https://premiopierreverger.com/2026/assets/index-Dr8SduOH.js

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5 * Copyright (c) Facebook, Inc. and its affiliates.
6 *
7 * This source code is licensed under the MIT license found in the
8 * LICENSE file in the root directory of this source tree.
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10 * @license React
11 * react-jsx-runtime.production.min.js
12 *
13 * Copyright (c) Facebook, Inc. and its affiliates.
14 *
15 * This source code is licensed under the MIT license found in the
16 * LICENSE file in the root directory of this source tree.
17 */var Y2=v,Z2=Symbol.for("react.element"),eS=Symbol.for("react.fragment"),aS=Object.prototype.hasOwnProperty,oS=Y2.__SECRET_INTERNALS_DO_NOT_USE_OR_YOU_WILL_BE_FIRED.ReactCurrentOwner,tS={key:!0,ref:!0,__self:!0,__source:!0};function ep(e,a,o){var t,r={},i=null,n=null;o!==void 0&&(i=""+o),a.key!==void 0&&(i=""+a.key),a.ref!==void 0&&(n=a.ref);for(t in a)aS.call(a,t)&&!tS.hasOwnProperty(t)&&(r[t]=a[t]);if(e&&e.defaultProps)for(t in a=e.defaultProps,a)r[t]===void 0&&(r[t]=a[t]);return{$$typeof:Z2,type:e,key:i,ref:n,props:r,_owner:oS.current}}kn.Fragment=eS;kn.jsx=ep;kn.jsxs=ep;Hm.exports=kn;var l=Hm.exports,ap={exports:{}},We={},op={exports:{}},tp={};/**
18 * @license React
19 * scheduler.production.min.js
20 *
21 * Copyright (c) Facebook, Inc. and its affiliates.
22 *
23 * This source code is licensed under the MIT license found in the
24 * LICENSE file in the root directory of this source tree.
25 */(function(e){function a(M,D){var O=M.length;M.push(D);e:for(;0<O;){var U=O-1>>>1,Q=M[U];if(0<r(Q,D))M[U]=D,M[O]=Q,O=U;else break e}}function o(M){return M.length===0?null:M[0]}function t(M){if(M.length===0)return null;var D=M[0],O=M.pop();if(O!==D){M[0]=O;e:for(var U=0,Q=M.length,pa=Q>>>1;U<pa;){var ha=2*(U+1)-1,Wo=M[ha],So=ha+1,ai=M[So];if(0>r(Wo,O))So<Q&&0>r(ai,Wo)?(M[U]=ai,M[So]=O,U=So):(M[U]=Wo,M[ha]=O,U=ha);else if(So<Q&&0>r(ai,O))M[U]=ai,M[So]=O,U=So;else break e}}return D}function r(M,D){var O=M.sortIndex-D.sortIndex;return O!==0?O:M.id-D.id}if(typeof performance=="object"&&typeof performance.now=="function"){var i=performance;e.unstable_now=function(){return i.now()}}else{var n=Date,s=n.now();e.unstable_now=function(){return n.now()-s}}var d=[],u=[],c=1,m=null,p=3,b=!1,x=!1,f=!1,S=typeof setTimeout=="function"?setTimeout:null,g=typeof clearTimeout=="function"?clearTimeout:null,h=typeof setImmediate<"u"?setImmediate:null;typeof navigator<"u"&&navigator.scheduling!==void 0&&navigator.scheduling.isInputPending!==void 0&&navigator.scheduling.isInputPending.bind(navigator.scheduling);function y(M){for(var D=o(u);D!==null;){if(D.callback===null)t(u);else if(D.startTime<=M)t(u),D.sortIndex=D.expirationTime,a(d,D);else break;D=o(u)}}function w(M){if(f=!1,y(M),!x)if(o(d)!==null)x=!0,$(P);else{var D=o(u);D!==null&&se(w,D.startTime-M)}}function P(M,D){x=!1,f&&(f=!1,g(F),F=-1),b=!0;var O=p;try{for(y(D),m=o(d);m!==null&&(!(m.expirationTime>D)||M&&!K());){var U=m.callback;if(typeof U=="function"){m.callback=null,p=m.priorityLevel;var Q=U(m.expirationTime<=D);D=e.unstable_now(),typeof Q=="function"?m.callback=Q:m===o(d)&&t(d),y(D)}else t(d);m=o(d)}if(m!==null)var pa=!0;else{var ha=o(u);ha!==null&&se(w,ha.startTime-D),pa=!1}return pa}finally{m=null,p=O,b=!1}}var k=!1,C=null,F=-1,j=5,N=-1;function K(){return!(e.unstable_now()-N<j)}function R(){if(C!==null){var M=e.unstable_now();N=M;var D=!0;try{D=C(!0,M)}finally{D?T():(k=!1,C=null)}}else k=!1}var T;if(typeof h=="function")T=function(){h(R)};else if(typeof MessageChannel<"u"){var V=new MessageChannel,te=V.port2;V.port1.onmessage=R,T=function(){te.postMessage(null)}}else T=function(){S(R,0)};function $(M){C=M,k||(k=!0,T())}function se(M,D){F=S(function(){M(e.unstable_now())},D)}e.unstable_IdlePriority=5,e.unstable_ImmediatePriority=1,e.unstable_LowPriority=4,e.unstable_NormalPriority=3,e.unstable_Profiling=null,e.unstable_UserBlockingPriority=2,e.unstable_cancelCallback=function(M){M.callback=null},e.unstable_continueExecution=function(){x||b||(x=!0,$(P))},e.unstable_forceFrameRate=function(M){0>M||125<M?console.error("forceFrameRate takes a positive int between 0 and 125, forcing frame rates higher than 125 fps is not supported"):j=0<M?Math.floor(1e3/M):5},e.unstable_getCurrentPriorityLevel=function(){return p},e.unstable_getFirstCallbackNode=function(){return o(d)},e.unstable_next=function(M){switch(p){case 1:case 2:case 3:var D=3;break;default:D=p}var O=p;p=D;try{return M()}finally{p=O}},e.unstable_pauseExecution=function(){},e.unstable_requestPaint=function(){},e.unstable_runWithPriority=function(M,D){switch(M){case 1:case 2:case 3:case 4:case 5:break;default:M=3}var O=p;p=M;try{return D()}finally{p=O}},e.unstable_scheduleCallback=function(M,D,O){var U=e.unstable_now();switch(typeof O=="object"&&O!==null?(O=O.delay,O=typeof O=="number"&&0<O?U+O:U):O=U,M){case 1:var Q=-1;break;case 2:Q=250;break;case 5:Q=1073741823;break;case 4:Q=1e4;break;default:Q=5e3}

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26 * @license React
27 * react-dom.production.min.js
28 *
29 * Copyright (c) Facebook, Inc. and its affiliates.
30 *
31 * This source code is licensed under the MIT license found in the
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t=a.pendingProps,r=t.revealOrder,i=t.tail;if(Re(e,a,t.children,o),t=re.current,t&2)t=t&1|2,a.flags|=128;else{if(e!==null&&e.flags&128)e:for(e=a.child;e!==null;){if(e.tag===13)e.memoizedState!==null&&vc(e,o,a);else if(e.tag===19)vc(e,o,a);else if(e.child!==null){e.child.return=e,e=e.child;continue}if(e===a)break e;for(;e.sibling===null;){if(e.return===null||e.return===a)break e;e=e.return}e.sibling.return=e.return,e=e.sibling}t&=1}if(X(re,t),!(a.mode&1))a.memoizedState=null;else switch(r){case"forwards":for(o=a.child,r=null;o!==null;)e=o.alternate,e!==null&&dn(e)===null&&(r=o),o=o.sibling;o=r,o===null?(r=a.child,a.child=null):(r=o.sibling,o.sibling=null),ks(a,!1,r,o,i);break;case"backwards":for(o=null,r=a.child,a.child=null;r!==null;){if(e=r.alternate,e!==null&&dn(e)===null){a.child=r;break}e=r.sibling,r.sibling=o,o=r,r=e}ks(a,!0,o,null,i);break;case"together":ks(a,!1,null,null,void 0);break;default:a.memoizedState=null}return a.child}function 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Ih(e,a,o);a.flags|=128}if(r=a.memoizedState,r!==null&&(r.rendering=null,r.tail=null,r.lastEffect=null),X(re,re.current),t)break;return null;case 22:case 23:return a.lanes=0,zh(e,a,o)}return Ba(e,a,o)}var Lh,Fl,Bh,Th;Lh=function(e,a){for(var o=a.child;o!==null;){if(o.tag===5||o.tag===6)e.appendChild(o.stateNode);else if(o.tag!==4&&o.child!==null){o.child.return=o,o=o.child;continue}if(o===a)break;for(;o.sibling===null;){if(o.return===null||o.return===a)return;o=o.return}o.sibling.return=o.return,o=o.sibling}};Fl=function(){};Bh=function(e,a,o,t){var r=e.memoizedProps;if(r!==t){e=a.stateNode,Eo(Aa.current);var i=null;switch(o){case"input":r=Qs(e,r),t=Qs(e,t),i=[];break;case"select":r=ne({},r,{value:void 0}),t=ne({},t,{value:void 0}),i=[];break;case"textarea":r=Zs(e,r),t=Zs(e,t),i=[];break;default:typeof r.onClick!="function"&&typeof t.onClick=="function"&&(e.onclick=en)}al(o,t);var n;o=null;for(u in r)if(!t.hasOwnProperty(u)&&r.hasOwnProperty(u)&&r[u]!=null)if(u==="style"){var 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Error(E(166));if(o=Eo(Rr.current),Eo(Aa.current),hi(a)){if(t=a.stateNode,o=a.memoizedProps,t[xa]=a,(i=t.nodeValue!==o)&&(e=Je,e!==null))switch(e.tag){case 3:pi(t.nodeValue,o,(e.mode&1)!==0);break;case 5:e.memoizedProps.suppressHydrationWarning!==!0&&pi(t.nodeValue,o,(e.mode&1)!==0)}i&&(a.flags|=4)}else t=(o.nodeType===9?o:o.ownerDocument).createTextNode(t),t[xa]=a,a.stateNode=t}return Me(a),null;case 13:if(ee(re),t=a.memoizedState,e===null||e.memoizedState!==null&&e.memoizedState.dehydrated!==null){if(oe&&_e!==null&&a.mode&1&&!(a.flags&128))oh(),Rt(),a.flags|=98560,i=!1;else if(i=hi(a),t!==null&&t.dehydrated!==null){if(e===null){if(!i)throw Error(E(318));if(i=a.memoizedState,i=i!==null?i.dehydrated:null,!i)throw Error(E(317));i[xa]=a}else Rt(),!(a.flags&128)&&(a.memoizedState=null),a.flags|=4;Me(a),i=!1}else la!==null&&(Ll(la),la=null),i=!0;if(!i)return a.flags&65536?a:null}return 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50 * React Router v6.30.3
51 *
52 * Copyright (c) Remix Software Inc.
53 *
54 * This source code is licensed under the MIT license found in the
55 * LICENSE.md file in the root directory of this source tree.
56 *
57 * @license MIT
58 */function Ur(){return Ur=Object.assign?Object.assign.bind():function(e){for(var a=1;a<arguments.length;a++){var o=arguments[a];for(var t in o)Object.prototype.hasOwnProperty.call(o,t)&&(e[t]=o[t])}return e},Ur.apply(this,arguments)}const Zd=v.createContext(null),LA=v.createContext(null),Jo=v.createContext(null),Vn=v.createContext(null),wo=v.createContext({outlet:null,matches:[],isDataRoute:!1}),lg=v.createContext(null);function BA(e,a){let{relative:o}=a===void 0?{}:a;Zr()||pe(!1);let{basename:t,navigator:r}=v.useContext(Jo),{hash:i,pathname:n,search:s}=ug(e,{relative:o}),d=n;return t!=="/"&&(d=n==="/"?t:ho([t,n])),r.createHref({pathname:d,search:s,hash:i})}function Zr(){return v.useContext(Vn)!=null}function Ua(){return Zr()||pe(!1),v.useContext(Vn).location}function dg(e){v.useContext(Jo).static||v.useLayoutEffect(e)}function eu(){let{isDataRoute:e}=v.useContext(wo);return e?QA():TA()}function TA(){Zr()||pe(!1);let e=v.useContext(Zd),{basename:a,future:o,navigator:t}=v.useContext(Jo),{matches:r}=v.useContext(wo),{pathname:i}=Ua(),n=JSON.stringify(ig(r,o.v7_relativeSplatPath)),s=v.useRef(!1);return dg(()=>{s.current=!0}),v.useCallback(function(u,c){if(c===void 0&&(c={}),!s.current)return;if(typeof u=="number"){t.go(u);return}let m=ng(u,JSON.parse(n),i,c.relative==="path");e==null&&a!=="/"&&(m.pathname=m.pathname==="/"?a:ho([a,m.pathname])),(c.replace?t.replace:t.push)(m,c.state,c)},[a,t,n,i,e])}function qn(){let{matches:e}=v.useContext(wo),a=e[e.length-1];return a?a.params:{}}function ug(e,a){let{relative:o}=a===void 0?{}:a,{future:t}=v.useContext(Jo),{matches:r}=v.useContext(wo),{pathname:i}=Ua(),n=JSON.stringify(ig(r,t.v7_relativeSplatPath));return v.useMemo(()=>ng(e,JSON.parse(n),i,o==="path"),[e,n,i,o])}function UA(e,a){return OA(e,a)}function OA(e,a,o,t){Zr()||pe(!1);let{navigator:r}=v.useContext(Jo),{matches:i}=v.useContext(wo),n=i[i.length-1],s=n?n.params:{};n&&n.pathname;let d=n?n.pathnameBase:"/";n&&n.route;let u=Ua(),c;if(a){var m;

58let S=typeof a=="string"?Vt(a):a;d==="/"||(m=S.pathname)!=null&&m.startsWith(d)||pe(!1),c=S}else c=u;let p=c.pathname||"/",b=p;if(d!=="/"){let S=d.replace(/^\//,"").split("/");b="/"+p.replace(/^\//,"").split("/").slice(S.length).join("/")}let x=mA(e,{pathname:b}),f=_A(x&&x.map(S=>Object.assign({},S,{params:Object.assign({},s,S.params),pathname:ho([d,r.encodeLocation?r.encodeLocation(S.pathname).pathname:S.pathname]),pathnameBase:S.pathnameBase==="/"?d:ho([d,r.encodeLocation?r.encodeLocation(S.pathnameBase).pathname:S.pathnameBase])})),i,o,t);return a&&f?v.createElement(Vn.Provider,{value:{location:Ur({pathname:"/",search:"",hash:"",state:null,key:"default"},c),navigationType:ro.Pop}},f):f}function GA(){let e=KA(),a=DA(e)?e.status+" "+e.statusText:e instanceof Error?e.message:JSON.stringify(e),o=e instanceof Error?e.stack:null,r={padding:"0.5rem",backgroundColor:"rgba(200,200,200, 0.5)"};return v.createElement(v.Fragment,null,v.createElement("h2",null,"Unexpected Application 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r&&r.static&&r.staticContext&&(o.route.errorElement||o.route.ErrorBoundary)&&(r.staticContext._deepestRenderedBoundaryId=o.route.id),v.createElement(wo.Provider,{value:a},t)}function _A(e,a,o,t){var r;if(a===void 0&&(a=[]),o===void 0&&(o=null),t===void 0&&(t=null),e==null){var i;if(!o)return null;if(o.errors)e=o.matches;else if((i=t)!=null&&i.v7_partialHydration&&a.length===0&&!o.initialized&&o.matches.length>0)e=o.matches;else return null}let n=e,s=(r=o)==null?void 0:r.errors;if(s!=null){let c=n.findIndex(m=>m.route.id&&(s==null?void 0:s[m.route.id])!==void 0);c>=0||pe(!1),n=n.slice(0,Math.min(n.length,c+1))}let d=!1,u=-1;if(o&&t&&t.v7_partialHydration)for(let c=0;c<n.length;c++){let m=n[c];if((m.route.HydrateFallback||m.route.hydrateFallbackElement)&&(u=c),m.route.id){let{loaderData:p,errors:b}=o,x=m.route.loader&&p[m.route.id]===void 0&&(!b||b[m.route.id]===void 0);if(m.route.lazy||x){d=!0,u>=0?n=n.slice(0,u+1):n=[n[0]];break}}}return n.reduceRight((c,m,p)=>{let b,x=!1,f=null,S=null;o&&(b=s&&m.route.id?s[m.route.id]:void 0,f=m.route.errorElement||VA,d&&(u<0&&p===0?(XA("route-fallback"),x=!0,S=null):u===p&&(x=!0,S=m.route.hydrateFallbackElement||null)));let g=a.concat(n.slice(0,p+1)),h=()=>{let y;return b?y=f:x?y=S:m.route.Component?y=v.createElement(m.route.Component,null):m.route.element?y=m.route.element:y=c,v.createElement(HA,{match:m,routeContext:{outlet:c,matches:g,isDataRoute:o!=null},children:y})};return o&&(m.route.ErrorBoundary||m.route.errorElement||p===0)?v.createElement(qA,{location:o.location,revalidation:o.revalidation,component:f,error:b,children:h(),routeContext:{outlet:null,matches:g,isDataRoute:!0}}):h()},null)}var cg=function(e){return e.UseBlocker="useBlocker",e.UseRevalidator="useRevalidator",e.UseNavigateStable="useNavigate",e}(cg||{}),mg=function(e){return e.UseBlocker="useBlocker",e.UseLoaderData="useLoaderData",e.UseActionData="useActionData",e.UseRouteError="useRouteError",e.UseNavigation="useNavigation",e.UseRouteLoaderData="useRouteLoaderData",e.UseMatches="useMatches",e.UseRevalidator="useRevalidator",e.UseNavigateStable="useNavigate",e.UseRouteId="useRouteId",e}(mg||{});function JA(e){let a=v.useContext(Zd);return a||pe(!1),a}function $A(e){let a=v.useContext(LA);return a||pe(!1),a}function WA(e){let a=v.useContext(wo);return a||pe(!1),a}function pg(e){let a=WA(),o=a.matches[a.matches.length-1];return o.route.id||pe(!1),o.route.id}function KA(){var e;let a=v.useContext(lg),o=$A(),t=pg();return a!==void 0?a:(e=o.errors)==null?void 0:e[t]}function QA(){let{router:e}=JA(cg.UseNavigateStable),a=pg(mg.UseNavigateStable),o=v.useRef(!1);return dg(()=>{o.current=!0}),v.useCallback(function(r,i){i===void 0&&(i={}),o.current&&(typeof r=="number"?e.navigate(r):e.navigate(r,Ur({fromRouteId:a},i)))},[e,a])}const Dc={};function XA(e,a,o){Dc[e]||(Dc[e]=!0)}function YA(e,a){e==null||e.v7_startTransition,e==null||e.v7_relativeSplatPath}function ae(e){pe(!1)}function ZA(e){let{basename:a="/",children:o=null,location:t,navigationType:r=ro.Pop,navigator:i,static:n=!1,future:s}=e;Zr()&&pe(!1);let d=a.replace(/^\/*/,"/"),u=v.useMemo(()=>({basename:d,navigator:i,static:n,future:Ur({v7_relativeSplatPath:!1},s)}),[d,s,i,n]);typeof t=="string"&&(t=Vt(t));let{pathname:c="/",search:m="",hash:p="",state:b=null,key:x="default"}=t,f=v.useMemo(()=>{let S=Yd(c,d);return S==null?null:{location:{pathname:S,search:m,hash:p,state:b,key:x},navigationType:r}},[d,c,m,p,b,x,r]);return f==null?null:v.createElement(Jo.Provider,{value:u},v.createElement(Vn.Provider,{children:o,value:f}))}function hg(e){let{children:a,location:o}=e;return UA(Tl(a),o)}new Promise(()=>{});function Tl(e,a){a===void 0&&(a=[]);let o=[];

58return v.Children.forEach(e,(t,r)=>{if(!v.isValidElement(t))return;let i=[...a,r];if(t.type===v.Fragment){o.push.apply(o,Tl(t.props.children,i));return}t.type!==ae&&pe(!1),!t.props.index||!t.props.children||pe(!1);let n={id:t.props.id||i.join("-"),caseSensitive:t.props.caseSensitive,element:t.props.element,Component:t.props.Component,index:t.props.index,path:t.props.path,loader:t.props.loader,action:t.props.action,errorElement:t.props.errorElement,ErrorBoundary:t.props.ErrorBoundary,hasErrorBoundary:t.props.ErrorBoundary!=null||t.props.errorElement!=null,shouldRevalidate:t.props.shouldRevalidate,handle:t.props.handle,lazy:t.props.lazy};t.props.children&&(n.children=Tl(t.props.children,i)),o.push(n)}),o}/**
59 * React Router DOM v6.30.3
60 *
61 * Copyright (c) Remix Software Inc.
62 *
63 * This source code is licensed under the MIT license found in the
64 * LICENSE.md file in the root directory of this source tree.
65 *
66 * @license MIT
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67return{...t,error:i,errorUpdateCount:t.errorUpdateCount+1,errorUpdatedAt:Date.now(),fetchFailureCount:t.fetchFailureCount+1,fetchFailureReason:i,fetchStatus:"idle",status:"error",isInvalidated:!0};case"invalidate":return{...t,isInvalidated:!0};case"setState":return{...t,...a.state}}};this.state=o(this.state),De.batch(()=>{this.observers.forEach(t=>{t.onQueryUpdate()}),A(this,Qe).notify({query:this,type:"updated",action:a})})},Tm);function DC(e,a){return{fetchFailureCount:0,fetchFailureReason:null,fetchStatus:bg(a.networkMode)?"fetching":"paused",...e===void 0&&{error:null,status:"pending"}}}function qc(e,a){return{data:e,dataUpdatedAt:a??Date.now(),error:null,isInvalidated:!1,status:"success"}}function Hc(e){const a=typeof e.initialData=="function"?e.initialData():e.initialData,o=a!==void 0,t=o?typeof e.initialDataUpdatedAt=="function"?e.initialDataUpdatedAt():e.initialDataUpdatedAt:0;return{data:a,dataUpdateCount:0,dataUpdatedAt:o?t??Date.now():0,error:null,errorUpdateCount:0,errorUpdatedAt:0,fetchFailureCount:0,fetchFailureReason:null,fetchMeta:null,isInvalidated:!1,status:o?"success":"pending",fetchStatus:"idle"}}var Jr,va,Ne,Ro,ya,Ha,Um,IC=(Um=class extends wg{constructor(a){super();_(this,ya);_(this,Jr);_(this,va);_(this,Ne);_(this,Ro);I(this,Jr,a.client),this.mutationId=a.mutationId,I(this,Ne,a.mutationCache),I(this,va,[]),this.state=a.state||LC(),this.setOptions(a.options),this.scheduleGc()}setOptions(a){this.options=a,this.updateGcTime(this.options.gcTime)}get meta(){return this.options.meta}addObserver(a){A(this,va).includes(a)||(A(this,va).push(a),this.clearGcTimeout(),A(this,Ne).notify({type:"observerAdded",mutation:this,observer:a}))}removeObserver(a){I(this,va,A(this,va).filter(o=>o!==a)),this.scheduleGc(),A(this,Ne).notify({type:"observerRemoved",mutation:this,observer:a})}optionalRemove(){A(this,va).length||(this.state.status==="pending"?this.scheduleGc():A(this,Ne).remove(this))}continue(){var a;return((a=A(this,Ro))==null?void 0:a.continue())??this.execute(this.state.variables)}async execute(a){var n,s,d,u,c,m,p,b,x,f,S,g,h,y,w,P,k,C;const o=()=>{Pe(this,ya,Ha).call(this,{type:"continue"})},t={client:A(this,Jr),meta:this.options.meta,mutationKey:this.options.mutationKey};I(this,Ro,xg({fn:()=>this.options.mutationFn?this.options.mutationFn(a,t):Promise.reject(new Error("No mutationFn found")),onFail:(F,j)=>{Pe(this,ya,Ha).call(this,{type:"failed",failureCount:F,error:j})},onPause:()=>{Pe(this,ya,Ha).call(this,{type:"pause"})},onContinue:o,retry:this.options.retry??0,retryDelay:this.options.retryDelay,networkMode:this.options.networkMode,canRun:()=>A(this,Ne).canRun(this)}));const r=this.state.status==="pending",i=!A(this,Ro).canStart();try{if(r)o();else{Pe(this,ya,Ha).call(this,{type:"pending",variables:a,isPaused:i}),A(this,Ne).config.onMutate&&await A(this,Ne).config.onMutate(a,this,t);const j=await((s=(n=this.options).onMutate)==null?void 0:s.call(n,a,t));j!==this.state.context&&Pe(this,ya,Ha).call(this,{type:"pending",context:j,variables:a,isPaused:i})}const F=await A(this,Ro).start();return await((u=(d=A(this,Ne).config).onSuccess)==null?void 0:u.call(d,F,a,this.state.context,this,t)),await((m=(c=this.options).onSuccess)==null?void 0:m.call(c,F,a,this.state.context,t)),await((b=(p=A(this,Ne).config).onSettled)==null?void 0:b.call(p,F,null,this.state.variables,this.state.context,this,t)),await((f=(x=this.options).onSettled)==null?void 0:f.call(x,F,null,a,this.state.context,t)),Pe(this,ya,Ha).call(this,{type:"success",data:F}),F}catch(F){try{await((g=(S=A(this,Ne).config).onError)==null?void 0:g.call(S,F,a,this.state.context,this,t))}catch(j){Promise.reject(j)}try{await((y=(h=this.options).onError)==null?void 0:y.call(h,F,a,this.state.context,t))}catch(j){Promise.reject(j)}try{await((P=(w=A(this,Ne).config).onSettled)==null?void 0:P.call(w,void 0,F,this.state.variables,this.state.context,this,t))}catch(j){Promise.reject(j)}try{await((C=(k=this.options).onSettled)==null?void 0:C.call(k,void 0,F,a,this.state.context,t))}catch(j){Promise.reject(j)}throw Pe(this,ya,Ha).call(this,{type:"error",error:F}),F}finally{A(this,Ne).runNext(this)}}},Jr=new WeakMap,va=new WeakMap,Ne=new WeakMap,Ro=new WeakMap,ya=new WeakSet,Ha=function(a){const o=t=>{switch(a.type){case"failed":return{...t,failureCount:a.failureCount,failureReason:a.error};case"pause":return{...t,isPaused:!0};case"continue":return{...t,isPaused:!1};

67case"pending":return{...t,context:a.context,data:void 0,failureCount:0,failureReason:null,error:null,isPaused:a.isPaused,status:"pending",variables:a.variables,submittedAt:Date.now()};case"success":return{...t,data:a.data,failureCount:0,failureReason:null,error:null,status:"success",isPaused:!1};case"error":return{...t,data:void 0,error:a.error,failureCount:t.failureCount+1,failureReason:a.error,isPaused:!1,status:"error"}}};this.state=o(this.state),De.batch(()=>{A(this,va).forEach(t=>{t.onMutationUpdate(a)}),A(this,Ne).notify({mutation:this,type:"updated",action:a})})},Um);function LC(){return{context:void 0,data:void 0,error:null,failureCount:0,failureReason:null,isPaused:!1,status:"idle",variables:void 0,submittedAt:0}}var Na,na,$r,Om,BC=(Om=class extends Hn{constructor(a={}){super();_(this,Na);_(this,na);_(this,$r);this.config=a,I(this,Na,new Set),I(this,na,new Map),I(this,$r,0)}build(a,o,t){const r=new IC({client:a,mutationCache:this,mutationId:++oi(this,$r)._,options:a.defaultMutationOptions(o),state:t});return this.add(r),r}add(a){A(this,Na).add(a);const o=xi(a);if(typeof o=="string"){const t=A(this,na).get(o);t?t.push(a):A(this,na).set(o,[a])}this.notify({type:"added",mutation:a})}remove(a){if(A(this,Na).delete(a)){const o=xi(a);if(typeof o=="string"){const t=A(this,na).get(o);if(t)if(t.length>1){const r=t.indexOf(a);r!==-1&&t.splice(r,1)}else t[0]===a&&A(this,na).delete(o)}}this.notify({type:"removed",mutation:a})}canRun(a){const o=xi(a);if(typeof o=="string"){const t=A(this,na).get(o),r=t==null?void 0:t.find(i=>i.state.status==="pending");return!r||r===a}else return!0}runNext(a){var t;const o=xi(a);if(typeof o=="string"){const r=(t=A(this,na).get(o))==null?void 0:t.find(i=>i!==a&&i.state.isPaused);return(r==null?void 0:r.continue())??Promise.resolve()}else return Promise.resolve()}clear(){De.batch(()=>{A(this,Na).forEach(a=>{this.notify({type:"removed",mutation:a})}),A(this,Na).clear(),A(this,na).clear()})}getAll(){return Array.from(A(this,Na))}find(a){const o={exact:!0,...a};return this.getAll().find(t=>Uc(o,t))}findAll(a={}){return this.getAll().filter(o=>Uc(a,o))}notify(a){De.batch(()=>{this.listeners.forEach(o=>{o(a)})})}resumePausedMutations(){const a=this.getAll().filter(o=>o.state.isPaused);return De.batch(()=>Promise.all(a.map(o=>o.continue().catch(ia))))}},Na=new WeakMap,na=new WeakMap,$r=new WeakMap,Om);function xi(e){var a;return(a=e.options.scope)==null?void 0:a.id}var ba,Gm,TC=(Gm=class extends Hn{constructor(a={}){super();_(this,ba);this.config=a,I(this,ba,new Map)}build(a,o,t){const r=o.queryKey,i=o.queryHash??au(r,o);let n=this.get(i);return n||(n=new RC({client:a,queryKey:r,queryHash:i,options:a.defaultQueryOptions(o),state:t,defaultOptions:a.getQueryDefaults(r)}),this.add(n)),n}add(a){A(this,ba).has(a.queryHash)||(A(this,ba).set(a.queryHash,a),this.notify({type:"added",query:a}))}remove(a){const o=A(this,ba).get(a.queryHash);o&&(a.destroy(),o===a&&A(this,ba).delete(a.queryHash),this.notify({type:"removed",query:a}))}clear(){De.batch(()=>{this.getAll().forEach(a=>{this.remove(a)})})}get(a){return A(this,ba).get(a)}getAll(){return[...A(this,ba).values()]}find(a){const o={exact:!0,...a};return this.getAll().find(t=>Tc(o,t))}findAll(a={}){const o=this.getAll();return Object.keys(a).length>0?o.filter(t=>Tc(a,t)):o}notify(a){De.batch(()=>{this.listeners.forEach(o=>{o(a)})})}onFocus(){De.batch(()=>{this.getAll().forEach(a=>{a.onFocus()})})}onOnline(){De.batch(()=>{this.getAll().forEach(a=>{a.onOnline()})})}},ba=new WeakMap,Gm),le,Za,eo,Et,Ft,ao,Mt,Nt,Vm,UC=(Vm=class{constructor(e={}){_(this,le);_(this,Za);_(this,eo);_(this,Et);_(this,Ft);_(this,ao);_(this,Mt);_(this,Nt);I(this,le,e.queryCache||new TC),I(this,Za,e.mutationCache||new BC),I(this,eo,e.defaultOptions||{}),I(this,Et,new Map),I(this,Ft,new Map),I(this,ao,0)}mount(){oi(this,ao)._++,A(this,ao)===1&&(I(this,Mt,gg.subscribe(async e=>{e&&(await this.resumePausedMutations(),A(this,le).onFocus())})),I(this,Nt,yn.subscribe(async e=>{e&&(await this.resumePausedMutations(),A(this,le).onOnline())})))}unmount(){var e,a;oi(this,ao)._--,A(this,ao)===0&&((e=A(this,Mt))==null||e.call(this),I(this,Mt,void 0),(a=A(this,Nt))==null||a.call(this),I(this,Nt,void 0))}isFetching(e){return A(this,le).findAll({...e,fetchStatus:"fetching"}).length}isMutating(e){return A(this,Za).findAll({...e,status:"pending"}).length}getQueryData(e){var o;const a=this.defaultQueryOptions({queryKey:e});return(o=A(this,le).get(a.queryHash))==null?void 0:o.state.data}ensureQueryData(e){const a=this.defaultQueryOptions(e),o=A(this,le).build(this,a),t=o.state.data;return t===void 0?this.fetchQuery(e):(e.revalidateIfStale&&o.isStaleByTime(Gl(a.staleTime,o))&&this.prefetchQuery(a),Promise.resolve(t))}getQueriesData(e){return A(this,le).findAll(e).map(({queryKey:a,state:o})=>{const t=o.data;return[a,t]})}setQueryData(e,a,o){const t=this.defaultQueryOptions({queryKey:e}),r=A(this,le).get(t.queryHash),i=r==null?void 0:r.state.data,n=fC(a,i);if(n!==void 0)return A(this,le).build(this,t).setData(n,{...o,manual:!0})}

67setQueriesData(e,a,o){return De.batch(()=>A(this,le).findAll(e).map(({queryKey:t})=>[t,this.setQueryData(t,a,o)]))}getQueryState(e){var o;const a=this.defaultQueryOptions({queryKey:e});return(o=A(this,le).get(a.queryHash))==null?void 0:o.state}removeQueries(e){const a=A(this,le);De.batch(()=>{a.findAll(e).forEach(o=>{a.remove(o)})})}resetQueries(e,a){const o=A(this,le);return De.batch(()=>(o.findAll(e).forEach(t=>{t.reset()}),this.refetchQueries({type:"active",...e},a)))}cancelQueries(e,a={}){const o={revert:!0,...a},t=De.batch(()=>A(this,le).findAll(e).map(r=>r.cancel(o)));return Promise.all(t).then(ia).catch(ia)}invalidateQueries(e,a={}){return De.batch(()=>(A(this,le).findAll(e).forEach(o=>{o.invalidate()}),(e==null?void 0:e.refetchType)==="none"?Promise.resolve():this.refetchQueries({...e,type:(e==null?void 0:e.refetchType)??(e==null?void 0:e.type)??"active"},a)))}refetchQueries(e,a={}){const o={...a,cancelRefetch:a.cancelRefetch??!0},t=De.batch(()=>A(this,le).findAll(e).filter(r=>!r.isDisabled()&&!r.isStatic()).map(r=>{let i=r.fetch(void 0,o);return o.throwOnError||(i=i.catch(ia)),r.state.fetchStatus==="paused"?Promise.resolve():i}));return Promise.all(t).then(ia)}fetchQuery(e){const a=this.defaultQueryOptions(e);a.retry===void 0&&(a.retry=!1);const o=A(this,le).build(this,a);return o.isStaleByTime(Gl(a.staleTime,o))?o.fetch(a):Promise.resolve(o.state.data)}prefetchQuery(e){return this.fetchQuery(e).then(ia).catch(ia)}fetchInfiniteQuery(e){return e._type="infinite",this.fetchQuery(e)}prefetchInfiniteQuery(e){return this.fetchInfiniteQuery(e).then(ia).catch(ia)}ensureInfiniteQueryData(e){return e._type="infinite",this.ensureQueryData(e)}resumePausedMutations(){return yn.isOnline()?A(this,Za).resumePausedMutations():Promise.resolve()}getQueryCache(){return A(this,le)}getMutationCache(){return A(this,Za)}getDefaultOptions(){return A(this,eo)}setDefaultOptions(e){I(this,eo,e)}setQueryDefaults(e,a){A(this,Et).set(Or(e),{queryKey:e,defaultOptions:a})}getQueryDefaults(e){const a=[...A(this,Et).values()],o={};return a.forEach(t=>{Gr(e,t.queryKey)&&Object.assign(o,t.defaultOptions)}),o}setMutationDefaults(e,a){A(this,Ft).set(Or(e),{mutationKey:e,defaultOptions:a})}getMutationDefaults(e){const a=[...A(this,Ft).values()],o={};return a.forEach(t=>{Gr(e,t.mutationKey)&&Object.assign(o,t.defaultOptions)}),o}defaultQueryOptions(e){if(e._defaulted)return e;const a={...A(this,eo).queries,...this.getQueryDefaults(e.queryKey),...e,_defaulted:!0};return a.queryHash||(a.queryHash=au(a.queryKey,a)),a.refetchOnReconnect===void 0&&(a.refetchOnReconnect=a.networkMode!=="always"),a.throwOnError===void 0&&(a.throwOnError=!!a.suspense),!a.networkMode&&a.persister&&(a.networkMode="offlineFirst"),a.queryFn===ou&&(a.enabled=!1),a}defaultMutationOptions(e){return e!=null&&e._defaulted?e:{...A(this,eo).mutations,...(e==null?void 0:e.mutationKey)&&this.getMutationDefaults(e.mutationKey),...e,_defaulted:!0}}clear(){A(this,le).clear(),A(this,Za).clear()}},le=new WeakMap,Za=new WeakMap,eo=new WeakMap,Et=new WeakMap,Ft=new WeakMap,ao=new WeakMap,Mt=new WeakMap,Nt=new WeakMap,Vm),OC=v.createContext(void 0),GC=({client:e,children:a})=>(v.useEffect(()=>(e.mount(),()=>{e.unmount()}),[e]),l.jsx(OC.Provider,{value:e,children:a}));const VC="/2026/assets/ppv-hero-banner-7nSL3w1z.webp",L=e=>typeof e=="string",er=()=>{let e,a;const o=new Promise((t,r)=>{e=t,a=r});return o.resolve=e,o.reject=a,o},_c=e=>e==null?"":String(e),qC=(e,a,o)=>{e.forEach(t=>{a[t]&&(o[t]=a[t])})},HC=/###/g,Jc=e=>e&&e.includes("###")?e.replace(HC,"."):e,$c=e=>!e||L(e),br=(e,a,o)=>{const t=L(a)?a.split("."):a;let r=0;for(;r<t.length-1;){if($c(e))return{};const i=Jc(t[r]);!e[i]&&o&&(e[i]=new o),Object.prototype.hasOwnProperty.call(e,i)?e=e[i]:e={},++r}return $c(e)?{}:{obj:e,k:Jc(t[r])}},Wc=(e,a,o)=>{const{obj:t,k:r}=br(e,a,Object);if(t!==void 0||a.length===1){t[r]=o;return}let i=a[a.length-1],n=a.slice(0,a.length-1),s=br(e,n,Object);for(;s.obj===void 0&&n.length;)i=`${n[n.length-1]}.${i}`,n=n.slice(0,n.length-1),s=br(e,n,Object),s!=null&&s.obj&&typeof s.obj[`${s.k}.${i}`]<"u"&&(s.obj=void 0);s.obj[`${s.k}.${i}`]=o},_C=(e,a,o,t)=>{const{obj:r,k:i}=br(e,a,Object);r[i]=r[i]||[],r[i].push(o)},bn=(e,a)=>{const{obj:o,k:t}=br(e,a);if(o&&Object.prototype.hasOwnProperty.call(o,t))return o[t]},JC=(e,a,o)=>{const t=bn(e,o);return t!==void 0?t:bn(a,o)},Pg=(e,a,o)=>{for(const t in a)t!=="__proto__"&&t!=="constructor"&&(t in e?L(e[t])||e[t]instanceof String||L(a[t])||a[t]instanceof String?o&&(e[t]=a[t]):Pg(e[t],a[t],o):e[t]=a[t]);return e},Ca=e=>e.replace(/[\-\[\]\/\{\}\(\)\*\+\?\.\\\^\$\|]/g,"\\$&"),$C={"&":"&amp;","<":"&lt;",">":"&gt;",'"':"&quot;","'":"&#39;","/":"&#x2F;"},WC=e=>L(e)?e.replace(/[&<>

67"'\/]/g,a=>$C[a]):e;class KC{constructor(a){this.capacity=a,this.regExpMap=new Map,this.regExpQueue=[]}getRegExp(a){const o=this.regExpMap.get(a);if(o!==void 0)return o;const t=new RegExp(a);return this.regExpQueue.length===this.capacity&&this.regExpMap.delete(this.regExpQueue.shift()),this.regExpMap.set(a,t),this.regExpQueue.push(a),t}}const QC=[" ",",","?","!",";"],XC=new KC(20),YC=(e,a,o)=>{a=a||"",o=o||"";const t=QC.filter(n=>!a.includes(n)&&!o.includes(n));if(t.length===0)return!0;const r=XC.getRegExp(`(${t.map(n=>n==="?"?"\\?":n).join("|")})`);let i=!r.test(e);if(!i){const n=e.indexOf(o);n>0&&!r.test(e.substring(0,n))&&(i=!0)}return i},Hl=(e,a,o=".")=>{if(!e)return;if(e[a])return Object.prototype.hasOwnProperty.call(e,a)?e[a]:void 0;const t=a.split(o);let r=e;for(let i=0;i<t.length;){if(!r||typeof r!="object")return;let n,s="";for(let d=i;d<t.length;++d)if(d!==i&&(s+=o),s+=t[d],n=r[s],n!==void 0){if(["string","number","boolean"].includes(typeof n)&&d<t.length-1)continue;i+=d-i+1;break}r=n}return r},Vr=e=>e==null?void 0:e.replace(/_/g,"-"),ZC={type:"logger",log(e){this.output("log",e)},warn(e){this.output("warn",e)},error(e){this.output("error",e)},output(e,a){var o,t;(t=(o=console==null?void 0:console[e])==null?void 0:o.apply)==null||t.call(o,console,a)}};class xn{constructor(a,o={}){this.init(a,o)}init(a,o={}){this.prefix=o.prefix||"i18next:",this.logger=a||ZC,this.options=o,this.debug=o.debug}log(...a){return this.forward(a,"log","",!0)}warn(...a){return this.forward(a,"warn","",!0)}error(...a){return this.forward(a,"error","")}deprecate(...a){return this.forward(a,"warn","WARNING DEPRECATED: ",!0)}forward(a,o,t,r){return r&&!this.debug?null:(a=a.map(i=>L(i)?i.replace(/[\r\n\x00-\x1F\x7F]/g," "):i),L(a[0])&&(a[0]=`${t}${this.prefix} ${a[0]}`),this.logger[o](a))}create(a){return new xn(this.logger,{prefix:`${this.prefix}:${a}:`,...this.options})}clone(a){return a=a||this.options,a.prefix=a.prefix||this.prefix,new xn(this.logger,a)}}var Sa=new xn;class _n{constructor(){this.observers={}}on(a,o){return a.split(" ").forEach(t=>{this.observers[t]||(this.observers[t]=new Map);const r=this.observers[t].get(o)||0;this.observers[t].set(o,r+1)}),this}off(a,o){if(this.observers[a]){if(!o){delete this.observers[a];return}this.observers[a].delete(o)}}once(a,o){const t=(...r)=>{o(...r),this.off(a,t)};return this.on(a,t),this}emit(a,...o){this.observers[a]&&Array.from(this.observers[a].entries()).forEach(([r,i])=>{for(let n=0;n<i;n++)r(...o)}),this.observers["*"]&&Array.from(this.observers["*"].entries()).forEach(([r,i])=>{for(let n=0;n<i;n++)r(a,...o)})}}class Kc extends _n{constructor(a,o={ns:["translation"],defaultNS:"translation"}){super(),this.data=a||{},this.options=o,this.options.keySeparator===void 0&&(this.options.keySeparator="."),this.options.ignoreJSONStructure===void 0&&(this.options.ignoreJSONStructure=!0)}addNamespaces(a){this.options.ns.includes(a)||this.options.ns.push(a)}removeNamespaces(a){const o=this.options.ns.indexOf(a);o>-1&&this.options.ns.splice(o,1)}getResource(a,o,t,r={}){var u,c;const i=r.keySeparator!==void 0?r.keySeparator:this.options.keySeparator,n=r.ignoreJSONStructure!==void 0?r.ignoreJSONStructure:this.options.ignoreJSONStructure;let s;a.includes(".")?s=a.split("."):(s=[a,o],t&&(Array.isArray(t)?s.push(...t):L(t)&&i?s.push(...t.split(i)):s.push(t)));const d=bn(this.data,s);return!d&&!o&&!t&&a.includes(".")&&(a=s[0],o=s[1],t=s.slice(2).join(".")),d||!n||!L(t)?d:Hl((c=(u

67=this.data)==null?void 0:u[a])==null?void 0:c[o],t,i)}addResource(a,o,t,r,i={silent:!1}){const n=i.keySeparator!==void 0?i.keySeparator:this.options.keySeparator;let s=[a,o];t&&(s=s.concat(n?t.split(n):t)),a.includes(".")&&(s=a.split("."),r=o,o=s[1]),this.addNamespaces(o),Wc(this.data,s,r),i.silent||this.emit("added",a,o,t,r)}addResources(a,o,t,r={silent:!1}){for(const i in t)(L(t[i])||Array.isArray(t[i]))&&this.addResource(a,o,i,t[i],{silent:!0});r.silent||this.emit("added",a,o,t)}addResourceBundle(a,o,t,r,i,n={silent:!1,skipCopy:!1}){let s=[a,o];a.includes(".")&&(s=a.split("."),r=t,t=o,o=s[1]),this.addNamespaces(o);let d=bn(this.data,s)||{};n.skipCopy||(t=JSON.parse(JSON.stringify(t))),r?Pg(d,t,i):d={...d,...t},Wc(this.data,s,d),n.silent||this.emit("added",a,o,t)}removeResourceBundle(a,o){this.hasResourceBundle(a,o)&&delete this.data[a][o],this.removeNamespaces(o),this.emit("removed",a,o)}hasResourceBundle(a,o){return this.getResource(a,o)!==void 0}getResourceBundle(a,o){return o||(o=this.options.defaultNS),this.getResource(a,o)}getDataByLanguage(a){return this.data[a]}hasLanguageSomeTranslations(a){const o=this.getDataByLanguage(a);return!!(o&&Object.keys(o)||[]).find(r=>o[r]&&Object.keys(o[r]).length>0)}toJSON(){return this.data}}var Ag={processors:{},addPostProcessor(e){this.processors[e.name]=e},handle(e,a,o,t,r){return e.forEach(i=>{var n;a=((n=this.processors[i])==null?void 0:n.process(a,o,t,r))??a}),a}};const Cg=Symbol("i18next/PATH_KEY");function e1(){const e=[],a=Object.create(null);let o;return a.get=(t,r)=>{var i;return(i=o==null?void 0:o.revoke)==null||i.call(o),r===Cg?e:(e.push(r),o=Proxy.revocable(t,a),o.proxy)},Proxy.revocable(Object.create(null),a).proxy}function bt(e,a){const{[Cg]:o}=e(e1()),t=(a==null?void 0:a.keySeparator)??".",r=(a==null?void 0:a.nsSeparator)??":",i=(a==null?void 0:a.enableSelector)==="strict";if(o.length>1&&r){const n=a==null?void 0:a.ns,s=i?Array.isArray(n)?n:n?[n]:null:Array.isArray(n)?n:null;if(s&&(i?s:s.length>1?s.slice(1):[]).includes(o[0]))return`${o[0]}${r}${o.slice(1).join(t)}`}return o.join(t)}const Ns=e=>!L(e)&&typeof e!="boolean"&&typeof e!="number";class wn extends _n{constructor(a,o={}){super(),qC(["resourceStore","languageUtils","pluralResolver","interpolator","backendConnector","

67i18nFormat","utils"],a,this),this.options=o,this.options.keySeparator===void 0&&(this.options.keySeparator="."),this.logger=Sa.create("translator"),this.checkedLoadedFor={}}changeLanguage(a){a&&(this.language=a)}exists(a,o={interpolation:{}}){const t={...o};if(a==null)return!1;const r=this.resolve(a,t);if((r==null?void 0:r.res)===void 0)return!1;const i=Ns(r.res);return!(t.returnObjects===!1&&i)}extractFromKey(a,o){let t=o.nsSeparator!==void 0?o.nsSeparator:this.options.nsSeparator;t===void 0&&(t=":");const r=o.keySeparator!==void 0?o.keySeparator:this.options.keySeparator;let i=o.ns||this.options.defaultNS||[];const n=t&&a.includes(t),s=!this.options.userDefinedKeySeparator&&!o.keySeparator&&!this.options.userDefinedNsSeparator&&!o.nsSeparator&&!YC(a,t,r);if(n&&!s){const d=a.match(this.interpolator.nestingRegexp);if(d&&d.length>0)return{key:a,namespaces:L(i)?[i]:i};const u=a.split(t);(t!==r||t===r&&this.options.ns.includes(u[0]))&&(i=u.shift()),a=u.join(r)}return{key:a,namespaces:L(i)?[i]:i}}translate(a,o,t){let r=typeof o=="object"?{...o}:o;if(typeof r!="object"&&this.options.overloadTranslationOptionHandler&&(r=this.options.overloadTranslationOptionHandler(arguments)),typeof r=="object"&&(r={...r}),r||(r={}),a==null)return"";typeof a=="function"&&(a=bt(a,{...this.options,...r})),Array.isArray(a)||(a=[String(a)]),a=a.map(T=>typeof T=="function"?bt(T,{...this.options,...r}):String(T));const i=r.returnDetails!==void 0?r.returnDetails:this.options.returnDetails,n=r.keySeparator!==void 0?r.keySeparator:this.options.keySeparator,{key:s,namespaces:d}=this.extractFromKey(a[a.length-1],r),u=d[d.length-1];let c=r.nsSeparator!==void 0?r.nsSeparator:this.options.nsSeparator;c===void 0&&(c=":");const m=r.lng||this.language,p=r.appendNamespaceToCIMode||this.options.appendNamespaceToCIMode;if((m==null?void 0:m.toLowerCase())==="cimode")return p?i?{res:`${u}${c}${s}`,usedKey:s,exactUsedKey:s,usedLng:m,usedNS:u,usedParams:this.getUsedParamsDetails(r)}:`${u}${c}${s}`:i?{res:s,usedKey:s,exactUsedKey:s,usedLng:m,usedNS:u,usedParams:this.getUsedParamsDetails(r)}:s;const b=this.resolve(a,r);let x=b==null?void 0:b.res;const f=(b==null?void 0:b.usedKey)||s,S=(b==null?void 0:b.exactUsedKey)||s,g=["[object Number]","[object Function]","[object RegExp]"],h=r.joinArrays!==void 0?r.joinArrays:this.options.joinArrays,y=!this.i18nFormat||this.i18nFormat.handleAsObject,w=r.count!==void 0&&!L(r.count),P=wn.hasDefaultValue(r),k=w?this.pluralResolver.getSuffix(m,r.count,r):"",C=r.ordinal&&w?this.pluralResolver.getSuffix(m,r.count,{ordinal:!1}):"",F=w&&!r.ordinal&&r.count===0,j=F&&r[`defaultValue${this.options.pluralSeparator}zero`]||r[`defaultValue${k}`]||r[`defaultValue${C}`]||r.defaultValue;let N=x;y&&!x&&P&&(N=j);const K=Ns(N),R=Object.prototype.toString.apply(N);if(y&&N&&K&&!g.includes(R)&&!(L(h)&&Array.isArray(N))){if(!r.returnObjects&&!this.options.returnObjects){this.options.returnedObjectHandler||this.logger.warn("accessing an object - but returnObjects options is not enabled!");const T=this.options.returnedObjectHandler?this.options.returnedObjectHandler(f,N,{...r,ns:d}):`key '${s} (${this.language})' returned an object instead of string.`;return i?(b.res=T,b.usedParams=this.getUsedParamsDetails(r),b):T}if(n){const T=Array.isArray(N),V=T?[]:{},te=T?S:f;for(const $ in N)if(Object.prototype.hasOwnProperty.call(N,$)){const se=`${te}${n}${$}`;P&&!x?V[$]=this.translate(se,{...r,defaultValue:Ns(j)?j[$]:void 0,joinArrays:!1,ns:d}):V[$]=this.translate(se,{...r,joinArrays:!1,ns:d}),V[$]===se&&(V[$]=N[$])}x=V}}else if(y&&L(h)&&Array.isArray(x))x=x.join(h),x&&(x=this.extendTranslation(x,a,r,t));else{let T=!1,V=!1;!this.isValidLookup(x)&&P&&(T=!0,x=j),this.isValidLookup(x)||(V=!0,x=s);const $=(r.missingKeyNoValueFallbackToKey||this.options.missingKeyNoValueFallbackToKey)&&V?void 0:x,se=P&&j!==x&&this.options.updateMissing;if(V||T||se){if(this.logger.log(se?"updateKey":"missingKey",m,u,w&&!se?`${s}${this.pluralResolver.getSuffix(m,r.count,r)}`:s,se?j:x),n){const U=this.resolve(s,{...r,keySeparator:!1});U&&U.res&&this.logger.warn("Seems the loaded translations were in flat JSON format instead of nested. Either set keySeparator: false on init or make sure your translations are published in nested format.")}let M=[];const D=this.languageUtils.getFallbackCodes(this.options.fallbackLng,r.lng||this.language);if(this.options.saveMissingTo==="fallback"&&D&&D[0])for(let U=0;U<D.length;U++)M.push(D[U]);else this.options.saveMissingTo==="all"?M=this.languageUtils.toResolveHierarchy(r.lng||this.language):M.push(r.lng||this.language);const O=(U,Q,pa)=>{var Wo;const ha=P&&pa!==x?pa:$;this.options.missingKeyHandler?this.options.missingKeyHandler(U,u,Q,ha,se,r):(Wo=this.backendConnector)!=null&&Wo.saveMissing&&this.backendConnector.saveMissing(U,u,Q,ha,se,r),this.emit

