Grand Jihad • soufisme en Tchétchénie 5

Vincent Moon, 2012, Tchetchenia,  8' 42''

collection Petites Planètes

vincentmoon.com/  
petitesplanetes.cc/  
petitesplanetes.bandcamp.com/

OKO • carnets de Russie
••••••••••••••••••••••••••••••••

LE GRAND JIHAD • soufisme en Tchétchénie # 5
••••••••••••••••••••••••••••••••
une collection de 5 films par Vincent Moon
••••••••••••••••••••••••••••••••
images et montage par Vincent Moon
sons par Bulat Khalylov
mixage par Vladislav Toletskiy
produit par Bulat Khalylov & Vincent Moon
avec l'aide de Kheda Saratova & Elena Sahnova
••••••••••••••••••••••••••••••••
rituel en l'honneur de Patimat, fille du maitre soufi Bamatgeri
Tchétchénie, Caucase du Nord, Russie
septembre 2012
••••••••••••••••••••••••••••••••
pour en savoir plus sur le soufisme en Tchétchénie:

guardian.co.uk/world/2007/nov/22/chechnya.tomparfitt
nytimes.com/2006/05/24/world/europe/24grozny.html?_r=0
islamoblog.blogspot.fr/2008/12/battle-against-wahhabism-in-chechnya.html
mashar.free.fr/sufis_chechen.htm
en.wikipedia.org/wiki/Sufism

••••••••••••••••••••••••••••••••
tous les films et enregistrements
sont sous licence Creative Commons
BY-NC-SA
projetez, échangez, utilisez ces films comme vous le voulez

Divine Horsemen – Vodoun Gods of Haiti

Maya Deren, Teiji Ito, Cherel Ito. 1954. United States of America. vo English. 50’

Divine Horsemen: The Living Gods of Haiti (1985) is a black-and-white documentary film of approximately 52 minutes. It is about dance and possession in Haitian vodou that was shot by experimental filmmaker Maya Deren between 1947 and 1954.
In 1981, twenty years after Deren's death, the film was completed by Deren's third husband Teiji Ito (1935-1982) and his wife Cherel Winett Ito (1947-1999). Most of the film consists of images of dancing and bodies in motion during rituals in Rada and Petro services.
Deren had studied dance as well as photography and filmmaking. She originally went to Haiti with the funding from a Guggenheim fellowship and the stated intention of filming the dancing that forms a crucial part of the vodou ceremony. In 1953, Deren's book Divine Horsemen: The Voodoo Gods of Haiti, on the subject of vodou, was published by Vanguard Press.
The film that resulted, however, reflected Deren's increasing personal engagement with vodou and its practitioners (Wilcken, 1986). While this ultimately resulted in Deren disregarding the guidelines of the fellowship, Deren was able to record scenes that probably would have been inaccessible to other filmmakers.
Deren's original notes, film footage, and wire recordings are in the Maya Deren Collection at Boston University's Howard Gotlieb Archival Research Center and at Anthology Film Archives.

Maya Deren nos sumerge en un viaje fascinante en el mundo de la religión Vudú, cuyos devotos comulgan con una visión cósmica de poderes que son invocados mediante sacrificios, canciones, danzas. El panteón Vudú de deidades, o “loa”, es mostrado como un conjunto de dioses y diosas vivientes que toman posesión de sus devotos. 



http://en.wikipedia.org/wiki/Divine_Horsemen:_The_Living_Gods_of_Haiti

http://es.wikipedia.org/wiki/Maya_Deren 

Les Maîtres Fous

Jean Rouch. 1954. France, Niger. vo French. 35’

Les Maitres Foux is about the ceremony of a religious sect, the Hauka, which was widespread in West Africa from the 1920s to the 1950s. Hauka participants were usually rural migrants from Niger who came to cities such as Accra in Ghana (then Gold Coast), where they found work as labourers in the city's lumber yards, as stevedores at the docks, or in the mines. There were at least 30,000 practicing Hauka in Accra in 1954 when Jean Rouch was asked by a small group to film their annual ceremony During this ritual, which took place on a farm a few hours from the city, the Hauka entered trance and were possessed by various spirits associated with the Western colonial powers: the governor general, the engineer, the doctor's wife, the wicked major, the corporal of the guard.

