AL JAZEERA DIGITAL MAGAZINE - THE BUSINESS OF SPORT.
Photos by Pedro Bayeux.
From remote African villages, where the balls are made from old socks or
pilfered rubber, to the terraces of top European teams, where the players are
billionaire brands, via the favelas of Brazil and the casinos of Vietnam,
this issue travels the globe to explore our sometimes troubled relationship
with the 'beautiful game' and the business behind it.
As football fans from across the world head to Brazil, we meet some of the
locals who will be hosting them – whether in 5* hotels or Rio’s famed favelas -
and ask what the World Cup means to them.
Mariana Barbosa de Oliveira is 25 years old and married with a child.
For the past two years, she has run a souvenir shop in the favela Santa Marta
with her mother, Maria Elena.
“Sometimes my husband gets angry with me for making more money than
he does working in two jobs. But tourism has grown in the favela and I make
an average of $874 per month,” she says.
Oliveira wants to take advantage of the increase in the number of tourists
and is willing to rent her own house out during the event.
She is charging $44 per person per day, but she still hasn’t closed a deal.
Dazed photographer Pedro Bayeux goes into the heart of the jungle
and finds out the love of the game runs deep
Dazed & Confused Digital Magazine.
World Cup 2014.
Dazed Fever Pitch Project.
Manaus, Amazon, Brazil.
Week of the match Brazil vs Mexico.
In case you hadn't noticed from the explosion of replica shirts,
late-night pubs and television channels dominated by constant football –
it's the World Cup right now. And that means people across the globe are
tuning in, even in the jungle. Our photographers are all over the world
on football's frontline for our Fever Pitch project, documenting the obsession
and the passion that surrounds this tournament.
Dazed photographer Pedro Bayeux embarked on a journey an hour out
of Manaus to spend some time with the Tatuyos, a tribe who live deep in
the Amazon rainforest:
"We left Manaus on game day on a fisherman's boat that took us down
the Amazon. It was a beautifully sunny day and all along the river
the houseboats were decorated with Brazilian flags, with incredible
nature all around me.
The Tatuyos are a tribe that live on the left bank of the Rio Negro,
otherwise known as the Black River. It took about an hour to get
to their settlement from the port in Manaus.
On arriving, the chief Pinó Kaçique became my host – him and his tribe
performed a series of dances to make me feel welcome.
The tribe are traditionally patriarchal – the men hunt snakes and crocodiles
to eat and the women cook the catches inside their houses made by trees
that they've felled themselves. What's strange about the tribe is that
they are a mixture of a lot of different ethnicities – while most tribes only
marry someone from their own tribe, the Tatuyos are encouraged
to marry from outside.
Ten minutes before the game, they started a generator to power a single
television in their village and passed round snacks while they watched –
huge fried ants! All of them were so anxious to see the game and you could
see the tension in their eyes as kick off time approached. One member
of the tribe said to me during the match: 'I am very moved by the World Cup,
it's very near here in Manaus, Amazonas. We're used to seeing it in
other countries, but now there is a lot of emotion that we can feel.'
Throughout the game they played instruments if they became nervous
at what was happening on the screen. Afterwards they went outside
to play their own match – men and women all played together,
with a child as referee! It was beautiful."
(english subtitles soon)
Realização: Edital do Instituto Pólis / Petrobras + pedrobayeux.com.
“… A partir da discussão de como agregar valor social e cultural aos programas turísticos tradicionais e também para fomentar o turismo com base comunitária, através da formação de redes, de modo que as comunidades, como indígenas, quilombolas ou caiçaras, protagonizem a oferta de produtos turísticos…”
Concepção: Felipe Fonseca, Maira Begalli, Pedro Bayeux.
Direção, edição, cinegrafista: Pedro Bayeux.
Cinegrafistas: Marco Estrella, Erik Nagamine.
Som: Ladislau Kardos, Erik Nagamine.
Trilha original: Renato Cortez.
Street Art I – London.Documentary in process. With Alex Senna, Cranio, Magrela, Martin Ron, Mr Sixonesix, Pigment, Fun Factory Art Project Space. 2013.
.Documentary in process. With Alex Senna, Cranio, Magrela, Martin Ron, Mr Sixonesix, Pigment, Fun Factory Art Project Space. 2013.
DAZED & CONFUSEDVISIONS OF RESISTANCE I
My name is Pedro Bayeux, a journalist and filmmaker living in São Paulo since I was 3 days old.
When you wake up and see the headline of the biggest newspaper from São Paulo announcing that the police needs to be tougher with “vandalism” – and the editorial in the same newspaper calls for urgent use of force “to put an end to it”, you feel a need to go to the streets and see through your own camera what’s really happening. To be honest, I was in doubt if I should take my equipment just to make a documentary about the situation or to use it as a weapon against police violence.
I live one block away from Paulista Avenue, the cliché of the “economic heart of the country”. The last protest ended almost in front of my door, with rumours of “chaos”. So, on Thursday night, one hour after the beginning of the fourth act against the bus fare, I took my way downtown, the meeting point of the manifestation. The latest news about the scenario was surreal: police was arresting people and journalists carrying vinegar. Sounded more like a script from “Monty Python” that started in the city; or Terry Gilliam’s “Brazil, the movie”, who knows.
On every street corner, bars were full of curious people watching TVs, the noise from the helicopters was the loud soundtrack and, when I was almost there, the first tear gas bombs were the hosts. After that, the night became the simulacrum of a game. My avatar’s mission: to shoot videos and think of a plan for how to get home, while trying to understand what was going on. All the streets were closed. It was a smog labyrinth.
I tried to turn left, to Augusta Street, a cultural/bohemian street: barricades of fire spread while bombs were coming from both sides. People running. Guy Fawkes masks. Drivers frightened inside cars. Rubber bullets being shot with no discernment. It was like Oxford Street being attacked by Military Police under acid effects, led by Dr. Strangelove. A photographer was blinded with a shot that night. That was a turning point day.
The feedback was ironic: with several journalists and non-activists injured, mass media started changing their speeches. The complexity showed, in a Brazilian context, what Luther Blisset called Psychic War. Political and police abuse became more popular than Neymar. Four days later, more than 100,000 people were marching all over the city. A mix of desires this time and more conflict, now in front of the government palace. Fire, teargas, flowers, Brazilian flags. It could be the plot of “The Warriors”: “in a future, dystopian São Paulo, turf gangs and cops rule the streets”.
Protests spread throughout the country, not only against the bus fare, but against FIFA, corruption, property speculation, for better education, health, transport, from focused to generic claims. Left and right-wings, “no-wings”, students, anarco’s, bizarre Nazi’s, posh people, handlers, social movements, families, lions, hyenas, clowns – they took over the streets. A circus, a carnival of dissatisfaction. Not only against the government, as some want to stigmatize, but against an entire reasoning. The conservatives still try to manipulate and a kind of pos-media appears to be an option. The middle class felt the police abuse that poor people have been feeling for a long time here. Hard to understand the anthropology behind, but with one conclusion: after these days, everyone dropped their masks.