Reenact, Reimagine: Performative Indigenous Documentaries of Bolivia and Brazil

Córdova, Amália

doi:10.1057/9781137291349_8

Cited by 44 publications

(5 citation statements)

References 5 publications

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“…Beyond documents, media-making and cinematic tools are powerful to foster the narratives of history and indigeneity along with reenactment performances [35]. One instance is Cut Of My Tongue [60], a long-running show composed of collecting poetry, music, dance, satirical vignettes, and performing pieces with traditional African instruments.…”

Section: Capturing the "Live" And Dynamicsmentioning

confidence: 99%

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Hou

Kenderdine

Picca

et al. 2022

J. Comput. Cult. Herit.

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Intangible cultural heritage (ICH) as a field of research and site for digital efforts has grown significantly since the UNESCO 2003 Convention for the Safeguarding of Intangible Heritage. In contrast to tangible heritage, where cultural identities are manifested through physical objects, intangible cultural expressions are defined through tacit reliances and embodied practices. Such practices are usually bodily communicated, enacted, socially transmitted, and constantly evolving. Burgeoning trends in computational heritage and ICT applications have played a crucial role in safeguarding ICH as they produce versatile resources while making them accessible to the public. Nevertheless, most of the inventions are object-centric and cater to conserving material-based knowledge bases. Few endeavors thus far have fully supported the recording, representing, and reviving of the living nature of ICH. One of the challenges now faced is to find appropriate forms, together with efficient methods, to document the ephemeral aspects of intangible heritage. Another barrier is to find effective ways to communicate the knowledge inextricably linked to people. In response, recent efforts have embarked on capturing the “live” and “active” facets of the embodied cultures, which entails addressing technological and curatorial complexity to communicate the material and immaterial aspects within a meaningful context. Meanwhile, advancements in experimental museology have opened up new modes of experiential narratives, particularly through visualization, augmentation, participation, and immersive embodiment. Novel practices of cultural data computation and data sculpting have also emerged toward the ideal of knowledge reconstruction. This article outlines state-of-the-art models, projects, and technical practices that have advanced the digitization lifecycle for ICH resources. The review focuses on several critical but less studied tasks within digital archiving, computational encoding, conceptual representation, and interactive engagement with the intangible cultural elements. We aim to identify the advancements and gaps in the existing conventions, and to envision opportunities for transmitting embodied knowledge in intangible heritage.

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Section: Capturing the "Live" And Dynamicsmentioning

confidence: 99%

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Hou

Kenderdine

Picca

et al. 2022

J. Comput. Cult. Herit.

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“… For more on VNA and its remarkable body of work, which includes more than 70 films, see Aufderheide (), Bloch (), Carvalho, Carvalho, and Carelli (), Córdova (), and Gallois and Carelli (). …”

mentioning

confidence: 99%

“… For more on reenactment as a particular mode of affective historiography that collapses linear temporality and privileges current experience over prior occurrences, see Agnew (, ). While Nichols (, ) discusses reenactment as an interpretive gesture in documentary and Córdova () mentions its use in VNA films, less attention has been given to its role within village video workshops. …”

mentioning

confidence: 99%

Glimpses of Emergence in the Ayoreo Video Project

Bessire¹

2017

Visual Anthropology Review

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Drawing upon scenes from a recent Indigenous video workshop in Paraguay, the essay details the emergent forms of perception, imagery, and experience that were unique to the video workshop form. The aim of the essay is to write present‐tense difference through such emergent visual forms rather than through increasingly common aesthetic frameworks of inevitable endings or cultural, technological, and economic determinisms. In doing so, the essay crafts a larger argument about how ethnographic attention to community video workshops and unauthorized Indigenous self‐imagery may offer correctives to the visual economies and political lexicons often presumed to define the present. It asks how Ayoreo remediations of self and world may charter novel axes for ethnographic writing and critique.

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“…A Córdova (2015), que dedica-se, particularmente, à mídia indígena latino-americana. 67 Este período de crítica ao pensamento antropológico e ao fazer etnográfico é comumente representado pelos textos reunidos na coletânea Writing Culture: The Poetic and Politics of Ethnography (Ed.…”

Section: Figuraunclassified

“…Complementarmente, participei de um workshop 43 na Deakin Univeristy, em Melbourne, que me permitiu conhecer e me integrar a uma ampla rede de pesquisadores (na Austrália como Lisa Stefanoff, Jennifer Deger (2006) e Sabra Thornere em outras partes do mundocomo Amália Córdova (2015) e Lucas Bessire (2017)) que se dedicam a estudos de mídia indígena.…”

Section: Introductionunclassified

Regimes de produção e circulação imagética no Território Indígena do Xingu

Serber¹

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Reenact, Reimagine: Performative Indigenous Documentaries of Bolivia and Brazil

Cited by 44 publications

References 5 publications

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Glimpses of Emergence in the Ayoreo Video Project

Regimes de produção e circulação imagética no Território Indígena do Xingu

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