The New Digs

Screen capture of the new website.

Having been away from this site for so long now I felt that a few tweaks were needed to get things moving again. I therefore spent the last couple weeks retooling the design, as well some of the technical stuff under the hood. Everything is really much the same – the content is still managed with WordPress and all the images are pulled from my PhotoShelter archive but I managed to smooth out some of the wrinkles I left behind during the last round of changes. I also tried to clean-up any annoyances I heard folks mention when looking at the site (thanks to Thomas, Simca, Ruth, and Tanya for being wonderfully critical.)

The biggest change by far is in the image navigation. I pretty much just stole the previous gallery script from another site and hacked it together so it would work more or less how I wanted it to – but it was never quite right. This time I simplified everything, started from scratch and built just what I needed. No more side scrolling (which I was sick of almost immediately after launching it) and instead a nice simple crossfade. I’ve also moved to a more friendly convention of allowing folks to click on the images to get around, as well as being able use the arrow keys on the keyboard. Previously if you clicked on an image it sent you to the archives for the licensing info which I think is still a good idea, I just don’t need it to be so blatant and I moved that feature to a simple link that appears in the footer while looking at a gallery. All of this allows me to focus the bits of text, and links I had floating around the image, and use that space much better now.

And speaking of links around the images the captions, and backstories are also a lot more flexible now. Previously they were just slides within the galleries, which was limiting, where now I can fade text up over the current photo, either by clicking a link below the images, or using the up/down arrow keys. For the moment I still have single backstories for every gallery but I have the option now to include individual image captions as desired.

Otherwise things are just a little more styled, better thought out, and hopefully just more refined overall.

Back Soon…

For the last many months I’ve been focussed on the project with Voces de Cambio that I mentioned below, and have been blogging over at the Tumblr site I set up to document our work. Catch up there, and I’ll catch up here.

Help Granito Get To The Oscars

Rios Montt was one of the presidents of Guatemala during that country’s 36 year civil war. Montt was responsible for the worst of the government repression, and murdered some 200,000 Guatemalans. The majority of these victims were unarmed maya peasants from the countryside, people that Montt felt were a threat in that they were aiding the guerrillas, and even if they weren’t their deaths would send a clear message to those that were. When The Mountains Tremble is a film shot during Montt’s presidency, and narrated by Rigoberta Menchu. The film depicts not only violence of the military repression, but the resistance mounted against the army by both the guerrillas, and the Maya people. The interviews with Montt are the hardest bits to watch for me, and it’s clear he viewed the Maya people as less than human, not to mention the guerilla fighters.

Skylight pictures, the producers of When The Mountains Tremble, are about to release a new film called Granito. ‘Granito’ means a ‘tiny grain of sand’ in Spanish and is a concept used by the Maya to bring about collective change, i.e. alone we can do very little, but by uniting our individual capacity for change we can begin to make a difference. Film outtakes from “When the Mountains Tremble,” as well as secret military documents and skeletal remains are all being used in the genocide case against military dictators that ordered the murders and Granito is the story of this attempt to bring these dictators to justice. In order to make an independent run at the Oscars next year (which would be an amazing denunciation of this genocide and it’s perpetrators) Skylight needs $35,000. The money will be spent on getting a 35mm print of the film made, renting out theatres for a week in LA and New York, as well as advertising to get the word out. Granito is using Kickstarter and have only a few days left to raise the remaining 8% 7% of their money. I know from experience how nerve-wracking the last week of a campaign can be (I barely slept) so here’s to helping them reach their goal.

This is an important issue, and I think money well spent. I’m not personally a big fan of the Oscars, except for maybe a few categories which they never show on TV anyway. But Granito happens to fall into one of those categories, so this coming year I’ll be paying a little more attention. It really would be great if Granito was amongst those films considered.

Kickstarter

Our Kickstarter appeal video. All photos by Voces de Cambio participants.

