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Fire burn Babylon | Sarita Siegel | 53 min. | 2008

Don Letts narrates the story of a crew of Rastafarians evacuated to London after a volcanic eruption in Montserrat. Living in exile in inner-city London, the Rastamen reinvent themselves as “rude-boy” rappers and small time hustlers and pitch between enjoying the thrills of the city and committing to Rastafari ideals.

Don Letts opowiada historię grupy rastafarian, którzy po wybuchu wulkanu w Montserrat zostali ewakuowani do Londynu. Życie w centrum miasta upływa im na zabawie, drobnych oszustwach, tworzeniu muzyki, spędzaniu czasu na boisku. W nowej rzeczywistości nie zapominają o ideałach ruchu Rastafari, którym pozostają wierni.
Funeral season | Matthew Lancit | 86 min. | 2009

In this whimsical ghost story, a foreigner finds himself in the midst of a culture where “the dead are not dead.” Village by village, locals take him on a road trip through Cameroon’s most joyous funeral celebrations. Along the way, he befriends his guides and becomes increasingly haunted by memories of his own ancestors.

W tej żartobliwej opowieści o duchach, cudzoziemiec znajduje się w środku kultury, w której "umarli nie są martwi."  Miejscowi zabierają go w podróż  przez radosne uroczystości pogrzebowe w Kamerunie.  Po drodze zaprzyjaźnia  się ze swoimi przewodnikami. Z czasem musi się również zmierzyć ze wspomnieniami własnych przodków.
Forsaken Paths | Ruya Arzu Koksal | 36 min. | 2006

An intimate sotry about the semi-nomadic Cepni tribe in the Black Sea Region of Turkey. Every June, the Cepni lead their cows on a two-day hike up to their high pastures called „yayla”. The film follows young Fatma and Sonnur in Instanbul, and the old woman in the village. Two young sisters have had to move to Instanbul to find jobs. They miss their hometown and the life they left behind. On the other hand, the old lady back in the village in witnessing changes in recent years and feels sad old customs and colors vanish as the popilation decreases. The two-day walk starts from the village and covers 20 kilometers up the and down the hills and valleys to reach the mountain pasture located at 2.300 meters. Cows are dresses with colorful talismanic tassels accompanying the chime od cowbells, and the girl put on their most elegant traditional costumes. Forsaken Paths ends at the remote Kadirga festival.

Film opowiada o zwyczajach plemienia Çepni, żyjącego nad Morzem Czarnym w Turcji. Każdego roku w czerwcu, mieszkańcy wsi wyruszali z bydłem na dwudniową wyprawę do położonych wyżej pastwisk.
Fatma i Sonnur mieszkają w Stambule. Przeprowadziły się tutaj w poszukiwaniu pracy, jednak tęsknią za wioską i życiem, jakie zostawiły za sobą. Z kolei ci, którzy pozostali w wiosce, opowiadają o zmianach, jakie zachodzą w życiu jej mieszkańców oraz zanikaniu lokalnych zwyczajów. Starsza kobieta z plemienia Çepni wspomina tradycyjny wypas bydła – yayla.
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Anything but black | Ausra Linkeviciute | 20 min. | 2009

‘You’re born and you will die’ confidently declares an eighty year old woman trying on her future ‘death dress’. Still widely practiced amongst the elderly population in rural Lithuania, the ancient custom of preparing your own burial clothes seems much less acceptable to the younger generation. Anything But Black explores this unique tradition through encounters with those who still maintain it – proudly showing off the dresses as their sacred possession; those who express their disapproval and also those to whom this practice is completely unheard of. The film proposes a rather unconventional attitude towards death – that of acceptance.