67("missingKey",U,u,Q,x)};this.options.saveMissing&&(this.options.saveMissingPlurals&&w?M.forEach(U=>{const Q=this.pluralResolver.getSuffixes(U,r);F&&r[`defaultValue${this.options.pluralSeparator}zero`]&&!Q.includes(`${this.options.pluralSeparator}zero`)&&Q.push(`${this.options.pluralSeparator}zero`),Q.forEach(pa=>{O([U],s+pa,r[`defaultValue${pa}`]||j)})}):O(M,s,j))}x=this.extendTranslation(x,a,r,b,t),V&&x===s&&this.options.appendNamespaceToMissingKey&&(x=`${u}${c}${s}`),(V||T)&&this.options.parseMissingKeyHandler&&(x=this.options.parseMissingKeyHandler(this.options.appendNamespaceToMissingKey?`${u}${c}${s}`:s,T?x:void 0,r))}return i?(b.res=x,b.usedParams=this.getUsedParamsDetails(r),b):x}extendTranslation(a,o,t,r,i){var d,u;if((d=this.i18nFormat)!=null&&d.parse)a=this.i18nFormat.parse(a,{...this.options.interpolation.defaultVariables,...t},t.lng||this.language||r.usedLng,r.usedNS,r.usedKey,{resolved:r});else if(!t.skipInterpolation){t.interpolation&&this.interpolator.init({...t,interpolation:{...this.options.interpolation,...t.interpolation}});const c=L(a)&&(((u=t==null?void 0:t.interpolation)==null?void 0:u.skipOnVariables)!==void 0?t.interpolation.skipOnVariables:this.options.interpolation.skipOnVariables);let m;if(c){const b=a.match(this.interpolator.nestingRegexp);m=b&&b.length}let p=t.replace&&!L(t.replace)?t.replace:t;if(this.options.interpolation.defaultVariables&&(p={...this.options.interpolation.defaultVariables,...p}),a=this.interpolator.interpolate(a,p,t.lng||this.language||r.usedLng,t),c){const b=a.match(this.interpolator.nestingRegexp),x=b&&b.length;m<x&&(t.nest=!1)}!t.lng&&r&&r.res&&(t.lng=this.language||r.usedLng),t.nest!==!1&&(a=this.interpolator.nest(a,(...b)=>(i==null?void 0:i[0])===b[0]&&!t.context?(this.logger.warn(`It seems you are nesting recursively key: ${b[0]} in key: ${o[0]}`),null):this.translate(...b,o),t)),t.interpolation&&this.interpolator.reset()}const n=t.postProcess||this.options.postProcess,s=L(n)?[n]:n;return a!=null&&(s!=null&&s.length)&&t.applyPostProcessor!==!1&&(a=Ag.handle(s,a,o,this.options&&this.options.postProcessPassResolved?{i18nResolved:{...r,usedParams:this.getUsedParamsDetails(t)},...t}:t,this)),a}resolve(a,o={}){let t,r,i,n,s;return L(a)&&(a=[a]),Array.isArray(a)&&(a=a.map(d=>typeof d=="function"?bt(d,{...this.options,...o}):d)),a.forEach(d=>{if(this.isValidLookup(t))return;const u=this.extractFromKey(d,o),c=u.key;r=c;let m=u.namespaces;this.options.fallbackNS&&(m=m.concat(this.options.fallbackNS));const p=o.count!==void 0&&!L(o.count),b=p&&!o.ordinal&&o.count===0,x=o.context!==void 0&&(L(o.context)||typeof o.context=="number")&&o.context!=="",f=o.lngs?o.lngs:this.languageUtils.toResolveHierarchy(o.lng||this.language,o.fallbackLng);m.forEach(S=>{var g,h;this.isValidLookup(t)||(s=S,!this.checkedLoadedFor[`${f[0]}-${S}`]&&((g=this.utils)!=null&&g.hasLoadedNamespace)&&!((h=this.utils)!=null&&h.hasLoadedNamespace(s))&&(this.checkedLoadedFor[`${f[0]}-${S}`]=!0,this.logger.warn(`key "${r}" for languages "${f.join(", ")}" won't get resolved as namespace "${s}" was not yet loaded`,"This means something IS WRONG in your setup. You access the t function before i18next.init / i18next.loadNamespace / i18next.changeLanguage was done. Wait for the callback or Promise to resolve before accessing it!!!")),f.forEach(y=>{var k;if(this.isValidLookup(t))return;n=y;const w=[c];if((k=this.i18nFormat)!=null&&k.addLookupKeys)this.i18nFormat.addLookupKeys(w,c,y,S,o);else{let C;p&&(C=this.pluralResolver.getSuffix(y,o.count,o));const F=`${this.options.pluralSeparator}zero`,j=`${this.options.pluralSeparator}ordinal${this.options.pluralSeparator}`;if(p&&(o.ordinal&&C.startsWith(j)&&w.push(c+C.replace(j,this.options.pluralSeparator)),w.push(c+C),b&&w.push(c+F)),x){const N=`${c}${this.options.contextSeparator||"_"}${o.context}`;w.push(N),p&&(o.ordinal&&C.startsWith(j)&&w.push(N+C.replace(j,this.options.pluralSeparator)),w.push(N+C),b&&w.push(N+F))}}let P;for(;P=w.pop();)this.isValidLookup(t)||(i=P,t=this.getResource(y,S,P,o))}))})}),{res:t,usedKey:r,exactUsedKey:i,usedLng:n,usedNS:s}}isValidLookup(a){return a!==void 0&&!(!this.options.returnNull&&a===null)&&!(!this.options.returnEmptyString&&a==="")}getResource(a,o,t,r={}){var i;return(i=this.i18nFormat)!=null&&i.getResource?this.i18nFormat.getResource(a,o,t,r):this.resourceStore.getResource(a,o,t,r)}getUsedParamsDetails(a={}){const o=["defaultValue","ordinal","context","replace","lng","lngs","fallbackLng","ns","keySeparator","nsSeparator","returnObjects","returnDetails","joinArrays","postProcess","interpolation"],t=a.replace&&!L(a.replace);let r=t?a.replace:a;if(t&&typeof a.count<"u"&&(r.count=a.count),this.options.interpolation.defaultVariables&&(r={...this.options.interpolation.defaultVariables,...r}),!t){r={...r};for(const i of o)delete r[i]}return r}static hasDefaultValue(a){const o="defaultValue";for(const t in a)if(Object.prototype.hasOwnProperty.call(a,t)&&t.startsWith(o)&&a[t]!==void 0)return!0;return!1}}class Qc{constructor(a){this.options=a,this.supportedLngs=this.options.supportedLngs||!1,this.logger=Sa.create("languageUtils")}getScriptPartFromCode(a){if(a=Vr(a),!a||!a.includes("-"))return null;const o=a.split("-");return o.length===2||(o.pop(),o[o.length-1].toLowerCase()==="x")?null:this.formatLanguageCode(o.join("-"))}getLanguagePartFromCode(a){if(a=Vr(a),!a||!a.includes("-"))return a;const o=a.split("-");return this.formatLanguageCode(o[0])}formatLanguageCode(a){if(L(a)&&a.includes("-")){let o;try{o=Intl.getCanonicalLocales(a)[0]}catch{}return o&&this.options.lowerCaseLng&&(o=o.toLowerCase()),o||(this.options.lowerCaseLng?a.toLowerCase():a)}return this.options.cleanCode||this.options.lowerCaseLng?a.toLowerCase():a}isSupportedCode(a){return(this.options.load==="languageOnly"||this.options.nonExplicitSupportedLngs)&&(a=this.getLanguagePartFromCode(a)),!this.supportedLngs||!this.supportedLngs.length||this.supportedLngs.includes(a)}getBestMatchFromCodes(a){if(!a)return null;let o;return a.forEach(t=>{if(o)return;const r=this.formatLanguageCode(t);(!this.options.supportedLngs||this.isSupportedCode(r))&&(o=r)}),!o&&this.options.supportedLngs&&a.forEach(t=>{if(o)return;const r=this.getScriptPartFromCode(t);if(this.isSupportedCode(r))return o=r;const i=this.getLanguagePartFromCode(t);if(this.isSupportedCode(i))return o=i;o=this.options.supportedLngs.find(n=>n===i?!0:!n.includes("-")&&!i.includes("-")?!1:!!(n.includes("-")&&!i.includes("-")&&n.slice(0,n.indexOf("-"))===i||n.startsWith(i)&&i.length>1))}),o||(o=this.getFallbackCodes(this.options.fallbackLng)[0]),o}getFallbackCodes(a,o){if(!a)return[];if(typeof a=="function"&&(a=a(o)),L(a)&&(a=[a]),Array.isArray(a))return a;if(!o)return a.default||[];let t=a[o];return t||(t=a[this.getScriptPartFromCode(o)]),t||(t=a[this.formatLanguageCode(o)]),t||(t=a[this.getLanguagePartFromCode(o)]),t||(t=a.default),t||[]}toResolveHierarchy(a,o){const t=this.getFallbackCodes((o===!1?[]:o)||this.options.fallbackLng||[],a),r=[],i=n=>{n&&(this.isSupportedCode(n)?r.push(n):this.logger.warn(`rejecting language code not found in supportedLngs: ${n}`))};return L(a)&&(a.includes("-")||a.includes("_"))?(this.options.load!=="languageOnly"&&i(this.formatLanguageCode(a)),this.options.load!=="languageOnly"&&this.options.load!=="currentOnly"&&i(this.getScriptPartFromCode(a)),this.options.load!=="currentOnly"&&i(this.getLanguagePartFromCode(a))):L(a)&&i(this.formatLanguageCode(a)),t.forEach(n=>{r.includes(n)||i(this.formatLanguageCode(n))}),r}}const Xc={zero:0,one:1,two:2,few:3,many:4,other:5},Yc={select:e=>e===1?"one":"other",resolvedOptions:()=>({pluralCategories:["one","other"]})};class a1{constructor(a,o={}){this.languageUtils=a,this.options=o,this.logger=Sa.create("pluralResolver"),this.pluralRulesCache={}}clearCache(){this.pluralRulesCache={}}getRule(a,o={}){const t=Vr(a==="dev"?"en":a),r=o.ordinal?"ordinal":"cardinal",i=JSON.stringify({cleanedCode:t,type:r});if(i in this.pluralRulesCache)return this.pluralRulesCache[i];let n;try{n=new Intl.PluralRules(t,{type:r})}catch{if(typeof Intl>"u")return this.logger.error("No Intl support, please use an Intl polyfill!"),Yc;if(!a.match(/-|_/))return Yc;const d=this.languageUtils.getLanguagePartFromCode(a);n=this.getRule(d,o)}return this.pluralRulesCache[i]=n,n}needsPlural(a,o={}){let t=this.getRule(a,o);return t||(t=this.getRule("dev",o)),(t==null?void 0:t.resolvedOptions().pluralCategories.length)>1}getPluralFormsOfKey(a,o,t={}){return this.getSuffixes(a,t).map(r=>`${o}${r}`)}getSuffixes(a,o={}){let t=this.getRule(a,o);return t||(t=this.getRule("dev",o)),t?t.resolvedOptions().pluralCategories.sort((r,i)=>Xc[r]-Xc[i]).map(r=>`${this.options.prepend}${o.ordinal?`ordinal${this.options.prepend}`:""}${r}`):[]}getSuffix(a,o,t={}){const r=this.getRule(a,t);return r?`${this.options.prepend}${t.ordinal?`ordinal${this.options.prepend}`:""}${r.select(o)}`:(this.logger.warn(`no plural rule found for: ${a}`),this.getSuffix("dev",o,t))}}const Zc=(e,a,o,t=".",r=!0)=>{let i=JC(e,a,o);return!i&&r&&L(o)&&(i=Hl(e,o,t),i===void 0&&(i=Hl(a,o,t))),i},zs=e=>e.replace(/\$/g,"$$$$");class em{constructor(a={}){var o;this.logger=Sa.create("interpolator"),this.options=a,this.format=((o=a==null?void 0:a.interpolation)==null?void 0:o.format)||(t=>t),this.init(a)}init(a={}){a.interpolation||(a.interpolation={escapeValue:!0});const{escape:o,escapeValue:t,useRawValueToEscape:r,prefix:i,prefixEscaped:n,suffix:s,suffixEscaped:d,formatSeparator:u,unescapeSuffix:c,unescapePrefix:m,nestingPrefix:p,nestingPrefixEscaped:b,nestingSuffix:x,nestingSuffixEscaped:f,nestingOptionsSeparator:S,maxReplaces:g,alwaysFormat:h}=a.interpolation;this.escape=o!==void 0?o:WC,this.escapeValue=t!==void 0?t:!0,this.useRawValueToEscape=r!==void 0?r:!1,this.prefix=i?Ca(i):n||"{{",this.suffix=s?Ca(s):d||"}}",this.formatSeparator=u||",",this.unescapePrefix=c?"":m?Ca(m):"-",this.unescapeSuffix=this.unescapePrefix?"":c?Ca(c):"",this.nestingPrefix=p?Ca(p):b||Ca("$t("),this.nestingSuffix=x?Ca(x):f||Ca(")"),this.nestingOptionsSeparator=S||",",this.maxReplaces=g||1e3,this.alwaysFormat=h!==void 0?h:!1,this.resetRegExp()}reset(){this.options&&this.init(this.options)}resetRegExp(){const a=(o,t)=>(o==null?void 0:o.source)===t?(o.lastIndex=0,o):new RegExp(t,"g");this.regexp=a(this.regexp,`${this.prefix}(.+?)${this.suffix}`),this.regexpUnescape=a(this.regexpUnescape,`${this.prefix}${this.unescapePrefix}(.+?)${this.unescapeSuffix}${this.suffix}`),this.nestingRegexp=a(this.nestingRegexp,`${this.nestingPrefix}((?:[^()"']+|"[^"]*"|'[^']*'|\\((?:[^()]|"[^"]*"|'[^']*')*\\))*?)${this.nestingSuffix}`)}interpolate(a,o,t,r){var b;let i,n,s;const d=this.options&&this.options.interpolation&&this.options.interpolation.defaultVariables||{},u=x=>{if(!x.includes(this.formatSeparator)){const h=Zc(o,d,x,this.options.keySeparator,this.options.ignoreJSONStructure);return this.alwaysFormat?this.format(h,void 0,t,{...r,...o,interpolationkey:x}):h}const f=x.split(this.formatSeparator),S=f.shift().trim(),g=f.join(this.formatSeparator).trim();return this.format(Zc(o,d,S,this.options.keySeparator,this.options.ignoreJSONStructure),g,t,{...r,...o,interpolationkey:S})};this.resetRegExp(),!this.escapeValue&&typeof a=="string"&&/\$t\([^)]*\{[^}]*\{\{/.test(a)&&this.logger.warn("nesting options string contains interpolated variables with escapeValue: false — if any of those values are attacker-controlled they can inject additional nesting options (e.g. redirect lng/ns). Sanitise untrusted input before passing it to t(), or keep escapeValue: true.");const c=(r==null?void 0:r.missingInterpolationHandler)||this.options.missingInterpolationHandler,m=((b=r==null?void 0:r.interpolation)==null?void 0:b.skipOnVariables)!==void 0?r.interpolation.skipOnVariables:this.options.interpolation.skipOnVariables;return[{regex:this.regexpUnescape,safeValue:x=>zs(x)},{regex:this.regexp,safeValue:x=>this.escapeValue?zs(this.escape(x)):zs(x)}].forEach(x=>{for(s=0;i=x.regex.exec(a);){const f=i[1].trim();if(n=u(f),n===void 0)if(typeof c=="function"){const g=c(a,i,r);n=L(g)?g:""}else if(r&&Object.prototype.hasOwnProperty.call(r,f))n="";else if(m){n=i[0];continue}else this.logger.warn(`missed to pass in variable ${f} for interpolating ${a}`),n="";else!L(n)&&!this.useRawValueToEscape&&(n=_c(n));const S=x.safeValue(n);if(a=a.replace(i[0],S),m?(x.regex.lastIndex+=n.length,x.regex.lastIndex-=i[0].length):x.regex.lastIndex=0,s++,s>=this.maxReplaces)break}}),a}nest(a,o,t={}){let r,i,n;const s=(d,u)=>{const c=this.nestingOptionsSeparator;if(!d.includes(c))return d;const m=d.split(new RegExp(`${Ca(c)}[ ]*{`));let p=`{${m[1]}`;d=m[0],p=this.interpolate(p,n);const b=p.match(/'/g),x=p.match(/"/g);(((b==null?void 0:b.length)??0)%2===0&&!x||((x==null?void 0:x.length)??0)%2!==0)&&(p=p.replace(/'/g,'"'));try{n=JSON.parse(p),u&&(n={...u,...n})}catch(f){return this.logger.warn(`failed parsing options string in nesting for key ${d}`,f),`${d}${c}${p}`}return n.defaultValue&&n.defaultValue.includes(this.prefix)&&delete n.defaultValue,d};for(;r=this.nestingRegexp.exec(a);){let d=[];n={...t},n=n.replace&&!L(n.replace)?n.replace:n,n.applyPostProcessor=!1,delete n.defaultValue;const u=/{.*}/.test(r[1])?r[1].lastIndexOf("}")+1:r[1].indexOf(this.formatSeparator);if(u!==-1&&(d=r[1].slice(u).split(this.formatSeparator).map(c=>c.trim()).filter(Boolean),r[1]=r[1].slice(0,u)),i=o(s.call(this,r[1].trim(),n),n),i&&r[0]===a&&!L(i))return i;L(i)||(i=_c(i)),i||(this.logger.warn(`missed to 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i,n;super(),this.backend=a,this.store=o,this.services=t,this.languageUtils=t.languageUtils,this.options=r,this.logger=Sa.create("backendConnector"),this.waitingReads=[],this.maxParallelReads=r.maxParallelReads||10,this.readingCalls=0,this.maxRetries=r.maxRetries>=0?r.maxRetries:5,this.retryTimeout=r.retryTimeout>=1?r.retryTimeout:350,this.state={},this.queue=[],(n=(i=this.backend)==null?void 0:i.init)==null||n.call(i,t,r.backend,r)}queueLoad(a,o,t,r){const i={},n={},s={},d={};return a.forEach(u=>{let c=!0;o.forEach(m=>{const p=`${u}|${m}`;!t.reload&&this.store.hasResourceBundle(u,m)?this.state[p]=2:this.state[p]<0||(this.state[p]===1?n[p]===void 0&&(n[p]=!0):(this.state[p]=1,c=!1,n[p]===void 0&&(n[p]=!0),i[p]===void 0&&(i[p]=!0),d[m]===void 0&&(d[m]=!0)))}),c||(s[u]=!0)}),(Object.keys(i).length||Object.keys(n).length)&&this.queue.push({pending:n,pendingCount:Object.keys(n).length,loaded:{},errors:[],callback:r}),{toLoad:Object.keys(i),pending:Object.keys(n),toLoadLanguages:Object.keys(s),toLoadNamespaces:Object.keys(d)}}loaded(a,o,t){const r=a.split("|"),i=r[0],n=r[1];o&&this.emit("failedLoading",i,n,o),!o&&t&&this.store.addResourceBundle(i,n,t,void 0,void 0,{skipCopy:!0}),this.state[a]=o?-1:2,o&&t&&(this.state[a]=0);const s={};this.queue.forEach(d=>{_C(d.loaded,[i],n),i1(d,a),o&&d.errors.push(o),d.pendingCount===0&&!d.done&&(Object.keys(d.loaded).forEach(u=>{s[u]||(s[u]={});const c=d.loaded[u];c.length&&c.forEach(m=>{s[u][m]===void 0&&(s[u][m]=!0)})}),d.done=!0,d.errors.length?d.callback(d.errors):d.callback())}),this.emit("loaded",s),this.queue=this.queue.filter(d=>!d.done)}read(a,o,t,r=0,i=this.retryTimeout,n){if(!a.length)return n(null,{});if(this.readingCalls>=this.maxParallelReads){this.waitingReads.push({lng:a,ns:o,fcName:t,tried:r,wait:i,callback:n});return}this.readingCalls++;const s=(u,c)=>{if(this.readingCalls--,this.waitingReads.length>0){const m=this.waitingReads.shift();this.read(m.lng,m.ns,m.fcName,m.tried,m.wait,m.callback)}if(u&&c&&r<this.maxRetries){setTimeout(()=>{this.read(a,o,t,r+1,i*2,n)},i);return}n(u,c)},d=this.backend[t].bind(this.backend);if(d.length===2){try{const u=d(a,o);u&&typeof u.then=="function"?u.then(c=>s(null,c)).catch(s):s(null,u)}catch(u){s(u)}return}return d(a,o,s)}prepareLoading(a,o,t={},r){if(!this.backend)return this.logger.warn("No backend was added via i18next.use. 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You access the t function before i18next.init / i18next.loadNamespace / i18next.changeLanguage was done. 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You should call init just once!"),this.isInitialized=!0,this.options.isClone||this.logger.log("initialized",this.options),this.emit("initialized",this.options),s.resolve(m),o(c,m)};if((this.languages||this.isLanguageChangingTo)&&!this.isInitialized)return u(null,this.t.bind(this));this.changeLanguage(this.options.lng,u)};return this.options.resources||!this.options.initAsync?d():setTimeout(d,0),s}loadResources(a,o=wi){var i,n;let t=o;const r=L(a)?a:this.language;if(typeof a=="function"&&(t=a),!this.options.resources||this.options.partialBundledLanguages){if((r==null?void 0:r.toLowerCase())==="cimode"&&(!this.options.preload||this.options.preload.length===0))return t();const s=[],d=u=>{if(!u||u==="cimode")return;this.services.languageUtils.toResolveHierarchy(u).forEach(m=>{m!=="cimode"&&(s.includes(m)||s.push(m))})};r?d(r):this.services.languageUtils.getFallbackCodes(this.options.fallbackLng).forEach(c=>d(c)),(n=(i=this.options.preload)==null?void 0:i.forEach)==null||n.call(i,u=>d(u)),this.services.backendConnector.load(s,this.options.ns,u=>{!u&&!this.resolvedLanguage&&this.language&&this.setResolvedLanguage(this.language),t(u)})}else t(null)}reloadResources(a,o,t){const r=er();return typeof a=="function"&&(t=a,a=void 0),typeof o=="function"&&(t=o,o=void 0),a||(a=this.languages),o||(o=this.options.ns),t||(t=wi),this.services.backendConnector.reload(a,o,i=>{r.resolve(),t(i)}),r}use(a){if(!a)throw new Error("You are passing an undefined module! Please check the object you are passing to i18next.use()");if(!a.type)throw new Error("You are passing a wrong module! Please check the object you are passing to i18next.use()");return a.type==="backend"&&(this.modules.backend=a),(a.type==="logger"||a.log&&a.warn&&a.error)&&(this.modules.logger=a),a.type==="languageDetector"&&(this.modules.languageDetector=a),a.type==="i18nFormat"&&(this.modules.i18nFormat=a),a.type==="postProcessor"&&Ag.addPostProcessor(a),a.type==="formatter"&&(this.modules.formatter=a),a.type==="3rdParty"&&this.modules.external.push(a),this}setResolvedLanguage(a){if(!(!a||!this.languages)&&!["cimode","dev"].includes(a)){for(let o=0;o<this.languages.length;o++){const t=this.languages[o];if(!["cimode","dev"].includes(t)&&this.store.hasLanguageSomeTranslations(t)){this.resolvedLanguage=t;break}}!this.resolvedLanguage&&!this.languages.includes(a)&&this.store.hasLanguageSomeTranslations(a)&&(this.resolvedLanguage=a,this.languages.unshift(a))}}changeLanguage(a,o){this.isLanguageChangingTo=a;const t=er();this.emit("languageChanging",a);const r=s=>{this.language=s,this.languages=this.services.languageUtils.toResolveHierarchy(s),this.resolvedLanguage=void 0,this.setResolvedLanguage(s)},i=(s,d)=>{d?this.isLanguageChangingTo===a&&(r(d),this.translator.changeLanguage(d),this.isLanguageChangingTo=void 0,this.emit("languageChanged",d),this.logger.log("languageChanged",d)):this.isLanguageChangingTo=void 0,t.resolve((...u)=>this.t(...u)),o&&o(s,(...u)=>this.t(...u))},n=s=>{var c,m;!a&&!s&&this.services.languageDetector&&(s=[]);const d=L(s)?s:s&&s[0],u=this.store.hasLanguageSomeTranslations(d)?d:this.services.languageUtils.getBestMatchFromCodes(L(s)?[s]:s);u&&(this.language||r(u),this.translator.language||this.translator.changeLanguage(u),(m=(c=this.services.languageDetector)==null?void 0:c.cacheUserLanguage)==null||m.call(c,u)),this.loadResources(u,p=>{i(p,u)})};return!a&&this.services.languageDetector&&!this.services.languageDetector.async?n(this.services.languageDetector.detect()):!a&&this.services.languageDetector&&this.services.languageDetector.async?this.services.languageDetector.detect.length===0?this.services.languageDetector.detect().then(n):this.services.languageDetector.detect(n):n(a),t}getFixedT(a,o,t,r){const i=r==null?void 0:r.scopeNs,n=(s,d,...u)=>{let c;typeof d!="object"?c=this.options.overloadTranslationOptionHandler([s,d].concat(u)):c={...d},c.lng=c.lng||n.lng,c.lngs=c.lngs||n.lngs;const m=c.ns!==void 0&&c.ns!==null;c.ns=c.ns||n.ns,c.keyPrefix!==""&&(c.keyPrefix=c.keyPrefix||t||n.keyPrefix);const p={...this.options,...c};Array.isArray(i)&&!m&&(p.ns=i),typeof c.keyPrefix=="function"&&(c.keyPrefix=bt(c.keyPrefix,p));const b=this.options.keySeparator||".";let x;return c.keyPrefix&&Array.isArray(s)?x=s.map(f=>(typeof 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s=o.precheck(this,n);if(s!==void 0)return s}return!!(this.hasResourceBundle(t,a)||!this.services.backendConnector.backend||this.options.resources&&!this.options.partialBundledLanguages||n(t,a)&&(!r||n(i,a)))}loadNamespaces(a,o){const t=er();return this.options.ns?(L(a)&&(a=[a]),a.forEach(r=>{this.options.ns.includes(r)||this.options.ns.push(r)}),this.loadResources(r=>{t.resolve(),o&&o(r)}),t):(o&&o(),Promise.resolve())}loadLanguages(a,o){const t=er();L(a)&&(a=[a]);const r=this.options.preload||[],i=a.filter(n=>!r.includes(n)&&this.services.languageUtils.isSupportedCode(n));return i.length?(this.options.preload=r.concat(i),this.loadResources(n=>{t.resolve(),o&&o(n)}),t):(o&&o(),Promise.resolve())}dir(a){var r,i;if(a||(a=this.resolvedLanguage||(((r=this.languages)==null?void 0:r.length)>0?this.languages[0]:this.language)),!a)return"rtl";try{const n=new Intl.Locale(a);if(n&&n.getTextInfo){const s=n.getTextInfo();if(s&&s.direction)return s.direction}}catch{}const 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68 * @license React
69 * use-sync-external-store-shim.production.js
70 *
71 * Copyright (c) Meta Platforms, Inc. and affiliates.
72 *
73 * This source code is licensed under the MIT license found in the
74 * LICENSE file in the root directory of this source tree.
75 */var Tt=v;function S1(e,a){return e===a&&(e!==0||1/e===1/a)||e!==e&&a!==a}var P1=typeof Object.is=="function"?Object.is:S1,A1=Tt.useState,C1=Tt.useEffect,k1=Tt.useLayoutEffect,E1=Tt.useDebugValue;function F1(e,a){var o=a(),t=A1({inst:{value:o,getSnapshot:a}}),r=t[0].inst,i=t[1];return k1(function(){r.value=o,r.getSnapshot=a,Rs(r)&&i({inst:r})},[e,o,a]),C1(function(){return Rs(r)&&i({inst:r}),e(function(){Rs(r)&&i({inst:r})})},[e]),E1(o),o}function Rs(e){var a=e.getSnapshot;e=e.value;try{var o=a();return!P1(e,o)}catch{return!0}}function M1(e,a){return a()}var N1=typeof window>"u"||typeof window.document>"u"||typeof window.document.createElement>"u"?M1:F1;Mg.useSyncExternalStore=Tt.useSyncExternalStore!==void 0?Tt.useSyncExternalStore:N1;Fg.exports=Mg;var z1=Fg.exports;const j1=(e,a)=>{if(Go(a))return a;if(u1(a)&&Go(a.defaultValue))return a.defaultValue;if(typeof e=="function")return"";if(Array.isArray(e)){const o=e[e.length-1];return typeof o=="function"?"":o}return e},R1={t:j1,ready:!1},D1=()=>()=>{},q=(e,a={})=>{var j,N,K;const{i18n:o}=a,{i18n:t,defaultNS:r}=v.useContext(x1)||{},i=o||t||y1();i&&!i.reportNamespaces&&(i.reportNamespaces=new w1),i||_l(i,"NO_I18NEXT_INSTANCE","useTranslation: You will need to pass in an i18next instance by using initReactI18next");const n=v.useMemo(()=>{var R;return{...f1(),...(R=i==null?void 0:i.options)==null?void 0:R.react,...a}},[i,a]),{useSuspense:s,keyPrefix:d}=n,u=r||((j=i==null?void 0:i.options)==null?void 0:j.defaultNS),c=Go(u)?[u]:u||["translation"],m=v.useMemo(()=>c,c);(K=(N=i==null?void 0:i.reportNamespaces)==null?void 0:N.addUsedNamespaces)==null||K.call(N,m);const p=v.useRef(0),b=v.useCallback(R=>{if(!i)return D1;const{bindI18n:T,bindI18nStore:V}=n,te=()=>{p.current+=1,R()};return T&&i.on(T,te),V&&i.store.on(V,te),()=>{T&&T.split(" ").forEach($=>i.off($,te)),V&&V.split(" ").forEach($=>i.store.off($,te))}},[i,n]),x=v.useRef(),f=v.useCallback(()=>{if(!i)return R1;const R=!!(i.isInitialized||i.initializedStoreOnce)&&m.every(M=>d1(M,i,n)),T=a.lng||i.language,V=p.current,te=x.current;if(te&&te.ready===R&&te.lng===T&&te.keyPrefix===d&&te.revision===V)return te;const se={t:i.getFixedT(T,n.nsMode==="fallback"?m:m[0],d,{scopeNs:m}

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75function T1(e){return typeof e!="string"?!1:[/<\s*script.*?>/i,/<\s*\/\s*script\s*>/i,/<\s*img.*?on\w+\s*=/i,/<\s*\w+\s*on\w+\s*=.*?>/i,/javascript\s*:/i,/vbscript\s*:/i,/expression\s*\(/i,/eval\s*\(/i,/alert\s*\(/i,/document\.cookie/i,/document\.write\s*\(/i,/window\.location/i,/innerHTML/i].some(o=>o.test(e))}const im=/^[\u0009\u0020-\u007e\u0080-\u00ff]+$/,U1=function(e,a){const t=arguments.length>2&&arguments[2]!==void 0?arguments[2]:{path:"/"},r=encodeURIComponent(a);let i=`${e}=${r}`;if(t.maxAge>0){const n=t.maxAge-0;if(Number.isNaN(n))throw new Error("maxAge should be a Number");i+=`; Max-Age=${Math.floor(n)}`}if(t.domain){if(!im.test(t.domain))throw new TypeError("option domain is invalid");i+=`; Domain=${t.domain}`}if(t.path){if(!im.test(t.path))throw new TypeError("option path is invalid");i+=`; Path=${t.path}`}if(t.expires){if(typeof t.expires.toUTCString!="function")throw new TypeError("option expires is invalid");i+=`; Expires=${t.expires.toUTCString()}`}if(t.httpOnly&&(i+="; HttpOnly"),t.secure&&(i+=";

75 Secure"),t.sameSite)switch(typeof t.sameSite=="string"?t.sameSite.toLowerCase():t.sameSite){case!0:i+="; SameSite=Strict";break;case"lax":i+="; SameSite=Lax";break;case"strict":i+="; SameSite=Strict";break;case"none":i+="; SameSite=None";break;default:throw new TypeError("option sameSite is invalid")}return t.partitioned&&(i+="; Partitioned"),i},nm={create(e,a,o,t){let r=arguments.length>4&&arguments[4]!==void 0?arguments[4]:{path:"/",sameSite:"strict"};o&&(r.expires=new Date,r.expires.setTime(r.expires.getTime()+o*60*1e3)),t&&(r.domain=t),document.cookie=U1(e,a,r)},read(e){const a=`${e}=`,o=document.cookie.split(";");for(let t=0;t<o.length;t++){let r=o[t];for(;r.charAt(0)===" ";)r=r.substring(1,r.length);if(r.indexOf(a)===0)return r.substring(a.length,r.length)}return null},remove(e,a){this.create(e,"",-1,a)}};var O1={name:"cookie",lookup(e){let{lookupCookie:a}=e;if(a&&typeof document<"u")return nm.read(a)||void 0},cacheUserLanguage(e,a){let{lookupCookie:o,cookieMinutes:t,cookieDomain:r,cookieOptions:i}=a;o&&typeof document<"u"&&nm.create(o,e,t,r,i)}},G1={name:"querystring",lookup(e){var t;let{lookupQuerystring:a}=e,o;if(typeof window<"u"){let{search:r}=window.location;!window.location.search&&((t=window.location.hash)==null?void 0:t.indexOf("?"))>-1&&(r=window.location.hash.substring(window.location.hash.indexOf("?")));const n=r.substring(1).split("&");for(let s=0;s<n.length;s++){const d=n[s].indexOf("=");d>0&&n[s].substring(0,d)===a&&(o=n[s].substring(d+1))}}return o}},V1={name:"hash",lookup(e){var r;let{lookupHash:a,lookupFromHashIndex:o}=e,t;if(typeof window<"u"){const{hash:i}=window.location;if(i&&i.length>2){const n=i.substring(1);if(a){const s=n.split("&");for(let d=0;d<s.length;d++){const u=s[d].indexOf("=");u>0&&s[d].substring(0,u)===a&&(t=s[d].substring(u+1))}}if(t)return t;if(!t&&o>-1){const s=i.match(/\/([a-zA-Z-]*)/g);return Array.isArray(s)?(r=s[typeof o=="number"?o:0])==null?void 0:r.replace("/",""):void 0}}}return t}};let Qo=null;const sm=()=>{if(Qo!==null)return Qo;try{if(Qo=typeof window<"u"&&window.localStorage!==null,!Qo)return!1;const e="i18next.translate.boo";window.localStorage.setItem(e,"foo"),window.localStorage.removeItem(e)}catch{Qo=!1}return Qo};var q1={name:"localStorage",lookup(e){let{lookupLocalStorage:a}=e;if(a&&sm())return window.localStorage.getItem(a)||void 0},cacheUserLanguage(e,a){let{lookupLocalStorage:o}=a;o&&sm()&&window.localStorage.setItem(o,e)}};let Xo=null;const lm=()=>{if(Xo!==null)return Xo;try{if(Xo=typeof window<"u"&&window.sessionStorage!==null,!Xo)return!1;const e="i18next.translate.boo";window.sessionStorage.setItem(e,"foo"),window.sessionStorage.removeItem(e)}catch{Xo=!1}return Xo};var H1={name:"sessionStorage",lookup(e){let{lookupSessionStorage:a}=e;if(a&&lm())return window.sessionStorage.getItem(a)||void 0},cacheUserLanguage(e,a){let{lookupSessionStorage:o}=a;o&&lm()&&window.sessionStorage.setItem(o,e)}},_1={name:"navigator",lookup(e){const a=[];if(typeof navigator<"u"){const{languages:o,userLanguage:t,language:r}=navigator;if(o)for(let i=0;i<o.length;i++)a.push(o[i]);t&&a.push(t),r&&a.push(r)}return a.length>0?a:void 0}},J1={name:"htmlTag",lookup(e){let{htmlTag:a}=e,o;const t=a||(typeof document<"u"?document.documentElement:null);return t&&typeof t.getAttribute=="function"&&(o=t.getAttribute("lang")),o}},$1={name:"path",lookup(e){var r;let{lookupFromPathIndex:a}=e;if(typeof window>"u")return;const o=window.location.pathname.match(/\/([a-zA-Z-]*)/g);return Array.isArray(o)?(r=o[typeof a=="number"?a:0])==null?void 0:r.replace("/",""):void 0}},W1={name:"subdomain",lookup(e){var r,i;let{lookupFromSubdomainIndex:a}=e;const o=typeof a=="number"?a+1:1,t=typeof window<"u"&&((i=(r=window.location)==null?void 0:r.hostname)==null?void 0:i.match(/^(\w{2,5})\.(([a-z0-9-]{1,63}\.[a-z]{2,6})|localhost)/i));if(t)return t[o]}};let Ng=!1;try{document.cookie,Ng=!0}catch{}const zg=["querystring","cookie","localStorage","sessionStorage","navigator","htmlTag"];Ng||zg.splice(1,1);const K1=()=>({order:zg,lookupQuerystring:"lng",lookupCookie:"i18next",lookupLocalStorage:"i18nextLng",lookupSessionStorage:"i18nextLng",caches:["localStorage"],excludeCacheFor:["cimode"],convertDetectedLanguage:e=>e});

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75itor Hatherly","Arte: Nathalia Parra e Fabio Messias (Zootz Comunicação)"]},{heading:"Catálogo",items:["Coordenação editorial: Fabiana Bruno, Luis Felipe Kojima Hirano e Tatiana Lotierzo","Textos e edição: Tatiana Lotierzo","Diagramação e projeto gráfico: Nathalia Parra e Fabio Messias (Zootz)"]},{heading:"Produção e difusão",items:["Guih Landim","Jennifer Nogueira","Pedro Assugeni","Tayná Almeida de Paula"]},{heading:"Identidade visual PPV",subsections:[{label:"Zootz Comunicação",items:["Concepção e criação artística: Nathalia Parra (Zootz)","Coordenação: Fabio Messias"]}]},{heading:"Vinheta e trilha original",items:["Alessandro Campos"]},{heading:"Mostra de Filmes, Fotografia e Desenho",subsections:[{label:"Seleção das obras",items:["Luis Felipe Kojima Hirano (UFG)","Fabiana Bruno (La'grima/Unicamp)","Aina Azevedo (UFPB)","Alessandro Campos (UFPA)","Daniele Borges Bezerra (UfPel)","Edgar Kanaykõ Xakriabá (independente)","Felipe Camilo (UFC)","Jose Duarte Barbosa Junior (IFRN)","Marcos Albuquerque (UERJ)","Olavo Ramalho Marques (UFRGS)","Oscar Guarin Martinez (Pontificia Universidad Javeriana – Colombia)","Patricia dos Santos Pinheiro (Unila)","Rafael Devos (UFSC)","Ralyanara Freire (Seduc-GO)","Rogerio Duarte do Pateo (UFMG)","Tatiana Lotierzo (USP)"]},{label:"Curadoria da exposição",items:["Fabiana Bruno","Luis Felipe Hirano","Tatiana Lotierzo","Óscar Guarín"]},{label:"Consultoria expográfica",items:["Glayson Arcanjo de Sampaio"]},{label:"Expografia",items:["Fabiana Bruno","Óscar Guarín","Tatiana Lotierzo","Rogerio Duarte do Pateo","José Duarte Barbosa Junior","Daniele Borges Bezerra","Ralyanara Freire"]},{label:"Produção Executiva",items:["Daniele Borges Bezerra","José Duarte Barbosa Junior","Rogerio Duarte do Pateo","Ralyanara Freire"]},{label:"Design Gráfico e Sinalização",items:["Nathalia Parra e Fabio Messias (Zootz Comunicação)"]},{label:"Montagem e iluminação",items:["Cleandro Elias Jorge"]},{label:"Projeção e Gestão dos filmes",items:["Henrique Borela"]},{label:"Revisão e tradução de textos",items:["Tatiana Lotierzo"]}]},{heading:"Realização",items:["ABA - Associação Brasileira de Antropologia","Gestão PPV 2025-2026"]},{heading:"Presidência do Prêmio Pierre Verger",items:["Luis Felipe Kojima Hirano","Fabiana Bruno"]},{heading:"Conselho Científico PPV",items:["Denise Machado Cardoso (UFPA)","Ana Paula Pereira da Gama Alves Ribeiro (UERJ)","Sylvia Caiuby Novaes (USP)","Lisabete Coradini (UFRN)","Mariano Baez Landa (CIESAS)","Claudia Turra Magni (UFpel)","Suely Kofes (Unicamp)","Daniel Schroeter Simião (UnB)","Carmen Rial (UFSC)","Faye Ginsburg (NYU)"]},{heading:"PARCEIROS",items:["Wenner-Gren Foundation","CAPES","CNPq","Embaixada da França no Brasil"]},{heading:"Diretoria da ABA",items:["Presidenta: Luciana de Oliveira Dias (UFG)","Vice-presidente: Henyo Trindade Barretto Filho (UnB)","Secretário Geral: Waldemir Rosa (UNILA)","Secretária Adjunta: Juliana de Farias Mello e Lima (UERJ)","Tesoureira Geral: Silvana de Souza Nascimento (USP)","Tesoureira Adjunta: Jacqueline Moraes Teixeira (USP)","Diretor: Antônio Hilario Aguilera Urquiza (UFMS)","Diretora: Lucybeth Camargo de Arruda (UFOPA)","Diretora: Flavia Medeiros Santos (UFSC)","Diretora: Vera Rodrigues (Unilab)"]}]},quemSomos:{metaTitle:"Quem somos — Prêmio Pierre Verger",metaDescription:"Conheça a história, o legado e a homenagem a Pierre Verger por trás do Prêmio Pierre Verger, festival bienal de filme, fotografia e desenho antropológicos promovido pela ABA.",title:"Quem somos",sections:[{heading:"Sobre o PPV",paragraphs:["O primeiro PPV foi realizado em 1996, na 20ª Reunião Brasileira de Antropologia (RBA), em Salvador, Bahia. Desde então, o Prêmio acontece a cada dois anos. A produção desse festival é de responsabilidade da Comissão Organizadora, composta por antropólogos de diversas regiões do país e do exterior, que também realizam a seleção e curadoria das obras e as encaminham a um júri independente, com membros de reconhecida atuação nacional e internacional.","Em 30 anos, o Prêmio ampliou seu escopo: inicialmente efetuado como uma mostra de Filme Etnográfico, em 2002 o PPV incorporou a modalidade de Ensaios Fotográficos, e em 2022, a de desenho. Em 2026, abrimos a categoria Experimentação Fotográfica, e a modalidade Desenho passou a incluir outras grafias.","Desde 2022, abraçando o compromisso com uma sociedade mais democrática e inclusiva, adotamos políticas de ação afirmativa, que hoje consistem na reserva de 20% das obras realizadas de antropólogxs negras/os, indígenas, trans e/ou com deficiência.","Desde 2012, o Prêmio também inclui as Mostras Itinerantes, realizadas entre as reuniÃ

75µes bianuais da ABA, ampliando a circulação do festival por meio de exibições, exposições e debates em universidades, centros de pesquisa e espaços culturais no Brasil e no exterior. A itinerância contribui para a difusão do conhecimento antropológico e para o fortalecimento do debate sobre a antropologia com imagens e sons em diferentes contextos.","A celebração do aniversário do Prêmio Pierre Verger e seu processo de internacionalização contam com o apoio fundamental da Wenner-Gren Foundation, Capes, CNPq e Embaixada da França no Brasil, aos quais expressamos nossos sinceros agradecimentos."]},{heading:"Quem foi Pierre Verger e a origem do Prêmio",paragraphs:["O nome do Prêmio é uma homenagem ao fotógrafo, etnólogo e babalaô francês radicado no Brasil Pierre Verger, cuja trajetória intelectual e sensível marcou profundamente a antropologia visual no Brasil. A primeira edição do PPV ocorreu em 1996, ano de falecimento do etnólogo, que viveu na Bahia por mais de cinco décadas.","As fotografias e a pesquisa de Pierre Verger acentuam as múltiplas conexões entre a Bahia e a África Ocidental. Sua obra destaca o trânsito contínuo de pessoas, práticas, saberes e cosmologias entre esses territórios, contribuindo de forma singular para a compreensão das diásporas africanas e de suas expressões culturais.",{before:"O legado de Verger é amplamente reconhecido tanto no campo antropológico quanto no artístico. Com um acervo que reúne mais de 60 mil fotografias, hoje preservado pela ",text:"Fundação Pierre Verger",href:"https://pierreverger.org",after:", em Salvador, a produção permanece como referência incontornável para pesquisadores, artistas e para todos aqueles interessados nas relações entre imagem, cultura e memória."}]},{heading:"Legado do Prêmio Pierre Verger",paragraphs:["As obras premiadas no festival são hoje reconhecidas pela excelência técnica e conceitual na difusão do conhecimento antropológico. Enraizadas no interior da comunidade antropológica, essas produções alcançam públicos mais amplos e diversificados. As pessoas realizadoras incluem pessoas pesquisadoras, cineastas, fotógrafas e artistas amplamente reconhecidos nos cenários nacional e internacional.","Documentários premiados passaram a integrar a programação de importantes mostras de fotografias e festivais internacionais de cinema etnográfico e documental, como o Bilan du Film Ethnographique do Musée de l'Homme, em Paris, as Rencontres des Cinémas du Monde Noir, também em Paris, a Mostra Internacional do Filme Etnográfico, no Rio de Janeiro, o festival Tudo é Verdade, em São Paulo, a mostra paralela de documentários do Festival de Cannes, em Cannes, o Festival de Cine y Vídeo Documental, em Córdoba, na Argentina, e o Rio Cine Festival, no Rio de Janeiro.","Esse percurso evidencia não apenas a qualidade das obras premiadas, mas também o papel central do Prêmio Pierre Verger na circulação internacional da produção antropológica brasileira e latino-americana, fortalecendo redes de intercâmbio e ampliando o alcance público da disciplina."]}]},historico:{metaTitle:"Linha do Tempo — Prêmio Pierre Verger",metaDescription:"Linha do tempo do Prêmio Pierre Verger: marcos institucionais, internacionalização e expansão de categorias de 1996 a 2026.",title:"Linha do Tempo",timeline:[{year:"1996",items:["Criação do Prêmio Pierre Verger e 1ª mostra de filme etnográfico organizada na RBA, em Salvador, Bahia."]},{year:"2004–2019",items:["Início da internacionalização, com o apoio da Embaixada da França no Brasil."]},{year:"2018",items:["O PPV torna-se um pré-evento, na 31ª RBA, em Brasília. Criação de um espaço de debates com pessoas realizadoras, pesquisadoras e o público."]},{year:"2022",items:["Ampliação institucional e de linguagens","A Wenner-Gren Foundation torna-se apoiadora do PPV.","Criação da categoria Desenho e 1ª mostra de Desenho etnográfico."]},{year:"2024",items:["1ª premiação da categoria Desenho."]},{year:"2026",items:["Expansão e novas categorias","Criação da categoria de Experimentação Fotográfica.","Ampliação de Desenho para incorporar outras grafias."]}]},memoria:{metaTitle:"Premiados — Prêmio Pierre Verger",metaDescription:"Obras premiadas e c

75omposição do júri em cada edição do Prêmio Pierre Verger, de 1996 a 2024.",title:"Premiados",juryLabel:"Júri"},nossasArtes:{metaTitle:"Artes — Prêmio Pierre Verger",metaDescription:"Artes: a concepção visual do PPV inspirada no Cerrado e o troféu de cerâmica assinado por Nei Xakriabá.",title:"Artes",heading1:"Criação visual: o Cerrado, do rio à raiz",p1:"Em consonância com as efemérides deste ano e com a 35ª RBA, a concepção visual do PPV para o catálogo, o site e as mostras expressa os rizomas e raízes profundas do cerrado brasileiro. Esse bioma é como uma floresta invertida, na qual as águas deslizam formando territórios existenciais variados.",p2_before:"Criada por Nathalia Parra, em parceria com Fabio Messias, da ",p2_link:"Zootz Comunicação",p2_after:", a concepção visual foi feita manualmente com plantas, raízes e rizomas sobre o papel, para depois ganhar versão digital. O desenho partiu de técnicas de carimbo e frotagem, um tipo de decalque no qual pigmentos são friccionados por cima dos materiais. Essa costura entre linhas, radículas e cores vibrantes expressa bem a irradiação do filme, fotografia e desenho no fazer antropológico nesses 30 anos de PPV e como modos de habitar outros mundos.",fig1Alt:"Composição em frotagem de raízes e rizomas do Cerrado, criada por Fabio Messias e Nathalia Parra",fig1Caption:"Frotagens manuais de raízes e rizomas — base da concepção visual do PPV 2026.",heading2:"O troféu",p3:"Em 2026, o PPV concede aos ganhadores do 1º lugar uma escultura de cerâmica assinada por Nei Xakriabá. Nascido n

75a Terra Indígena Xakriabá, no município de Itacarambi (MG), Nei é filho da ceramista dona Dalzira, sua primeira mestra, com quem aprendeu a modelar as primeiras formas de argila. Além de pesquisador e ceramista, é professor indígena de Arte e Cultura Xakriabá na escola Xukurank e mestre em artes pela EBA/UFMG.",fig2Alt:"Quatro esculturas de cerâmica de Nei Xakriabá em formas de animais — tatu, ave de pescoço longo, onça e gavião",fig2Caption:"Esculturas de cerâmica assinadas por Nei Xakriabá — troféus do PPV 2026.",quote:"“Como a terra é mãe, o barro também tem um parentesco com o nosso povo. Segundo dizem os mais velhos, o barro é um parente ancestral, pois traz em seus elementos as forças dos antepassados. O barro sente vibrações, escuta, conecta e se desconecta do próprio corpo do artista. Na verdade, é o barro quem conduz o trabalho do artista durante a modelagem.”",p4_before:"Leia a ",p4_link1:"dissertação de Nei Xakriabá",p4_middle:" e a ",p4_link2:"entrevista do artista a Camila Fróis",p4_after:"."},comissaoOrganizadora:{metaTitle:"Comissão Organizadora — PPV",metaDescription:"Comissão organizadora do Prêmio Pierre Verger.",title:"Comissão Organizadora",sectionPresidencia:"Presidência",sectionComissao:"Comissão",sectionProducao:"Produção e Difusão"},convidados:{metaTitle:"Convidadas — PPV",metaDescription:"Pessoas convidadas e participações especiais do Prêmio Pierre Verger.",title:"Convidadas"},juriOficial:{metaTitle:"Júri Oficial — PPV",metaDescription:"J

75úri oficial do Prêmio Pierre Verger.",title:"Júri Oficial"},filmeDetalhe:{metaTitleSuffix:" — PPV",notFoundMetaTitle:"Filme não encontrado — PPV",notFoundMetaDescription:"Obra não encontrada no catálogo do Prêmio Pierre Verger.",notFoundHeading:"Filme não encontrado",notFoundText:"A obra que você procura não está no catálogo.",backToCatalog:"Voltar ao catálogo"},ensaioDetalhe:{notFoundMetaTitle:"Ensaio não encontrado — PPV",notFoundMetaDescription:"Ensaio não encontrado no catálogo do Prêmio Pierre Verger.",notFoundHeading:"Ensaio não encontrado",notFoundText:"O ensaio que você procura não está no catálogo.",backToCatalog:"Voltar para Ensaios"},desenhoDetalhe:{notFoundMetaTitle:"Obra não encontrada — PPV",notFoundMetaDescription:"Obra não encontrada no catálogo do Prêmio Pierre Verger.",notFoundHeading:"Obra não encontrada",notFoundText:"A obra que você procura não está no catálogo.",backToCatalog:"Voltar para Desenho"},experimentacaoDetalhe:{notFoundMetaTitle:"Obra não encontrada — PPV",notFoundMetaDescription:"Obra não encontrada no catálogo de Experimentação Fotográfica do Prêmio Pierre Verger.",notFoundHeading:"Obra não encontrada",notFoundText:"A obra que você procura não está no catálogo.",backToCatalog:"Voltar para Experimentação Fotográfica"},filmeEtnografico:{metaTitle:"Filme Etnográfico — PPV",metaDescription:"Catálogo 2026 de filmes etnográficos do Prêmio Pierre Verger, agrupados por categoria."},ensaiosFotograficos:{metaTitle:"Ensaios Fotográficos — PPV",metaDescription:"Catálogo 2026 de ensaios fotográficos do Prêmio Pierre Verger — narrativas visuais entre fotografia e antropologia."},desenhosIndex:{metaTitle:"Desenhos e Outras Grafias — PPV",metaDescription:"Catálogo 2026 de Desenhos e Outras Grafias do Prêmio Pierre Verger — gravuras, livros de artista, quadrinhos, colagens e bordados."},experimentacaoIndex:{metaTitle:"Experimentação Fotográfica — PPV",metaDescription:"Catálogo 2026 da categoria Experimentação Fotográfica do Prêmio Pierre Verger — pesquisas que tensionam linguagens e arquivos da fotografia em diálogo com a antropologia."},premiadas:{metaTitle:"Premiadas 2026 — PPV",metaDescription:"Obras e autorias premiadas na edição de 30 anos do Prêmio Pierre Verger (2026), nas categorias de Filme Etnográfico, Ensaios Fotográficos, Experimentação Fotográfica e Desenho.",title:"Premiadas"}},rk={films:{title:"Filme Etnográfico"},essays:{title:"Ensaios Fotográficos",selectedHeading:"Ensaios selecionados"},drawings:{title:"Desenho e Outras Grafias",selectedHeading:"Obras selecionadas"},experiments:{title:"Experimentação Fotográfica",selectedHeading:"Obras selecionadas"}},ik={common:{summary:"Resumo",credits:"Ficha técnica",direction:"Direção",author:"Autor",authors:"Autoria",gallery:"Galeria",prev:"Anterior",next:"Próximo",and:" e "},essays:{badge:"Ensaios Fotográficos",galleryHeading:"Imagens do ensaio",imageAlt:"{{title}} — imagem {{n}}"},drawings:{badge:"Desenhos e Outras Grafias",aboutAuthorship:"Sobre a autoria",imageAlt:"{{title}} — imagem {{n}}"},experiments:{badge:"Experimentação Fotográfica",videoFallback:"Seu navegador não suporta vídeo.",galleryHeading:"Imagens do experimento",imageAlt:"{{title}} — imagem {{n}}"}},nk={gallery:{close:"Fechar",previous:"Imagem anterior",next:"Próxima imagem",imageAlt:"Imagem {{n}}"},translateBanner:{message:"This page is also available in English",cta:"View in English",dismiss:"Dismiss"},peoplePage:{sectionLabel:"Seção"},ppvPage:{tagline:"imagem pesquisa cultura",card1:"Conteúdo institucional em preparação",card2:"Informações oficiais serão publicadas aqui",cta:"Ver programação"},awardBadge:{label:"Premiada 2026",placements:{first:"1º lugar",second:"2º lugar",third:"3º lugar",honorable:"Menção honrosa"},categories:{filme:"Filme Etnográfico",ensaio:"Ensaios Fotográficos",experimentacao:"Experimentação Fotográfica",desenho:"Desenho e outras grafias"},subcategories:{longa:"Longa-metragem",media:"Média-metragem",curta:"Curta-metragem"}}},sk={nav:Q1,languageSwitcher:X1,common:Y1,filmCategories:Z1,home:ek,meta:ak,footer:ok,pages:tk,catalog:rk,detail:ik,components:nk},lk={about:"About Us",ourArts:"Arts",prizes:"Prizes",previousEditions:"Previous Editions",menu:"Menu",homeAria:"Pierre Verger Award home page",logoAlt:"Pierre Verger Award — 30 years",mainMenu:"Main menu",mobileMenu:"Mobile menu",items:{"quem-somos":"About Us",historico:"Timeline","memoria-do-premio":"History",expediente:"Our Team","nossas-artes":"Arts","comissao-organizadora":"Organizing Committee","juri-oficial":"Official Jury",convidados:"Guests",programacao:"Program","filme-etnografico":"Ethnographic Film","ensaios-fotograficos":"Photographic Essays",experimentacao:"Photographic Experimentation",desenhos:"Drawing & Graphism",catalogo:"Catalog",premiadas:"Award Winners"}},dk={label:"Language",pt:"PT",en:"EN"},uk={heroAlt:"Pierre Verger Award 30 years — film, photography and drawing. July 9–13, 2026, Goiânia – Goiás",presentationLabel:"Presentation",presentationTitle:"Celebrating 30 years of the Pierre Verger Award ",p1_part1:"The Pierre Verger Award (PPV), organized by the ",abaLink:"Brazilian Anthropological Association (ABA)",p1_part2:", celebrates its 30th anniversary in 2026 as one of the most important competitive festivals dedicated to anthropological film, photography and drawing. The festival recognizes productions that engage with questions fundamental to the field and contribute to strengthening public anthropology. The PPV exhibitions explore, document and problematize contexts and experiences that shape life within and across worlds populated, inhabited and shared by a wide range of beings, expanding the ways anthropology produces and circulates knowledge. Over the past three decades, the Award has consolidated its position as an international showcase, receiving submissions and guests from countries such as Colombia, Chile, Ecuador, Argentina, Peru, Guatemala, Mexico, Spain, Portugal, the United Kingdom, the United States and France.",p2:"We will celebrate the anniversary of PPV from July 9 to 17, 2026, in the city of Goiânia, Brasil, during the 35th Brazilian Anthropology Meeting. The 16th Ethnographic Film Exhibition, 13th Photography Exhibition, and 3rd Drawing Exhibition will feature 26 f

