Toré Virtual

IMMERSION IN FULNI-Ô ANCESTRALITY UXIL’NEXA D’MANDEDWA: SEKHLETXASE TOLE SEKA TX’TXO YAKHETH’TOTWADE

"A GROUNDBREAKING IMMERSIVE EXPERIENCE OF ANCESTRAL SAFEGUARDING THAT UNITES US IN A PRESENT OF TRUST AND DIVERSITY SEEKING A FUTURE OF PEACE."

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 accessibility through orality.

Typically, two men and about eight women perform the dance, chant, and music in coordinated movements often inspired by the animals of their territory. With the vocal sounds “hea, kea, tea” pronounced by the women, two men simultaneously vocalize melodic tones that convey a deep sense of reverence and respect for nature.

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, we learn how ancestral forces travel across generations, territories, technologies, and time — touching us with gentleness and joy. A groundbreaking experience of ancestral safeguarding that unites us in a present of trust and diversity — and toward a future of peace.

Hugo Fulni-ô, Carol Berger, and Rose Lima

CREDITS C u ra t o rs h i p H u g o F u l n i - ô , C a ro l i n a B e rg e r, a n d R o s e L i m a Pro d u c t i o n F u l n i - ô C i n e m a C o l l e c t i v e , L a b Pre s e n ç a , a n d E x p e r i m e n t o Pro d u ç õ e s F u l n i - ô Pa i n t i n g H u d s o n V i e i ra L ú c i o Douglas Matos Fulni-ô Artists Belo Fulni-ô Clóvis Fulni-ô Nelson Fulni-ô I ra l d o F u l n i - ô I va l d o F u l n i - ô Ta t i a n a F u l n i - ô Ta i ra n F u l n i - ô Jarda Fulni-ô Manuel Fulni-ô E x e c u t i v e Pro d u c t i o n Rose Lima Pro d u c t i o n Amanda Alencar Exhibition Design J. Melo Te c h n i c a l C o o r d i n a t i o n Gabriel Furtado A u d i o v i s u a l a n d P h o t o g ra p h y Wa ya t y Fe r re i ra d e S á A d d i t i o n a l P h o t o g ra p h y C a r l o s E s t e vã o d e O l i v e i ra Educational Coordination G a b r i e l a Fe a n e A r t E d u c a t o rs A n d e rs o n O l i v e i ra L u a ra S e r i d ó - O t x u ka ya n a Pro d u c t i o n A s s i s t a n t s Ka s s a n d ra L e i t e G a b r i e l a Fe a n e Editing Fá b i o Pro d u ç õ e s Lighting S a n d ro M o ra i s 3 D H o l o g ra m A r t i s t a n d G ra p h i c D e s i g n e r Fe l i p e R a m i re s 3 D G e n e ra l i s t a n d S p e c i a l E f f e c t s Fe r n a n d o L a m a n n a 3 D M o t i o n C a p t u re S ys t e m D e v e l o p e rs Anthony Bet Ti a g o B r i z o l a ra

CREDITS Sound Designer and Spatial Audio Mixer Jom Monnazzi S o u n d re c o r d i n g Ti a g o B r i z o l a ra Communication Matheus Lins J oyc e S a n t a n a Wa ya t y Fe r re i ra d e S á Signage Uzisign Pre s s R e l a t i o n s Matheus Lins Sound Design R a d a r Pro d u ç õ e s Accessibility C e n t ra e C o m m u n i c a t i o n a l A c c e s s i b i l i t y F u l n i - ô To ré Te re z a M a r i a d o E s p í r i t o S a n t o Abdon dos Santos – Master Xixiá J o s é F re d e r i c o d a S i l va – Tx h y f l a d j a M a n o e l S a ra p ó d o s S a n t o s – F l i x i w a S a ra p ó “ To re z i n h o ” Yo u t h F u l n i - ô To ré A n a S o f i a To r re s Aw a n n y F . To r re s Ayo n e d o s S a n t o s R i b e i ro Pe re i ra B re n d a M a c h a d o d e M a t o s E d j n e d o s S . R . Pe re i ra E d r ya n R i b e i ro d e F re i t a s Gustavo Santos G.M. de Brito J o a q u i m S i q u e i ra L u c i o Ke n i l l y R i b e i ro B a r b o s a L a ra Tx h i ã n e d e M a t o s S a o r y F re d e r i c o d a S i l va Vlademir Matos Nascimento Ya n a x i L u n a P i re s Ta n o n é S p e c i a l Pa r t i c i p a t i o n – F u l n i - ô C h i l d Tx a y h e Fulni-ô Chief Cacique C í c e ro d e B r i t o Fulni-ô Shaman G i l d i e re R i b e i ro Pe re i ra 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).

C u l t u ra l I n c e n t i v e C i t y o f R e c i f e , D e p a r t m e n t o f C u l t u re , R e c i f e C i t y C u l t u ra l Fo u n d a t i o n , a n d Fe d e ra l G o v e r n m e n t – PNAB Recife.

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