Film: Behind the World
Film: Corposinalizante
Friday, August 27, 2010
Told by Felipe… (Part 2)
Monday, April 13, 2009
original poster
Making of the Movie-Manifest: Behind the World
On April 3rd, after the first round at Globo, in the early afternoon, we went for thes eond round, at Columbia Pictures, at the Nações Unidas Avenue. Corposinalizante and the TV Brasil camera crew were looking for place to hang the poster and found a wall, right beside the building.
We left it behind and went to the entrance of the building, when the Columbia Picture’s security guards, as well as the ones from Globo, looking a bit confused, blocked the cameras. Me, Alex and Amarilis went into the building’s reception. While we were talking to the lady, Leo, Lorran and Luciana held up poster with my picture on it.
Lorran, doubling as reporter, asked someone about the poster: We Want Subtitles in National Films, while Alex tried to talk to the receptionist without success. The receptionist seemed to not let him call up and even asked: Do you have an appointment?
We sat down and even while we waited the security guards wouldn’t leave us alone. We got a call saying that the Columbia directors weren’t in the building, there wasn’t anyone responsible there to greet us. [I doubt it, I even bet that they were hiding, but let’s leave it at that…]
We went to the side of the building to hang the poster, everything was perfect, and we posed for the picture. So we finished the second round and went on to the last one…
…oh, and on that round we had with us Célio Turino, Secretary of Cultural Programs and Projects of the Ministry of Culture (MinC). The man himself, who loved the Corposinalizante team.
The dusk was coming when we stopped at Augusta Street. I knew no one wanted to carry the glue jar because it was heavy, we didn’t use half of it, so I carried it. The rest of the group brought the tray, brumes and the last poster. The Augusta Street is smaller and busier than the last two streets where we hanged the posters and it was very difficult to find a wall that seemed “free”, there wasn’t any, only small stores. Then we found a beautiful and small white wall, property of the bank in front of Cine Sesc.
We decided to risk it than to look for another place. When we were in front of the bank, I thought: This isn’t going to work. I’m glad it did! When we put it up, everything was quick, so no one would catch us.
From what I saw, there was a security guard inside the bank looking at us, I thought he would approach us, as it had happened other times. He walked in the direction of the bank’s entrance, no one from Corposinalizante noticed, just me, but I’m glad he went back to where he was, everything okay, the hanging of the poster was over, we used a lot of glue, but there was still a lot to end the gallon.
We went back to front of Cine Sesc, there wasn’t any security guards, the work was easier, one artist invited us to take some pictures and be featured in a movie, we said yes, we knew he was an Australian photographer, some participated and then we started to interview the public inside the movie theater. We even interviewed the Australian photographer and his interpreter, it was very interesting.
When we looked back to see how the poster with Leo’s picture was, it was still there (how lucky!). The sun was already setting, we sat on the sidewalk to rest and someone bought some popcorn.
But the owner of Cine Sesc was not present…
Felipe Lima
Pictures: Cibele Lucena
original poster
Making of the Movie-Manifest: Behind the World
On April 3rd, after the first round at Globo, in the early afternoon, we went for thes eond round, at Columbia Pictures, at the Nações Unidas Avenue. Corposinalizante and the TV Brasil camera crew were looking for place to hang the poster and found a wall, right beside the building.
We left it behind and went to the entrance of the building, when the Columbia Picture’s security guards, as well as the ones from Globo, looking a bit confused, blocked the cameras. Me, Alex and Amarilis went into the building’s reception. While we were talking to the lady, Leo, Lorran and Luciana held up poster with my picture on it.
Lorran, doubling as reporter, asked someone about the poster: We Want Subtitles in National Films, while Alex tried to talk to the receptionist without success. The receptionist seemed to not let him call up and even asked: Do you have an appointment?
We sat down and even while we waited the security guards wouldn’t leave us alone. We got a call saying that the Columbia directors weren’t in the building, there wasn’t anyone responsible there to greet us. [I doubt it, I even bet that they were hiding, but let’s leave it at that…]
We went to the side of the building to hang the poster, everything was perfect, and we posed for the picture. So we finished the second round and went on to the last one…
…oh, and on that round we had with us Célio Turino, Secretary of Cultural Programs and Projects of the Ministry of Culture (MinC). The man himself, who loved the Corposinalizante team.
The dusk was coming when we stopped at Augusta Street. I knew no one wanted to carry the glue jar because it was heavy, we didn’t use half of it, so I carried it. The rest of the group brought the tray, brumes and the last poster. The Augusta Street is smaller and busier than the last two streets where we hanged the posters and it was very difficult to find a wall that seemed “free”, there wasn’t any, only small stores. Then we found a beautiful and small white wall, property of the bank in front of Cine Sesc.
