Review
Art
Climate
Culture
5 min read

Our human tribe

A famed photographer's exhibition about Amazonia prompts Jane Cacouris to consider the wider issues.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

An image of the Amazonia
Amazonia from the air.
Neil Palmer/CIAT, Wikimedia Commons.

'What drew me back to the Amazon? …it was to savour afresh the unparalleled beauty of this vast region. For me, it is a last frontier, a mysterious universe of its own, where the immense power of nature can be felt as nowhere else on earth.'

These are the words of world renowned Brazilian photographer, Sebastião Salgado, in the foreword of his book, Amazônia. Over a period of six years, Salgado travelled around the Brazilian Amazon photographing its sweeping landscapes: forests, rivers, mountains, as well as the people who live there. A photograph of a Yanomani tribe on the edge of a vast vista with a towering mountain shrouded in cloud in the distance is an extraordinary snapshot of his travels. Salgado documented the daily lives of a dozen indigenous tribes, capturing on camera their warm family bonds, traditional dances and rituals, the artistry of their body painting and means of survival – hunting and fishing. Although Salgado was unable to communicate by speaking to the tribes he visited, he describes vividly how the human emotions he shared with his hosts - to love, laugh, cry and to feel happy or angry – served as their common language. He says:

I felt at home in my own tribe, that of all humans, where myriad systems of logic and reason are interwoven with my own, with those of Homo Sapiens.

During a recent trip to Rio de Janeiro in Brazil, I visited Salgado’s Amazônia exhibition at the Museu do Amanhã (Museum of Tomorrow) in the centre of the city. The photographs are awe inspiring, all in black and white. They depict lush rainforest vegetation, winding rivers and waterfalls. Beautiful people with dark eyes, mainly naked, dressed, feathered and painted according to their tribal traditions sit against a black canvas backdrop or are portrayed in their natural surroundings. Salgado’s talent lies in capturing the epic beauty of the region’s landscapes, but also the delicate detail of the individual faces of the people he photographs. Each person looked straight at the camera lens – and as I looked back at them, it was as if I could see a little of their soul and personality. To the right of each portrait is the name of the person, and a note about their role in the tribe; a reminder that each face is not just a stunning photograph, but a human being who is valued and respected.

But Salgado’s portrayal of the Amazon rainforest, often referred to as “the world’s lung,” is not simply remarkable visual artistry. It is a powerful reminder of a number of issues that we collectively face today as a global tribe of human beings.

For over 10,000 years, humans have enjoyed an inter-connectedness with our natural environment, tending and living off the land. And this is still the case with the Amazonian tribes who rely so tangibly on tapping into the rainforest’s renewable wealth and provision – its animals, fruit, nuts and medicinal plants. A growing body of evidence shows that globally, indigenous people are especially good at sustainably protecting their territories. This is no exception in the Amazon; the indigenous reserves legally ringfenced by the Brazilian government are the areas that are most pristine. The areas where tribes have been driven out have been damaged irretrievably.

With our human quest to develop, the past two hundred years has seen a slow positive global trajectory towards eliminating absolute poverty, reducing conflicts and improving human rights. Encouraging on paper. But this positive change has come at a huge cost to our environment. Ironically, the same expanding global economy which has driven improvements in development and social justice, is based on fossil fuels and high consumption of natural resources causing climate change, mass extinctions and pollution. The results of these changes are hitting the world’s poorest communities the hardest – those who have done the least to cause them. The delicate balance that has existed between humans and our natural environment for millennia is being thrown out of kilter.

COP27, the annual UN global climate conference took place in Egypt at the end of 2022 and the impact of the climate crisis on vulnerable countries was finally on the agenda. It is promising to see growing public support from across the world for action. More people than ever before – including Christians and churches – are speaking up for climate justice, campaigning, joining marches and praying for change. Christian NGOs and pressure groups, such as Tearfund, Christian Action, and World Vision to name a few, are often at the forefront of climate campaigns.

