• The Wish to be a Red Indian

    On: 20 gennaio 2020
    In: 2020, Senza categoria
    Views: 67
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    «If one were only an Indian, instantly alert, and on a racing horse, leaning against the wind, kept on quivering jerkily over the quivering ground, until one shed one’s spurs, for there needed no spurs, threw away the reins, for there needed no reins, and hardly saw that the land before one was smoothly shorn heath when horse’s neck and head would be already gone». (Franz Kafka, “The Wish to be a Red Indian”, Meditations, 1904-1912)

    NOMADICA presents
    The Wish to be a Red Indian
    a film program curated by Riccardo Re
    January 31, 2020 – h21.00 (open at h19.30)
    Menomale, via de’ Pepoli, Bologna
    fb event

    Night Horse
    Jeroen Van Der Stock, Belgium | 2019 | HD | Sound | 19’
    A horse in different shapes, obscurity, digital artefacts and an electroacoustic soundscape are the main travelers on an abstract journey through the night. ​–A short film entirely based on footage from unsecured live surveillance cameras–


    Wishful Thinking
    Allan Brown, Canada | 2017 | Super8 | Sound | 13’
    Trotters come round the bend with Immanuel Velikovsky as race caller. Why can’t we believe in “if” anymore. “the audio interference that he (Brown) whips up and cycles has the effect of sounding like a brewing storm. The stuttering images of horse-drawn chariots again evoke a coming apocalypse. Is Brown wishing for the end of the world, or for aesthetic gale winds that can bring order to chaos?” (Greg deCuir, curator/programmer)


    Dreamland
    Allan Brown, Canada | 2018 | Super8 + HD | Sound | 13’
    Accented by collaged radio audio fog of alien invasion paranoia, oneiric images from Serbia fuse with the Canadian Shield of northern Quebec. Dreamland is a conjuring of spectres through hypnotic frequencies; a journey through alien landscapes and brutalist dreams.


    The Glass Note
    Mary Helena Clark, US | 2018 | HD | Sound | 9’
    In The Glass Note, a collage of sound, image, and text explore cinema’s inherent ventriloquism. Across surface and form, the video reflects on voice, embodiment, and fetish through the commingling of sound and image.


    D’étranges vues et de joyeux vestiges
    Guillaume Mazloum, France | 2018 | 16mm | Silent | 12’
    Accumulation of worried images, which were meticulously manipulated. Those strange views are accompanied by joyful vestiges, some words gleaned from renowned or dark poets, sometimes even from the enraged walls of the city. Those proud gleams, those removable faces, those moving bodies, become the elements of a research about vision and gaze, the protagonists of a nascent dialog, the traces of times and places that we still have to observe.


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  • Lubiana, Cineteca Slovena / Nomadica, labirinti di luce.

    On: 7 gennaio 2020
    In: 2020, Senza categoria
    Views: 40
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    Cineteca Slovena, Lubiana. 16 Gennaio 2020, h20.00
    “Labirinti di luce”, un programma a cura di Nomadica
    (saranno presenti Giulia Mazzone e Giuseppe Spina)