We decided to risk it than to look for another place. When we were in front of the bank, I thought: This isn’t going to work. I’m glad it did! When we put it up, everything was quick, so no one would catch us.
From what I saw, there was a security guard inside the bank looking at us, I thought he would approach us, as it had happened other times. He walked in the direction of the bank’s entrance, no one from Corposinalizante noticed, just me, but I’m glad he went back to where he was, everything okay, the hanging of the poster was over, we used a lot of glue, but there was still a lot to end the gallon.
We went back to front of Cine Sesc, there wasn’t any security guards, the work was easier, one artist invited us to take some pictures and be featured in a movie, we said yes, we knew he was an Australian photographer, some participated and then we started to interview the public inside the movie theater. We even interviewed the Australian photographer and his interpreter, it was very interesting.
When we looked back to see how the poster with Leo’s picture was, it was still there (how lucky!). The sun was already setting, we sat on the sidewalk to rest and someone bought some popcorn.
But the owner of Cine Sesc was not present…
Felipe Lima
Pictures: Cibele Lucena
Told by Felipe…
Saturday, April 4th 2009
original poster
Making of the Movie-Manifest: Behind the World
April 3rd was a big for Corposinalizante, street intervention, as we used to say.
We started with three posters, two brumes, one tray and a giant jar of glue. All of the Corposinalizante participants, Amarilis, Alex, Leo, Luciana, Cibele, Daina, Joana, Lorran and Felipe and TV Brasil camera crew, who arrived on that day with an air of threat (at least that’s what I thought).
The van that would take us to all of the three places (Rede Globo, Columbia Pictures and Cine Sesc) arrived. And inside the van we agreed on how we would talk to the people at Globo and where we would hang the poster – Globo was the first place chosen by Corposinalizante.
I’ll talk about the first round because it was the longest, most difficult, hardest and most interesting one. When we got there, through gate 1, the security guards were already watching us, but we didn’t really mind, we opened the poster with Sabrina’s picture and went in through the visitors entrance.
Leo was the first one to say to a woman that we wanted to see someone responsible for the subtitles in films or something similar. The security guard came and blocked the camera in the entrance, but Leo was still there with Alex, Amarilis, Luciana and me. After that, the receptionist made us questions like “do you have an appointment?”. We kept asking, and the only thing we got was the phone number of the person responsible. We went out of the network’s reception.
We used a cell phone to call, and someone answered. Amarilis started to explain each detail about Corposinalizante, how many people were part of the group and their reasons. Alex and Leo also spoke about that and the guy who answered the phone seemed to agree to come down and talk to us. However, he asked us to wait 40 minutes.
Since we had 40 minutes to spare, we went to Berrini Avenue, where there’s a blank wall in front of Globo. There would be the place to hang our poster with Sabrina’s picture.
One thing happened before that: a certain security guard from another building wrote a message in a piece of paper, I couldn’t really read it, I understood “License now!”, so I didn’t give it attention. But I read it again and it wasn’t “License now!”, it was “Subtitles now!”.
That surprised me.. and the group went over to the security guard to ask him why. His answer surprised me even more: I don’t know what you are talking about, but I believe that the deaf should have subtitles… Something like that.
After hanging the poster in the wall, no danger, no security guards were watching us. Not even the rain came, the sun appeared, and yes, we were very hungry, since it was already 1 p.m.
Hanging up the poster was no problem: me and Leo were the broom’s owners, Alex took care of the glue and the tray, Lorran took care of Sabrina’s giant poster.
The poster was ready, glued in the wall within 40 minutes. We took pictures and went to Globo’s entrance once again. The guys still weren’t there, even after 45 minutes. We stayed there, drinking water, eating some fruits, waiting for a few minutes…
They arrived, two women and a man. We all stoop up rapidly (since we were sitting down, resting in the shadow, because the sun was killing us) specially Alex, who was in front of them, I don’t remember how it started, I just remember the woman hid behind the men when she was caught by the camera.
The woman asked: who is responsible for the group?, we didn’t now what to say and Alex said we were all responsible, so the woman invited us to enter. Alex, Leo and Amarilis went in.
They talked a lot, it took about 30 minutes (which is a lot!).
Leo, Alex and Amarilis came back, looking half successful and half unhappy, and holding a folder with information given by Globo. They showed it to the team. It had a phone card, a list of programs that they transmit with closed caption and other stuff. So Leo and Alex explained in front of the cameras what happened inside the reception.
And we finished our first round…
Photo: Cibele Lucena
original poster
Making of the Movie-Manifest: Behind the World
April 3rd was a big for Corposinalizante, street intervention, as we used to say.