So why are Christians calling for climate action? First, it’s an issue of ownership.  As campaigner Ruth Valerio explains: the Bible tells them that creation was made by Jesus, through Jesus and for Jesus. Therefore, this world that was made brimming with abundance and vitality has immense value to God. The world is not ours to do with as we please, it belongs to its creator who has entrusted it to humans to care for. Second, it’s an issue of justice. The outworking of climate breakdown, such as global temperatures rising, floods, drought and extreme weather events has a disproportionate impact on people in poverty and who are already vulnerable, affecting their livelihoods, health and security. Christians believe that we’re all made ’in the image of God’. This speaks powerfully of equality between each one of us within our global human tribe.

Therefore acting justly means responding to the needs of our global neighbours, not only our immediate communities. The Bible says ‘Speak up and judge fairly; defend the rights of the poor and needy’. Christians – especially those living in privileged countries with social safety nets and funds to invest in climate resilience – are asked to stand up for equality and justice, calling on those in positions of power to make decisions that protect those who are more vulnerable, as well as this Earth that belongs to God.

At COP27 these Christian groups joined with countries vulnerable to the impacts of climate change to call for justice in climate financing. It’s a simple but radical case of compensation; rich nations who have already used far more than their fair share of carbon to develop their economies should now pay for the unavoidable “loss and damage” experienced by those whose homes, livelihoods and even lives are being lost as a result of the climate crisis. The protection of the Amazon also remains a critical theme.

Addressing the COP27 conference, Brazilian President Elect Lula said,

There is no climate security for the world without a protected Amazon.

Visiting the Amazon rainforest with my family in 2019 I was stunned, like Salgado, by its majesty and magnitude. Sleek, dark waters teeming with fish and crocodiles, trees with trunks that curved and curled, and the cacophony of sounds and song  – amphibians, birds and beasts - that accompanied the sudden blackness of the night that fell like a curtain. This is creation as God meant it to be – in all its life and vitality. Can our vast human tribe, scattered and concentrated across the earth, who all laugh and cry and love under this single sky, unite and make the critical decisions needed to care for each other and our world? The protection of Amazonia is only one part of the solution, but it’s an integral part. So will we act? Before it’s too late and Salgado’s extraordinary photographs become simply a segment of history showing future generations the way it used to be?

Review
Culture
Film & TV
Monsters
Sport
5 min read

Horror turns pro: when greatness demands blood

The pursuit of sporting glory turns into a fever-dream of sacrifice, madness, and mythic violence
A player holding a finger to his lips stands in front of an indoor American football pitch.
Marlon Wayans.
Universal Pictures.

October is here…spooky season. Naturally, I’ve decided to pivot exclusively to the horror genre, beginning with HIM

The promotion for the film has placed Jordan Peele (who stormed onto the scene with Get Out) front and centre, so much so that one might be forgiven for assuming that he is the writer/director. He isn’t. His Monkeypaw Productions have produced the picture, and so one can assume he has had some creative input, but the film is helmed by Justin Tipping. This is Tipping’s second feature film. He co-wrote it and directed it. Sophomore, but no slump here. The film is superb! 

All horror fiction explores contemporary themes in the mode of the ‘unnerving’, and often by adopting and then playing with the conventions of another genre. In the case of HIM it is ‘sport’ that takes a horrifying turn. We begin by meeting our protagonist, Cameron ‘Cam’ Cade, as a young boy. He is watching his favourite American football star, Isaiah White, take lead the ‘San Antonio Saviours’ to victory. In the process Isaiah is injured. Cam looks away. His father forces him to look at the television screen and take in the violent scenes, while giving a speech about the necessity of ‘sacrifice’. 

A decade or so later the father has died, and Cam is a rising star in the sport, tipped to be the next ‘GOAT’ (Greatest Of All Time), the most worthy successor to Isaiah White’s legacy. While practicing late one night he is violently assaulted by a figure in a goat costume. The resulting head injury puts his prospects into question. It is doubtful that he can even play football going forward. He and his family are devastated.  

