This documentary, co-directed by indigenous researcher Nyg Kuitá Kaingang and anthropologist Paola Gibram, presents reflections and performances by members of the Kaingang Nn Ga youth collective, from the Apucaraninha Indigenous Land, located in the north of the state of Paraná, in the southern region of Brazil. The Kaingang voices — kanhgág v— are presented in this documentary through the speeches of some of the members and people linked to the collective, as well as through songs — considered one of the main ways in which they present their ancestors [yahweh] and bring their jagré [guiding spirits] closer to themselves. The film shows the strong connection of the Nn Ga movement with the indigenous school, exploring the ways in which contemporary Kaingang reflect on the cultural and existential usurpations arising from the many years of contact with the fog [white, non-indigenous] and the urgent need to resume the practices and Kanhgág knowledge that have been banned or violated to them — which they consider they were “asleep” and are now being “awake”. The film shows scenes from the Pãri Festival, one of the main resumption performed by the collective. During the five-day feast, the Kaingang are camped on the edge of the Apucaraninha River, during which they prepare the Pãri, an ancestral Kaingang fishing trap made of braided taquara. The documentary also shows the participation of Nn Ga in indigenous political mobilization events, one of the main aspects of action and formation of this collective.
Rap is already one of the most used forms of indigenous communication. There are several groups and artists that serve this musical style. Kunumi MC is one of the main voices. In the intimacy of your village, we feel the perfect beat. Manaus is the city with the most indigenous people living. In his beautiful theater we find artist José Tikuna. A pioneer in street performances in the city, which is now being recognized and performs in new venues. In the other part we go to Tribes Park, a place of great struggle and conflict where artists of the resistance arise. The Kokama and Tikuna people sing their ancestralities.
Brisa Flow sings Rap as an oral tool against the epistemicide and genocide of Abya Yala’s indigenous pueblos.
Brazilian society, in general, has a stereotypical view of indigenous peoples. The romanticized image in force on social networks and media is constant that reinforces the idea that in order to be truly indigenous it is necessary to live in the forest, be “pure” and not have access to technology. Indigenous people in an urban context suffer prejudice because many people believe that living in the city it has lost its roots. But being an Indian is not a matter of feather headdress, annatto and bow and arrow, something apparent and evident, but rather a matter of “state of mind”. It is on this subject that this conversation wheel will speak with the presence of the creators of the TV series “I am an Indian, I am modern”.
Today