We started with three posters, two brumes, one tray and a giant jar of glue. All of the Corposinalizante participants, Amarilis, Alex, Leo, Luciana, Cibele, Daina, Joana, Lorran and Felipe and TV Brasil camera crew, who arrived on that day with an air of threat (at least that’s what I thought).
The van that would take us to all of the three places (Rede Globo, Columbia Pictures and Cine Sesc) arrived. And inside the van we agreed on how we would talk to the people at Globo and where we would hang the poster – Globo was the first place chosen by Corposinalizante.
I’ll talk about the first round because it was the longest, most difficult, hardest and most interesting one. When we got there, through gate 1, the security guards were already watching us, but we didn’t really mind, we opened the poster with Sabrina’s picture and went in through the visitors entrance.
Leo was the first one to say to a woman that we wanted to see someone responsible for the subtitles in films or something similar. The security guard came and blocked the camera in the entrance, but Leo was still there with Alex, Amarilis, Luciana and me. After that, the receptionist made us questions like “do you have an appointment?”. We kept asking, and the only thing we got was the phone number of the person responsible. We went out of the network’s reception.
We used a cell phone to call, and someone answered. Amarilis started to explain each detail about Corposinalizante, how many people were part of the group and their reasons. Alex and Leo also spoke about that and the guy who answered the phone seemed to agree to come down and talk to us. However, he asked us to wait 40 minutes.
Since we had 40 minutes to spare, we went to Berrini Avenue, where there’s a blank wall in front of Globo. There would be the place to hang our poster with Sabrina’s picture.
One thing happened before that: a certain security guard from another building wrote a message in a piece of paper, I couldn’t really read it, I understood “License now!”, so I didn’t give it attention. But I read it again and it wasn’t “License now!”, it was “Subtitles now!”.
That surprised me.. and the group went over to the security guard to ask him why. His answer surprised me even more: I don’t know what you are talking about, but I believe that the deaf should have subtitles… Something like that.
After hanging the poster in the wall, no danger, no security guards were watching us. Not even the rain came, the sun appeared, and yes, we were very hungry, since it was already 1 p.m.
Hanging up the poster was no problem: me and Leo were the broom’s owners, Alex took care of the glue and the tray, Lorran took care of Sabrina’s giant poster.
The poster was ready, glued in the wall within 40 minutes. We took pictures and went to Globo’s entrance once again. The guys still weren’t there, even after 45 minutes. We stayed there, drinking water, eating some fruits, waiting for a few minutes…
They arrived, two women and a man. We all stoop up rapidly (since we were sitting down, resting in the shadow, because the sun was killing us) specially Alex, who was in front of them, I don’t remember how it started, I just remember the woman hid behind the men when she was caught by the camera.
The woman asked: who is responsible for the group?, we didn’t now what to say and Alex said we were all responsible, so the woman invited us to enter. Alex, Leo and Amarilis went in.
They talked a lot, it took about 30 minutes (which is a lot!).
Leo, Alex and Amarilis came back, looking half successful and half unhappy, and holding a folder with information given by Globo. They showed it to the team. It had a phone card, a list of programs that they transmit with closed caption and other stuff. So Leo and Alex explained in front of the cameras what happened inside the reception.
And we finished our first round…
Photo: Cibele Lucena
Making of the movie Behind the World
Tuesday, April 7, 2009
original poster
Some more pictures of the first round, the action at Globo…
Pictures: Daina Leyton
original poster
Some more pictures of the first round, the action at Globo…
Pictures: Daina Leyton
WE WANT SUBTITLES IN NATIONAL FILMS!
Thursday, March 19, 2009
original poster
The posters we will use in our intervention are getting ready…
They will be the object of the film “Behind the World”, our first film-manifest!!
We would like to thank Peetssa, photographer-poet and constant partner in our paths…
Pictures: Peetssa
original poster
The posters we will use in our intervention are getting ready…
They will be the object of the film “Behind the World”, our first film-manifest!!
We would like to thank Peetssa, photographer-poet and constant partner in our paths…
Pictures: Peetssa
Movie script 2: a “video manifest”
Friday, March 6, 2009
original post
Theme: The Invisible
Title: Behind the World
Argument:
The film “Behind the World” will be a poetic manifest (a film-manifest) about the lack of subtitles in Portuguese in national productions: there are more than 5 million deaf people in Brazil (data from IBGE) who can’t watch the national production for the lack of subtitles in Portuguese. The main theme of the film will be the sentence written by the deaf and already used in many bases as a form of manifestation: “We want subtitles in national films”.
