Documentary on Sumba screened in Paris<\/p>\n
By Kunang Helmi-Picard<\/p>\n
PARIS (JP): Come March in Paris, the twin festivals Cinema du
\nReel, showing sociological documentaries, and Bilan du Film
\nEthnographique, showing ethnographic films, draw international
\ncrowds of filmmakers, television producers and cineasts.<\/p>\n
This year's Cinema du Reel focused on films from Central Asia,
\nwith a large retrospective of documentaries from this little-
\nknown region, besides its range of other films in competition.<\/p>\n
At Bilan du Film Ethnogaphique, a film about the Laboya people
\nin Sumba was shown during the Musee de l'Homme whose film section
\nis directed by legendary Jean Rouch. The film Ashes of Life, the
\nAnnual Rituals of Laboya, Sumba, Part 1 was filmed in 1996, but
\nthe 118-minute film was only shown this spring. Unfortunately,
\nthis is not a film which creates intense excitement, although it
\ncontains much valuable information.<\/p>\n
Dr. Danielle Geinaert, from the department of ethnology at
\nNanterre in France, documented the Sumba rituals while
\nundertaking research by Eric De Maaker and Dirk Nijland from
\nLeiden Ethnographic Film Laboratory in the Netherlands.<\/p>\n
Geinaert has spent many years of her scientific life observing
\nthe Laboya and is also known for her research on Indonesian
\ntextiles. This film is a detailed description of the Padu
\nrituals, one of two ceremonies marking the annual agricultural
\ncycle of the Laboya, farmers who live on the southern coast of
\nSumba, East Nusa Tenggara, in eastern Indonesia.<\/p>\n
The other, more famous ritual is that of Nyale when all Laboya
\ndescend to the sea as the magical luminescent worms swarm in the
\nthousands.<\/p>\n
Padu rituals take place at the end of the hot season in
\nOctober, where the Rato priests get rid of all bitterness and
\nhotness caused by human misbehavior.<\/p>\n
The Laboya, who cultivate rice, corn and manioc, hold their
\nancestors, marapu, in deep veneration. Another two parts of this
\ndocumentary are to follow, perhaps the Indonesian public will be
\nable to view the complete set in the very near future.<\/p>\n
A more dynamic series of films about music here at Musee de
\nl'Homme held the public in suspense and set them tapping their
\nfeet to catchy rhythms such as champeta music from Columbia,
\nwhich is based on African rhythms played by the descendants of
\nthe slaves, and Puerto Rican jazz played by William Cepeda.<\/p>\n
Meanwhile, at Cinema du Reel, which was held from March 8 to
\nMarch 18 at the Pompidou Center, spectators were awed with
\nretrospective Central Asian films.<\/p>\n
Festival director Suzette Glenadel, spent her summer
\ncollecting her choice of 27 documentaries. A decade after the
\nUSSR was dismantled, filmmakers from these new countries are
\nstruggling with drastically reduced budgets and ageing equipment.
\nHowever, the choice of films is riveting and full of dazzling
\nvisual poetry. The presence of many of the filmmakers made for
\nlively and passionate debates or discussions after the films.<\/p>\n
Among the longer films, Kairat, by Darejan Omirbaev from
\nKazakhstan, The Adopted Son, by Aktan Abdykalykov from Kyrgzstan,
\nPolygone, by Oraz Rymjanov and Vladimir Roerikh from Kazakhstan,
\nThe Daughter-in-law, by Khodjakouli Narliev from Turkmenistan,
\nand The Sky of our Childhood, by Tolomouvh Okeev from Kirgizstan,
\nstood out for their sophisticated filmmaking and poignant
\nstories.<\/p>\n
A children's film, The Bitter Berry, from Uzbekistan, depicts
\nthe summer friendship between two small girls, Narguiz and Lali,
\nand at the same time shows the importance of family ties in a
\nsmall mountain village.<\/p>\n
As these countries are mainly populated by Muslims, it is
\ninteresting to observe similarities and differences between
\nothers of the same faith. The richness and brilliant color of
\ntheir handwoven textiles also strike the eye. Horse riders
\ncrisscross the vast expanses and the audience catches a glimpse
\nof how nomadic tribes must have come down from Mongolia to their
\nnew resting places.<\/p>\n
Shorter films such as Duo, by Gulya Mirzoeva from Tajikstan,
\nAssan-Oussen, about small twin boys who bicker until stopped by
\nan old farmer, by Aktan Abdykalykov from Kirghizistan, and The
\nSparrow, again a Kirghiz film, about a mysterious, beautiful
\nyoung girl who appears and disappears in an endless landscape
\nbefore the eyes of a young man crossing a railroad, all display
\nthe sense of a well-told story in cinematographic style.<\/p>\n
Any technical shortcomings are overcome by the passion and the
\nlyricism of the filmmakers. Ecological themes, like the drying up
\nof the Aral sea, wrench at one's heartstrings as those deprived
\nof the huge inland sea sing or recite poems about their sorrow.<\/p>\n
Director Suzette Glenadel regrets the lack of Indonesian
\ndocumentary films submitted to the festival and awaits inquiries
\nat cinereel@bpi.fr. The Bibliothhque Publique also buys
\ndocumentary films for their library and some may be viewed
\nperiodically at French Cultural Centers all over the world.<\/p>\n
Those who wish to consult the Cinema du Reel site may do so at
\nhttp:\/www.bpi.fr. Others who may want to inquire about future
\nparticipation in Bilan du Film Ethnographique can do so at
\ncfe@mnhn.fr directing their inquiries to Frangoise Foucault.<\/p>",
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"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
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