http://comitedufilmethnographique.com/

http://en.wikipedia.org/wiki/Jean_Rouch

Un clásico del cine antropológico y de su relación con la realidad colonial. Les Maîtres Fous muestra los rituales del culto Hauka, una secta religiosa muy extendida por toda África Occidental entre los años veinte y cincuenta. Los practicantes del culto Hauka solían ser emigrantes de las regiones de Níger llegados a Accra y otras ciudades para trabajar en sus barracas, puertos y minas. En 1954, cuando un pequeño grupo de practicantes pidió a Jean Rouch que filmara su ritual anual, existían al menos 30,000 practicantes del culto en Accra. En esta ceremonia, celebrada en una granja a pocas horas de la ciudad, los Hauka entran en trance y son poseídos por diferentes espíritus asociados con los poderes coloniales occidentales: el gobernador general, el ingeniero, la mujer del médico, el alcalde malvado, el cabo de guardia...

http://comitedufilmethnographique.com/

http://en.wikipedia.org/wiki/Jean_Rouch

Maam Kumba

ovni archives 

  
Alioune N'diaye. 2008. Senegal, Belgium. vo French, Wolof. 26’

http://www.gsara.be/ 


Maam Kumba Bang is the spirit of the waters of the island of Saint Louis. Its mysterious and mythical presence governs the city and river and the collective imagination has built up a vivid picture around it. But only a few people can say that they have met this divinity. The film, through some accounts, re-evokes this ancient legend which continues to live. 

Maam Kumba bang es el genio de Saint Louis. Vive en el río Senegal. Su presencia encanta la ciudad y el río, todo un imaginario colectivo se construye a su alrededor. Pero ella siempre permanece misteriosa, y raras son las personas que pueden afirmar que la han visto para poder testimonio de su existencia. Para mi se trata de captar el misterio que rodea a esta mujer. Este documental es entonces la posibilidad de ir a su búsqueda y quizás encontrarla.

Mast Qalandar

ovni archives



Till Passow,  Germany, Pakistan, 2005, 30 min.

 
Above all, Mast Qalandar (Ecstasy) is a look at heterodoxy and a celebration of its existence. Qalandars are a Sufi brotherhood of roaming dervishes who once ranged through an arch that crossed Asia, from Turkey to Pakistan and India. They are characterized by extreme mystical devotion and their revolutionary and anti-dogmatic attitudes within Islam, such as use of hachis and the rejection of alcohol and free submission to Haqq, the truth, which they see as the absence of limits rather than something which narrows and defines horizons. “Mast Qalandar” immerses us in the ritual encounter of these dervishes around the grave of the brotherhood's founder in Pakistan. A vision of heir devotion to “the beloved” that leads them into trance and ecstasy, where death means simply to “draw aside a veil”.y, Pakistan, 2005, 30 min.

http://www.hff-potsdam.de/en/films-and-projects.html
 

Mast Qalandar (Éxtasis). Es ante todo una mirada a la heterodoxia y una celebración de su existencia. Los Qalandars son una hermandad sufi de derviches nómadas, que se desplazaban antiguamente en un arco que cruza Asia, desde Turquía, hasta Pakistán y la India. Se caracterizan por una devoción mística extrema y por sus actitudes revolucionarias y anti dogmáticas dentro del Islam. El uso del hashish y el rechazo del alcohol. La libertad en el sometimiento a el Haqq: la Verdad, entendida no como algo que estrecha y define horizontes, sino como ausencia de límites. Una visión de su devoción por “el amado”, hasta el trance y el éxtasis, allí donde la muerte es sólo “correr un velo”.

Los Lobos _ Les Loups

Francisco Ruiz de Infante. 1996. Spain, France. vo Spanish. 90’

The wolves, "Those savage animals from children's stories, aren't dead (that too was a lie). No one will guide you on this journey (that too was a lie)." Francisco Ruiz de Infante, 1995.

http://www.ruizdeinfante.org/

Los lobos: "Aquellos animales feroces de los cuentos infantiles no murieron (tambien eso era mentira). Nadie te guiará en este viaje (tambien eso era mentira)." Francisco Ruiz de Infante, 1995.  

Rites to the invisible