    Nomadica è un network per il cinema di ricerca che ha sede in Italia. In modo del tutto libero dalle trafile distributive e produttive, Nomadica sostiene la creazione e la circolazione di opere realizzate da cineasti e artisti che lavorano in modo autonomo. Dei sei film d’animazione che compongono il programma solo il primo Il muro (1970) ha alle spalle una società di produzione (la mitica Corona Cinematografica, società romana che dalla fine degli anni ’40 produsse migliaia di film non solo di autori affermati ma anche di giovani cineasti sperimentali), ma questa e le altre opere sono il risultato di gesti artistici solitari e/o appartati. Ed è proprio l’atto di creazione – come luce che emerge, è contenuta ed esplode dal buio – che diviene il tema centrale e la suggestione alla base del percorso qui proposto.
    Manfredo Manfredi (MM), nato nel 1934, studia architettura e nel 1958 si diploma in Scenografia all’Accademia di Belle Arti di Roma, che negli anni ’60, è uno dei centri artistici più attivi al mondo: suoi amici sono Pascali, Kounellis, Ceroli, Piruca, artisti che hanno segnato la ricerca italiana. La sua sperimentazione nel campo del cinema d’animazione inizia nel 1963 e pur appartenendo alla fase in cui MM seguiva le classiche tecniche dell’animazione, Il muro presenta delle rilevanti ibridazioni: il disegno su rodoide si intreccia alla pittura animata e all’elaborazione di emulsione su pellicola, con un ritmo incalzante e ricco di sovrapposizioni e fader incrociati.
    Con Dedalo (1976) MM si ritrova per la prima volta a lavorare in totale solitudine: una matita a carboncino e dei fogli di carta, non crea movimenti e zoom con la verticale (strumento usato nel cinema d’animazione classico, la macchina da presa veniva fissata su un’asse verticale e dall’alto veniva mossa per dare movimento ai disegni) ma li disegna direttamente sul foglio, creando una sorta di scatola cinese. Allarga il quadro del fotogramma rispetto all’area del disegno, e mette in mostra l’illusione stessa dell’animazione, ne rivela il meccanismo artistico. Grazie all’unicità della sua forza poetica Dedalo riceve il Gran Premio al festival d’animazione d’Ottawa e una nomination all’Oscar.
    Negli anni a seguire MM lavora all’interno della società Cineteam, realizzando sigle TV e spot pubblicitari che sono veri esperimenti tecnici e artistici, e così bisognerà attendere gli anni ’90 per giungere a nuove importanti opere. Tra queste proponiamo il Canto XXVI dell’Inferno di Dante (1997), realizzato con la tecnica della pittura su vetro. Pennellata dopo pennellata, frame dopo frame, l’artista compone i suoi quadri, li trasforma e li distrugge. Non resta traccia dei dipinti se non nella pellicola che li ha impressionati e nella memoria di ognuno di noi.
    Nomadica è anche e soprattutto una zona franca fatta di legami e di incontri. Lo scambio e l’intreccio tra artisti, intellettuali, tecnici, porta a nuovi percorsi da esplorare. Così la collaborazione con MM ha condotto alla realizzazione del suo Lo spirito della notte (2018). Dopo quasi vent’anni fuori dal cinema e interamente dedicati alla pittura, sfodera un linguaggio vivace e divertito, “giocando” con decine di tecniche, affrontando il digitale e confermando la sua maestria. L’incontro avviene con Giuseppe Spina, che in questo film si occupa del montaggio e aiuta MM alla regia, e con Andrea Martignoni che ne cura i suoni.
    Gli ultimi anni sono stati al contempo segnati da una serie di incontri: in collaborazione con Leonardo Carrano, artista legato al cinema d’animazione sperimentale, è nato Màcula (2018), bizzarra e cupa opera che intreccia disegni su carta, differenti elaborazioni chimiche su emulsione Fujifilm 35mm, la voce e i testi del genio del teatro italiano Antonio Rezza e la musica del M° Ennio Morricone. Màcula ha alla base degli studi sul fenomeno entoptico (entós ‘dentro’ e optikós ‘del vedere’), si tratta di percezioni visive, macchie di luce, che si generano direttamente all’interno del globo oculare, soprattutto in condizioni prolungate di oscurità. Luminous variations in the city skies (2019), è ad oggi l’ultima animazione, un film realizzato con migliaia di lastre fotografiche degli anni ’50, da noi ritrovate alla Torre della Specola di Bologna: uno sguardo silenzioso verso le stelle e il passato, attraverso l’invenzione – ancora un atto creativo – di un grande scienziato.

    http://www.kinoteka.si
    http://www.kinoteka.si/si/463/748/Animateka_Labirinti_svetlobe.aspx

    PROGRAMMA (durata 70 minuti)

    Il muro di Manfredo Manfredi (Ita, 12’, 1970)
    Il muro riflette sulla condizione dell’arte di fronte alla distruzione della società post-atomica. Attraverso situazioni allegoriche dipinte con suggestive animazioni dai tratti marcati e aspri che prediligono i toni cromatici freddi, il film ritrae con dura rassegnazione lo sguardo e l’impossibilità di un’artista davanti al destino di morte e consunzione di un’intera società.


    Dedalo di Manfredo Manfredi (Ita, 11’, 1976)
    Composto da disegni su carta dai forti contrasti chiaroscurali, il film esprime una tensione metafisica attraverso un raffinato equilibrio grafico e una trama onirica che evidenzia una chiara dimensione autoriale e d’artista.

