Tag Archives: Rio de Janeiro

Fṛm Đ Gardịn: ‘This moment is leaving a mark on me’: framing Rio under Covid-19’s shadow

The funeral of Elizabeth Baez, an 82-year-old woman who died after contracting Covid-19, takes place in Rio de Janeiro in the presence of her only son, Henrique. All photographs by Nicoló Lanfranchi
Ɖ fynṛl v Iliẓbʈ Baez, an 82-yir-old wmn hu daid aftr cntractñ Covid-19, tecs ples in Rio de Janeiro in ɖ prezns v hr onli sun, Henrique. Ol foṭgrafs bî Nicoló Lanfranchi

‘Ɖs momnt z līvñ a marc on m’: fremñ Rio undr Covid-19’z śado

(Transcription of an article published in the Guardian on 30 April 2020)

Nicoló Lanfranchi arîvd in Bṛzil t mc a film abt tṛdiśnl meḍsin n endd p ćartñ a traɉdi ɖt aqîrd a dīpli prsnl dmnśn

Dóm Filips in Rio de Janeiro

Ʈrzde, 30 Epril 2020

Foṭgrafñ a fynṛl z nvr īzi, no matr hǎ pṛfeśnl ɖ ftogṛfr, n īvn mor so amd a pandemic. Bt fr Nicoló Lanfranchi, capćrñ ɖ berịl v Covid-19 victim Iliẓbʈ Baez, 82, ẃć tc ples ɖs munʈ at ɖ São João Batista seṃtri in Rio de Janeiro, wz ispeṣ́li dificlt.

Az h foṭgraft ɖ grevdigrz in pṛtctiv cloɖñ wɖ Iliẓbʈ’z sun Henrique, 49, ɖ onli mōrnr alaud, woćñ on fṛm bhnd a masc, Lanfranchi ʈt v hiz ǒn faɖr, Piero. At 72, Piero wz in intnsiv cer wɖ Covid-19 in a hospitl in Voghera, in Lomḅdi, norɖn Iṭli – wn v ɖ wrst-afctd plesz on Rʈ.

“I imajind mslf in ɖ sem sićueśn, n I startd fesñ ɖs posbiḷti n I wz riyli tućt,” h sz. Aftr ɖ fynṛl, Lanfranchi tld Baez abt hiz faɖr. Baez ʈanct him fr capćrñ hiz muɖr’z lonli berịl – n fr śẹrñ hiz ǒn stori.

Ɖt Bṛziłnz – a soṣ́bl, gṛgerịs ppl – r so opn t brīf yt pṛfǎnd hymn inṭax́nz lîc ɖs z jst wn v ɖ mni rīznz Itałn ftogṛfr n film-mcr Lanfranchi hz rtrnd hir evri yir fr ɖ past tū decedz. Ɖ uɖr z t tec picćrz.
“It z a hyj lîfscūl fr m. I hv t b foc̣st, it z denjṛs, nwn cn hlp m n I fīl rsponsbiḷti t brñ bac iṃjz n ɖ storiz,” h sz. “It clīnz mî mînd.”
Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

Born in Milan n best in Brlin, Lanfranchi hz wrct az a frīlans ftogṛfr in portrit, travl, nyz, n fotojrṇlizm. H prifŕz t spend tîm on asînmnts; h wns spent ʈri wīcs on bōrd ɖ Aqerịs śip az it reskd refyjīz arnd ɖ Mediṭreńn fr a siriz v Gardịn dspaćz.

C’roṇvîṛs hz bn wn v ɖ tufist subjicts t cuvr. “I’v bn wurid abt ɖ vîṛs,” h sz. “Mî faɖr wz on mî mînd.”

Lanfranchi frst cem t Bṛzil in 2000 bcz h pracṭsz ɖ Afro-Bṛziłn art v capoeira n cem t b “baptîzd” in an iniśieśn. Orijiṇli dveḷpt bî inslevd Africn ppl az a marśl art dsgîzd az a dans, capoeira z an xampl v hǎ ɖs vast, vẹrid cuntri abzorbz culćrz.