“Behind the world” because there’s also an idea that things are always behind or in front of other things, that is, we always understand things from the relationships established between them. So, the language is itself a fundamental tool which “mediates” the thought: there’s no thought without language. So, in this case, it’s as if subtitles were also something that mediates the relationship between spectator-art work, which is “in front” of a huge world that can be uncovered or not.
Audiovisual Idea:
The idea is to create a film-manifest, in which the before-during-after of an intervention in the streets of São Paulo is the main subject.
The film starts with scenes of national TV programs and films without the audio (in some moments, there is some sounds). After this discomfort, there are images of the group of deaf making an intervention in the city’s streets – posters being hanged in three places: in front of Globo, Conspiração Filmes and in the door of an important movie theater.
In these posters, the young people from Corposinalizante are saying, in Libras: “We want subtitles in national films”. Below the pictures, there’s going to be subtitles in Portuguese, with this sentence, subverting the role of each language.
During the intervention, Alex, a deaf person militant for subtitles in the deaf community, will give some testimonies, looking straight on to the camera, punctuating the urgency of the issue (how many deaf there are in Brazil, since when they are fighting for subtitles in Portuguese, how is the law project about this subject created in 2007 etc.).
In one of the three places chosen we intend to interview some important characters of the audiovisual universe to ask their opinion on the issue and this is developing (or not) as a cultural policy.
Objects:
Scenes of soap operas and Brazilian movies without audio (there are some quick sounds to give contrast).
A group of young deaf people hanging posters in the city’s streets, protesting in favor of subtitles in national films: “We want subtitles in national films”.
A deaf militant (Alex), gives his testimony looking straight on to the camera, putting this urgency of the deaf community into context.
People who pass by during and after the intervention is finished – we will show the reactions, looks, facing the sentence.
Interview with an important character of the audiovisual universe (from Globo or Conspiração).
Specifications of the audiovisual tools:
The film starts with scenes of Brazilian soap operas and films without audio (there are some quick sounds for contrast). We will manipulate these images a little bit. We can’t use the productions’ “climaxes”, but we can make it look as if we were “zapping” the channels.
There are some shots of the streets, city, the group of young deaf people making interventions, the hanging of posters with the saying: “We want subtitles in national films” in the doors of Globo, Conspiração Filmes, e of an important movie theater.
The images of passers-by, who will stop to look, ask will be shot. During the intervention, Alex, a deaf militant for subtitles, will give a testimony looking straight on to the camera (perfomatically/energetically), contextualizing the importance of the fight for subtitles.
(We will find out if there are any important movie festivals happening, so we can choose where is the best “movie theater door” to hang the posters.)
In one of the three locations (either Globo or Conspiração) we will make an interview with someone notable from the audiovisual universe, asking about this demand, about their opinion etc. (the idea is, in the edition, to show this speech’s “bla, bla, bla”, how “potocally polite” it is, also playing with the audio – the audio of their speech comes in and out).
We will research about the developing of the Law Project nº 1.078/2007, which obliges the subtitling in Portuguese in the national production. We intend to put this law in GC form, at the end of the film.
Another interesting passage to put in the end of the film:
Article 215 of the Federal Constitution:
The State will guarantee to all, the full exercise of the cultural rights and access to the sources of the national culture and will support and incentive the estimation and the spread of the cultural manifestations.
original post
Theme: The Invisible
Title: Behind the World
Argument:
The film “Behind the World” will be a poetic manifest (a film-manifest) about the lack of subtitles in Portuguese in national productions: there are more than 5 million deaf people in Brazil (data from IBGE) who can’t watch the national production for the lack of subtitles in Portuguese. The main theme of the film will be the sentence written by the deaf and already used in many bases as a form of manifestation: “We want subtitles in national films”.
“Behind the world” because there’s also an idea that things are always behind or in front of other things, that is, we always understand things from the relationships established between them. So, the language is itself a fundamental tool which “mediates” the thought: there’s no thought without language. So, in this case, it’s as if subtitles were also something that mediates the relationship between spectator-art work, which is “in front” of a huge world that can be uncovered or not.
Audiovisual Idea:
The idea is to create a film-manifest, in which the before-during-after of an intervention in the streets of São Paulo is the main subject.
The film starts with scenes of national TV programs and films without the audio (in some moments, there is some sounds). After this discomfort, there are images of the group of deaf making an intervention in the city’s streets – posters being hanged in three places: in front of Globo, Conspiração Filmes and in the door of an important movie theater.
In these posters, the young people from Corposinalizante are saying, in Libras: “We want subtitles in national films”. Below the pictures, there’s going to be subtitles in Portuguese, with this sentence, subverting the role of each language.