    Dante. La Divina Commedia, Inferno, Canto XXVI di Manfredo Manfredi (Ita, 10’, 1997)
    È il canto di Ulisse, ci si trova nell’ottava Bolgia dell’ottavo Cerchio dell’Inferno, il girone infernale dove sono puniti i consiglieri di frode. Realizzato con la tecnica della pittura su vetro.

    Lo spirito della notte di Manfredo Manfredi (Ita, 12’, 2018)
    L’artista ritorna nel suo atelier, di notte. Le fantasie, le inquietudini, i ricordi si sovrappongono e prendono vita, fino all’alba, quando il mondo riprende la routine quotidiana.
    “La notte è spesso intesa come un luogo “altro” dove la mente si avventura nell’approssimarsi del sogno o nella lucida speculazione intellettuale. La notte è spesso un luogo dell’arte ed è a questo spazio fisico e mentale che si rivolge questo breve film” (MM).

    Màcula di Giuseppe Spina e Leonardo Carrano (Ita, 19’, 2018)
    In un indefinito spazio nero emerge a fatica la figura di un essere. Màcula ha contorni vaghi, vive nel buio come può e il suo sistema nervoso è sganciato, acrobatico verso la dissoluzione. Il film è un duello tra luce e buio, tra l’elaborazione di pellicola 35mm e i disegni animati su fondo nero. Il testo e la voce sono di Antonio Rezza, la musica di Ennio Morricone.

    Luminous variations in the city skies di Giuseppe Spina (Ita, 6’, 2019)
    Tra il 1932 e il 1957, alla Torre della Specola di Bologna, fu inventata una tecnologia ottica che rivoluzionò il metodo di osservazione dello Spazio. Una serie di specchi esagonali affiancati l’uno all’altro, vennero posti alla base della torre. Perpendicolare agli specchi venne montata una macchina fotografica mobile, che impressionò migliaia di lastre di vetro, compiendo una rassegna sistematica del cielo zenitale della città. Fu l’astronomo triestino Guido Horn D’Arturo a ideare e realizzare in trent’anni di ricerche lo “specchio a tasselli”, oggi alla base dei telescopi più avanzati.  Le lastre fotografiche – ricche di immagini puntiformi, e oggi di macchie ed emulsioni deteriorate dal tempo – sono state riprese mediante processi di ingrandimento e cinematografate.

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  • Field Studies: Rose Lowder and Scott Hammen (Fri. Nov 1 – h18.00)

    On: 1 ottobre 2019
    In: Senza categoria
    Views: 0
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    curated by Francisco Algarín Navarro

    BOUQUET 5 © Rose Lowder. Courtesy of Light Cone.

    VOILIERS ET COQUELICOTS
    Rose Lowder, 2001 | 16mm | color | silent | 2′ | 🎥 16mm

    BOUQUETS 1-10
    Rose Lowder, 1994-1995 | color | silent | 11′ 33” | 🎥 16mm

    BOUQUETS 21-30
    Rose Lowder, 2001-2005 | 16mm | color | silent | 14′ | 🎥 16mm

    ***
    SEVEN LANDSCAPES
    Scott Hammen, 1995 | 16mm | color | silent | 11′ | 🎥 16mm

    FIELD STUDIES
    Scott Hammen, 1996 | 16mm | color | silent | 10′ | 🎥 16mm

    LOG ABSTRACT – 1985-87
    Scott Hammen, 1990 | 16mm | color | silent | 17′ | 🎥 16mm


    “If we make a film program, renting short films is more expensive. For a program composed of ten films of ten minutes each, the invoice will prove to be a bit more expensive, but the spectator, watching the program in its entirety, is likely to feel that she/he has watched a much longer program, having seen so many different things – especially if the program is composed of a wide range of films.”