75ilms, 16 photographic works, and 12 drawings and graphic arts compositions.",p3_part1:"Our 30th-anniversary edition marks important transformations: PPV opens space for the new category of ",p3_experimentation:"Photographic Experimentation",p3_part2:", reflecting the diversity of languages and research practices that characterize contemporary anthropology, and expands the ",p3_drawing:"Drawing & Graphism",p3_part3:" category to encompass explorations of graphism (graphein, grafia) and other modes of graphic experimentation.",p4_part1:"You are invited to celebrate these three decades with the ",p4_conferences:"lectures",p4_part2:" by Dénètem Touam Bona, Divino Tserewahú, Amalia Córdova, Vincent Carelli, Jorge Panchoaga and three ",sertaoNegro:"Sertão Negro",p4_part3:" artists: Òkun, Lucélia Maciel and Genor Sales. The program will also include commemorative panels highlighting major milestones in anthropological audiovisual production, such as the 40th anniversary of ",videoNasAldeias:"Vídeo nas Aldeias",p4_part4:" and the 30th anniversary of ",forumdoc:"Fórumdoc.bh",p4_part5:".",p5:"The celebration of the Pierre Verger Award's anniversary and its process of internationalization is made possible through the essential support of the Wenner-Gren Foundation, Capes, Cnpq and La France au Brésil, to whom we extend our sincere gratitude."},ck={homeTitle:"Pierre Verger Award — ABA",homeDescription:"Competitive festival of film, photography and graphic works in anthropological research across Latin America."},mk={realization:"Organized by",sponsorship:"PARTNERS",culturalSupport:"CULTURAL PARTNERS",realizationAlt:"Organized by: ABA and PPV Committee 2025–2026",sponsorshipAlt:"PARTNERS: Wenner-Gren Foundation, CAPES and CNPq",culturalSupportAlt:"Cultural support: partner institutions",developedBy:"Developed by Heitor Hatherly"},pk={home:"Home",back:"Back",section:"Section",prizes:"Prizes",category:"Category",ppvName:"Pierre Verger Award"},hk={"Curta-Metragem":"Short Film","Média-Metragem":"Medium-Length Film","Longa-Metragem":"Feature Film"},gk={notFound:{metaTitle:"Page not found — PPV",metaDescription:"Page not found.",heading:"Page not found",description:"The page you are looking for does not exist or has been moved.",back:"Back to home"},thirtyYears:{metaTitle:"30 years of the Pierre Verger Award — July 9–17, 2026, Goiânia",metaDescription:"The Pierre Verger Award (PPV) celebrates 30 years in 2026 as one of the most important competitive festivals dedicated to anthropological film, photography and drawing, from July 9 to 17 in Goiânia.",title:"The Pierre Verger Award turns 30",paragraphs:["The Pierre Verger Award (PPV), organized by the Brazilian Anthropological Association (ABA), celebrates 30 years in 2026 as one of the most important competitive festivals dedicated to anthropological film, photography and drawing. The festival recognizes productions that engage with questions fundamental to the field and contribute to the strengthening of public anthropology. The PPV exhibitions explore, document and problematize contexts and experiences that mark existence in and among worlds populated, inhabited and shared by a vast range of beings, expanding the ways anthropology produces and circulates knowledge. Over these 30 years, the Award has consolidated itself as an international showcase, receiving entries from countries such as Colombia, Chile, Argentina, Peru, Guatemala, Mexico, Spain, Portugal, the United Kingdom, the United States and France.","The PPV anniversary will be celebrated from July 9 to 17, 2026, in Goiânia, during the 35th Brazilian Anthropology Meeting. In the 16th Ethnographic Film Exhibition, 13th Photography Exhibition and 3rd Drawing Exhibition, 26 films, 16 photographic works and 12 compositions of drawings and other graphics are competing.","Our 30th-anniversary edition introduces important developments: PPV opens space for the Photographic Experimentation category, following the diversity of languages that traverse contemporary anthropology, and expands the Drawing category to encompass different graphic forms.","You are invited to celebrate our three decades through the lectures of Divino Tserewahú, Amáli

75a Córdova, Vincent Carelli, Jorge Panchoaga and three artists from Coletivo Sertão Negro: Òkun, Lucélia Maciel and Genor Sales. We will also have a special program with commemorative panels that dialogue with major milestones of anthropological audiovisual production, such as the 40 years of Vídeo nas Aldeias and the 30 years of Fórum.doc. Explore the program and join us!"]},catalogo:{metaTitle:"Catalog — PPV 2026",metaDescription:"Download the official Pierre Verger Award 2026 catalog in English.",title:"Catalog",subtitle:"Download the official PPV 2026 catalog as a PDF.",languagePt:"Português",languageEn:"English",coverAltPt:"PPV 2026 catalog cover (Portuguese)",coverAltEn:"PPV 2026 catalog cover (English)",downloadCta:"Download PDF"},programacao:{metaTitle:"Program — PPV 2026",metaDescription:"Full program of the Pierre Verger Award 2026: film sessions, lectures, panels and award ceremony between July 8 and 13.",title:"2026 Program",freeNotice:"Free event. No registration required.",addressLabel:"Address",addressVenue:"CAUD / National Museum of Indigenous Peoples",addressDetails:"Alameda Leopoldo de Bulhões, s/nº, Q. 3, Lt. 1/4, Setor Pedro Ludovico",labels:{table:"Panel: ",participants:"Participants: ",mediation:"Moderator: ",liveStream:"Watch live stream"},schedule:[{weekday:"Wednesday",date:"07/08",venue:"Virtual format",activities:[{time:"4pm",title:"A conversation with Dénètem Touam Bona",subtitle:"In search of a chimeric body",mediation:"Tatiana Lotierzo",link:"https://www.youtube.com/live/LS-Sp2TwpPY"}]},{weekday:"Thursday",date:"07/09",venue:"Samambaia Campus",activities:[{time:"10am",title:"PPV Opening Panel",participants:"Luis Felipe Hirano, Fabiana Bruno, Luciana de Oliveira Dias",location:"UFG Central Library Auditorium — Samambaia Campus",locationKey:"biblio"},{time:"11am",title:"Opening of the Photography and Drawing Exhibition",participants:"Fabiana Bruno, Tatiana Lotierzo, Óscar Guarin",location:"FAV-UFG Gallery — Samambaia Campus",locationKey:"galeria"},{time:"2pm–5pm",title:"Lecture: Divino Tserewahú",subtitle:"My soul is the lens: cinema as a bridge between generations",mediation:"Edgar Xakriabá and Luis Felipe Hirano",location:"UFG Central Library — Samambaia Campus",locationKey:"biblio"},{time:"6pm",title:"Coffee Break"},{time:"7pm",title:"Screening 1",films:["Mishki Chullumbu","Feridas na Terra","Os Ursos e Nós","Narrativas berlinenses, percursos etnográficos"],mediation:"Daniele Borges",location:"CAUD / National Museum of Indigenous Peoples",locationKey:"caud"}]},{weekday:"Friday",date:"07/10",venue:"CAUD / National Museum of Indigenous Peoples",activities:[{time:"10am–12pm",title:"Screening 2",films:["A instituição sou eu","Raízes: histórias da Favela do Esqueleto","Transcendendo Fronteiras"],mediation:"Marcos Albuquerque"},{time:"12pm",title:"Lunch"},{time:"2pm–5pm",title:"Screening 3",films:["Navegantes","A Estrela do Oriente visita o Reino Treze de Maio","Kunuuka","Haukanünu Nãu Iyayakapiri — O que dizem as mães"],mediation:"Olavo Marques"},{time:"6pm",title:"Coffee Break"},{time:"7pm",title:"Lecture: Amalia Cordova",subtitle:"Cinemas of living territories: Indigenous media of Abya Yala",mediation:"Luis Felipe Hirano"}]},{weekday:"Saturday",date:"07/11",venue:"CAUD / National Museum of Indigenous Peoples",activities:[{time:"10am–12pm",title:"Screening 4",films:["Espectros","Fronteiriças"],mediation:"Rafael Devos"},{time:"12pm",title:"Lunch"},{time:"2pm–5pm",title:"Screening 5",films:["Drags in da' House","Cocos Proibidos","Zeza do Coco — Raízes do Quilombo","Até Onde a Vista Alcança","Entre Rios e Aldeias: a vida no Alto Xingu"],mediation:"Patricia Pinheiro"},{time:"6pm",title:"Coffee Break"},{time:"7pm",title:"Lecture: Jorge Panchoaga",subtitle:"Photography, imagination and the fire of memory",mediation:"Fabiana Bruno"}]},{weekday:"Sunday",date:"07/12",venue:"CAUD / National Museum of Indigenous Peoples",activities:[{time:"10am–12pm",title:"Screening 6",films:["Aventuras de Makunáima — histórias encantadas da Amazônia","Overloque"],mediation:"Alessandro Campos"},{time:"12pm",title:"Lunch"},{time:"2pm–5pm",title:"Screening 7",films:["Envém Vissungo!","Fé, Amor e Sacrifício: Conexão e movimento","Madrugada","Maria Fogo","Pretinhas do Arapemã","Os Afro-Sambas, o Brasil de Baden e Vinicius"],mediation:"Rafael Devos"},{time:"6pm",title:"Coffee Break"},{time:"6:30pm",title:"Special Tribute to 40 years of Vídeo nas Aldeias",subtitle:"Special screening of the film Arquivo Vivo",mesa:"Vincent Carelli, Amáli

75a Cordova and Divino Tserewahú",mediation:"Alessandro Campos"}]},{weekday:"Monday",date:"07/13",venue:"Samambaia Campus",activities:[{time:"10am",title:"Jury deliberation"},{time:"10am",title:"Guided tour of the Photography and Drawing Exhibition",participants:"Rogério Do Pateo, José Duarte, Ralyanara Freire, Aina Azevedo, Daniele Borges",location:"FAV-UFG Gallery — Samambaia Campus",locationKey:"galeria"},{time:"11am–1pm",title:"Lecture: Experiences from Sertão Negro: between artistic trajectories and collective practices",participants:"Òkun, Genor Sales, Lucélia Maciel",location:"Central Library Auditorium",locationKey:"biblio"},{time:"3pm and 5pm",title:"PPV Award Ceremony",location:"UFG Central Library Auditorium — Samambaia Campus",locationKey:"biblio"}]}]},expediente:{metaTitle:"Our Team — Pierre Verger Award",metaDescription:"Our Team of the Pierre Verger Award: production, curatorial and jury teams, visual identity, organization, and ABA board.",title:"Our Team",sections:[{heading:"Website",items:["Editorial coordination: Fabiana Bruno, Luis Felipe Kojima Hirano and Tatiana Lotierzo","Web management: Alessandro Ricardo Campos","Writing and editing: Tatiana Lotierzo","Web designer: Heitor Hatherly","Art: Nathalia Parra and Fabio Messias (Zootz Comunicação)"]},{heading:"Catalog",items:["Editorial coordination: Fabiana Bruno, Luis Felipe Kojima Hirano and Tatiana Lotierzo","Writing, editing and translation: Tatiana Lotierzo","Layout and graphic design: Nathalia Parra and Fabio Messias (Zootz)"]},{heading:"Production and communications",items:["Guih Landim","Jennifer Nogueira","Pedro Assugeni","Tayná Almeida de Paula"]},{heading:"PPV Visual Identity",subsections:[{label:"Zootz Comunicação",items:["Concept and artistic creation: Nathalia Parra (Zootz)","Coordination: Fabio Messias"]}]},{heading:"Vignette and original soundtrack",items:["Alessandro Campos"]},{heading:"Film, Photography and Drawing Exhibitions",subsections:[{label:"Selection of works",items:["Luis Felipe Kojima Hirano (UFG)","Fabiana Bruno (La'grima/Unicamp)","Aina Azevedo (UFPB)","Alessandro Campos (UFPA)","Daniele Borges Bezerra (UfPel)","Edgar Kanaykõ Xakriabá (independent)","Felipe Camilo (UFC)","Jose Duarte Barbosa Junior (IFRN)","Marcos Albuquerque (UERJ)","Olavo Ramalho Marques (UFRGS)","Oscar Guarin Martinez (Pontificia Universidad Javeriana – Colombia)","Patricia dos Santos Pinheiro (Unila)","Rafael Devos (UFSC)","Ralyanara Freire (Seduc-GO)","Rogerio Duarte do Pateo (UFMG)","Tatiana Lotierzo (USP)"]},{label:"Curators of the exhibition",items:["Fabiana Bruno","Luis Felipe Hirano","Tatiana Lotierzo","Óscar Guarín"]},{label:"Exhibition design consultancy",items:["Glayson Arcanjo de Sampaio"]},{label:"Exhibition design",items:["Fabiana Bruno","Óscar Guarín","Tatiana Lotierzo","Rogerio Duarte do Pateo","José Duarte Barbosa Junior","Daniele Borges Bezerra","Ralyanara Freire"]},{label:"Executive Production",items:["Daniele Borges Bezerra","José Duarte Barbosa Junior","Rogerio Duarte do Pateo","Ralyanara Freire"]},{label:"Graphic Design and Signage",items:["Nathalia Parra and Fabio Messias (Zootz Comunicação)"]},{label:"Setup and lighting",items:["Cleandro Elias Jorge"]},{label:"Film projection and management",items:["Henrique Borela"]},{label:"Text revision and translation",items:["Tatiana Lotierzo"]}]},{heading:"Organized by",items:["ABA — Brazilian Anthropological Association","PPV Committee 2025–2026"]},{heading:"Pierre Verger Award Presidency 2025–2026",items:["Luis Felipe Kojima Hirano","Fabiana Bruno"]},{heading:"PPV Scientific Council",items:["Denise Machado Cardoso (UFPA)","Ana Paula Pereira da Gama Alves Ribeiro (UERJ)","Sylvia Caiuby Novaes (USP)","Lisabete Coradini (UFRN)","Mariano Baez Landa (CIESAS)","Claudia Turra Magni (UFpel)","Suely Kofes (Unicamp)","Daniel Schroeter Simião (UnB)","Carmen Rial (UFSC)","Faye Ginsburg (NYU)"]},{heading:"PARTNERS",items:["Wenner-Gren Foundation","CAPES","CNPq","French Embassy in Brazil"]},{heading:"ABA Board",items:["President: Luciana de Oliveira Dias (UFG)","Vice-president: Henyo Tr

75indade Barretto Filho (UnB)","General Secretary: Waldemir Rosa (UNILA)","Deputy Secretary: Juliana de Farias Mello e Lima (UERJ)","General Treasurer: Silvana de Souza Nascimento (USP)","Deputy Treasurer: Jacqueline Moraes Teixeira (USP)","Director: Antônio Hilario Aguilera Urquiza (UFMS)","Director: Lucybeth Camargo de Arruda (UFOPA)","Director: Flavia Medeiros Santos (UFSC)","Director: Vera Rodrigues (Unilab)"]}]},quemSomos:{metaTitle:"About Us — Pierre Verger Award",metaDescription:"Discover the history, legacy and tribute to Pierre Verger behind the Pierre Verger Award, a biennial festival of anthropological film, photography and drawing organized by ABA.",title:"About Us",sections:[{heading:"About PPV",paragraphs:["The first PPV took place in 1996, during the 20th Brazilian Anthropology Meeting (RBA) in Salvador, Bahia. Since then, the Award has been held biennially. The festival is organized by a Committee of anthropologists from across Brazil and abroad. The Organizing Committee oversees the selection and curatorship of works and submits the chosen works to an independent jury composed of distinguished scholars and professionals of national and international standing.","Over its 30-year history, the Award has continually expanded its scope: originally conceived as an Ethnographic Film Exhibition, PPV incorporated the Photographic Essays category in 2002, and the Drawing category in 2022. In 2026, the Award enters a new phase with the introduction of the Photographic Experimentation category, while the Drawing category broadens its reach to include other graphic forms of expression.","The Award has adopted affirmative-action policies since 2022, reaffirming our commitment to a more democratic and inclusive society. Currently, 20% of the selected works are reserved for Black, Indigenous, trans, and/or disabled authorships.","Since 2012, the Award has also promoted Traveling Exhibitions between the biennial meetings of the Brazilian Anthropological Association (ABA), expanding the circulation of the festival through screenings, exhibitions, and debates at universities, research centers, and cultural institutions in Brazil and abroad. This traveling program contributes to the dissemination of anthropological knowledge and fosters dialogue on anthropology through images and sounds across diverse contexts.","The celebration of the Pierre Verger Award's 30th anniversary and its ongoing process of internationalization have been made possible through the invaluable support of the Wenner-Gren Foundation, CAPES, CNPq, and La France au Brésil, to whom we extend our sincere gratitude."]},{heading:"Who was Pierre Verger and the origin of the Award",paragraphs:["The Award is named in tribute to the French photographer, ethnologist and babalaô based in Brazil, Pierre Verger, whose intellectual and sensitive trajectory deeply shaped visual anthropology in Brazil. The first edition of PPV took place in 1996, the year the ethnologist passed away, after living in Bahia for more than five decades.","Pierre Verger's photographs and research highlight the multiple connections between Bahia and West Africa. His work foregrounds the ongoing flow of people, practices, knowledge and cosmologies between these territories, contributing in a singular way to the understanding of African diasporas and their cultural expressions.",{before:"Verger's legacy is widely recognized in both the anthropological and artistic fields. With an archive of more than 60,000 photographs, today preserved by the ",text:"Pierre Verger Foundation",href:"https://pierreverger.org",after:" in Salvador, his production remains an essential reference for researchers, artists and anyone interested in the relationships between image, culture and memory."}]},{heading:"Legacy of the Pierre Verger Award",paragraphs:["The works awarded at the festival are now recognized for their technical and conceptual excellence in disseminating anthropological knowledge. Rooted within the anthropological community, these productions reach broader and more diverse audiences. Their creators include researchers, filmmakers, p

75hotographers and artists widely recognized on the national and international scene.","Award-winning documentaries have gone on to feature in the program of major photography exhibitions and international ethnographic and documentary film festivals, such as the Bilan du Film Ethnographique at the Musée de l'Homme in Paris, the Rencontres des Cinémas du Monde Noir, also in Paris, the International Ethnographic Film Exhibition in Rio de Janeiro, the Tudo é Verdade festival in São Paulo, the parallel documentary program of the Cannes Film Festival, the Festival de Cine y Vídeo Documental in Córdoba, Argentina, and the Rio Cine Festival in Rio de Janeiro.","This trajectory highlights not only the quality of the awarded works, but also the central role of the Pierre Verger Award in the international circulation of Brazilian and Latin American anthropological production, strengthening exchange networks and broadening the public reach of the discipline."]}]},historico:{metaTitle:"Timeline — Pierre Verger Award",metaDescription:"Timeline of the Pierre Verger Award: institutional milestones, internationalization and expansion of categories from 1996 to 2026.",title:"Timeline",timeline:[{year:"1996",items:["Creation of the Pierre Verger Award. The 1st Ethnographic Film Exhibition is held during the Brazilian Anthropology Meeting (RBA) in Salvador, Bahia."]},{year:"2004",items:["Beginning of the internationalization process, with support from La France au Brésil."]},{year:"2018",items:["PPV becomes an official pre-event of the 31st RBA in Brasília. Launch of the first panels with filmmakers and researchers, alongside open conversations with audiences."]},{year:"2022",items:["Institutional and language expansion.","The Wenner-Gren Foundation becomes a PPV supporter.","Creation of the Drawing category and the 1st Ethnographic Drawing exhibition."]},{year:"2024",items:["The Drawing category receives its 1st awards."]},{year:"2026",items:["Expansion and new categories.","Creation of the Photographic Experimentation category.","Expansion of the Drawing category to include graphism and other modes of graphic experimentation."]}]},memoria:{metaTitle:"History — Pierre Verger Award",metaDescription:"Awarded works and jury composition in each edition of the Pierre Verger Award, from 1996 to 2024.",title:"History",juryLabel:"Jury"},nossasArtes:{metaTitle:"Arts — Pierre Verger Award",metaDescription:"Arts: the visual concept of PPV inspired by the Cerrado, and the ceramic trophy signed by Nei Xakriabá.",title:"Arts",heading1:"Visual creation: the Cerrado, from river to root",p1:"In line with this year's milestones and the 35th Brazilian Anthropology Meeting (RBA), the visual concept developed for the PPV catalog, website and exhibition evokes the rhizomes and deep roots of the Brazilian Cerrado. This biome resembles an inverted forest, where waters run beneath the surface shaping myriad existential territories.",p2_before:"The visual identity was created by Nathalia Parra, in partnership with Fabio Messias from ",p2_link:"Zootz Comunicação",p2_after:", using plants, roots and rhizomes transferred onto paper and later transformed into a digital composition. The process began with the imprinting of the roots, plants and rhizomes through stamping and frottage techniques — a form of rubbing in which pigments are pressed over the materials to reveal their textures and contours. The weaving of lines, rootlets and vibrant colors evokes the radiance and circulation of film, photography and drawing within anthropological practice over the past 30 years of PPV, while also suggesting other ways of inhabiting and relating to worlds.",fig1Alt:"Frottage composition of Cerrado roots and rhizomes, created by Fabio Messias and Nathalia Parra",fig1Caption:"Hand-made frottages of roots and rhizomes, which served as the basis for the PPV 2026 visual concept.",heading2:"The trophy",p3:"In 2026, PPV awards its first-place winners with ceramic sculptures created by Nei Xakriabá. Born in the Xakriabá Indigenous Territory, in the municipality of Itacarambi (Minas Gerais), Nei is the son of the ceramist Dona Dalzira, his first teacher, with whom he learned to shape his first clay forms. In addition to being a researcher and ceramist, he teaches Xakriabá Art and Culture at the Xukurank school and holds a master's degree in Arts from the School of Fine Arts of the Universidade Federal de Minas Gerais.",fig2Alt:"Four ceramic sculptures by Nei Xakriabá shaped as animals — armadillo, long-necked bird, jaguar and hawk",fig2Caption:"Ceramic sculptures signed by Nei Xakriabá, awarded as the PPV 2026 trophies.",quote:"“As the earth is our mother, clay also shares kinship with our people. According to the elders, clay is an ancestral relative, for it carries within it the forces of our ancestors. Clay feels vibrations, listens, connects and disconnects from the artist's own body. 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131 * @license lucide-react v0.462.0 - ISC
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133 * This source code is licensed under the ISC license.
134 * See the LICENSE file in the root directory of this source tree.
135 */const Bg=he("Clock",[["circle",{cx:"12",cy:"12",r:"10",key:"1mglay"}],["polyline",{points:"12 6 12 12 16 14",key:"68esgv"}]]);/**
136 * @license lucide-react v0.462.0 - ISC
137 *
138 * This source code is licensed under the ISC license.
139 * See the LICENSE file in the root directory of this source tree.
140 */const Ik=he("Download",[["path",{d:"M21 15v4a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2v-4",key:"ih7n3h"}],["polyline",{points:"7 10 12 15 17 10",key:"2ggqvy"}],["line",{x1:"12",x2:"12",y1:"15",y2:"3",key:"1vk2je"}]]);/**
141 * @license lucide-react v0.462.0 - ISC
142 *
143 * This source code is licensed under the ISC license.
144 * See the LICENSE file in the root directory of this source tree.
145 */const Lk=he("ExternalLink",[["path",{d:"M15 3h6v6",key:"1q9fwt"}],["path",{d:"M10 14 21 3",key:"gplh6r"}],["path",{d:"M18 13v6a2 2 0 0 1-2 2H5a2 2 0 0 1-2-2V8a2 2 0 0 1 2-2h6",key:"a6xqqp"}]]);/**
146 * @license lucide-react v0.462.0 - ISC
147 *
148 * This source code is licensed under the ISC license.
149 * See the LICENSE file in the root directory of this source tree.
150 */const Wl=he("Film",[["rect",{width:"18",height:"18",x:"3",y:"3",rx:"2",key:"afitv7"}],["path",{d:"M7 3v18",key:"bbkbws"}],["path",{d:"M3 7.5h4",key:"zfgn84"}],["path",{d:"M3 12h18",key:"1i2n21"}],["path",{d:"M3 16.5h4",key:"1230mu"}],["path",{d:"M17 3v18",key:"in4fa5"}],["path",{d:"M17 7.5h4",key:"myr1c1"}],["path",{d:"M17 16.5h4",key:"go4c1d"}]]);/**
151 * @license lucide-react v0.462.0 - ISC
152 *
153 * This source code is licensed under the ISC license.
154 * See the LICENSE file in the root directory of this source tree.
155 */const Bk=he("Globe",[["circle",{cx:"12",cy:"12",r:"10",key:"1mglay"}],["path",{d:"M12 2a14.5 14.5 0 0 0 0 20 14.5 14.5 0 0 0 0-20",key:"13o1zl"}],["path",{d:"M2 12h20",key:"9i4pu4"}]]);/**
156 * @license lucide-react v0.462.0 - ISC
157 *
158 * This source code is licensed under the ISC license.
159 * See the LICENSE file in the root directory of this source tree.
160 */const Tk=he("Languages",[["path",{d:"m5 8 6 6",key:"1wu5hv"}],["path",{d:"m4 14 6-6 2-3",key:"1k1g8d"}],["path",{d:"M2 5h12",key:"or177f"}],["path",{d:"M7 2h1",key:"1t2jsx"}],["path",{d:"m22 22-5-10-5 10",key:"don7ne"}],["path",{d:"M14 18h6",key:"1m8k6r"}]]);/**
161 * @license lucide-react v0.462.0 - ISC
162 *
163 * This source code is licensed under the ISC license.
164 * See the LICENSE file in the root directory of this source tree.
165 */const um=he("MapPin",[["path",{d:"M20 10c0 4.993-5.539 10.193-7.399 11.799a1 1 0 0 1-1.202 0C9.539 20.193 4 14.993 4 10a8 8 0 0 1 16 0",key:"1r0f0z"}],["circle",{cx:"12",cy:"10",r:"3",key:"ilqhr7"}]]);/**
166 * @license lucide-react v0.462.0 - ISC
167 *
168 * This source code is licensed under the ISC license.
169 * See the LICENSE file in the root directory of this source tree.
170 */const Uk=he("Menu",[["line",{x1:"4",x2:"20",y1:"12",y2:"12",key:"1e0a9i"}],["line",{x1:"4",x2:"20",y1:"6",y2:"6",key:"1owob3"}],["line",{x1:"4",x2:"20",y1:"18",y2:"18",key:"yk5zj1"}]]);/**
171 * @license lucide-react v0.462.0 - ISC
172 *
173 * This source code is licensed under the ISC license.
174 * See the LICENSE file in the root directory of this source tree.
175 */const Tg=he("Pencil",[["path",{d:"M21.174 6.812a1 1 0 0 0-3.986-3.987L3.842 16.174a2 2 0 0 0-.5.83l-1.321 4.352a.5.5 0 0 0 .623.622l4.353-1.32a2 2 0 0 0 .83-.497z",key:"1a8usu"}],["path",{d:"m15 5 4 4",key:"1mk7zo"}]]);/**
176 * @license lucide-react v0.462.0 - ISC
177 *
178 * This source code is licensed under the ISC license.
179 * See the LICENSE file in the root directory of this source tree.
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181 * @license lucide-react v0.462.0 - ISC
182 *
183 * This source code is licensed under the ISC license.
184 * See the LICENSE file in the root directory of this source tree.
185 */const Vo=he("User",[["path",{d:"M19 21v-2a4 4 0 0 0-4-4H9a4 4 0 0 0-4 4v2",key:"975kel"}],["circle",{cx:"12",cy:"7",r:"4",key:"17ys0d"}]]);/**
186 * @license lucide-react v0.462.0 - ISC
187 *
188 * This source code is licensed under the ISC license.
189 * See the LICENSE file in the root directory of this source tree.
190 */const Ok=he("Users",[["path",{d:"M16 21v-2a4 4 0 0 0-4-4H6a4 4 0 0 0-4 4v2",key:"1yyitq"}],["circle",{cx:"9",cy:"7",r:"4",key:"nufk8"}],["path",{d:"M22 21v-2a4 4 0 0 0-3-3.87",key:"kshegd"}],["path",{d:"M16 3.13a4 4 0 0 1 0 7.75",key:"1da9ce"}]]);/**
191 * @license lucide-react v0.462.0 - ISC
192 *
193 * This source code is licensed under the ISC license.
194 * See the LICENSE file in the root directory of this source tree.
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241des, Experimentações, Linhas Antropológicas e Artísticas (TELAA). Integra o Grupo de Antropologia Visual da USP, realizou pós-doutorado no Laboratório de Imagem e Som da USP e atualmente realiza pós-doutorado no Laboratório de Imagem e Grafia (La'grima/Unicamp). Recebeu o Prêmio ABEU pelo livro Grande Otelo: um intérprete do cinema e do racismo no Brasil. Dirigiu os filmes Habitar os olhos (2020) e Habitar o corpo (2024). Coordenou a Comissão de Imagem e Som da ANPOCS (2018–2022) e o Comitê de Antropologia Visual da ABA junto com Fabiana Bruno de 2022 a 2024. Integra a comissão organizadora do Prêmio Pierre Verger desde 2022, cuja presidência compartilhada com Fabiana Bruna, exerce atualmente no biênio 2025–2026."}],zM=[{slug:"aina-azevedo",photo:Gf,name:"Aina Azevedo",affiliation:"UFPB",bio:"É professora adjunta de Antropologia no Departamento de Ciências Sociais da Universidade Federal da Paraíba desde 2016. É mestra e doutora em Antropologia Social pela Universidade de Brasília, com estágio sanduíche na University of Cape Town (África do Sul). Realizou pós-doutorado na University of Aberdeen (Reino Unido) em 2015 com bolsa CAPES e no IMéRA (França) em 2023-2024 com bolsa FIAS -Marie Sklodowska-Curie. Lidera o grupo de pesquisa LABAREDA (Laboratório de Desenho Antropologia) da UFPB e integra o LAGRIMA (Laboratório Antropológico de Grafias e Imagem) da Unicamp. No biênio 2025-2026 coordena o Comitê de Antropologia Visual da Associação Brasileira de Antropologia (CAV-ABA). Seu principal interesse de pesquisa relaciona-se à interface entre desenho e antropologia como método de pesquisa e forma de exposição do conhecimento, e seu trabalho mais recente é o Tarô Etnográfico de Marseille."},{slug:"alessandro-campos",photo:Vf,name:"Alessandro Campos",affiliation:"UFPA / Pupunha Filmes",bio:"É antropólogo, professor e realizador audiovisual, com atuação voltada à antropologia visual, cinema etnográfico, fotografia documental e pesquisas sobre memória, territorialidade e povos indígenas da Amazônia. É coordenador adjunto do Grupo de Pesquisa em Antropologia Visual e da Imagem – VISAGEM/UFPA e diretor executivo da produtora Pupunha Filmes, desenvolvendo projetos que articulam cinema, fotografia, pesquisa antropológica e experiências territoriais amazônicas. É criador e diretor do Festival Internacional do Filme Etnográfico do Pará (FIFEP), do Colóquio de Cinema e Antropologia da Amazônia e do Encontro de Antropologia Visual da América Amazônica, iniciativas dedicadas à difusão do cinema etnográfico, indígena e documental na região amazônica. Atuou como orientador do Curso de Verão do Festival Internacional de Documentário de Melgaço – MDOC/Portugal. Desenvolve há anos pesquisas e produções junto a povos indígenas amazônicos, especialmente os Ka'apor e os Apurinã, articulando cinema, fotografia e antropologia compartilhada. Também possui experiência na realização de oficinas e projetos formativos em audiovisual indígena, cinema comunitário e produção cultural urbana. Seus filmes e ensaios fotográficos foram premiados em festivais nacionais e internacionais, entre eles o Festival Internacional do Filme Etnográfico de Recife, o Festival de Cinema Açaí e o Festival Internacional de Cinema Indígena da Amazônia."},{slug:"jose-duarte-barbosa-junior",photo:Yf,name:"José Duarte Barbosa Júnior",affiliation:"IFRN / NAVIS-UFRN",bio:"É antropólogo e professor do Instituto Federal de Educação, Ciência e Tecnologia do RN/IFRN (2015-Atual). Coordenador do grupo de estudos temáticos do Núcleo de Estudos Afro-brasileiros e Indígenas (NEABI) do Campus Currais Novos do IFRN (2023-Atual). Pesquisador do Núcleo de Antropologia Visual da UFRN (NAVIS). Doutor em Antropologia Social pela UFRN (2015-2020). Mestre em Antropologia Social pela UFRN (2013). Licenciado em Ciências Sociais pela UFRN (2010). Associado à Associação Brasileira de Antropologia."},{slug:"daniele-borges-bezerra",photo:qf,name:"Daniele Borges Bezerra",affiliation:"UFPel / LEPPAIS",bio:"Antropóloga, fotógrafa, professora permanente no Programa de Pós-Graduação em Antropologia da UFPel. Coordenadora do Leppais (Laboratório de Ensino, Pesquisa e Produção em Antropologia da Imagem e do Som). Atualmente é professora substituta de teoria antropológica para o bacharelado em Antropologia e  realiza estágio pós -doutoral no Programa de Pós -Graduação em Memória Social e Patrimônio Cultural (PPGMP), na mesma universidade. Atua com Antropologia visual, Multimodal e da Saúde."},{slug:"edgar-kanayko-xakriaba",photo:Hf,name:"Edgar Kanaykõ Xakriabá",affiliation:"Povo Xakriabá (MG)",bio:'Pertence ao povo indígena Xakriabá Estado de Minas Gerais. É mestre em Antropologia pela UFMG. Tem atuação livre na área de Etnofotografia: "um meio de registrar aspecto da cultura - a vida de um povo". Nas lentes dele, a fotografia torna-se uma nova "ferramenta" de luta, possibilitando ao "outro" ver com outro olhar aquilo que um povo indígena é.'},{slug:"felipe-camilo",photo:jf,name:"Felipe Camilo",affiliation:"UFC",bio:"É Doutor pelo PPGS/UFC com bolsa CAPES, atua nas áreas de antropologia visual, fotografia, documentário, memória e relações étnico-raciais. É mestre em Educação pelo PPGE/UFC com bolsa CNPQ. Desenvolveu a tese Comunidade Visível: Narradores de Imagens e Memórias do Poço da Draga (2017-2021) orientada por Glória Diógenes, colaborou com o Lajus – Laboratório das Artes e da Juventude. Esteve professor no ICA - Instituto de Cultura e Arte da UFC (2019-2021). É autor dos fotolivros Perecível (2018), Poço 115 - Um álbum imaginário, premiado no Festival Zum/ IMS 2022 e 'Tu' (2025).  Também atuou na elaboração e gestão de projetos do Ifoto - Instituto da Fotografia (Ce). Também foi coordenador de percursos em artes visuais e audiovisual na Escola Porto Iracema das Artes no Instituto Dragão do Mar - IDM/Secult-Ce.  É também artista visual, tendo participado de festivais, exposições e eventos no Brasil, Argentina e Colômbia. Esteve no Salão de Abril, na exp

241osição Se Arar que inaugurou a Pinacoteca do Ceará e em Negros Na Piscina mostra do Solar Fotofestival de curadoria de Fabiana de Moraes e Moacir dos Anjos. Conduziu 02 ed. do projeto 'Mapadoc – Cartografias de Culturas Cearenses'. Egresso da Vila das Artes, dirigiu a trilogia de curtas Dizeres Visíveis, com Memórias do subsolo ou o homem que cavou até encontrar uma redoma (2017), Aluá (2021) e Acaso Revisitado (2025). Idealizou o Efêmero Festival Experimental de Fotografia (2021, 2023).  Foi membro da comissão organizadora do Prêmio Pierre Verger - ABA 2024 e 2026."},{slug:"marcos-albuquerque",photo:Df,name:"Marcos Albuquerque",affiliation:"UERJ",bio:"É antropólogo visual e professor da Universidade do Estado do Rio de Janeiro (UERJ), atuando nos programas de pós-graduação em Ciências Sociais e em História da Arte. Doutor em Antropologia Social pela UFSC, com estágios pós-doutorais no Brasil e na Espanha, desenvolve pesquisas no campo da antropologia visual, com ênfase nas relações entre imagem, etnicidade, performance e regimes de visibilidade. Seus trabalhos abordam, de modo recorrente, os regimes imagéticos associados à presença indígena, os processos de tradução intercultural e os usos da imagem em contextos museológicos e artísticos. Atuou na Associação Brasileira de Antropologia (ABA), incluindo a coordenação do Comitê de Antropologia Visual e da TV.ABA. No campo audiovisual, realizou e participou de produções de vídeo etnográfico apresentadas em mostras e festivais especializados. Entre os reconhecimentos obtidos, destacam-se premiações e menções honrosas no Prêmio Pierre Verger e no Prêmio Manuel Diégues Júnior."},{slug:"olavo-ramalho-marques",photo:If,name:"Olavo Ramalho Marques",affiliation:"UFRGS Litoral",bio:"É Antropólogo é professor da Universidade Federal do Rio Grande do Sul (UFRGS Litoral). Doutor em Antropologia pela UFRGS. Desenvolve pesquisas sobre memória coletiva, processos de construção de identidades, processos de urbanização, antropologia das paisagens e relações entre natureza e cultura, dinâmicas territoriais de populações negras e comunidades tradicionais, na interface entre antropologia urbana e antropologia visual. Foi professor da Universidade de Caxias do Sul (2007-2010) e do IFRS (2010 a 2015). É pesquisador do Núcleo de Antropologia Visual (Navisual/UFRGS). Dirigiu e participou de filmes etnográficos, exposições fotográficas e da organização de eventos e atividades na área. É o atual coordenador do Programa de Pós-graduação em Dinâmicas Regionais e Desenvolvimento (PGDREDES). É integrante do projeto Botos da Barra e do projeto Paisagens do Litoral Norte Gaúcho."},{slug:"oscar-guarin-martinez",photo:Zf,name:"Óscar Guarin Martínez",affiliation:"Pontificia Universidad Javeriana / Unicamp",bio:`É doutor em Ciências Sociais pelo Instituto de Filosofia e Ciências Sociais -IFCH- da Unicamp (2015). Historiador (1995) e Mestre em História (2007) pela Universidad Javeriana de Bogotá, fez estudos de Artes na 

241Universidade Nacional de Colômbia (1988). É Professor Associado do Departamento de História da Pontificia Universidad Javeriana e Coordenador do SensoLab, Laboratório de Experimentação da Faculdade de Ciências Sociais da mesma universidade. É Pesquisador Associado do Laboratório Antropológico de Grafia e Imagem "La'grima" do IFCH, Unicamp, e do ACHO - Arquivo Coleções de Histórias Ordinárias-, de Campinas, Brasil, onde acompanha, com a pesquisadora Fabiana Bruno, os projetos curatoriais. Seu campo de pesquisa está no potencial das imagens e sua relação com o tempo, a memória e o arquivo, com foco na experimentação e na produção de "artefactos de pensamento", além de artigos e publicações. No cenário do SensoLab tem desenvolvido pesquisas que derivaram em produções que têm sido expostas em diversos cenários: Imagens de Tempos futuros (2019) Espacio Odeon de Bogotá, Parasomnias (2020), obra que fechou a Mostra Internacional de Documentário de Bogotá (MIDBO), Herbários da Catástrofe (2023) instalação premiada no edital En Blanco, e exposta na Galeria El Dorado. Junto com a pesquisadora Fabiana Bruno, foi curador da exposição Destino das Imagens num mundo porvir, no Ateliê Casa, em 2023; e da exposição Fábulas de Arquivos - entre feitiços e metamorfoses, no Ateliê Casa, em 2022.`},{slug:"patricia-pinheiro",photo:Lf,name:"Patrícia Pinheiro",affiliation:"Unila",bio:"É professora na Universidade Federal da Integração Latinoamericana (Unila), no Bacharelado em Desenvolvimento Rural e Segurança Alimentar e no PPG Integração Contemporânea da América Latina (ICAL). Doutora em Ciências Sociais (CPDA/UFRRJ), com intercâmbio na Universidade Cheikh Anta Diop, no Senegal. Participa do Laboratório de Antropologia da Imagem e do Som (LEPPAIS/UFPel) desde 2015 e é coordenadora do projeto Histórias de Quilombo e do GT Antropoéticas da Associación Latinoamericana de Antropología. Atua principalmente nos seguintes temas: justiça climática, relações étnico-raciais, reconhecimento étnico em comunidades quilombolas, racismo ambiental, uso de imagens em pesquisa etnográfica, patrimônio cultural. Dirigiu e roteirizou os seguintes documentários: Série Navio do Sertão (2025); Pão na Pedra (2016), Gramame, um rio de histórias (2018); Raiz Farinha Beiju (2021); Inventos (2022)."},{slug:"rafael-victorino-devos",photo:Bf,name:"Rafael Victorino Devos",affiliation:"UFSC",bio:'É antropólogo, professor no Departamento de Antropologia e no Programa de Pós-Graduação em Antropologia Social da Universidade Federal de Santa Catarina. Graduado em Publicidade e Propaganda, Mestre e Doutor em Antropologia Social (UFRGS). Pesquisador do CANOA PPGAS UFSC e do INCT Brasil Plural. Bolsista CNPq PQ2. Pesquisador associado ao SEACOAST Center da Universidade da Califórnia, Santa Cruz (EUA). Dirigiu os documentários "Os seres da mata e sua vida como pessoas" (Prêmio Pierre Verger – Melhor Filme 2012), "Ver Peixe" (Prêmio Pierre Verger – Menção Honrosa 2018), Maré do Peixe (2024) e Pesca com Botos (2026). Pesquisa, através de dispositivos audiovisuais, habilidades perceptuais e artes de notar relações mais-que-humanas em paisagens multiespécies. Nos últimos trabalhos tem se dedicado às dinâmicas da vida marinha e suas variações climáticas, através das técnicas e palavras de pescadores artesanais e navegadores.'},{slug:"ralyanara-freire",photo:Tf,name:"Ralyanara Freire",affiliation:"PPGAS/Unicamp",bio:"É Artista visual e antropóloga, pessoa com Transtorno do Espectro Autista, lésbica e roedora de pequi. A prática de Ralyanara atravessa o têxtil, a cerâmica, a gravura, a pintura e a fotografia. Dedica-se a duas pesquisas poéticas. Em Arquivo Lésbico, tensiona narrativas autobiográficas e cria grafias – tendo em vista corpos dissidentes. Já em Corpo-Cerrado, realiza caminhadas por chapadas, várzeas, ruas e calçadas. Praticando uma coleta afetiva do bioma, desenvolve fabulações poéticas, com terras-cascas-flores-folhas. Discute os conceitos de antropoceno, ruínas, território, presença, arquivo, grafias e lesbianidades. Atuou como arte-educadora no Centro de Estudo e Pesquisa Ciranda da Arte (Seduc/GO), 2021-2025; recebeu Prêmio Sílvio Romero (CNFC/IPHAN), 2019; Prêmio de Reconhecimento Acadêmico em Direitos Humanos Unicamp - Instituto Vladimir Herzog, 2021; e recebeu o Prêmio de Processos Criativos PNAB, 2024. Está vinculada ao Programa Institucional de Pós-Doutorado – PIPD da Capes, com trabalho sediado pelo PPGAS/Unicamp (SP) e pesquisa de campo em desenvolvimento no Sertão Negro – Ateliê e Escola de Arte (GO)."},{slug:"rogerio-duarte-do-pateo",photo:Uf,name:"Rogerio Duarte do Pateo",affiliation:"UFMG",bio:"Doutor em Antropologia Social pela USP, iniciou sua carreira na etnologia indígenas como pesquisador associado ao então Núcleo de História Indígena e Indigenismo (NHII) da mesma instituição, contexto no qual realizou sua pesquisa de doutoramento entre os indígenas Yanomami entre 2000 e 2005. Fora da academia, atuou como analista de pesquisa no Instituto Socioambiental e desde 2010 é professor do Departamento de Antropologia e Arqueologia da Universidade Federal de Minas Gerais. Nos últimos anos tem focado seu trabalho na intersecção entre fotografia, antropologia e arqueologia, tendo realizado pesquisas de campo na cidade de Luxor, no Egito, desde 2019. Atualmente ocupa o cargo de vice-diretor da Faculdade de Filosofia e Ciências Humanas da UFMG."},{slug:"tatiana-lotierzo",photo:Of,name:"Tatiana Lotierzo",affiliation:"USP / LEPPAIS",bio:"É antropóloga e historiadora. Suas principais pesquisas discutem as interfaces entre imagens e pensamento nas artes indígenas e o antirracismo nas artes visuais, envolvendo trabalho de campo e em arquivos. Autora de Contornos do (In)visível: Racismo e Estética na Pintura Brasileira (1852-1936), premiado pela Associação Brasileira de Editoras Universitárias (ABEU) e finalista na 60ª Edição do Prêmio Jabuti. Recebeu o prêmio Edgar Cacho Pallero de melhor produção pelo documentário Tobias 700: História de uma Ocupação, fruto de trabalho de campo junto ao Movimento dos Sem Teto do Centro (MTST), em São Paulo. Realizou pesquisas aplicadas com pessoas em contextos prisionais em La Plata, Argentina, e em escolas da cidade de Porto Príncipe, no Haiti. Fez estância pós-doutoral no SensoLab/Facultad de Ciencias Sociales da Pontificia Universidad Javeriana (2024) e foi Visiting PhD Student da Universidad del Rosario (2016), na Colômbia, e Research Assistant na Universidade de Harvard (2011), além de Residente do Programme Courants du Monde: Séjour Culture Cinéma-Audiovisuel (2008), na França. Tem pós-doutorado em Antropologia Social na USP (em andamento) e no LEPPAIS/UfPel e Coletivo Antropoéticas (concluído). É membro do Grupo de Antropologia Visual da USP (GRAVI/USP) e do Coletivo Antropoéticas, e vinculada ao Laboratório de Imagem e Som em Antropologia (LISA-USP)."}

241],lv={slug:"lucelia-maciel",photo:Xf,name:"Lucélia Maciel",affiliation:"UFG / Coletivo Jatobá Nascente",bio:"Lucélia Maciel (BA), integra o coletivo Jatobá Nascente e a comunidade Sertão Negro, mora e trabalha em Goiânia/Goiás-Brasil. É Bacharela em Artes Visuais, pela Universidade Federal de Goiás. A partir de memórias de infância, vividas no interior da Bahia, desenvolve pesquisa e poética artística levando em consideração as desigualdades étnicas, raciais, sociais e de gênero."},jM=[{slug:"tayna-almeida-de-paula",photo:ev,name:"Tayná Almeida de Paula",affiliation:"Unicamp / La'grima",bio:"Doutoranda em Antropologia Social pela Universidade Estadual de Campinas (Unicamp), Bacharela em Ciências Sociais e Mestra em Antropologia Social pela Universidade Federal de Alagoas (UFAL). É pesquisadora do Laboratório Antropológico de Grafia e Imagem (La'grima/Unicamp), pesquisadora colaboradora do Laboratório de Antropologia Visual em Alagoas (AVAL) e integrante do Grupo de Estudos em Pensamento Negro Radical e Teoria Etnográfica (Errante/Unicamp). Integra o corpo editorial da Revista Proa: Revista de Antropologia e Arte (PPGAS/Unicamp), atuando como revisora. Seus interesses de pesquisa incluem estudos do folclore, culturas populares, memória coletiva, fotografia, arquivo, família, migração, gênero, relações raciais e autorrepresentação. Atuou como estagiária no Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN/AL), na área de Patrimônio Imaterial (2018), e integrou, entre 2017 e 2019, a equipe do acervo fotográfico do Museu Théo Brandão de Antropologia e Folclore (MTB). Entre 2019 e 2022, coordenou o FOTOSURURU - Encontro de Fotografia Criativa em Maceió/AL."},{slug:"pedro-assugeni",photo:av,name:"Pedro Assugeni",affiliation:"Unicamp / La'grima",bio:"Estudante de graduação em ciências sociais, com ênfase em Antropologia, pela Unicamp. Atua como pesquisador e bolsista no Laboratório Antropológico de Grafia e Imagem (La'grima/Unicamp), coordenado pela professora Suely Kofes e pela professora Fabiana Bruno. Atua em atividades de extensão e pesquisa no Laboratório de Pesquisa e Extensão com Povos Tradicionais, Ameríndios e Afro-americanos, coordenado pelo professor José Maurício Paiva Andion Arruti. Tem interesse e experiência em Antropologia, Cinema, Sociologia da Cultura, Cultura Visual e Artes."},{slug:"guih-landim",photo:ov,name:"Guih Landim",affiliation:"Unicamp / Coletivo Turvo",bio:"É doutorande em Multimeios (Unicamp), articuladore do Coletivo Turvo e realizadore audiovisual. Sua prática investigativa transversal busca compreender fabulações, etnografias sensíveis, vestígios e imagens-memória, articulando teoria do cinema, teimosias epistemológicas e experiências dissidentes em diversos campos do saber. Na filmografia, destacam-se Todo peixe contém o mar (2026), Corte-seco (2025), Batuque: (en)cantos de Lutas (2024) e Camburi Resiste (2023). É coautore do livro Nas margens do Camburi (2025), fruto de colaboração entre a Comunidade Quilombola do Camburi, Unicamp e Universidade de Girona."},{slug:"jhennifer-nogueira",photo:nv,name:"Jhennifer Nogueira",affiliation:"UFG",bio:"Está no 7° período de licenciatura em ciências sociais na Universidade Federal de Goiás. Atualmente realiza pesquisa de Iniciação Científica na área de Antropologia Visual."}],Yl=[{slug:"ceica-ferreira",photo:Wf,name:"Ceiça Ferreira",affiliation:"UEG",bio:'É doutora em Comunicação pela Universidade de Brasília (UnB), professora efetiva e pesquisadora do Curso de Cinema e Audiovisual da Universidade Estadual de Goiás (UEG). Desenvolve atividades de ensino, pesquisa, curadoria e extensão nas áreas de comunicação, artes, cultura, raça, gênero e sexualidade no cinema e no audiovisual. Co-fundadora do Sertão Negro Ateliê e Escola de Artes, em Goiânia/GO; idealizadora e diretora do Cineclube Maria Grampinho, cuja proposta curatorial destaca os cinemas negros. Em 2025 coorganizou o livro "Cinema Negro no Feminino: Afeto e Pertencimento Além das Telas", publicado pela Nau Editora; e coordenou as exposições "O Sertão é nosso centro" e "Poéticas de Subversão: Mulheres artistas em Goiás" (Centro Cultural Octo Marques, Goiânia/GO). Em 2024, foi co-organizadora da coletânea Águas Correntes: Mulheres no Audiovisual do Centro-Oeste (Editora da UEG) e integrou a comissão de seleção da 6ª edição do Laboratório Negras Narrativas, da Associação de Profissionais do Audiovisual Negro (APAN).'},{slug:"claudia-turra-magni",photo:Kf,name:"Claudia Turra Magni",affiliation:"UFPel / LEPPAIS",bio:"É professora titular do Departamento de Antropologia da Universidade Federal de Pelotas, onde atua no Programa de Pós-Graduação e no Bacharelado. Graduada em História e mestre em Antropologia Social pela Universidade Federal de Pelotas e doutora em Antropologia Social e Etnologia pela Ecole des Hautes Etudes en Scie

241nces Sociales, com pós-doutorado no Institut d'Ethnologie Mediterranéenne et Contemporaine. Fundou o LEPPAIS (Laboratório de Ensino, Pesquisa e Produção em Antropologia da Imagem e do Som) em 2008 e o Coletivo Antropoéticas (CNPq) em 2018. Na Associação Brasileira de Antropologia, integrou o Comitê de Antropologia Visual (2008-2018), presidiu o Prêmio Pierre Verger (2015-2016) e foi membra da Diretoria (2017-2018). Suas atividades de ensino, pesquisa e extensão envolvem temas relacionados a imagens, tecnopoéticas, saúde, patrimônio e meio ambiente."},{slug:"divino-tserewahu",photo:Qf,name:"Divino Tserewahú",affiliation:"Povo Xavante / USP (CEDIPP)",bio:`É cineasta e pesquisador indígena do povo Xavante, da aldeia Sangradouro, no Mato Grosso. Desde o início dos anos 1990, dedica-se ao registro audiovisual de rituais e cerimônias de seu povo, com ênfase na produção de imagens voltadas às próprias comunidades indígenas. Sua trajetória está diretamente ligada ao fortalecimento do cinema indígena no Brasil, tendo participado do projeto Vídeo nas Aldeias e integrado iniciativas como o "<em>Programa de Índio</em>".
242Divino destacou-se como liderança na realização coletiva do filme <em>Wapté Mnhõnõ, A Iniciação do Jovem Xavante</em> (1999), premiado em diversos festivais no Brasil e no exterior. Ao longo de sua carreira, dirigiu importantes documentários sobre os ciclos rituais e a vida espiritual Xavante, como <em>Wai'á Rini, O poder do sonho</em> (2001) e <em>Daritidzé, Aprendiz de Curador</em> (2003). Também abordou temas políticos e interétnicos em obras como <em>Vamos à Luta!</em> (2002), sobre a mobilização do povo Makuxi, e em produções como <em>Sangradouro</em> e <em>PI'ÕNHITSI, Mulheres Xavante sem Nome</em> (2009), que refletem sobre transformações culturais e desafios contemporâneos.
243Atualmente, é diretor do Museu Comunitário da Aldeia Xavante Sangradouro e atua como professor de produção audiovisual em diversas comunidades indígenas. Integra o CEDIPP (USP), onde desenvolve pesquisas sobre produção partilhada do conhecimento por meio do audiovisual, consolidando-se como uma das principais referências do cinema indígena no Brasil.`},{slug:"vincent-carelli",photo:Jf,name:"Vincent Carelli",affiliation:"Vídeo nas Aldeias (VNA)",bio:`É indigenista, cineasta franco-brasileiro e fundador do projeto Vídeo nas Aldeias (VNA), criado em 1986, que introduziu o audiovisual em comunidades indígenas como ferramenta de expressão cultural e política. A iniciativa tornou-se uma importante escola de formação, responsável por consolidar a primeira geração de cineastas indígenas no Brasil, a partir de oficinas realizadas em diferentes territórios, como entre os povos Xavante, Panará, Wajãpi, Guarani-Mbya, Huni Kuin e Ashaninka.
244Ao longo de sua trajetória, Carelli dirigiu diversos documentários premiados, como <em>O Espírito da TV</em> e <em>A Arca dos Zo'é</em>, e desenvolveu parcerias com realizadores indígenas em obras voltadas à valorização do patrimônio imaterial, em colaboração com o IPHAN. Destaca-se também pela trilogia iniciada com <em>Corumbiara</em> (2009), seguida por <em>Martírio</em> (2016) e <em>Adeus, Capitão</em> (2022), que abordam de forma contundente a história e a resistência dos povos indígenas no Brasil.
245Seu trabalho recebeu importantes reconhecimentos, como a Ordem do Mérito Cultural (2009) e o Prêmio Prince Claus (2017), consolidando sua relevância no cenário internacional do cinema e na luta dos povos indígenas.`}],RM=[{slug:"amalia-cordova",photo:$f,name:"Amalia Córdova",affiliation:"Smithsonian / NYU",bio:"É curadora e pesquisadora especializada em cinema indígena e codiretora do Festival de Cinema da Língua Materna. No Instituto Smithsonian, foi curadora supervisora no Centro de Tradições Populares e Patrimônio Cultural e especialista em América Latina no Centro de Cinema e Vídeo do Museu Nacional do Índio Americano. Lecionou na Escola Gallatin de Estudos Individualizados da Universidade de Nova York. Ela obteve um doutorado em Estudos Cinematográficos e um mestrado em Estudos da Performance, ambos pela Universidade de Nova York. Seu livro, <em>Frames of Resistance: The Cinemas of Abya Yala</em>, foi publicado em 2025 pela Oxford University Press. Ela é de Santiago, Chile/Wallmapu."}

