Indigenous Filmmaking in Latin America

Gleghorn, Charlotte

doi:10.1002/9781118557556.ch10

Cited by 4 publications

(7 citation statements)

References 15 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…There is a consolidation of ethical responses enhanced by the Takumã's practice that creates a decolonial audiovisual sovereignty. Gleghorn (2019) indicates that audiovisual sovereignty "(…) is staged in the objectification of watching as a diegetic and reflexive act" (p. 78). I argue that Takumã fosters a key element of healing.…”

Section: Disruption From Audiovisual Sovereigntymentioning

confidence: 99%

“…This renowned project in Brazil, led by Vincent Carelli, set the goal of training indigenous peoples in audiovisual communication in remote villages using workshops, aiming at exchanges of knowledge between villages and visibility about the day-to-day indigenous people's life to the main cities (Queiroz, 2013). Accordingly, Gleghorn (2017) lays down that "among the titles attributed to Video nas Aldeias, many harness the archival vestiges of ethnographic and colonialist filmmaking to prompt discussions at community level regarding ancestors, the past, and the legacy of filmmaking" (p. 176). During a conference, Carelli (2018) highlighted that each village collectively chose those who would be involved in the audiovisual workshops.…”

Section: Introducing Takumã Kuikuromentioning

confidence: 99%

“…During a conference, Carelli (2018) highlighted that each village collectively chose those who would be involved in the audiovisual workshops. I could say that many of those involved in these workshops placed the filmmaking practice as the foundation to undertake several collective ideas (Gleghorn, 2017). This is the case of Takumã Kuikuro, albeit he does not define himself as a filmmaker.…”

Section: Introducing Takumã Kuikuromentioning

confidence: 99%

See 2 more Smart Citations

Indigenous filmmaking practices: healing in times of climate crises

Ramirez-Loaiza

2023

Front. Clim.

View full text Add to dashboard Cite

The psychological impacts of the climate crisis and its triggers can have long-lasting consequences for public mental health. Many indigenous communities have an in-depth understanding of these impacts, and some of their filmmakers have depicted them through their audiovisual work. By challenging colonial perspectives, these indigenous filmmakers offer invaluable insights into how communities might navigate into adaptation and recovery to cope with the challenges brought about by climate change. Unfortunately, audiovisual work has often been overlooked in climate-related disaster studies despite its significant contributions. Drawing on community-based feminism and the decolonial turn, I sought to explore the healing practices employed by communities in Upper Xingu, Brazil, through the practice of indigenous filmmaker Takumã Kuikuro. To achieve this, I drew on audiovisual analysis of Takumã Kuikuro’s documentaries and records (short videos) from the decolonial panorama. Additionally, I conducted semi-structured interviews with the filmmaker and three members of the People’s Palace Projects, who have worked closely with Takumã, culminating in a validation meeting. I highlight three key findings for this article: (i) healing through rituals as esthetic and ethical-sacred practices within the territory, (ii) bodies in collectivism, and (iii) cascading effects on healing audiences: weaving networks from reciprocities. In seeking a discussion of the findings, I contend that there is an inextricable bond between the community-based healing responses to the climate crisis shown by Takumã’s lenses and the Politics of the Bodies proposed by the Colombian philosopher Laura Quintana, allowing us to frame the decolonial understanding of healing as a political and collective action both within and with territories. Therefore, placing the indigenous cinema as a source of knowledge will enable us to bring community-based discussions that disaster risk reduction has neglected due to its embeddedness in epistemic injustice, from which at-risk communities have been predominantly seen as incapable of knowing their geographies. The rituals and collaborative practices grounded in reciprocity demonstrate forms of adaptation in which mental health becomes a collective responsibility woven into nature at its core.

show abstract

Section: Disruption From Audiovisual Sovereigntymentioning

confidence: 99%

Section: Introducing Takumã Kuikuromentioning

confidence: 99%

Section: Introducing Takumã Kuikuromentioning

confidence: 99%

See 1 more Smart Citation

Indigenous filmmaking practices: healing in times of climate crises

Ramirez-Loaiza

2023

Front. Clim.

View full text Add to dashboard Cite

show abstract

“…But, more importantly, Karamakate's words are also a critique of essentialist notions of indigeneity which freeze indigenous cultures in the past and its preservation, and of the 'salvage idiom [that] attempted to repress signs of change' in those cultures drawing, as Gleghorn explains referencing Faye Ginsburg, on the idea that 'values originating elsewhere are polluting of some reified notion of culture and innocence'. 44 The reflections triggered by these episodes encourage us to think of this film as an instrument, not of rhetorical inquiry, as Christopher Carter argues in relation to other films critical of colonialism, but of cultural, political and even ethical inquiry. 45 An inquiry that is not limited to the past but that concerns the present too.…”

Section: Decolonial Encountersmentioning

confidence: 99%

“…6 Cinematically, since the 1990s, there has been a rise of indigenous filmmaking which has challenged dominant 'tropes of indigeneity' such as the 'binaries erected between the local and the global, stasis and movement, and dwelling and migration'. 7 In the art exhibition curatorial domain, the stronger presence of indigenous artists is questioning the notion of the otherness of indigenous art. 8 There have also been exhibitions, such as 'Primitivism Revisited: After the End of an Idea ' (2006) that have explicitly revisited the 1984 MOMA's show.…”

mentioning

confidence: 99%

Decolonial encounters in Ciro Guerra’s El abrazo de la serpiente: indigeneity, coevalness and intercultural dialogue

D’Argenio

2018

Postcolonial Studies

View full text Add to dashboard Cite

This article analyses the politics and aesthetics of the depiction of the encounter between the West and the non-West in Ciro Guerra's film El abrazo de la serpiente, examining the ways in which the film deconstructs colonialist imagery and discourses and engages with the notion and cinematic representation of indigeneity. Through an interdisciplinary approach, the article identifies and discusses the strategies employed by the film to decolonize the category of the 'Indian': the challenge of colonial linguistic of domination, the undermining of the tropes of imperialist representations, the staging and re-enacting of colonial encounters and the subversion of the power relations embedded in colonialist ethnography. The article posits that El abrazo de la serpiente acts as an instrument of political and cultural enquiry into the past and the present, and that it proposes as well as enacts multiculturalism and intercultural dialogue as cinematic approaches to native culture. While the notion of indigeneity at play is not exempt from problematics, the film succeeds in foregrounding indigenous points of view and 'points of hearing' challenging Eurocentric politics of recognition and evolutionary epistemology in favour of a 'coevalness' of the native.

show abstract

Imaginaries of Abya Yala: Indigenous filmmaking in Latin America from a multimodal semiotic perspective

Baker

2023

Latin American and Caribbean Ethnic Studies

View full text Add to dashboard Cite

Indigenous Filmmaking in Latin America

Cited by 4 publications

References 15 publications

Indigenous filmmaking practices: healing in times of climate crises

Indigenous filmmaking practices: healing in times of climate crises

Decolonial encounters in Ciro Guerra’s El abrazo de la serpiente: indigeneity, coevalness and intercultural dialogue

Imaginaries of Abya Yala: Indigenous filmmaking in Latin America from a multimodal semiotic perspective

Contact Info

Product

Resources

About