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Paulo Nazareth

Ol Ori Buruku

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  • 00:00
Paulo Nazareth
Ol Ori Buruku
2 min 23 s
Format & Technical

Single channel, loop, HD video, colour, sound
Edition of 5 + 2 AP

LOOP Edition
Ed. 2016
Presented in LOOP by
Mendes Wood DM
  • Voice: Bimbo Adeleke
  • Produced by: Paulo Nazareth
  • Postproduction: Paulo Nazareth
  • Sound mix: Paulo Nazareth
  • Photography: Paulo Nazareth

Ol Ori Buruku consists of a Nigerian immigrant on the top of a building looking through São Paulo’s skyline pouring insults in Yoruba language over the city. Nazareth puts forward the topic of the immigrant of African origin which, due to the tragedy lived in his native land, sees himself forced to search for a safe place away from his country, but moreover, like many others, believes in the idealization that revolves around the great urban centers, which propose a future without past illnesses.

In living the concrete reality of the city he previously idealized, the man of Nigerian origin, deconstructs his dreams and recognizes his own frustration, parting from death, inequality, and the evil that resonates in the fight against this reality. He unloads this frustration and the questioning around the separation between the African man and his geographic and cultural origin, and also the diaspora of his people throughout the world. He does so through insults in Yoruba, the language of the first slaves brought from Africa to Brazil. Linguistic references unite the past and present in a conflict filled with simbology, to speak of a problem of historic proportions.

Ol Ori Buruku is a swear in Yoruba which means ‘bad mentality’, with the word ‘Ori’ signifying the essence of being. Identity is the matter in question, and how it has affected the formation of societies, urban landscape, and the lives of immigrants. Due to the transmutations in capitalism, these immigrants need to undo their cultural traces in order to adapt to a society, which in all instances, does not permit the individual to maintain the preservation of his identity as a whole.


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