During the intervention, Alex, a deaf person militant for subtitles in the deaf community, will give some testimonies, looking straight on to the camera, punctuating the urgency of the issue (how many deaf there are in Brazil, since when they are fighting for subtitles in Portuguese, how is the law project about this subject created in 2007 etc.).
In one of the three places chosen we intend to interview some important characters of the audiovisual universe to ask their opinion on the issue and this is developing (or not) as a cultural policy.
Objects:
Scenes of soap operas and Brazilian movies without audio (there are some quick sounds to give contrast).
A group of young deaf people hanging posters in the city’s streets, protesting in favor of subtitles in national films: “We want subtitles in national films”.
A deaf militant (Alex), gives his testimony looking straight on to the camera, putting this urgency of the deaf community into context.
People who pass by during and after the intervention is finished – we will show the reactions, looks, facing the sentence.
Interview with an important character of the audiovisual universe (from Globo or Conspiração).
Specifications of the audiovisual tools:
The film starts with scenes of Brazilian soap operas and films without audio (there are some quick sounds for contrast). We will manipulate these images a little bit. We can’t use the productions’ “climaxes”, but we can make it look as if we were “zapping” the channels.
There are some shots of the streets, city, the group of young deaf people making interventions, the hanging of posters with the saying: “We want subtitles in national films” in the doors of Globo, Conspiração Filmes, e of an important movie theater.
The images of passers-by, who will stop to look, ask will be shot. During the intervention, Alex, a deaf militant for subtitles, will give a testimony looking straight on to the camera (perfomatically/energetically), contextualizing the importance of the fight for subtitles.
(We will find out if there are any important movie festivals happening, so we can choose where is the best “movie theater door” to hang the posters.)
In one of the three locations (either Globo or Conspiração) we will make an interview with someone notable from the audiovisual universe, asking about this demand, about their opinion etc. (the idea is, in the edition, to show this speech’s “bla, bla, bla”, how “potocally polite” it is, also playing with the audio – the audio of their speech comes in and out).
We will research about the developing of the Law Project nº 1.078/2007, which obliges the subtitling in Portuguese in the national production. We intend to put this law in GC form, at the end of the film.
Another interesting passage to put in the end of the film:
Article 215 of the Federal Constitution:
The State will guarantee to all, the full exercise of the cultural rights and access to the sources of the national culture and will support and incentive the estimation and the spread of the cultural manifestations.
Film script 1: a “video poetry”
Thursday, February 26, 2009
orignal post
Theme: Ties and us
Title: Corposinalisantes
Argument:
We are the group Corposinalizante, formed by young deaf people and adult hearers. Our idea is to invite a group of 5 or 6 deaf people, at most, of different ages, with different experiences, to participate in a circle of stories of life (methodology we learned in the Museum of the Person).
We propose to tell life stories that will bring up, from “ties and us” of the stories of each one, many dimensions that will reveal the dynamics of the deaf community, the constitution of this identity and their challenges inside of the broader society.
With this, we intend to show the dimension of the Brazilian Sign Language (LIBRAS) as a constituent tie of a community and, therefore, through the film, to invite the spectator to know the poetic and complex dimension of the language that is expressed in the day-to-day life of the deaf people.
We have the preoccupation not to defend a thesis with this film, that’s why we will use the methodology of the circle in a very free way and won’t give any closed theme to the characters. The idea is that the stories of day-to-day life will arise. The circle also won’t be a content in itself, it is only a toll for the capture of stories, as well as to reveal the deaf people’s own form of communication.
We believe that Libras is our device.
Audiovisual idea:
We thought about filming the circle and the stories in a studio, to capture the sounds produced by the use of the language.
We will invite about 5 or 6 people, of different ages and experiences to, in that way, open a diverse space of stories. To us, each present person’s life and their experiences inside the deaf culture are central subjects.
We believe that we can identify the characteristics of deaf culture only by using body expression and Libras, that’s why we call this project “video poetry”.
To start each one’s story, we will ask that the people invited bring to the circle a personal object, that has some relation with the story that will be told. The object will bring intimacy to the circle.
We will use three cameras to register the circle, one of them will follow one of the invited characters from their house to the circle’s location. The idea is to use some inserts with these images of the city (places with many people, bus stops etc.).
Objects:
Each guest will bring a personal object to the circle. These objects will be present in theirs hands, laps, a coffee table. They will give life and some materiality to the stories. It could be a photo, a hearing aid, anything.
To accept the sign language as a natural language to the deaf is to untie these knots that are formed in the relationships between the deaf and the hearers. That is why LIBRAS is a central object in our film, since it is a language and a fight for the rights of the deaf.