245,{slug:"denetem-touam-bona",photo:sv,name:"Dénètem Touam Bona",affiliation:"Filósofo e artista",bio:`O filósofo e artista Dénètem Touam Bona concebe o cipó como planta totêmica de um livro e de uma exposição afrodiaspórica (Centre d'art et du paysage de Vassivière, 2021-2022), com o objetivo de afastar um imaginário colonial e patriarcal tóxico (Tarzan, a "floresta virgem" etc.), enquanto ao mesmo tempo presta homenagem à lyannaj (derivada da palavra créole para "cipó") dos arquipélagos da Martinica e Guadalupe: práticas de aliança e improvisação criativa herdadas das resistências à escravidão.
246Frente ao desmonte contínuo do direito de asilo, à extinção das espécies vivas e à crescente expansão do império dos algoritmos sobre nossas vidas, ele conclama à reativação das artes marrons (quilombolas e outras) do desaparecimento.
247Entre seus livros traduzidos para o português estão <em>Cosmopoéticas do Refúgio</em> (Cultura e Barbárie, Brasil, 2020), <em>Sabedoria dos Cipós</em> (Ubu, Brasil, 2025) e <em>Para Onde Foge?</em> (Papéis Selvagens, Brasil, 2025). Touam Bona também desenvolve regularmente colaborações artísticas com cineastas, e pessoas diretoras de teatro e coreógrafas.`},Yl[2],{slug:"genor-sales",photo:tv,name:"Genor Sales",affiliation:"UFG / Sertão Negro",bio:`Licenciado em Artes Visuais pela Universidade Federal de Goiás, o artista visual goianiense Genor Sales constrói sua poética a partir das margens, onde memória e afeto se deságuam numa vivência urbana. Integrante da Associação Jatobá Nascente e do Sertão Negro, é representado pela Cerrado Galeria. Genor transforma a experiência de ser um "peixe fora d'água" em linguagem sensível: um gesto de invenção de respiros, marés e pertencimentos possíveis. Em seu trabalho, questões sociais, raciais e alimentares emergem como camadas de uma mesma água, onde sobrevivência e imaginação caminham lado a lado.`},{slug:"jorge-panchoaga",photo:iv,name:"Jorge Panchoaga",affiliation:"Universidad del Cauca (CO)",bio:`É antropólogo, fotógrafo e diretor colombiano, cujo trabalho investiga as relações entre território, memória e experiência social por meio de narrativas visuais que articulam fotografia, vídeo e som. Formado pela Universidad del Cauca e especialista em fotografia pela Universidad Nacional de Colombia, desenvolve projetos multimídia que exploram a intersecção entre imaginação e realidade.
248Seu trabalho tem reconhecimento internacional, com prêmios como o Nexofoto, distinções no POY Latam e bolsas da National Geographic Society. Suas obras foram publicadas e exibidas em importantes espaços e veículos, como National Geographic, The New York Times e El País.
249É cofundador e diretor de conteúdos da plataforma Vist Projects, dedicada à investigação visual de temas contemporâneos. Entre seus projetos destacam-se <em>Dulce y Salada</em>, <em>La Casa Grande</em> e <em>Kalabongó</em>, que abordam questões sociais e culturais na América Latina. Também atua como professor e curador, contribuindo para o campo da antropologia visual.`},lv,{slug:"okun",photo:rv,name:"Òkun",affiliation:"UFG / Sertão Negro",bio:'Artista visual de Goiânia (2000). Sua prática artística se configura como um gesto de oferenda de si, utilizando a pintura como processo ritualístico de conexão com a espiritualidade. Seu trabalho intersecciona visualidades das práticas de terreiro de Umbanda e Kimbanda de Lei, atravessadas por memória e ancestralidade. Elabora o conceito de "Pintura de Encruzilhadas" para nomear uma linguagem própria: uma prática que invoca Exu e transforma o não-lugar em território de escuta, transformação e presença, tornando-se passagem entre o visível e o invisível. Indicada ao Prêmio PIPA 2026, é artista residente no Ateliê/Escola de Arte Sertão Negro, assistente de arte do artista Dalton Paula e bacharel em Artes Visuais pela Universidade Federal de Goiás. Participou de exposições como Dos Brasis: Arte e Pensamento Negro, Crônicas Cariocas, Mulheres que Mudaram 200 Anos e Sertão Negro: Território Vivo.'},Yl[3]],DM=Object.freeze(Object.defineProperty({__proto__:null,comissao:zM,convidados:RM,juri:Yl,luceliaMaciel:lv,organizacao:jM,presidencia:NM},Symbol.toStringTag,{value:"Module"})),IM=[{slug:"fabiana-bruno",photo:_f,name:"Fabiana Bruno",affiliation:"Unicamp / USP",bio:"Holds a PhD in Multimedia from the Institute of Arts at the State University of Campinas (Unicamp) and is a collaborating professor in the Department of Anthropology at IFCH/Unicamp, where she completed a postdoctoral research in Social Anthropology under the supervision of Professor Suely Kofes. She is co-founder and deputy coordinator of LA'GRIMA-IFCH/Unicamp and collaborates in the Graduate Programs in Social Anthropology and Social Sciences at IFCH-Unicamp. She is currently conducting postdoctoral research in Anthropology at USP with a CNPq Scholarship (2024-2026), supervised by Professor Sylvia Caiuby Novaes. Her project is titled <em>Das ruínas de álbuns fotográficos de família aos biomas de arquivos órfãos</em>. She previously completed a postdoctoral fellowship at the School of Communications and Arts (ECA-USP) with FAPESP funding (2011-2013). She received the CAPES Award for Best Doctoral Dissertation in the Applied Social Sciences (2010), for her thesis <em>Fotobiografia: por uma metodologia da estetica em antropologia</em>, advised by Professor Etienne Samain. She shares the Presidency of the <em>Pierre Verger Award</em>-ABA 2025-2026 with Luis Felipe Hirano. Fabiana Bruno is also a member of the Visual Anthropology Committee (CAV) of ABA for the 2025-2026 term, and a member of the Image and Sound Commission (COMIS) of ANPOCS for the 2025-2026 term."},{slug:"luis-felipe-kojima-hirano",photo:Rf,name:"Luis Felipe Kojima Hirano",affiliation:"UFG / USP / Harvard",bio:"Is professor of Anthropology at the Federal University of Goiás (UFG). He holds a PhD in Anthropology from the University of São Paulo (USP), was a Fellow at Harvard University's Faculty of Arts and Sciences, and served as a visiting professor at Sensolab/Pontificia Universidad Javeriana, in Colombia. He coordinates the collective Transversalities, Experimentation and Anthropological and Artistic Pathways (TELAA). At USP, he is a member of the Grupo de Antropologia Visual and completed postdoctoral research at the Laboratório de Imagem e Som em Antropologia (LISA), and is currently completing postdoctoral research at LA'GRIMA/Unicamp. He received the ABEU Prize for his book <em>Grande Otelo: um intérprete do cinema e do racismo no Brasil</em>. He directed the films <em>Habitar os olhos</em> (Inhabiting the eyes, 2020) and <em>Habitar o corpo</em> (Inhabiting the body, 2024). From 2018 to 2022, Hirano coordinated the Image and Sound Commission of ANPOCS. From 2022–2024, he co-chaired the Visual Anthropology Committee of ABA, alongside Fabiana Bruno. He has been a member of the Organizing Committee of the <em>Pierre Verger Award</em> since 2022, and currently serves as co-president of the <em>Award</em> with Fabiana Bruno for the 2025–2026 term."}],LM=[{slug:"aina-azevedo",photo:Gf,name:"Aina Azevedo",affiliation:"UFPB",bio:"Since 2016, she has served an adjunct professor of Anthropology in the Department of Social Sciences at the Federal University of Paraíba (UFPB), Brasil. She holds a master's degree and a PhD in Social Anthropology from the University of Brasília, with a sandwich research period at the University of Cape Town (South Africa). She completed postdoctoral research at the University of Aberdeen (UK) in 2015 with a CAPES grant and at IMéRA (France) in 2023-2024 with a FIAS – Marie Sklodowska-Curie fellowship. She leads the Anthropology Drawing Laboratory (LABareDA) at UFPB and is part of LA'GRIMA at Unicamp. From 2025 to 2026, she coordinates the Visual Anthropology Committee of the Brazilian Anthropological Association (CAV-ABA). Her main research interest concerns the interface between drawing and anthropology as a research method and a form of presenting knowledge; her most recent work is the <em>Ethnographic Tarot of Marseille</em>."},{slug:"alessandro-campos",photo:Vf,name:"Alessandro Campos",affiliation:"UFPA / Pupunha Filmes",bio:"Is an anthropologist, professor and audiovisual maker working at the intersection of visual anthropology, ethnographic cinema, documentary photography and studies of memory, territoriality and Indigenous peoples of the Amazon. He is deputy coordinator of the Grupo de Pesquisa em Antropologia Visual e da Imagem (VISAGEM

249) at the Federal University of Pará (UFPA), Brasil, and Executive Director of Pupunha Filmes, where he develops projects that articulate cinema, photography, anthropological research and Amazonian territorial experiences. He is the creator and director of the International Ethnographic Film Festival of Pará (FIFEP), the Colloquium on Cinema and Anthropology in the Amazon, and the Meeting on Visual Anthropology in Amazonian America – initiatives dedicated to disseminating ethnographic, Indigenous and documentary cinema throughout the Amazon region. He served as an advisor to the Summer Course of the Melgaço International Documentary Festival – MDOC/Portugal. For many years he has developed research and productions with Amazonian Indigenous peoples, especially the Ka'apor and the Apurinã, articulating cinema, photography and collaborative anthropology. He has experience in conducting workshops and educational projects focused on Indigenous audiovisual production, community cinema and urban cultural production. His films and photographic essays have been recognized at national and international festivals, including the International Ethnographic Film Festival of Recife, the Açaí Film Festival and the Festival Internacional de Cinema Indígena da Amazônia."},{slug:"jose-duarte-barbosa-junior",photo:Yf,name:"José Duarte Barbosa Júnior",affiliation:"IFRN / NAVIS-UFRN",bio:"Is an anthropologist and, since 2016, a professor at the IFRN – Federal Institute of Education, Science and Technology of Rio Grande do Norte, Brasil. He coordinates the thematic study group of the Center for Afro-Brazilian and Indigenous Studies (NEABI) at the Currais Novos Campus of IFRN (2023–present). Barbosa is a researcher in the Núcleo de Antropologia Visual (NAVIS) at the Federal University of Rio Grande do Norte (UFRN). He holds a PhD (2020) and a master's degree (2013) in Social Anthropology from UFRN (2015–2020), and earned a Licentiate Degree in Social Sciences from UFRN (2010). Barbosa is a member of the Brazilian Anthropological Association."},{slug:"daniele-borges-bezerra",photo:qf,name:"Daniele Borges Bezerra",affiliation:"UFPel / LEPPAIS",bio:"Anthropologist, photographer, and permanent professor in the Graduate Program in Anthropology and coordinator of the Laboratório de Ensino, Pesquisa e Produção em Antropologia da Imagem e do Som (Leppais) at the Federal University of Pelotas (UFPel), Brazil. She is currently a lecturer in Anthropological Theory in the undergraduate program in Anthropology and a postdoctoral researcher in the Graduate Program in Social Memory and Cultural Heritage (PPGMP) at the same university. Her work focuses on visual, multimodal and health anthropology."},{slug:"edgar-kanayko-xakriaba",photo:Hf,name:"Edgar Kanaykõ Xakriabá",affiliation:"Xakriabá People (MG)",bio:`He belongs to the Xakriabá Indigenous people of Minas Gerais, Brazil, and holds a master's degree in Anthropology from the Federal University of Minas Gerais (UFMG). He works independently in the field of ethnophotography, which he describes as "a way of recording aspects of culture – the life of a people." Through his lens, photography becomes a "tool" of struggle, enabling "others" to see, through a different gaze, what it means to be an Indigenous people.`},{slug:"felipe-camilo",photo:jf,name:"Felipe Camilo",affiliation:"UFC",bio:"Holds a PhD from the Federal University of Ceará, Brazil, funded by a CAPES scholarship, and earned a master's degree in Education from UFC, funded by a CNPq scholarship. He works in the areas of visual anthropology, photography, documentary, memory, and racial and ethnic relations. He developed the dissertation <em>Visible Community: Narrators of Images and Memories of Poço da Draga</em> (2017-2021), advised by Glória Diógenes, and collaborated with Lajus – Laboratório das Artes e da Juventude. He was a professor at the Instituto de Cultura e Arte (ICA) at UFC (2019-2021). He is the author of the photobooks <em>Perecível</em> (2018), <em>Poço 115 – Um álbum imaginário</em>

249, awarded at the Festival Zum/IMS 2022, and <em>'Tu'</em> (2025). He also worked on the development and management of projects at Ifoto – Instituto de Fotografia, Ceará. He was a coordinator of trajectories in visual arts and audiovisual at Escola Porto Iracema das Artes of Instituto Dragão do Mar – IDM/Secult-CE. As a visual artist, he has participated in festivals, exhibitions and events in Brazil, Argentina and Colombia. He participated in the Salão de Abril, in the exhibition <em>Se Arar</em>, which inaugurated the Pinacoteca do Ceará, and in <em>Negros na Piscina</em>, an exhibition of the Solar Fotofestival curated by Fabiana de Moraes and Moacir dos Anjos. He led two editions of the project <em>Mapadoc – Cartografias das Culturas Cearenses</em>. A graduate of Vila das Artes, he directed the short-film trilogy <em>Dizeres Visíveis</em>, with <em>Memórias do subsolo ou o homem que cavou até encontrar uma redoma</em> (2017), <em>Aluá</em> (2021) and <em>Acaso Revisitado</em> (2025). He created the Efêmero Experimental Photography Festival (2021, 2023). He has served as a member of the Organizing Committee of the <em>Pierre Verger Award</em> since 2024."},{slug:"marcos-albuquerque",photo:Df,name:"Marcos Albuquerque",affiliation:"UERJ",bio:"Is a visual anthropologist and professor at the State University of Rio de Janeiro (UERJ), Brazil, where he teaches in the graduate programs in Social Sciences and Art History. He holds a PhD in Social Anthropology from the Federal University of Santa Catarina (UFSC), Brazil, with postdoctoral fellowships in Brazil and Spain, and conducts research in the field of visual anthropology, focusing on the relations between image, ethnicity, performance and regimes of visibility. His work recurrently addresses the visual regimes associated with Indigenous presence, processes of intercultural translation, and the uses of image in museum and artistic contexts. He has held positions at the Brazilian Anthropological Association (ABA), including the coordination of the Visual Anthropology Committee and of TV ABA. In the audiovisual field, he has produced and participated in ethnographic videos shown at specialized exhibitions and festivals. Among his honors are awards and honorable mentions at the <em>Pierre Verger Award</em> and the Manuel Diégues Júnior Award."},{slug:"olavo-ramalho-marques",photo:If,name:"Olavo Ramalho Marques",affiliation:"UFRGS Litoral",bio:"Is an anthropologist and professor at the Federal University of Rio Grande do Sul (UFRGS Litoral), Brazil. He holds a PhD in Anthropology from UFRGS. He conducts research on collective memory, identity-building processes, urbanization processes, landscape anthropology and the relations between nature and culture, territorial dynamics of Black populations and traditional communities, working at the intersection between urban and visual anthropology. He was professor at the University of Caxias do Sul (2007-2010) and at the Federal Institute of Rio Grande do Sul – IFRS (2010-2015), Brazil. He is a researcher at the Núcleo de Antropologia Visual (Navisual/UFRGS). He has directed and participated in ethnographic films, photographic exhibitions, and the organization of events and activities in the field. He is the current coordinator of the Graduate Program in Regional Dynamics and Development (PGDREDES). He is part of the Botos da Barra project and the Paisagens da Costa Norte do Rio Grande do Sul project."},{slug:"oscar-guarin-martinez",photo:Zf,name:"Óscar Guarin Martínez",affiliation:"Pontificia Universidad Javeriana / Unicamp",bio:`Holds a PhD in Social Sciences from the Institute of Philosophy and Human Sciences of Unicamp (2015), Brazil. He earned a degree (1995) and a master's degree (2007) in History from the Pontificia Universidad Javeriana of Bogotá, Colombia, and also studied Arts at the National University of Colombia (1988). He is Associate Professor in the Department of History of the Pontificia Universidad Javeriana, where he coordinates SensoLab. He is an Associate Researcher at LA'GRIMA/Unicamp and at the Arquivo ACHO – Coleção de Histórias Ordinárias, in Campinas, Brazil, where he co-develops curatorial projects with researcher Fabiana Bruno. His research explores the potential of images and their relationship with time, memory and the archive, focusing on experimentation and the production of "artefactos de pensamiento" (thinking artifacts), in addition to articles and publications. The projects he developed at SensoLab have been shown in venues such as <em>Imágenes de Tiempos Futuros</em> (2019) at Espacio Odeon in Bogotá; <em>Parasomnias</em> (2020), which closed the Bogotá International Documentary Exhibition (MIDBO); the installation <em>Herbários de la Catástrofe</em> (2023), awarded with the En Blanco call and exhibited at Galería El Dorado. With Fabiana Bruno, he curated the exhibition <em>Destino das Imagens num mundo porvir</em> (Ateliê Casa, 2023) and <em>Fábulas de Arquivos – entre feitiços e metamorfoses</em> (Ateliê Casa, 2022).`},{slug:"patricia-pinheiro",photo:Lf,name:"Patrícia dos Santos Pinheiro",affiliation:"Unila",bio:"Is a professor at the Federal University for Latin American Integration (Unila), Brazil, where she teaches in the undergraduate program in Rural Development and Food Security and in the Graduate Program in Contemporary Latin American Integration (ICAL). She holds a PhD in Social Sciences from the Rural Federal University of Rio de Janeiro (UFRRJ), Brazil, with a sandwich research period at Cheikh Anta Diop University in Senegal. Since 2015, she has been a member of the Leppais/UFPel, and also coordinates the Histórias de Quilombo project and the Grupo de Trabalho Antropoéticas, in the Latin American Association of Anthropology. Her main research includes climate justice, racial and ethnic relations, ethnic recognition in quilombola communities, environmental racism, the use of images in ethnographic research, and cultural heritage. She directed and wrote the following documentaries: the <em>Navio do Sertão</em> series (2025); <em>Pão na Pedra</em> (2016); <em>Gramame, um rio de histórias</em> (2018); <em>Raiz Farinha Beiju</em> (2021) and <em>Inventos</em> (2022)."},{slug:"rafael-victorino-devos",photo:Bf,name:"Rafael Victorino Devos",affiliation:"UFSC",bio:"Is an anthropologist and a professor in the Department of Anthropology and the Graduate Program in Social Anthropology at the Federal University of Santa Catarina (UFSC), Brazil. He earned a degree in Advert

249ising, and a Master's degree and PhD in Social Anthropology at the Federal University of Rio Grande do Sul, Brazil. Devos is a researcher in CANOA Group (PPGAS/UFSC) and INCT Brasil Plural. He is also a CNPq researcher (PQ2), and an associate researcher at the SEACOAST Center of the University of California in Santa Cruz, United States. He directed the documentary films <em>Os seres da mata e sua vida como pessoas</em> (<em>Pierre Verger Award</em> – Best Film 2012), <em>Ver Peixe</em> (<em>Pierre Verger Award</em> – Honorable Mention 2018), <em>Maré do Peixe</em> (2024) and <em>Pesca com Botos</em> (2026). Through audiovisual devices, he researches perceptual skills and arts of noticing more-than-human relations in multispecies landscapes. His recent work focuses on the dynamics of marine life and its climate variations, through the techniques and words of artisanal fishers and navigators."},{slug:"ralyanara-freire",photo:Tf,name:"Ralyanara Freire",affiliation:"PPGAS/Unicamp",bio:`Is a visual artist and anthropologist, a person on the Autism Spectrum, a lesbian, and a self-proclaimed "pequi eater" who uses this label to critically engage with this regional stereotype associated with Goiás and the Cerrado. Ralyanara's practice moves across textiles, ceramics, printmaking, painting and photography. She is dedicated to two interconnected lines of poetic research. In <em>Arquivo Lésbico</em> (<em>Lesbian Archive</em>), she engages autobiographical narratives and creates graphisms with dissident bodies in mind. In <em>Corpo-Cerrado</em> (<em>Body-Cerrado</em>), she traverses plateaus, floodplains, streets and sidewalks. Through an affective gathering of the Cerrado biome, she develops poetic fabulations with earth-barks-flowers-leaves. Her work explores the concepts of Anthropoce

249ne, ruins, territory, presence, archive, graphisms (<em>grafias</em>, in Portuguese) and lesbianities. From 2021 to 2025, she worked as an art-educator at the Centro de Estudo e Pesquisa Ciranda da Arte (Seduc/GO). In 2019, she received the Sílvio Romero Award (CNFC/IPHAN); in 2021, the Academic Recognition Award in Human Rights from Unicamp – Instituto Vladimir Herzog, and in 2024, the PNAB Creative Processes Award. She is a postdoctoral researcher at Unicamp, Brazil, with Capes Funding, and conducts fieldwork research at Sertão Negro – Atelier and School of Art.`},{slug:"rogerio-duarte-do-pateo",photo:Uf,name:"Rogerio Duarte do Pateo",affiliation:"UFMG",bio:"Holds a PhD in Social Anthropology from the University of São Paulo, Brazil. He began his career in Indigenous ethnology as an associate researcher at the former Núcleo de História Indígena e Indigenismo (NHII) at the same institution, where he carried out his doctoral research among the Yanomami people between 2000 and 2005. Outside academia, he worked as a research analyst at Instituto Socioambiental, and since 2010 he has been a professor in the Department of Anthropology and Archaeology at the Federal University of Minas Gerais (UFMG). Recently, Do Pateo's research has focused on the intersection of photography, anthropology and archaeology, and since 2019, he has conducted fieldwork research in Luxor, Egypt. He currently serves as vice-director of the Faculty of Philosophy and Human Sciences at UFMG."},{slug:"tatiana-lotierzo",photo:Of,name:"Tatiana Lotierzo",affiliation:"USP / LEPPAIS",bio:"Is an anthropologist and historian. Her research explores the relationship between images and thought in Indigenous arts (see <em>Erosão num pedaço de papel</em>), as well as antiracism in visual arts, drawing on both fieldwork and archival research. She is the author of <em>Contornos do (In)visível: Racismo e Estética na Pintura Brasileira (1852-1936)</em>, which received an award from the Brazilian Association of University Presses (ABEU) and was a finalist for the 60th Jabuti Award. She was awarded the Edgar Cacho Pallero Best Production Prize for the documentary film <em>Tobias 700: História de uma Ocupação</em>, resulting from fieldwork with the Movimento dos Sem Teto do Centro (MTST) in São Paulo, Brazil. She has also conducted applied research with incarcerated populations in La Plata, Argentina, and in schools in Port-au-Prince, Haiti. In Colombia, she was visiting postdoctoral researcher at SensoLab/Pontificia Universidad Javeriana (2024), and doctoral visiting researcher at the Universidad del Rosario (2016). Previously, she participated as a resident in the Courants du Monde Programme: Séjour Culture Cinéma-Audiovisuel (2008), in France. She is completing a postdoctoral fellowship in Anthropology at the University of São Paulo (USP), having recently completed a postdoctoral fellowship at Leppais/UFPel. Lotierzo is a member of the Grupo de Antropologia Visual at USP and the Coletivo Antropoéticas."}],dv={slug:"lucelia-maciel",photo:Xf,name:"Lucélia Maciel",affiliation:"UFG / Coletivo Jatobá Nascente",bio:"Born in Bahia, Brazil, Lucélia Maciel is a member of the Coletivo Jatobá Nascente and the Sertão Negro. She lives and works in Goiânia, Brazil, and holds a bachelor's degree in Visual Arts from the Federal University of Goiás. Drawing on memories of her childhood in the interior of Bahia, she develops artistic research and poetic practices shaped by reflections on ethnic, racial, social and gender inequalities."},BM=[{slug:"tayna-almeida-de-paula",photo:ev,name:"Tayná Almeida de Paula",affiliation:"Unicamp / La'grima",bio:"Is a PhD candidate in Social Anthropology at Unicamp, with a bachelor's degree in Social Sciences and a master's in Social Anthropology from the Federal University of Alagoas (UFAL). She is a researcher at LA'GRIMA, a collaborating researcher in the Alagoas Laboratory of Visual Anthropology (AVAL), and a member of Errante – a study group on Black Radical Thought and Ethnographic Theory (Unicamp). She also serves as a member of the editorial board of <em>Proa: Revista de Antropologia e Arte</em>, and works as text reviewer. Her research interests include folklore studies, popular cultures, collective memory, photography, archives, family, migration, gender, racial relations and self-representation. She worked as an intern at the National Institute of Historical and Artistic Heritage (IPHAN/AL), in the area of Intangible Heritage (2018), and, between 2017 and 2019, she was part of the team responsible for the photographic collections of the Museu de Antropologia e Folclore Théo Brandão (MTB). Between 2019 and 2022, she coordinated FOTOSURURU – Encontro de Fotografia Criativa in Maceió, Alagoas."},{slug:"pedro-assugeni",photo:av,name:"Pedro Assugeni",affiliation:"Unicamp / 

249La'grima",bio:"Is an undergraduate student in Social Sciences, focusing on Anthropology, at Unicamp. He is a research fellow at LA'GRIMA (Unicamp), coordinated by professors Suely Kofes and Fabiana Bruno. He participates in outreach and research activities at the Laboratório de Pesquisa e Extensão com Povos Tradicionais, Ameríndios e Afro-americanos, coordinated by professor José Maurício Arruti. His interests and experience include Anthropology, Cinema, Sociology of Culture, Visual Culture and the Arts."},{slug:"guih-landim",photo:ov,name:"Guih Landim",affiliation:"Unicamp / Coletivo Turvo",bio:"Is a PhD candidate in Multimedia (Unicamp), a founding member of the Coletivo Turvo and an audiovisual maker. Their interdisciplinary research practice seeks to understand fabulations, sensitive ethnographies, traces and image-memories, articulating film theory, epistemological stubbornness and dissident experiences across various fields of knowledge. Their filmography includes <em>Todo peixe contém o mar</em> (2026), <em>Corte-seco</em> (2025), <em>Batuque: (en)cantos de Lutas</em> (2024) and <em>Camburi Resiste</em> (2023). They are co-author of the book <em>Nas margens do Camburi</em> (2025), resulting from a collaboration between the Quilombola Community of Camburi, Unicamp and the University of Girona."},{slug:"jhennifer-nogueira",photo:nv,name:"Jhennifer Nogueira",affiliation:"UFG",bio:"Is an undergraduate student in the licentiate program in Social Sciences at the Federal University of Goiás. She is currently conducting an Undergraduate Research project in Visual Anthropology."}],Zl=[{slug:"ceica-ferreira",photo:Wf,name:"Ceiça Ferreira",affiliation:"UEG",bio:"Holds a PhD in Communication from the University of Brasília (UnB) and is a tenured professor and researcher in the Cinema and Audiovisual program at the State University of Goiás (UEG). She develops teaching, research, curatorial and outreach activities in the areas of communication, arts, culture, race, gender and sexuality in cinema and audiovisual. She is a co-founder of Sertão Negro Atelier and School of Arts in Goiânia, Goiás, and the creator and director of the Maria Grampinho Film Club, whose curatorial focus highlights Black cinemas. In 2025 she co-edited the book <em>Cinema Negro no Feminino: Afeto e Pertencimento Além das Telas</em>, published by Nau Editora, and curated the exhibitions <em>O Sertão é nosso centro</em> and <em>Poéticas de Subversão: Mulheres artistas em Goiás</em> (Centro Cultural Octo Marques, Goiânia). In 2024, she co-edited the collection <em>Águas Correntes: Mulheres no Audiovisual do Centro-Oeste</em> (UEG Press) and was part of the selection committee for the 6th edition of the Black Narratives Laboratory of the Association of Black Audiovisual Professionals (APAN)."},{slug:"claudia-turra-magni",photo:Kf,name:"Claudia Turra Magni",affiliation:"UFPel / LEPPAIS",bio:"Is full professor in the Department of Anthropology at the Federal University of Pelotas (UFPel), where she teaches in both graduate and the undergraduate programs. She holds a degree in History and a master's degree in Social Anthropology from the Federal University of Pelotas, and a PhD in Social Anthropology and Ethnology from the École des Hautes Études en Sciences Sociales, with postdoctoral research at the Institut d'Ethnologie Méditerranéenne et Contemporaine. She founded Leppais in 2008, and the Coletivo Antropoéticas (CNPq) in 2018. Between 2008 and 2018, she served on the Visual Anthropology Committee (CAV) of the Brazilian Anthropological Association. Magni was president of the <em>Pierre Verger Award</em> in the 2015-2016 term, and joined the Organizing Committee between 2017 and 2018. Her teaching, research and outreach activities focus on images, technopoetics, health, heritage and the environment."},{slug:"divino-tserewahu",photo:Qf,name:"Divino Tserewahú",affiliation:"Xavante People / USP (CEDIPP)",bio:"Is an Indigenous filmmaker and researcher of the Xavante people from the Sangradouro village in Mato Grosso, Brazil. Since the early 1990s, he has dedicated himself to the audiovisual documentation of Xavante rituals and ceremonies, with a particular commitment to producing images for Indigenous communities themselves. His trajectory is closely linked to the strengthening of Indigenous cinema in Brazil. He participated in the Vídeo nas Aldeias project and joined initiatives such as Programa de Índio. Divino gained recognition through his leadership in the collective production of the film <em>Wapté Mnhõnõ, A Iniciação do Jovem Xavante</em> (1999), an award-winning film screened at numerous festivals in Brazil and abroad. Throughout his career, he has directed important documentaries on Xavante ritual cycles and spiritual life, such as <em>Wai'á Rini, O poder do sonho</em> (2001) and <em>Daritidzé, Aprendiz de Curador</em> (2003). He has also addressed political and interethnic issues in works such as <em>Vamos à Luta!</em> (2002), about the mobilization of the Makuxi people, as well as in productions such as <em>Sangradouro</em> and <em>PI'ÕNHITSI, Mulheres Xavante sem Nome</em> (2009), which reflect on cultural transformations and contemporary challenges. He is currently director of the community museum of the Sangradouro Xavante Village and teaches audiovisual production in Indigenous communities. He is part of Centro de Comunicação Digital e Pesquisa Partilhada (CEDIPP/USP), where he develops research on collaborative knowledge production through audiovisual media, consolidating his position as a leading figure in Indigenous cinema in Brazil."},{slug:"vincent-carelli",photo:Jf,name:"Vincent Carelli",affiliation:"Vídeo nas Aldeias (VNA)",bio:"Is a French-Brazilian indigenist and filmmaker, and the founder of the Vídeo nas Aldeias (VNA) project, a pioneering project established in 1986 that introduced audiovisual practices into Indigenous communities in Brazil as tools for cultural and political expression. The initiative has become a major training ground for indigenous film production, playing a key role in the emergence of the first generation of Indigenous filmmakers in Brazil, through workshops conducted in territories such as those of the Xavante, Panará, Wajãpi, Guarani-Mbya, Huni Kuin and Ashaninka peoples. Throughout his career, Carelli has directed several award-winning documentaries, such as <em>O Espírito da TV</em> and <em>A Arca dos Zo'é</em>, and has collaborated with Indigenous filmmakers on productions focused on the documentation of intangible heritage, in partnership with IPHAN. He is also known for the acclaimed trilogy comprised by <em>Corumbiara</em> (2009), <em>Martírio</em> (2016) and <em>Adeus, Capitão</em> (2022), which powerfully examine the history and resistance of Indigenous peoples in Brazil. His work received major distinctions, such as the Order of Cultural Merit (2009) and the Prince Claus Award (2017), affirming his significance in both the international documentary film scene and the struggles of Indigenous peoples for rights."}],TM=[{slug:"amalia-cordova",photo:$f,name:"Amalia Córdova",affiliation:"Smithsonian / NYU",bio:"Is a curator and researcher of Indigenous film and co-directs the Smithsonian Mother Tongue Film Festival. At the Smithsonian Institution she was the Supervisory Museum Curator of World Cultures at the Center for Folklife and Cultural Heritage and a Latin American specialist for the Film + Video Center of the National Museum of the American Indian. She taught at New York University's Gallatin School of Individualized Study. She completed a Ph.D. in Cinema Studies and an M.A. in Performance Studies from New York University. Her book, <em>Frames of Resistance: the Cinemas of Abya Yala</em>, was published by Oxford University Press in 2025. She is from Santiago, Chile/Wallmapu."}

249,{slug:"denetem-touam-bona",photo:sv,name:"Dénètem Touam Bona",affiliation:"Philosopher and artist",bio:`Philosopher and artist Dénètem Touam Bona conceives of the liana as the totemic plant of an Afrodiasporic book and exhibition (Centre d'art et du paysage de Vassivière, 2021-2022), aiming to ward off a toxic colonial and patriarchal imaginary (Tarzan, the "virgin forest," etc.) while at the same time paying tribute to the lyannaj (derived from the Creole word for "liana") of the archipelagos of Martinique and Guadeloupe: practices of alliance and creative improvisation inherited from resistances to slavery.
250In the face of the ongoing dismantling of the right to asylum, the extinction of living species, and the growing expansion of the empire of algorithms over our lives, he calls for the reactivation of the maroon arts (quilombola and others) of disappearance.
251Among his books translated into Portuguese are <em>Cosmopoéticas do Refúgio</em> (Cultura e Barbárie, Brazil, 2020), <em>Sabedoria dos Cipós</em> (Ubu, Brazil, 2025) and <em>Para Onde Foge?</em> (Papéis Selvagens, Brazil, 2025). Touam Bona also regularly develops artistic collaborations with filmmakers, theater directors and choreographers.`},Zl[2],{slug:"genor-sales",photo:tv,name:"Genor Sales",affiliation:"UFG / Sertão Negro",bio:'Born in Goiânia and trained in Visual Arts at the Federal University of Goiás, Genor Sales builds his poetics from the margins, where memory and affection flow into urban experience. A member of Associação Jatobá Nascente and Sertão Negro, and represented by Cerrado Galeria. Genor transforms the experience of being a "fish out of water" into a sensitive artistic language: a gesture of inventing possible breaths, tides and forms of belonging. In his work, social, racial and food-related questions emerge as layers within a single body of water, where survival and imagination move side by side.'},{slug:"jorge-panchoaga",photo:iv,name:"Jorge Panchoaga",affiliation:"Universidad del Cauca (CO)",bio:"Is a Colombian anthropologist, photographer and filmmaker whose work explores the relationships between territory, memory and social experience through visual narratives that bring together photography, video and sound. Trained at Universidad del Cauca and specialized in photography at the Universidad Nacional de Colombia, he develops multimedia projects that inhabit the intersection between imagination and reality. His work has received international recognition, including the Nexofoto Award, distinctions from POY Latam and grants from the National Geographic Society. His works have been published and exhibited by leading institutions and media outlets such as National Geographic, The New York Times and El País. He is co-founder and content director of the platform Vist Projects, dedicated to the visual exploration of contemporary themes. Among his projects are <em>Dulce y Salada</em>, <em>La Casa Grande</em> and <em>Kalabongó</em>, which engage with social and cultural issues in Latin America. He also works as a professor and curator, contributing to the field of visual anthropology."},dv,{slug:"okun",photo:rv,name:"Òkun",affiliation:"UFG / Sertão Negro",bio:"Is a visual artist from Goiânia (2000). Her artistic practice unfolds as a gesture of self-offering, in which painting becomes a medium of ritual connection with spirituality. Her work draws on visualities emerging from Umbanda and Kimbanda de Lei terreiros, traversed by memory and ancestry. She has developed the concept of Pintura de Encruzilhadas (Painting of Crossroads) to name a language of her own: a practice that invokes Exu and transforms the non-place into a territory of listening, transformation and presence, becoming a passage between the visible and the invisible. Nominated for the PIPA Award 2026, she is an artist-in-residence at the Sertão Negro Atelier and Art School, serving as an art assistant to artist Dalton Paula. Òkun holds a bachelor's degree in Visual Arts from the Federal University of Goiás. Her work has been featured in exhibitions such as <em>Dos Brasis: arte e pensamento negro</em>, <em>Crônicas cariocas</em>, <em>Mulheres que mudaram 200 Anos</em> and <em>Sertão Negro: território vivo</em>."},Zl[3]],UM=Object.freeze(Object.defineProperty({__proto__:null,comissao:LM,convidados:TM,juri:Zl,luceliaMaciel:dv,organizacao:BM,presidencia:IM},Symbol.toStringTag,{value:"Module"})),_t=qt(DM,UM),OM=_t.presidencia,GM=_t.comissao;_t.luceliaMaciel;const VM=_t.organizacao,qM=_t.juri,HM=_t.convidados,pu="/2026/assets/banner3-CVo9xkZ2.webp";function _M(){const{t:e}=q();return ce({title:e("pages.comissaoOrganizadora.metaTitle"),description:e("pages.comissaoOrganizadora.metaDescription")}),l.jsx(mu,{title:e("pages.comissaoOrganizadora.title"),heroBackgroun

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251,{role:"Fotografia",names:["Marcelo Quixaba"]},{role:"Som",names:["Giancarlo Galdino"]},{role:"Assistente de som",names:["Mayara Valentim"]},{role:"Edição",names:["Cesar Augusto"]},{role:"Designer",names:["Ana Carolina"]}],directors:[{name:"Darllan Da Rocha",photo:Tv,bio:"O antropólogo Darllan da Rocha é doutorando em Antropologia (PPGSA/UFRJ) e realiza pesquisas etnográficas com comunidades tradicionais. Autor do livro <em>Mestres do Barro: patrimônio, turismo cultural e o kitsch no Alto do Moura</em> (2020) e contemplado no prêmio Silvio Romero 2016, realizou os filmes <em>Novo Quilombo Chegou</em> (2012), <em>Arte é para Todos</em> (2014) e <em>No Tom dos 8 Baixos</em> (2019)."}]},{slug:"entre-rios-e-aldeias-a-vida-no-alto-xingu",heroImage:Dv,number:3,category:"Curta-Metragem",title:"Entre rios e aldeias: a vida no Alto Xingu",direction:"Veronica Monachini de Carvalho e Tauana Kalapalo",directorBio:"Veronica Monachini de Carvalho é antropóloga e pedagoga, formada pela Unicamp. Realiza projetos e pesquisas na área de etnologia indígena, antropologia da criança, educação indígena, modos de ensino e aprendizagem e arte ameríndia. É integrante do Centro de Pesquisa em Etnologia Indígena (CPEI), vinculado à Universidade Estadual de Campinas (Unicamp). Fez uma série de livros didáticos junto ao povo Kalapalo, povo falante de karib, lançados em 2018, 2019 e 2023. Também é produtora e documentarista de filmes sobre a temática indígena, realiza oficinas com povos indígenas para o ensino de audiovisual e formação de professores, tendo dirigido os filmes <em>Osiba Kangamuke – Vamos lá, Criançada</em> (2016), <em>Itandene Ügühütu – Sobre o Casamento</em> (2017) e <em>Surara - A Luta pela Terra Tupinambá</em> (2017).",year:"2025",duration:"11’",summary:"No Território Indígena do Xingu, o cotidiano das aldeias revela formas próprias de viver, aprender e se relacionar com o mundo. O filme reflete sobre a vida no Alto Xingu a partir dos Kalapalo, mostrando como conhecimentos, práticas e valores são transmitidos entre gerações através da convivência, da palavra e das atividades coletivas. Ao mesmo tempo, a narrativa evidencia as transformações que atravessam a vida nas aldeias, refletindo sobre mudanças no modo de viver, nas relações com o território e nas formas de sustento e circulação de saberes. A relação ecológica com a terra, os rios, as plantas e os animais aparece como um elemento central na organização da vida dos povos do Alto Xingu.",credits:[{role:"Realização",names:["Veronica Monachini de Carvalho","Tauana Kalapalo"]},{role:"Apoio",names:["FAPESP","Lei de Incentivo à Cultura Paulo Gustavo","Secretaria Municipal de Cultura de Querência – MT"]}],directors:[{name:"Veronica Monachini de Carvalho",photo:cy,bio:"Veronica Monachini de Carvalho é antropóloga e pedagoga, formada pela Unicamp. Realiza projetos e pesquisas na área de etnologia indígena, antropologia da criança, educação indígena, modos de ensino e aprendizagem e arte ameríndia. É integrante do Centro de Pesquisa em Etnologia Indígena (CPEI), vinculado à Universidade Estadual de Campinas (Unicamp). Fez uma série de livros didáticos junto ao povo Kalapalo, povo falante de karib, lançados em 2018, 2019 e 2023. Também é produtora e documentarista de filmes sobre a temática indígena, realiza oficinas com povos indígenas para o ensino de audiovisual e formação de professores, tendo dirigido os filmes <em>Osiba Kangamuke – Vamos lá, Criançada</em> (2016), <em>Itandene Ügühütu – Sobre o Casamento</em> (2017) e <em>Surara - A Luta pela Terra Tupinambá</em> (2017)."},{name:"Tauana Kalapalo",photo:my,bio:"Tauana Kalapalo é um cineasta indígena, com experiência na produção de registros audiovisuais documentais (fotos e vídeos) e na edição de curtas-metragens documentários. Foi pesquisador bolsista da UNESCO no Projeto de Documentação Cultural Kalapalo (Museu dos Povos Indígenas e UNESCO) e atualmente, é comunicador da rede Xingu+. Dirigiu e fotografou os curtas-metragens <em>Inhu</em> (2013), <em>Osiba Kangamuke – Vamos lá, Criançada</em> (2016) e <em>Itandene Ügühütu – Sobre o Casamento</em> (2017), entre outros."}]},{slug:"fe-amor-e-sacrificio-conexao-e-movimento",heroImage:hv,number:4,category:"Curta-Metragem",title:"Fé; amor e sacrifício: conexão e movimento",direction:"Deivid Viegas",directorPhoto:Uv,directorBio:"Deivid Garcia Viegas é dançarino-antropólogo, professor e pesquisador, vivendo a cultura Hip Hop de corpo e alma. Formado em Dança pela UFPel, mestre em Antropologia (UFPel), pesquisando as Batalhas de Hip Hop Dance no sul do Brasil. Agora, aprovado no doutorado no PPGANT, ele segue trazendo a força das ruas e da Cypher para a academia, unindo o “corre” do viver-dança com o rigor da pesquisa.",year:"2026",duration:"12’",summary:"Fé, amor e sacrifício não é um filme para ser assistido de longe, é um mergulho n

251o coração das batalhas de Hip Hop Dance no Sul do Brasil. Feito na base do nosso corre, o curta recusa o olhar distante da arquibancada. Com a 'câmera-dançante' no peito, a lente respira, ginga e entra na roda junto com a gente. Sem amarras lineares, a obra costura o caos sagrado da Cypher e a tensão dos rachas, misturando o suor do movimento com a voz de quem constrói a cena. É um arquivo vivo que revela a dor, o fundamento e o ethos de quem pisa nesse chão. Mais do que ver passos, é um convite para partilhar o amor, sentir a vibração do grave batendo no peito e experimentar 'A Dança' de corpo inteiro.",credits:[{role:"Direção",names:["Deivid Viegas"]},{role:"Edição e roteiro",names:["Deivid Viegas"]},{role:"Orientação",names:["Daniele Borges Bezerra"]},{role:"Apoio",names:["Bruno Lemos","Daniele Borges","Diógenes Abatti","Francine Lemos","Karem Moreira","Juliana Tavares","Leonardo Campolino","Leonardo da Silva","Marcos Vieira","Naum Roberto Gomes","Uanderson Farias."]}]},{slug:"madrugada",heroImage:Pv,number:5,category:"Curta-Metragem",title:"Madrugada",direction:"Gianluca Cozza e Leonardo da Rosa",directorBio:"Leonardo da Rosa e Gianluca Cozza são realizadores gaúchos, graduados em Cinema e Audiovisual pela UFPEL. Leonardo atualmente é mestrando em antropologia social (UFRGS/PPGAS) e Gianluca é técnico audiovisual no IFSul campus Alvorada/RS. O trabalho da dupla é focado em um retrato do trabalhador do sul do Brasil, através de um hibridismo entre documentário e ficção. Entre seus projetos se destacam o curta-metragem <em>Construção</em> (2020), um dos dez melhores filmes de 2020 da Abraccine, <em>Madrugada</em> (2023) e <em>Cassino</em> (2024). Seu último trabalho, <em>Grão</em> (2026), foi vencedor do prêmio Canal Brasil de melhor curta-metragem na Mostra de Cinema de Tiradentes.",year:"2023",duration:"19’",summary:"Trabalhadores informais organizados arriscam suas vidas subindo em trens em movimento para recolher restos de grãos de soja para revendê-los no extremo sul do Brasil, na cidade portuária de Rio Grande. Madrugada transpõe em filme essas noites de trabalho sem fim, nas quais corpos desaparecem, engolidos pela paisagem industrial e pela crise econômica brasileira.",credits:[{role:"Elenco",names:["Daniel Guimarães e Anderson Gomes"]},{role:"Direção",names:["Gianluca Cozza e Leonardo da Rosa"]},{role:"Roteiro",names:["André Berzagui","Gianluca Cozza e Leonardo da Rosa"]},{role:"Produção executiva",names:["João Fernando Chagas"]},{role:"Fotografia",names:["Rebeca Francoff"]},{role:"Assistente de câmera e color grading",names:["Eloisa Soares"]},{role:"Trilha sonora original e edição de som",names:["Otávio Vassão"]},{role:"Montagem",names:["André Berzagui"]},{role:"Direção de arte",names:["Arthur Amaral"]},{role:"Som direto",names:["Humberto Schumacher"]},{role:"Direção de produção",names:["Takeo Ito"]}],directors:[{name:"Gianluca Cozza e Leonardo da Rosa",photo:Py,bio:"Leonardo da Rosa e Gianluca Cozza são realizadores gaúchos, graduados em Cinema e Audiovisual pela UFPEL. Leonardo atualmente é mestrando em antropologia social (UFRGS/PPGAS) e Gianluca é técnico audiovisual no IFSul campus Alvorada/RS. O trabalho da dupla é focado em um retrato do trabalhador do sul do Brasil, através de um hibridismo entre documentário e ficção. Entre seus projetos se destacam o curta-metragem <em>Construção</em> (2020), um dos dez melhores filmes de 2020 da Abraccine, <em>Madrugada</em> (2023) e <em>Cassino</em> (2024). Seu último trabalho, <em>Grão</em> (2026), foi vencedor do prêmio Canal Brasil de melhor curta-metragem na Mostra de Cinema de Tiradentes."}]},{slug:"maria-fogo",heroImage:Av,number:6,category:"Curta-Metragem",title:"Maria Fogo",direction:"Fábio de Oliveira",directorPhoto:Jv,directorBio:"Fábio de Oliveira é indígena em contexto urbano, candomblecista, juremeiro, ambientalista, escritor, roteirista, documentarista, fotógrafo, diagramador, pesquisador, produtor audiovisual e cultural. Formado em Audiovisual pela UFRN. Especialista em Turismo, Cultura e Literatura pela UERN. Mestrando em Antropologia Social PPGAS/UF

251RN. Membro do Sítio Histórico e Ecológico Gamboa do Jaguaribe, membro do Conselho Estadual de Políticas de Promoção da Igualdade Racial do Rio Grande do Norte (Conseppir/RN), membro do Núcleo de Estudos Afro-brasileiros e Indígenas (NEAB-IFRN Campus Central).",year:"2025",duration:"17’",summary:"A cerâmica, arte ancestral de resistência, ganha vida pelas mãos de Maria Fogo. Tradição e identidade se entrelaçam em um gesto de preservação cultural. Uma jornada sensível que conecta passado, presente e raízes profundas.",credits:[{role:"Direção geral e roteiro",names:["Fábio de Oliveira"]},{role:"Elenco",names:["Maria Gonçalves","Nilmar Gonçalves","Juracy Gonçalves","Jaguar","estudantes do Grupo de Capoeira Raça"]},{role:"Fotografia",names:["Osani"]},{role:"Som direto",names:["Marina D’Lourdes"]},{role:"Executiva",names:["Bárbara Freire"]},{role:"Assistentes",names:["Ana Tomaz","Railda Freitas","Jaguar","João Porto","Osani","Fatima Rodrigues"]},{role:"Drone",names:["Fidel Dantas"]},{role:"Visual",names:["Diogo Ferreira"]},{role:"Still",names:["Juliana Amorim"]},{role:"Edição",names:["Ysmael Ventura"]},{role:"Mixagem",names:["Rita Machado"]}]},{slug:"mishki-chullumbu",heroImage:Cv,number:7,category:"Curta-Metragem",title:"Mishki Chullumbu",direction:"Patricia Bermúdez A. e Adrián Aguilar",directorBio:"Patricia Bermúdez é doutora em Estudos de Mídia pela Universidade de Bergen, na Noruega, e mestre em Cinema, com especialização em Roteiro para Ficção e Documentário, pela mesma instituição. Atualmente, coordena o Mestrado em Pesquisa em Antropologia Visual da FLACSO Equador. Suas pesquisas concentram-se nos campos da antropologia visual, cinema documental, memória, fotografia, historicidades amazônicas, saúde intercultural, metodologias audiovisuais e arquivos de línguas. É fundadora do Centro Internacional de Estudos Andino-Amazônicos (CIEAAM) e atua como realizadora audiovisual há mais de vinte anos.",year:"2023",duration:"12’",summary:"Frente à destruição palpável e indiscutível da natureza e da cultura, o artista indígena Napo Runa Carlos Pascual Alvarado Narváez, Mishki Chullumbu, reconstrói suas memórias em torno da floresta, de sua infância, da música e da arte. Mishki reinterpreta os significados de sua memória cultural, expressando o talento, a inspiração e a frustração. Este relato íntimo, sensorial e experimental nos conecta à esperança de um artista que luta para manter viva sua cultura e seu conhecimento tradicional.",credits:[{role:"Direção",names:["Patricia Bermúdez A. e Adrián Aguilar"]},{role:"Roteiro",names:["Patricia Bermúdez A. e Carlos Alvarado"]},{role:"Câmera",names:["Adrián Aguilar"]},{role:"Som direto",names:["Patricia Bermúdez A."]},{role:"Edição",names:["Imagen y Sonido","Adrián Aguilar"]},{role:"Tradução",names:["Olmedo Salazar","Michael Uzendoski","Felicia Calapucha","Carlotta Solari"]},{role:"Designer",names:["Alan Arboleda"]},{role:"Website",names:["Yakindu"]},{role:"Protagonista",names:["Carlos Alvarado"]},{role:"Produção musical",names:["Nicolás Coronel","Estefanía Egas","Diego Maestre","Pablo Mora","Sofía Vergara"]},{role:"Diretor e compositor",names:["Carlos Alvarado (Mishki Chullumbu)"]},{role:"Músicos — Grupo Chaguamangos",names:["Carlos Alvarado — voz, guitarra e violino","Bolívar Shiguango — voz e guitarra","Francisco Shiguango — voz e guitarra","Luis Huatatoca — voz e guitarra","Yuyai Shiguango — voz e guitarra","Lino Chongo — tambor"]},{role:"Canções cantadas e instrumentais",names:["Yanda Pullu (Palo seco)","Llullacayo"]}],directors:[{name:"Patricia Bermúdez A.",photo:iy,bio:"Patricia Bermúdez é doutora em Estudos de Mídia pela Universidade de Bergen, na Noruega, e mestre em Cinema, com especialização em Roteiro para Ficção e Documentário, pela mesma instituição. Atualmente, coordena o Mestrado em Pesquisa em Antropologia Visual da FLACSO Equador. Suas pesquisas concentram-se nos campos da antropologia visual, cinema documental, memória, fotografia, historicidades amazónicas, saúde intercultural, metodologias audiovisuais e arquivos de línguas. É fundadora do Centro Internacional de Estudos Andino-Amazônicos (CIEAAM) e atua como realizadora audiovisual há mais de vinte anos."}

