Click amount to donate direct to CounterPunch
  • $25
  • $50
  • $100
  • $500
  • $other
  • use PayPal
Support Our Annual Fund Drive! CounterPunch is entirely supported by our readers. Your donations pay for our small staff, tiny office, writers, designers, techies, bandwidth and servers. We don’t owe anything to advertisers, foundations, one-percenters or political parties. You are our only safety net. Please make a tax-deductible donation today.
FacebookTwitterGoogle+RedditEmail

Dancing the Revolution

by CONN HALLINAN

When we think of “resistance,” what mostly comes to mind is guerrilla warfare: Vietnamese closing in on the besieged French at Dien Bien Phu; Angolans ambushing Portuguese troops outside of Luanda; Salvadorans waging a war of attrition against their military oligarchy. But resistance doesn’t always involve roadside bombs or military operations. Sometimes it is sprayed on a Teheran wall, or rapped in a hip-hop song in Gaza. It can be a poem in Medellin, Colombia—arguably one of the most dangerous cities in the world—or come from a guitar shaped like an AK-47. In short, there are few boundaries or strictures when it comes to the imagination and creativity that people bring to the act of defiance.

That art can be powerful stuff is the central message that Brazilian filmmaker Iara Lee brings to her award-winning documentary “Cultures of Resistance.” Her previous films include  “Synthetic Pleasures,” about the impact of technology on mass culture, and “Modulations,” on the evolution of electronic music. Her most recent film is “The Suffering Grasses,” about the civil war in Syria.

Lee began “Cultures” in 2003, just before the Bush administration invaded Iraq, and her six-year odyssey takes her through five continents and 35 countries: Burma, Brazil, Rwanda, Iran, Burundi, Israel, Nigeria, the Congo, and Liberia, to name a few. In each case she profiles a grassroots movement that embodies the philosophy of non-violent resistance to everything from political oppression to occupation.

Lee, a co-founder of the Cultures of Resistance Network, is a social activist in her own country, where she has aided Amazonian Indians resisting the destruction of their lands and organized against the reign of violence—from both criminals and the police—in Brazil’s slums or Favelas. She is also a member of the Greenpeace Foundation, a member of the advisory board of the National Geographic Society, and a part of the world-wide campaign to ban cluster munitions.

She was also on the MV Mavi Marmara in 2010, the Gaza-bound Turkish ship boarded by Israeli commandos. Nine human rights campaigners were killed in the confrontation, and Lee and her crew managed to smuggle out video footage of the incident. However, U.S. media outlets refused to air it. Lee’s view of the world is not the sometimes distant lens of many documentarians, but the prism of an activist.

“Cultures” is a surprising film. Lee is a strong supporter of non-violence, but “Cultures of Resistance” is hardly about how hugs will free us all. She recognizes that resistance in the face of oppression—or indifference—can spark anger. The film begins with a remarkable segment on the Amazon’s Kayapo tribe resisting the construction of the Belo Monte Dam on the Xingu River. At one point the Indians’ frustration boils over and they attack an Eletrobras official—the company is the largest utility company in Latin America—with clubs and fists, tearing off some of his clothes and sending him off in bloody retreat. The unspoken point of the segment is that if non-violent resistance is ignored, things can turn ugly.

This is a lovely film, but there is darkness in it as well, some of it quite disturbing. Racks of skulls line a hut in Rwanda, where some 800,000 people were massacred in 1994, and a deserted church in that country is filled with piles of clothes, invoking the memory of Auschwitz and Buchenwald. But the message of the segment is not death, but life, and how post-genocide communities are coming together to rebuild.

Many of the profiles come from Africa: Nigeria, where local people are up against international oil cartels and their own corrupt government; The Congo, where a civil war over minerals has killed more than five million people; Liberia, where former child soldiers are being integrated back into post-civil war society.

But Lee casts her nets widely. The “Teheran Rats” are graffiti artists who wage clandestine war with spray cans in Iran. Hip-hop artists in Israel say they “sing rap for people who don’t listen to rap.” Poets from around the world gather in Colombia: “Poetry does not overthrow governments, but it does open consciousness and hearts,” one poet says.

Lee has an eye for beauty and drama. “Cultures” has a clear point of view, but it is not overly didactic, preferring to use juxtaposition and interviews—and lots and lots of good music—to make its points. A simple black and white shot of a very young child holding a semi-automatic pistol does a much better job of highlighting the problems of violence in the favelas than would some expert pumping out numbers. Not that the numbers are not there, just that Lee first gets the viewers attention through the art: information follows.

