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1. Cultural Events in a Sahelian Town Series

This series follows naturally from my life in Keur Momar Sarr, a small sahelian town in Senegal, where I have lived, an visited, for several periods since 2007. These videos weren’t filmed with a particular intention. They were neither part of a project of documenting local cultural manifestations, nor were they completely random. They emerge as a series only here, as I collect them from my own archive. Some other video will be added to complete the series.
The footage from 2011 to 2013 is circumstancial and unprepared, an extension of my social relations during this time where I lived for two and a half years here. The remainder of the footage is from 2008 documentary Waalo Waalo.
These videos are part of an ethnographic approach. Unedited or with minor edition they document cultural events in this town, between 2008 and 2013. Each video is accompanied by a short explanation of context.
There were several instruments used and the technical aspects of footage haven’t had the opportunity to be prioritary. These were always subsumed by the ethnographic effort, concerned with other areas other than cultural performances. Despite that, these videos still form a set of manifestations engaged with by local populations on a regular basis, somewhere where main events are mostly religious (and/or political).

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2. Walo Walo Series

This series is a project of recovery of  footage from the Walo Walo film. In 2008 me and a friend have filmed 50+ hours in and around the village of Keur Momar Sarr with the objective of producing a documentary film about the hardships of access to safe water resources.  In many ways we were successful in our research as we tried to portray what we found. We managed to gather relevant testemonies about people’s experience and stress the ambiguities of inhabiting a place nearby a lake, whose water is not proper for consumption. We were unsuccessful in creating “a film”, although we did finish a documentary (which is available here), or as I’d rather call it “a research documentary”. I call it that way to distance it from the filmic experience, which entails a different mindset, and to render it closer to the academic universe, which is actually the predominant language used throughout. 
By reducing 50+ hours of footage to 69 minutes with a clear line of argument there were plenty of images left behind. This series is an effort to rethink that footage and highlighting new things that benefit from all the experience acquired in the meantime. 

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