    Rose Lowder

    Rose Lowder’s filmmaking practice is based on a suspicion: pondering on the common assertion that film runs at the speed of 24 frames per second, she noticed that, on the screen, each image doesn’t seem to last the same amount of time. The size is identical, but, in its succession, the resulting image is a composite one. Before owning a camera, Lowder dedicated her time to the study of perception processes, making films with clear leader, a paper perforator and permanent markers. What was the right interval between two frames in order for the eye to compose one single image with two motifs? By way of stimulating certain receptors, two distinct images could be perceived simultaneously. Between the reality of the film strip and the natural quality of the perceived image during the projection, between the images perceived on both surfaces, Lowder discovered an infinite space where she could manipulate optical subtleties created by the enjambment of the images during the screening.

    Later, the Bolex 16mm camera allowed Lowder to shoot frame by frame, emulsifying alternate frames, thus leaving some unexposed. By rewinding the film in the camera, she exposed a second time the frames that she had previously exposed, in such a way that the intertwining of frames generated a superimposition that appeared only on the screen. Again, the perceptive system was based on the overlap of the stimuli. Lowder compared her working method to that of pointillist painters, when they placed a red flower next to a green object in order to enhance the consistence of colours, to make them more vibrant. Just like the coloured flowers that Lowder recorded in each frame, in those paintings the coloured strokes were not superimposed but stood side by side on the painting. In the same way, the filmmaker exposed frames, skipped others, rewinded and created double exposures with previously unexposed frames. On the film strip, we see the red flower along with the yellow and the blue one; on the screen, we see a bouquet of flowers, the colours being perceived simultaneously. The film is exposed in the same way a piece of fabric is woven, by recording the images in various orders and places, and moving forwards and backwards.

    Complete film rolls ran more than once in Scott Hammen’s Bolex as well. Two similar shots show two adjacent fields – in one the crop is more advanced than in the other. By stimulating some receptors (like the privileged presence of the lines, or the forms and the colours) it is possible to intervene within our perceptive system and get it accustomed to the next 24 still images to come, which are closer in time and in space. It is precisely this act of interlacing that allows the unification of two images for the perceptive system, be it recorded in the same place in different time periods – like in Lowder’s films – or at the same time – in Hammen’s landscape films. Sometimes cinema can show us the same point of view recorded in different time periods, like in Rose Lowder’s work (blooming, foliation, fruition) or, through patient attention to the observable natural phenomena (wind, light changes, weather), it can reveal an underlying structure in the chronology and the passing of seasons, or determine the order of the sequences (as in those études en plein air by Corot, to whom Hammen feels so close). As though they were applying brush strokes on a particular portion of the canvas, both filmmakers edit their films in-camera during the shooting itself. The rhythmic punctuation created by the return of the same images in their different takes, or the alternation of the 24 fps speed with other speeds (Lowder), or the creation of layers from multiple shots of the horizon (Hammen) are modulations that are not composed prior to the shooting of the film.

    Nevertheless, the working methods and processes of both filmmakers are thoroughly different. Hammen’s practice was based on looking at the processed film, keeping what was interesting to him and filming again, without taking any kind of notes. His films are successions of sequences, separated by black leader, short blinks that clear the viewer’s sight. The use of multiple exposure is only a very small part of Hammen’s technique. Hammen used to go out to film bringing along a suitcase full of objects, dreaming of Charles-François Daubigny’s bateau-atelier, a floating workshop. Besides colour filters, the use of of black cardboard pieces allowed him to mask parts of the frame and to combine them with frames and borders of various colours. The shorter the focal length and the higher the f-stop (the aperture), the greater the depth of field and the detail of the borders between the masks. In other occasions, Hammen used supplementary masks – one of these consisted in a black rectangle surrounded by a transparent one; another one was a small transparent frame surrounded by a black one. By filming the takes with a wide focal length and strong solar light, Hammen obtained very different results with his cardboard masks than the ones he had achieved with mirrors. The mirrors had allowed him to see the effects in real time through the camera viewer. This gave him the chance to work with only one exposure (should he manage to obtain the reflection of the main image), thus avoiding the juxtaposition of images filmed in different moments, which is what happens with the cardboard masks.

    In his series dedicated to the Sainte-Victoire mountain, Cézanne rendered the real perceptions of the mountain – both its relief and its varied mass. Talking about Rose Lowder’s cinema, Laure Bergala evoked the “plots” that compose all the different facets of a mountain at the same time.Lowder reached the conclusion that the smallest unity in the practice of filmmaking is not the shot, and not even the single frame, as Peter Kubelka once said, but the fragments of each frame that could compose what we see on the screen. It’s the meticulous exploration of the Bolex that allowed Lowder to understand that what we call reality is in fact much more interesting projected on a screen than perceived by the naked eye.

