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Impressionist cerrado

fotoarteluizclementino@gmail.com

A Brazilian Tratidion”

Eraldo Peres

The day dawns with a different colored spot in Lages, in the city of Serrita in Pernambuco hinterland. The brownish color of the leather gibãos mingle with the dry branches of the savanna, painting the scene to carry out another gate steer handle.Gradually arise in the woods cowboys with their work clothes, their stately horses and their corners aboio. The pen begins to receive hundreds of cattle destined to do trail in the bush, in a sequence of movements and gallops of his pursuers, a game that recalls both a ballet and a fierce persecution by the intended award, leather collar that is taken in the neck by loose cattle corral.

Cowboys and the public are gradually occupying the fences of the corrals and the makeshift stands for, as in ancient coliseums, launch their eyes and twisted time for wit steer on the run time by the skills of the fearless cowboys facing the thorns of the caatinga to cut their faces in search of runaway animal.

After a brief silence comes to you from Nenem of Duqueira characteristic handle speaker, with own accents of country and sitting life on a mounted tower at the main entrance of the corral, it draws the attention of all and announces the beginning of the battle between man and cattle, “to win the fastest.” And then, in a mixture of singing and regret, come the first call for the competition that starts “Bora, bora bora, let the ox …”.

Cowboy John Cazuza, 56, dressed in their traditional gibbon and ready to participate in the grip racing recalls that “as a child accompanying my father and my grandfather took the cattle to the sides of Ceara state hinterland, were over four-day trip, playing the cattle in the woods. ” Proud tone, Your Cazuza, as it is known among the cowboys says: “The first time I wore the gibbon I was 15, it was like a trophy for me. From that moment I felt that it was a cowboy, night hardly slept a little nervous. ”

secular tradition in northeastern Brazil, the vaquejada imposes itself as resistance of country life, keeping children, youth and adults gathered around their daily lives and their stories. Traditional character of the Northeastern culture, cowboy, mestizo white colonizer with the native Indian, appears in Brazil at the end of Sec. XVI, during the expansion cycles of cattle in the backlands of the Northeast.

The Boi Pega is the traditional way of cattle apart from the Caatinga vegetation typical of the northeastern backlands. Today, part of rodeos circuit, becoming also a recreational and competitive activity, with sports feature, where the pair of cowboys throw themselves in the bush to catch the loose cattle. Cattle must be pursued and brought down by the tail, to be removed from his leather collar with the number that identifies and given to judges so that time is timed. Win double that hold the handle in less time.

Sitting on the corral fence, Deda Cowboy, 54, and his son Thiago, 19, talk about working with cattle. Your Deda recalls: “The cowboy life is not easy, it’s a lot of work, a lot of fighting. I could not study, it was harder in my time. Today it is easier, but those who like working with livestock ends up leaving the studies and following the profession. ” His son Thiago, who participates in the steer grip races, has already taken a decision in life: “I grew up listening to my father’s cowboy stories and my uncles. I always dreamed of wearing the leather jerkin and be able to run the bull handles, I’m proud to be cowboy. ” He adds, “I prefer the life of the pen, working with livestock, it is better than being in town with nothing to do.”

Around the barn, join young and old, men and women, to tell their exploits and stories about the adventures of rodeos. Are old cowboys that shaped their lives around cattle work, the corrals and life in the dry savanna of branches. The day is ending and the setting of the sun tinting the sky. Cowboys groups will leave the Site Lajes proudly they kept their tradition and part of another race steer handle. With his leather garments and traditional hat say goodbye eternal companion, the ox, now loose in the woods folder for the next day back to the corrals.

This trip was part of the expedition research and documentation of cultural events – Rota dos Sertões – Children of Earth Project – A look at the Brazilian cultural diversity.

The exposition, “memorias abstratas de alguns trajetos”,

Kim-Ir-Sen, 64, with 44 years in professional photography. In his resumé, a great experience in photojournalism, advertising and ecological and social photodocumentation acquired at work for various newspapers and magazines in Brazil and abroad. But also with personal projects, such as documentation of various indigenous rituals. His forceful and expressive photograph is part of the visual heritage of the country. The photographer was also dedicated to schools teaching photography for beginners and professionals. In the 80s, he founded along with some photographers, AGIL Photojournalism, an agency that was a reference for investigative journalism in Brazil. Currently living in Goiânia, Goiás, he invests in some personal projects and in his Image Bank formed by thousands of images: www.kimage.com.br, a company dedicated to developing multimedia interactive projects, cinema and videos. One such film “Second Class Passenger” has just received its ninth award. The film “Roque Pereira: Eco-sustainable Furniture”, finalized in June 2004, was awarded at the VI Fica-Environmental Film and Video International Festival, the Medal of Cultural Merit, audiovisual field, by the Goiás State Council of Culture, 2007.

He is a Postgraduate in Visual Anthropology at the Catholic University of Goiás, held 44 group exhibitions and 14 individual ones in Brazil and abroad.

The Museu da Fotografia Documental is a web museum founded in Brasília, and it aims to contribute with a reflection and refinement of the documental Brazilian photography.

With a collection of 300 photos, the museum recovers the period of occupation of Brazil’s west, occurred between 1940 and 1960. Considered as gold of documental photographic production, the historical records can be visited on the electronic address www.mfd.mus.br.

On RAW’s gallery, the visitor will find guests’ photographic essays. In it’s first year of existence, the museum provided the public with essays from renowned photographers like Luís Humberto, Rui Faquini and Orlando Brito.

The Museu da Fotografia Documental is maintained by Terra Vermelha Cultural, an institution of the third sector, located in Brasíla, which is always in tune with the capital’s photographic movement.

Profile

Delfim Martins was born in 1951, in Barcelos, Portugal. Autodidact, began his career at Mackenzie University, in 1973.

In 1979, Martins became the head of Visão Magazine’s photographic’s department, where he was part of since 1975. During that same period, he participated in the foundation of F4 Agency along with his brother Juca Martins, Nair Benedicto, and Ricardo Malta.

Nowadays, he is the photograph director of Pulsar Imagens and caters to main agribusiness companies. The work of the photographer was published in dozens of books about the subject. Martins has a big photographic collection of Brazil’s food production, the result of 30 years of travels through the country.

His production is licensed by Pulsar Imagens (www.pulsarimagens.com.br) and Tyba Agência Fotográfica (www.tyba.com.br).

Roberto Castello