Rodriguez+New+Technologies+and+Identities

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SHC 9 (2) pp. 185195 Intellect Limited 2012

Studies in Hispanic Cinemas Volume 9 Number 2

2012 Intellect Ltd Article. English language. doi: 10.1386/shci.9.2.185_1

Marta rodrguez

translated bydavid M. J. WoodUniversidad Nacional Autnoma de Mxico

New technologies, new identities

abstractThis is an abridged and edited version of a longer, unpublished text written and assembled by the veteran Colombian documentary film-maker Marta Rodrguez, based on her long experience of making films about and alongside indigenous and other marginalized communities throughout Colombia. Just as Rodrguez documentary practice seeks to devolve audiovisual production to her indigenous collaborators, in the following text Rodrguez own authorial voice is interspersed with the testimonies of indigenous video-makers collected over time, transcribed and edited by Rodrguez herself. The text offers an insight into audiovisual practices and attitudes towards evolving communications technologies in Colombia during the 1990s, a historical juncture at which a combination of political and technological factors gave rise to a flourishing of increasingly autonomous video production on the part of indigenous communities.

Over the years, while filming the events of such a turbulent country as Colombia, I have witnessed the abandonment and oblivion to which indig-enous communities have been subjected. In order to adapt and link their own culture with the country in which they live and in some cases with Latin America as a whole these communities have developed a strong acquaintance with the use of the media. Yet we are largely unaware of the

KeyWordsColombiadocumentary filmindigenousvideoviolenceMarta Rodrguez

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results of this cultural appropriation, or of the nature of indigenous thought with regard to the media, or how this process came about, or what it has meant for indigenous people to take control of the media.

The following words, spoken by indigenous people, testify to the implica-tions of their appropriation of the media:

Today the media are in the hands of the enemies of indigenous peoples. Until now, the media have been instruments of cultural domination and aggression. But if we appropriate them, learn about them and use them, they can be an instrument of dialogue between indigenous and other cultures, they can be liberating. Culture is not just tradition, it is also the history that we write every day through our resistance, and today it is the indigenous people of Cauca [a province in south-western Colombia] who have created out of their millenarian culture their communitarian culture, Colombias first civil resistance movement to the warring factions, in places like Caloto, Coconuco and Purac, theyve come out as a community to say to the guerrilla, no more blind violence! And this has emphasised how a community that prefers dialogue to weapons can reject warfare by peaceful means.

iNdigeNous ciNeMa iNdigeNista ciNeMaIn the first American Film and Video Festival of Indigenous Peoples in Mexico in 1985, most participating films were made by mestizo anthropologists and film-makers. This type of indigenous cinema gained increasing importance: an indigenista cinema that was still not made by indigenous people them-selves. The second festival was to be held two years later in Rio de Janeiro.

One criterion of the Rio festivals jury was

that films and videos about indigenous life should not simply display our social, cultural or religious organisation, but that they should also allow us to exercise our right to speak. It is important for us to be seen no

Figure 1: Marta Rodrguez (second from right) during the filming of Planas: testimonio de un etnocidio (1971)



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longer as objects of study, but to become with the help of producers, filmmakers and anthropologists the bearers of our own cultures.

resolutioNs oN iNdigeNous audiovisual productioN

This section is based on statements made at the IV American Film and Video Festival of Indigenous Peoples, Cusco, Peru, 1724 June 1992.

As indigenous audiovisual producers meeting on 20 June 1992 at the indig-enous forum parallel to the IV Film and Video Festival of Indigenous Peoples in Cusco, Peru, we hereby set out our resolutions on the production of audio-visual materials on indigenous peoples:

That some of the films screened at this festival, films that have failed to respect indigenous autonomy, thereby trampling on our rights as indig-enous peoples, should be scrutinised.

That the participants in this festival should question the paternalism displayed in audiovisual productions on indigenous peoples and support the trend towards indigenous people directing such films, inviting the collaboration of indigenistas and NGOs.

