WEBVTT

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To begin with, we will reflect here on
what we understand by culture in this episode.

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Culture is thought here
in its anthropological sense,

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that is, as a way of life,
as a world view.

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By culture we understand
the different existing knowledge,

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the different ways of doing it,
to feel, to produce.

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Culture is thought here
as a human right,

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Mário de Andrade said that culture is
as important as bread, food.

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Without culture there is no life.

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It is essential for human survival,

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for the preservation and renewal of life.

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Without culture there is no life in society,

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because culture is at the base of human
relationships, dialogue and exchange.

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Everything here is a party,
everything is a party here.

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You are here, soon one will arrive,
another will arrive,

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then one takes the pan, beats it,
soon the samba is formed.

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Everything here is a party.

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In the past, samba here was like this,

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we used to do it on birthdays, right?

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At Saint Joao, after Saint Joao,
we used to do the samba of Saint Joao,

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it was always at the houses.
“Today samba is in someone\'s house”

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then that group was already going to that house
because they knew there was going to be samba, you know?

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It was like that.

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“Good morning, community.
Our radio station A Voz da Terra is on the air.”

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“That\'s it, guys, today is October 12th,
Children\'s Day!\"

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“We will be at the Beira Mar kiosk
together with Ascomat”

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“doing activities and games
for all of you.\"

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“- Participate with us.
- It\'s at 10 o\'clock, participate.”

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“Our broadcaster Débora Freitas
will be dressed as a princess.”

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“- Good morning, children!
- Good Morning!\"

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“Shall we start our little game today?”

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\"One two Three...\"

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\"It\'s over!\"

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Ascomat existed on the initiative of
a lady called Dona Angelina and Deni.

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Deni is a person who is not from here
but she fell in love for here.

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So when she got here,
talking to Dona Angelina,

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and then Dona Angelina started to tell her

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how many things there were here inside
Matarandiba that no longer existed.

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One of them was the Suit of Kings,
and a manifestation called Zé de Vale.

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Then she was enchanted by the story and the two
started to do reseach in the community,

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talking to each other,

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and they had the idea of reactivating the Suit of Kings,

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who was 53 years old and no longer existed here in Matarandiba.

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And then the association was founded,
was registered in 2008,

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and since then we\'ve been doing
this work with the whole community,

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always involving culture,
reading and memory.

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Our biggest target is children,
we work more here with the children,

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adults, only in demonstrations.

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But the day to day of our association,

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who governs, who mobilizes,
are the children, so

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practically every day we have activities
in the association involving children.

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\"- Welcome!\"

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In 2007, when Ascomat appeared,

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we saw that the community was
losing the essence of culture, right?

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that the culture is very alive here.

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It was very much alive, and
today it was born again,

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after the creation of Ascomat.

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“Who wants to play, put your hand up!”

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Culture is what gives meaning to human life.

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Of existence, of resistance and of revolution.

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And that\'s why culture and the solidarity
economy have everything to do with it.

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Paul Singer, National Secretary
for Solidarity Economy,

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already said that the solidarity economy requires
a cultural revolution,

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it is itself a cultural revolution.

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By breaking this logic
of capital and labour,

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the solidarity economy
puts life first.

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All this from the perspective of the
local, territorial and human development.

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It is very important to connect the
solidarity economy to culture and development.

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I was born here, I grew up here,

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I worked there for 23 years.

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I started working when
I was 18 years old.

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My day to day is fishing,

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is to put them in the cages...

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When it\'s the other day, about three,
half past three I\'ll get the cages,

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then I\'ll take the crabs out
and put them in the bucket.

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For the solidarity economy, it is not
possible to understand in practice

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an economic activity that is
dissociated from life in society,

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and culture participates in life in society.

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So when we think about the relationship
between solidarity economy and culture,

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we think immediately
in different forms

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of cultural manifestations
that exist in the territories.

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The example of Matarandiba,
which is this experience

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that we\'ve been following for a long time,

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is revealing of this, Matarandiba is a
community of shellfish gatherers and fishermen,

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a humble community, but which has
a very strong cultural force.

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And that has to do with the history of
the different cultural and typical manifestations,

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of relatively well-known traditions
here in this region of the Northeast, of Bahia,

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and this community managed
to preserve this memory,

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which is something you rarely see in
communities that go through exclusion processes.

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The \"samba de roda\" started
with us, really.

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It came from childhood,

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then the samba was made.

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Here the samba dawned, my dear.

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The day dawned.

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And then every...

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At each stop we take another
one to move forward.

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We took another one.