    Even if Lowder used to weave her films frame by frame, on other occasions she also exposed the roll continuously. By only changing the framing and the focal point, she avoided filming both descriptive and abstract shots in filming a river’s waterfall or a small pond inhabited by turtles. These works on “observed reality” – or its agreed upon appearance – are the result of the extreme concentration necessary to the configuration of the images that were forming during the transformation of the motifs, chosen according to the probable evolution of its parameters.

    Just like the type of emulsion chosen in accordance with its sensibility will determine the graphical qualities,  the roughness of the textures, the definition of the shapes, the volumetric components, the size of the grain or the recording and interaction possibilities (Hammen used to shoot his landscape films with a 25 ASA Kodachrome film, which allowed him to overexpose or underexpose the bright yellow colza, the dark line of trees in the background or the deep blue, saturated sky as he liked), Lowder knew that the precise selection of the focal point for each image would not only generate a change to a new “plot of the real”, but also a new framing. And that’s how Lowder, in these films shot in continuity, chooses a type of focal point just for one frame then the next focal point for various images, or returns to one that was already used, but for a different number of frames, thus modifying the composition perceived on the screen.

    Unlike our eyes, Lowder says, the camera only has one eye: reducing this difference is, therefore, necessary.

    Montage of notes elaborated from various statements by Rose Lowder and Scott Hammen:

    – «Entrevista con Rose Lowder», by Vanessa Agudo, Francisco Algarín Navarro, Celeste Araújo, Arnau Vilaró. Forthcoming in Lumière.

    – «Entrevista con Rose Lowder», by Boris Monneau. Xcèntric Cinema. Conversaciones sobre el proceso creativo y la visión fílmica. Barcelona: Terranova, 2018.

    – «Bouquets d’images», by Rose Lowder, booklet, París: Re:voir, DVD. [ESP]

    – «Donner à voir plus que ce qui est filmé. Entretien avec Rose Lowder», by Éric Thouvenel, Carole Contant. Fabriques du cinéma expérimental. París: Paris Experimental, 2014. [ESP / ITA]

    – «Entrevista con Scott Hammen», by Francisco Algarín Navarro. Forthcoming in Lumière.

    • Translated from Spanish by Stefano Miraglia & Renaud Lejosne.
      Spanish version here

     

    About Log Abstract by Scott Hammen:
    ESP / ITA

     

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  • WOM Selection 5 (Sun. Nov 3 – h18.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0
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    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    MY ECHO, MY SHADOW, AND ME
    Roger Deutsch, Hungary | 2019 | Super 8/16mm | Color, b/w | Sound | 8’ | Sub Ita

    A man loses himself.

    Excerpt: https://vimeo.com/359534851

    VEVER (FOR BARBARA)
    Deborah Stratman, USA | 2019 | 16mm | Color | Sound | 12’ | Sub Ita

    A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti.

    A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.

    A RETURN
    James Edmonds, UK | 2018 | 16mm | Color | Sound | 6’
    To return again, to re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one’s being.
    A series of rapid contrasts, a synthesis of elemental and everyday experience:
    structures shift and intermingle, two worlds become one.
    “A Return consists of two reels of 16mm film shot on a visit to my home village in the South of England. The footage begins in Berlin, in the location I was working with Robert Beavers on the restoration of Gregory J. Markopoulos’ epic film cycle Eniaios. Following on from this starting point, I continued to shoot people and locations from my everyday life – returning to England during the Christmas holidays, a gathering of old friends, the house of my parents, and glimpses of ancient folk traditions they are involved in. […]” (JE2018)
    DITËT E LUFTËS (DAYS OF WAR)
    Alex Faoro/Helena Deda, USA | 2019 | Video | Color | Sound | 3’

    My wife Helena was five years old when the Kosovo War began in February of 1998. She and her family were forced to flee their homes as Serbian soldiers swept the countryside, massacring ethnic Albanians and destroying their land. Ditët e Luftës is a meditation on these experiences of war and displacement.

