Quem Pierre Verger?

Pierre Verger (1902-1996) foi um fotógrafo, etnólogo, antropólogo e pesquisador francês. Tornou-se um dos principais antropólogos e historiadores da cultura brasileira, sobretudo a popular, e da ancestralidade africana presente no sangue do brasileiro.

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Published in 1945, Fiestas y Danzas situates Verger’s images of Andean fiestas within discourses and cultural politics of indigenismo, a modernist movement during the late-19th and 20th centuries intent on elevating marginalized “indigenous” peoples—the different groups of Quechua- and Aymara-speaking rural farmers and pastoralists—as the heart of progress and culture in the Andes. The equitable application of the movement’s ambitions was, however, constrained by entrenched attitudes and a racial hierarchy inherited from the colonial era. A key proponent of indigenismo, Peruvian historian Luis E. Valcárcel (1891–1987) wrote introductions to Fiestas y Danzas and Indians of Peru (1950), Verger’s subsequent book of photography. In Fiestas y Danzas, Valcárcel wrote:

Em 1993, Gil estava, ao lado de Jorge Amado, entre os participantes do primeiro Festival de Culturas Vodus, realizado no Benim entre 8 e 18 de fevereiro. Verger era um dos patronos do evento e chefiou uma delegação com os líderes dos maiores terreiros de candomblé da Bahia. Em entrevista a O Globo na época do evento, Gilberto Gil declarou que Verger era “a pessoa que historicamente vem se dedicando mais a essas relações com a África”.

Gilberto Gil é recebido por africanos ao lado de Carybé, Pierre Verger, Vivaldo da Costa Lima, Flora Gil e Mãe Stella, no Benim (Janeiro de 1987)Instituto Gilberto Gil

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Curated by Alex Baradel, responsible for the photographic collection of the Pierre Verger Foundation, the retrospective Pierre Verger: The One That I Am Not presents 167 photographs taken by the photographer during his constant travels between the 1930s and 1950s, carefully selected and organized in order to build a panorama of Verger’s photography from the constant themes in his work: the expressiveness of the body and religiosity in its most diverse manifestations.

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Pierre Verger’s photography is not documentary, even less contemporary. It is not guided by a photojournalistic mission, or by a formalist aesthetic. It is hardly classifiable because it is the purest expression of a self-taught artist. It’s a testimony. Not just about the cultures of the world, but a visual testimony of the encounter between one man and another – the one he was not – but whose life and wisdom he wanted to know and share.

The meeting of Gilberto Gil with French photographer and ethnologist was marked by a mutual curiosity: the African legacy in Bahia.

Arriving in La Paz, Bolivia, in 1942, Verger made a trek familiar to him around Lake Titicaca to Puno, Peru, by August. He continued north and ultimately established himself in Lima with photographic work at the Museo Nacional. He was one of many foreign photographers working in the region during the 1940s and was among an active network of professional Peruvian photographers with well-established studio practices, such as Martín Chambi (1891–1973), Juan Manuel Figueroa Aznar (1878–1951), brothers Carlos and Miguel Vargas (1885–1979; 1887–1976), and José Gabriel Gonzáles (1900–1978).

As coisas começaram a mudar no dia em que Verger desembarcou na Bahia. Em 1946, enquanto a Europa vivia o pós-guerra, em Salvador era tudo tranquilidade. Ele foi logo seduzido pela hospitalidade e riqueza cultural que encontrou na cidade e acabou ficando. Como fazia em todos os lugares onde esteve, preferia a companhia do povo e dos lugares mais simples. Os negros, em imensa maioria na cidade, monopolizavam a sua atenção. Além de personagens das suas fotos, tornaram-se seus amigos, cujas vidas Verger foi buscando conhecer com detalhes. Quando descobriu o candomblé, acreditou ter encontrado a fonte da vitalidade do povo baiano e se tornou um estudioso do culto aos orixás. Esse interesse pela religiosidade de origem africana lhe rendeu uma bolsa para estudar rituais na África, para onde partiu em 1948.

Esteve no Recife e em Olinda, conheceu e documentou a religião dos “voduns” em São Luís no Maranhão e o “xangô” em Pernambuco.