One of the films messages is that cultures of resistance—those that have the audacity to say “no”—have things in common. Leadership is not something that resides in one group of people or in a given country, but is everywhere that people dig their heels in and fight back. The Buddhist monks that challenged the military dictatorship in Burma share common ground with the Occupy Wall Street movement. Israelis opposed to the occupation of Palestinian lands, and Palestinians resisting the spread of Israeli settlements, meet in the medium of rap.

“We don’t have planes, missiles or white phosphorous” Lee told journalist Lisa Mullenneaux, “but we have our freedom to resist oppression. To sing, dance, and express how we feel about world politics. Global solidarity is the only thing that can promote real change.”

In a sense, Lee turns Emma Goldman’s slogan “If I can’t dance, I don’t want to be in your revolution” into “dancing can be revolution.”

CONN HALLINAN can be read at dispatchesfromtheedgeblog.wordpress.com and middleempireseries.wordpress.com. He is a contributor to Hopeless: Barack Obama and the Politics of Illusion.

Conn Hallinan can be read at dispatchesfromtheedgeblog.wordpress.com 

More articles by:

2016 Fund Drive
Smart. Fierce. Uncompromised. Support CounterPunch Now!

  • cp-store
  • donate paypal

CounterPunch Magazine

minimag-edit

Weekend Edition
September 30, 2016
Friday - Sunday
Henry Giroux
Thinking Dangerously in the Age of Normalized Ignorance
Stanley L. Cohen
Israel and Academic Freedom: a Closed Book
Paul Craig Roberts – Michael Hudson
Can Russia Learn From Brazil’s Fate? 
Andrew Levine
A Putrid Election: the Horserace as Farce
Mike Whitney
The Biggest Heist in Human History
Jeffrey St. Clair
Roaming Charges: the Sick Blue Line
Rob Urie
The Twilight of the Leisure Class
Vijay Prashad
In a Hall of Mirrors: Fear and Dislike at the Polls
Alexander Cockburn
The Man Who Built Clinton World
John Wight
Who Will Save Us From America?
W. T. Whitney
When Women’s Lives Don’t Matter
Howard Lisnoff
What was Missing From The Nation’s Interview with Bernie Sanders
Jeremy Brecher
Dakota Access Pipeline and the Future of American Labor
Binoy Kampmark
Pictures Left Incomplete: MH17 and the Joint Investigation Team
Andrew Kahn
Nader Gave Us Bush? Hillary Could Give Us Trump
Steve Horn
Obama Weakens Endangered Species Act
Dave Lindorff
US Propaganda Campaign to Demonize Russia in Full Gear over One-Sided Dutch/Aussie Report on Flight 17 Downing
John W. Whitehead
Uncomfortable Truths You Won’t Hear From the Presidential Candidates
Ramzy Baroud
Shimon Peres: Israel’s Nuclear Man
Brandon Jordan
The Battle for Mercosur
Murray Dobbin
A Globalization Wake-Up Call
Jesse Ventura
Corrupted Science: the DEA and Marijuana
Richard W. Behan
Installing a President by Force: Hillary Clinton and Our Moribund Democracy
Andrew Stewart
The Democratic Plot to Privatize Social Security
Daniel Borgstrom
On the Streets of Oakland, Expressing Solidarity with Charlotte
Marjorie Cohn
President Obama: ‘Patron’ of the Israeli Occupation
Norman Pollack
The “Self-Hating” Jew: A Critique
David Rosen
The Living Body & the Ecological Crisis
Joseph Natoli
Thoughtcrimes and Stupidspeak: Our Assault Against Words
Ron Jacobs
A Cycle of Death Underscored by Greed and a Lust for Power
Kim Nicolini
Long Drive Home
Louisa Willcox
Tribes Make History with Signing of Grizzly Bear Treaty
Art Martin
The Matrix Around the Next Bend: Facebook, Augmented Reality and the Podification of the Populace
Andre Vltchek
Failures of the Western Left
Ishmael Reed
Millennialism or Extinctionism?
Frances Madeson
Why It’s Time to Create a Cabinet-Level Dept. of Native Affairs
Laura Finley
Presidential Debate Recommendations
José Negroni
Mass Firings on Broadway Lead Singers to Push Back
Leticia Cortez
Entering the Historical Dissonance Surrounding Desafinados
Robert J. Burrowes
Gandhi: ‘My Life is My Message’
Charles R. Larson
Queen Lear? Deborah Levy’s “Hot Milk”
David Yearsley
Bring on the Nibelungen: If Wagner Scored the Debates
September 29, 2016
Robert Fisk
The Butcher of Qana: Shimon Peres Was No Peacemaker
James Rose
Politics in the Echo Chamber: How Trump Becomes President
Russell Mokhiber
The Corporate Vice Grip on the Presidential Debates
FacebookTwitterGoogle+RedditEmail
[i]
[i]
[i]
[i]