That we should all encourage a profound shift in the way we conceive of audiovisual production: from films made for or with the indigenous people to those made by ourselves, the indigenous people.

To clarify that we aim not only to operate cameras, but also to acquire audiovisual skills, to manage the production, editing and distribution proc-esses of films that are concerned with our image, including our intellectual and cultural property rights and our rights to engage in proper relationships with those organisations that cooperate with our audiovisual work.

To encourage the creation of both an Audiovisual Production Fund for the Indigenous Peoples of America and a permanent indigenous filmmaking school as concrete and effective measures towards fulfilling the aims set out by us along with other filmmakers committed to the indigenous cause.

To organise our Indigenous Cultural Archive which serves to recover and preserve the various materials produced about our peoples, materials which have been and continue to be impounded for the benefit of others.

We stress that individual effort alone cannot achieve the enormous task of developing an authentic indigenous audiovisual sphere, therefore this enterprise must be undertaken together with those entities that represent our peoples, supported by international cooperation and solidarity organisations.

[]

the eMergiNg claiMs to the right to iNforMatioNIndigenous groups in Colombia have limited access to the media for a number of reasons. Some isolated communities, for instance, have no electricity supply. The only news media available to many are radio and state television, in which neither Indian nor black communities have yet found a space or made their cultural presence felt.

During the 1960s, so-called cultural workers a wide circle of film-makers, photographers, artists and anthropologists turned their attention


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towards these minority groups and began to testify their emerging struggles at meetings and conferences. Films such as those by Jorge Sanjins and the New Cuban Cinema marked the path towards a new, alternative use of the media.

In 1971 the Consejo Regional Indgena del Cauca (CRIC, Regional Indigenous Council of Cauca) was formed out of the movements, marches and mobilizations that had around that time started to unite indigenous people in common struggle. In 1986, after its active participation in the production of Marta Rodrguez and Jorge Silvas documentary Nuestra voz de tierra, memoria y futuro (Rodrguez and Silva, 1980), the CRIC established its own communications department, the first of its kind in Colombia. The expe-rience of having been in contact with the filmed material and having seen their image projected on 16mm film opened up to indigenous communities a practical alternative for using the media. Participants were given copies of the work, setting in motion a process of popular communication.

This is how the indigenous people of Cauca department obtained a video camera and, for the first time, and with no prior training for, until then, they had had no audiovisual experience or access to the media filmed their testi-monies, ceremonies and conferences. Yet when it came to the second phase of production editing, the most difficult stage and one that demands a rudi-mentary knowledge of film language they lacked the necessary academic tools. So these initial recordings were accumulated just as testimonies, with-out the basic elements of audiovisual and cinematic narrative required to tell a story. The filmed material started to deteriorate without ever having been edited for exhibition to the community. Another problem was that the films were not meeting their investment and expenses, making it impossible for the communications department to continue to operate. It was then that Marta Rodrguez decided to apply to UNESCOs Cultural Decade programme in order to carry out the first video workshop, seeking to give indigenous people the basic skills they needed to rescue their visual memory that was on the point of extinction. The workshop was carried out in 1992 in Popayn, Cauca, with 38 indigenous participants. It was led by Ivn Sanjins, the director of the Centre for Cinematographic Training and Production (CEFREC) in Bolivia, who taught the technical aspects of video-making and spoke about his experi-ence of training female Aymara and indigenous reporters in audiovisual tech-nique, and Alberto Muenala, an indigenous Ecuadorian from the Otawalo ethnic group, who taught theoretical aspects of film language and encour-aged the participants to appropriate and perform a cultural recuperation of the audiovisual media.

the WorKshopThe part of the workshop dealing with theoretical aspects of film language began with a screening of Nanook of the North (Flaherty, 1922), undoubtedly the first documentary ever made about an autochthonous people: the Eskimos of Hudson Bay. [] Flahertys work was approached from the perspectives of participatory observation and the poetic mode of documentary, both of which he pioneered. He was the first to express a wish to show the Eskimos not from the perspective of the civilized but from their own point of view: to make films using a human rather than a scientific method, since he was working with human beings, not insects.