Audiovisual tools:
The circle should happen in a studio, with an infinite black background. Light cut in the guests, direct light in the guests’ personal objects.
The objects will stay in a coffee table, but should be manipulated by their owners while they are telling their story and referencing the object.
At the end of the circle, we can make a clothes line or a mobile, with all the objects that were cited/referenced in the circle.
We will have three cameras to register the circle:
camera 1 open;
camera 2 closed in the character that is telling the story;
camera 3 closed in the hands and other communication details.
One of the cameras will follow one of the guests, from their house to the circle location. This camera, subjective, will “follow” the guest through town, inside the bus, in the street.
These images will be used as inserts in the film, creating a narrator-character. The idea is that this character is one of the Corposinalizante members. He will be the last one to sit in the circle and will make a presentation/conduction of it.
Until now, we have the following participants confirmed:
1.Alex;
2.Cristiano;
3.Mirtes;
4.Leo (Corposinalizante);
5.Felipe (Corposinalizante);
6.Sabrina (Corposinalizante);
7.Luciana (Corposinalizante).
The participants are being invited to tell a life story and take a personal object that has some relation to that story. We want this dynamic to have movement, that the bodies can express themselves entirely – for that, we’re thinking about creating an adequate space, a place that will ritualize the moment for each one to tell their story.
The idea is to bring up everyday stories. We don’t want a mental circle that defends theses. That’s why we won’t introduce any preliminary subject. The trigger is: tell us a life story.
The stories told, as well as the gestures, voices and sounds of Libras, will be content of this film. To us, it is very important that we can create a situation to bring up all the expressivity of the body and the sounds of the sign language.
In case this dynamic doesn’t bring up many stories, we may have a second methodology in our sleeves: in a second round, each guest tells a story from an object that is not their own (as proposed by Eduardo Coutinho in Jogo de Cena).
orignal post
Theme: Ties and us
Title: Corposinalisantes
Argument:
We are the group Corposinalizante, formed by young deaf people and adult hearers. Our idea is to invite a group of 5 or 6 deaf people, at most, of different ages, with different experiences, to participate in a circle of stories of life (methodology we learned in the Museum of the Person).
We propose to tell life stories that will bring up, from “ties and us” of the stories of each one, many dimensions that will reveal the dynamics of the deaf community, the constitution of this identity and their challenges inside of the broader society.
With this, we intend to show the dimension of the Brazilian Sign Language (LIBRAS) as a constituent tie of a community and, therefore, through the film, to invite the spectator to know the poetic and complex dimension of the language that is expressed in the day-to-day life of the deaf people.
We have the preoccupation not to defend a thesis with this film, that’s why we will use the methodology of the circle in a very free way and won’t give any closed theme to the characters. The idea is that the stories of day-to-day life will arise. The circle also won’t be a content in itself, it is only a toll for the capture of stories, as well as to reveal the deaf people’s own form of communication.
We believe that Libras is our device.
Audiovisual idea:
We thought about filming the circle and the stories in a studio, to capture the sounds produced by the use of the language.
We will invite about 5 or 6 people, of different ages and experiences to, in that way, open a diverse space of stories. To us, each present person’s life and their experiences inside the deaf culture are central subjects.
We believe that we can identify the characteristics of deaf culture only by using body expression and Libras, that’s why we call this project “video poetry”.
To start each one’s story, we will ask that the people invited bring to the circle a personal object, that has some relation with the story that will be told. The object will bring intimacy to the circle.
We will use three cameras to register the circle, one of them will follow one of the invited characters from their house to the circle’s location. The idea is to use some inserts with these images of the city (places with many people, bus stops etc.).
Objects:
Each guest will bring a personal object to the circle. These objects will be present in theirs hands, laps, a coffee table. They will give life and some materiality to the stories. It could be a photo, a hearing aid, anything.
To accept the sign language as a natural language to the deaf is to untie these knots that are formed in the relationships between the deaf and the hearers. That is why LIBRAS is a central object in our film, since it is a language and a fight for the rights of the deaf.
Audiovisual tools:
The circle should happen in a studio, with an infinite black background. Light cut in the guests, direct light in the guests’ personal objects.
The objects will stay in a coffee table, but should be manipulated by their owners while they are telling their story and referencing the object.
At the end of the circle, we can make a clothes line or a mobile, with all the objects that were cited/referenced in the circle.
We will have three cameras to register the circle:
camera 1 open;
camera 2 closed in the character that is telling the story;
camera 3 closed in the hands and other communication details.
One of the cameras will follow one of the guests, from their house to the circle location. This camera, subjective, will “follow” the guest through town, inside the bus, in the street.