251,{name:"Adrián Aguilar",photo:Ov,bio:"Adrián Aguilar é realizador cinematográfico e comunicador social. Encontra no trabalho artístico um importante veículo para promover processos sociais e comunitários que favoreçam o desenvolvimento crítico dos territórios. Há mais de quinze anos, desenvolve projetos que articulam a arte cinematográfica a contextos historicamente excluídos dessa atividade, em grande medida devido à visão elitista que ainda marca a cinematografia mundial e determinadas políticas públicas para o setor."}]},{slug:"os-ursos-e-nos",heroImage:Ev,number:8,category:"Curta-Metragem",title:"Os Ursos e nós",direction:"Maria Acselrad",directorPhoto:uy,directorBio:"Atuando numa zona de fronteira entre a Antropologia e a Dança, Maria Acselrad se dedica há mais de vinte anos a pesquisar as culturas populares. Das suas investigações junto ao Cavalo-Marinho e ao Caboclinho, tradições presentes na Zona da Mata Norte de Pernambuco, foram publicados dois livros: <em>Viva Pareia!</em> (EDUFPE, 2013) e <em>Avança Caboclo</em> (EDUFPE, 2022), resultantes de suas pesquisas de mestrado e doutorado, respectivamente. Professora do Curso de Dança desde 2010 e da Pós-graduação em Antropologia desde 2019, ambos da UFPE, atua como coordenadora do grupo Pisada: Pesquisas Interdisciplinares em Dança e Antropologia. Interessada em investigar os modos somáticos e sinestésicos de registro do corpo em movimento e com a intenção de produzir uma reflexão sobre a questão da alteridade, realizou recentemente o curta-metragem <em>Os Ursos e Nós</em> (2025), sobre a tradição dos Ursos de carnaval da Região Metropolitana do Recife, em Pernambuco.",year:"2025",duration:"17’",summary:"Animal atípico no Brasil, os Ursos ocupam um lugar no imaginário popular pernambucano, sobretudo nas periferias onde mobilizam comunidades inteiras em torno de uma singular tradição carnavalesca. Ali, de forma irreverente, onde encantam e assustam, os Ursos desfilam presos por coleiras e focinheiras, mas também de forma livre, anárquica e vibrante. Expressão das mais comunitárias do carnaval, os Ursos nos arrastam para o êxtase através de suas cores, ritmos e movimentos, fazendo tremer as relações de poder e domesticação. O filme é um ensaio etnográfico e sensorial sobre essa tradição representativa da Região Metropolitana do Recife, mas ainda pouco conhecida na sua diversidade e intensidade.",credits:[{role:"Direção e roteiro",names:["Maria Acselrad"]},{role:"Fotografia",names:["Vanessa Alcântara"]},{role:"Montagem",names:["Paulo Sano"]},{role:"Captação de som",names:["Sergio Godoy e Alberico Souza"]},{role:"Trilha",names:["Sergio Godoy"]},{role:"Edição e mixagem de Som",names:["Felipe Peixoto"]},{role:"Produção executiva",names:["Maria Acselrad"]},{role:"Assistência de produção",names:["Sofio"]},{role:"Pesquisa",names:["Maria Acselrad"]},{role:"Assistência de pesquisa",names:["Cauet da Silva e Sofio"]},{role:"Imagens adicionais",names:["Gabrielle Santos"]},{role:"Colorista",names:["Clarissa Azevedo"]},{role:"Design",names:["Tav"]},{role:"Artes gráficas",names:["Hugo Luna"]}]},{slug:"overloque",heroImage:Fv,number:9,category:"Curta-Metragem",title:"Overloque",direction:"Eve Costa",directorPhoto:$v,directorBio:"Amador nas artes, nas imagens e nas palavras, sou Eve Costa e construo narrativas visuais através das memórias que ainda não perdi. Estudante de Ciências Sociais, bacharelado, me inquieta o entrelaçamento do ofício com as lembranças biográficas. Bolsista do LABOME (Laboratório das memórias e das práticas cotidianas), atuo na fotografia e direção de curtas metragens. Dirigi <em>Overloque</em> e <em>Sujeito Subentendido</em>, em 2024, um sobre memória, biografia e técnica da costura e o outro com o tema surrealista, respectivamente. Em 2023, apresentei <em>Alinhavo</em> em uma exposição solo na Casa da Cultura de Sobral. Posteriormente, esse filme fez parte do catálogo da III MOSTRA Digital de Ensaios Visuais do NAVIS – Núcleo de Antropologia Visual (UFRN). No ano seguinte, 2024, apresentei <em>Desejo de Menino</em> no FAVA – Festival Audiovisual Vale do Acaraú e em 2025, <em>Entranhando o Maquinário</em>, registros fotográficos extras sobre o filme <em>Overloque</em>, exposto no XIII Visualidades, evento artístico-acadêmico do LABOME, e na IV Mostra Digital de Ensaios Visuais/NAVIS-UFRN. As pesquisas em geral seguem um fluxo narrativo lírico, onde os pontos da costura vão se alinhavando e criando conexões na memória.",year:"2024",duration:"16’",summary:"Overloque desenvolve-se através do compartilhamento de emoções, memórias e do entrelaçamento das vidas das interlocutoras com a costura. A construção desses visuais exalta os pontos em comum entre gerações, e como a tecnologia da costura se des

251dobra e performa. Marlene, Akwa e Vivi entrelaçam suas vivências e saberes com linha e agulha, alinhavando uma história que transborda a margem da moldura e cria memórias.",credits:[{role:"Direção e escrita",names:["Eve Costa"]},{role:"Produção executiva",names:["Maria Helena"]},{role:"Financeiro",names:["Bruna Silvino"]},{role:"Câmera 1",names:["Jamires Rodrigues"]},{role:"Câmera 2",names:["Eve Costa"]},{role:"Edição",names:["Y Choices"]},{role:"Operadora de áudio",names:["Jayanara Oliveira"]},{role:"Designer gráfico",names:["Luiz Gustavo"]},{role:"Social media",names:["Júnior Procópio"]},{role:"Auxiliares de produção",names:["Maria Luiza e Marly Prado"]}]},{slug:"transcendendo-fronteiras",number:10,category:"Curta-Metragem",title:"Transcendendo fronteiras",heroImage:Bv,direction:"Sol Alves",directorPhoto:py,directorBio:"Sol Alves é mestra e doutoranda em Antropologia Social (PPGAS/UFRN), pesquisadora e produtora audiovisual. Pesquisa políticas de memória, epistemologias travestis e museus de memória e arte, articulando narrativas dissidentes, contramemórias e disputas patrimoniais no contexto brasileiro, com ênfase em processos de inclusão e nos regimes de visibilidade de travestis em instituições culturais.",year:"2025",duration:"12’",summary:"Inspirado na trajetória de Leilane Assunção, pioneira entre as mulheres transexuais doutoras do Nordeste, o filme homenageia a memória travesti e transexual como força coletiva que atravessa gerações. A obra reúne histórias de resistência, dignidade e afirmação protagonizadas por figuras centrais do Rio Grande do Norte e do Ceará, como Dediane Souza, Jacqueline Brazil (in memoriam), Jeniffer Rocha, Janaina Lima, Wanja Celine e Sol Alves. Ao articular essas trajetórias, o filme se constrói como rito, celebração e manifesto político, afirmando o direito à existência, à visibilidade e à memória da população travesti e transexual.",credits:[{role:"Direção e roteiro",names:["Sol Alves"]},{role:"Fotografia",names:["Osani"]},{role:"Direção de arte",names:["Bárbara Freire"]},{role:"Consultoria",names:["Nóa Bonobá"]},{role:"Produção executiva",names:["Ioanna Augusta"]},{role:"Assistência",names:["João Vitor"]},{role:"Montagem/Edição",names:["Rita Machado"]},{role:"Som direto",names:["Thaynara Bezerra"]},{role:"Make",names:["Lorys Shimosaki"]},{role:"Loger",names:["Raane Mytle"]},{role:"Audiodescrição",names:["Somar"]},{role:"Libras",names:["Daniel Guedes"]},{role:"Projeção",names:["Vittor Gois"]},{role:"Elenco",names:["Dediane Souza","Sol Alves","Janaina Lima","Jacqueline Brasil","Jennifer Rocha","Wanja Celine"]},{role:"Trilha",names:["Aiyra"]}]},{slug:"zeza-do-coco-raizes-do-quilombo",heroImage:zv,number:7,category:"Média-Metragem",title:"Zeza do Coco – raízes do quilombo",direction:"Thaiara Lago",directorPhoto:hy,directorBio:"Thaiara Lago é pesquisadora, sanitarista e realizadora audiovisual nascida em São Borja (RS). Graduada em Farmácia pela UFSC e especialista em Saúde da Família com ênfase nas populações do campo (UPE), é doutoranda em Saúde Coletiva (UFSC). Articula comunicação, arte, cultura e saúde, utilizando o audiovisual como linguagem de pesquisa e produção de conhecimento. Dirigiu o documentário <em>Guerreiras Quilombolas do Castainho: Nossa Ancestralidade nos Guia</em> (2022), exibido em festivais.",year:"2025",duration:"20’",summary:"Meu cotidiano, meu quilombo e meu terreiro são as fontes das minhas maiores inspirações. Eu canto a memória do meu território quilombola, faço um elo entre a vida cotidiana do presente e as raízes da nossa ancestralidade trazida pelas águas do Rio Mundaú. Honro a história e a reza das mais velhas, ecoando as vozes das mulheres e os saberes de nossa tradição quilombola. O que eu canto é o que eu vivo!",credits:[{role:"Elenco",names:["Família Zeza do Coco","Mestra Zeza do Coco (Maria José Lopes Isidio)","Mãe Neta (Marinete Lopes)","Erivania Lopes","Erivanilda Lopes","Edivane Lopes","Erivaldo Lopes Isidio (Edinho)","Eder Isidio","Tamara Lopes","Kadu Lopes dos Santos","José Ian Lopes Mendes","Carlos Daniel Lins da Silva Lopes","Jamerson Lins da Silva Lopes","Carlos Henrique Lins Lima","Eliane Lopes da Silva","Maria do 

251Socorro Lopes da Silva"]},{role:"Banda",names:["Jozenaldo Lopes Bernardo (Novo)","Breno Ferreira","Ceci Goye","Rafaela Barros"]},{role:"Brincantes",names:["Ingrid Vital","Luiza Melo"]},{role:"Direção",names:["Thaiara Lago"]},{role:"Fotografia",names:["Éder Braz"]},{role:"Roteiro",names:["Thaiara Lago","Éder Braz e Família Zeza do Coco"]},{role:"Câmera",names:["Éder Braz e Miguel Bittencourt"]},{role:"Imagens complementares",names:["Rafaela Barros"]},{role:"Drone",names:["Alexandre Viana"]},{role:"Montagem",names:["Éder Braz e Thaiara Lago"]},{role:"Colorização/Mixagem",names:["Miguel Bittencourt"]},{role:"Som direto",names:["Aruanã do Amaral","Breno Ferreira","Miguel Bittencourt e Rafaela Barros"]},{role:"Sonoplastia",names:["Breno Ferreira"]},{role:"Produção executiva",names:["Edivane Lopes","Erivanilda Lopes e Renata Domingues"]},{role:"Direção de produção",names:["Miguel Bittencourt e Renata Domingues"]}]},{slug:"envem-vissungo",heroImage:Iv,number:1,category:"Média-Metragem",title:"Envém Vissungo!",direction:"Joana Ramalho Ortigão Corrêa",directorBio:"Joana Corrêa é gestora cultural e antropóloga, mestre e doutora pelo PPGSA/UFRJ. Coordenou e atuou em inventários participativos e documentários audiovisuais do Fandango Caiçara, do Choro, da Cozinha Mineira, de Matrizes Tradicionais do Forró e Vissungo (IPHAN e IEPHA-MG). Atua também como coordenadora de projetos formativos que integram conhecimentos acadêmicos e tradicionais. Em 2025, foi consultora da Crespial/Unesco para a revisão crítica das políticas de patrimônio imaterial no Brasil.",year:"2025",duration:"27’",summary:"Envém Vissungo! anuncia a tradição no sopro da renovação, percorrendo cantos, chamados de vissungos, e falares de origem bantu guardados nas travessias do tempo por comunidades quilombolas do Alto Jequitinhonha, em Minas Gerais. A partir dos cantos entoados por catopês e mestres vissungueiros, o filme acompanha formas de transmissão entre gerações, compreendendo o vissungo como linguagem poética, ritual e histórica da diáspora africana na região e no Brasil. O documentário acentua os vínculos entre memória, território e ancestralidade, contribuindo para processos de reparação histórica e restituição de memórias.",credits:[{role:"Participantes",names:["Enilson Viríssimo","Maria Macarrão","Sineca","Geraldo Viríssimo","Floriza Viríssimo","Clemência Brandão","Luizinho Gonzaga","Durcelino Reis","Adenilson Amásio","Celso Timóteo e moradores das comunidades quilombolas do Ausente, Baú e Quartel do Indaiá"]},{role:"Pesquisa",names:["Enilson Viríssimo","Joana Corrêa","Laura Augusta Freitas","Rudá K. de Andrade","Oswaldo Giovannini Jr."]},{role:"Fotografia",names:["Michel Becheleni","Rudá K. de Andrade"]}],directors:[{name:"Joana Ramalho Ortigão Corrêa",photo:Wv,bio:"Joana Corrêa é gestora cultural e antropóloga, mestre e doutora pelo PPGSA/UFRJ. Coordenou e atuou em inventários participativos e documentários audiovisuais do Fandango Caiçara, do Choro, da Cozinha Mineira, de Matrizes Tradicionais do Forró e Vissungo (IPHAN e IEPHA-MG). Atua também como coordenadora de projetos formativos que integram conhecimentos acadêmicos e tradicionais. Em 2025, foi consultora da Crespial/Unesco para a revisão crítica das políticas de patrimônio imaterial no Brasil."}]},{slug:"espectros",heroImage:gv,number:2,category:"Média-Metragem",title:"Espectros",direction:"Fabrizio Dalla Verde Narciso e outros",directorBio:"Narciso Dalla Verde é graduando em Comunicação Social – Midialogia pela Unicamp. Durante a graduação, participou da produção do curta metragem <em>Espectros</em> como diretor, desenvolveu ensaios fotográficos e produções gráficas.",year:"2026",duration:"38’",summary:"Em um percurso entre laboratórios, rolês e almoços, olhar para rituais de autorregulação, depoimentos e vivências sociais revela Espectros. Submerso na experiência cotidiana e na subjetividade dos participantes, o filme é uma vídeo-pesquisa com três personagens neurodivergentes. Luppi, Kamille e Novak possuem em comum a vida universitária na Unicamp, compartilhada com um grupo de estudantes de sua faculdade, que buscam questionar o olhar condicionado sobre o grupo social neurodivergente. Essa obra inaugural de concepção rouchiana se vale de intervenções sonoras, fotografias e intersubjetivida

251de para mediar um diálogo íntimo sobre identidade, resistência e afetos.",credits:[{role:"Participantes",names:["Kamille Magalhães Silvestre","Luppi Campos","Novak"]},{role:"Participações especiais",names:["Ana Carolina de Melo","Ana Carolina Gonzales Richieri","Cauê Ferrari de Souza","Gabriel Costa Kinder","Luis Otávio Fernandes Schantz","Miguel Herculano Viana","Nicolas Franklin Martarello Pereira","Sacaia Alvim Santos Romani","Furries de Campinas"]},{role:"Edição",names:["Elis Vidal Caprioglio","Fabrizio Dalla Verde Narciso","Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Fotografia",names:["Elis Vidal Caprioglio","Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Pesquisa",names:["Ana Beatriz Alarcão De Almeida","Brunna Aprigio De Oliveira"]},{role:"Produção",names:["Brunna Aprigio De Oliveira","Fabrizio Dalla Verde Narciso"]},{role:"Roteiro",names:["Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Som direto",names:["Ana Beatriz Alarcão De Almeida"]},{role:"Filme realizado no âmbito da disciplina Antropologia da Imagem do curso de Midialogia da Unicamp, sob a orientação da professora Cristina Alvares Beskow.",names:[]}],directors:[{name:"Fabrizio Dalla Verde Narciso",photo:Kv,bio:"Narciso Dalla Verde é graduando em Comunicação Social – Midialogia pela Unicamp. Durante a graduação, participou da produção do curta metragem <em>Espectros</em> como diretor, desenvolveu ensaios fotográficos e produções gráficas."}]},{slug:"feridas-na-terra",heroImage:fv,number:3,category:"Média-Metragem",title:"Feridas na Terra",direction:"Helena Duarte",directorBio:"Helena Duarte é cientista socioambiental formada pela Universidade Federal de Minas Gerais (UFMG), com formação complementar em audiovisual. Realizadora, pesquisadora e diretora de Feridas na Terra, desenvolve trabalhos audiovisuais em diálogo com comunidades atingidas pela mineração, movimentos sociais, ocupações urbanas e quilombos. Sua atuação articula imagem, território e conflitos socioambientais.",year:"2025",duration:"46’",summary:"O documentário Feridas na Terra percorre o território da Serra do Curral, em Belo Horizonte, revelando as histórias e os modos de vida que ali se constituem, em meio aos conflitos provocados pela mineração ilegal. A partir das memórias e relatos das comunidades do Taquaril e do Kilombo Manzo, que compõem esse território, o filme caminha entre a mineração predatória e a luta pela defesa da terra, expondo as marcas deixadas na paisagem, nos modos de vida tradicionais, e nas pessoas que ali vivem.",credits:[{role:"Direção",names:["Helena Duarte"]},{role:"Produção Executiva",names:["Samora Nzinga"]},{role:"Direção Artística",names:["Nilo Zack"]},{role:"Mobilização Social",names:["Edneia de Souza"]},{role:"Roteiro",names:["Helena Duarte","Nilo Zack","Samora N'zinga","Edneia de Souza"]}],directors:[{name:"Helena Duarte",photo:Qv,bio:"Helena Duarte é cientista socioambiental formada pela Universidade Federal de Minas Gerais (UFMG), com formação complementar em audiovisual. Realizadora, pesquisadora e diretora de Feridas na Terra, desenvolve trabalhos audiovisuais em diálogo com comunidades atingidas pela mineração, movimentos sociais, ocupações urbanas e quilombos. Sua atuação articula imagem, território e conflitos socioambientais."}]},{slug:"haukanunu-nau-iyayakapiri-o-que-dizem-as-maes",heroImage:vv,number:4,category:"Média-Metragem",title:"Haukanünu Nãu Iyayakapiri – O que dizem as mães",direction:"Aline Regitano e Warakina Mehinako",directorBio:"Aline Regitano é antropóloga, doutoranda em Antropologia Social pela Universidade de São Paulo (USP) e mestra em Antropologia Social pela Universidade Estadual de Campinas (Unicamp). Realiza, desde 2016, pesquisa com o povo Mehinako do Alto Xingu, com foco no parto, corporalidade, cuidado, saúde indígena e relações de gênero. É pesquisadora do CEstA – Centro de Estudos Ameríndios.",year:"2025",duration:"25’",summary:"Na aldeia Utawana do povo Mehinako, grupo amazônico do centro do Brasil, no Território Indígena do Xingu (MT), as mulheres deixaram de parir em casa com a ajuda das parteiras para parir nos hospitais. Este filme traz as falas (Iyayakapiri) das haukanünu nãu, mulheres que cuidam de crianças pequenas (geralmente mães), e suas percepções sobre essas recentes transformações. Reflexões são tecidas sobre a hospital

251ização do parto e o lugar das especialistas locais no amparo ao nascimento, e se aventam perspectivas sobre o futuro do partejar mehinako.",credits:[{role:"Direção",names:["Aline Regitano e Warakina Mehinako"]},{role:"Imagens e Sons",names:["Aline Regitano","Warakina Mehinako","André Regitano"]},{role:"Participação",names:["Maitsa Aweti","Tukuyari Mehinako","Unü Mehinako"]},{role:"Yahu Mehinako. Ilustração",names:["Iepe Mehinako"]},{role:"Música",names:["Yuwalu Mehinako","Mukura Mehinako","Wapitsewe Mehinako e Matsirapa Mehinako"]},{role:"Entrevistadas",names:["Alua Mehinako","Márcia Mehinako","Marlene Mehinako","Mukura Mehinako","Waya Mehinako"]},{role:"Yuwalu Mehinako. Traduções",names:["Warakina Mehinako","Aline Regitano"]},{role:"Edição/Montagem",names:["Aline Regitano","Warakina Mehinako","Ricardo Dionísio"]},{role:"Produção",names:["Warakina Mehinako","Mukura Mehinako","Aline Regitano","André Regitano"]}],directors:[{name:"Aline Regitano",photo:Gv,bio:"Aline Regitano é antropóloga, doutoranda em Antropologia Social pela Universidade de São Paulo (USP) e mestra em Antropologia Social pela Universidade Estadual de Campinas (Unicamp). Realiza, desde 2016, pesquisa com o povo Mehinako do Alto Xingu, com foco no parto, corporalidade, cuidado, saúde indígena e relações de gênero. É pesquisadora do CEstA – Centro de Estudos Ameríndios."},{name:"Warakina Mehinako",photo:fy,bio:"Warakina Mehinako é liderança política do povo Mehinako. Conhecedora dos cantos Yamurikumã (o canto sagrado das mulheres alto-xinguanas), dos saberes em torno da roça e das plantas, além de ser técnica em enfermagem."}]},{slug:"kunuuka",heroImage:Sv,number:5,category:"Média-Metragem",title:"Kunuuka",direction:"Andressa Iremex Apinajé, Celso Castro, Gabriel Cardoso, Laura Guimarães e Odair Giraldin",directorBio:"Andressa Iremex Apinajé é graduada em Pedagogia pela Universidade Federal do Tocantins e mestre em Bens Culturais e Projetos Sociais pela FGV CPDOC.",year:"2024",duration:"27’",summary:"Na Terra Indígena Apinajé, o cacique Tápkryt Kunuuka passa seu nome a duas crianças. Articulando arquivos e memórias, o documentário registra pela primeira vez o ritual de transmissão do nome Kunuuka, que não era realizado havia 70 anos.",credits:[{role:"Direção e roteiro",names:["Iremex Andressa Apinajé","Celso Castro","Gabriel Cardoso","Laura Guimarães","Odair Giraldin"]},{role:"Montagem",names:["Iremex Andressa Apinajé","Gabriel Cardoso","Laura Guimarães","Odair Giraldin"]},{role:"Câmera",names:["Gabriel Cardoso e Laura Guimarães"]},{role:"Produção",names:["Núcleo de Audiovisual e Documentário – FGV CPDOC"]}],directors:[{name:"Andressa Iremex Apinajé",photo:Vv,bio:"Andressa Iremex Apinajé é graduada em Pedagogia pela Universidade Federal do Tocantins e mestre em Bens Culturais e Projetos Sociais pela FGV CPDOC."},{name:"Celso Castro",photo:qv,bio:"Celso Castro é doutor (1995) em Antropologia Social pelo Museu Nacional/UFRJ. Desde 1986, é pesquisador do CPDOC, a Escola de Ciências Sociais da Fundação Getulio Vargas, da qual é Diretor desde janeiro de 2005."},{name:"Gabriel Cardoso",photo:Xv,bio:"Gabriel Cardoso é graduado e mestre em Comunicação pela PUC-Rio. Atualmente é cocordenador do Núcleo de Audiovisual e Documentário do FGV CPDOC."},{name:"Laura Guimarães",photo:sy,bio:"Laura Guimarães é mestre em Antropologia pela Universidade Federal Fluminense (UFF) e tem Licenciatura em Ciências Sociais pela mesma instituição. Atualmente, é assistente de pesquisa no FGV CPDOC."},{name:"Odair Giraldin",photo:ty,bio:"Odair Giraldin é Doutor em Ciências Sociais pela Universidade Estadual de Campinas (2000). Foi professor titular da Universidade Federal do Tocantins e atualmente é pesquisador-bolsista no FGV CPDOC."}]},{slug:"pretinhas-do-arapema",heroImage:Mv,number:6,category:"Média-Metragem",title:"Pretinhas do Arapemã",direction:"Lia Malcher",directorPhoto:dy,directorBio:"Lia Malcher é antropóloga, documentarista, produtora cultural e curadora, atuando no campo da imagem desde 2015. Doutoranda em Antropologia Social (PPGAS/USP), é mestre (PPGA/UFPA) e bacharel em Antropologia (UFOPA). Integra o Grupos de Antropologia Visual (GRAVI/USP) e o Grupo de Pesquisa em Antropologia Musical (PAM/USP). É também cofundadora da produtora audiovisual Formiga de Fogo Filmes, focada em documentários e filmes etnográficos. Dirigiu diversos filmes, dentre eles <em>Pretinhas do Arapemã</em> (2024), <em>Onde Dorme a Baleia</em> (2024) e <em>

251Jijet – Como estudamos nossos cantos</em> (2023), tendo recebido a Menção Honrosa do Prêmio Pierre Verger (2024).",year:"2024",duration:"22’",summary:"O média-metragem narra sobre o grupo de dança e canto Pretinhas do Arapemã, formado por 12 mulheres da comunidade quilombola de Arapemã, situada na várzea da cidade de Santarém, Oeste do Pará. Suas canções versam sobre memórias, pertencimento e experiências de ser quilombola na confluência da territorialidade ribeirinha amazônida com as epistemes negras, produzindo um musicar próprio. O filme também aborda a preocupação da comunidade com o fenômeno de terras caídas, agravado pelo tráfego de grandes embarcações, e como a música e a dança se tornam ferramentas de resistência na luta pelo território.",credits:[{role:"Direção",names:[`Lia Malcher
252`]},{role:"roteiro e pesquisa",names:["Lia Malcher"]},{role:"Coordenação de Produção",names:["Keké Bandeira"]},{role:"Som direto e Design de som",names:["Andrew Salgado"]},{role:"Produção Local",names:["Maria Alba Vasconcelos"]},{role:"Audiodescrição",names:["Keké Bandeira"]},{role:"Consultoria",names:["Andréa Colares"]},{role:"Fotografia e montagem",names:["Lia Malcher"]},{role:"Arte Gráfica",names:["Débora Marcião"]},{role:"Coordenação de comunicação",names:["Natashia Santana"]},{role:"Still",names:["Barbara Vale"]},{role:"Assistentes",names:["Luana Mendonça","Yan Serique e Victória Bastos"]},{role:"Edição",names:["Halisson Flexa"]},{role:"Social Media",names:["Bianca Serique e Marina Marcião"]},{role:"Libras",names:["Luciano Lobato"]}]},{slug:"a-estrela-do-oriente-visita-o-reino-treze-de-maio",heroImage:yv,number:1,category:"Longa-Metragem",title:"A Estrela do Oriente visita o Reino Treze de Maio",direction:"Júnia Torres e Isabel Casimira Gasparino",directorBio:"Júnia Torres é antropóloga com doutorado pela UFMG e integrante da Associação Filmes de Quintal. Pesquisadora em Antropologia e Imagem, é fundadora do Festival do Filme Documentário e Etnográfico de Belo Horizonte. Curadora de mostras de cinema, com foco em autorias indígenas. Filmografia principal: <em>A Rainha Nzinga Chegou</em> (codireção: Isabel Casimira, 2018); <em>Nos olhos de Mariquinha</em> (codireção: Cláudia Mesquita, 2008); <em>Aqui Favela, o Rap Representa</em> (codireção: Rodrigo Siqueira, 2002).",year:"2025",duration:"81’",summary:"A Estrela do Oriente do bairro Primeiro de Maio, folia da antiga ocupação operária de Belo Horizonte, visita, a cada 6 de janeiro, dia de Santos Reis, o presépio do Reino Treze de Maio, no bairro Concórdia. Filmamos os 'primos do Primeiro de Maio', sendo recebidos pela Rainha mãe Isabel e, quase vinte anos depois, retomamos as gravações com sua filha e agora rainha, que recebe a mesma folia, os mesmos cantos e presentes. Visita que a personagem e diretora devolve à sede da Estrela, acompanhada pela equipe do filme.",credits:[{role:"Fotografia",names:["Bené Machado e Júnia Torres"]},{role:"Edição",names:["Daniel Ribeiro Duarte"]},{role:"Som direto e mixagem",names:["Bruno Vasconcelos"]},{role:"cor",names:["José Cury"]},{role:"Produção",names:["Cora Lima","Filmes de Quintal"]}],directors:[{name:"Júnia Torres",photo:Yv,bio:"Júnia Torres é antropóloga com doutorado pela UFMG e integrante da Associação Filmes de Quintal. Pesquisadora em Antropologia e Imagem, é fundadora do Festival do Filme Documentário e Etnográfico de Belo Horizonte. Curadora de mostras de cinema, com foco em autorias indígenas. Filmografia principal: <em>A Rainha Nzinga Chegou</em> (codireção: Isabel Casimira, 2018); <em>Nos olhos de Mariquinha</em> (codireção: Cláudia Mesquita, 2008); <em>Aqui Favela, o Rap Representa</em> (codireção: Rodrigo Siqueira, 2002)."},{name:"Isabel Casimira Gasparino",photo:Zv,bio:"Isabel Casimira é Rainha Conga da Guarda de Moçambique Treze de Maio e da Federação dos Congados de Minas Gerais, cargo mais alto na hierarquia dos Reinados em sua região. Isabel sucedeu sua mãe, Isabel Casimira das Dores, e sua avó, fundadora do Reino Treze de Maio em 1944, dando continuidade a uma tradição ritual e cultural de matriz banto. Além de mestra do Reinado, é pesquisadora, cineasta e educadora e diretora do filme <em>A Rainha Nzinga Chegou</em> (codireção de Júnia Torres, 2018)."}]},{slug:"ate-onde-a-vista-alcanca",heroImage:bv,number:2,category:"Longa-Metragem",title:"Até onde a vista alcança",direction:"Alice Villela e Hidalgo Romero",directorPhoto:Pn,directorBio:"Alice Villela é antropóloga visual com doutorado em Antropologia Social e mestrado em Artes. Realizou pesquisa junto aos Asuriní do Xingu (PA), investigando temas como a performance no ritual indígena, noções de imagem, fotografia, audiovisual e produção de imagens. Realizou estágio de pesquisa na 

252Universidade Paris X de Nanterre (Paris, França), entre 2013 e 2014. Dirigiu com Hidalgo Romero os filmes <em>Acontecências</em> (2009), <em>A Briga do Cachorro com a Onça</em> (2013), <em>Toré</em> (2022) e <em>Na Volta do Mundo</em> (2022). Realizou pesquisa de pós-doutorado junto ao Laboratório de Imagem e Antropologia da USP, investigando as relações entre audiovisual, música e localidade. Atualmente é Professora Visitante na Cátedra Kaapora de conhecimentos não hegemônicos da UNIFESP.",directors:[{name:"Alice Villela",photo:Pn,bio:"Alice Villela é antropóloga visual com doutorado em Antropologia Social e mestrado em Artes. Realizou pesquisa junto aos Asuriní do Xingu (PA), investigando temas como a performance no ritual indígena, noções de imagem, fotografia, audiovisual e produção de imagens. Realizou estágio de pesquisa na Universidade Paris X de Nanterre (Paris, França), entre 2013 e 2014. Dirigiu com Hidalgo Romero os filmes <em>Acontecências</em> (2009), <em>A Briga do Cachorro com a Onça</em> (2013), <em>Toré</em> (2022) e <em>Na Volta do Mundo</em> (2022). Realizou pesquisa de pós-doutorado junto ao Laboratório de Imagem e Antropologia da USP, investigando as relações entre audiovisual, música e localidade. Atualmente é Professora Visitante na Cátedra Kaapora de conhecimentos não hegemônicos da UNIFESP."},{name:"Hidalgo Romero",photo:xy,bio:"Hidalgo Romero é formado em Arquitetura e Urbanismo pela Unesp, é mestre em Multimeios pela Unicamp e cursou a oficina de roteiro de cinema na Escola Internacional de Cine e TV de Cuba. É membro da produtora Laboratório Cisco desde 2006, na qual atua como produtor, diretor e roteirista. Produziu mais de cinco documentários de longa-metragem exibidos e premiados em todo o mundo. Montou e roteirizou filmes e séries televisivas. Como diretor, destacam-se os filmes <em>Até onde a vista alcança</em> (2025), com estreia no Festival de Gramado, <em>Chão de Fábrica</em> (2019), <em>Acontecências</em> (2010), exibido na 22ª IDFA e no 10º É Tudo Verdade, tendo recebido menção honrosa na 37ª Jornada da Bahia, e <em>A briga do cachorro com a onça</em> (2013), exibido no Festival MIMO e 10º IN-Edit Brasil, assim como as séries <em>Taquaras, tambores e violas</em>, <em>Da nascente à foz</em> e <em>Sombras sobre o continente</em>. Trabalha com temas relacionados ao meio ambiente, direitos humanos, música tradicional e povos originários."}],year:"2025",duration:"79’",summary:"Três gerações de indígenas Kariri-Xocó unem-se em uma expedição de reconhecimento do território memorial desse povo, roubado ao longo dos dolorosos séculos de colonização. Sua língua, seus conhecimentos e até mesmo seus rituais sagrados foram ocultados como estratég

252ia de sobrevivência. Agora, munidos de câmeras, drones, cachimbos, cocares e maracas, eles percorrem os marcos geográficos de seu território, em um road movie que é a preparação para novas retomadas.",credits:[{role:"Direção",names:["Alice Villela","Hidalgo Romero"]},{role:"Montagem",names:["Leco Wahrhaftig"]},{role:"Direção de som",names:["Julio Matos"]},{role:"Som direto",names:["Julio Matos e Marco Sartori"]},{role:"Produção executiva",names:["Hidalgo Romero e Marcelo Félix"]},{role:"Trilha sonora original",names:["João Arruda"]},{role:"Coordenação de produção",names:["Bárbara Sodré"]},{role:"Consultoria",names:["Paula Sacchetta","Alice Riff e Eduardo Valente"]},{role:"Colorista",names:["Tobias Rezende"]},{role:"Desenho de som",names:["Guile Martins e Augusta Gui"]},{role:"Arte",names:["Ziel Karapotó"]},{role:"Design gráfico",names:["Bia Porto"]}]},{slug:"aventuras-de-makunaima-historias-encantadas-da-amazonia",heroImage:xv,number:3,category:"Longa-Metragem",title:"Aventuras de Makunáima – histórias encantadas da Amazônia",direction:"Chico Faganello",directorPhoto:Hv,directorBio:"Chico Faganello é formado em Comunicação, tem curso de História do Cinema na Universitá degli Studi di Siena, estudou na Ipotesi Cinema (Itália) e na New York Film Academy. É Doutor em Literatura (UFSC). Atua na Filmes Que Voam, com acessibilidade audiovisual. Produziu a série <em>Gente Verdadeira – Infâncias Indígenas</em>, com versões em 12 idiomas indígenas (https://filmesquevoam.com.br/gente-verdadeira/). Em 2026, lança nas salas de cinema <em>Aventuras de Makunáima – Histórias Encantadas da Amazônia</em>.",year:"2025",duration:"75’",summary:"Um dia, crianças indígenas da Amazônia encontraram-se com artistas brancos que procuravam o início do mundo. Ao perceber esse encontro, Makunáima, ser encantado da floresta, transformou-se em bicho e foi participar com as crianças de aventuras no tempo ancestral. Com música, dança e brincadeiras, meninas e meninos indígenas mostram que o passado, encantador e incompreendido, hoje é forte e resistente.",credits:[{role:"Roteiro",names:["Akúli","Kali","Chico Faganello e Cristino Wapichana"]},{role:"Tradução",names:["Rosário Taurepang","Lelnícia Darora","Enoque Raposo","Inês Lúcia da Silva","Joyce Wapichana","Ivanilda da Silva e Lírio Tibes"]},{role:"Designer",names:["Katy Xapi Puri"]},{role:"Direção de Cena",names:["Sandra Corveloni"]},{role:"Executiva e direção-geral",names:["Chico Faganello"]},{role:"Professores",names:["Chico Faganello","Rita Gutt","Joaz Campos e Sandra Corveloni"]},{role:"Músicos/atores",names:["Rita Gutt","Joaz Campos","Abuhl Júnior","Gabriel Ivanoff","Bruna Lemela"]},{role:"Arte",names:["Kleber Montanheiro e Marcelo Santa Isabel"]},{role:"Fotografia",names:["Adriana Duarte e Jucelino Filho"]}]},{slug:"drags-in-da-house",heroImage:wv,number:4,category:"Longa-Metragem",title:"Drags in da' house",direction:"Paula Bessa Braz, Mihai Andrei Leaha, Gab Italiani, Dida Silva e Satine",directorBio:"Paula Bessa Braz é uma antropóloga, realizadora audiovisual e pesquisadora na Universidade de São Paulo (USP), onde realiza sua investigação de doutorado em Antropologia Social. Colaborou na produção de vários filmes etnográficos e séries, dirigiu e foi autora do filme <em>Canto de Família</em> (2020), que recebeu prêmios da Associação Brasileira de Antropologia e do Inedit-Brasil.",year:"2025",duration:"66’",summary:"Quando dois antropólogos e três drag queens se encontram em uma competição de drag race em São Paulo, nasce um projeto ambicioso de documentar a vibrante cena queer da cidade. Mas a chegada da pandemia transforma radicalmente essa jornada criativa. O que seria um documentário convencional transforma-se em algo mais profundo: uma colaboração experimental na qual as fronteiras entre observadores e observados se dissolvem. Através de vídeo-diários, performances digitais e encontros virtuais, o grupo captura não apenas uma cena cultural, mas um momento histórico de adaptação, resistência e criação.",credits:[{role:"Pesquisa e Edição",names:["Paula Bessa Braz e Mihai Andrei Leaha"]},{role:"Fotografia",names:["Mihai Andrei Leaha","Paula Bessa Braz","Caio Rincon","Gab Italiani","Dida Silva"]},{role:"Fotografia adicional",names:["Leonardo Terra Cravo"]},{role:"Edição adicional",names:["Leonardo Terra Cravo"]},{role:"Pós-produção de som",names:["Ewelter Rocha","Jean Nands"]},{role:"Motion graphics",names:["Júlia Quevedo"]}],directors:[{name:"Paula Bessa Braz",photo:ny,bio:"Paula Bessa Braz é uma antropóloga, realizadora audiovisual e pesquisadora na Universidade de São Paulo (USP), onde realiza sua investigação de doutorado em Antropologia Social. Colaborou na produção de vários filmes etnográficos e séries, dirigiu e foi autora do filme <em>Canto de Família</em> (2020), que recebeu prêmios da Associação Brasileira de Antropologia e do Inedit-Brasil."},{name:"Mihai Andrei Leaha",photo:oy,bio:"Mihai Andrei Leaha é um pesquisador audiovisual, antropólogo, cineasta e educador. Já trabalhou com a curadoria, promoção e programação de filmes etnográficos em diversas conferências e festivais. Dirigiu filmes etnográficos premiados pela Associação Brasileira de Antropologia, como <em>Carlos Caps Drag Race</em> e <em>Canto de Família</em>. É professor de Antropologia Visual na Universidade de Tromsø, na Noruega, e preside a Comissão de Antropologia Visual da IUAES."},{name:"Gab Italiani",photo:vy,bio:"Gab Italiani é uma mulher trans, Drag Queen, DJ e performer admirada na cena musical e de entretenimento. Gab Italiani já se apresentou em eventos de marcas renomadas como Amazon, YouTube, TikTok e Google, além de colaborar com grandes agências de publicidade. Como performer, participou de festivais importantes como Caps Lock e Burning Man. Também atuou como Líder de Diversidade e Inclusão no Large Customer Sales (LCS) e, em 2022, foi reconhecida como Embaixadora de Cultura e Artes no Google."},{name:"Dida Silva",photo:yy,bio:"Dida Silva, também conhecida como Di Vina Kaskaria, é uma multiartista brasileira radicada em São Paulo e Brasília. Com a drag como principal linguagem há mais de uma década, atua como performer, produtora, figurinista e estilista, maquiadora de efeitos especiais. Trabalhou e colaborou em diversos projetos premiados em várias linguagens artísticas, como <em>Metamáscaras</em> (2015), <em>Natasha</em> (2017) e <em>Antropronauta</em> (2018), além de ter estrelado o filme <em>Sensorhythms</em> (2022)."},{name:"Satine",photo:by,bio:'Caio Rincon se apresenta sob o nome drag Satine e é um artista multifacetado. Seu trabalho abrange diversas áreas criativas, incluindo performance drag, direção de arte, produção de eventos e DJ. Como Satine, Rincon explora a arte drag como meio de autoexpressão, expandindo os limites da performance de gênero. Um de seus projetos de destaque é a produção da festa HeteronormaDIVA. Foi finalista na terceira temporada de "Academia de Drags", reality show brasileiro de competição drag. Como DJ, integra ativamente a cena musical e a vida noturna.'}]},{slug:"fronteiricas",heroImage:jv,number:5,category:"Longa-Metragem",title:"Fronteiriças",direction:"Beatriz Oliveira Abrahão e Izabella Corrêa",directorBio:"Beatriz Oliveira Abrahão é jornalista e mestranda em Comunicação Social pela Universidade Federal de Minas Gerais (UFMG). Trabalha no Centro de Comunicação da UFMG (Cedecom) com produção, direção, roteiro e montagem de vídeos institucionais, reportagens e documentários. Participou dos curtas <em>Seus Pés Estão Tocando o Chão</em> (2024) e <em>Uma Cidade Mais Verde</em> (2024). O documentário independente <em>Fronteiriças</em> foi desenvolvido entre 2023 e 2026.",year:"2026",duration:"53’",summary:"O documentário investiga o cotidiano de mulheres assentadas em um dos maiores assentamentos da América Latina, o Itamarati (Ponta Porã/MS), localizado na região de fronteira entre o Brasil e o Paraguai. Por meio de entrevistas, arquivos e roda de conversa, o filme aborda as singularidades de ser uma mulher do campo em uma fronteira marcada pelas disputas de terra e pela hibridação cultural e econômica entre os países.",credits:[{role:"Direção, Roteiro e Produção",names:["Beatriz Oliveira Abrahão","Izabella Corrêa"]},{role:"Imagens e Montagem",names:["Beatriz Abrahão e Izabella Corrêa"]},{role:"Som",names:["Vinicius Sampaio","Locução"]},{role:"Edição e Mixagem",names:["Beatriz Abrahão"]},{role:"Motorista",names:["Frederico Abrahão"]}

252,{role:"Personagens",names:["Neli Marques","Eda Insfran Palmira Pires","Margarida Oliveira","Aralda Pereira","Mariza Madalena Dahmer","Maria Rita Cedraz","Beatriz Abrahão","Izabella Corrêa","Frederico Abrahão"]}],directors:[{name:"Beatriz Oliveira Abrahão",photo:_v,bio:"Beatriz Oliveira Abrahão é jornalista e mestranda em Comunicação Social pela Universidade Federal de Minas Gerais (UFMG). Trabalha no Centro de Comunicação da UFMG (Cedecom) com produção, direção, roteiro e montagem de vídeos institucionais, reportagens e documentários. Participou dos curtas <em>Seus Pés Estão Tocando o Chão</em> (2024) e <em>Uma Cidade Mais Verde</em> (2024). O documentário independente <em>Fronteiriças</em> foi desenvolvido entre 2023 e 2026."},{name:"Izabella Corrêa",photo:ey,bio:"Izabella Oliveira Corrêa (Bella Corrêa) é jornalista, formada pela UFMG. Atuou na Agência de Notícias da UFMG (2022), na Rádio UFMG (2023) e na TV UFMG (2024), com produção e edição de reportagens, podcasts e conteúdos audiovisuais. Desenvolveu projetos independentes, como o curta <em>Seus Pés Estão Tocando o Chão</em> (2024) e o documentário <em>Fronteiriças</em> (2023-2026)."}]},{slug:"narrativas-berlinenses-percursos-etnograficos",heroImage:Rv,number:6,category:"Longa-Metragem",title:"Narrativas berlinenses percursos etnográficos",direction:"Cornelia Eckert e Ana Luiza Carvalho da Rocha",directorBio:"Cornelia Eckert é doutora em Antropologia Social pela Sorbonne Paris V (1992) e professora do Programa de Pós-Graduação em Antropologia Social da UFRGS. Coordena projeto BIEV. Tem pós doutorado pela Paris VII (2001), pela Universidade Livre de Berlim (2013) e pela University of Georgia (2018). https://www.ufrgs.br/biev/.",year:"2024",duration:"53’",summary:"Em 2013, Ana Luiza Carvalho da Rocha e Cornelia Eckert, antropólogas brasileiras e professoras da Universidade Federal do Rio Grande do Sul realizaram, ao longo de três meses, uma pesquisa de antropologia urbana em Berlim, Alemanha. Nesse período, desenvolveu-se um estudo etnográfico audiovisual no bairro de Kreuzberg, tendo como foco os estilos de vida dos personagens do bairro ou de territórios próximos e as memórias das transformações na paisagem urbana berlinense. A etnografia de rua e o registro audiovisual das trajetórias sociais dos habitantes ou habitués deste espaço singular estão na origem do documentário, que tem a cidade de Berlim como cenário central.",credits:[{role:"Direção",names:["Cornelia Eckert e Ana Luiza Carvalho da Rocha"]},{role:"Câmera",names:["Ana Luiza Carvalho da Rocha"]},{role:"Som",names:["Cornelia Eckert"]},{role:"Roteiro",names:["Ana Luiza Carvalho da Rocha"]},{role:"Produção",names:["Bactérias Filmes e Teça"]},{role:"Financiamento",names:["CDEA – Centro de estudos Europeus e Alemães"]}],directors:[{name:"Cornelia Eckert",photo:Sy,bio:"Cornelia Eckert é doutora em Antropologia Social pela Sorbonne Paris V (1992) e professora do Programa de Pós-Graduação em Antropologia Social da UFRGS. Coordena projeto BIEV. Tem pós doutorado pela Paris VII (2001), pela Universidade Livre de Berlim (2013) e pela University of Georgia (2018). https://www.ufrgs.br/biev/."},{name:"Ana Luiza Carvalho da Rocha",photo:wy,bio:"Ana Luiza Carvalho da Rocha é doutora em Antropologia Social, Sorbonne Paris V, 1994. Programa de Pós-Graduação em Antropologia Social da UFRGS. Coordena o projeto BIEV. Tem pós-doutorados pela Paris VII (2001), pela Universidade Livre de Berlim (2013) e pela University of Georgia (2018). https://www.ufrgs.br/biev/"}]},{slug:"navegantes",heroImage:Lv,number:7,category:"Longa-Metragem",title:"Navegantes",direction:"Oswaldo Giovannini Junior",directorPhoto:ry,directorBio:"Antropólogo, professor da UFPB, pesquisador da área de antropologia visual, culturas populares e festas brasileiras. Em Minas, fez o premiado <em>Congado</em>; em Pernambuco, o filme <em>Casa de Palha</em>, com os índios Truká; na Paraíba fez <em>Tudo vai pela Lua</em>; no Maranhão, <em>Boi de Maranhão</em> e recentemente, <em>Garapirá</em>, sobre coco de roda e ciranda entre o povo Potiguara da Paraíba, exibido em diversas mostras de filmes etnográficos, entre outros curtas documentários de reflexão e investigação etnográfica.",year:"2014-2019",duration:"93’",summary:"Um filme sobre pessoas/personagens que fazem a centenária procissão de Nossa Senhora dos Navegantes, entre a aldeia Potiguara de Coqueirinho do Norte e a comunidade de Barra de Mamanguape (Paraíba/Brasil). O percurso de barco, condicionado pela maré, é marcado por música, fé e festa, com desafios, aventuras e contradições entre sagrado e profano. Uma etnografia fílmica realizada entre 2014 e 2019, que segue personagens pela paisagem do estuário. Gravado com gopro, com uma linguagem dinâmica e inusitada cheia de variação rítmica, com faux raccords e quebra de continuidades. Um jogo de temporalidades paralelas faz com que personagens gravados em anos separados se encontrem em uma só festa.",credits:[{role:"Direção",names:["Oswaldo Giovannini Junior","Pesquisa"]},{role:"fotografia e som direto",names:["Oswaldo Giovannini Junior","Diego Vartuli Cavanelas e Aguynaiary Pontes Pessoa Gomes"]},{role:"Montagem",names:["Oswaldo Giovannini Junior e Eduardo Donato"]},{role:"Mixagem e edição de áudio",names:["Oswaldo Giovannini Junior"]},{role:"Colorização e finalização",names:["Eduardo Donato"]},{role:"Drone",names:["Jean Lisboa"]},{role:"Cianotipia",names:["Ester Correia"]},{role:"Design",names:["Tainá Lima"]},{role:"Libras",names:["Viviane Cabral"]},{role:"Audiodescrição",names:["Marçal Henrique e Camila Magalhães"]},{role:"Legendagem",names:["Aguynaiary Pontes Pessoa Gomes"]},{role:"Produção executiva de finalização",names:["Lucila Poppi"]}]},{slug:"os-afro-sambas-o-brasil-de-baden-e-vinicius",heroImage:kv,number:8,category:"Longa-Metragem",title:"Os Afro-Sambas; o Brasil de Baden e Vinicius",direction:"Emílio Domingos",directorPhoto:ay,directorBio:"Cineasta, antropólogo, pesquisador, roteirista e produtor. Realiza documentários e é membro da Academy of Motion Picture, Arts and Sciences (AMPAS). Graduado em Ciências Sociais pela UFRJ com ênfase em antropologia visual, cultura urbana e juventude. Dirigiu os longas-metragens <em>L.A.P.A.</em> (2007), <em>A Batalha do Passinho</em> (2012), <em>Deixa na Régua</em> (2016), <em>Favela é Moda</em> (2019), <em>Black Rio! Black Power!</em> (2023) e <em>Chic Show</em> (2023).",year:"2024",duration:"93’",summary:"Lançado em 1966 por Vinicius de Moraes e Baden Powell, o disco Os Afro-Sambas é um dos mais cultuados do Brasil. Participantes da gravação original, críticos, amigos e familiares dos músicos revivem a criação dessa obra-prima. Filmado entre Salvador e Rio de Janeiro, o documentário reúne imagens de arquivo e entrevistas exclusivas com Maria Bethânia, Dori Caymmi, Russo Passapusso e Nelson Motta. Uma homenagem a um clássico que transformou a música brasileira.",credits:[{role:"Direção e Roteiro",names:["Emílio Domingos"]},{role:"Empresa produtora",names:["Rinoceronte Entretenimento"]},{role:"Produção",names:["Renata Leite","Diogo Pires Gonçalves"]},{role:"Empresa coprodutora",names:["Discovery","Inc.","Warner Bros."]}]},{slug:"raizes-historias-da-favela-do-esqueleto",heroImage:Nv,number:9,category:"Longa-Metragem",title:"Raízes: histórias da Favela do Esqueleto",direction:"Leticia de Luna Freire",directorPhoto:ly,directorBio:"Leticia de Luna Freire é doutora em antropologia, professora associada da Faculdade de Educação e docente do Programa de Pós-Graduação em Educação, 

252Cultura e Comunicação em Periferias da Universidade do Estado Rio de Janeiro (UERJ). É coordenadora do Núcleo de Pesquisa Educação e Cidade (NUPEC/UERJ), pesquisadora do Laboratório de Etnografia Metropolitana (LeMetro) e do Instituto de Estudos Comparados em Administração de Conflitos (INCT-InEAC/UFF) e colaboradora do GPCSE/ICS-UERJ.",year:"2025",duration:"66’",summary:"A Favela do Esqueleto era uma das maiores e mais emblemáticas favelas do Rio de Janeiro. Removida em 1965 para dar lugar à construção do campus da Universidade do Estado da Guanabara (UEG, atual Universidade do Estado do Rio de Janeiro), ela segue viva nas memórias e narrativas dos que nela viveram. Baseado em entrevistas com ex-moradores e em pesquisa documental e iconográfica, este filme é um convite a conhecê-la e lutar contra seu esquecimento.",credits:[{role:"Direção",names:["Leticia de Luna Freire"]},{role:"roteiro e argumento",names:["Leticia de Luna Freire"]},{role:"Pesquisa",names:["Leticia de Luna Freire","Clarelis Rodrigues da Silva","Emmanuelle Torres Costa","Luciane de Souza Santos"]},{role:"Fotografia",names:["Clara Schmid"]},{role:"Som",names:["Beatriz Filizola"]},{role:"Montagem",names:["Clara Schmid","Beatriz Filizola","Chico Gomes"]}]}],nN=["Curta-Metragem","Média-Metragem","Longa-Metragem"];function sN(e){return gu.find(a=>a.slug===e)}function lN(e){return gu.filter(a=>a.category===e).sort((a,o)=>a.number-o.number)}const dN=Object.freeze(Object.defineProperty({__proto__:null,filmCategories:nN,films:gu,getFilmBySlug:sN,getFilmsByCategory:lN},Symbol.toStringTag,{value:"Module"})),fu=[{slug:"a-instituicao-sou-eu",heroImage:mv,number:1,category:"Curta-Metragem",title:"A instituição sou eu",direction:"Lucilda Cavalcante Lourenço",directorPhoto:gy,directorBio:"Maria Lucilda, 28, is originally from Ceará and has lived in Rio de Janeiro since 2022, where she currently resides in the favela da Maré complex. She is an anthropologist trained at the National Museum (UFRJ), a theater student at the Escola Livre de Teatro Entre Lugares Maré, based at the Museu da Maré, and a curator trained in the 2023 edition of the Universidade das Quebradas at the Rio Art Museum (MAR). In Fortaleza, Ceará, she served as a photographer in the Barramar Sound System collective, a cultural and social project rooted in Reggae and Hip Hop culture. She has been developing her research in visual arts about people and trajectories of friction within republican institutions.",year:"2024",duration:"8’",summary:"This video performance is the final work in a series that examines the concentration of power through institutional grammar. The series is haunted by a distinctive phantasmagoria rooted in its primary medium: the word. Working consistently with white on white, the trilogy explores the unsettling relationship between prominent family names and their colonial legacies.",credits:[{role:"Concept, direction, screenplay, performance",names:["Maria Lucilda"]},{role:"Audiovisual direction and editing",names:["Marcos Vinicios de Souza"]},{role:"Production",names:["Maria Luiza Cortes","Marina Souza","Raquel Batista"]},{role:"Making of",names:["Raquel Batista"]}]},{slug:"cocos-proibidos",heroImage:pv,number:2,category:"Curta-Metragem",title:"Cocos proibidos",direction:"Darllan Da Rocha",directorBio:"Anthropologist Darllan da Rocha is a PhD candidate in Anthropology at the Federal University of Rio de Janeiro, and conducts ethnographic research with traditional communities. Author of Mestres do Barro: patrimônio, turismo cultural e o kitsch no Alto do Moura (2020) and a recipient of the Sílvio Romero Award (2016), he directed the documentary films Novo quilombo chegou (2012), Arte é para todos (2014) and No tom dos 8 baixos (2019).",year:"2022",duration:"16’",summary:`Located on the southern coast of Paraíba (Brazil), the Ipiranga quilombo sustains one of the region's traditional festivities through the Coco de Roda Novo Quilombo, a practice whose origins are ancestral and trace back to the period of slavery. Challenging the notion of tradition as something fixed in the past, the community embodies the paradox of reenacting a tradition in the present while projecting itself into the future. As intergenerational tensions and moral values shift, the performance repertoire is transformed, and some Cocos cease to be performed under the moral scrutiny of younger members, giving rise to the so-called "forbidden Cocos".`,credits:[{role:"Participants",names:["Lenira Nascimento","Ana Rodrigues","Janduí do Nascimento","Elias dos Santos","Jurandy dos Santos","Toinha dos Mártires","Ismael Nascimento"]},{role:"Direction",names:["Darllan Da Rocha"]},{role:"Production",names:["Ana Rodrigues"]},{role:"Production assistant",names:["Rafaela Schuh"]}