    Excerpt: https://vimeo.com/339751306

    SCENES FROM A TRANSIENT HOME
    Roger Horn, Zimbabwe | 2019 | Super 8 | Color | Sound | 13’

    Filmed on Super 8mm, Scenes from a Transient Home presents a fractured portrait of life for Zimbabwean migrant women when they visit family back home.

    trailer: https://vimeo.com/302537201

    UNLESS YOU’RE LIVING IT
    Sarah Bliss, USA | 2019 | 16mm | b/w | Sound | 8’

    A portrait of place and power in rural white Ontario that challenges the correlation between seeing and knowing, and the ravages of late-stage capitalism. Hand processing, contact printing, tinting and toning engage the film as a body that, like the residents of Mt. Forest, sustains injuries, wounds and burdens, but also has the capacity for delight, revelatory pleasure, and transformation.

    Extract: https://vimeo.com/341796615

    HALF HUMAN, HALF VAPOR
    Mike Stoltz, USA | 2015 | 16mm | Color | Sound | 12’

    This project began out of a fascination with a giant sculpture of a dragon attached to a Central Florida mansion. The property had recently been left to rot, held in lien by a bank. Hurricanes washed away the sculpture.
    I learned about the artist who created this landmark, Lewis Vandercar (1913-1988), who began as a painter. His practice grew along with his notoriety for spell-casting and telepathy.
    Inspired by Vandercar’s interest in parallel possibility, I combined these images with text from local newspaper articles in a haunted-house film that both engages with and looks beyond the material world.

    Excerpt: https://vimeo.com/232281522

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  • WOM Selection 6 (Sun. Nov 3 – h19.00)

    On: 26 settembre 2019
    In: Senza categoria
    Views: 0
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    curated by Giulia Mazzone, Giuseppe Spina, Riccardo Re

    LA BALA DE SANDOVAL
    Jean-Jacques Martinod, Ecuador | 2019 | Super 16mm | Color | Sound | 17’

    Isidro wanders through the rainforest while he and his brother recount the times he found himself face to face with death itself.

    Trailer: https://vimeo.com/311506789

    HOARDERS WITHOUT BORDERS 1.0
    Jodie Mack, UK | 2018 | 16mm | Color | Silent | 5’ 45’’

    Featuring crystallized magic markers and the kidney stone of a horse, the generously-curated mineral collection of Mary Johnson comes to life in a manual labor of love for the process of archival procedure.

    XOCHIPILLI
    Annalisa Donatella Quagliata, Mexico | 2018 | 16mm | b/w | Silent | 1’30’’

    Short film that captures fragments of the statue Xochipilli “The prince of flowers;” aztec god of art, dance and poetry. The statue is covered with flowers, some of them psychoactive plants. The figure seems to be in a trance; looking up to the sky, in communication with the divine.

    PIRAMIDE EROSIONADA
    Colectivo Los Ingrávidos, Mexico | 2019 | HD | Color | Sound | 9’

    Mexican Colectivo Los Ingrávidos’ films break away from the entrenched viewing patterns of the dominant film and TV culture. Piramide erosionada is indeed something else: a wild, single-frame, free jazz film experience, completely removed from traditional cinematic linear storytelling. The poetic synopsis: “The piramid used to be a mountain.”

    RESISTANCE
    Laurence Favre, Switzerland | 2017 | 16mm | Color | Sound | 10’50’’

    Resistance is a series of visual and sound impressions of a melting glacier. Beyond its majestic appearance sporadic elements reveal its fragility. Objects regurgitated through the melt witness the passing presence of mankind, leaving traces and scars. Never ending sounds of collapsing ice blocks under the weight of stones continuously reveal the symptoms of an evident decrease. This landscape that at first seemed motionless appears to be permanently changing. And yet in tension this magnificent and frightening body of ice and stones stands, impressive, resisting.

    RANG MAHAL (PALACE OF COLOURS)
    Prantik Basu, India | 2018 | 2K | Color | Sound | 26’

    Until recent years, the Santhali tribe of India did not have its own written language. Their stories and myths were preserved and passed on verbally through the generations. Each narration has a different form, much like the rocks of a nearby hill that come in various hues. While a woman from the community narrates a tale about the origin of creation and how their first house was built, the village prepares for an annual ritual.

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