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 by
David M. J. Wood
Universidad Nacional Autnoma de Mxico

New technologies, new

identities
Abstract

Keywords

This is an abridged and edited version of a longer, unpublished text written and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.

Colombia
documentary film
indigenous
video
violence
Marta Rodrguez

Over the years, while filming the events of such a turbulent country as
Colombia, I have witnessed the abandonment and oblivion to which indigenous 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
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Marta Rodrguez

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

In 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 themselves. 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

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New technologies, new identities

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 indigenous 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 audiovisual 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 indigenous 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 processes 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 information

Indigenous 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 filmmakers, photographers, artists and anthropologists turned their attention

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Marta Rodrguez

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, memoriay futuro (Rodrguez and Silva, 1980), the CRIC established its
own communications department, the first of its kind in Colombia. The experience 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 testimonies, ceremonies and conferences. Yet when it came to the second phase
of production editing, the most difficult stage and one that demands a rudimentary knowledge of film language they lacked the necessary academic
tools. So these initial recordings were accumulated just as testimonies, without 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 experience of training female Aymara and indigenous reporters in audiovisual technique, and Alberto Muenala, an indigenous Ecuadorian from the Otawalo
ethnic group, who taught theoretical aspects of film language and encouraged the participants to appropriate and perform a cultural recuperation of
the audiovisual media.

The workshop
The 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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New technologies, new identities

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 participants 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 participants 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 political 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 departments 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 democratization process was the recognition that armed action is not an effective means
of controlling the violence suffered by the communities of Cauca department, 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 demobilization
Communication is for us more than a simple visual record of interesting
things; it is a political process that advances our knowledge and understanding 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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Marta Rodrguez

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-makers 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 Muenala
Its 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 museums 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 reciprocity, 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 group

Video 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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New technologies, new identities

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 television, we should put in that box the knowledge of our peoples, of our forebears 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 image

Following his foray into the audiovisual sphere, the Cauca indigenous videomaker 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 Piacu
Obviously 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 strengthening 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, peasant and urban communities by informing. This same community television
project is one of the programmes that the Fundacin Sol y Tierra is promoting. 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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Marta Rodrguez

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 indigenous society itself, peasant, urban and popular society, through news bulletins 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 indigenous 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, peasant 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 training, documentaries that promote debate within communities, documentaries
that show other peoples from other countries that here there are indigenous people who are fighting back, Indians who have managed to participate 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 blinding 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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New technologies, new identities

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 changing 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, changing 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 gradual 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 poisoning 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 indigenous 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 possibilities 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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Marta Rodrguez

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 emphasis 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 communication 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.

References
Flaherty, 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 citation
Rodrguez, M. (2012), New technologies, new identities, Studies in Hispanic
Cinemas 9:2, pp.185195, doi: 10.1386/shci.9.2.185_1

Contributor details
Marta 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 participate in the film-making process by critiquing the documentarists depiction 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 eruption of the Ruiz Volcano in 1985.
E-mail: mail@martarodriguez.org

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New technologies, new identities

Translator details
David 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 experimental 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 journals, 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: david_mj_wood@yahoo.com
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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