This session consists of 5 presentations and a joint Q&A with the presenters. The session contains:
➺ Eric Dawson, William Isom - Uncovering, Sharing and Preserving Black Stories in Southern Appalachia (Long presentation)
➺ Gustavo Navarro - Trabajadores Migrantes en los Complejos Mineros de la Patagonia Austral (Argentina) (Short presentation)
➺ Laura Batitucci, Glênis Cardoso - Focusing on the Queer Super-8 films Digitized by the Digitalização Viajante (Traveling Digitization) Project in Brazil (Short presentation)
➺ Jo Ana Morfín, Sandra Real - Performing Archives: building the history of Movimiento Discotheque in México (Short presentation)
➺ María Domínguez - Sin grandes archivos ni colecciones, exploramos películas del pueblo Asháninca en la selva central del Perú. (Short presentation)
**Abstracts:**
➺ Uncovering, Sharing and Preserving Black Stories in Southern Appalachia
--
Eric Dawson, William Isom (Long presentation)
--
The Tennessee Archive of Moving Image and Sound (TAMIS) holds a large collection of audio-visual materials created in and related to the Appalachian region. It has worked with many community partners, including Black in Appalachia, which seeks to highlight the history and contributions of African-Americans in the development of the Mountain American South and its culture. This program will detail several collaborative projects between the two organizations, with Black in Appalachia incorporating TAMIS materials into documentaries that tell untold or little-known stories, such as that of Black Impressionistic artist Beauford Delaney’s origins in Knoxville, Tennessee, and the 1919 Knoxville race riots, which led to the preservation of a forgotten 1919 newsreel. Excerpts from the films will be shown.
➺ Trabajadores Migrantes en los Complejos Mineros de la Patagonia Austral (Argentina)
--
Gustavo Navarro (Short presentation)
--
La Patagonia Argentina es la región más austral, caracterizada por el aislamiento, las grandes distancias, y un entramado social particular conformado por distintos movimientos migratorios. A principio del siglo XX, su desarrollo económico comenzó con la creación de estancias para la cría de ovejas por parte de inmigrantes procedentes de Europa, galeses, españoles, croatas, ingleses e italianos; el segundo movimiento de inmigrantes provino de las provincias del norte que en los años 50 se radicaron para trabajar en el petróleo; décadas después, en los años 90, otra inmigración interna también llegó de las provincias del norte para trabajar en las minas.
La Universidad Nacional de la Patagonia Austral ha digitalizado un gran volumen de material documental (actas y memorias) para su preservación; sin embargo, la historia oral ofrece nuevas miradas y perspectivas vacantes en la historiografía local. El presente trabajo propone la creación, preservación y acceso al patrimonio sonoro de la región patagónica. Se prevé la creación de una colección de testimonios de trabajadores inmigrantes de las minas; se propone la reconstrucción de sus historias de vidas y los modos de sociabilidad en esas comunidades geográficamente aisladas.
Se utilizará un software de gestión documental con metadatos de preservación, copias de seguridad y emulación de acuerdo al formato del archivo sonoro. Se pondrá a disposición de la comunidad a través del repositorio de objetos digitales “Memorias de la Patagonia Austral” (Ver: www.koluel.org).
➺ Focusing on the Queer Super-8 films Digitized by the Digitalização Viajante (Traveling Digitization) Project in Brazil
--
Laura Batitucci, Glênis Cardoso (Short presentation)
--
From October 2022 to February 2023, the project Digitalização Viajante (Travelling Digitization), developed by the Brazilian Film Digitization Initiative (IDFB) and the Brazilian Association for Audiovisual Preservation (ABPA), traveled through 6 different Brazilian cities (Brasília, Recife, João Pessoa, Teresina, Rio de Janeiro and São Paulo) with a portable Super-8 and 8mm scanner and a portable workstation, digitizing in 2K over 300 films in different archives, houses and universities. The project aimed to address the lack of digitization initiatives in Brazil that focus on small-format amateur, independent, and "orphan" films. With some regions in Brazil lacking digitization facilities, there remains a gap in public access to the film histories of certain areas of Brazil and our project tried to address this.
The project Digitalização Viajante was successful in digitizing numerous works that had never been seen or had been forgotten over time. Among all the works we digitized, some represent a wave of radical queer cinema which took place within the Northeast of Brazil in the late 70s and early 80s. Films like "Closes" (1982), by Pedro Nunes, "Baltazar da Lomba" (1982), by the collective Nós Também, and "Era Vermelho seu Batom" (1983), by Henrique Magalhães, among many others, did not have a high quality digital copy yet and were on the verge of being lost.
This presentation intends to focus on the history behind these films and the context that they were made, but also on how the Travelling Digitization project was developed and executed.
➺ Performing Archives: building the history of Movimiento Discotheque in México
--
Jo Ana Morfín, Sandra Real (Short presentation)
--
On May 30, 2024—the date commemorating one year since "Música Sonidera" was designated as Intangible Heritage of Mexico City —the digital repository Memórica. México Haz Memoria will present the exhibition "Movimiento Discotheque" by the transwomen curator Aret Muñoz.
According to Aret Muñoz, the history of High Energy, Techno and Electronic Music in Mexico is built on five shared events: Territoriality, Dance, Graphic Identity, Sexual Dissidence, and Autonomous Technologies. Therefore, exhibiting the history of these Music movements will require a more creative approach than simply presenting digitized objects.
This exhibition aims to promote "making/doing" as a preservation approach, as well as connecting diverse communities of practice such as VJs, DJs, archivists, historians, street artists, and so on.
Based on the concept of materiality as relational patterns (Sorensen, 2007) and inspired by the strategy "performing archives” (Clarke, 2009), Memórica commissioned DJ Monstrua Movil Discotheque and VJ Chana to create five audiovisual artworks. These works will use archival materials such as traces, ephemera, sounds, photographs, and documentary videos, as well as oral memories, as means to “perform materiality”.
By "reanimating" legacies and transmitting new artworks to the public, new encounters and interactions will be generated, which will allow us to preserve transient forms of creation through experience, memory, "affect and circulation" (Schneider, 2013).
➺ Sin grandes archivos ni colecciones, exploramos películas del pueblo Asháninca en la selva central del Perú.
--
María Domínguez (Short presentation)
--
Iniciamos nuestra investigación, con la adquisición de una película casera de 16mm, en el sitio web de Amazon por parte de Ivonne Sheen, artista y cineasta de Lima, Perú. Esta película nos lleva a explorar la historia del pueblo Asháninca en la selva central del Perú, durante la década de 1930.
Con una duración aproximada de 3 minutos, la película muestra un grupo de Ashánincas desollando a un animal, sonriendo a la cámara y marchando. Hay personajes foráneos y un desfile del ejército peruano. La caja de cartón del rollo indica: “Rio Perené. El zoológico del Perené”; “Augusto Valle Riestra. Perené".
Con estos datos comienza la investigación de estas imágenes, el origen de esta película y su relación con la historia del pueblo Asháninca. En este proceso, hemos encontrado otra película amateur de la misma época y temática, realizada por Guill
