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DTSTART;TZID=Europe/Berlin:20260731T170000
DTEND;TZID=Europe/Berlin:20260731T233000
DTSTAMP:20260717T232608
CREATED:20260717T164117Z
LAST-MODIFIED:20260717T164117Z
UID:314-1785517200-1785540600@thaisomine.com.br
SUMMARY:don't kill US twice: An Active Form of Memorialization - SİNEMA TRANSTOPIA - OkiNoWar week opening
DESCRIPTION:Curated by Thaís Omine & Riko Sugama\nAs part of OkiNoWar series\, in dialogue with “NUCHI-GAFŪ du SHIDI-GAFŪ: Okinawa\, the Art of Non-violence” at HKW and “Planetary Yui” at SAVVY Contemporary \nThe Ryukyus were not merely colonized. They were dismantled—systematically\, ideologically\, brutally. After Japan’s forcible annexation in 1879\, the archipelago was subjected to decades of colonial assimilation. In the 1945 Battle of Okinawa\, that subjugation became a death sentence: over 120\,000 Okinawans died as a human bulwark for Japan. That was the first killing. Today\, over twenty percent of Okinawa remains occupied by U.S. military installations\, while the remains of thousands killed during the war continue to shape struggles over land\, memory\, and militarization. \nThis event brings together film screenings\, conversation\, and performance to reflect on Okinawa’s ongoing experience of war and occupation\, and on memorialization as an active political practice. This is an active form of memorialization: not mourning alone\, but refusal. \nThaís Omine is an Okinawan-Brazilian filmmaker and visual anthropologist based in Berlin. Working across film\, research\, curation\, and dialogue-based formats\, she explores migration\, diaspora\, silence\, trauma\, and unspoken memory.\nRiko Sugama is a Berlin-based Ryukyuan dancer\, singer\, and sanshin performer from Okinawa\, Japan. Born into a traditional Ryukyuan dance dojo and trained from early childhood\, she developed a practice grounded in inherited tradition while continually exploring new creative possibilities. \nTIMETABLE \n17:00 Screening in cinema hall\, walk-in anytime \nナナムイ (Nanamui Series)\nToyomitsu Higa\, Japan\, 1997–2001\, 158 min. Miyako (Myākufutsu) with English subtitles\nNanamui (1997–2001) documents the sacred indigenous rituals of Miyako Island’s female priestesses\, capturing spiritual songs and practices rarely shown to outsiders. Spiritual landscapes\, indigenous memory\, ritual spaces\, and sacred relationships between people\, land\, and ancestors that create a dialogue between political resistance and spiritual continuity. \nToyomitsu Higa is one of the most influential photographers documenting Okinawan society and culture. Born in Yomitan\, Okinawa\, Japan\, in 1950\, he has devoted his practice to recording Okinawa’s rituals\, landscapes\, and everyday life\, revealing the cultural and spiritual layers embedded in local communities. \n  \nThe evening continues with Voices of the War Era in Shimakutuba. Toyomitsu Higa’s practice has traveled across the region: invited to the Gwangju Biennale (2014)\, he withdrew his work days after the opening to protest state censorship\, in solidarity with a censored fellow artist. His work persistently articulates solidarity between Okinawa and Jeju Island—twin sites of civilian massacre and ongoing militarization. Higa also collaborated closely with bone-activist Takashi Gushiken\, documenting his decades-long practice of returning war dead to families. \n  \n19:00 screening of 「しまくとぅばで語る戦世」(Voices of the War Era in Shimakutuba) \nToyomitsu Higa\, Japan\, 1997–2003\,  65 min. Indigenous Ryukyuan Languages and Japanese with English subtitles \nFollowed by a talk with Toyomitsu Higa and Thaís Omine \n21:00 Ryukyu dance & music live performance (Open Air) \nThe open air screening will begin with a traditional Okinawan music and dance performance by Riko Sugama\, Victor Kinjo\, Ayaka Nakazato\, Rita Sugama\, Takumi Hosokawa. \n21:30 screening of Close To The Bone\nKatsuya Okuma\, Japan\, France\, 2024\, 115 min. Japanese with English subtitles \nKatsuya Okuma’s Close to the Bone follows Takashi Gushiken\, an activist who has spent more than four decades recovering the remains of those killed during the Battle of Okinawa. As human remains continue to be unearthed from sites now threatened by military construction\, the film asks what it means to mourn\, remember\, and refuse erasure. \n  \nARTISTS: \nVictor Kinjo is an Okinawan-Brazilian singer-songwriter and researcher based in São Paulo. He holds a PhD in Social Sciences from the University of Campinas\, where he researched Japanese literature\, Okinawan representation\, (dis)identification\, and performance.  \nAyaka Nakazato is a Ryukyuan dancer from Ginowan\, Okinawa\, Japan. She began training in Ryukyuan dance at the age of six under Keiko Miyagi and later graduated from Okinawa Prefectural University of Arts\, specializing in Ryukyuan performing arts.  \nRita Sugama is a Ryukyuan dancer from Okinawa\, Japan. She has studied Ryukyuan dance since 1994\, developing a precise and refined performance style\, particularly in onna-odori (female dance repertoire).  \nTakumi Hosokawa is a singer and sanshin musician from Naha\, Okinawa\, Japan. He began studying Ryukyuan classical music at the age of fourteen and later trained at Haebaru High School and Okinawa Prefectural University of Arts\, specializing in Ryukyuan performance traditions. \n  \nVisit the OkiNoWar website for more information of the upcoming events! 