252,{role:"Cinematography",names:["Marcelo Quixaba"]},{role:"Sound",names:["Giancarlo Galdino"]},{role:"Sound assistant",names:["Mayara Valentim"]},{role:"Editing",names:["Cesar Augusto"]},{role:"Designer",names:["Ana Carolina"]}],directors:[{name:"Darllan Da Rocha",photo:Tv,bio:"Anthropologist Darllan da Rocha is a PhD candidate in Anthropology at the Federal University of Rio de Janeiro, and conducts ethnographic research with traditional communities. Author of Mestres do Barro: patrimônio, turismo cultural e o kitsch no Alto do Moura (2020) and a recipient of the Sílvio Romero Award (2016), he directed the documentary films Novo quilombo chegou (2012), Arte é para todos (2014) and No tom dos 8 baixos (2019)."}]},{slug:"entre-rios-e-aldeias-a-vida-no-alto-xingu",heroImage:Dv,number:3,category:"Curta-Metragem",title:"Entre rios e aldeias: a vida no Alto Xingu",direction:"Veronica Monachini de Carvalho and Tauana Kalapalo",directorBio:"Veronica Monachini de Carvalho is an anthropologist and educator trained at Unicamp. Her projects focus on Indigenous ethnology, anthropology of childhood, Indigenous education, modes of teaching and learning, and Amerindian art. She is a member of the Centro de Pesquisa em Etnologia Indígena (CPEI) at the State University of Campinas (Unicamp). In collaboration with the Kalapalo people, a Carib-speaking people, she produced a series of textbooks published in 2018, 2019 and 2023. She is also a producer and documentary filmmaker whose works center on Indigenous themes, having led audiovisual training and teacher education workshops in Indigenous communities. She directed the films *Osiba Kangamuke — Vamos lá, Criançada<em> (2016), </em>Itandene Ügühütu — Sobre o Casamento<em> (2017) and </em>Surara — A Luta pela Terra Tupinambá* (2017).",year:"2025",duration:"11’",summary:"In the Xingu Indigenous Territory, the everyday life of the villages reveals distinctive ways of living, learning and relating to the world. Through the experiences of the Kalapalo people, the film reflects on life in the Upper Xingu, showing how knowledge, practices and values are transmitted across generations through communal life, words and collective activities. At the same time, the narrative highlights the transformations that shape village life, reflecting on changes in ways of living, in relations with the territory, and in forms of subsistence and knowledge transmission. The ecological relationship with the land, rivers, plants and animals emerges as a central element in the organization of life among the peoples of Upper Xingu.",credits:[{role:"Production",names:["Veronica Monachini de Carvalho","Tauana Kalapalo"]},{role:"Support",names:["FAPESP","Lei de Incentivo à Cultura Paulo Gustavo","Secretaria Municipal de Cultura de Querência – MT"]}],directors:[{name:"Veronica Monachini de Carvalho",photo:cy,bio:"Veronica Monachini de Carvalho is an anthropologist and educator trained at Unicamp. Her projects focus on Indigenous ethnology, anthropology of childhood, Indigenous education, modes of teaching and learning, and Amerindian art. She is a member of the Centro de Pesquisa em Etnologia Indígena (CPEI) at the State University of Campinas (Unicamp). In collaboration with the Kalapalo people, a Carib-speaking people, she produced a series of textbooks published in 2018, 2019 and 2023. She is also a producer and documentary filmmaker whose works center on Indigenous themes, having led audiovisual training and teacher education workshops in Indigenous communities. She directed the films *Osiba Kangamuke — Vamos lá, Criançada<em> (2016), </em>Itandene Ügühütu — Sobre o Casamento<em> (2017) and </em>Surara — A Luta pela Terra Tupinambá* (2017)."},{name:"Tauana Kalapalo",photo:my,bio:"Tauana Kalapalo is an Indigenous filmmaker with experience in audiovisual documentation through photography and videos, as well as in editing short documentaries. He was a UNESCO research fellow on the Kalapalo Cultural Documentation Project (Museu dos Povos Indígenas and UNESCO) and is currently a communicator for the Xingu+ network. He directed and photographed the short films <em>Inhu</em> (2013), *Osiba Kangamuke — Vamos lá, Criançada<em> (2016) and </em>Itandene Ügühütu — Sobre o Casamento* (2017), among others."}]},{slug:"fe-amor-e-sacrificio-conexao-e-movimento",heroImage:hv,number:4,category:"Curta-Metragem",title:"Fé; amor e sacrifício: conexão e movimento",direction:"Deivid Viegas",directorPhoto:Uv,directorBio:"Deivid Garcia Viegas is a dancer-anthropologist, teacher and researcher who lives and breathes Hip Hop culture. He holds a degree in Dance and a master's in Anthropology from the Federal University of Pelotas (UFPel), where he investigates Hip Hop Dance Battles in southern Brazil. Recently admitted to the doctoral program in this University, he brings the strength of the streets and the Cypher into the academy, bridging the hustle of life-as-dance with the rigor of research.",year:"2026",duration:"12’",summary:`Fé, amor e sacrifício is not a film to be watched from a distance; it is a plunge into the heart of Hip Hop Dance battles in Southern Brazil. Born from the grind of our own hustle, the film rejects the detached gaze of the spectator. With a 'dancing camera' strapped to the chest, the lens breathes, sways and steps into the circle alongside us. Free from linear constraints, the work weaves together the sacred chaos of Cypher and the tension of the battles, blending the sweat of movement with the voices of those who build and sustain the scene. It is a living archive that reveals the struggles, foundation and the ethos of those who walk this path. More than simply watching steps, it is an invitation to share the love, feel the bass vibrating in the chest and experience "The Dance" through the whole body.`,credits:[{role:"Direction",names:["Deivid Viegas"]},{role:"Editing and screenplay",names:["Deivid Viegas"]},{role:"Advising",names:["Daniele Borges Bezerra"]},{role:"Support",names:["Bruno Lemos","Daniele Borges","Diógenes Abatti","Francine Lemos","Karem Moreira","Juliana Tavares","Leonardo Campolino","Leonardo da 

252Silva","Marcos Vieira","Naum Roberto Gomes","Uanderson Farias."]}]},{slug:"madrugada",heroImage:Pv,number:5,category:"Curta-Metragem",title:"Madrugada",direction:"Gianluca Cozza and Leonardo da Rosa",directorBio:"Leonardo da Rosa and Gianluca Cozza are filmmakers from Rio Grande do Sul, both holding degrees in Cinema and Audiovisual from the Federal University of Pelotas (UFPel). Leonardo is currently a master's student in social anthropology at the Federal University of Rio Grande do Sul (UFRGS) while Gianluca is an audiovisual technician at the campus Alvorada of the Federal Institute of Rio Grande do Sul (IFSul). Their work focuses on portraying workers of southern Brazil, through a hybrid approach that combines documentary and fiction. Among their projects, are the short films <em>Construção</em> (2020), selected by Abraccine as one of the ten best films of 2020, <em>Madrugada</em> (2023) and <em>Cassino</em> (2024). Their most recent work, <em>Grão</em> (2026), received the Canal Brasil award for best short film at the Tiradentes Film Festival.",year:"2023",duration:"19’",summary:"Organized informal workers risk their lives climbing onto moving trains to collect soybean residue for resale at Rio Grande, a port city in the southernmost tip of Brazil. Madrugada brings to the screen these endless nights of labor, in which bodies disappear, swallowed by the industrial landscape and the ongoing economic crisis in Brazil.",credits:[{role:"Cast",names:["Daniel Guimarães and Anderson Gomes"]},{role:"Direction",names:["Gianluca Cozza and Leonardo da Rosa"]},{role:"Screenplay",names:["André Berzagui","Gianluca Cozza and Leonardo da Rosa"]},{role:"Executive production",names:["João Fernando Chagas"]},{role:"Cinematography",names:["Rebeca Francoff"]},{role:"Camera assistant and color grading",names:["Eloisa Soares"]},{role:"Original soundtrack and sound editing",names:["Otávio Vassão"]},{role:"Editing",names:["André Berzagui"]},{role:"Art direction",names:["Arthur Amaral"]},{role:"Direct sound",names:["Humberto Schumacher"]},{role:"Production direction",names:["Takeo Ito"]}],directors:[{name:"Gianluca Cozza and Leonardo da Rosa",photo:Py,bio:"Leonardo da Rosa and Gianluca Cozza are filmmakers from Rio Grande do Sul, both holding degrees in Cinema and Audiovisual from the Federal University of Pelotas (UFPel). Leonardo is currently a master's student in social anthropology at the Federal University of Rio Grande do Sul (UFRGS) while Gianluca is an audiovisual technician at the campus Alvorada of the Federal Institute of Rio Grande do Sul (IFSul). Their work focuses on portraying workers of southern Brazil, through a hybrid approach that combines documentary and fiction. Among their projects, are the short films <em>Construção</em> (2020), selected by Abraccine as one of the ten best films of 2020, <em>Madrugada</em> (2023) and <em>Cassino</em> (2024). Their most recent work, <em>Grão</em> (2026), received the Canal Brasil award for best short film at the Tiradentes Film Festival."}]},{slug:"maria-fogo",heroImage:Av,number:6,category:"Curta-Metragem",title:"Maria Fogo",direction:"Fábio de Oliveira",directorPhoto:Jv,directorBio:"Fábio de Oliveira is an Indigenous person living in an urban context, as well as a practitioner of Candomble and Jurema, an environmentalist, writer, screenwriter, documentarian, photographer, designer, researcher, and audiovisual and cultural producer. He holds a degree in Audiovisual Studies from the Federal University of Rio Grande do Norte (UFRN), a postgraduate specialization in Tourism, Culture and Literature from the State University of Rio Grande do Norte (UERN), and is currently a master's student in Social Anthropology at UFRN. He is a member of the Gamboa do Jaguaribe Historical and Ecological Site, of the State Council for Policies of Racial Equality of Rio Grande do Norte (Conseppir/RN), and of the Center for Afro-Brazilian and Indigenous Studies (NEAB-IFRN Central Campus).",year:"2025",duration:"17’",summary:"Ceramics, an ancestral art of resistance, comes to life through the hands of Maria Fogo. Tradition and identity intertwine in a gesture of cultural preservation. A sensitive journey that connects past and present through deep roots.",credits:[{role:"General direction and screenplay",names:["Fábio de Oliveira"]},{role:"Cast",names:["Maria Gonçalves","Nilmar Gonçalves","Juracy Gonçalves","Jaguar","estudantes do Grupo de Capoeira Raça"]},{role:"Cinematography",names:["Osani"]},{role:"Direct sound",names:["Marina D’Lourdes"]},{role:"Executive",names:["Bárbara Freire"]},{role:"Assistants",names:["Ana Tomaz","Railda Freitas","Jaguar","João Porto","Osani","Fatima Rodrigues"]},{role:"Drone",names:["Fidel Dantas"]},{role:"Visuals",names:["Diogo Ferreira"]},{role:"Still photography",names:["Juliana Amorim"]},{role:"Editing",names:["Ysmael Ventura"]},{role:"Mixing",names:["Rita Machado"]}]}

252,{slug:"mishki-chullumbu",heroImage:Cv,number:7,category:"Curta-Metragem",title:"Mishki Chullumbu",direction:"Patricia Bermúdez A. and Adrián Aguilar",directorBio:"Patricia Bermúdez holds a PhD in Media Studies from the University of Bergen, Norway, and a master's in Cinema, with a specialization in Screenwriting for Fiction and Documentary, from the same institution. She currently coordinates the Master's in Research in Visual Anthropology at FLACSO Ecuador. Her research focuses on visual anthropology, documentary cinema, memory, photography, Amazonian historicities, intercultural health, audiovisual methodologies and language archives. She is the founder of the International Center for Andean-Amazonian Studies (CIEAAM) and has worked as an audiovisual filmmaker for over twenty years.",year:"2023",duration:"12’",summary:"Confronted with the tangible and undeniable destruction of nature and culture, the Napo Runa Indigenous artist Carlos Pascual Alvarado Narváez, known as Mishki Chullumbu, reconstructs his memories around the forest, his childhood, music and art. Mishki reinterprets the meanings of his cultural memory, expressing talent, inspiration and frustration. This intimate, sensory and experimental account connects us to the hope of an artist striving to keep his culture and traditional knowledge alive.",credits:[{role:"Direction",names:["Patricia Bermúdez A. and Adrián Aguilar"]},{role:"Screenplay",names:["Patricia Bermúdez A. and Carlos Alvarado"]},{role:"Camera",names:["Adrián Aguilar"]},{role:"Direct sound",names:["Patricia Bermúdez A."]},{role:"Editing",names:["Imagen y Sonido","Adrián Aguilar"]},{role:"Translation",names:["Olmedo Salazar","Michael Uzendoski","Felicia Calapucha","Carlotta Solari"]},{role:"Designer",names:["Alan Arboleda"]},{role:"Website",names:["Yakindu"]},{role:"Lead",names:["Carlos Alvarado"]},{role:"Music production",names:["Nicolás Coronel","Estefanía Egas","Diego Maestre","Pablo Mora","Sofía Vergara"]},{role:"Director and composer",names:["Carlos Alvarado (Mishki Chullumbu)"]},{role:"Musicians — Chaguamangos Group",names:["Carlos Alvarado — voz, guitarra and violino","Bolívar Shiguango — voz and guitarra","Francisco Shiguango — voz and guitarra","Luis Huatatoca — voz and guitarra","Yuyai Shiguango — voz and guitarra","Lino Chongo — tambor"]},{role:"Sung and instrumental songs",names:["Yanda Pullu (Palo seco)","Llullacayo"]}],directors:[{name:"Patricia Bermúdez A.",photo:iy,bio:"Patricia Bermúdez holds a PhD in Media Studies from the University of Bergen, Norway, and a master's in Cinema, with a specialization in Screenwriting for Fiction and Documentary, from the same institution. She currently coordinates the Master's in Research in Visual Anthropology at FLACSO Ecuador. Her research focuses on visual anthropology, documentary cinema, memory, photography, Amazonian historicities, intercultural health, audiovisual methodologies and language archives. She is the founder of the International Center for Andean-Amazonian Studies (CIEAAM) and has worked as an audiovisual filmmaker for over twenty years."},{name:"Adrián Aguilar",photo:Ov,bio:"Adrián Aguilar is a filmmaker and social communicator who understands artistic practice as an important vehicle for fostering social and community processes that encourage the critical development of territories. For more than fifteen years he has developed projects that connect cinema with contexts historically excluded from audiovisual production, often as a result of the elitist perspective that continue to shape world cinema and certain public policies for the sector."}]},{slug:"os-ursos-e-nos",heroImage:Ev,number:8,category:"Curta-Metragem",title:"Os Ursos e nós",direction:"Maria Acselrad",directorPhoto:uy,directorBio:"Working at the intersection of Anthropology and Dance, Maria Acselrad has dedicated more than twenty years to the study of popular cultures. Her research on Cavalo-Marinho and Caboclinho, traditions found in the northern forest zone (zona da mata norte) of Pernambuco, resulted in two books: <em>Viva Pareia!</em> (EDUFPE, 2013) and <em>Avança Caboclo</em> (EDUFPE, 2022), based on her master's and doctoral research, respectively. At the Federal University of Pernambuco (UFPE), she has been a professor in the Dance Program since 2010, and in the Graduate Program in Anthropology since 2019. She also coordinates the Pisada: Pesquisa Interdisciplinar em Dança and Antropologia research group. Interested in investigating the somatic and synesthetic modes of recording the moving body, as well as reflecting on the question of alterity, she recently directed the short film <em>Os Ursos and Nós</em> (2025), about the Bears carnival tradition of the Recife Metropolitan Region, in Pernambuco.",year:"2025",duration:"17’",summary:"An animal foreign to Brazil, the bear occupies a distinctive place in the popular imaginary of Pernambuco, especially in working-class neighborhoods where it mobilizes entire communities around a singular carnival tradition. There, by turns enchanting and frightening, the irreverent Bears parade on leashes and muzzles, but also freely, anarchically and vibrantly. One of the most deeply rooted carnival expressions, the Bears draw us into a state of ecstasy through their colors, rhythms and movements, unsettling relations of power and domestication. The film is an ethnographic and sensory essay on this tradition emblematic of the Recife Metropolitan Region, yet still little known in its diversity and intensity.",credits:[{role:"Direction and screenplay",names:["Maria Acselrad"]},{role:"Cinematography",names:["Vanessa Alcântara"]},{role:"Editing",names:["Paulo Sano"]},{role:"Sound recording",names:["Sergio Godoy and Alberico Souza"]},{role:"Soundtrack",names:["Sergio Godoy"]},{role:"Sound editing and mixing",names:["Felipe Peixoto"]},{role:"Executive production",names:["Maria Acselrad"]},{role:"Production assistance",names:["Sofio"]},{role:"Research",names:["Maria Acselrad"]},{role:"Research assistance",names:["Cauet da Silva and Sofio"]},{role:"Additional footage",names:["Gabrielle Santos"]},{role:"Colorist",names:["Clarissa Azevedo"]},{role:"Design",names:["Tav"]},{role:"Graphic art",names:["Hugo Luna"]}]},{slug:"overloque",heroImage:Fv,number:9,category:"Curta-Metragem",title:"Overloque",direction:"Eve 

252Costa",directorPhoto:$v,directorBio:"An amateur in the arts, in images and in words, I am Eve Costa and I build visual narratives through the memories I have not yet lost. An undergraduate student in Social Sciences, I am drawn to the entanglements between craft with biographical recollection. A research fellow at the Laboratório de Memórias and Práticas Cotidianas (LABOME), I work with photography and short-film direction. In 2024, I directed Overloque and Sujeito Subentendido — the former on memory, biography and the craft of sewing, and the latter engaging with a surrealist theme. In 2023, I presented Alinhavo in a solo exhibition at the Casa da Cultura, in the city of Sobral. The film later joined the catalogue of the III Digital Exhibition of Visual Essays of the Núcleo de Antropologia Visual (NAVIS), at the Federal University of Rio Grande do Norte. The following year, in 2024, I presented Desejo de Menino at FAVA — Vale do Acaraú Audiovisual Festival, and in 2025, <em>Entranhando o Maquinário</em>, a photographic series developed alongside the film Overloque, which was exhibited at the XIII Visualidades, LABOME's artistic-academic event, and the IV Digital Exhibition of Visual Essays (NAVIS/UFRN). My work generally follows a lyrical narrative thread, in which stitches of sewing baste connections across memory.",year:"2024",duration:"16’",summary:"Overloque unfolds through the sharing of emotions, memories and the intertwining of the participants' lives with sewing. These visual compositions celebrate the stitches that connect generations and how sewing, as a technology and practice, unfolds and performs. Marlene, Akwa and Vivi weave together their experiences and knowledge through needle and thread, basting a story that spills beyond of the frame and gives shape to memory.",credits:[{role:"Direction and writing",names:["Eve Costa"]},{role:"Executive production",names:["Maria Helena"]},{role:"Finance",names:["Bruna Silvino"]},{role:"Camera 1",names:["Jamires Rodrigues"]},{role:"Camera 2",names:["Eve Costa"]},{role:"Editing",names:["Y Choices"]},{role:"Audio operator",names:["Jayanara Oliveira"]},{role:"Graphic designer",names:["Luiz Gustavo"]},{role:"Social media",names:["Júnior Procópio"]},{role:"Production assistants",names:["Maria Luiza and Marly Prado"]}]},{slug:"transcendendo-fronteiras",number:10,category:"Curta-Metragem",title:"Transcendendo fronteiras",heroImage:Bv,direction:"Sol Alves",directorPhoto:py,directorBio:"Sol Alves holds a master's in Social Anthropology at the Federal University of Rio Grande do Norte (UFRN), where they are currently a PhD candidate. They work as a researcher and audiovisual producer, focusing on memory politics, travesty epistemologies and memory and art museums. Their research explores the connections between dissident narratives, countermemories and heritage disputes in Brazil, with special attention to processes of inclusion and regimes of visibility affecting travestys in cultural institutions.",year:"2025",duration:"12’",summary:"Inspired by the trajectory of Leilane Assunção, one of the first trans women to earn a doctorate degree in Northeast Brazil, the film pays tribute to travesty and trans memory as a collective force that transcends generations. The work brings together stories of resistance, dignity and self-affirmation embodied by key figures from the States of Rio Grande do Norte and Ceará, including Dediane Souza, Jacqueline Brazil (in memoriam), Jeniffer Rocha, Janaina Lima, Wanja Celine and Sol Alves. By weaving these trajectories together, the film takes shape as a ritual, a celebration and a political manifesto, affirming the right to existence, visibility and memory for travesty and trans communities.",credits:[{role:"Direction and screenplay",names:["Sol Alves"]},{role:"Cinematography",names:["Osani"]},{role:"Art direction",names:["Bárbara Freire"]},{role:"Consulting",names:["Nóa Bonobá"]},{role:"Executive production",names:["Ioanna Augusta"]},{role:"Assistance",names:["João Vitor"]},{role:"Editing",names:["Rita Machado"]},{role:"Direct sound",names:["Thaynara Bezerra"]}

252,{role:"Makeup",names:["Lorys Shimosaki"]},{role:"Logger",names:["Raane Mytle"]},{role:"Audio description",names:["Somar"]},{role:"Brazilian Sign Language (Libras)",names:["Daniel Guedes"]},{role:"Projection",names:["Vittor Gois"]},{role:"Cast",names:["Dediane Souza","Sol Alves","Janaina Lima","Jacqueline Brasil","Jennifer Rocha","Wanja Celine"]},{role:"Soundtrack",names:["Aiyra"]}]},{slug:"zeza-do-coco-raizes-do-quilombo",heroImage:zv,number:7,category:"Média-Metragem",title:"Zeza do Coco – raízes do quilombo",direction:"Thaiara Lago",directorPhoto:hy,directorBio:"Thaiara Lago is a researcher, public health professional and audiovisual filmmaker from São Borja, Rio Grande do Sul. She holds a degree in Pharmacy from the Federal University of Santa Catarina (UFSC), a specialization in Family Health with an emphasis on rural populations, and a PhD candidate in Public Health at UFSC. She brings together communication, art, culture and health, using the audiovisual as a language of research and knowledge production. She directed the documentary *Guerreiras Quilombolas do Castainho: Nossa Ancestralidade nos Guia* (2022), which has been screened at film festivals.",year:"2025",duration:"20’",summary:"My daily life, my quilombo and my terreiro are the sources of my deepest inspirations. I sing the memory of my quilombola territory, creating a bridge between the everyday life of the present and the ancestral roots brought by the waters of the Mundaú River. I honor the history and the prayers of the elder women, echoing the voices of women and the knowledge of our quilombola tradition. What I sing is what I live!",credits:[{role:"Cast",names:["Família Zeza do Coco","Mestra Zeza do Coco (Maria José Lopes Isidio)","Mãe Neta (Marinete Lopes)","Erivania Lopes","Erivanilda Lopes","Edivane Lopes","Erivaldo Lopes Isidio (Edinho)","Eder Isidio","Tamara Lopes","Kadu Lopes dos Santos","José Ian Lopes Mendes","Carlos Daniel Lins da Silva Lopes","Jamerson Lins da Silva Lopes","Carlos Henrique Lins Lima","Eliane Lopes da Silva","Maria do Socorro Lopes da Silva"]},{role:"Band",names:["Jozenaldo Lopes Bernardo (Novo)","Breno Ferreira","Ceci Goye","Rafaela Barros"]},{role:"Performers",names:["Ingrid Vital","Luiza Melo"]},{role:"Direction",names:["Thaiara Lago"]},{role:"Cinematography",names:["Éder Braz"]},{role:"Screenplay",names:["Thaiara Lago","Éder Braz and Família Zeza do Coco"]},{role:"Camera",names:["Éder Braz and Miguel Bittencourt"]},{role:"Complementary footage",names:["Rafaela Barros"]},{role:"Drone",names:["Alexandre Viana"]},{role:"Editing",names:["Éder Braz and Thaiara Lago"]},{role:"Color grading/Mixing",names:["Miguel Bittencourt"]},{role:"Direct sound",names:["Aruanã do Amaral","Breno Ferreira","Miguel Bittencourt and Rafaela Barros"]},{role:"Sound effects",names:["Breno Ferreira"]},{role:"Executive production",names:["Edivane Lopes","Erivanilda Lopes and Renata Domingues"]},{role:"Production direction",names:["Miguel Bittencourt and Renata Domingues"]}]},{slug:"envem-vissungo",heroImage:Iv,number:1,category:"Média-Metragem",title:"Envém Vissungo!",direction:"Joana Ramalho Ortigão Corrêa",directorBio:"Joana Corrêa is a cultural manager and anthropologist, and holds a master's and a PhD from the Federal University of Rio de Janeiro (UFRJ). She has coordinated and worked on participatory inventories and audiovisual documentation of Fandango Caiçara, Choro, the culinary tradition of Minas Gerais, the traditional roots of Forró, and Vissungo (IPHAN and IEPHA-MG). She also coordinates educational projects that integrate academic and traditional knowledge. In 2025, she served as a consultant for Crespial/UNESCO in the critical review of intangible heritage policies in Brazil.",year:"2025",duration:"27’",summary:"Envém Vissungo! announces tradition through the breath of renewal, traversing the chants called vissungos and Bantu-rooted forms of speech preserved over time by quilombola communities of the Upper Vale do Jequitinhonha, in Minas Gerais, Brazil. Drawing on the chants performed by catopês and vissungo masters, the film follows forms of transmission of knowledge across generations, approaching the vissungo as a poetic, ritual and historical language of the African diaspora in this region and in Brazil. The documentary highlights the bonds between memory, territory and ancestry, contributing to processes of historical reparation and the recovery of memories.",credits:[{role:"Participants",names:["Enilson Viríssimo","Maria Macarrão","Sineca","Geraldo Viríssimo","Floriza Viríssimo","Clemência Brandão","Luizinho Gonzaga","Durcelino Reis","Adenilson Amásio","Celso Timóteo and moradores das comunidades quilombolas do Ausente, Baú and Quartel do Indaiá"]},{role:"Research",names:["Enilson Viríssimo","Joana Corrêa","Laura Augusta Freitas","Rudá K. de Andrade","Oswaldo Giovannini Jr."]},{role:"Cinematography",names:["Michel Becheleni","Rudá K. de Andrade"]}],directors:[{name:"Joana Ramalho Ortigão Corrêa",photo:Wv,bio:"Joana Corrêa is a cultural manager and anthropologist, and holds a master's and a PhD from the Federal University of Rio de Janeiro (UFRJ). She has coordinated and worked on participatory inventories and audiovisual documentation of Fandango Caiçara, Choro, the culinary tradition of Minas Gerais, the traditional roots of Forró, and Vissungo (IPHAN and IEPHA-MG). She also coordinates educational projects that integrate academic and traditional knowledge. In 2025, she served as a consultant for Crespial/UNESCO in the critical review of intangible heritage policies in Brazil."}]},{slug:"espectros",heroImage:gv,number:2,category:"Média-Metragem",title:"Espectros",direction:"Fabrizio Dalla Verde Narciso and outros",directorBio:"Narciso Dalla Verde is an undergraduate student in Social Communication — Media Studies at the State University of Campinas (Unicamp). During his studies he directed the short film <em>Espectros</em> and developed photographic essays and graphic works.",year:"2026",duration:"38’",summary:"Following a path that runs between laboratories, gathering places and shared meals, Espectros emerges through self-regulation rituals, testimonies and lived experiences. Immersed in the everyday life and subjectivity of its participants, the film is a research-based video project with three neurodivergent characters. Luppi, Kamille and Novak share university life at Unicamp with a group of fellow students who seek to challenge conditioned ways of seeing the neurodivergent social group. Inspired by Jean Rouch, this inaugural work draws on sound interventions, photographs and intersubjective encounters to mediate an intimate dialogue about identity, resistance and affection.",credits:[{role:"Participants",names:["Kamille Magalhães Silvestre","Luppi Campos","Novak"]},{role:"Special appearances",names:["Ana Carolina de Melo","Ana Carolina Gonzales Richieri","Cauê Ferrari de Souza","Gabriel Costa Kinder","Luis Otávio Fernandes Schantz","Miguel Herculano Viana","Nicolas Franklin Martarello Pereira","Sacaia Alvim Santos Romani","Furries de Campinas"]},{role:"Editing",names:["Elis Vidal Caprioglio","Fabrizio Dalla Verde Narciso","Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Cinematography",names:["Elis Vidal Caprioglio","Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Research",names:["Ana Beatriz Alarcão De Almeida","Brunna Aprigio De Oliveira"]},{role:"Production",names:["Brunna Aprigio De Oliveira","Fabrizio Dalla Verde Narciso"]},{role:"Screenplay",names:["Sulamita de Oliveira Michenin","Theo Soares de Camargo"]},{role:"Direct sound",names:["Ana Beatriz Alarcão De Almeida"]},{role:"Film produced within the Anthropology of Image course of Unicamp's Media Studies program, under the supervision of professor Cristina Alvares Beskow.",names:[]}],directors:[{name:"Fabrizio Dalla Verde Narciso",photo:Kv,bio:"Narciso Dalla Verde is an undergraduate student in Social Communication — Media Studies at the State University of Campinas (Unicamp). During his studies he directed the short film <em>Espectros</em> and developed photographic essays and graphic works."}]},{slug:"feridas-na-terra",heroImage:fv,number:3,category:"Média-Metragem",title:"Feridas na Terra",direction:"Helena Duarte",directorBio:"Helena Duarte is a socio-environmental scientist trained at the Federal University of Minas Gerais (UFMG), with complementary training in audiovisual production. She is a filmmaker, researcher and director of Feridas na Terra, developing audiovisual work in collaboration with communities affected by mining, social movements, urban occupations and quilombos. Her practice explores the articulation between image, territory and s

252ocio-environmental conflicts.",year:"2025",duration:"46’",summary:"The documentary <em>Feridas na Terra</em> traverses the territory of Serra do Curral, in Belo Horizonte, revealing the histories and ways of life that emerge amid the conflicts caused by illegal mining. Drawing on the memories and testimonies of the Taquaril and Kilombo Manzo communities that inhabit this territory, the film moves between predatory mining and the struggle to defend the land, exposing the scars left on the landscape, on traditional ways of life and on the people who call it home.",credits:[{role:"Direction",names:["Helena Duarte"]},{role:"Executive production",names:["Samora Nzinga"]},{role:"Artistic direction",names:["Nilo Zack"]},{role:"Social mobilization",names:["Edneia de Souza"]},{role:"Screenplay",names:["Helena Duarte","Nilo Zack","Samora N'zinga","Edneia de Souza"]}],directors:[{name:"Helena Duarte",photo:Qv,bio:"Helena Duarte is a socio-environmental scientist trained at the Federal University of Minas Gerais (UFMG), with complementary training in audiovisual production. She is a filmmaker, researcher and director of Feridas na Terra, developing audiovisual work in collaboration with communities affected by mining, social movements, urban occupations and quilombos. Her practice explores the articulation between image, territory and socio-environmental conflicts."}]},{slug:"haukanunu-nau-iyayakapiri-o-que-dizem-as-maes",heroImage:vv,number:4,category:"Média-Metragem",title:"Haukanünu Nãu Iyayakapiri – O que dizem as mães",direction:"Aline Regitano and Warakina Mehinako",directorBio:"Aline Regitano is an anthropologist, a PhD candidate in Social Anthropology at the University of São Paulo (USP) and holds a master's in Social Anthropology from the State University of Campinas (Unicamp). Since 2016 she has conducted research with the Mehinako people of the Upper Xingu, focusing on childbirth, embodiment, care, Indigenous health and gender relations. She is a researcher at CEstA — Center for Amerindian Studies.",year:"2025",duration:"25’",summary:"In the Utawana village of the Mehinako people — an Amazonian group of central Brazil, in the Xingu Indigenous Territory, in the State of Mato Grosso — women have gradually stopped giving birth at home with the assistance of midwives and have begun giving birth in hospitals. This film presents the words (Iyayakapiri) of the haukanünu nãu, women who care for small children (most often mothers), and their perceptions of these recent transformations. Reflections are woven on the hospitalization of childbirth and the role of local specialists in supporting birth, while questions are raised about the future of Mehinako midwifery.",credits:[{role:"Direction",names:["Aline Regitano and Warakina Mehinako"]},{role:"Images and sounds",names:["Aline Regitano","Warakina Mehinako","André Regitano"]},{role:"Participation",names:["Maitsa Aweti","Tukuyari Mehinako","Unü Mehinako"]},{role:"Yahu Mehinako. Illustration",names:["Iepe Mehinako"]},{role:"Music",names:["Yuwalu Mehinako","Mukura Mehinako","Wapitsewe Mehinako and Matsirapa Mehinako"]},{role:"Interviewees",names:["Alua Mehinako","Márcia Mehinako","Marlene Mehinako","Mukura Mehinako","Waya Mehinako"]},{role:"Yuwalu Mehinako. Translations",names:["Warakina Mehinako","Aline Regitano"]},{role:"Editing/Assembly",names:["Aline Regitano","Warakina Mehinako","Ricardo Dionísio"]},{role:"Production",names:["Warakina Mehinako","Mukura Mehinako","Aline Regitano","André Regitano"]}],directors:[{name:"Aline Regitano",photo:Gv,bio:"Aline Regitano is an anthropologist, a PhD candidate in Social Anthropology at the University of São Paulo (USP) and holds a master's in Social Anthropology from the State University of Campinas (Unicamp). Since 2016 she has conducted research with the Mehinako people of the Upper Xingu, focusing on childbirth, embodiment, care, Indigenous health and gender relations. She is a researcher at CEstA — Center for Amerindian Studies."},{name:"Warakina Mehinako",photo:fy,bio:"Warakina Mehinako is a political leader of the Mehinako people. She is a keeper of the Yamurikumã chants (the sacred song of Upper Xingu women) and of the knowledges of the swidden gardens and plants. She also works as a nursing technician."}]},{slug:"kunuuka",heroImage:Sv,number:5,category:"Média-Metragem",title:"Kunuuka",direction:"Andressa Iremex Apinajé, Celso Castro, Gabriel Cardoso, Laura Guimarães and Odair Giraldin",directorBio:"Andressa Iremex Apinajé holds a degree in Education from the Federal University of Tocantins (UFT) and a master's in Cultural Heritage and Social Projects from FGV CPDOC.",year:"2024",duration:"27’",summary:"In the Apinajé Indigenous L

252and, Chief Tápkryt Kunuuka passes his name on to two children. Weaving together archives and memories, the documentary records for the first time the ritual of transmission of the name Kunuuka, which had not been performed for seventy years.",credits:[{role:"Direction and screenplay",names:["Iremex Andressa Apinajé","Celso Castro","Gabriel Cardoso","Laura Guimarães","Odair Giraldin"]},{role:"Editing",names:["Iremex Andressa Apinajé","Gabriel Cardoso","Laura Guimarães","Odair Giraldin"]},{role:"Camera",names:["Gabriel Cardoso and Laura Guimarães"]},{role:"Production",names:["Núcleo de Audiovisual and Documentário – FGV CPDOC"]}],directors:[{name:"Andressa Iremex Apinajé",photo:Vv,bio:"Andressa Iremex Apinajé holds a degree in Education from the Federal University of Tocantins (UFT) and a master's in Cultural Heritage and Social Projects from FGV CPDOC."},{name:"Celso Castro",photo:qv,bio:"Celso Castro holds a PhD (1995) in Social Anthropology from the National Museum at the Federal University of Rio de Janeiro (UFRJ). Since 1986, he has been a researcher at CPDOC, the School of Social Sciences of Fundação Getulio Vargas, which he has directed since January 2005."},{name:"Gabriel Cardoso",photo:Xv,bio:"Gabriel Cardoso holds a bachelor's and master's in Communication from PUC-Rio. He is currently adjunct-coordinator of the Audiovisual and Documentary Center at FGV CPDOC."},{name:"Laura Guimarães",photo:sy,bio:"Laura Guimarães holds a master's in Anthropology and a licentiate degree in Social Sciences from the Fluminense Federal University (UFF). She is currently a research assistant at FGV CPDOC."},{name:"Odair Giraldin",photo:ty,bio:"Odair Giraldin holds a PhD in Social Sciences from the State University of Campinas (Unicamp, 2000). He was a full professor at UFT and is currently a research fellow at FGV CPDOC."}]},{slug:"pretinhas-do-arapema",heroImage:Mv,number:6,category:"Média-Metragem",title:"Pretinhas do Arapemã",direction:"Lia Malcher",directorPhoto:dy,directorBio:"Lia Malcher is an anthropologist, documentary filmmaker, cultural producer and curator, working with visual media since 2015. She is a PhD candidate in Social Anthropology (USP), and holds a master's degree and a bachelor's in Anthropology from the Federal University of Pará (UFPA) and the Federal University of Western Pará (UFOPA), respectively. She is a member of the Grupo de Antropologia Visual and the Grupo de Pesquisa em Antropologia da Música, at USP. She is also co-founder of the audiovisual production company Formiga de Fogo Filmes, focused on documentaries and ethnographic films. She has directed several films, including <em>Pretinhas do Arapemã</em> (2024), <em>Onde Dorme a Baleia</em> (2024) and <em>Jijet — Como estudamos nossos cantos</em> (2023), the latter receiving an Honorable Mention at the <em>Pierre Verger Award</em> (2024).",year:"2024",duration:"22’",summary:"The medium-length film tells the story of the dance and song group Pretinhas do Arapemã, formed by 12 women from the quilombola community of Arapemã, located on the floodplain of the city of Santarém, in western Pará. Their songs engage with memory, belonging and the experiences of being quilombola at the intersection of Amazonian riverside territoriality and Black epistemes, giving rise to a distinctive music-practice of their own. The film also addresses the community's concern with the phenomenon of riverbank erosion, intensified by the traffic of large vessels, and shows how music and dance become tools of resistance in the struggle for territory.",credits:[{role:"Direction",names:[`Lia Malcher
253`]},{role:"Screenplay and research",names:["Lia Malcher"]},{role:"Production coordination",names:["Keké Bandeira"]},{role:"Direct sound and sound design",names:["Andrew Salgado"]},{role:"Local production",names:["Maria Alba Vasconcelos"]},{role:"Audio description",names:["Keké Bandeira"]},{role:"Consulting",names:["Andréa Colares"]},{role:"Cinematography and editing",names:["Lia Malcher"]},{role:"Graphic Art",names:["Débora Marcião"]},{role:"Communication coordination",names:["Natashia Santana"]},{role:"Still photography",names:["Barbara Vale"]},{role:"Assistants",names:["Luana Mendonça","Yan Serique and Victória Bastos"]},{role:"Editing",names:["Halisson Flexa"]},{role:"Social Media",names:["Bianca Serique and Marina Marcião"]},{role:"Brazilian Sign Language (Libras)",names:["Luciano Lobato"]}]},{slug:"a-estrela-do-oriente-visita-o-reino-treze-de-maio",heroImage:yv,number:1,category:"Longa-Metragem",title:"A Estrela do Oriente visita o Reino Treze de Maio",direction:"J

253únia Torres and Isabel Casimira Gasparino",directorBio:"Júnia Torres is an anthropologist with a PhD from the Federal University of Minas Gerais (UFMG) and a member of the Associação Filmes de Quintal. A researcher in Anthropology and Image, she is the founder of the Belo Horizonte Documentary and Ethnographic Film Festival. She also curates film exhibitions focused on Indigenous authorship. Main filmography: A Rainha Nzinga Chegou (co-direction: Isabel Casimira, 2018); Nos olhos de Mariquinha (co-direction: Cláudia Mesquita, 2008); Aqui Favela, o Rap Representa (co-direction: Rodrigo Siqueira, 2002).",year:"2025",duration:"81’",summary:`The folia Estrela do Oriente from the Primeiro de Maio neighborhood is a local tradition in this former working-class settlement in Belo Horizonte. Every January 6, Three Kings' Day, Estrela do Oriente visits the nativity scene of the Reino Treze de Maio, in the Concórdia neighborhood. Nearly twenty years after filming the "cousins of Primeiro de Maio" being welcomed by the Mother Queen Isabel, we returned to film her daughter, now queen herself, as she welcomes the same folia, the same songs and the same gifts. During this visit, the film follows this character and co-director as she returns to the Estrela's headquarters, accompanied by the film crew.`,credits:[{role:"Cinematography",names:["Bené Machado and Júnia Torres"]},{role:"Editing",names:["Daniel Ribeiro Duarte"]},{role:"Direct sound and mixing",names:["Bruno Vasconcelos"]},{role:"Color",names:["José Cury"]},{role:"Production",names:["Cora Lima","Filmes de Quintal"]}],directors:[{name:"Júnia Torres",photo:Yv,bio:"Júnia Torres is an anthropologist with a PhD from the Federal University of Minas Gerais (UFMG) and a member of the Associação Filmes de Quintal. A researcher in Anthropology and Image, she is the founder of the Belo Horizonte Documentary and Ethnographic Film Festival. She also curates film exhibitions focused on Indigenous authorship. Main filmography: A Rainha Nzinga Chegou (co-direction: Isabel Casimira, 2018); Nos olhos de Mariquinha (co-direction: Cláudia Mesquita, 2008); Aqui Favela, o Rap Representa (co-direction: Rodrigo Siqueira, 2002)."},{name:"Isabel Casimira Gasparino",photo:Zv,bio:'Isabel Casimira is the Conga Queen of the Treze de Maio Guard of Moçambique and of the Federation of Congados of Minas Gerais, occupying the highest position in the hierarchy of the Reinados in her region. Isabel succeeded her mother, Isabel Casimira das Dores, and her grandmother, founder of the Reino Treze de Maio in 1944, continuing a ritual and cultural tradition of Bantu origin. In addition to being a "mestre" (leader and knowledge-keeper) of the Reinado, she is a researcher, filmmaker and educator and the director of the film A Rainha Nzinga Chegou (co-directed with Júnia Torres, 2018).'}]},{slug:"ate-onde-a-vista-alcanca",heroImage:bv,number:2,category:"Longa-Metragem",title:"Até onde a vista alcança",direction:"Alice Villela and Hidalgo Romero",directorPhoto:Pn,directorBio:"Alice Villela is a visual anthropologist with a PhD in Social Anthropology and a master's degree in the Arts. She conducted research with the Asuriní of the Xingu, in Pará, investigating indigenous ritual performance, notions of image, photography, audiovisual production and image-making practices. She was a research fellow at Université Paris X Nanterre (Paris, France) between 2013 and 2014. With Hidalgo Romero, she co-directed the films <em>Acontecências</em> (2009), <em>A briga do cachorro com a onça</em> (2013), <em>Toré</em> (2022) and <em>Na volta do mundo</em> (2022). She was a postdoctoral researcher at the Laboratório de Imagem and som em Antropologia (LISA-USP), investigating the relations between audiovisual media, music and locality. She is currently a Visiting Professor at the Kaapora Chair of Non-Hegemonic Knowledges at UNIFESP.",directors:[{name:"Alice Villela",photo:Pn,bio:"Alice Villela is a visual anthropologist with a PhD in Social Anthropology and a master's degree in the Arts. She conducted research with the Asuriní of the Xingu, in Pará, investigating indigenous ritual performance, notions of image, photography, audiovisual production and image-making practices. She was a research fellow at Université Paris X Nanterre (Paris, France) between 2013 and 2014. With Hidalgo Romero, she co-directed the films <em>Acontecências</em> (2009), <em>A briga do cachorro com a onça</em> (2013), <em>Toré</em> (2022) and <em>Na volta do mundo</em> (2022). She was a postdoctoral researcher at the Laboratório de Imagem and som em Antropologia (LISA-USP), investigating the relations between audiovisual media, music and locality. She is currently a Visiting Professor at the Kaapora Chair of Non-Hegemonic Knowledges at UNIFESP."},{name:"Hidalgo Romero",photo:xy,bio:"Hidalgo Romero holds a degree in Architecture and Urbanism from Unesp, a master's degree in Multimedia from Unicamp, and completed the screenwriting program at the International School of Film and Television (EICTV) in Cuba. Since 2006, he has been a member of Laboratório Cisco, where he works as a producer, director, and screenwriter. Romero has produced more than five feature-length documentaries screened and awarded at festivals around the world, having also worked as an editor and screenwriter for films and television series. Among his directorial works are <em>Até onde a vista alcança</em> (2025), which premiered at the Gramado Film Festival; <em>Chão de fábrica</em> (2019); <em>Acontecências</em> (2010), screened at the 22nd IDFA and the 10th É Tudo Verdade Festival, and awarded an Honorable Mention at the 37th Jornada da Bahia; and <em>A briga do cachorro com a onça</em> (2013), shown at the MIMO Festival and the 10th In-Edit Brasil. He also directed the series <em>Taquaras, tambores and violas</em>, <em>Da nascente à foz</em>, and <em>sombras sobre o Continente</em>. His work focuses on themes related to the environment, human rights, traditional music, and social movements."}],year:"2025",duration:"79’",summary:"Three generations of Kariri-Xocó people come together in an expedition to reclaim their people's memorial territory, taken from them over the painful centuries of colonization. Their language, knowledge and even their sacred rituals were concealed as a strategy for survival. Now, equipped with cameras, drones, pipes, headdresses and maracas, they journey across the geographical landmarks of their territory in a road movie that lays the groundwork for new land reclamations.",credits:[{role:"Direction",names:["Alice Villela","Hidalgo Romero"]},{role:"Editing",names:["Leco Wahrhaftig"]},{role:"Sound direction",names:["Julio Matos"]},{role:"Direct sound",names:["Julio Matos and Marco Sartori"]},{role:"Executive production",names:["Hidalgo Romero and Marcelo Félix"]},{role:"Original soundtrack",names:["João Arruda"]},{role:"Production coordination",names:["Bárbara Sodré"]},{role:"Consulting",names:["Paula Sacchetta","Alice Riff and Eduardo Valente"]},{role:"Colorist",names:["Tobias Rezende"]},{role:"Sound design",names:["Guile Martins and Augusta Gui"]},{role:"Art",names:["Ziel Karapotó"]},{role:"Graphic design",names:["Bia Porto"]}]},{slug:"aventuras-de-makunaima-historias-encantadas-da-amazonia",heroImage:xv,number:3,category:"Longa-Metragem",title:"Aventuras de Makunáima – histórias encantadas da Amazônia",direction:"Chico Faganello",directorPhoto:Hv,directorBio:"Chico Faganello holds a degree in Communication, studied Film History at the Università degli Studi di Siena, and attended both Ipotesi Cinema (Italy) and the New York Film Academy. He holds a PhD in Literature (UFSC). He works at Filmes Que Voam, a production company focused on audiovisual accessibility. He produced the series <em>Gente Verdadeira — Infâncias Indígenas</em>, released with versions in 12 Indigenous languages (https://filmesquevoam.com.br/gente-verdadeira/). In 2026, he brought <em>Aventuras de Makunáima — Histórias Encantadas da Amazônia</em> premiered to theaters.",year:"2025",duration:"75’",summary:"One day, Indigenous children of the Amazon met white artists searching for the beginning of the world. Aware of this encounter, Makunáima, an enchanted being of the forest, transformed into an animal and joined the children on adventures in ancestral time. Through music, dance and play, Indigenous girls and boys show that the past — at once enchanting and misunderstood — endures in the present as a force of strength and resistance.",credits:[{role:"Screenplay",names:["Akúli","Kali","Chico Faganello and Cristino Wapichana"]},{role:"Tradução",names:["Rosário Taurepang","Lelnícia Darora","Enoque Raposo","Inês Lúcia da Silva","Joyce Wapichana","Ivanilda da Silva and Lírio Tibes"]},{role:"Designer",names:["Katy Xapi Puri"]},{role:"Scene direction",names:["Sandra Corveloni"]},{role:"Executive and general direction",names:["Chico Faganello"]},{role:"Teachers",names:["Chico Faganello","Rita Gutt","Joaz Campos and Sandra Corveloni"]},{role:"Musicians/actors",names:["Rita Gutt","Joaz Campos","Abuhl Júnior","Gabriel Ivanoff","Bruna Lemela"]},{role:"Art",names:["Kleber Montanheiro and Marcelo Santa Isabel"]},{role:"Cinematography",names:["Adriana Duarte and Jucelino Filho"]}]},{slug:"drags-in-da-house",heroImage:wv,number:4,category:"Longa-Metragem",title:"Drags in da' house",direction:"Paula Bessa Braz, Mihai Andrei Leaha, Gab Italiani, Dida Silva and Satine",directorBio:"Paula Bessa Braz is an anthropologist, filmmaker and researcher at the University of São Paulo (USP), where she is pursuing a PhD in Social Anthropology. She has collaborated on the production of various ethnographic films and series, and directed the film <em>Canto de Família</em> (2020), which received awards from the Brazilian Anthropological Association and Inedit-Brasil.",year:"2025",duration:"66’",summary:"Paula Bessa Braz, Mihai Andrei Leaha, Gab Italiani, Dida Silva and Satine When two anthropologists and three drag queens meet at a drag race competition in São Paulo, an ambitious project is born to document the city's vibrant queer scene. But the arrival of the pandemic radically transforms this creative journey. What was initially conceived as a conventional documentary becomes something deeper: a collaborative experimentation in which the boundaries between observers and observed dissolve. Through video diaries, digital performances and virtual encounters, the group captures not only a cultural scene but also a historical moment marked by adaptation, resistance and creation.",credits:[{role:"Research and editing",names:["Paula Bessa Braz and Mihai Andrei Leaha"]},{role:"Cinematography",names:["Mihai Andrei Leaha","Paula Bessa Braz","Caio Rincon","Gab Italiani","Dida Silva"]},{role:"Additional cinematography",names:["Leonardo Terra Cravo"]},{role:"Additional editing",names:["Leonardo Terra Cravo"]},{role:"Sound post-production",names:["Ewelter Rocha","Jean Nands"]},{role:"Motion graphics",names:["Júlia Quevedo"]}],directors:[{name:"Paula Bessa Braz",photo:ny,bio:"Paula Bessa Braz is an anthropologist, filmmaker and researcher at the University of São Paulo (USP), where she is pursuing a PhD in Social Anthropology. She has collaborated on the production of various ethnographic films and series, and directed the film <em>Canto de Família</em> (2020), which received awards from the Brazilian Anthropological Association and Inedit-Brasil."},{name:"Mihai Andrei Leaha",photo:oy,bio:"Mihai Andrei Leaha is an audiovisual researcher, anthropologist, filmmaker and educator. He has worked on the curation, promotion and programming of ethnographic films at numerous conferences and festivals. He has directed the award-winning ethnographic films <em>Carlos Caps Drag Race</em> and <em>Canto de Família</em>, both recognized by the Brazilian Anthropological Association. He is professor of Visual Anthropology at the University of Tromsø, in Norway, and chairs the IUAES Commission on Visual Anthropology."},{name:"Gab Italiani",photo:vy,bio:"Gab Italiani is a trans woman, Drag Queen, DJ and performer with a prominent presence in Brazil's music and entertainment scene. She has performed at events for leading companies such as Amazon, YouTube, TikTok and Google, and has collaborated with major advertising agencies. As a performer, she has appeared in major festivals, including Caps Lock and Burning Man. She also served as Diversity and Inclusion Lead in Large Customer Sales (LCS) and, in 2022, was recognized as Culture and Arts Ambassador at Google."},{name:"Dida Silva",photo:yy,bio:"Dida Silva, also known by her drag name Di Vina Kaskaria, is a Brazilian multidisciplinary artist based between São Paulo and Brasília. For more than a decade, she has used drag as her primary artistic language, working as a performer, producer, costume designer, fashion designer, and special effects makeup artist. She has collaborated on and contributed to several award-winning projects across different artistic fields, including <em>Metamáscaras</em> (2015), <em>Natasha</em> (2017), and <em>Antropronauta</em> (2018). She also starred in the film <em>Sensorhythms</em> (2022)."},{name:"Satine",photo:by,bio:"Caio Rincon performs under the drag name Satine and is a multifaceted artist whose work spans drag performance, art direction, event production, and DJ