“Uɖr ppl cōl ɖs a mltñpot. It z mor ɖ sincṛtizm, ɖ cpaṣti v an organic form t abzorb difṛnt ʈñz,” sz Lanfranchi.
People waiting at a bus station in Rio Centro. Photograph: Nicoló Lanfranchi/The Guardian
Ppl wêtñ at a bușteśn in Rio Centro. Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

In 2012 h foṭgraft wîldcat mainrz in ɖ jungl, in 2014 a socrtrṇmnt in a prizn in João Pessoa. In 2015 Bṛzil sufrd ɖ wrst invîrnmntl ctastṛfi in its hisṭri ẃn a teilñzdam nir Mariana c’lapst, cilñ 19 ppl n sndñ miłnz v lītrz v mînñwest slūsñ dǎn ɖ Rivr Doce t ɖ sì.

Lanfranchi wrct wɖ Grīnpīs, Amṇsti, Vaṇti Fer n ivnć̣li s’plaid dṛmatic iṃjz fr a Gardịn stori ɖt Davilson Brasileiro n I rout abt an invstgeśn intu ɖ dzastr’z cōzz bî fedṛl proṣktrz.

In Jańri 2019, Lanfranchi n I hd jst left ɖ Raposa Serra do Sol indijṇs rzrv in Bṛzil’z far norʈ ẃn anɖr teilñzdam c’lapst, in Brumadinho in ɖ sem stet v Minas Gerais, cilñ hundṛdz. At ɖ dzastr zon, Lanfranchi’z psistns, hiz abiḷti t ćarm n cjol, n hiz scil at cmpozñ foṭgrafs in ceos rendrd memṛbl iṃjz v ɖ dedli, avôḍbl traɉdi.

H arîvd in Rio on 3 Marć t mc a śort film abt tṛdiśnl meḍsin in Bṛzil’z semi-arid intirịr, bt ɖ pandemic ślvd ɖ project. Îṣletñ in Rio’z bīćsîd Ipanema nebrhd, Lanfranchi dscuvrd ɖt ɖ gret cmpozr Tom Jobim hd ritn mni v hiz bossa nova clasics in an apartmnt in hiz bildñ, includñ Chega de Saudade (Inuf v Loññ), most feṃsli rcordd bî João Gilberto.

Ɖt nstalja infctd Lanfranchi n h sòt t tec fotoz ɖt capćrd tîm standñ stl n ɖ firfl meḷnc̣li v a siti ẃr lîf wz on hold.
H bòt N95 mascs, faund a drîvr hu ń ɖ siti n bgan wrcñ ǎt hǎ t foṭgraf ɖ pandemic ẃn so mni sićueśnz – hlʈsntrz n hospitlwordz – wr in’xesbl. H clīnd hiz iqipmnt wɖ alc̣hol jél, n ćenjd n wośt hiz cloɖz ć tîm h got hom.

Copacabana beach, empty during the coronavirus outbreak. Photograph: Nicoló Lanfranchi/The Guardian
Copacabana bīć, emti jrñ ɖ c’roṇvîṛs ǎtbrec. Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

Yzñ a dron wrct fr foṭgrafñ emti bīćz n an upscel membrz’ club fr a stori on hǎ c’roṇvîṛs spred amñ its priṿlijd membrz. H olso yzd it t capćr faṃliz on ɖer balc̣niz.

H pt ɖ dron dǎn t capćr fūd distṛbyśn in ɖ Siti v God fvela, strītsaṇteśn in nirbî Niterói, n ppl ignorñ sośl distnsñ advîs acrs Rio.