Because of its simplicity, the directness of its language and its focus on man, mans struggle against a hostile natural environment and the everyday



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drama of his existence, the documentary enjoyed an excellent reception on the part of indigenous people from a variety of ethnic groups. This was the discovery of a culture from the other side of the world. The workshop partici-pants appraisals of and questions about the film, together with the fact that they referred to Flaherty as Robert, showed us how much the indigenous spectators had identified with these images. Inocencio Ramos (from the Paez ethnic group) commented that

the film gives us an example of the type of relationship that should be established between an ethnic group and those who study it. On the occasion of this five-hundredth anniversary [of the European discovery of America] we should adopt an even more critical position when we are going to take part in a film.

We also screened Man with a Movie Camera (Vertov, 1928) to illustrate Dziga Vertovs theories of Kino-Eye and Kino-Pravda. The reaction to this documentary was quite different. The workshop participants who had been so fascinated with the world of Nanook did show some interest in Vertovs film with its highly graphic demonstration of the possibilities of cinema and montage, but their responses to and identification with the film was less intense. We should underline that the indigenous partici-pants particular conception of time and space is an imprint of their own cultural frameworks, and thus engenders a culturally specific notion of film editing.

sol y tierra

This section is authored by Antonio Alberto Castillo and Daniel Piacu (Fundacin Sol y Tierra, Communications Programme), Popayn, 6 October 1993.

When a Constituent Assembly was convened in 1991, a new form of politi-cal participation became possible in Colombia. One of the upshots of this development was the demobilization in May 1991 of the Quintn Lame movement [named after the Paez Indian Manuel Quintn Lame, who fought for the recuperation of both land and culture in Cauca and Tolima depart-ments between 1920 and 1950], an armed indigenous self-defence group, which then joined the National Constituent Assembly. Among the reasons for the movements decision to become part of the countrys democratiza-tion process was the recognition that armed action is not an effective means of controlling the violence suffered by the communities of Cauca depart-ment, as well as the desire to find new tools of political participation The Fundacin Sol y Tierra [Sun and Earth Foundation], an organization aimed at overcoming the ongoing violence by encouraging the economic and social development of Caucas indigenous communities, emerged from this demo-bilization

Communication is for us more than a simple visual record of interesting things; it is a political process that advances our knowledge and understand-ing of our problems and their solutions. For us, communication does not lie in the cameras or the projectors, but in the ideas that indigenous communities and organizations are thinking through every day.


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MaNifesto for the right to the iMage, froM aN iNdigeNous latiN aMericaN perspective

This section consists of synthesized versions of declarations by indigenous people from across Latin America at a forum in Quito, Ecuador, in 1994, which was filmed by Marta Rodrguez.

At a round table at the end of the First Nations of Abya Yala Film and Video Festival in Quito, Ecuador (December 1994), the first continent-wide festival staged by indigenous organizations and film-makers, a number of video-mak-ers put forward what I have called a direct manifesto, claiming their rights to the use of video and to any other technology that produces, distributes or transmits images that might distort or in any way affect their social and cultural reality:

Alberto MuenalaIts important to begin to analyse the values and customs of our peoples, because that is where our identity is born and enriched, the identity that we are going to preserve and develop by raising it to the level it deserves True history is made by the people, while others write and distort it. Unfortunately, we have not yet been able to retrieve all our cultural wealth, which is hidden away in the shape of archaeological artefacts or secret documents in muse-ums in the colonizing countries our sacred sites have today become tourist destinations, we have been designated as national patrimony even as we are denied the right to practise our religions, just as we were during the colonial era. Artworks made by indigenous hands are labelled handicrafts in order to reduce their monetary value. When I talk of one of our values, such as reci-procity, I am talking about a vision that is original to our communities. Just as we opened the doors for film-makers to make documentaries about our life, they must learn to respect us and reciprocate by sharing their profits, and the material must return to its place of origin