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Samba has a lot, there\'s a lot of samba here.

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And there in Matarandiba,

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in the network that we call the network
of culture and solidarity economy of Matarandiba,

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these cultural manifestations

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and these cultural initiatives
play a very important role,

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it\'s like they\'re a link
that allow to articulate

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socio-organizational practices
with socio-economic practices,

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and this is a way for us to see,
for example,

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first a different economy, right?
The solidarity economy,

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and second, an equally different relationship
between economy and culture.

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The Sonho Real bakery is the newest
Ascomat enterprise.

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It is an old dream, but
it was born in 2015,

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and before

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when the bread came
to our community, it came

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in an unsuitable means of transport.

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So we had this dream,

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the community had this dream
to have quality bread,

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and a milk bread that
actually took milk.

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I actually learned to make bread here,

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with the other bakers who were here.

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Because bakers came from outside,

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then they taught me,

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I taught some people
and then I left, went to work outside.

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Now I\'m back again,
I was unemployed here,

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then they talked to me, called me
and asked if I wanted to come.

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Then I\'m working here again.

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So, the community garden emerged from
the need that was seen in the community

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of having these products such
as fruits and vegetables,

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coming from other locations
to the community,

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and we know it\'s not organic,

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then the community garden
is completely organic,

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we work with organic products.

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Today there is a group of four people,

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there are three teenagers and one adult
who follows up with them

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more on the information side,

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and the young people
work in the garden,

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plant, water, take care
of the whole process.

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After they harvest, they sell
it right here in the community,

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and it\'s all totally natural,
all organic.

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Culture is something dynamic, alive. It is
nourished, renewed, in exchange, in dialogue,

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and provides the development
of alterity, of respect for the other,

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the construction of identification relationships,
of belonging.

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Culture, while dealing with
the construction and transformation of the present,

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it is what allows us to connect past and future.

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The possibility of building relationships
of belonging, of rooting,

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without culture we cannot build
a project for the future and a project for society.

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So the culture is what gives this meaning
of existence to human life.

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The first thing done here was
the memory point, by the association,

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we thought of saving memories
of Matarandiba in a single location.

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Then we created the memory point

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which is where the community donated what
reminded them of some history to the museum.

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And then it was done like this: each person
of the community was taking that

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that they had stored in memory, that were
no longer used and that were kept there.

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Here there are several types of porcelain,

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with phytomorphic elements, polychrome.

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We also have here candlestick,

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that light thing I forgot the name of.

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It has a button fastener,

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which is pretty heavy. As I said,
here is the numbering of this, look.

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Each one has a number, in case it disappears
or someone borrows it, we already know,

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and there\'s also below.

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Here.

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It\'s very old, here is aunt Dinho,

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and she did catechesis,

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here are the catechesis students.

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Very old.

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There are many objects that we have there, which were
donated by people here in the community.

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We went through a process here
in which we went to people\'s doors,

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to see what they did with that piece,

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what was the name of the piece
and what was it used for.

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And who donated.

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We were making the selection,

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it was in the homes of the
people in the community

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and after we collected this process
we went inside the collection

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and we documented every piece.

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Here is the whole identity
of this piece.

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“At the top, with a letter embroidered
in beads”, as it is here,

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“and sequins. Flower vase
in fabric and blue tones.”

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It is difficult to constrain culture and
think of it in one or two dimensions.

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Just as human experience is plural
and diverse, so is culture.

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So the sambadeiras, for example from
Voa, Voa, Maria, from Matarandiba,

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sing with great joy and pride.

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They sing with their hearts and
with love for their own reality,

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in a meeting that involves six
generations of musical influences,

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strengthening these bonds of belonging
and celebrating the memory,

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the territory itself.

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Hello guys! The big day for the
release of our first CD is coming

00:18:10.270 --> 00:18:12.520
of the samba de roda Voa, Voa, Maria.

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It will be this Saturday the 13th.

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It\'s the launch party of our first CD.

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Participate with us!
It\'s here in Matarandiba, starting at 4 pm.

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It will be a day of samba,
to celebrate dreams that come true,

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and samba to resist.

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I fell in love with the culture,
my parents were from the culture,

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they left but we stayed,
we continued.

00:18:40.710 --> 00:18:43.760
The samba de roda in
the first place, right?

00:18:43.760 --> 00:18:46.800
I\'m the coordinator of
samba de roda, right?

00:18:48.260 --> 00:18:51.060
and I made some songs.