URL:https://thaisomine.com.br/event/dont-kill-us-twice/
LOCATION:SİNEMA TRANSTOPIA\, Lindower Str. 20/22\, Haus C\, Berlin\, Berlin\, 13347\, Germany
CATEGORIES:Conversation & Sharing,Film screening,Live performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260807T100000
DTEND;TZID=Europe/Berlin:20260808T233000
DTSTAMP:20260717T232608
CREATED:20260717T171003Z
LAST-MODIFIED:20260717T171050Z
UID:333-1786096800-1786231800@thaisomine.com.br
SUMMARY:Planetary Yui: Arts of Living Together at Savvy Contemporary
DESCRIPTION:Planetary Yui @ Savvy Contemporary 07 & 08 August 2026\nFilm Program: ECHOES OF THE DIASPORA \nThe Okinawan diaspora in Brazil is not a single story but a field of tensions—between silence and speech\, memory and erasure\, assimilation and refusal. The works gathered here approach this terrain from different angles\, yet each circles the same difficult question: what does it mean to inherit a history that was never fully told? \nAndré Okuma’s “Moti” anchors itself in the intimate space of a family home on election day. An 84-year-old woman\, Nami\, begins to speak. As she recounts childhood traumas from 1940s Brazil\, her grandson Jun is pulled toward a different kind of conflict\, one shaped by the political polarizations of the present. The film holds these temporalities together without resolution\, suggesting that the past does not pass but persists\, often in forms we fail to recognize. The moti\, a traditional Japanese sweet\, becomes a quiet metaphor for how sweetness and bitterness coexist within a single inherited form. \n“HIA SÁ SÁ HAI YAH!” by legendary director Olga Futemma takes a more confrontational approach. Made in 1985\, it examines the images the West has projected onto Okinawan subjects—submissive\, hardworking\, diligent\, but also authoritarian\, violent\, arrogant—and contrasts them with a suppressed interiority: the territory of conflict and poetry that official narratives cannot contain. The film refuses the comfort of a unified identity\, insisting instead on the fractures that define diasporic experience. \nThaís Omine’s “O Silêncio É Muito Eloquente” approaches this history from the perspective of method. Drawing from nearly a decade of anthropological research\, the film interrogates how social sciences have historically produced “ghosts”—subjects rendered invisible by the very frameworks meant to study them. If silence is not an absence but a language\, the film asks\, how do we mourn what we cannot remember? The work does not pretend to answer\, but instead dwells in the difficulty of the question. \nTaken together\, these films form a conversation across time and medium. They resist the impulse to narrativize diaspora as a clean arc of migration\, adaptation\, and integration. Instead\, they point to the unresolved\, the unsaid\, and the ongoing—echoes that confront oblivion and demand resistance.\n\n \nMoti\n2025｜Short｜Brazil｜18 mins｜Director: Andre Okuma | Portuguese with English subtitles \nAfter an unexpected visit\, 84-year-old Nami opens up to her granddaughter Midori\, revealing long-buried family secrets and childhood traumas from 1940s Brazil. At the same time\, she watches her other grandson\, Jun\, become consumed by the hatred of political polarization. It’s election day. Past and present\, life and death\, East and West\, left and right all merge within this family\, much like a moti\, a traditional Japanese sweet. \n  \nHIA SÁ SÁ HAI YAH! \n1985｜Short｜Brazil｜27 mins｜Director: Olga Futemma | Portuguese with English subtitles \nThe images the West has of the Okinawan (submissive\, hardworking\, diligent\, authoritarian\, violent\, arrogant) and the unknown\, suffocated face: the territory of conflict and poetry. \n  \nO Silêncio é Muito Eloquente (Silence Is Very Eloquent)  \n2025｜Short｜Brazil\, Germany｜7 mins｜Director: Thaís Omine | Portuguese\, Japanese with English subtitles \nThe film emerges from Thaís’ personal archive of counter-narratives within the Okinawan diaspora in Brazil. For about a decade\, her anthropological research “O Meu Gene Não é Solúvel” (My Gene Is Not Soluble)  has traced the sociopolitical context of Japanese and Okinawan immigration to Latin America in the twentieth century. Over time\, this investigation has unfolded across written and audiovisual forms\, each medium testing the limits of what can be said. Working from an anticolonial praxis\, Thaís confronts a central methodological problem: how to research stories where silence—rooted in trauma\, humiliation\, and violence—has become an imposed norm. She examines how spaces of exclusion persist on the periphery of social sciences\, which\, as Grace Cho observes\, tend to produce “ghosts.” \nThe film asks what it means to work with these ghosts rather than against them. If silence is not absence but a language\, what does it communicate? And what conditions would allow it to speak? These questions are not rhetorical. They structure the film’s inquiry into whose stories are legible\, whose are dismissed\, and what remains when the archive fails.
URL:https://thaisomine.com.br/event/planetary-yui/
LOCATION:Savvy Contemporary\, Reinickendorfer Str. 17\, Berlin\, Berlin\, 13347\, Germany
CATEGORIES:Conversation & Sharing,Film screening
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