253ing. Through Satine, Rincon explores drag as a form of self-expression and a means of expanding the boundaries of gender performance. Among his notable projects is the production of the party <em>HeteronormaDIVA</em>. He was also a finalist in the third season of <em>Academia de Drags</em>, the Brazilian drag competition reality show. As a DJ, he is an active presence in the music scene and nightlife."}]},{slug:"fronteiricas",heroImage:jv,number:5,category:"Longa-Metragem",title:"Fronteiriças",direction:"Beatriz Oliveira Abrahão and Izabella Corrêa",directorBio:"Beatriz Oliveira Abrahão is a journalist and a master's student in Social Communication at the Federal University of Minas Gerais (UFMG). She works at the UFMG Communication Center (Cedecom), where she is involved in producing, directing, writing and editing institutional videos, reports and documentaries. She collaborated on the short films <em>Seus Pés Estão Tocando o Chão</em> (2024) and <em>Uma Cidade Mais Verde</em> (2024). The independent documentary <em>Fronteiriças</em> was developed between 2023 and 2026.",year:"2026",duration:"53’",summary:"The documentary investigates the everyday lives of women living in Itamarati, one of the largest agrarian reform settlements in Latin America, located in Ponta Porã, Mato Grosso do Sul, on the Brazil-Paraguay border. Drawing on interviews, archives and a conversation circle, the film explores the singularities of being a rural woman in a border territory marked by land conflicts and by the cultural and economic hybridization between the two countries.",credits:[{role:"Direction, Screenplay and Production",names:["Beatriz Oliveira Abrahão","Izabella Corrêa"]},{role:"Footage and editing",names:["Beatriz Abrahão and Izabella Corrêa"]},{role:"Sound",names:["Vinicius Sampaio","Locução"]},{role:"Editing and mixing",names:["Beatriz Abrahão"]},{role:"Driver",names:["Frederico Abrahão"]},{role:"Characters",names:["Neli Marques","Eda Insfran Palmira Pires","Margarida Oliveira","Aralda Pereira","Mariza Madalena Dahmer","Maria Rita Cedraz","Beatriz Abrahão","Izabella Corrêa","Frederico Abrahão"]}],directors:[{name:"Beatriz Oliveira Abrahão",photo:_v,bio:"Beatriz Oliveira Abrahão is a journalist and a master's student in Social Communication at the Federal University of Minas Gerais (UFMG). She works at the UFMG Communication Center (Cedecom), where she is involved in producing, directing, writing and editing institutional videos, reports and documentaries. She collaborated on the short films <em>Seus Pés Estão Tocando o Chão</em> (2024) and <em>Uma Cidade Mais Verde</em> (2024). The independent documentary <em>Fronteiriças</em> was developed between 2023 and 2026."},{name:"Izabella Corrêa",photo:ey,bio:"Izabella Oliveira Corrêa (Bella Corrêa) is a journalist who graduated from UFMG. She worked at the UFMG News Agency (2022), Rádio UFMG (2023) and TV UFMG (2024), producing and editing reports, podcasts and audiovisual content. She has developed independent audiovisual projects, such as the short film <em>Seus Pés Estão Tocando o Chão</em> (2024) and the documentary <em>Fronteiriças</em> (2023-2026)."}]},{slug:"narrativas-berlinenses-percursos-etnograficos",heroImage:Rv,number:6,category:"Longa-Metragem",title:"Narrativas berlinenses percursos etnográficos",direction:"Cornelia Eckert and Ana Luiza Carvalho da Rocha",directorBio:"Cornelia Eckert holds a PhD in Social Anthropology from Sorbonne Paris V (1992) and is a professor in the Graduate Program in Social Anthropology at the Federal University of Rio Grande do Sul (UFRGS). She coordinates the BIEV (Banco de Imagens and Efeitos Visuais). She has held postdoctoral fellowships at Paris VII (2001), the Free University of Berlin (2013) and the University of Georgia (2018). https://www.ufrgs.br/biev/.",year:"2024",duration:"53’",summary:"In 2013, Brazilian anthropologists Ana Luiza Carvalho da Rocha and Cornelia Eckert, both professors at the Federal University of Rio Grande do Sul, conducted a three-month urban anthropology research project in Berlin, Germany. Developed at the Kreuzberg district, the audiovisual ethnographic study focused on the lifestyles of residents of the neighborhood and neighboring districts, as well as on memories of the transformations of Berlin's urban landscape. Combining street ethnography with audiovisual accounts of social trajectories, the documentary takes shape through encounters with the inhabitants and regulars of this singular territory, with the city of Berlin itself emerging as a central protagonist.",credits:[{role:"Direction",names:["Cornelia Eckert and Ana Luiza Carvalho da Rocha"]},{role:"Camera",names:["Ana Luiza Carvalho da Rocha"]},{role:"Sound",names:["Cornelia Eckert"]},{role:"Screenplay",names:["Ana Luiza Carvalho da Rocha"]},{role:"Production",names:["Bactérias Filmes and Teça"]},{role:"Funding",names:["CDEA – Centro de estudos Europeus and Alemães"]}],directors:[{name:"Cornelia Eckert",photo:Sy,bio:"Cornelia Eckert holds a PhD in Social Anthropology from Sorbonne Paris V (1992) and is a professor in the Graduate Program in Social Anthropology at the Federal University of Rio Grande do Sul (UFRGS). She coordinates the BIEV (Banco de Imagens and Efeitos Visuais). She has held postdoctoral fellowships at Paris VII (2001), the Free University of Berlin (2013) and the University of Georgia (2018). https://www.ufrgs.br/biev/."},{name:"Ana Luiza Carvalho da Rocha",photo:wy,bio:"Ana Luiza Carvalho da Rocha holds a PhD in Social Anthropology from Sorbonne Paris V (1994). She is a professor in the Graduate Program in Social Anthropology at UFRGS and coordinates the BIEV project. She has held postdoctoral fellowships at Paris VII (2001), the Free University of Berlin (2013) and the University of Georgia (2018)."}]}

253,{slug:"navegantes",heroImage:Lv,number:7,category:"Longa-Metragem",title:"Navegantes",direction:"Oswaldo Giovannini Junior",directorPhoto:ry,directorBio:"Is an anthropologist and professor at the Federal University of Paraíba (UFPB). His research focuses on visual anthropology, popular cultures and Brazilian festivities. He has directed the award-winning <em>Congado</em>, in Minas Gerais; <em>Casa de Palha</em>, with the Truká people, in Pernambuco; <em>Tudo vai pela Lua</em>, in Paraíba; <em>Boi de Maranhão</em>, in Maranhão. More recently, he filmed <em>Garapirá</em>, a film on coco de roda and ciranda among the Potiguara people of Paraíba, screened at several ethnographic film exhibitions. He also directed other short documentaries of ethnographic reflection and inquiry.",year:"2014-2019",duration:"93’",summary:"A film about the people/characters who take part in the centuries-old procession of Our Lady of the Navigators, held between the Potiguara village of Coqueirinho do Norte and the community of Barra de Mamanguape (Paraíba/Brazil). Shaped by the tides, the boat journey unfolds through music, faith, and celebration, while revealing the challenges, adventures, and contradictions that emerge between the sacred and the profane. Produced between 2014 and 2019, this filmic ethnography follows its characters through the estuarine landscape. Shot with a GoPro camera, the film adopts a dynamic and unusual visual language marked by rhythmic variation, faux raccords, and disrupted continuities. Through a play of parallel temporalities characters filmed in different years are brought together within a single celebration.",credits:[{role:"Direction",names:["Oswaldo Giovannini Junior","Pesquisa"]},{role:"Cinematography and direct sound",names:["Oswaldo Giovannini Junior","Diego Vartuli Cavanelas and Aguynaiary Pontes Pessoa Gomes"]},{role:"Editing",names:["Oswaldo Giovannini Junior and Eduardo Donato"]},{role:"Audio mixing and editing",names:["Oswaldo Giovannini Junior"]},{role:"Color grading and finishing",names:["Eduardo Donato"]},{role:"Drone",names:["Jean Lisboa"]},{role:"Cyanotype",names:["Ester Correia"]},{role:"Design",names:["Tainá Lima"]},{role:"Brazilian Sign Language (Libras)",names:["Viviane Cabral"]},{role:"Audio description",names:["Marçal Henrique and Camila Magalhães"]},{role:"Subtitles",names:["Aguynaiary Pontes Pessoa Gomes"]},{role:"Executive production – finishing",names:["Lucila Poppi"]}]},{slug:"os-afro-sambas-o-brasil-de-baden-e-vinicius",heroImage:kv,number:8,category:"Longa-Metragem",title:"Os Afro-Sambas; o Brasil de Baden e Vinicius",direction:"Emílio Domingos",directorPhoto:ay,directorBio:"Is a filmmaker, anthropologist, researcher, screenwriter and producer. A documentary filmmaker and a member of the Academy of Motion Picture Arts and Sciences (AMPAS), he holds a degree in Social Sciences from the Federal University of Rio de Janeiro (UFRJ), with a focus on visual anthropology, urban culture and youth studies. He directed the feature films <em>L.A.P.A.</em> (2007), <em>A batalha do passinho</em> (2012), <em>Deixa na régua</em> (2016), <em>Favela é moda</em> (2019), <em>Black Rio! Black Power!</em> (2023) and <em>Chic Show</em> (2023).",year:"2024",duration:"93’",summary:"Released in 1966 by Vinicius de Moraes and Baden Powell, <em>Os Afro-Sambas</em> is one of the most celebrated albums in Brazilian music history. Participants in the original recording, along with critics, friends and family members of both musicians revisit the creation of this landmark work. Filmed between Salvador and Rio de Janeiro, the documentary combines archival footage with exclusive interviews with Maria Bethânia, Dori Caymmi, Russo Passapusso and Nelson Motta. A tribute to a classic that transformed Brazilian music.",credits:[{role:"Direction and screenplay",names:["Emílio Domingos"]},{role:"Production company",names:["Rinoceronte Entretenimento"]},{role:"Production",names:["Renata Leite","Diogo Pires Gonçalves"]},{role:"Co-producing company",names:["Discovery","Inc.","Warner Bros."]}]},{slug:"raizes-historias-da-favela-do-esqueleto",heroImage:Nv,number:9,category:"Longa-Metragem",title:"Raízes: histórias da Favela do Esqueleto",direction:"Leticia de Luna Freire",directorPhoto:ly,directorBio:"Leticia de Luna Freire holds a PhD in anthropology and is an Associate Professor at the School of Education and in the Graduate Program in Education, Culture and Communication in Urban Peripheries at the State University of Rio de Janeiro (UERJ). She coordinates the Núcleo de Pesquisa em Educação and Cidade (NUPEC/UERJ), is a researcher at the Laboratório de Etnografia Metropolitana (LeMetro) and at the Institute of Comparative Studies in Conflict Management (INCT-InEAC/UFF), and a collaborator at GPCSE/ICS-UERJ.",year:"2025",duration:"66’",summary:"Favela do Esqueleto was one of the largest and most emblematic favelas in Rio de Janeiro. Removed in 1965 to make way for the construction of the campus of the State University of Guanabara (UEG, now the State University of Rio de Janeiro), it remains alive in the memories and narratives of those who once lived there. Drawing on interviews with former residents, as well as documentary and iconographic research, the film invites viewers to know this history and to resist its erasure.",credits:[{role:"Direction",names:["Leticia de Luna Freire"]},{role:"Screenplay and story",names:["Leticia de Luna Freire"]},{role:"Research",names:["Leticia de Luna Freire","Clarelis Rodrigues da Silva","Emmanuelle Torres Costa","Luciane de Souza Santos"]},{role:"Cinematography",names:["Clara Schmid"]},{role:"Sound",names:["Beatriz Filizola"]},{role:"Editing",names:["Clara Schmid","Beatriz Filizola","Chico Gomes"]}]}],uN=["Curta-Metragem","Média-Metragem","Longa-Metragem"];function cN(e){return fu.find(a=>a.slug===e)}function mN(e){return fu.filter(a=>a.category===e).sort((a,o)=>a.number-o.number)}const pN=Object.freeze(Object.defineProperty({__proto__:null,filmCategories:uN,films:fu,getFilmBySlug:cN,getFilmsByCategory:mN},Symbol.toStringTag,{value:"Module"})),Zn=qt(dN,pN);Zn.films;const hN=Zn.filmCategories,gN=Zn.getFilmBySlug,_i=Zn.getFilmsByCategory;function fN({film:e}){return l.jsxs(B,{to:"/filme/$slug",params:{slug:e.slug},className:"group ppv-work-card ppv-work-card--filme relative block aspect-[4/3] overflow-hidden",children:[e.heroImage?l.jsx("img",{src:e.heroImage,alt:e.title,loading:"lazy",className:"absolute inset-0 h-full w-full object-cover"}):l.jsx("div",{className:"absolute inset-0 flex items-center justify-center ppv-page-filme",children:l.jsx(Wl,{className:"h-10 w-10 text-muted-foreground

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bN(e){return e.normalize("NFD").replace(/[\u0300-\u036f]/g,"").toLowerCase().replace(/[^a-z0-9]+/g,"-").replace(/(^-|-$)/g,"")}const xN=[{title:"Cronologia de uma despedida",heroImage:Ay,gallery:[Cy,ky,Ey,Fy,My,Ny,zy,jy,Ry,Dy],summary:"Uma história sobre amizade, companheirismo, regionalismo e identidade. Essa história com Cosme começou em meados de 2015, ele era garimpeiro faiscador no Vale do Jequitinhonha e também taxista em Diamantina – MG, ele me acompanhava em meus ensaios fotográficos, criamos uma bela amizade, ao som de <em>Dire Straits</em> e <em>Pink Floyd</em>. Cosme me ensinou sobre as estradas, sobre o cerrado mineiro, sobre a vida. Um homem de origem humilde, gêmeo de Damião, e irmão de muitos outros. Cosme era um típico homem do Cerrado, repleto de sabedoria e bondade, faleceu no dia 8 de março de 2024. Ali, perdi um pedaço meu, este ensaio é sobre ele, sobre como continua vivo, sua alma agora é parte das serras, dos rios, de mim.",author:"Maria Isabel Oliveira",authorPhoto:Ob,authorBio:"Nasceu em Diamantina, Minas Gerais, em 1990. Trabalha e vive em São Paulo – SP, onde atua como fotojornalista no jornal O Globo. Graduada em Audiovisual e pós-Graduada em Fotografia e Imagem pela Universidade Candido Mendes (UCAM). É fotógrafa, artista visual e contadora de histórias. Seu trabalho autoral pontua questões internas de seu ser, assim como enredos de personagens externos que circundam sua vida. Foi finalista no Paraty em Foco – Festival Internacional de Fotografia de Paraty 2016 e participou do programa de TV Arte na Fotografia, em 2018. Foi selecionada para a Convocatória de Portfólio do Foto em Pauta, em Tiradentes, em 2018 e em 2026. Seu documentário VEREDA foi selecionado pelo edital RespirARTE, da Funarte, em 2020."},{title:"Depois do fim: Zika ainda",heroImage:Iy,gallery:[Ly,By,Ty,Uy,Oy],summary:"Em 2016, a emergência de saúde pública do vírus Zika foi declarada encerrada no Brasil. Mas não para Tamires Costa Silva e sua família. Esta série de fotos retrata a passagem do tempo na convivência e cuidado com um filho perdido precocemente. Os temas das fotos são pessoas, crenças, objetos e espaços. Na vila rural de Lagoa da Arara, Alagoas, o mesmo carro de boi usado para coletar água no início da epidemia ainda serve às necessidades da casa. Velado pela Virgem Maria, o quarto de João Lucas passou a acolher a família em luto depois de sua morte. As roupas de seu pai contam uma história de como a família se reinventou para lutar por sua sobrevivência ao longo de dez anos.",author:"Debora Diniz",authorPhoto:Gb,authorBio:"É antropóloga, escritora, documentarista e professora da Faculdade de Direito da Universidade de Brasília. Autora de Zika (Prêmio Jabuti 2017), foi eleita uma das 100 Pensadoras Globais pela Foreign Policy. Recebeu os prêmios Dan David (2020), Global Health Ethics Leadership da Universidade de Oxford (2023) e o título de Doutora Honoris Causa pela Universidade de Ottawa (2024). Seu filme Uma mulher comum venceu o Prêmio Pierre Verger da ABA de Melhor Documentário Etnográfico (2024)."},{title:"Ilê Axé Egbé N’Ji Bunmi",heroImage:Gy,gallery:[Vy,qy,Hy,_y,Jy,$y,Wy,Ky,Qy,Xy,Yy],summary:"Em 2005 tive o prazer de conhecer o Ilê Axé Egbé N’Ji Bunmi, Templo Religioso de Culto aos Orixás em Guarulhos – SP, sob o comando do sacerdote Babalorixá Carlos Oxun Yómi de Camargo e do Babá Egbé Oscar Santini Ogun Shegun. A aproximação foi feita com o intuito de realizar esse trabalho fotográfico. Após ter a autorização da Casa Religiosa e do Conselho Religioso do Instituto Nacional da Tradição e Cultura Afro-Brasileira (INTECAB-SP), a permissão do trabalho foi confirmada na Tábua de Orunmila Ifá, onde Exú se apresentou através de um búzio aberto nos caminhos positivos do OmoOdú Okaran/Oshê, um sinal de caminhos abertos para o projeto.",author:"Bruno Cardoso",authorPhoto:Vb,authorBio:"Nascido em Ilhéus, Bahia, e criado em Salvador, sou formado em Comunicação Social e Publicidade. Atuei por mais de vinte anos no mercado publicitário paulista como diretor de arte e diretor de criação, desenvolvendo campanhas para grandes marcas nacionais e internacionais. Durante todo esse período, a fotografia esteve presente em minha vida — tanto como ferramenta de trabalho quanto como forma de expressão pessoal. Nos últimos anos, passei a me dedicar integralmente à pesquisa e à criação fotográfica, organizando meu acervo e desenvolvendo projetos autorais que investigam o Brasil e suas manifestações culturais. Tornei-me aluno ouvinte no curso de Antropologia da USP, onde me aproximei da área de antropologia visual e do Laboratório de Imagem e Som em Antropologia (LISA), o que tem ampliado minha compreensão sobre a fotografia e o mundo. Tenho grande interesse pela religiosidade brasileira e venho realizando ensaios sobre o Candomblé, a Umbanda, a Romaria de Nossa Senhora Aparecida e o Santo Daime, de modo a explorar as relações entre fé e cultura, em busca de um olhar fiel e sensível sobre essas experiências."},{title:"Memórias do mar",heroImage:Zy,gallery:[eb,ab,ob,tb,rb,ib,nb,sb,lb,db,ub,cb,mb,pb,hb],summary:"Memórias do Mar é um ensaio fotográfico realizado a partir de pesquisa de mestrado em Antropologia Social. Entre 2022 e 2024, atuei junto a comunidades de pescadores artesanais da Reserva de Desenvolvimento Sustentável da Ponta do Tubarão – RN. As imagens resultam de um processo prolongado de convivência e trabalho de campo nas comunidades de Diogo Lopes, Sertãozinho e Barreiras, registrando práticas de pesca, paisagens costeiras e gestos cotidianos que expressam a relação entre memória, território e mar.",author:"João Oliveira",authorPhoto:qb,authorBio:"É fotógrafo e artista visual. Mestre em Antropologia Social pela Universidade Federal do Rio Grande do Norte, com orientação da Prof. Dra. Lisabete Coradini, desenvolve pesquisas sobre imagem, memória e territorialidade em comunidades pesqueiras do litoral do Rio Grande do Norte. Integra o Núcleo de Antropologia Visual da (NAVIS/UFRN) e atua como produtor cultural e gestor do Margem Hub, centro cultural localizado em Natal. É autor dos fotolivros <em>Onde se esqueceu de lembrar</em> e <em>Sal e Mangue</em> e coordena o Maré Foto Festival."},{title:"Nas tramas do Porto-Paredão: lazer, visualidades e trabalho na praia do Porto da Barra (Salvador, BA)",heroImage:gb,gallery:[fb,vb,yb,bb,xb,wb,Sb,Pb],summary:"Este ensaio resulta de pesquisa etnográfica realizada no mestrado em Antropologia (UFBA) sobre os “modos de fazer praia” no Porto da Barra, com foco no Porto-Paredão. Através de observação participante e registro de práticas, sonoridades e performances, o fotógrafo 

253incorpora a câmera como dispositivo relacional, com interlocutores participando ativamente das imagens. Impresso em 30 cm x 45 cm, em papel fine art, e organizado em agrupamentos imersivos, o ensaio prioriza a experiência sensorial e relacional.",author:"Daniel de Menezes Soglia",authorPhoto:Hb,authorBio:"É licenciado em Ciências Sociais (2022) e mestre em Antropologia (2025) pela Universidade Federal da Bahia, com intercâmbio na Universidade de Coimbra (2019-2020). Em 2025, o pesquisador recebeu menção honrosa no Prêmio Ana Maria Galano da Associação Nacional de Pós-Graduação e Pesquisa em Ciências Sociais (Anpocs) e venceu o Prêmio Nacional de Fotografia Pierre Verger, da Bahia, pelo ensaio <em>Nas tramas do Porto-Paredão</em>. Foi curador da Mostra RIOS e selecionado para a Mostra Fotográfica da RAM. Atua nas interseções entre antropologia urbana e visual."},{title:"O Ano da Onça: ballroom em Cuiabá",heroImage:Ab,gallery:[Cb,kb,Eb,Fb,Mb,Nb,zb,jb,Rb,Db,Ib,Lb,Bb,Tb,Ub],summary:"O ensaio acompanha uma noite da cena ballroom em Cuiabá – MT, durante a Vogue Night realizada em janeiro de 2025, com o tema Brazilian Print – O Ano da Onça. Originária dos salões underground de Nova York e historicamente ligada a comunidades negras e latinas LGBTQIA+, a cultura ballroom constitui-se como espaço de afirmação identitária, criação estética e convivência coletiva. Em Cuiabá, essa prática é reinterpretada por artistas locais que articulam referências globais com símbolos do imaginário brasileiro. As imagens mostram performances, gestos e interações entre participantes, público e jurados, evidenciando a ballroom como território de expressão, pertencimento e celebração cultural.",author:"Fred Gustavos",authorPhoto:_b,authorBio:"É artista visual e fotógrafo mato-grossense. Mestrando no Programa de Pós-Graduação em Antropologia Social da Universidade Federal de Mato Grosso (UFMT), segue seus estudos interessado no campo da imagem e da arte contemporânea, atuando principalmente na documentação e criação junto à cena performativa e artística do seu estado. Desde 2016, participa de mostras nacionais e internacionais. Destacam-se as exposições <em>Flora et Lumen</em>, <em>Saberes pelas mãos do tempo</em>, <em>Fotocênicas</em> e a curadoria de <em>Entreluzes – a nova fotografia cuiabana</em>."}],Jb=xN.map(e=>({...e,slug:bN(e.title)}));function wN(e){return Jb.find(a=>a.slug===e)}const SN=Object.freeze(Object.defineProperty({__proto__:null,essays:Jb,getEssayBySlug:wN},Symbol.toStringTag,{value:"Module"})),PN=[{slug:"cronologia-de-uma-despedida",title:"Chronology of a farewell",heroImage:Ay,gallery:[Cy,ky,Ey,Fy,My,Ny,zy,jy,Ry,Dy],summary:"A story of friendship, companionship, regional belonging and identity. My story with Cosme began in mid-2015. He was a small-scale gold prospector in the Jequitinhonha Valley and a taxi driver in Diamantina, Minas Gerais. He accompanied me on my photographic essays, and we built a deep friendship to the sound of <em>Dire Straits</em> and <em>Pink Floyd</em>. Cosme taught me about the roads, the Cerrado landscapes of Minas Gerais, and about life itself. A man of humble origins, twin brother of Damião and brother to many others, Cosme embodied the wisdom and generosity of the Cerrado. He passed away on March 8, 2024. With him, I lost part of myself. This essay is about him and the ways he endures — his spirit now lives in the mountains, the rivers, and within me.",author:"Maria Isabel Oliveira",authorPhoto:Ob,authorBio:"Was born in Diamantina, Minas Gerais, in 1990. She works and lives in São Paulo, where she serves as a photojournalist for the newspaper <em>O Globo</em>. She holds a degree in Audiovisual Studies and a postgraduate degree in Photography and Image from Universidade Candido Mendes (UCAM). A photographer, visual artist, and storyteller, her authorial work explores both personal inquiries and narratives of people whose lives intersect with her own. She was a finalist at Paraty em Foco — International Photography Festival of Paraty 2016 and took part in the TV program Arte na Fotografia in 2018. She was selected for the Foto em Pauta Portfolio Call in Tiradentes in 2018 and 2026. Her documentary VEREDA was selected by Funarte's RespirARTE program in 2020."},{slug:"depois-do-fim-zika-ainda",title:"After the end: Zika lingers",heroImage:Iy,gallery:[Ly,By,Ty,Uy,Oy],summary:"In 2016, Brazil declared the end of the public health emergency caused by the Zika virus. But for Tamires Costa Silva and her family, the emergency never truly ended. This photo series portrays the passage of time through the daily practices of c

253aring for a child lost too soon. Its subjects are people, beliefs, objects, and spaces. In the rural village of Lagoa da Arara, Alagoas, the same ox cart used to fetch water at the beginning of the Zika epidemic continues to serve the household's needs. Watched over by the Virgin Mary, João Lucas's bedroom became a place of remembrance after his death. His father's clothes tell the story of a family that, over ten years, continually reinvented itself in order to survive.",author:"Debora Diniz",authorPhoto:Gb,authorBio:"Is an anthropologist, writer, documentary filmmaker and professor at the Faculty of Law of the University of Brasília (UnB). She is the author of <em>Zika</em>, which received the Jabuti Prize 2017, she was named one of the 100 Global Thinkers by <em>Foreign Policy</em>. She received the Dan David Prize (2020), the Global Health Ethics Leadership Award from the University of Oxford (2023), and an honorary doctorate from the University of Ottawa (2024). Her film <em>An Ordinary Woman</em> received the <em>Pierre Verger Award</em> for Best Ethnographic Documentary (2024)."},{slug:"ile-axe-egbe-n-ji-bunmi",title:"Ilê Axé Egbé N'Ji Bunmi",heroImage:Gy,gallery:[Vy,qy,Hy,_y,Jy,$y,Wy,Ky,Qy,Xy,Yy],summary:"In 2005, a fortunate encounter brought me to Ilê Axé Egbé N'Ji Bunmi, a religious house in Guarulhos, São Paulo, dedicated to the worship of the Orixás and led by Babalorixá Carlos Oxun Yómi de Camargo and Babá Egbé Oscar Santini Ogun Shegun. My approach to the community was motivated by the development of this photographic project. After receiving authorization from the religious house and from the Religious Council of the National Institute of Afro-Brazilian Tradition and Culture (INTECAB-SP), the project was submitted to the Board of Orunmila Ifá and confirmed through divination: Exu manifested through a cowrie shell reading that opened in the favorable paths of Omo Odú Okaran/Oshê — a sign that the way was open for the work to proceed.",author:"Bruno Cardoso",authorPhoto:Vb,authorBio:"Born in Ilhéus, Bahia, and raised in Salvador, I hold a degree in Social Communication and Advertising. For more than twenty years, I worked in São Paulo's advertising industry as an art director and creative director, developing campaigns for major national and international brands. Throughout this period, photography remained a constant presence in my life — both as a professional tool and as a means of personal expression. In recent years, I have dedicated myself fully to photographic research and creative work, organizing my archive and developing authorial projects that explore Brazil and its cultural expressions. While auditing Anthropology courses at the University of São Paulo (USP), I became involved with the field of visual anthropology and to the Laboratório de Imagem em Som em Antropologia (LISA). These experiences expanded my understanding of photography and the world. Deeply interested in Brazilian religiosity, I have developed essays on Candomblé, Umbanda, the Pilgrimage of Our Lady Aparecida, and Santo Daime, exploring the relationships between faith and culture in search of a sensitive and careful portrayal of these experiences."},{slug:"memorias-do-mar",title:"Memories of the sea",heroImage:Zy,gallery:[eb,ab,ob,tb,rb,ib,nb,sb,lb,db,ub,cb,mb,pb,hb],summary:"<em>Memories of the Sea</em> is a photographic essay developed from master's research in Social Anthropology. Between 2022 and 2024, I lived alongside artisanal fishing communities in the Ponta do Tubarão Sustainable Development Reserve, in Rio Grande do Norte. The images result from a prolonged process of close engagement and conducting fieldwork in the communities of Diogo Lopes, Sertãozinho, and Barreiras, documenting fishing practices, coastal landscapes, and everyday gestures that express the relationship between memory, territory, and the sea.",author:"João Oliveira",authorPhoto:qb,authorBio:"Is a photographer and visual artist. He holds a master's degree in Social Anthropology from the Federal University of Rio Grande do Norte (UFRN), where he was supervised by Professor Lisabete Coradini, and conducted research on image, memory, and territoriality in fishing communities along the coast of Rio Grande do Norte. He is a member of the Núcleo de Antropologia Visual (NAVIS) and works as cultural producer and manager of the cultural center Margem Hub, in Natal. He is the author of the photobooks <em>Onde se esqueceu de lembrar</em> and <em>Sal</em> and <em>Mangue</em>, and coordinates the Maré Foto Festival."},{slug:"nas-tramas-do-porto-paredao-lazer-visualidades-e-trabalho-na-praia-do-porto-da-barra-salvador-ba",title:"Within the weavings of Porto-Paredão: leisure, visualities, and labor at Porto da Barra beach (Salvador, Brazil)",heroImage:gb,gallery:[fb,vb,yb,bb,xb,wb,Sb,Pb],summary:"This essay results from ethnographic research conducted as part of a master's degree in Anthropology at the Federal University of Bahia (UFBA), on the <em>praiar</em> (as a mode of doing or living the beach) at Porto da Barra, with particular attention to Porto-Paredão. Through participant observation and the recording of practices, sounds, and performances, the photographer approaches the camera as a relational device, with interlocutors actively participating in the creation of the images. Printed in 30 cm x 45 cm format on fine art paper and arranged in immer

253sive clusters, the essay foregrounds sensory and relational experience.",author:"Daniel de Menezes Soglia",authorPhoto:Hb,authorBio:"Holds a degree in Social Sciences (2022) and a master's degree in Anthropology (2025) from the Federal University of Bahia (UFBA), including an exchange period at the University of Coimbra, in Portugal (2019–2020). In 2025, he received an Honorable Mention in the Ana Maria Galano Prize, awarded by the Brazilian National Association of Graduate Studies and Research in Social Sciences (Anpocs) and won the Pierre Verger National Photography Prize in Bahia for the essay <em>Nas tramas do Porto-Paredão</em>. He curated the RIOS Exhibition and was selected for the Photographic Exhibition of the Mercosur Anthropology Meeting (RAM). He works at the intersections of urban and visual anthropology."},{slug:"o-ano-da-onca-ballroom-em-cuiaba",title:"The Year of the Jaguar: Ballroom in Cuiabá",heroImage:Ab,gallery:[Cb,kb,Eb,Fb,Mb,Nb,zb,jb,Rb,Db,Ib,Lb,Bb,Tb,Ub],summary:"The essay follows a night of Cuiabá's ballroom scene during the Vogue Night held in January 2025, under the theme <em>Brazilian Print — The Year of the Jaguar</em>. Originating in the underground ballrooms of New York and historically linked to Black and Latino LGBTQIA+ communities, ballroom culture constitutes a space of identity affirmation, aesthetic creation, and collective belonging. In Cuiabá, Mato Grosso, this practice is reinterpreted by local artists who interweave global references and symbols drawn from the Brazilian cultural imaginary. The images capture performances, gestures, and interactions among participants, audience members, and judges, highlighting ballroom as a territory of expression, belonging, and celebration.",author:"Fred Gustavos",authorPhoto:_b,authorBio:"Is a visual artist and photographer from Mato Grosso. He is a master's student in the Graduate Program in Social Anthropology at the Federal University of Mato Grosso (UFMT), where he conducts research in the field of image studies and contemporary art. His work focuses on documentation and artistic creation in dialogue with the performative and artistic scenes of Mato Grosso. Since 2016, he has participated in national and international exhibitions. Selected exhibitions include <em>Flora et Lumen</em>, <em>Saberes pelas mãos do tempo</em>, <em>Fotocênicas</em>, and the curatorship of <em>Entreluzes: a nova fotografia cuiabana</em>."}],$b=PN;function AN(e){return $b.find(a=>a.slug===e)}const CN=Object.freeze(Object.defineProperty({__proto__:null,essays:$b,getEssayBySlug:AN},Symbol.toStringTag,{value:"Module"})),Wb=qt(SN,CN),sr=Wb.essays,kN=Wb.getEssayBySlug;function EN({essay:e}){return l.jsxs(B,{to:"/ensaios/$slug",params:{slug:e.slug},className:"group ppv-work-card ppv-work-card--ensaios relative block aspect-[4/3] overflow-hidden",children:[e.heroImage?l.jsx("img",{src:e.heroImage,alt:e.title,loading:"lazy",className:"absolute inset-0 h-full w-full object-cover"}):l.jsx("div",{className:"absolute inset-0 flex items-center justify-center ppv-page-ensaios",children:l.jsx(Wn,{className:"h-10 w-10 text-muted-foreground/50"})}),l.jsxs("div",{className:"ppv-work-card__overlay absolute inset-0 flex flex-col items-center justify-center gap-2 p-6 text-center opacity-0 transition-opacity duration-300 group-hover:opacity-100 group-focus-visible:opacity-100",children:[l.jsx("h3",{className:"font-sans text-2xl font-extrabold leading-tight tracking-tight md:text-3xl",children:e.title}),l.jsx("p",{className:"font-sans text-sm font-semibold uppercase tracking-wide md:text-base",children:e.author})]})]})}function FN(){const{t:e}=q();return l.jsxs("main",{className:"min-h-screen ppv-page-ensaios text-foreground",children:[l.jsx(Se,{}),l.jsx("section",{className:"ppv-category ppv-cat-ensaios relative border-b bg-cover bg-center bg-no-repeat",style:{backgroundImage:`url(${nu})`},children:l.jsxs("div",{className:"relative mx-auto max-w-7xl px-4 py-16 lg:px-8 lg:py-24",children:[l.jsxs(B,{to:"/",className:"mb-10 inline-flex items-center gap-2 text-sm font-bold uppercase tracking-normal opacity-80 hover:opacity-100",children:[l.jsx(Ee,{className:"h-4 w-4"})," ",e("common.home")]}),l.jsx("p",{className:"mb-4 text-xs font-bold uppercase tracking-normal opacity-80",children:e("common.prizes")}),l.jsx("h1",{className:"max-w-4xl text-4xl font-semibold leading-tight md:text-7xl",children:e("catalog.essays.title")})]})}),l.jsx("section",{className:"ppv-page-ensaios",children:l.jsxs("div",{className:"mx-auto max-w-7xl px-4 py-16 lg:px-8 lg:py-20",children:[l.jsx("div",{className:"mb-8 flex items-end justify-between border-b pb-4",children:l.jsxs("div",{children:[l.jsx("p",{className:"mb-2 text-xs font-bold uppercase tracking-normal text-primary",children:e("common.category")}),l.jsx("h2",{className:"text-3xl font-semibold md:text-4xl",children:e("catalog.essays.selectedHeading")})]})}),l.jsx("div",{className:"grid gap-6 sm:grid-cols-2 lg:grid-cols-3",children:sr.map(a=>l.jsx(EN,{essay:a},a.slug))})]})}),l.jsx(we,{})]})}function MN(){const{t:e}=q();return ce({title:e("pages.ensaiosFotograficos.metaTitle"),description:e("pages.ensaiosFotograficos.metaDescription")}),l.jsx(FN,{})}const Kb="/2026/assets/01-Ct0jAcet.webp",Qb="/2026/assets/02-Cjqu7dWZ.webp",Xb="/2026/assets/03-CoW226v4.webp",Yb="/2026/assets/04-Bbbbm28y.webp",An="/2026/assets/05-D25Vs_eu.webp",Zb="/2026/assets/maria-aparecida-C6N3aQs2.

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253as roças de fumo e como destaladeira. Desde a infância, pratica crochê, aprendido com tias e madrinhas. Desde 2021, desenvolve trabalhos com impressões gráficas e livros de artista sobre memórias do fumo, em coautoria com sua filha. Também realiza oficinas de artes gráficas em comunidades rurais e periféricas."},{name:"Guadalupe Ferreira",bio:"Artesã, pesquisadora e arte-educadora (1994, Arapiraca – AL), filha de Maria Aparecida. Desde os seus 15 anos desenvolve trabalhos em xilogravura e encadernação artesanal. É autora do projeto Resgatando as Origens Gráficas, premiado pela Lei Paulo Gustavo (2023) e pela Política Nacional Aldir Blanc (2024), com oficinas em comunidades rurais e periféricas. Mestra em Antropologia Social pela Universidade Federal do Alagoas (UFAL) e doutoranda em Sociologia pela Universidade Federal de São Carlos (UFSCar), participou de residências, exposições e eventos no Brasil e na América Latina."}]},{title:"Atã 'ywa, Wyrã 'ywa: um estudo de caso sobre as lideranças do povo Apyãwa/Tapirapé (MT) | Atã’ywa, Wyrã’ywa Apyãwa Reka",summary:"Linguagens não-verbais, como gestos e imagens, são veículos comunicacionais culturalmente codificados, e por meio delas, povos ameríndios expressam ideias, sentimentos e conhecimentos que transbordam às palavras. As sociedades ocidentais desconhecem o potencial comunicacional da ornamentação com pinturas, sementes, plumagens, miçangas e classificam as artes indígenas como artesanato, e seus produtores como artesãos. Subvertendo essa relação assimétrica é que agenciamos as linguagens não-verbais, a partir da produção de desenhos e pinturas como metodologia qualitativa de diálogo e pesquisa científica sobre o papel das diferentes lideranças do povo Apyãwa/Tapirapé do Mato Grosso.",additionalText:"Xe'ega kwaxiaawa tekateka ra'ygawa pe. A'e wi iexaga ma'e ikome'o teka ra'ygawa pe. Epe ro'o na xe'ega imaxerekakato xe'ega, xe'apeawa, marageta. Are xowe ikwaxiata iparageta. Emiga ro'o na Maira nakwawi, tawaxara ramo imageta marawykawa iparageta. Xemoonawa werot wetepe marageta ramõ. Wete'oma ro'o na apa Apyãwa rata'ywa re, a'e pe epe akome'o iparageta. Maira tawoo pe axema'e weawa ekare, a'e te ramo wete'oma aapa Apyãwa rekare. A'e te ramo tyro pe aa'y Apyãwa rarywa, ixemoonawa. Ta'ygawa pe epe araa iexakata wexeka, Maira xema'egawoo pe.",heroImage:ex,author:"Rael Xakoiapari Tapirapé (Myxio’i), Lilian Sagio Cezar e Flávia Aparecida Andrade Souza",authorBio:"",authors:[{name:"Rael Xakoiapari Tapirapé (Myxio’i)",photo:P0,bio:"Artista e cientista social com 22 anos de experiência na área de Educação, com ênfase em Educação Indígena. Em 2006, graduou-se em Ciências Sociais pela Universidade do Estado de Mato Grosso (UNEMAT). Desenvolve pesquisa na área de Etnologia Indígena e Antropologia Visual no mestrado interdisciplinar em Cognição e Linguagem da Universidade Estadual do Norte Fluminense Darcy Ribeiro (UENF), atuando principalmente nos seguintes temas: lideranças tradicionais, memórias, educação e arte indígena."},{name:"Lilian Sagio Cezar",photo:b0,bio:"Antropóloga visual. Professora Associada da UENF, atua na Pós-Graduação em Políticas Sociais e Pós-Graduação em Cognição e Linguagem. Coordena a Unidade Experimental de Som e Imagem e pesquisa políticas culturais, identidades, memórias e conflitos socioambientais. Graduada em Ciências Sociais (2003) com mestrado em Multimeios pela Unicamp (2005) e doutorado em Antropologia Social pela USP (2010)."},{name:"Flávia Aparecida Andrade Souza",photo:h0,bio:"Bióloga. Doutoranda em Políticas Sociais pela UENF, tem vinte anos de experiência na área de Educação, com ênfase em Educação Escolar Indígena com os povos indígenas Tapirapé (Apyãwa), Karajá (Iny) e povos do Xingu, Mato Grosso. Moradora de comunidade indígena, pesquisadora com imersão na terra indígena Tapirapé/Karajá-MT, é companheira do Myxio’i e mãe de dois adolescentes indígenas."}],gallery:[ax,ox,tx,rx,ix,nx,sx]},{title:"Caderno da artista-antropóloga: a transformação da paisagem em Pium (RN)",summary:"O caderno da artista-antropóloga é uma criação gráfica e multimodal composta por imagens de momentos processuais (durante o campo de pesquisa) e elaborativos (em diálogo com a teoria antropológica). Fruto da minha dissertação de mestrado defendida em 2026, enquanto integrante do PPGAS-UFRN e do NAVIS, o cadern

253o estabelece uma conversa visual através da montagem e colagem entre desenhos, fotografias e itens coletados pelas ruas no percurso etnográfico, salientando visualidades que abordam observação, descrição, envolvimento e reflexão no contexto de transformação da paisagem do distrito de Pium – RN.",heroImage:Cn,gallery:[Cn,lx,dx],author:"Ingrid Cerantola Jó",authorPhoto:v0,authorBio:"Ingrid Cerantola Jó é multiartista, mestre em Antropologia Social (UFRN) e doutoranda em Antropologia (UFSCar). Traz em sua trajetória a atuação com desenho, poesia, artesanato, fotografia e vídeo. Durante o mestrado, integrando o NAVIS-UFRN, produziu o Caderno de Antropologia e Arte e o Caderno da Artista-antropóloga, este último como fruto da dissertação Nem lá, nem cá: desenhando a transformação da paisagem em Pium/RN, com metodologia ancorada na antropologia gráfica."},{title:"Desenhos, narrativas e as possibilidades da etnografia visual sobre quilombolas do Maranhão",summary:"Este trabalho integra meu Trabalho de Conclusão de Curso (TCC) em Ciências Sociais, apresentado à Universidade Estadual do Maranhão (UEMA). Utilizo desenhos etnográficos para representar minhas relações de pesquisa, análises e observações em campo. Mais do que isso, busco demonstrar, de forma prática, o uso do recurso visual como meio de unir a representação dos agentes sociais que protagonizam minha pesquisa às suas narrativas. Vejo essa junção como possibilidade de aplicar o método do desenho na etnografia, bem como um recurso para tornar o trabalho mais acessível àqueles que se agacharam para descrever, com a ponta do dedo no chão, parte da história de seus quilombos.",heroImage:ux,gallery:[cx,mx,px,hx,gx],author:"Maria Heloísa Alves Crispim Cirilo",authorPhoto:S0,authorBio:"Maria Heloísa Alves Crispim Cirilo é cientista social pela UEMA e pós-graduanda em Cartografia social e política da Amazônia pela mesma instituição. Durante sua formação, seu mundo de artista encontrou a antropologia visual, tornando sua forma de viver, ver o mundo e o representar através do desenho um método na sua forma de fazer antropologia. Nessa trajetória, seu TCC foi resultado desse encontro entre a arte e a antropologia."},{title:"Desvios Transtornantes: Ribeirão Preto – São Paulo",summary:"Desvios Transtornantes: Ribeirão Preto – São Paulo é uma história em quadrinhos que se estrutura a partir de entrevistas com seis pessoas trans, cujos depoimentos formam um arquivo íntimo sobre corpos dissidentes na cidade. O relato gráfico investiga desde as micropolíticas do cotidiano até a violência extrema, dialogando com casos emblemáticos, como o assassinato de Milena Massafera e Luana Barbosa, para cartografar como gênero, raça e classe definem quem pode ocupar o espaço público com segurança. Esta HQ não é ficção; é um documento visual urgente, que transforma vozes coletivas em uma narrativa gráfica poderosa sobre existência e resistência.",heroImage:fx,author:"Luana Cristini",authorPhoto:x0,authorBio:"Luana Cristini é artista não-binária e autista, que cria quadrinhos e zines na fronteira entre arte e pesquisa. Suas obras, Aqueles Dias (finalista do Troféu HQMix) e Desvios Transtornantes Zero (premiado na 50º Semana de Portinari), investigam a experiência do corpo dissidente, atravessando questões de gênero, território e memória. Em 2026, lançou Desvios Transtornantes: Ribeirão Preto – São Paulo, uma etnografia gráfica que transforma entrevistas com pessoas trans em um mapa íntimo da violência e da resistência na cidade."},{title:"Diário de pesquisa como caixa coletora de perfurocortante",summary:"Livro de artista composto pela afetação mútua entre meus trabalhos como tatuadora e antropóloga na Saúde Coletiva. Ele é feito de rascunhos de leituras e atividades do meu primeiro ano de doutorado em Informação e Comunicação em Saúde. Essas notas se mesclam a serigrafias, esboços de encomendas de tatuagem, agulhas, máscara e luva descartáveis e desenhos produzidos entre 2022 e 2024. Dialogando com meu tema de pesquisa, a medicalização da tatuagem, capa e contracapa são feitas do papelão de uma caixa coletora de perfurocortante e unidas ao miolo por argolas de metal articuladas. A obra aborda a escrita com papel e caneta como um tipo de desenho etnográfico.",heroImage:vx,gallery:[yx,bx,xx,wx,Sx],author:"Hyldalice de Andrade",authorPhoto:f0,authorBio:"Hyldalice de Andrade é doutoranda no Programa de Pós-Graduação em Informação e Comunicação em Saúde da Fundação Oswaldo Cruz (Fiocruz). Formou-se bacharel e mestre em Ciências Sociais pela Universidade do Estado do Rio de Janeiro (UERJ), especializando-se nas áreas da antropologia feminista e dos marcadores sociais da diferença. Integra o grupo de pesquisa Comunicação e Saúde do Instituto de Comunicação e Informação Científica e Tecnológica em Saúde da Fiocruz. É artista visual e tatuadora há oito anos."},{title:"Eu juro que eu não me vi: desenho autoetnográfico como produção de conhecimento, corpo e cuidado",summary:"Esta obra mobiliza o desenho autoetnográfico como forma de produzir narrativa e disputar regimes de verdade sobre experiências de adoecimento crô

253nico. A pesquisa parte de um evento perceptivo, o dia em que olhei no espelho e não me vi, que desencadeou investigações desenvolvidas em meu doutorado no campo das relações entre corpo, cuidado e imagem. Os desenhos apresentados registram tanto a crise perceptiva quanto a decisão de romper com o silêncio e transformá-lo em pesquisa. Desenhar é compreendido aqui como gesto corporal de atenção, reconstrução perceptiva e cuidado, afirmando o potencial da antropologia para produzir formas de narrar e conhecer experiências com doenças crônicas.",heroImage:kx,gallery:[Ex,Fx,Mx,Nx,zx,jx,Rx,Dx,Ix,Lx,Bx],author:"Júlia Mistro",authorPhoto:y0,authorBio:"Júlia Mistro é antropólogartista. Desenvolve investigações autoetnográficas e experimentações narrativas que cruzam escrita e desenho como práticas de cuidado e produção de conhecimento situado e emancipatório, integrando os campos de antropologia visual e do corpo e da saúde. É pesquisadora do GIP e do NAVISUAL/UFRGS, onde fez seu mestrado e doutorado."},{title:"Etno(grafias) do Onírico: quando o arquivo dos sonhos encontra o arquivo das águas",summary:"Esta instalação materializa quatro sonhos da minha pesquisa de mestrado em Antropologia Social na Universidade Federal de Goiás (UFG) sobre filmes guiados pelo Rio Corrente, na Bahia. Utilizo a esteira de taboa como suporte, por ter sido o lugar de repouso das mulheres da minha família, conectando o sonhar à linhagem ancestral. A obra é uma “etno-grafia” experimental composta por retalhos de reuso, bordados, sementes e gravetos de boldo seco. Ao bordar questões sobre o “coma colonial” e indagar “para onde vão os sonhos nas pesquisas?”, afirmo o onírico como extensão da realidade desperta e lugar de resistência. É o encontro vivo entre o arquivo dos sonhos e o arquivo das águas que habitam essa pesquisa.",heroImage:Px,gallery:[Ax,Cx],author:"Renata Torres",authorPhoto:w0,authorBio:"Renata Torres é mestranda em Antropologia Social e graduada em Ciências Sociais pela UFG. Mulher indígena em retomada ancestral no Oeste da Bahia e artista multimodal, move-se entre a academia e as encantarias do Cerrado. Pesquisa Antropologia Visual, Narrativa e Águas, com foco em cinema, autoria indígena, ontologias da cura, arquivo dos sonhos. Sua produção cria acervos que rompem a lógica colonial, usando sonhos e matérias visuais para narrar memórias ausentes ou silenciadas no arquivo oficial."},{title:"Histórias que se costuram",summary:"Este trabalho escrito, bordado e costurado apresenta parte da vivência com mulheres quilombolas e artesãs, as Fuxiqueiras do Bem, desde 2020, em Mituaçu, no município de Conde, Paraíba. As histórias, os contos e os conhecimentos escutados por nós podem aparentar inicialmente retalhos de experiências isoladas. Mas como nos mostra a colcha, a costura desses retalhos exibe uma ligação biográfica, territorial, racial e de gênero bem mais complexa. Pesquisar é como bordar, etnografar é como costurar uma colcha de retalhos.",heroImage:Tx,gallery:[Ux,Ox,Gx,Vx],author:"Gabriela Novaes Santos e Aline Paixão",authorBio:"",authors:[{name:"Gabriela Novaes Santos",photo:g0,bio:"Dedicada à pesquisa da prática têxtil com mulheres negras e quilombolas. É bordadeira e educadora popular, graduada em Ciências Sociais pela Universidade Federal da Paraíba (UFPB) e mestra em Antropologia Social pela UFRN. Desde 2020, faz parte do projeto de extensão Histórias de Quilombo, da Universidade Federal da Integração Latino-Americana (UNILA) e da UFPB, onde tem pesquisado com o grupo de artesãs Fuxiqueiras do Bem na comunidade quilombola de Mituaçu. Integra o NAVIS/UFRN e compõe as equipes editoriais da Revista Equatorial (PPGAS/UFRN) e da PROA (PPGAS/UNICAMP)."},{name:"Aline Paixão",photo:c0,bio:"Graduação e mestrado em Antropologia Social pela UFPB. Tem experiência com estudos de comunidades quilombolas paraibanas, tendo desenvolvido seus principais estudos acadêmicos junto à comunidade de Mituaçu. Desde 2017, é colaboradora no projeto de pesquisa e extensão Histórias de Quilombos. Em 2021, realizou diagnóstico participativo socioambiental e prestou assessoria no projeto Povos em Rede, do Observatório Antropológico da UFPB. De 2018 a 2022, participou do projeto de pesquisa Práticas e conhecimentos quilombolas na Paraíba e no Rio Grande do Sul, tendo como um de seus resultados a cartilha quilombola Plantas que têm história: Mituaçu."}]},{title:"Memória-fogo",summary:"A série Memória-fogo (2025) reúne sete impressões únicas, realizadas a partir de galhos carbonizados recolhidos por mim após as queimadas que atingiram a Serra da Cantareira, em 2024. Utilizando pigmentos produzidos a partir dessas mesmas cinzas e galhos, transfiro suas marcas para papel artesanal, criando imagens que se situam entre desenho, impressão e vestígio. O processo parte de uma aproximação direta com o território afetado pelo fogo, transformando restos da paisagem em matrizes gráficas. Os trabalhos representam a devastação, operam como registros materiais de um acontecimento ambiental, permitindo que a própria matéria do território participe da construção da imagem.",heroImage:qx,gallery:[Hx,_x,Jx,$x,Wx,Kx,Qx],author:"Nina Simão",authorPhoto:A0,authorBio:"Artista visual e pesquisadora. Desenvolve investigações no campo dos processos e procedimentos artísticos, articulando território, materialida

253de e memória por meio de práticas que envolvem coleta e experimentação com matérias naturais. Suas obras se inscrevem em paisagens marcadas por processos de exploração, a matéria recolhida torna-se campo de reinscrição e outras formas de imaginar sua continuidade. Atualmente desenvolve a série Peso do Sal."},{title:"Mulheres indígenas no Relatório Figueiredo: silenciamentos e violências nos e dos registros oficiais",summary:"Em um contexto em que muito se afirma a urgência da Comissão Nacional Indígena da Verdade como garantia para uma efetiva Justiça de Transição brasileira, o trabalho volta-se para o Relatório Figueiredo (Brasil, 1968), um conjunto documental produzido durante a Ditadura Militar e que denunciou uma série de atrocidades cometidas por agentes estatais do Serviço de Proteção aos Índios contra povos indígenas. Com atenção às violências perpetradas contra indígenas mulheres, recorta trechos e imagens do Relatório, realçando classificações e fatos pertinentes ao tema. As colagens são expostas em caixas escuras, e só são vistas quando o público as acende, em menção ao desaparecimento do documento.",heroImage:Xx,gallery:[Yx,Zx,e0,a0,o0,t0,r0,i0],author:"Bárbara Faciola Pessoa Baleixe da Costa",authorPhoto:m0,authorBio:"Bárbara Faciola Pessoa Baleixe da Costa é mestra em Antropologia Social e doutoranda em Arquitetura e Urbanismo pela Universidade Federal do Pará (UFPA). Integra grupos de pesquisa interdisciplinares e desenvolve trabalhos acadêmicos e artísticos sobre mulheres e territorialidades, especialmente nas margens amazônicas. Defende o uso de fotografias, desenhos, colagens e vídeos como ferramentas de descrição densa, resistindo às cisões entre conhecimento, poética e política. No projeto, foi a responsável pela pesquisa, concepção e colagem."},{title:"Resgate das Taperas (casas abandonadas) de Encantados",summary:"Este trabalho é uma coleção de 12 telas de artes digitais inspiradas nas memórias orais de anciãs das comunidades de várzea do baixo Amazonas. A série apresenta a relação espiritual entre moradoras varjeiras e Encantados de três comunidades da região do Aritapera (Centro, Carapanatuba e Água Preta), em Santarém, Pará. As imagens retratam a força espiritual presente nas plantas, árvores e rios amazônicos que são socializadas oralmente e seguidas por regras estabelecidas ancestralmente nas comunidades. O ensaio resulta da cosmologia afroindígena na região, que segue uma percepção própria de ver o mundo através das relações culturais e sociais dos povos que vivem na floresta e rios.",heroImage:n0,gallery:[s0,l0,d0,u0],author:"Emilly Yasmim Lopes Cardoso",authorPhoto:p0,authorBio:"Antropóloga e artista visual, graduada em Antropologia pela Universidade Federal do Oeste do Pará (UFOPA) e mestranda no Programa de Pós-Graduação em Antropologia e Arqueologia da UFOPA. Produz desenhos, fotografia e audiovisual. É cofundadora e coordenadora do Coletivo Mucajá, um coletivo multiartístico do Oeste do Pará. Faz pesquisa sobre os impactos das mudanças climáticas nas relações de cuidados entre mulheres varjeiras e Encantados no baixo Amazonas, oeste do Pará."}],C0=zN.map(e=>({...e,slug:NN(e.title)}));function jN(e){return C0.find(a=>a.slug===e)}function RN(e){return e.author.trim()||"Autoria não identificada"}const DN=Object.freeze(Object.defineProperty({__proto__:null,drawings:C0,getDrawingAuthorLabel:RN,getDrawingBySlug:jN},Symbol.toStringTag,{value:"Module"})),IN=[{slug:"ancestralidade-fumageira-processos-autoetnograficos-da-folha-de-fumo-de-arapiraca",title:"Tobacco ancestry: autoethnoGRAPHIC processes through the tobacco leaf of Arapiraca",summary:"The series of prints presented here is part of an artistic project that my mother and I have been developing since 2021, drawing on our memories and experiences with tobacco cultivation in Arapiraca, Alagoas. Using tobacco leaves coated with printing ink, we create monotypes, artist's books, and installations that transform the leaf itself into a printing matrix through memory. The works are connected to our experiences — especially my mother's — in tobacco fields and curing barns, revealing both the marks of labor exploitation, particularly those affecting Black 