An indigenous Mexican from the Purepecha ethnic groupVideo is a very powerful tool that can serve as an instrument of struggle. Why is this? Its because through this tool, I believe we can preserve our wisdom, were going to record the knowledge of our elders, of our peoples; because every day there are fewer sages, fewer ancients among us and when they die, a huge array of knowledge is buried along with them that can only be salvaged with great difficulty. This is why we consider it important. It is also crucial that we recognize that television has found its way into the bosom of the indigenous family in our regions. Now television has taken the place of the ancients, of our grandfather, our grandmother, who used to pass on to us their knowledge and history; who told us the legends of our peoples; who taught us our own medicine, our traditional medicine; who taught us about the movements of the stars, our calendar: a whole array of knowledge. Now all that is getting lost, now that our communities are in contact with universal culture, dominant culture. We believe that we should draw on our communities to rescue the television that now lies at the heart of our families, by trying to find a good use for that equipment [pointing at the camera that is filming him] that has now taken the place of the elders



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in the bosom of our families. Not to watch soap operas, or the alienating programmes that they show of course, thats whats in the interests of dominant society, of the transnationals, who try to sell us consumer goods that we dont need I think we should push this in a new direction, we should rescue something out of that machine thats called video or televi-sion, we should put in that box the knowledge of our peoples, of our fore-bears And were quite worried about the idea of just having a collection of images, a collection of information, because our commitment is always to using that information in a suitable way and returning it to the communities so that this equipment, this medium can become a medium for playing back our own culture.

the coMMoN right to the iMageFollowing his foray into the audiovisual sphere, the Cauca indigenous video-maker Daniel Piacu, in a long interview in Natagaima, Tolima department (1993), and at the round table in Quito in 1994, raised a series of points that would later emerge clearly in the manifesto referred to here. Daniel Piacu first entered the audiovisual sphere via Marta Rodrguez shortly after laying down arms, finding something in the world of the image that would make him see his social and cultural situation from a different angle.

Daniel PiacuObviously we took the governments word when the Quintn Lame Movement laid down its arms And weve been let down, because precisely when we laid down our arms there was the massacre of twenty of our Paez brothers on the Nilo estate, just because they were struggling over land, just for saying that this land is ours But we are not going to go back just because that happened, were going to press on with our cause. We believe were going develop a new, open way of working, a political act of electoral participation which we ourselves will oversee, and we will be the ones who will legislate for ourselves in parliament. That is why we already have indigenous parliamentary representatives, and we are gaining seats in public bodies. Today, we see the media as a crucial way of strength-ening our position. Ive traded in my gun Ive left behind my kitbag, my boots, my cap, Ive also left behind the physique that I had when I was a guerrilla commander in the mountains. Im physically different today, I dont have a gun in my hands. Today I have a weapon that makes images, a weapon called a camera, that can capture images, images of what the army might be doing, of what the Indians enemies might be doing to the Indians. And we can show those images to society at large, so that public opinion can see them. It is also a very effective weapon for raising consciousness within communities themselves. Its no longer a weapon for killing, its a weapon for generating awareness and telling people what is happening in this country, in Colombia, in Latin America and in the whole world. So out of our small project in Cauca, were setting a whole process in motion. A community television project that we believe will integrate indigenous, peas-ant and urban communities by informing. This same community television project is one of the programmes that the Fundacin Sol y Tierra is promot-ing. The Fundacin Sol y Tierra aims to support indigenous communities, today the foundation is at the heart of indigenous communities, today the


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foundation wants to make its small contribution so that we can work side by side with the CRIC

We have always been denied [communicative] spaces, spaces that by right belong to us, perhaps because were Indians, because were peasants, because they say we are legal minors but now we are aware that we must be granted our right to spaces of communication. Today we say that we are neither legally nor constitutionally minors, we are adults, we have the same right to speak as any Colombian citizen. Today, using Hi-8 [video format], we rightly believe we can offer our communities the chance to participate, in the sense that they can express their views, their feelings that have been pent up for so many years, in the sense that everyone can get to know indig-enous society itself, peasant, urban and popular society, through news bulle-tins that weve been showing on big screens in every community that needs them. And thats why were also planning to become ever more involved with local television channels. Gradually, in the future, wed like to establish connections with regional television stations such as Telepacfico, Telecaribe and Teleantioquia

