Carelli, Moi, Un Indien

8/9/2019 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.

Carelli, Moi, Un Indien

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