Sm dd ɖs fṛm śir ic̣nomic nīd, uɖrz dd’nt tec ɖ pandemic sirịsli. Ɖ cuntri’z far-rît prezidnt, Jair Bolsonaro, dsmist c’roṇvîṛs az “a litl flu” n argyd ɖt pṛtctñ ɖ icoṇmi wz mor importnt ɖn sośl distnsñ īvn az cnfrmd c’roṇvîṛs cesz n deʈs rouz.

In City of God, a banner from a local group urges people to stay at home. Photograph: Nicoló Lanfranchi/The Guardian
In Siti v God, a banr fṛm a locl grūp rjz ppl t ste at hom. Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

Lanfranchi wz dsmeid t si Bṛziłn soḷdaṛti c’rodd bî fec nyz n far-rît popylizm. “I flt hǎ sic ɖ cuntri z, ppl r s’portñ a prezidnt hu opnli dz nt cer abt ɖ hlʈ v ɖ popyleśn,” h sz.

A man in Rio Centro walks next to a poster that says: ‘Bankers, respect the lives of workers and customers, coronavirus kills.’ Photograph: Nicoló Lanfranchi/The Guardian
A man in Rio Centro wōcs nxt t a postr ɖt sz: ‘Bancrz, rspct ɖ lîvz v wrcrz n custmrz, c’roṇvîṛs cilz.’ Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

Ɖs discnct reẓnetd az hiz faɖr’z hlʈ wrsnd. Piero Lanfranchi hd gn t hospitl t gt a plastr rmuvd bt còt Covid-19. Faɖr n sun cḿṇcetd via txt, untl ɖ tîm cem fr a plastic box t b pt ovr Piero’z hed t hlp him briɖ n h snt a last mesij.

Rio during the pandemic. Photograph: Nicoló Lanfranchi
Rio jrñ ɖ pandemic. Foṭgraf: Nicoló Lanfranchi/Ɖ Gardịn

Lanfranchi cd nt hv sìn hiz faɖr īvn f hd bn ebl t gt a flît bac t Iṭli. Hospitlvizitrz r nt alaud, ɖr r rodblocs in Lomḅdi. On Saṭde h got ɖ nyz: dspt ɖ plastic box, hiz faɖr hd daid.

“H wz alon, ɖs z ɖ wrst ʈñ, n smʈñ I wd’nt wś on enbdi,” sz Lanfranchi, tirz cracñ hiz vôs.
Nǎ ɖ onli ʈñ h cn ʈnc t d z plan a ny asînmnt.
“Ɖs z a historicl momnt, it z līvñ a marc on m, n in a srtn we I ʈnc abt ɖ uɖr faṃliz afctd wɖ ɖs, n I am wɖ ɖm,” h sz. “I d nt wont t b bìtn bî ɖ vîṛs.”

Instroduction to Ñspel

From Portuguese: Looking after, by Machado de Assis

(My translation of the short story O enfermeiro by Machado de Assis)

S

o you think what happened to me in 1860 warrants a few pages? Fair enough, but on condition you don’t let anyone see it until I’m dead. You won’t have to wait long, maybe a week, if not less; I don’t have any illusions about that.

Continue…

From Portuguese: The Prettiest Girl in Rio, by Artur Azevedo

(My translation of the short story A moça mais bonita do Rio de Janeiro, which was published in Contos cariocas in 1928.)

I

t was 1875. In a small house in the suburb of Engenho Novo lived the prettiest girl in Rio de Janeiro, together with her parents. Because she was born on the second of May, she’d been given the name of Mafalda at the baptismal font, simply because it was the feast of St Mafalda; but no one knew her by that name – ever since she’d been little, everyone in the house had called her Fadinha, a diminutive and corruption of Mafalda, meaning Little Fairy. And those three syllables suited her well because, when she was eighteen, she possessed all the charms that the faries have, or should have; and in her extraordinary beauty there really was something supernatural and magic.

Continue reading From Portuguese: The Prettiest Girl in Rio, by Artur Azevedo