Without a doubt the dominant class must understand that we indige-nous peoples will struggle in order to stay alive. But the dominant class is trying to portray us as though we were in our death throes, and we felt that during the very process of reforming the Colombian constitution. Some of the members of the Constituent Assembly had been deeply rooted in popular struggles. Today we want to go on showing with our images that we have rights; today, with the Hi-8 image we want to show that we indigenous peoples exist, today we want use video and films to show that urban, peas-ant and popular communities exist with the rights and conditions that are due to the Colombian citizens that we feel ourselves to be. We want to make documentaries, that is what we are preparing for documentaries for train-ing, documentaries that promote debate within communities, documentaries that show other peoples from other countries that here there are indige-nous people who are fighting back, Indians who have managed to partici-pate in the reform of the constitution, and that we have a fairly progressive constitution, a constitution that gives us participation and recognition as indigenous groups, as ethnic groups with our own culture, with the right to organize just as we have always done

One thing that happened to me was during the mobilization of 12 October [1992], one of the biggest mobilizations in Latin America: the army came in with their bulletproof helmets, all kitted up, and out we came with our cameras, and all the soldiers gradually started dropping their things, their police shields, they put them down to one side and stood still, and we saw that one of these machines, one of these weapons [referring to the Hi-8 camera] had an impressive strength and power, something that doesnt kill, but can peacefully make these violent people stay back and lay down their arms.

The problem with guns is undoubtedly that they are for killing and blind-ing us to reality, but these image weapons do not blind people to life, rather they allow us to claim our rights peacefully. And soldiers dont like to be filmed beating an Indian. They dont like it because they say that soldiers are the guarantors of good and order in Colombia, for the Colombian citizen, but that is not true.

Weve also stopped the military with weapons, we used to fight their weapons that vomit death with our own weapons that vomited death, but in the long run this was just Colombians killing each other, and we dont



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have the right to just go on blinding people to reality like that Today we say that guns are not the only tools of struggle. There was a time when they were useful for defending ourselves, but today Colombian society is chang-ing dramatically, and we too can advance, not just by using guns, but also by working with the media so we can show public opinion that we are working within a framework that respects legality and order, that we dont want to be confrontational, and that were not seeking to brush other peoples rights under the carpet. And that we comply with the law, but that others should also comply with our indigenous law.

Of course, although this has always been denied to us, today, through this community television project we plan to open up many spaces, starting with a local and regional space, moving in the future towards a national and even international space: making our rights, our cultural identity, our political identity, our organizational identity known to western society The media often cause the loss of those identities, the media, basically television, serves to introduce a different culture into our own Latin American culture, chang-ing it completely. And that is why there is such violence Those who own the media are increasingly trying to make a space for themselves within that huge community. But what we are trying to do is to use the media for a grad-ual process of demystification. We want to show that it is not Indians or the marginal classes who produce violence, which is perhaps what some people claim that when Indians retrieve land they create violence, that when they retrieve land they slow down economic development, that when they block the Pan-American highway theyre holding up an economic process, that when we Indians say no to the exploitation of gold and wood, no to the poison-ing of rivers, were slowing down the countrys economy. But we say that its not that we dont want these things to be exploited, we do want natural resources to be exploited, but it should be planned, it should be coordinated with the indigenous communities themselves, with the cabildos [local indig-enous authorities] And today theyre talking about taking progress and development to those areas because the poor Indians live in such despair. But we have to wonder whether this is a good thing. And we conclude that this is a type of development that benefits the few, and that impoverishes the great majority of the inhabitants of those areas. This is what we plan to clarify, little by little, through the media.

video as a tool for peace

This section is authored by Antonio Alberto Castillo and Daniel Piacu, Popayn, 6 October 1993.