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I like samba, but as they
didn\'t have people to sing,

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then I, as I always liked to sing,

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because for everything here I was always
available to sing, everything was me,

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it was Bois de Janeiro, it was São Gonçalo,

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I\'ve already screamed a lot in these
streets of Matarandiba, my son,

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you do not know how much.

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My entry into this project was in 2006,
October 2006.

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Then, in disc recording,

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I did the musical direction

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and I was kind of an articulator of this process
of building the arrangements,

00:19:38.560 --> 00:19:41.530
so i worked
with the other teachers

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and tried to articulate

00:19:46.200 --> 00:19:47.570
the jobs, right?

00:19:47.780 --> 00:19:50.120
see the disc

00:19:52.160 --> 00:19:57.620
I think for them it ended up
turning on the other key,

00:19:57.620 --> 00:20:01.250
that key like that

00:20:01.250 --> 00:20:06.260
“we can, we can,
this is ours, this is fine.”

00:20:31.990 --> 00:20:35.580
“I heard, I heard”

00:20:35.580 --> 00:20:39.460
“That Matarandiba is good,
It\'s good to play\"

00:20:39.460 --> 00:20:43.380
“Our town is small
But it has a decent story.”

00:20:43.380 --> 00:20:47.170
“There is a group of ladies
That feels like a teenager”

00:20:47.170 --> 00:20:50.970
“We have a lot of culture
And I\'ll tell you\"

00:20:50.970 --> 00:20:55.140
“We form the samba de roda
And also the Suit of Kings”

00:20:55.140 --> 00:20:58.600
“I heard, I heard”

00:20:58.600 --> 00:21:02.480
“That Matarandiba is good,
It\'s good to play\"

00:21:02.480 --> 00:21:06.150
“We founded samba mirim
I have never seen anything like it”

00:21:06.150 --> 00:21:09.740
“There is also Zé de Vale
Which is a theatrical play”

00:21:09.740 --> 00:21:13.330
“Our city is rich
That\'s what they say around here\"

00:21:13.330 --> 00:21:17.620
“Who comes to spend two days
Dont want to get out of here anymore”

00:21:18.410 --> 00:21:21.710
I like it for that,
because it speaks of the whole culture.

00:21:22.460 --> 00:21:24.250
“- Pull it over there”

00:21:31.430 --> 00:21:36.310
“I haven\'t stopped samba
I haven\'t stopped samba anymore\"

00:21:36.310 --> 00:21:40.890
“There in the samba of Matarandiba
I stopped to enjoy”

00:21:40.890 --> 00:21:47.150
“When I realized
I was dancing samba, samba, samba”

00:21:47.150 --> 00:21:54.370
“I haven\'t stopped samba
I haven\'t stopped samba anymore\"

00:21:54.370 --> 00:21:58.790
“There in the samba of Matarandiba
I stopped to enjoy”

00:21:58.790 --> 00:22:05.250
“When I gave myself
I was dancing samba, samba, samba”

00:22:05.250 --> 00:22:09.880
“I haven\'t stopped samba
I haven\'t stopped samba anymore\"

00:22:09.880 --> 00:22:11.800
“Sambarei, more than a samba”

00:22:49.500 --> 00:22:51.970
You can come here!

00:22:51.970 --> 00:22:55.430
you passing by,
you can come barefoot.

00:22:56.510 --> 00:22:58.850
Or come with sandals, sneakers, but come samba.

00:22:58.850 --> 00:23:04.270
It\'s the samba de roda Voa, Voa, Maria,
the release of its CD. Turn up the sound, DJ.

00:23:23.200 --> 00:23:27.420
“I\'ve never sambaed, but today I\'m going to samba”

00:23:27.420 --> 00:23:36.930
“There in samba I go to Matarandiba”
“There in samba I go to Matarandiba”

00:23:36.930 --> 00:23:46.600
\"Fly, fly, Maria, Maria doesn\'t know how to fly
Fly, fly, Maria, Maria doesn\'t know how to fly\"

00:23:47.810 --> 00:23:52.150
And in the current context of retrogression
of democracy, of loss of rights,

00:23:52.150 --> 00:23:55.110
of the advance of the culture of hate,

00:23:55.110 --> 00:23:59.320
it is essential that we highlight the
contradictions existing in society,

00:23:59.320 --> 00:24:03.450
these cultural contradictions
that exist in society,

00:24:03.450 --> 00:24:06.790
as part of this process
of cultural transformation.

00:24:06.790 --> 00:24:11.380
So we see that yes,
there are other cultural practices,

00:24:11.380 --> 00:24:14.340
another world happens and it is founded,

00:24:14.340 --> 00:24:16.630
it is based on this supportive culture.