Memory-sound, memory-color, memory-smell, memory-texture, memory-movement as speculative action: Paisagem Banzo / Paysage banzo / Banzo Landscape is a procedural experiment on time, affect and memory as a collective work in progress who sees the banzo as a colonial trauma that reverberates and acts in the bodies and the landscape of Brazil. *

Paisagem Banzo / Paysage banzo / Banzo Landscape tends to evoke and create a multiple, paradoxical, complex landscape - by feeling its memory, by making its inaudible sounds heard, by listening to its voices and by making visible the forms of the movements of the forces that compose it .

By creating a landscape from these forces, through sounds and magic words, Paisagem Banzo / Paysage banzo / Banzo Landscape incarnates the trauma-banzo and the world, thus creating other tones and new songs that invite to reposition the vibratory pattern and create a difference. This opens up a space for listening to the separations and disjunctions engendered by colonization - knowledge of the body and the earth, through their deep relationship, invites the creation of new ways of life.

* Banzo is, historically, a psychopathology often present in enslaved Africans and their descendants in Brazil from the 17th to the 19th century. The concept of banzo has also been associated with melancholy and nostalgia, and Brazilians still speak of banzo today as a nostalgic feeling (saudade) . Known today as a deep depression, the common symptoms of banzo were a state of silence accompanied by inaction: people could not speak, could not act, could not eat, could not work. The most prevalent physical representation of the banzo was slow, forced erasure that often resulted in death.

Since 2012, I have tried to discuss banzo in more depth as a consequence of the violence of the slavery of African and Indigenous peoples. In my view, the banzo is not an expression of the tropical melancholy associated with homesickness (saudade da terra) , but a psychopathology directly linked to the early forms of racial capitalism which continue to emerge and have damaging effects on our era. The question then arises: how to understand the banzo today? My responses, therefore, have been to explore trauma-banzo as a condition that vibrates in the bodies and the etheric body of the earth. If anything that vibrates makes sound, I wonder how the banzo could resonate. Therefore, my artistic and somatic practices have sought to create banzo sounds to make them heard and produce alternatives through a change in their vibratory pattern, appealing to the power of these bodies and the earth.