Jonathas de andrade biography channel

So, I asked the help of one of the men on a horse. Once someone leads, everyone follows, and the thing happened. I became part of the crowd instead of being the author, or someone who created, someone who was guiding. I became part of the mass, and that was beautiful. The thing had a life of its own. I did the open call, but once the thing was there, it had like its own peculiar life, and its own heart, and that was quite a lesson for me.

When I got the footage, it was insanely chaotic. I took one year to really breathe and have the relief of not having had accidents during the event, which was one of the challenges and one of the risks. I had to sign contracts with the Mayor, and with the supporters. This project was supported by the Thyssen-Bornemisza collection, and I had to really commit to being responsible for everything that happened.

I was super nervous. It took me one year to arrive at the final edit of the video. I realize that I mentioned having a project, which is not only the video. The art is not only what we see in the museum, but how it develops. It was quite a lesson for me. At the point when I was about to edit the film, my internal feeling was that something had already happened, and that definitely was the core of that project.

Something definitely was very astonishing. Perhaps you could say a little about this type of traditional singer who narrates the work?

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JdA: The aboiador is one type of singer from the countryside, one that improvises verses based on the experience of the countryside, of the plantations, of the cattle. The aboiador improvises on the tough life of the countryside, of the humble men and women. This aboiador, Jerome, showed up on the day of the horse race. He started singing out loud about what he saw in the moment, and combined those images of the countryside repertoire, like the horses and the carts, with the elements of the city, the bridges and the beauty he saw.

It was super interesting. They have this culture of being challenged by a theme, and they improvise. I took his phone number and later I invited him over to the studio, and I challenged him to understand that day as a revolution of the carters, of the countryside within the city. The video, The Uprisingbegins with our conversation.

I recorded our conversation, and then he started improvising on that, singing for four hours. Half of the video is carried along with his verses, which speak about his poetic understanding of a revolution, and the harsh life of the countryside men, and the city. At the end of The Uprising video, I invited a narrator to read a text that I wrote, which is a sort of manifesto around the issues of gentrification and the city, and the city which is free and welcoming, but also very much divided.

The Brazilian filmmaker Joaquim Pedro de Andrade has been described as a true tropicalist. You present his film on the left, which is juxtaposed with yours on the right. JdA: Joaquim Pedro de Andrade was a great filmmaker. He made one of the great Brazilian films, Macunaimawhich I recommend a lot. But then I engaged with this other piece, the first film he did in his career as a young filmmaker.

Joaquim Pedro de Andrade records Freyre, films his daily routines over one day.

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Of course, this is not true. The possibilities in Brazil for achievement, access to jobs, education, possibilities primarily for privileged white people. But in daily life, you could read by mistake, as if it was too gentle. So, my piece O Caseiro combines a film made in by Joaquim Pedro de Andrade, picturing Gilberto Freyre in his house, a big house with servants that he calls by their names.

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He is shown at breakfast with his wife, served by a Black man. He gently gives approving thoughts to the cook. And I create a second screen with footage I shot, where a housekeeper, a fictional one, lives in the same house today, and he is the protagonist. These two screens were synchronized in the editing. It makes us look back. This has an echo in Brazil.

I think this video makes us look into very harsh events and at racism in Brazil, that makes us also rethink Latin America. BL: Perhaps we move on to your work from the same time period, your work, O Peixe. The work unfolds as one after the other, ten very strong fishermen, kind of ruthlessly and very carefully, each in his own way, moves his boat to what is a beautiful river location, and prepares his tools.

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It could be a net, a single line of nylon with a hook, or a harpoon. Each casts his net or line into the water, and waits very calmly, and then reels in a fish. The work is also very sonic. We hear the splashing of water on the boat, the swishing of the breeze, the flapping of the fish against the floor of the boat. Do you prioritize one over the other?

JdA: This particular piece, O Peixewas the moment when I understood the power of sound in video making, in filmmaking. I wanted to create something that was both fiction and non-fiction. The borderline between documentation and real fiction is a major interest of mine. For O PeixeI invited a group of real fishermen to perform this action, which I created in my mind.

It was to have a group of fishermen carry out a ritual of embracing with their bodies a just caught fish, as if they were asking to be excused, for they were following the fish to its death, out of their own needs to survive. We are facing the collapse of nature, through the transformation of humanity. At this point, we are really starting to feel the major consequences of that; but also we are trying to review our ethical boundaries.

At the same time, we realize that big companies are the ones who really lead in these decisions and these actions. Sound plays a very important role of moving the audience towards the psychological level of the scenes. While editing, for me it became more and more clear. I had no idea when I started this project that sound would be so important.

When we have an immersive presentation of O Peixe with 5. The ten different fishermen are shown performing the same act but slightly differently, because everyone is somewhat different. The piece is very emotional, and I think I started with this tugging at my mind. I thought I had a clear idea, but when I started shooting, I realized it was very violent, and that came back to me, how I was emotionally very charged.

I felt responsible, and I felt strange because of the violence of the death. Then I realized that was what the piece was about, to bring this emotional level to this discussion that is usually undertaken from a certain distance. There was no rehearsal, so the scene you see in the film is actually the first time that fisherman embraced a fish.

The camera plays its role and captures the beauty, not the eroticism that was in the air. These fishermen work within nature. Also, the camera goes in closer to the fishermen, as if it were devouring the fisherman as much as he is devouring the fish. That allowed me to get closer to the real act of talking to the fishermen instead of producing the whole thing.

That was also very important to understand the type of result we reached, with one setup which is more spontaneous, and another one which is more controlled, and having the expertise of a crew that works with that. It was a moment where I tried something else. And now, the world is upside down, no? Everything is very … how do I say this in English … very much alert, no?

And we have authoritarian governments, we have uprisings—silent uprisings and outspoken uprisings going on. Keeping ourselves alive but also alive in the dreams. So I try playing a lot jonathas de andrade biography channel the things that are in the air, which are clearly here, but sometimes not spoken about in the same way. Do you consider yourself a media artist?

Peace Bar Festival: Is there a future for future generations? Counter-narratives and other Fallacies. Art et Agriculture: le temps. Untitled How Does It Feel. Curar e Reparar. Natural Histories. Atopia: Migration, Heritage and Placelessness. Atopia: Migration, Heritage, and Placelessnes. Sao Paulo, SP, Brazil. Jonathas de Andrade lives and works in Recife, Brazil.

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