Urodziłeś się i umrzesz – poufnie zdradza osiemdziesięcioletnia kobieta, przymierzając swoją pogrzebową sukienkę.  Film prezentuje niekonwencjonalne podejście do śmierci  –  zgodę na nią, oczekiwanie oraz przygotowania do pogrzebu. Własnego pogrzebu. Powszechnym zwyczajem wśród starszych osób na litewskiej wsi jest przygotowywanie stroju, w którym zostanie się pogrzebanym. Zwyczaj ten nie jest popularny wśród osób młodszych. W filmie poznajemy osoby, które z dumą prezentują przygotowane dla siebie pogrzebowe kreacje. Do głosu dochodzą również ci, którzy traktują ten zwyczaj z dezaprobatą a także tacy, dla których praktyka ta jest zupełnie nieznana.
Cooking up dreams. The revolution from the kitchens to Peru | Ernesto Cabellos | 75 min | 2009

Can an entire nation be represented by its cuisine? In his native Peru Ernesto Cabellos journeys from the coast, highlands and jungle to the expat communities in Paris, London, Amsetrdam and New York for answers. From the most humble family kitchens to the poshest restaurant, from stories of pioneering Peruvian chefs abroad to those who preserve ancient recipes at home, we find that Peru’s cuisine is a deliciously integrating for its people, who have historically been marked by ethnic and economic differences. Renowned chefs such as Gaston Acurio, Ferran Adria, Pedro Miguel Schiaffino and Bernardo Roca Rey share their views on Peru’s cuisine alongside those unsung chefs, who also dream of Peru’s cuisine as a motor of development.

Czy cały naród może być reprezentowany przez swoją kuchnię? W poszukiwaniu odpowiedzi na to pytanie Ernesto Cabellos wybiera się w podróż od wybrzeża, poprzez obszary górskie i dżunglę. Z kamerą odwiedza również  Peruwiańczyków, którzy obecnie mieszkają w Paryżu, Londynie, Nowym Jorku i Amsterdamie. Przyglądamy się skromnej kuchni tradycyjnej, ale też najbardziej ekskluzywnym restauracjom. Przysłuchujemy się opowieściom tych, którzy chętnie dzielą się przepisami, otwierając restauracje peruwiańskie poza granicami swojego kraju, a także tych, którzy tradycyjne receptury wolą pozostawić sobie. Okazuje się, że kuchnia Peru jest czynnikiem wspaniale integrującym ludzi, których do tej pory dzieliły różnice ekonomiczne i gospodarcze. Opinie te podzielają, wraz z reżyserem, inni znani szefowie kuchni – Gaston Acurio, Ferran Adria, Pedro Miguel Schiaffino i Bernardo Roca Rey. Marzą, aby kuchnia stała się dla Peru motorem rozwoju.
Shooting with Mursi | Ben Young | 54 min | 2009

The story of one of Africa’s most isolated tribes – the Mursi – through the eyes of an ex warrior; Olisarali Olibui. He carries in one hand a Kalashnikov and in the other, a video camera. A pastoralist tribe, living in an area of Ethiopia the size of Wales, the Mursi are surrounded by potential threats; 14 other tribes, national park proposals and the arrival of a new road bringing tourists. The film provides a compelling and at times disturbing insight into the everyday life of people whose culture, in the words of Olisarali, could face extinction.

Olisarali Olibui w jednej ręce trzyma karabin, w drugiej kamerę wideo. Jest byłym wojownikiem Mursi – jego oczyma  zobaczymy codzienne życie plemienia Mursi, to, co dla niego i jego braci jest najważniejsze. Mursi to pasterski lud zamieszkujący w Etiopii obszar wielkości Walii. Otacza je 14 innych plemion, z którymi często prowadzą walki. Zagrożeniem są również plany tworzenia nowych parków narodowych i drogi, dzięki której pojawią się turyści. Olisarali dokumentuję kulturę, która, według niego, może w najbliższym czasie zniknąć.
Living without men | Yi Luo | 27 min | 2010

When given two options in 20s: submitting to an arranged marriage or taking a vow of celibacy for life, three women Lian, Yi and Fen preferred the latter. They earned their living in spinning factories and moved in a nursing home after retirement. Now in 90s, they tell their stories with pride and loneliness, but no regret: „It was the fashion.”