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Pierre Verger in the Andes: Before Fátúmbí

Verger trabalhou como correspondente de revistas e jornais europeus e americanos, entre eles, Paris-Soir - em 1934, Daily Mirror - de 1935 a 1936, Life - em 1937, Argentina Libre e Mundo Argentino - em 1941 e 1942 e O Cruzeiro - de 1945 a 1950.

Pierre Verger (1902-1996) was a French photographer, ethnologist, anthropologist and researcher who lived most of his life in the city of Salvador, Brazil. During his long career, he produced a photographic work of great importance, based on everyday life and on the popular cultures he came across on his travels around the world. In addition, he produced a landmark written work on the Afro-Brazilian culture and religiosity derived from the African diaspora.

Em 1929 morreu seu irmão Jean. Em 1932 resolveu aprender as técnicas básicas da fotografia com seu amigo Pierre Boucher. Decidiu trocar uma câmera arcaica, relíquia dos seus pais, por uma pequena câmera portátil recém-lançada, uma Rolleiflex.

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Pierre Edouard Léopold Verger nasceu em Paris, França, no dia 4 de novembro de 1902. Filho de uma família burguesa belga radicada na França era o mais novo entre os três irmãos.

A partir de dezembro de 1932, ele rodou o mundo produzindo reportagens fotográficas, sempre com o objetivo de desbravar mais lugares. Usava Paris como base e, de lá, fazia contatos para novos trabalhos. Em agosto de 1946, aportou na Bahia, se apaixonou pelo lugar e por lá ficou.

Em 1914 morreu seu irmão Louis. Em 1915 morreu seu pai. Entre 1920 e 1922 ele trabalhou na gráfica da família. Saiu para servir o exército e voltou em 1924. Nessa época, a gráfica da família faliu, e Verger não quis levar adiante o trabalho que sustentou a família.

Pierre na África

Gilberto Gil é recebido por africanos ao lado de Carybé, Pierre Verger, Vivaldo da Costa Lima, Flora Gil e Mãe Stella, no Benim (Janeiro de 1987)Instituto Gilberto Gil

Verger was born in Paris to a German mother and a Belgian father. His father ran the family printing firm, and Verger worked there with his uncles after the death of his father in 1915. He took up photography at the end of 1932 while traveling with his friend Pierre Boucher (1908–2000). That same year Verger traveled to Polynesia, which then was one of the far outposts of the French colonial empire. After he returned to Paris almost two years later, Verger established connections with the staff of the Musée d’Ethnographie du Trocadéro (renamed Musée de l’Homme in 1937). He joined the Paris-Soir journalist team of French novelist Marc Chadourne (1895–1975) on a sponsored reportage-tour around the world. Around the same time, he also cofounded of the Alliance-Photo agency with Boucher and other independent photographers working in France, including Maria Eisner (1909–1991), who later was a founding member of the Magnum photography consortium. Between 1934 and 1940, when the French army mobilized him as a photographer for the Vichy-controlled government of French West African (Afrique Occidentale française), Verger completed an incredible global photographic itinerary. Working his way west, he visited multiple states in the United States (including Texas) before traveling to China, Japan, Philippines, Singapore, Mali (then Soudan français), Senegal, Togo (then Togo français), Benin (then Dahomey), Algeria, Martinique, Guadeloupe, Cuba, Mexico, Vietnam, and Cambodia. He supported himself, often haphazardly, by selling or bartering his negatives and photographic rights to newspapers, journals, and governmental agencies, such as Paris-Soir and the Agence Économique de la France d’Outre Mer.

As a photographer, Pierre Edouard Léopold Verger is most recognized for his work after the 1940s in Nigeria and Brazil. During that time he became an initiated priest (babaláwo) of the Ifá religion in West Africa and was given the name Fátúmbí, “one reborn in Ifá.” When he returned to Bahia (Salvador), Brazil, he became a respected figure among leaders of Candomblé, a religion grounded in the practices of Ifá brought to Brazil by enslaved peoples from West Africa. Verger’s photographs from Andes are less known, but they represent a transformational moment in the trajectory of his development as one of the early practitioners of visual anthropology—a field that specializes in the use of photography and film to document and make observations about human behavior and culture.

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