253women, and the cultural, affective, and ancestral dimensions that surround the plant and its presence in the history of the city.",heroImage:An,gallery:[Kb,Qb,Xb,Yb,An],author:"Maria Aparecida do Nascimento Ferreira and Guadalupe Ferreira",authorBio:"",authors:[{name:"Maria Aparecida do Nascimento Ferreira",photo:Zb,bio:"Is an artisan and visual artist (1963, Arapiraca). Mother of Guadalupe Ferreira, she worked for nearly 30 years in tobacco cultivation, both in the fields and as a tobacco leaf stripper. Since childhood, she has practiced crochet, a craft learned from her aunts and godmothers. Since 2021, she has been developing works in printmaking and artist's books centered on memories, co-created with her daughter. She also leads printmaking workshops in rural and peripheral communities."},{name:"Guadalupe Ferreira",bio:"Is an artisan, researcher, and art educator (1994, Arapiraca), daughter of Maria Aparecida. Since the age of fifteen, she has worked with woodcut printing and handmade bookbinding. She is the creator of the project <em>Resgatando as Origens Gráficas</em>, supported by the Lei Paulo Gustavo (2023) and the Aldir Blanc National Policy (2024), through which she conducts workshops in rural and peripheral communities. She holds a master's degree in Social Anthropology from the Federal University of Alagoas (UFAL) and is a PhD student in Sociology at the Federal University of São Carlos (UFSCar). She has participated in residencies, exhibitions, and events throughout Brazil and Latin America."}]},{slug:"ata-ywa-wyra-ywa-um-estudo-de-caso-sobre-as-liderancas-do-povo-apyawa-tapirape-mt",title:"Atã 'ywa, Wyrã 'ywa: a case study on the leaderships of the Apyãwa/Tapirapé people (MT) | Atã’ywa, Wyrã’ywa Apyãwa Reka",summary:"Non-verbal languages such as gestures and images are culturally coded forms of communication through which Amerindian peoples express ideas, feelings, and knowledge that exceed the limits of words. Western societies have overlooked the communicative potential of bodily adornment with paints, seeds, feathers, and beads, classifying Indigenous arts as crafts and their creators as artisans. By subverting this asymmetrical relationship, we mobilize non-verbal languages through the production of drawings and paintings as a qualitative methodology for dialogue and scientific research on the roles of the different leaderships of the Apyãwa/Tapirapé people of Mato Grosso.",additionalText:"Xe'ega kwaxiaawa tekateka ra'ygawa pe. A'e wi iexaga ma'e ikome'o teka ra'ygawa pe. Epe ro'o na xe'ega imaxerekakato xe'ega, xe'apeawa, marageta. Are xowe ikwaxiata iparageta. Emiga ro'o na Maira nakwawi, tawaxara ramo imageta marawykawa iparageta. Xemoonawa werot wetepe marageta ramõ. Wete'oma ro'o na apa Apyãwa rata'ywa re, a'e pe epe akome'o iparageta. Maira tawoo pe axema'e weawa ekare, a'e te ramo wete'oma aapa Apyãwa rekare. A'e te ramo tyro pe aa'y Apyãwa rarywa, ixemoonawa. Ta'ygawa pe epe araa iexakata wexeka, Maira xema'egawoo pe.",heroImage:ex,author:"Rael Xakoiapari Tapirapé (Myxio'i), Lilian Sagio Cezar, and Flávia Aparecida Andrade Souza",authorBio:"",authors:[{name:"Rael Xakoiapari Tapirapé (Myxio'i)",photo:P0,bio:"Is an artist and social scientist with 22 years of experience in Education, with an emphasis on Indigenous Education. He graduated in Social Sciences from the State University of Mato Grosso (UNEMAT) in 2006. He conducts research in Indigenous Ethnology and Visual Anthropology in the interdisciplinary master's program in Cognition and Language at the State University of Northern Rio de Janeiro Darcy Ribeiro (UENF). His work focuses on traditional leaderships, memory, education, and Indigenous art."},{name:"Lilian Sagio Cezar",photo:b0,bio:"Is a visual anthropologist and Associate Professor at UENF, where she teaches in the Graduate Program in Social Policies and in Cognition and Language. She coordinates the Unidade Experimental de Som e Imagem and conducts research on cultural policies, identities, memory, and socio-environmental conflicts. She holds a degree in Social Sciences (2003), a master's degree in Multimedia from Unicamp (2005) and a PhD in Social Anthropology from USP (2010)."},{name:"Flávia Aparecida Andrade Souza",photo:h0,bio:"Is a biologist and PhD student in Social Policies at UENF. She has twenty years of experience in Education, with an emphasis on Indigenous School Education among the Tapirapé (Apyãwa), Karajá (Iny), and Xingu Indigenous peoples of Mato Grosso. Living in an Indigenous community, she conducts research immersed in the Tapirapé/Karajá Indigenous Territory of Mato Grosso. She is Myxio'i's partner and the mother of two Indigenous teenager

253s."}],gallery:[ax,ox,tx,rx,ix,nx,sx]},{slug:"caderno-da-artista-antropologa-a-transformacao-da-paisagem-em-pium-rn",title:"The artist-anthropologist's notebook: the transformation of the landscape in Pium (RN)",summary:"<em>The artist-anthropologist's notebook</em> is a graphic and multimodal creation composed of images produced both in the course of fieldwork and through subsequent elaborations informed by anthropological theory. Resulting from my master's dissertation defended in 2026 within the Graduate Program in Social Anthropology (PPGAS-UFRN) and the Núcleo de Antropologia Visual (NAVIS), the notebook establishes a visual conversation through montage and collage combining drawings, photographs, and materials gathered from the streets during ethnographic walks. These assemblages foreground visualities that address questions of observation, description, involvement, and reflection in the context of the ongoing transformation of the landscape of Pium, Rio Grande do Norte.",heroImage:Cn,gallery:[Cn,lx,dx],author:"Ingrid Cerantola Jó",authorPhoto:v0,authorBio:"Is a multidisciplinary artist, holds a master's degree in Social Anthropology from UFRN, and is currently a PhD student in Anthropology at the Federal University of São Carlos. Her practice encompasses drawing, poetry, crafts, photography, and video. During her master's studies, as a member of NAVIS-UFRN, she produced the <em>Anthropology and Art Notebook</em> and the <em>Artist-Anthropologist's Notebook</em>, the latter resulting from her dissertation <em>Nem lá, nem cá: desenhando a transformação da paisagem em Pium/RN</em>, developed through a methodology grounded in graphic anthropology."},{slug:"desenhos-narrativas-e-as-possibilidades-da-etnografia-visual-sobre-quilombolas-do-maranhao",title:"Drawings, narratives, and the possibilities of visual ethnography among quilombolas in Maranhão",summary:"This work is part of my undergraduate thesis in Social Sciences, submitted to the State University of Maranhão (UEMA). Through ethnographic drawings, I represent research relationships, analyses, and observations developed during fieldwork. More than that, I seek to demonstrate, in practice, the potential of the visual methods to bring together the representation of the social agents at the center of my research and their narratives. I understand this combination as a way of incorporating drawing into ethnographic practice, while also making the work more accessible to those who, crouching down, traced part of the history of their quilombos with a fingertip on the ground.",heroImage:ux,gallery:[cx,mx,px,hx,gx],author:"Maria Heloísa Alves Crispim Cirilo",authorPhoto:S0,authorBio:"Is a social scientist trained at UEMA and a postgraduate student in Social and Political Cartography of the Amazon at the same institution. During her academic training, her artistic practice encountered anthropology, transforming her way of living, seeing and representing the world through drawing into a way of practicing anthropology. In this trajectory, her undergraduate thesis emerged from this encounter between art and anthropology."},{slug:"desvios-transtornantes-ribeirao-preto-sao-paulo",title:"Unsettling deviations: Ribeirão Preto — São Paulo",summary:"<em>Unsettling deviations: Ribeirão Preto — São Paulo</em> is a graphic narrative built around interviews with six trans people whose testimonies form an intimate archive of dissident bodies in the city. The work explores everything from the micropolitics of everyday life to extreme forms of violence, engaging with emblematic cases such as the murders of Milena Massafera and Luana Barbosa to examine how gender, race, and class shape who can safely inhabit public space. This graphic narrative is not fiction; it is an urgent visual document that transforms collective voices into a powerful cartography of existence and resistance.",heroImage:fx,author:"Luana Cristini",authorPhoto:x0,authorBio:"Is a non-binary autistic artist who creates comics and zines at the intersection of art and research. Her works, <em>Aqueles Dias</em> (finalist for the HQMix Trophy) and <em>Desvios Transtornantes Zero</em> (awarded at the 50th Portinari Week), explore the experience of the dissident body through questions of gender, territory, and memory. In 2026, she released <em>Desvios Transtornantes: Ribeirão Preto — São Paulo</em>, a graphic ethnography that transforms interviews with trans people into an intimate map of violence and resistance in the city."},{slug:"diario-de-pesquisa-como-caixa-coletora-de-perfurocortante",title:"Research diary as a sharps container",summary:"An artist's book composed through the mutual affectation of my work as a tattoo artist and as an anthropologist in the field of Collective Health. It is a composition of reading notes, drafts and documents from my first year as a doctoral student in Information and Communication in Health. These materials are interwoven with silkscreens, tattoo sketches, needles, disposable mask and a glove, and drawings produced between 2022 and 2024. In dialogue with my research on the medicalization of tattooing, the cover and back cover are made from the cardboard of a sharps container and bound to the body with articulated metal rings. The work approaches writing by hand, with pen on paper, as a form of ethnographic drawing.",heroImage:vx,gallery:[yx,bx,xx,wx,Sx],author:"Hyldalice de Andrade",authorPhoto:f0,authorBio:"Is a PhD student in the Graduate Program in Information and Communication in Health at the Oswaldo Cruz Foundation (Fiocruz). She holds a bachelor's and master's degree in Social Sciences from the State University of Rio de Janeiro (UERJ), specializing in feminist anthropology and s

253ocial markers of difference. She is part of the Communication and Health research group at Fiocruz's Institute of Scientific and Technological Communication and Information in Health. She has worked a visual artist and tattoo artist for eight years."},{slug:"eu-juro-que-eu-nao-me-vi-desenho-autoetnografico-como-producao-de-conhecimento-corpo-e-cuidado",title:"I swear I didn't see myself: autoethnographic drawing as a practice of knowledge, embodiment and care",summary:"This work mobilizes autoethnographic drawing as a means of producing narrative and challenging regimes of truth surrounding experiences of chronic illness. The research begins with a perceptual event — the day I looked in the mirror and did not see myself — which gave rise to investigations developed during my doctoral studies on the relationships between body, care, and image. The drawings presented here record both the perceptual crisis and the decision to break the silence surrounding it and transform it into research. Drawing is understood as a bodily gesture of attention, perceptual reconstruction, and care, affirming anthropology's potential to create ways of narrating and knowing experiences of chronic illnesses.",heroImage:kx,gallery:[Ex,Fx,Mx,Nx,zx,jx,Rx,Dx,Ix,Lx,Bx],author:"Júlia Mistro",authorPhoto:y0,authorBio:"Is an anthropologist-artist. She develops autoethnographic investigation and narrative experiments that combine writing and drawing as practices of care into the production of situated and emancipatory knowledge, at the intersection of visual anthropology and the anthropology of body and health. She is a researcher affiliated with the Gêneros, Imagens e Política (GIP) group and the Núcleo de Antropologia Visual (NAVISUAL) at the Federal University of Rio Grande do Sul (UFRGS), where she completed both her master's and doctoral degrees."},{slug:"etno-grafias-do-onirico-quando-o-arquivo-dos-sonhos-encontra-o-arquivo-das-aguas",title:"Ethno(graphies) of the oneiric: when the archive of dreams meets the archive of waters",summary:`This installation materializes four dreams that emerged during my master's research in Social Anthropology at the Federal University of Goiás (UFG), which focused on films guided by the Corrente River, in Bahia. I use cattail mats as a support because they were the resting place of the women of my family, linking the act of dreaming to an ancestral lineage. The work is an experimental "ethno-graphy" composed of reclaimed fabric scraps, embroidery, seeds, and dried boldo branches. By embroidering questions about the "colonial coma" and asking "where do dreams go in research?", I affirm the oneiric as an extension of waking life and a site of resistance. It is a living encounter between the archive of dreams and the archive of waters that dwell within this research.`,heroImage:Px,gallery:[Ax,Cx],author:"Renata Torres",authorPhoto:w0,authorBio:"Is a master's student in Social Anthropology and holds a degree in Social Sciences from UFG. An Indigenous woman engaged in a process of ancestral reclamation in western Bahia and a multimodal artist, she moves between academia and the <em>encantos</em> of the Cerrado. Her research focuses on Visual Anthropology, narrative, and waters, with particular attention to cinema, Indigenous authorship, ontologies of healing, and dream archives. Her work creates collections that challenge colonial logics, drawing on dreams and visual materials to narrate memories that are absent from, or silenced within, the official archive."},{slug:"historias-que-se-costuram",title:"Stories stitched together",summary:"This written, embroidered, and sewn work presents part of an experience shared with quilombola women and artisans — the Fuxiqueiras do Bem — in Mituaçu, in the municipality of Conde, Paraíba, since 2020. The stories, tales, and forms of knowledge we have listened to may at first seem like fragments of isolated experiences. Yet, as the patchwork quilt teaches us, stitching these fragments together reveals far more complex biographical, territorial, racial, and gendered connections. Researching is like embroidering; doing ethnography is like sewing a patchwork quilt.",heroImage:Tx,gallery:[Ux,Ox,Gx,Vx],author:"Gabriela Novaes Santos and Aline Paixão",authorBio:"",authors:[{name:"Gabriela Novaes Santos",photo:g0,bio:"Dedicated to research on textile practices among Black and quilombola women, Gabriela Novais Santos is an embroiderer and popular educator. She holds a degree in Social Sciences from the Federal University of Paraíba (UFPB) and a master's in Social Anthropology from the Federal University of Rio Grande do Norte (UFRN). Since 2020, she has been a member of the Histórias de Quilombo outreach project developed by the Federal University of Latin American Integration (UNILA) and UFPB, through which she has conducted research with the Fuxiqueiras do Bem, in the quilombola community of Mituaçu. She is a member of Núcleo de Antropologia Visual (NAVIS/UFRN) and a member of the editorial teams of both <em>Revista Equatorial</em> (PPGAS/UFRN) and <em>PROA</em> (PPGAS/UNICAMP)."},{name:"Aline Paixão",photo:c0,bio:"Holds a bachelor's and a master's degree in Social Anthropology from UFPB. Her work focuses on quilombola communities in Paraíba, particularly the community of Mituaçu, where she has carried out her main academic research. Since 2017, she has collaborated with the research and outreach project Histórias de Quilombos. In 2021, she conducted a participatory s

253ocio-environmental diagnosis and provided advisory support through the Povos em Rede project of UFPB's Anthropological Observatory. Between 2018 and 2022, she participated in the research project <em>Práticas e conhecimentos quilombolas na Paraíba e no Rio Grande do Sul</em>, which resulted in, among other outcomes, the quilombola booklet <em>Plantas que têm história: Mituaçu</em>."}]},{slug:"memoria-fogo",title:"Fire-memory",summary:"The <em>Fire-memory</em> series (2025) brings together seven unique prints made from charred branches I collected after the fires that struck the Serra da Cantareira in 2024. Using pigments produced from those same ashes and branches, I transfer their marks onto handmade paper, creating images that exist between drawing, printing, and trace. The process begins with a direct engagement with the fire-scarred landscape, transforming remnants of the territory into graphic matrices. The works evoke devastation and operate as material records of an environmental event, allowing the territory itself to participate in the construction of the image.",heroImage:qx,gallery:[Hx,_x,Jx,$x,Wx,Kx,Qx],author:"Nina Simão",authorPhoto:A0,authorBio:"Is a visual artist and researcher. She develops investigations into artistic processes and material practices, articulating territory, materiality, and memory through the collection and experimentation of natural materials. Her work is rooted in landscapes marked by processes of exploitation, where collected matter becomes a site of re-inscription and of other ways of imagining its continuity. She is currently developing the series <em>Peso do Sal</em> (<em>Weight of Salt</em>)."},{slug:"mulheres-indigenas-no-relatorio-figueiredo-silenciamentos-e-violencias-nos-e-dos-registros-oficiais",title:"Indigenous women in the Figueiredo Report: silencing and violence through official records",summary:"In a context in which the urgency of a National Indigenous Truth Commission is widely recognized as essential for an effective process of Transitional Justice in Brazil, this work turns to the Figueiredo Report (Brazil, 1968), a documentary archive produced during the Military Dictatorship that denounced a series of atrocities committed by state agents of the Indian Protection Service (SPI) against Indigenous peoples. Focusing on violence perpetrated against Indigenous women, the work extracts excerpts and images from the Report, highlighting classifications and events relevant to this theme. The collages are displayed in darkened boxes and can only be seen when illuminated by the viewers, alluding to the disappearance of the document.",heroImage:Xx,gallery:[Yx,Zx,e0,a0,o0,t0,r0,i0],author:"Bárbara Faciola Pessoa Baleixe da Costa",authorPhoto:m0,authorBio:"Holds a master's degree in Social Anthropology and is a PhD student in Architecture and Urbanism at the Federal University of Pará (UFPA). She is a member of interdisciplinary research groups and develops academic and artistic works on women and territorialities, especially in the margins of the Amazon. She advocates the use of photography, drawing, collage, and video as tools of thick description, resisting the divisions between knowledge, poetics, and politics. In this project, she was responsible for the research, conceptual development and collages."},{slug:"resgate-das-taperas-casas-abandonadas-de-encantados",title:"Recovering the Taperas (abandoned houses) of Encantados",summary:"This work is part of a collection of twelve digital art panels inspired by the oral memories of elder women from the floodplain communities of the lower Amazon. The series presents the spiritual relationship between women living on the floodplains and the Encantados in three communities of the Aritapera region (Centro, Carapanatuba, and Água Preta), in Santarém, Pará. The images portray the spiritual force present in the Amazonian plants, trees, and rivers, transmitted through oral tradition and sustained through ancestral rules observed within the communities. The essay emerges from the Afro-Indigenous cosmology of the region, expressing a particular way of seeing the world through the cultural and social relations of the peoples who live in the forest and along the rivers.",heroImage:n0,gallery:[s0,l0,d0,u0],author:"Emilly Yasmim Lopes Cardoso",authorPhoto:p0,authorBio:"Is an anthropologist and visual artist. She holds a degree in Anthropology from the Federal University of Western Pará (UFOPA) and is currently a master's student in the Graduate Program in Anthropology and Archaeology at UFOPA. She works with drawing, photography, and audiovisual media. She is co-founder and coordinator of Coletivo Mucajá, a multidisciplinary artistic collective based in western Pará. 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253webp",P2="/2026/assets/kennedy-valerio-C98IwxR7.webp",A2="/2026/assets/marcia-silva-DtSXm5Tl.webp",C2="/2026/assets/milena-cidrao-CDyaPirs.webp",k2="/2026/assets/rodrigo-pedretti-W97RSpph.webp",E2="/2026/assets/tatiane-vesch-DL1h9Umq.webp",F2="/2026/assets/vy-motta-ad5NbWJF.webp",M2="/2026/assets/emiliano-dantas-CGzk9mDA.webp",N2="/2026/assets/fernanda-rechenberg-BV0d95-r.webp",z2="/2026/assets/gabriela-carvalho-BkAUWluZ.webp";function qN(e){return e.normalize("NFD").replace(/[\u0300-\u036f]/g,"").toLowerCase().replace(/[^a-z0-9]+/g,"-").replace(/(^-|-$)/g,"")}const HN=[{title:"Caminho de Rio",summary:"Este ensaio integra pesquisa de mestrado em Sociedade, Ambiente e Território, na Universidade Federal de Minas Gerais (UFMG-Unimontes), realizada a partir de caminhadas na mata, nas vazantes e pelos caminhos das águas com os viventes da paisagem do Rio São Francisco, em Januária-MG. A investigação compreende a paisagem como um campo relacional onde gentes, rio, bichos, plantas e encantados produzem vida e território. O ciclo das águas transforma a paisagem e ensina que a perturbação nem sempre é humana. O ensaio entende a fotografia como evento relacional. Produzidas em analógico, as imagens introduzem espera e cuidado, aproximando-se do tempo do rio: plantar, colher e pescar.",heroImage:F0,gallery:[M0,N0,z0,j0,R0,D0,I0,L0,B0,T0,U0,O0,G0,V0],author:"Arnaldo da Silva Vieira, Enedina Souza dos Santos e Gleydson Mota",authorBio:"",authors:[{name:"Arnaldo da Silva Vieira",photo:g2,bio:"Mestre, pescador artesanal e vazanteiro, morador do território quilombola de Croatá, no município de Januária, norte de Minas Gerais, às margens do Rio São Francisco. Conhecedor das matas, vazantes e caminhos das águas, construiu ao longo da vida um saber sobre os ciclos do rio, a pesca e a paisagem ribeirinha. Suas narrativas e caminhadas pelo território revelam relações entre viventes, plantas, bichos e encantados, como um tradutor do mundo da beira do rio."},{name:"Enedina Souza dos Santos",photo:x2,bio:"Quilombola, vazanteira e pescadora do Quilombo de Croatá, no município de Januária, norte de Minas Gerais. Reconhecida liderança comunitária, atua na defesa do território, dos modos de vida ribeirinhos e dos direitos das comunidades tradicionais do Médio São Francisco. Sua trajetória reúne saberes sobre a pesca, o cultivo nas vazantes e o uso de plantas da mata, além de uma forte atuação na organização comunitária e na luta por justiça social e ambiental."},{name:"Gleydson Mota",photo:w2,bio:"Barranqueiro de Januária, nos Gerais, segue os caminhos do rio, sua paisagem de cheias e secas, em articulação entre arte, cultura e território. Faz parte do Centro de Artesanato de Januária e do coletivo de cinema Cine Barranco, atuando na construção de espaços culturais a partir da memória e da identidade barranqueira. Mestrando em Sociedade, Ambiente e Território pela UFMG–Unimontes, é também economista pela USP. Sua travessia une a vivência da pesquisa, produção cultural e a defesa dos saberes e fazeres tradicionais, feito carranca de boca aberta."}]},{title:"Capitoas da Marujada de São Benedito",summary:"Nesta experimentação visual realizo um mergulho no acervo visual reunido na ocasião da pesquisa de campo no contexto da Festa de São Benedito de Bragança, Pará. Esta foi realizada durante o mestrado e o recorte aqui apresentado resulta dos registros de fotografias expostas no Museu da Marujada. Proponho sensibilizar o olhar para a trajetória das Capitoas da Marujada a partir das imagens reinterpretadas e produzidas artesanalmente por meio da técnica da cianotipia. Estas destacam o protagonismo dessas mulheres que lideraram/lideram o ritual da Marujada. Essa perspectiva valoriza as agências históricas das mulheres negras e sua contribuição para a formação da identidade cultural na Amazônia.",heroImage:q0,gallery:[H0,_0,J0,$0,W0],author:"Ester Paixão Corrêa",authorPhoto:c2,authorBio:"Ester Paixão Corrêa é antropóloga, artista visual e pesquisadora amazônida. Doutora e Mestra em Antropologia Social, pesquisa sobre mulheres, saberes tradicionais, processos fotográficos históricos, identidades negras, memórias e viagens. Publicou artigos e ensaios visuais em livros e revistas (nas áreas de Antropologia e Arte). Participou das exposições coletivas Prêmio Pierre Verger (2024), E

253xistências (in)visíveis (2025) e Ilê, Arte Preta Experimental (2025). Atualmente, está em duas residências: Fazer Arquipélago e Residência Artística Virtual Compartilhada (RAVC)."},{title:"Fotoafetos",summary:"Uma narrativa experimental na qual fotografias se entrelaçam em um diálogo multissensorial. Trata-se de uma etnoficção que, ao utilizar fotos antigas, provenientes de coleções pessoais, transcende a representação dos álbuns de família, incorporando elementos que vão de imagens capturadas em filmes fotográficos vencidos a uma trilha sonora original produzida em sessões de improvisação livre. Juntos, estes elementos expandem o trabalho para além do domínio visual e convidam os espectadores a se envolverem nos movimentos subjetivos evocados pelas fotografias e no trânsito entre lembranças particulares e memórias compartilhadas. Fotoafetos é um foto-filme coletivo realizado pelo Grupo de Pesquisas Visuais e Urbanas da Universidade Federal de São Paulo (VISURB-UNIFESP).",heroImage:K0,videoEmbedUrl:"https://player.vimeo.com/video/955233000?h=c3d93a907d",author:"VISURB-UNIFESP",authorBio:"",authors:[{name:"Andréa Barbosa",photo:p2,bio:"Antropóloga e professora do Departamento de Ciências Sociais da UNIFESP. Integra desde 2015 a equipe editorial da Revista GIS (USP) e coordena o VISURB desde 2007. Foi membro de comissões da ABA e da ANPOCS. Autora de São Paulo Cidade Azul e Antropologia e Imagem, organizou obras sobre imagem e etnografia. Dirigiu documentários, como Em(si)mesma, Pimentas nos olhos e Corpocidade. Foi Visiting Scholar em Oxford (2015) e Barcelona (2023)."},{name:"Andréa D’Amato",photo:h2,bio:"Doutoranda e mestra em Ciências Sociais, com ênfase em Antropologia da Imagem, pela UNIFESP. Especialista em Fotografia Contemporânea pelo Centro Universitário Armando Álvares Penteado (FAAP) e graduada em Comunicação Social, integra o VISURB desde 2018, colaborando também no projeto de extensão Pimenta nos Olhos. Foi roteirista do filme Corpocidade, premiado no 4º Festival NUPEPA/ImaRgens (2021). Sua pesquisa articula antropologia e arte, investigando a imagem e o fazer fotográfico a partir de epistemologias não ocidentais."},{name:"Dayane Fernandes",photo:y2,bio:"Mestra em Ciências Sociais pela UNIFESP (2019) e bacharela em Ciências Sociais pela USP (2016). Integrou o Núcleo de Antropologia do Direito (NADIR/USP), pesquisando percepções de Direitos Humanos em escolas públicas paulistas. Realizou iniciação científica sobre artes nas periferias de São Paulo, com foco no Encontro Estéticas das Periferias. Participou do VISURB e do coletivo Estudos do Corpocidade (Cóccix)."},{name:"Gabriela Alves Carvalho",photo:z2,bio:"Mestranda em Antropologia pela UFBA e graduada em Ciências Sociais pela UNIFESP. Formada em Música (Bateria) pela EMESP Tom Jobim, integra o VISURB, com o qual produziu o filme premiado Corpocidade. É autora do ensaio visual A ausência como representação: um ensaio sobre a memória Carandiru, 2º lugar no Prêmio Pierre Verger 2020, durante a 32ª Reunião Brasileira de Antropologia (RBA)."},{name:"Kennedy Valério",photo:P2,bio:"Mestrando em Ciências Sociais pela UNIFESP e graduado em Ciências Sociais pela mesma universidade. Membro do VISURB desde 2019, atualmente se dedica às áreas de Antropologia Social com ênfase em teoria etnográfica, antropologia visual, fotografia, memória e parentesco."},{name:"Milena Cidrão",photo:C2,bio:"Graduada em Ciências Sociais pela UNIFESP, fotógrafa e membra do VISURB desde 2019. Tem se dedicado a estudos referentes às áreas de antropologia visual, antropologia urbana e sociologia da arte. Atualmente é membra da comissão editorial do VISURBLOG e foi bolsista do projeto de extensão Pimenta nos Olhos."},{name:"Marcia Silva",photo:A2,bio:"Formada em Marketing pela Faculdade Estácio de Santo André (2016) e em Ciências Sociais pela UNIFESP. Desenvolveu iniciação científica na área de antropologia urbana, com foco nas relações sociais e ambientais em um bairro da zona leste de São Paulo. Integrante do VISURB. Monitora na parte de sociedade em um órgão cultural de São Paulo."},{name:"Tatiane Vesch",photo:E2,bio:"Mestranda no Programa de Pós-Graduação em Ciências Sociais (Antropologia) da UNIFESP. Desenvolve pesquisa na área de antropologia visual, com foco nas interfaces entre imagem, cultura material e memória a partir da cerâmica tukano. Atua como produtora de vídeo, possuindo experiência no uso do audiovisual como método etnográfico em projetos junto a comunidades indígenas e ribeirinhas. É pesquisadora vinculada ao Laboratório de modos e políticas menores (Labmenos/UNIFESP) e ao VISURB."}]},{title:"Imagens submersas",summary:"“Água demais”, disseram. Foram mais de trinta dias, nos quais retratos de vidas inteiras estiveram embaixo d’água. Em maio de 2024, o Rio Grande do Sul submergiu na mistura de água e lama, e junto a ela, recordações da vida, da infância, dos afetos. Diante da maior tragédia climática já vivenciada no estado, direcionamos nossa atenção aos acervos fotográficos de famílias atingidas pela enchente. Essa exposição apresenta nossa ação junto ao trabalho das águas, que destrói, lava e cria imagens. Aqui, há imagens que apresentam diferentes tipos de degradação e recuperação, analógicas e digitais, mostrando a força das águas, mas também nossa capacidade de seguir, coletivamente, em frente.",heroImage:Q0,gallery:[X0,Y0,Z0,ew,aw,ow,tw,rw,iw,nw,sw,lw,dw],author:"Fabiene Gama, Fernanda Rechenberg e Cristina Lima",authorBio:"",authors:[{name:"Fabiene Gama",photo:m2,bio:"Doutora em Antropologia. Professora do Programa de Pós-Graduação em Antropologia Social da Universidade Federal do Rio Grande do Sul (UFRGS), coordenadora do Núcleo de Antropologia Visual (NAVISUAL) da UFRGS, líder do Grupo de Pesquisa CNPq-UFRGS Gêneros, Imagens e Política e do projeto de pesquisa e extensão Resgate de Memórias e membro do Grupo de Estudos em Imagens e Feminismos da UFRGS."}

253,{name:"Fernanda Rechenberg",photo:N2,bio:"Doutora em Antropologia Social. Professora do Programa de Pós-Graduação em Museologia e Patrimônio (PPGMusPa) da UFRGS, coordenadora do GIF/UFRGS, vice-líder do Grupo de Pesquisa Gêneros, Imagens e Políticas (CNPq/UFRGS) e pesquisadora do NAVISUAL e do Grupo de Estudos em Memória, Museus e Patrimônio (GEMMUS)."},{name:"Cristina Lima",photo:v2,bio:"Mestre em Ciências da Comunicação pela Unisinos. Fotógrafa e professora de fotografia, atuou como professora na Escola de Comunicação, Artes e Design (Famecos/PUCRS) e integrou o Núcleo de Fotografia da Faculdade de Biblioteconomia e Comunicação da UFRGS. É membro do Projeto «Resgate de Memórias», do NAVISUAL, do Grupo de Pesquisa Gêneros, Imagens e Política e do GIF/UFRGS."}]},{title:"Ka’rimbu",summary:"A série Ka’rimbu aborda a intolerância como resultado da dificuldade de reconhecer o “outro” como plenamente humano. O insulto — presente tanto na fala cotidiana quanto no discurso político — é entendido como a primeira forma de exclusão, uma violência simbólica que antecede a violência física. Homofobia, etarismo e ideologia de esquerda aparecem como marcas que atravessam a escuta diária do artista. O título remete à etimologia de “carimbo”, do quimbundo ka’rimbu, “marca”, termo ligado às escarificações africanas e às marcas a ferro impostas aos africanos escravizados, posteriormente incorporado à língua portuguesa.",heroImage:uw,gallery:[cw,mw,pw,hw,gw,fw,vw,yw,bw,xw,ww,Sw],galleryThumbs:[Pw,Aw,Cw,kw,Ew,Fw,Mw,Nw,zw,jw,Rw,Dw],author:"Carlos Dadoorian",authorPhoto:f2,authorBio:"Carlos Dadoorian é artista visual e fotógrafo, nascido no Rio de Janeiro em 1964 e radicado em São Paulo. Desde 2004 desenvolve trabalhos em fotografia, vídeo e instalação, investigando identidade, sexualidade, desejo e estigmas sociais. Sua obra articula autorretrato, colagem digital, time-lapse e stop motion, criando narrativas visuais que tensionam normas sociais e os dispositivos de controle do corpo. Em 2012, recebeu o Prêmio Brasil de Fotografia, pelo trabalho <em>Parabéns, São Paulo</em>."},{title:"Museu das invasões",summary:"O Museu das invasões não é apenas sobre fotografias, performance ou vídeo. Trata-se de uma reflexão sobre como enxergar além da caverna de Platão. Parte da ideia de que as imagens carregam discursos e intencionalidades, mas também podem ser transformadas e assumir novos sentidos. O projeto surgiu como pesquisa de doutoramento de Emiliano Dantas e, ao longo do tempo, desdobrou-se em artigo, vídeo, performance e fotografias. Sem se fixar em um único formato, acompanha experiências e identidades em transição. O Museu reúne imagens coloniais dos países de língua portuguesa na África e as coloca em diálogo com o Brasil, propondo deslocar olhares herdados da história colonial.",heroImage:Iw,gallery:[Lw,Bw,Tw,Uw,Ow],author:"Emiliano Ferreira Dantas",authorPhoto:M2,authorBio:"Emiliano Ferreira Dantas é antropólogo e pesquisador nas áreas de saúde, educação e imagem. Pós-doutorando na Faculdade de Medicina da Universidade de São Paulo (FMUSP), desenvolve pesquisas com foco em pesquisa qualitativa participativa voltada à prevenção do HIV/Aids e ao trabalho com populações em situação de vulnerabilidade social. Seu trabalho articula antropologia visual, práticas pedagógicas inspiradas em Paulo Freire e metodologias colaborativas orientadas para a transformação social."},{title:"Os sons que o campo faz ou ‘o que se escuta no silêncio antropológico’",summary:"O silêncio do antropólogo se dá, felizmente, por sua ignorância. A mesma que dá espaço para que os ouvidos capturem os sons que lhe são novos, que beiram o comum para os interlocutores e que narram uma extensão de interações que quase gritam detalhes significativos em uma pesquisa de campo. A fotografia que narra visualmente esta audioetnografia foi tirada do alto da Serrinha, na cidade de Carnaubeira da Penha/PE. Na imagem, vê-se o território do Quilombo-Indígena Tiririca dos Crioulos sendo abraçado pela ca

253atinga. Esta experimentação audioetnográfica é fruto de um período de campo, no qual os momentos de silêncio se encontravam com os de grande expressão sonora das pessoas e do ambiente à sua volta.",heroImage:Gw,video:Vw,author:"Vy Motta",authorPhoto:F2,authorBio:"Vy Motta é mestranda em Antropologia Social pela Universidade Estadual de Campinas (Unicamp) e se dedica ao estudo das identidades, quando estas confluem. Suas produções se (des)orientam pela crença em uma possível Antropologia Indisciplinada, que passa por um corpo marcado pela raça, gênero e classe que desemboca em sua escrita, vivência e compreensão do fazer antropológico."},{title:"Povoar paisagens: reexistências makua entre o traço e a estenopéica — Ilha de Moçambique e Namuli",summary:"Povoar paisagens: reexistências makua entre o traço e a estenopéica — Ilha de Moçambique e Namuli é realizado em coautoria por Eduardo Vargas, antropólogo e fotógrafo brasileiro, e Justino Cardoso, artista visual moçambicano makua. Entre arquiteturas coloniais e territórios existenciais, a série articula desenho em nanquim e fotografia estenopé

253ica como práticas complementares de elaboração crítica das paisagens. Em Praia do Areal, Fortaleza de São Sebastião, Igreja de Santo Antônio, Bairro do Macuti e Monte Namuli, as imagens assumem fraturas, marcas ópticas e intervenções em nanquim como evidências processuais que operam como contrarregimes de visibilidade a povoar paisagens com reexistências makua.",heroImage:qw,gallery:[Hw,_w,Jw,$w,Ww],author:"Eduardo Vargas e Justino Cardoso",authorBio:"",authors:[{name:"Eduardo Vargas",photo:b2,bio:"Antropólogo e fotógrafo, professor da Universidade Federal de Minas Gerais (UFMG) desde 1996, onde coordena o Laboratório de Antropologia das Controvérsias Sociotécnicas (LACS) e o Núcleo de Antropologia Visual (NAV). Graduado na Unicamp, mestre pelo Museu Nacional, doutor pela UFMG e pós-doutor pela École des Mines de Paris, é autor de Antes Tarde do que Nunca e organizador de Monadologia e Sociologia e outros ensaios. Pesquisa a obra de Gabriel Tarde, o uso de drogas, as controvérsias sociotécnicas e, desde 2015, realiza pesquisa antropológica no norte de Moçambique, articulando arte, ciência e política."},{name:"Justino Cardoso",photo:S2,bio:"Autodidata, artista gráfico moçambicano. Iniciou-se no desenho ainda jovem, em Nampula. Atuou na área de informação após a independência de Moçambique e consolidou carreira independente marcada pela crítica social em quadrinhos. Expôs e publicou em Moçambique, na Ásia, na Europa e no Brasil, fundou o jornal Muhupi, recebeu o título de Doutor Honoris Causa pela UNIROVUMA (2021) e o PREICC de Artes Plásticas do Ministério da Cultura de Moçambique (2024). Vive e trabalha em Nampula."}]},{title:"Rua Alencar Tristão, 570",summary:"Rua Alencar Tristão, 570 é um projeto fotográfico que investiga as relações entre memória, território e pertencimento a partir da ativação de arquivos domésticos. O trabalho consiste em cianotipias realizadas sobre recibos originais de pagamento do lote onde foi construída a casa de minha família, produzindo um palimpsesto visual entre documento e imagem. Os 23 recibos encontrados registram a formalização da posse da terra por uma família de imigrantes pobres que já habitava e cultivava o terreno antes de sua regularização administrativa. Ao sobrepor fotografias a esses documentos, a obra tensiona os limites entre registro burocrático e experiência vivida do habitar.",heroImage:Kw,gallery:[Qw,Xw,Yw,Zw,e2,a2,o2,t2,r2,i2,n2,s2,l2,d2,u2],author:"Rodrigo Pedretti Mendes",authorPhoto:k2,authorBio:"Rodrigo Pedretti Mendes é propositor artístico e discente do bacharelado em Artes Visuais da Universidade Federal de Juiz de Fora (UFJF). Desde 2023, desenvolve uma pesquisa poética que atravessa a memória e as dores do crescimento, entendendo a impermanência como experiência íntima e coletiva. Sua produção transita entre processos fotográficos alternativos, escultura e gravura, articulando imagens e artefatos que evocam um passado a ser escavado. Investiga materialida

253des, tempo e transformação nos modos de produzir e lembrar."}],j2=HN.map(e=>({...e,slug:qN(e.title)}));function _N(e){return j2.find(a=>a.slug===e)}const JN=Object.freeze(Object.defineProperty({__proto__:null,experiments:j2,getExperimentBySlug:_N},Symbol.toStringTag,{value:"Module"})),$N=[{slug:"caminho-de-rio",title:"River Path",summary:"This essay is part of master's research in Society, Environment, and Territory at the Federal University of Minas Gerais (UFMG-Unimontes), developed through walks in the forest, across the floodplains, and along the waterways with the inhabitants of the São Francisco River landscape in Januária, Minas Gerais. The research understands the landscape as a relational field in which the people, the river, animals, plants, and Encantados participate in the making of life and territory. The water cycle continually transforms the landscape, teaching that disturbance is not always caused by humans. The essay approaches photography as a relational event. Produced on film, the images introduce waiting and care, drawing closer to the river's own time: planting, harvesting, and fishing.",heroImage:F0,gallery:[M0,N0,z0,j0,R0,D0,I0,L0,B0,T0,U0,O0,G0,V0],author:"Arnaldo da Silva Vieira, Enedina Souza dos Santos, and Gleydson Mota",authorBio:"",authors:[{name:"Arnaldo da Silva Vieira",photo:g2,bio:"Master, artisanal fisherman, and <em>vazanteiro</em> (floodplain dweller), he lives in the quilombola territory of Croatá, in the municipality of Januária, in northern Minas Gerais, on the banks of the São Francisco River. A knowledge holder of the forests, floodplains, and waterways, he has accumulated throughout life an extensive body of knowledge about the river's cycles, fishing practices, and riverside landscape. Through his narratives and walks across the territory, he reveals the relationships among the living, interweaving plants, animals, and Encantados, as a translator of the riverine world."},{name:"Enedina Souza dos Santos",photo:x2,bio:"Quilombola, <em>vazanteira</em>, and fisherwoman from the Quilombo de Croatá in Januária. A respected community leader, she works in defense of the territory, riverside ways of life, and the rights of traditional communities in the Middle São Francisco region. Her life trajectory brings together knowledge of fishing, floodplain cultivation, and the use of forest plants, alongside a longstanding commitment in community organizing and the struggle for social and environmental justice."},{name:"Gleydson Mota",photo:w2,bio:"A <em>barranqueiro</em> from Januária, in the Gerais region, he follows the paths of the river and its landscape of floods and droughts, articulating art, culture, and territory. He is a member of the Januária Crafts Center and the Cine Barranco film collective, working to create cultural spaces grounded in <em>barranqueiro</em> memory and identity. A master's student in Society, Environment, and Territory at UFMG–Unimontes, he is also an economist trained at the University of São Paulo (USP). His trajectory combines research, cultural production, and the defense of traditional knowledge and practices; like a <em>carranca</em>, its mouth wide open."}]},{slug:"capitoas-da-marujada-de-sao-benedito",title:"Capitoas of the Marujada of São Benedito",summary:"In this visual experiment I delve into the visual archive assembled during fieldwork conducted in the context of the Festival of São Benedito in Bragança, Pará. Carried out during my master's research, the fieldwork gave rise to the selection presented here, based on photographs exhibited at the Marujada Museum. Through images reinterpreted and produced by hand using the cyanotype technique, I propose to draw attention to the trajectory of the Capitoas da Marujada. The images highlight the leading role of these women who have guided and continue to guide the ritual of the Marujada. This perspective foregrounds the historical agency of Black women and their contributions to the formation of cultural identity in the Amazon.",heroImage:q0,gallery:[H0,_0,J0,$0,W0],author:"Ester Paixão Corrêa",authorPhoto:c2,authorBio:"Is an anthropologist, visual artist, and Amazonian researcher. She holds a PhD and a master's degree in Social Anthropology and conducts research on women, traditional knowledge, historical photographic processes, Black identities, memory, and journeys. She has published articles and visual essays in books and academic journals in the fields of Anthropology and Art. Her work has been featured in the collective exhibitions <em>Pierre Verger Award</em> (2024), <em>Existências (in)visíveis</em> (2025), and <em>Ilê, Arte Negra Experimental</em> (2025). She is currently participating in <em>Fazer Arquipélago</em> residence and Residência Artística Virtual Compartilhada (RAVC)."},{slug:"fotoafetos",title:"Photoaffects",summary:"An experimental narrative in 

253which photographs intertwine in a multisensory dialogue. This ethnofiction draws on old photographs from personal archives, moving beyond the representation of family albums to incorporate elements ranging from images captured on expired photographic film to an original soundtrack created through free improvisation sessions. Together, these elements expand the work beyond the visual realm, inviting viewers to engage with the subjective movements evoked by the photographs and with the passage between private recollections and shared memories. <em>Photoaffects</em> is a collective photo-film made by the Grupo de Pesquisas Visuais e Urbanas da Universidade Federal de São Paulo (VISURB-UNIFESP).",heroImage:K0,videoEmbedUrl:"https://player.vimeo.com/video/955233000?h=c3d93a907d",author:"VISURB-UNIFESP",authorBio:"",authors:[{name:"Andréa Barbosa",photo:p2,bio:"Is an anthropologist and professor in the Department of Social Sciences at UNIFESP. Since 2015, she has been a member of the editorial team of Revista GIS (USP) and has coordinated VISURB since 2007. She has served on Committees of the Brazilian Anthropological Association (ABA) and the National Association of Graduate Studies and Research in Social Sciences (ANPOCS). She is the author of <em>São Paulo Cidade Azul</em> and <em>Antropologia e Imagem</em>, and has edited works on image and ethnography. She has directed documentaries such as <em>Em(si)mesma</em>, <em>Pimentas nos olhos</em>, and <em>Corpocidade</em>. She was a Visiting Scholar at Oxford (2015) and Barcelona (2023)."},{name:"Andréa D'Amato",photo:h2,bio:"Is a PhD candidate and holder of a master's degree in Social Sciences, with a focus on the Anthropology of the Image at UNIFESP. Specialist in Contemporary Photography from the Armando Álvares Penteado University Center (FAAP) and graduate in Social Communication, she has been part of VISURB since 2018, also collaborating in the Pimenta nos Olhos extension project. She wrote the screenplay for the film <em>Corpocidade</em>, awarded at the 4th NUPEPA/ImaRgens Festival (2021). Her research articulates anthropology and art, investigating image and photographic practice from non-Western epistemologies."},{name:"Dayane Fernandes",photo:y2,bio:"Holds a master's degree in Social Sciences from UNIFESP (2019) and bachelor in Social Sciences from USP (2016). She was a member of the Núcleo de Antropologia do Direito (NADIR/USP), researching perceptions of Human Rights in São Paulo public schools. She carried out undergraduate research on the arts in São Paulo's peripheries, focusing on the Aesthetics of the Peripheries Meeting. She participated in VISURB and in the Coletivo de Estudos Corpocidade (Cóccix)."},{name:"Gabriela Alves Carvalho",photo:z2,bio:"Is a master's student in Anthropology at UFBA and graduate in Social Sciences from UNIFESP. Trained in Music (Drums) at EMESP Tom Jobim, she is part of VISURB, with which she produced the award-winning film Corpocidade. She is the author of the visual essay <em>Absence as representation: an essay on the Carandiru memory</em>, awarded the 2nd place in the Pierre Verger Prize 2020."},{name:"Kennedy Valério",photo:P2,bio:"Is a master's student in Social Sciences at UNIFESP and a graduate in Social Sciences from the same university. A member of VISURB since 2019, he currently focuses on Social Anthropology with an emphasis on ethnographic theory, visual anthropology, photography, memory, and kinship."},{name:"Milena Cidrão",photo:C2,bio:"Holds a degree in Social Sciences from UNIFESP, photographer and member of VISURB since 2019. She has conducted research in visual anthropology, urban anthropology, and the sociology of art. She is currently a member of the VISURBLOG editorial committee and was a research fellow in the <em>Pimenta nos Olhos</em> community outreach project."},{name:"Marcia Silva",photo:A2,bio:"Is trained in Marketing at Faculdade Estácio de Santo André (2016) and in Social Sciences at UNIFESP. She developed undergraduate research in urban anthropology, focusing on social and environmental relations in a neighborhood of São Paulo's zona leste. A member of VISURB. She works at a cultural institution in São Paulo."},{name:"Tatiane Vesch",photo:E2,bio:"Is a master's student in the Graduate Program in Social Sciences (Anthropology) at UNIFESP. She conducts research in visual anthropology, focusing on the intersections between image, material culture, and memory through Tukano ceramics. She works as a video producer and has experience using audiovisual media as an ethnographic method in projects with Indigenous and riverside communities. She is a researcher linked to the Laboratório de modos e políticas menores (Labmenos/UNIFESP) and to VISURB."}]},{slug:"imagens-submersas",title:"Submerged images",summary:`"Too much water," they said. For more than thirty days, portraits of entire lives remained submerged. In May 2024, Rio Grande do Sul was engulfed by water and mud. Along with it, memories of life, childhood, and affection were also swept away. Faced with the greatest climate disaster in the state's history, we turned our attention to the photographic archives of families affected by the floods. This exhibition presents our efforts alongside the work of the waters, which destroys, washes, and create images. Here, images bear different marks of degradation and recovery, analogue and digital alike, reveal

253ing the force of the waters and also our collective capacity to move forward.`,heroImage:Q0,gallery:[X0,Y0,Z0,ew,aw,ow,tw,rw,iw,nw,sw,lw,dw],author:"Fabiene Gama, Fernanda Rechenberg, and Cristina Lima",authorBio:"",authors:[{name:"Fabiene Gama",photo:m2,bio:"Holds a PhD in Anthropology. Professor of the Graduate Program in Social Anthropology at the Federal University of Rio Grande do Sul (UFRGS), coordinator of the Núcleo de Antropologia Visual (NAVISUAL/UFRGS), leader of the CNPq-UFRGS Research Group Gêneros, Imagens e Política (GIP) and of the research and outreach project Resgate de Memórias. She is also a member of the UFRGS Grupo de Estudos em Imagens e Feminismos (GIF)."},{name:"Fernanda Rechenberg",photo:N2,bio:"Holds a PhD in Social Anthropology. Professor of the Graduate Program in Museology and Heritage (PPGMusPa) at UFRGS, coordinator of GIF/UFRGS, deputy leader of the GIP (CNPq/UFRGS), member of NAVISUAL and of the Grupo de Estudos em Memória, Museus e Patrimônio (GEMMUS)."},{name:"Cristina Lima",photo:v2,bio:"Holds a master's degree in Communication Sciences from Unisinos. Photographer and photography teacher, she worked as a professor at the School of Communication, Arts, and Design (Famecos/PUCRS) and was part of the Photography Center of UFRGS's Faculty of Library Science and Communication. She is a member of the Resgate de Memórias Project, of NAVISUAL, of GIP and of GIF/UFRGS."}]},{slug:"ka-rimbu",title:"Ka'rimbu",summary:`The series <em>Ka'rimbu</em> addresses intolerance as a consequence of the difficulty of recognizing the "other" as fully human. The insult — present in both everyday speech and in political discourse — is understood as the first form of exclusion, a symbolic violence that precedes physical violence. Homophobia, ageism, and the so-called "leftist ideology" emerge as traces that echo through the artist's everyday experience. The title refers to the etymology of the Portuguese word "carimbo" (stamp or mark) from the Kimbundu ka'rimbu, "mark," a term linked to African scarifications and to the branding marks inflicted on enslaved Africans, later incorporated into the Portuguese language.`,heroImage:uw,gallery:[cw,mw,pw,hw,gw,fw,vw,yw,bw,xw,ww,Sw],galleryThumbs:[Pw,Aw,Cw,kw,Ew,Fw,Mw,Nw,zw,jw,Rw,Dw],author:"Carlos Dadoorian",authorPhoto:f2,authorBio:"Carlos Dadoorian is a visual artist and photographer, born in Rio de Janeiro in 1964 and based in São Paulo. Since 2004, he has developed works in photography, video, and installation, investigating themes of identity, sexuality, desire, and social stigma. His practice brings together self-portraiture, digital collage, time-lapse, and stop motion techniques to create visual narratives that defy social norms and the mechanisms of bodily control. In 2012, he received the Prêmio Brasil de Fotografia for the work <em>Parabéns, São Paulo</em>."},{slug:"museu-das-invasoes",title:"Museum of Invasions",summary:"The <em>Museum of Invasions</em> is not only about photography, performance, or video. It is a reflection on how to see beyond Plato's cave. The project is grounded in the idea that images carry discourses and intentionality but can also be transformed, acquiring new meanings over time. It originated as Emiliano Dantas's doctoral research and gradually unfolded into an article, a video, a performance, and a photographic series. Rather than settling into a single form, the project follows experiences and identities in transition. The Museum presents images produced in Portuguese-speaking African countries and shaped by colonialist views, placing them in dialogue with Brazil to unsettle inherited colonialist ways of seeing.",heroImage:Iw,gallery:[Lw,Bw,Tw,Uw,Ow],author:"Emiliano Ferreira Dantas",authorPhoto:M2,authorBio:"Is an anthropologist whose work focuses on health, education, and image. He is a postdoctoral fellow at the Faculty of Medicine of the University of São Paulo (FMUSP), where he develops collaborative qualitative research on HIV/AIDS prevention and works with socially vulnerable populations. His work combines visual anthropology, pedagogical practices inspired by Paulo Freire, and collaborative methodologies oriented toward social transformation."},{slug:"os-sons-que-o-campo-faz-ou-o-que-se-escuta-no-silencio-antropologico",title:"The sounds the field makes, or 'what is heard in anthropological silence'",summary:"The anthropologist's silence happens, fortunately, from not knowing — the very condition that allows the ears to attend to unfamiliar sounds. Sounds that may seem commonplace to interlocutors nearly shout the reach and significance of the interactions they embody to the ethnographer's ears. The photograph accompanying this audio ethnography was taken from the top of Serrinha, in the municipality of Carnaubeira da Penha, Pernambuco. It shows the territory of the Quilombo-Indígena Tiririca dos Crioulos being embraced by the caatinga landscape. This audio-ethnographic experiment emerged from a period of fieldwork in which moments of silence intertwined with moments of great sonic expression, produced both by people and by the surrounding environment.",heroImage:Gw,video:Vw,author:"Vy Motta",authorPhoto:F2,authorBio:"Is a master's student in Social Anthropology at the State University of Campinas (Unicamp), whose work is dedicated to the study of identities and their points of convergence. Their productions are (dis)oriented by a belief in the possibility of an Undisciplined Anthropology — one that passes through a body marked by race, gender, and class, and flows into their writing, experience, and understanding the significance of doing anthropology."},{slug:"povoar-paisagens-reexistencias-makua-entre-o-traco-e-a-estenopeica-ilha-de-mocambique-e-namuli",title:"Populating landscapes: Makua re-existences between the trace and the pinhole camera — Mozambique Island and Namuli",summary:"<em>Populating landscapes: Makua re-existences between the trace and the pinhole camera — Mozambique Island and Namuli</em> is co-authored by Eduardo Vargas, a Brazilian anthropologist and photographer, and Justino Cardoso, a Makua visual artist from Mozambique. Moving between colonial architectures and existential territories, the series combines ink drawing and pinhole photography as complementary practices for critically engaging with landscapes. At Praia do Areal, the Fortress of São Sebastião, the Church of Santo António, the Macuti neighborhood, and Mount Namuli, the images embrace fractures, optical traces, and ink interventions as procedural marks that operate as counter-regimes of visibility, populating landscapes with Makua re-existences.",heroImage:qw,gallery:[Hw,_w,Jw,$w,Ww],author:"Eduardo Vargas and Justino Cardoso",authorBio:"",authors:[{name:"Eduardo Vargas",photo:b2,bio:"Is an anthropologist and photographer. Professor at the Federal University of Minas Gerais (UFMG) since 1996, he coordinates the Laboratório de Antropologia das Controvérsias S

253ociotécnicas (LACS) and the Núcleo de Antropologia Visual (NAV). He holds a degree from Unicamp, a master's degree from the National Museum/UFRJ, and a PhD degree from UFMG, and completed postdoctoral studies at the École des Mines de Paris. Vargas is the author of <em>Antes Tarde do que Nunca</em> and editor of <em>Monadologia e Sociologia</em>, among other essays. His research focuses on the work of Gabriel Tarde, drug use, and sociotechnical controversies. Since 2015, he has conducted anthropological research in northern Mozambique, combining art, science, and politics."},{name:"Justino Cardoso",photo:S2,bio:"Is a self-taught Mozambican graphic artist. He began drawing in his youth in Nampula and worked in the field of information following Mozambique's independence, later establishing an independent career distinguished by social critique through comics. He has exhibited and published in Mozambique, Asia, Europe, and Brazil; founded the newspaper <em>Muhupi</em>; received the title of Doctor Honoris Causa from UNIROVUMA (2021); and was awarded the PREICC Prize for Plastic Arts by Mozambique's Ministry of Culture (2024). He lives and works in Nampula."}]},{slug:"rua-alencar-tristao-570",title:"570 Alencar Tristão Street",summary:"<em>570 Alencar Tristão Street</em> is a photographic project that explores the relationships between memory, territory, and belonging through the activation of domestic archives. The work consists of cyanotypes produced on original payment receipts for the plot of land on which my family's house was built, creating a visual palimpsest between document and image. The 23 receipts document the formalization of land ownership by a family of poor immigrants who already inhabited and cultivated the land prior to its administrative regularization. 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