‘Salvation’ seems to come when his agent calls him with an offer that seems too good to be true. The ‘Saviours’ are seeking to sign him as their quarterback, replacing Isaiah. All he must do to earn this great opportunity is to spend a week with Isaiah at his specialised training compound, to demonstrate his potential and win Isaiah’s blessing. He accepts, and travels to the remote compound. As his car pulls up, he encounters a number of Isaiah’s demented ‘fans’ (who operate more akin to the Manson Family) decrying him in violent screams. He brushes this off and enters to meet Isaiah. He finds him engaged in an odd form of taxidermy with the skulls and skins of goats. The two embrace and share warm words of respect and welcome. The training begins.  

What follows is a rapid descent into bloody madness. 

I won’t say much more for set-up; only that the following week quickly becomes less a training camp, and more a psychedelic fever-dream of physical and psychological torture. The film is gruelling to watch in the best way. Tipping directs this masterfully, disorientating the viewer with sudden jumps from wide shots to close-ups to X-ray inflected visions of the appalling damage endured by athletes seeking to achieve their best. The cinematography of Kira Kelly keeps this relentless confusion running throughout the entire film, playing with angles and stillness and sudden swoops. 

These visuals are supplemented by some terrific performances. From the exceptionally creepy ‘fans’, led by Naomi Grossman, to Jim Jeffries reigning his comedic persona in to play Isaiah’s jaded and sardonic personal doctor (who is constantly drawing Isaiah’s blood…uh oh!), to Tim Heidecker’s unctuous agent always grasping for more. The standouts, however, are Tyriq Withers as Cam and Marlon Wayans as Isaiah. Wayans, of the ‘comedy’ dynasty, is best known for dreadful ‘funny’ (not ‘dreadfully funny’) films, including the Scary Movie franchise. Every now and then he has demonstrated his serious acting chops, shining in Requiem for a Dream, but this performance ought to cement his reputation as a genuine talent.  

He is mesmerising as Isaiah, switching in an instant from quiet melancholy, when reflecting on this past glory and the nature of sporting sacrifice, to outright unhinged menace – screaming directly in Cam’s face when trying to motivate him to go further and further. He dominates every scene he is in and is the lynchpin of the film’s mood, his performance (effortlessly walking the tightrope above measured and manic) driving the bewilderment the film seeks to force upon its audience. He is aided by Withers’ straight-man, who masterfully maintains a quiet yearning in the face of bafflement. He is muted and introverted without ever disappearing into the background, and so is instrumental in supporting Wayans as he gives the performance of his career. 

In spite of all of this brilliance, I have one small critique. The film’s theme is…messy. It is also far less subtle than it thinks it is. Its focus on the pain and suffering of sporting excellence – which is displayed in the literal brutality of injury – and the idea of selling one’s body, health, and even soul for glory, is often undermined by supernatural and theological symbolism which interrupts the dramatic thematic force. The use of the goat, both as a verbal and visual symbol, is overdone, and is rather obvious to anyone who knows even a little of biblical or esoteric literature.  

Added to this, the constant reference to sacrifice, and to behaviour resembling the cultic, continues the on-the-nose hammering; cemented at the end when an actual pentagram is emblazoned on a football field. This is a shame, as the final scene is a well-earned, wonderfully slapstick celebration of horror-movie gore and splatter, undermined by the symbolic silliness. None of this is enough to ruin the film – I still think it is superb – but I would have preferred Tipping to make a choice: subtle realism, or all-out commitment to the supernaturally sinister. In trying to have-its-cake-and-eat-it the film compromises the bake…a slight soggy bottom of a denouement. 

The film just fails to be the GOAT of this year’s horror fare. Still, a jolly entertaining cinematic experience which I highly recommend for October viewing. 

4.5 stars. 

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