These images will be used as inserts in the film, creating a narrator-character. The idea is that this character is one of the Corposinalizante members. He will be the last one to sit in the circle and will make a presentation/conduction of it.
Until now, we have the following participants confirmed:
1.Alex;
2.Cristiano;
3.Mirtes;
4.Leo (Corposinalizante);
5.Felipe (Corposinalizante);
6.Sabrina (Corposinalizante);
7.Luciana (Corposinalizante).
The participants are being invited to tell a life story and take a personal object that has some relation to that story. We want this dynamic to have movement, that the bodies can express themselves entirely – for that, we’re thinking about creating an adequate space, a place that will ritualize the moment for each one to tell their story.
The idea is to bring up everyday stories. We don’t want a mental circle that defends theses. That’s why we won’t introduce any preliminary subject. The trigger is: tell us a life story.
The stories told, as well as the gestures, voices and sounds of Libras, will be content of this film. To us, it is very important that we can create a situation to bring up all the expressivity of the body and the sounds of the sign language.
In case this dynamic doesn’t bring up many stories, we may have a second methodology in our sleeves: in a second round, each guest tells a story from an object that is not their own (as proposed by Eduardo Coutinho in Jogo de Cena).
Project PONTO BRASIL
Wednesday, February 11, 2009
original post
Our group is participating of a workshop at the Museum of the Person (www.museudapessoa.net), part of the project Ponto Brasil, from TV Brasil. We are learning how to tell stories to other people. I’m going to quote some of the most important things we’ve learnt:
What is a story?
There are several ways to define and interpret what is a story. The objective of a story also can vary: story of the ideas, of a nation, of a given group, story of someone’s life;
In this formation, we will use the concept that every story is a narrative organized by someone, at a certain time, and implicates in a tipoff. And this construction happens, invariably, in the present, for one or more authors (Tecnologia Social da Memória, p. 15).
What is memory?
such as the story, there are many ways to understand what is memory, depending on the area of knowledge, the time and the culture that we consider. The Museum of the Person understands that memory presupposes register, even if this register is made in our own body. It is, by excellence, selective. It gathers the experiences, the knowledge, the sensations, the emotions and the feelings that, for one reason or another, we choose to keep. (Tecnologia Social da Memória, p. 13)
Individual Memory
Each one of us carries inside their experiences and impressions, accompanied by the thing they learned. We don’t keep everything, since memory is always selective. We should highlight that what we judge to be significant or not results from the space and the time in which we live. The stories of each one of us contain the story of groups to which we belong and of the people with who we have relationships.
Collective Memory
it’s the set of registers elected by the group as significants, which establishes its identity, its way of being and living in the world, and comes from its historic and cultural parameters. The possibility of sharing this memory is what gives each one of us the sense of belonging. It’s about a creative and dynamic relationship between the individual and the group. (Tecnologia social da memória, p. 3)
original post
Our group is participating of a workshop at the Museum of the Person (www.museudapessoa.net), part of the project Ponto Brasil, from TV Brasil. We are learning how to tell stories to other people. I’m going to quote some of the most important things we’ve learnt:
What is a story?
There are several ways to define and interpret what is a story. The objective of a story also can vary: story of the ideas, of a nation, of a given group, story of someone’s life;
In this formation, we will use the concept that every story is a narrative organized by someone, at a certain time, and implicates in a tipoff. And this construction happens, invariably, in the present, for one or more authors (Tecnologia Social da Memória, p. 15).
What is memory?
such as the story, there are many ways to understand what is memory, depending on the area of knowledge, the time and the culture that we consider. The Museum of the Person understands that memory presupposes register, even if this register is made in our own body. It is, by excellence, selective. It gathers the experiences, the knowledge, the sensations, the emotions and the feelings that, for one reason or another, we choose to keep. (Tecnologia Social da Memória, p. 13)
Individual Memory
Each one of us carries inside their experiences and impressions, accompanied by the thing they learned. We don’t keep everything, since memory is always selective. We should highlight that what we judge to be significant or not results from the space and the time in which we live. The stories of each one of us contain the story of groups to which we belong and of the people with who we have relationships.
Collective Memory
it’s the set of registers elected by the group as significants, which establishes its identity, its way of being and living in the world, and comes from its historic and cultural parameters. The possibility of sharing this memory is what gives each one of us the sense of belonging. It’s about a creative and dynamic relationship between the individual and the group. (Tecnologia social da memória, p. 3)
The Story of my name
Tuesday, March 31, 2009
post orignal
Through this year’s months of February and March we participated in workshops in the Museum of the Person, part of the Ponto Brasil project, from TV Brasil. In these workshops we learned the Stories Circle methodology – which we will use in one of our five-minute films, “Corposinalizante”.