Kiedy w latach 20. dostały wybór: aranżowane małżeństwo albo ślubowanie celibatu do końca życia, trzy Chinki – Lian, Yi i Fen wybrały drugą opcję. Całe życie przepracowały w przędzalni. Po przejściu na emeryturę przeniosły się do domu opieki, gdzie żyją wraz z innymi kobietami, które wybrały celibat.  Opowiadają o powodach swoich decyzji, o samotności, o tym, jak wyglądało życie w celibacie, jak były traktowane przez rodzinę i znajomych.
Tags: China film woman
Tchambuli (Chambri) Lake, ca. 1933. Gelatin silver print

Mead and Fortune settled among the lake-dwelling Tchambuli (now Chambri) in early 1933. They were led there by Gregory Bateson, who studied the nearby Middle Sepik culture of Iatmul. Mead wrote of the lake: "On its black polished surface, thousands of pink and white lotuses and blue water lilies are spread, and in the early morning white osprey and blue herons stand in the shallows." From: Library of Congress
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Mundugumor Paintings II. Color painting by Yeshimba, adult male, Kenakatem, December 4, 1932. From: Library of Congress
Mundugumor Paintings I. Color painting of lizard and frog by Maikava, male, age 17, Kenakatem, December 4, 1932.

When Mead and Fortune left the Arapesh, they looked for a culture without much Western cultural contact and which was not the province of any other anthropologist. They settled on the Mundugumor (now Biwat), along the Yuat River in what is now Papua New Guinea. There they encountered an aggressive culture in a land plagued by ferocious mosquitoes. They stayed only three months. Mead's most prominent theory about the Mundugumor is the "rope" kinship system, which has been debated by later anthropologists. These paintings are among those Mead collected from the Mundugumor. From: Library of Congress
Iatmul child's drawing, probably by Pawi, June 9, 1938. Pencil on paper

Mead noted of Iatmul children's drawings that they "are static and scattered aimlessly over the page; there is no movement and no relationship between one design element and another." She contrasts this to Balinese children's drawings, which are full of activity and movement, and attributes the difference to culture. While Iatmul children are taught to pressure others to give into their demands, Balinese children are "discouraged when they attempt to bring human relations to a climax." The figures in this drawing represent a man (center bottom) and animals. From: Library of Congress
Catching Fish in a Net by Kilipak, New Guinea, male age 13. Page 2. Pencil drawing
Margaret Mead's notes on Arapesh pigs and dogs. ca. 1932. Typescript
Margaret Mead sitting between two Samoan girls, ca. 1926. Gelatin silver print. Manuscript Division.

Margaret Mead (1901-1978) noted American anthropologist and writer, studied life among peoples in Samoa, Papua New Guinea, Bali, and Native North America. In publications and lectures, she conveyed her findings to the American public as well as to her professional colleagues. Mead brought the ideas of anthropology to a general audience and helped popularize the notion that there are many different ways of organizing human experience. In applying the principles and techniques of anthropology to global human problems, she acted as an engaged citizen-scientist on the world stage. Mead's work was pioneering in many respects but not without its critics. From: Library of Congress
Here, at the gates of Port Moresby airport, where the aboriginal ends his journey through the time and where he cannot find a reason to all the things he learned, but saw too quickly, the ''Cargo Cult'' has burgeoned inside of him, that is, the cult of these cargo airplanes. Along the great oceanic course between Hong Kong and Australia, flown every day by tens of cargo airplanes that stop here in Moresby, the Cargo Cult has a temple almost everywhere. Here is one, with the altar built at an altitude of meters. The small airplane is at one end of the track. On the other end, the control tower.

The native of the Rozo and Mekeo tribes wait for some airplane, attracted by their bamboo decoy, to land on this track. To them, airplanes come from heaven, sent by their ancestors, but the white men, those cunning thieves, take charge of them and lure them in the big Port Moresby trap.

Build your airport too, says the Cargo Cult doctrine, and wait with faith. Sooner or later your ancestors will find out the treachery and will lead the airplanes to your track. Then you'll be rich and happy. They wait motionless, scanning the sky. There is no other world beyond these mountains, so the big birds that fly up there can only come from heaven. ln heaven, there are only their dead and only their dead could build them. The spirits of the dead do not know the whites, so all those wonderful things carried by the airplanes are sent to them by their dead ancestors.

They destroyed their villages, they abandoned their jobs, but here they are, still waiting with faith at the gates of heaven.

Mondo Cane, 1962
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