afro indigenous feminist

Monday, November 1 | 7 pm.  Carolina Theatre, Cinema 1, Durham, NC.

Tuesday, November 16  | 7 pm.  Memorial Student Union, Stallings Ballroom, North Carolina A&TUniversity, Greensboro, NC

Brother Towns/ Pueblos Hermanos.  Charlie Thompson and Michael Davey. (USA/Guatemala, 2010) 60 min.

This documentary follows two different towns connected through immigration, family and work. Jacaltenango is a highland Maya town in Guatemala.  Jupiter is a coastal resort town in Florida where many Jacaltecos have settled. The film explores the motivations and realities of immigration, including the maintenance of the family during immigration and the exorbitant economic cost to immigrate illegally. Brother Towns presents the rich cultural identity of the Jacaltecos, who have strong Mayan heritage, and addresses the controversy of illegal immigration from both perspectives by interviewing opponents and proponents of illegal immigration.   English and Spanish with English subtitles.

Introduction by director Charlie Thompson. Q&A follow.

Tuesday, November 2 | 7 pm.  John Hope Franklin Center, Room 240, Duke University, Durham, NC

Wednesday, November 17  | 7 pm.  Bryan Building, Room 160, University of North Carolina at Greensboro, NC

 ¿Que pasa despues de la coca? / Coca Lives. Roberto Lanza, Juan C. Gomez Millo. (Bolivia, 2006) 88 min.

Today, there are 70,000 families in Bolivia whose lives depend exclusively on the ancestral farming of the coca leaf. This practice has been declared illegal for the past 12 years in Bolivia. The US has monitored the application of the law and has engineered consistent military and economic pressure. What are the real motives and consequences behind the US campaign to wipe out the coca leaf culture? Spanish, Quechua, Aymara with English subtitles.


Wednesday, November 3 | 7pm. Alfonso Elder Student Union, North Carolina Central University, Durham, NC

 Poto Mitan: Haitian Women, Pillars of the Global Economy. Tet Ansanm Productions. (Haiti, 2009) 60 min.

An exploration of the effects of globalization and neo-liberal policies in Haiti as reflected in the lives and daily struggles of 5 Haitian women living in Port-Au-Prince. These women tell compelling stories about their experiences working in factories producing items for export for wages that are far from sufficient to meet the cost of living, highlighting the ways in which Haiti has come to serve as a reserve pool of cheap labor for the global marketplace. The film explores themes such as the contraction of the agricultural sector, increased urbanization spawned by neo-liberal policies, the lack of basic services such as healthcare and education, and the gendered dimensions of the violence spawned by widespread poverty in Port-Au-Prince. With narration by Edwige Danticat.  English and Haitian Creole with English subtitles.


Friday, November 5  | 4:30 pm. Richard White Auditorium, Duke University, Durham, NC

These films are part of the IMAGES OF DECOLONIZATION series

Much’tal Jedz. Colectivo TURIX (Mexico, 2009), 35 min.

Much’tal Jedz focuses on the movement for Mayan autonomy in the 1930s, an era when the “rebel” Mayans spiritually, politically, diplomatically, and militarily resisted the low intensity war waged against them by the Mexican Army and rural schools. This is a counter-hegemonic story that questions the nation-state’s relationship to indigenous cultures within the national territory and it’s pre-Columbian past. 

Lix cua rahro/Tus tortillas mi amor/Your tortillas my love. Sandra Monterroso (Guatemala, 2004) 12:30.

A Mayan women sits at the table chewing ears of corn as she performs a ritual pronouncing Mayan proverbs and spitting the corn into a mixing bowl.

Inventario de Sombra/Inventory of Shadows. Joeser Alvarez (Brazil, 2007) 12:56 min.

Brazilian artists from Porto Velho paint their own shadows.

Saturday, November 6 | 4:30 pm.  Richard White Auditorium, Duke University, Durham, NC

These films are part of the IMAGES OF DECOLONIZATION series

 Pasaje de las Bonitas @roma. Elias Falla & Ilse Morfin (Mexico/Yucatan, 2010) 5:46 min.

Fragments of everyday life from the market Lucas de Galvez are intercut with drawings and special effects to show a unique representation of mestizaje and the social conditions of a landscape encompassing several historical times.

 La Huaychiva de Yaxcopoil/The Tale of Yaxcopoil. Jose Luis Rodriguez (Yucatan/Mexico, 2008) 6 min.

The result of an art and narrative workshop with Mayan youth in the town of Yaxcopoil, Yucatan. The animation tells the story of a woman who became a witch when her husband sleeps. Narrated by Jamin Novelo Montejo.

Poporo. Luis Cantillo (Colombia, 2006) 4 min.

A video animation exploring the complex cosmology of Colombian indigenous culture. Inspired by the collection of the Gold Museum in Bogotá.


Thursday, November 11  | 7 pm.  Alfonso Elder Student Union, NCCU. Durham, NC

Cachila: un hombre, una familia y el legado del Candombe/Cachila: a man, a family and the legacy of Candombe. Sebastián Bednarik. (Uruguay, 2008) 57 min.

Candombe is the most popular manifestation of Afro-Uruguayan music.  Originated in ancient African healing and/or religious ceremonies it is performed to the music of a cuerda de tambores, an ensemble of drums of three different sizes (piano, chico and repique) with a specific set of characters dancing and moving along, and the modern addition of vedettes—scantily dressed, voluptuous dancers, heavily made up and crowned with multicolored feathers.  Waldemar Silva, nicknamed Cachila, is the son of Juan Angel Silva one of the patriarchs of Candombe, and founder of the troupe Morenada.  With his father's permission, Cachila left Morenada and created his own group Cuareim 1080—the street address of the Medio Mundo, a tenement where mostly poor black people lived, and where Morenada was originally conceived.  It is also the place where Cachila was born and lived as a child.  The movie starts with Cachila’s first grandson’s birth at a local hospital, suggesting the continuation of some sort of dynasty.  His children not only play the drums masterfully, but are now integral part of the group that consistently gets the highest marks in the Carnaval yearly competition.  The film clearly shows Cachila’s preoccupation for preserving his cultural roots, and how, through subtle persuasion, he uses his family to accomplish his laudable goals.  This film is a magnificent study of the man and his culture, with proper emphasis on performance and the laborious organization of a very special postmodern spectacle. Spanish with English subtitles.


Thursday, November 11 | 7 pm.  Frank Family Science Center, Guilford College, Greensboro, NC

¿Quien mato a la llamita Blanca?/Who Killed the White Llama? Rodrigo Bellot. (Bolivia, 2007) 112 min.

Jacinto and Domitila are two indigenous Bolivians, happily married… they are also the most notorious criminals in the country. When they are paid to transport 50kg of cocaine to the Brazilian border, they embark on a journey that will take them through the jungles, mountains, deserts and cities of Bolivia on a riotous adventure that will test their relationship and make them question their future as criminals. The man behind the smuggling operation, known as El Negro, is actually a blonde, blue-eyed American with a well-kept secret.  Both a celebration and a parody of Bolivian customs, countryside and culture, “Who Killed the White Llama?” is a boisterous comedy with a more serious message at its heart: When it comes to poverty, nothing is sacred. Despite the continuing criminal, political and economic scandals that plague the country, the racial divides and the drug-trafficking, the media story that really sweeps the nation concerns the accidental killing of a baby white llama.  Spanish with English subtitles.