Below, the story told by Felipe Lima:
Video: Gabriel (Museum of the Person)
post orignal
Through this year’s months of February and March we participated in workshops in the Museum of the Person, part of the Ponto Brasil project, from TV Brasil. In these workshops we learned the Stories Circle methodology – which we will use in one of our five-minute films, “Corposinalizante”.
Below, the story told by Felipe Lima:
Video: Gabriel (Museum of the Person)
THE REBELION OF THE CHILDREN
Radical Education, Ljubljana, Slovenia
Friday, December 5, 2008
Hello dear students from Aprender para Ensinar, Corposinalizantes! We’re here in Slovenia, in a meeting with groups from different parts of the world that work with art and education. The meeting was promoted by a Slovenian group called Radical Education.
We came here to show the work The Rebelion of the Children from the Contrafilé group, of which we are part. Besides showing what we are doing with the children of São Paulo, we decided to create some meetings to learn about the reality of this place that is so different and distant. We met an educator called Adela, who is the coordinator of the Education department in the Modern Gallery of Ljubljana, the main museum here. She develops a very interesting project called “School on the River” which is part of a bigger program, “Museum in the Street”. On of the actions of the project is to create encounters with immigrant children of several places from Eastern Europe and Asian. Most part of these children came with their parents, escaping from unemployment or war situations.
Adela invited us to participate in a meeting with some of these children. We invented an activity to find out a little bit about how it is for these children to live here. Each one would have to show an important place in the surroundings of the school and the others would have to guess why this place was so important to this person.
¹Neighborhood where the immigrant children study and live.
²House where 3 immigrant families lie. Among them, Almina’s family, who participated in the activity.
Tugs, a girl from Mongolia, and Almina, from Bosnia, were present, as well as the educator Adela, from Slovenia, and everyone from the Brazilian group Contrafilé (Cibele, Jerusa, Joana, Peetssa and Rafael). In the beginning, the girls were a little apprehensive. They would say: “We also are tourists here. How are we going to show you a place that we don’t know?”. To us, it was a surprise. We didn’t expect it.
Tugs, Almina, Adela and Contrafilé introduce each other. Each one tells the story of their name.
Almina and Tugs.
To break the ice, Adela was the first one to choose a place that was important for her. She picked a place in the river where the boats are anchored – in Ljubljana there’s a very beautiful river. Tugs thought that Adela had chosen that place because it reminded her of some romantic story. Tugs asked: “Have you ever traveled with your husband on a boat?”. She answered yes, that she was born, grew up and met her husband in the city and that they had traveled together on a boat many times. She also said that this river is very important because it crosses more than one country: it starts in Serbia, crosses Bosnia and Croatia, goes through Slovenia and ends in the Adriatic Sea.
Joana asked if Adela had chosen the river because it connects different people and places. She said that this was a good idea. Then Jerusa said: “I know! You made an education project called ‘School on the River’! That’s why!”
Then, Adela said yes and Cibele commented: “I thought this river idea was very nice because it crosses many rivers naturally, without borders. Such as birds that migrate from one place to another without any barriers, prohibitions, police, passport and prejudice…”
Adela takes us to the river and each one raises a hypothesis to find out why she chose that place.
Almina was a bit weird. She would look at the boat, go near it, would stir into something, then would come back, listen to the conversation a little, and would go back to the boat. We thought she wasn’t paying attention. Then she blurted: “It’s the first time I see a boat in my life!”
Wow! That was amazing! We asked what she was feeling. She said it was a bit scary, that it was too big, that she was a little fearful. We were impressed because she’s been living so close to the river for six months and had never gone there.
We were preparing to say goodbye when Almina said that she wanted to show us a place. First, she showed the Mercator (supermarket) where she and her family would shop. Then, we realized that behind the supermarket there was an evangelic church. She pointed to the church and the first thing we thought was: this must be the place where she exercises her religion. But there was, again, another surprise.
Almina started to tell us that she is a Muslim, as well as the rest of her family. And because of that, she could never – and didn’t even wanted to – go inside that church, which many of her schoolmates frequented. She explained that in her religion there isn’t a church, there a mosque. She and her family pray to Allah five times a day.
In Mongolia, there are three religions: Catholic, Islamic and Buddhist. Tugs told us that she and her family are Buddhists and that, together with other immigrants, use a house there in the neighborhood, where they all meditate together. The main practice of Buddhism is meditation.
Jerusa told about Shamanism in Brazil, a ritual that admits people from several religions. It was a very important talk. Almina said that even with the religious differences, outside the church – in the street and at school – all kids play together.
Almina telling about her Muslim religion.
Cibele and Joana
Photos: Peetssa
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