Opening ourselves up to the world does not consist of passively receiving messages that fail to take our own situation into account, rather it is to develop our capacity for analysis and dialogue in order to make a stand, and also for us to learn about our own peoples thinking and testimonies. Culture is not just tradition, it is also the history that we write every day through our resistance. That is why we believe that to shut ourselves off and to fail to see the possi-bilities and spaces that we can take advantage of in the modern world is to contribute to our isolation, to risk our disappearance We need to know how to use communication technologies; we need to carve out a space in which the whole of society can listen to us and our point of view. We believe


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that here a new political space is opening up: a space beyond mere elections that is offering us indigenous peoples a concrete presence. That is why we believe that culture is something that is alive, something that is constructed day by day.

The novelty of being able to use these resources initially led to an empha-sis on the production of films and audiovisual materials. We trained mainly as technicians, learning how to use cameras and microphones. But we have learned that that is not enough, that what matters most is to enable dialogue, to help new ideas to emerge in a community. We are interested in communi-cation as more than merely producing a lot of films; what matters is the use of the media to stimulate expression, the discovery and widening of ones own knowledge.

refereNcesFlaherty, Robert (1922), Nanook of the North, USA: Revillon Frres.Rodrguez, Marta and Jorge Silva (1980), Nuestra voz de tierra, memoria y futuro,

Colombia: Fundacin Cine Documental.Vertov, Dziga (1928), Man With a Movie Camera, USSR: VUFKU.

suggested citatioNRodrguez, M. (2012), New technologies, new identities, Studies in Hispanic

Cinemas 9: 2, pp. 185195, doi: 10.1386/shci.9.2.185_1

coNtributor detailsMarta Rodrguez is a veteran Colombian documentary film-maker who has spent decades making films about and alongside indigenous and other marginalized communities throughout Colombia. Her first film, Chircales/The Brickmakers (196672), examines the hellish life of a family of poorly paid, non-unionized brick-makers on the outskirts of Bogota. Rodrguez has always shown herself to be a politically committed, independent anthropological film-maker, who uses documentary to analyse the living and working conditions and the world view of peasants, native peoples and workers in her native Colombia. The subjects themselves actively partici-pate in the film-making process by critiquing the documentarists depic-tion of their world as the film is being made. Her filmography also includes Planas: Testimonio de un Etnocide/Planas: Testimony about Ethnocide (1970). The film documents the genocide of an indigenous group and explores the economic and social causes of the slaughter. In Campesinos/Peasants (197476), the film-makers analyse the violence and exploitation long visited on Colombias rural population. Nuestra Voz de Tierra, Memoria y Futuro/Our Voice of Land, Memory, and Future (197380) uses fictional elements to explore the magic, myths and legends of the Indian world view. Amor, Mujeres y Flores/Love, Women and Flowers (198489) exposes the dangerous conditions for women workers in Colombias booming cut-flower trade. Nacer de Nuevo/To Be Born Again (198687) offers a moving portrait of two indigent seventy-year-olds who must somehow get on with their lives after having lost everything in the landslides and floods triggered by the erup-tion of the Ruiz Volcano in 1985.

E-mail: [email protected]



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Translator detailsDavid M. J. Wood is a researcher at the Instituto de Investigaciones Estticas, Universidad Nacional Autnoma de Mxico. He holds a Ph.D. from Kings College London with a thesis on political and indigenous film-making in Colombia and Bolivia, and his current research is on historical and experi-mental compilation film in Mexico, including documentary cinema on the Mexican revolution. He has published in Quarterly Review of Film and Video, Latin American and Caribbean Ethnic Studies and Secuencia, among other jour-nals, and is a member of the editorial board of the Journal of Latin American Cultural Studies.

Contact: Instituto de Investigaciones Estticas, Universidad Nacional Autnoma de, Mxico and Circuito Mario de la Cueva, s/n, Ciudad Universitaria, Del. Coyoacn 04510 Mxico D.F., Mexico.E-mail: [email protected]

Marta Rodrguez has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format that was submitted to Intellect Ltd.


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