tal to support contemporary
indigenousproduction and disseminate it in the
e
duca
tional
s
ys
tem
ina
neffec
tive
wa
y.
Be
inga
tinyminority,access to themeansofcommunication is
strategicforthem.Theindigenoust hemeneedsto
bein ourschools, in themedia,but represented
with theirown eye,which makesall t hedi ffe rence.
clichs e preconceit os na mdia, perpetuam este estra-
nhamento ,estaignorncia.
Os ndios podem participar da modernidade, querem
serincludosnestepasegozardecidadaniaplena,desde
quesua identidadeed iferenasejamrespeit adas.pre-
ciso apoiaraproduo indgenacontemporneaedifun-
di-la no sistemaeducacional deumamaneiraefetiva.Por
seruma n fimaminoria,o acesso aosmeiosdecomuni-
cao estratgico para eles. A temtica indgenapre-
cisaestarnasnossasescolas,precisaestarnamdia,mas
representada por eles mesmos, com este olhar prprio
que faz todaadiferena.