Hoje, de ressaca depois de três dias de folia, tomei um tempo pra andar e pesquisar no bairro onde eu estou, onde eu nasci e cresci. Sempre soube que era resultado de imigração japonesa, mas o que achei mais significativo foi saber que aqui foi sítio de Haruo Ohara, fotógrafo.

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A Seção Ikku ("primeira"), ou a Chácara Arara cobria uma área de 25 hectares dedicada ao café, bem como a árvores de fruto e flores típicas do Japão. Lá (ou melhor, aqui), Ohara aproveitava o isolamento da condição de migrante e a inspiração da vida campesina para fotografar.

Com o alinhamento de Vargas aos Aliados na Segunda Guerra, os imigrantes japoneses sofreram perseguição e ostracismo. Como resultado, em 1949, as terras dos Ohara foram desapropriadas com a justificativa de construção de um novo aeroporto (cuja pista só foi pavimentada em 56).

A família Ohara se reergueu, mudou-se para um sobrado no centro velho e conseguiu um novo sítio. Lá, Haruo Ohara cresceu financeiramente e criativamente. Teve um triste fim quando perdeu seus bens em virtude da dívida de um parente, e viveu endividado até o fim da vida, em 1999.

Havia descoberto Ohara em 2010, em virtude da minha entrada em design e do lançamento do curta Haruo Ohara (Rodrigo Grota, Kinoarte, 2010). Contudo, na época, não busquei saber muito mais sobre ele. Feliz em ter descoberto que o chão pisado na infância foi o mesmo das fotos.

O curta, aliás, pode ser facilmente encontrado no YouTube, mas aqui está o link da foto do post anterior: kinopus.com.br/movies/haruo-oh

O link de onde tirei as fotos (o acervo é bem maior, sob posse do Instituto Moreira Salles): colecaopirellimasp.art.br/auto

Pra fechar, uma foto que Ohara tirou no Igapó, o mesmo lago que dá o nome pra essa conta octopodal -- antes de tanta gente rica e sem escrúpulos ter passado a usar aquilo de quintal para deus casarões fálicos e de cartão postal para suas selfies narcisistas...

In english 👇 

At last, a picture in the toot above where Ohara framed a fisherman at the margins of the Igapó river, in Londrina (it is from there that I took inspiration to name this @). This was way before Londrina's elite taking hold of the river to make phalic mansions and to use the river as their garden and the background for their narcissitic selfies...

Aliás, não comentei a primeira foto desda thread, mas escolhi ela ora iniciar a sequência e como foto de caos pra lembrar as fotos que tirei no começo desse carnaval. Bonito pensar que são o mesmo céu...

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By the way, I did not comment on the first picture I tooted. I choose it (and as a cover picture) to remember the first photo I took when the Carnival started this year. It is nice to think they represent one and the same sky...

In english 👇 

Grota's film can be easily found in YouTube, but here is the link from the toot above: kinopus.com.br/movies/haruo-oh

The site where I took the photos for this thread is colecaopirellimasp.art.br/auto (although the whole collection is owned by the Instituto Moreira Salles).

In english 👇 

I had found Ohara's work in 2010, thanks both to entering graphic design in Londrina State U and to the launch of a short film called Haruo Ohara (Rodrigo Grota, Kinoarte, 2019). However, I did not get too deep into this matter at the time. I'm happy to become acquainted with the fact that the mud where I took my first steps as a child is the same one where Ohara walked to take his pictures.

In english 👇 

The Ohara family rose once again, moved to a loft in Londrina's old downtown and adquired a new farmland. In it, Haruo Ohara grew both financially and creatively. He had a tragic turn when, assuming the debt of a relative of his, he ended up indebted himself until 1999, when his life came to an end.

In english 👇 

With the Brazilian president Getúlio Vargas aligning with the Allies in the Second World War, japanese immigrants were persecuted and ostracized. As a result, Ohara's land was expropriated based on the ground that a new airport needed to be built. (The airport runway was only paved, however, in 1956).

In english 👇 

The Ikku Section ("first section") aka Arara Farmstead covered an area of 25 hectares for coffee farming, as well as fruit trees and Japanese flowers. In there (I might as well say "here"), Ohara used to tale advantage of the migrant isolation and inspiration from the peasant lifestyle in order to better photograph.

In english 👇 

While I'm trying to deal with the Carnival hangover, I walked across the neighbourhood were I was born and raised (called Aeroporto, in Londrina, Brazil), and then I researched a little about it. I've always knew that the hood was created as a result of Japanese immigration, but what I found most revealing was that it was the farm of the photographer Haruo Ohara.

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