Director - Isabel Monarca Cruz
Director - Lorenzo Moreno Pajarito
Director - Myriam Hernández Vázquez
Producer - Dane Christensen
Producer - Karen Bellato Pérez
Producer - Myriam Hernández Vázquez
Screenplay - Myriam Hernández Vázquez
Associate producer - Laura Nayeli Barragán
Associate producer - Mauricio Martínez Miramontes
Voice - María Moreno Cruz
Voice - Myriam Hernández Vázquez
Voice - SILVIA VIVIANA Monarca Lázaro
Original Music by - ISIDRO Ortega Moreno
Original Music by - LORENZO Moreno Pajarito
Creative Producer - Dane Christensen
Director of photografy - Dane Christensen
Spatial Sound Mixing - Barna Szász

Still photography - Víctor González Rosas
VR Editor - Dane Christensen
Graphic Designer - Ana Abellán Borja
Impact Producer - Adriana Trujillo
Production Manager - Karen Bellato Pérez
Production consultant - Mariana Góngora
Post-production assitant - Ana Abellán Borja
Post-production assitant - Mariana Góngora
Post-production assitant - Rubén Darío Salinas
Communication Manager - Rubén Darío Salinas
Legal advisor - Canales & Advisors S.C.
Legal advisor - Luz Ángela Duarte González
Pre-production assitant - Elia Vázquez Méndez
Pre-production assitant - Pablo Menéndez Félez
Rarámuri Interpreter - Rogelio Estrada Merino
English-Spanish Translator - Carlos Gerardo Cáceres Castillo
English-Spanish Translator - Noelia Noel Carpio

Colaboradores de la Comunidad Bacajípare

ALENI ITZAYANA Salmerón Moreno
ANDRÉS Delgado Frías
ANTONIO Moreno Morales
BERNABÉ Moreno Rodríguez
CRUCITA Corral Moreno
GABINO Moreno Torres
HERCULANO Moreno Torres
HILARIO Cruz Molino
ISIDRO Ortega Moreno
JOSÉ Corral Moreno
JOSÉ JUAN Corral Moreno
JOSÉ LUIS Tapadera Moreno
JUANA Moreno Soto
LORENZO Moreno Pajarito
MARÍA Moreno Cruz
MARIANO Corral Rascón
OBIEL ISIDRO Galindo Fierro
ROSENDO Batista Rivas
ROSENDO Moreno Carrillo
TERESA Cruz Frías

Colaboradores de la Comunidad Huetosachi

BERTA Quintero Estrada
BRAULIO Lorenzo Rivas Monarca
CAROLINA Martínez Monarca
GUADALUPE Monarca Lázaro
ISABEL Monarca Cruz
JACINTA Monarca Lázaro
JULIAN CÉSAR Chávez Monarca
LUCÍA Monarca
LUCRECIA Monarca Lázaro
LUISA Ortega Torres
MARÍA Monarca Lázaro
ROSA ÁNGELA Estrada Cruz
ROSA ÁNGELA Monarca Lázaro
YAHIR Chavez Monarca
ZENAIDA Lara Moreno
ZULEMA Monarca Ortega

Con el apoyo de:

Experiencias Rarámuri
Atlantic Fellows for Social and Economic Equity
Atlantic Institute
Dansker Digital
Huella Futura
La Mano del Mono
Parque de Aventura Barrancas del Cobre
Modelo Market Ready

Agradecimientos especiales:

Alice Wroe
Ivonne Barriga
Marisol  Morales Aragón
Sergio "Tiny" Almada Barrera
Campamento Yaax'che y sus servicios

Logo El Madresal Ecoturismo
Logo Hotel Taseletzin
Logo Visit Calakmul
Logo Yoo Nashi
Logo Experiencias Matlatznicas
Logo Carey
Logo Laatzi Duu
Logo Xyaat
Logo Expediciones Sierra Norte
Logo Mansión Tarahumara
Logo Sian Kaan
Logo Isla Valor

A checklist for ethical film-making with communities:

  • Open the process for selecting who and why could benefit the most from a VR film.
  • Be ready to build an honest and caring relationship with the people you want to create the film with.
  • Spend enough time - or partner with someone who has been - building trust and local understanding of the community you’re engaging with.
  • Ensure all your participants relate to the medium (VR) before anything.
  • Prime individual and collective dignity over camera angles or storylines.
  • Decentralize cinematographic decisions to collectively design the experience.
  • Share know-how on using the film-making equipment so local communities can actively participate in production.
  • In production, plan carefully and leave room for serendipity. It’s part of listening.
  • De-colonize narratives by engaging with local artistic expressions, languages and landscape’s sounds of the communities sharing their story.
  • Pay attention to the stories often concealed by intersections of age, gender, and social status.
  • Take care of the viewer. Be up front about the purpose of inviting someone into the virtual reality experience.
  • Define ownership rights for each actor involved and sign on them.
  • Include translators in the process of obtaining image-waivers and negotiating the copyright structure.
  • Thoughtfully think how any potential dividends reflect the ethics of your film.
  • Prioritize congruence over funding. Ask the story-tellers who should be involved and under what conditions.
  • Spend enough time and care in crediting each participant.
  • Collectively agree on the “terms and conditions” to present and reproduce the film.  
  • The launching and distribution strategy must be co-created with all actors involved in the film.
  • Learn and adopt the community's ways of socializing, respecting the times and places for it.
  • Establish a code for communication by using interpreters to share in their own language, and harnessing non-verbal communication.
  • Learn which care practices are relevant for the community and make them always present during your time on location. Advocate for mutual care.
  • Measure your questions. It is exhausting for communities to explain and guide you through the story you want to find, or understand.
  • Reflect on your positionality all the time: What power do I have in this situation? How am I using -or shifting- that power?
  • Be ready and open for conflict, it is part of building collectively.
  • Find partners who are aligned with the values and principles of the project.
  • De-link stories from money-making dynamics.
  • There should be ethical dilemmas: it’s a good indicator of shaking power structures.
Un sueño ancestral Rarámuri sobre el cuidado de la Madre Tierra
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