"A G EXPERIENCE OF ANCESTRAL
The immersive exhibition “Toré Virtual: immersion in the ancestral chant and dance” (“Uxil’nexa d’mandedwa: sekhletxase tole seka tx’txo yakheth’totwade”) presents an aesthetic, political, and multisensory journey guided by the Toré de Buzo, the ancestral dance of the Fulni-ô people It is a shared invitation to dive into the sensitive knowledge that transcends generations, technologies, and territories, evoking a feeling of presence that is renewed through the power of orality and bodies in expressive motion
The starting point of the exhibition is the sacred territory of the Fulni-ô people, Ouricuri, located in the city of Águas Belas (Pernambuco, Brazil), where elders, youth, and children gather to celebrate and dance the Toré in communion making visible that which, in the ceremony, is felt with enchantment, through body and spirit. In this immersive space, the experience takes shape through emerging technological languages combined with the community’s art, without losing connection to the material and symbolic elements of this powerful culture, whose language, Yaathê, remains preserved
The curatorial approach seeks to create a bridge between the visible and the invisible, between territory and image, between tradition and expanded presence. As a multisensorial experience, the exhibition becomes a space of active listening and reconnection with diverse lifeways that uphold the safeguarding of cultural heritage ensuring an approach of preservation and revival of our socio-biodiversity. Toré is more than a word, a dance, or a song it is a cultural manifestation of spiritual connection and primordial communication, predating mainstream concepts of technology. Common to many Indigenous peoples of northeastern Brazil such as the Pankararu, Kariri-Xocó, Xukuru, Potiguara, Truká, Kambiwá, Kapinawá, Pataxó, Pipipã, Anacé, Tabajara, among others each tradition holds its own uniqueness
Among the Fulni-ô people, Toré de Buzo, today represented in the statues at the center of the Main Village (Aldeia Sede), is marked by melodic chants in sync with two Indigenous dancers and the rhythm of buzos (conch horns), alongside two others playing the maracá (a traditional rattle). The chants are melodic and wordless, which strengthens their reach and
Immersive Technoancestrality in Collective Form
With the virtual reality film, the ritual dance of the Fulni-ô people takes shape and space within a virtual environment. In the work, Fulni-ô culture overflows the limits of human perception, presenting an ancestral legacy. In a groundbreaking 360degree technology experience, what was once invisible is revealed through the encounter with the Fulni-ô Toré and this emerging medium.
Images from the Fulni-ô imaginary and sacred sounds gain digital expression, making visible what is felt but not seen Through the fusion of tradition and technology, the film preserves enchanted embodiment.
The film was created in collaboration between young Indigenous creators and Fulni-ô elders, directed by Hugo Fulni-ô and Carol Berger, along with creative technologists, educators, and cultural producers It is more than a record it is a living link for cultural safeguarding, bringing together technology and ancestry It offers a way to acknowledge the knowledge passed down through generations without losing sight of who they are, as the people share their cultural richness and echo their voices through science. Through this, they reclaim their rightful spaces, asserting their worldview, values, and thought systems
This exhibition is an act of preservation, a space for intergenerational listening, and a provocation: how can we keep ancestral knowledge alive in an increasingly fragmented and individualistic world?
More than a dance, more than a ritual, Toré Virtual is a celebration where ancestral heritage pulses through technology to be felt beyond territories, to touch the soul, and to reconnect people with the wisdom of Indigenous peoples In the immersive narrative, which re-enacts the ritual with elders, youth, and a child, l h t
Curatorship
Hugo Fulni-ô, Carolina Berger, and Rose Lima
Production
Fulni-ô Cinema Collective, LabPresença, and Experimento Produções
Fulni-ô Painting
Hudson Vieira Lúcio
Douglas Matos
Fulni-ô Artists
Belo Fulni-ô
Clóvis Fulni-ô
Nelson Fulni-ô
Iraldo Fulni-ô
Ivaldo Fulni-ô
Tatiana Fulni-ô
Tairan Fulni-ô
Jarda Fulni-ô
Manuel Fulni-ô
Executive Production
Rose Lima
Production
Amanda Alencar
Exhibition Design
J Melo
Technical Coordination
Gabriel Furtado
Audiovisual and Photography
Wayaty Ferreira de Sá
Additional Photography
Carlos Estevão de Oliveira
Educational Coordination
Gabriela Feane
Art Educators
Anderson Oliveira
Luara Seridó-Otxukayana
Production Assistants
Kassandra Leite
Gabriela Feane
Editing Fábio Produções
Lighting
Sandro Morais
3D Hologram Artist and Graphic Designer
Felipe Ramires
3D Generalist and Special Effects
Fernando Lamanna
3D Motion Capture System Developers
Anthony Bet
Tiago Brizolara
Sound Designer and Spatial Audio Mixer
Jom Monnazzi
Sound recording
Tiago Brizolara
Communication
Matheus Lins
Joyce Santana Wayaty Ferreira de Sá
Signage
Uzisign
Press Relations
Matheus Lins
Sound Design
Radar Produções
Accessibility
Centrae Communicational Accessibility
Fulni-ô Toré
Tereza Maria do Espírito Santo
Abdon dos Santos – Master Xixiá
José Frederico da Silva – Txhyfladja
Manoel Sarapó dos Santos – Flixiwa Sarapó
“Torezinho” Youth Fulni-ô Toré
Ana Sofia Torres
Awanny F Torres
Ayone dos Santos Ribeiro Pereira
Brenda Machado de Matos
Edjne dos S R Pereira
Edryan Ribeiro de Freitas
Gustavo Santos G M de Brito
Joaquim Siqueira Lucio
Kenilly Ribeiro Barbosa
Lara Txhiãne de Matos
Saory Frederico da Silva
Vlademir Matos Nascimento
Yanaxi Luna Pires Tanoné
Special Participation – Fulni-ô Child
Txayhe
Fulni-ô Chief
Cacique Cícero de Brito
Fulni-ô Shaman
Gildiere Ribeiro Pereira
Support Museum Cais do Sertão, Fulni-ô Institute of Cinema, Retinantz Collective, Monn Custom Audio, Light Switch, and Aloísio Magalhães Museum of Modern Art (MAMAM)
Cultural Incentive
City of Recife, Department of Culture, Recife City Cultural Foundation, and Federal Government – PNAB Recife.
E X H I B I T I O N P A R T N E R S