Last week I launched an appeal on Kickstarter to help raise some funds to hold a series of video production workshops with the kind folks of Voces de Cambio, the program for teen girls I volunteer with in Guatemala. Voces de Cambio uses writing and photography to help young women explore issues like discrimination, gender equality, and youth leadership. It’s an amazing program and I’ve gladly given my time over the years to help with curriculum, teach photography classes, put together a couple program exhibitions, and help build their website.

Kickstarter is an online tool for ‘crowdfunding’ creative projects, that is providing a place for the general public to get behind projects that interest them and hopefully rally their friends to do the same. Since I’ve been paying attention to Kickstarter there’s been a steady stream of great projects, including a book project by Larry Towell, with scores of new projects appearing daily.

All the information about the appeal is on the Kickstarter site, but this project will help Voces de Cambio add video to it’s program. The initial beneficiaries are the program graduates, as they’ll work through a series of workshops which will give them a solid grounding in video, as well as introduce them to what other youth are doing with the medium for social change. There’s money in the budget for a few initial video cameras, so after they’ve got a handle on the basics the girls will set about making their own videos, working in groups to shoot, direct, and edit their own films. During my visit I’ll also be working on a short film of my own looking at the program, and how it’s impacted the girl’s lives, working in collaboration with the workshop participants. At the end of our time together we’ll hold a public reception and screening (read PARTAY!!) so the girls can celebrate their hard work with their friends and family. Afterwards I’ll work with the Voces de Cambio staff to refine the curriculum we developed for the workshops so that it can be rolled into the program’s main course work, allowing the program to continue benefitting from this appeal.

Kickstarter is a little daunting though, as it’s all-or-nothing, meaning if we don’t reach our goal we get nothing. This makes sense though, as with a portion of the money requested most projects wouldn’t work. Take ours for example, it includes money for the workshops, for gear, and for travel. If we don’t have enough for all three of those elements then the project falls apart. The key then becomes outreach, and getting the message across to those you feel will become backers. We’re a week in at this point, and have just about reached 20% of our goal, which is great. With more than a month to go I’m pretty confident we’ll make it.

Using Kickstarter itself couldn’t be easier, they’ve put together a really slick tool. To get started someone from Kickstarter has to vet your project to make sure it’s a good fit for the site. After that it’s a straight-forward process for setting up your project, uploading video, images, and adding your project rewards. Kickstarter uses Amazon Payments as it’s payment gateway, as they keep all the money in escrow until the end of the appeal, and apparently only Amazon can make this happen. It’s easy enough to set up, took me only 10 minutes before I was back at the Kickstarter site ready to launch. Of the money raised in a successful appeal Kickstarter takes 5%, and Amazon 2% or 3% but it’s free to initiate a project.

So, if you’re reading this before March 22nd I’d ask that you consider backing this project, and help spread the word. Voces de Cambio is dedicated, and much deserving. Together we’ll put your money to good use, and as a backer you’ll be the first to see the girl’s success, as we’ll be sending out regular news, and updates, as well as posting links to the work the girls produce. What was it Aimé Césaire used to say? “There’s room for all at the rendezvous of victory.” See you there!!

Nice One

Cartoon by Latuf

I’ve never marked a tweet as a favourite before now, but this one is pretty great:

“the British activist is saying “It’s very hard to come to Gaza” and it’s very hard to go out, too! #Gaza #Palestine” (@livefromgaza)

La Ultima Esperanza

I just came across this footage from the early days of the Madres de Plaza de Mayo protests in Buenos Aires. A group of mothers and grandmothers who happened to meet while searching for their children who had been disappeared by the Argentinian government. Over time they formed into a cohesive group meeting daily in the Plaza de Mayo in Buenos Aires, wearing white kerchiefs embroidered with their lost child’s name, symbolizing their baby blankets. They were visible (and loud) day after day after day, with their protests continuing still. They also have some lovely convictions, such as through the years of protest they’ve since become the inheritors of their dead (though some of the disappeared have been found alive, but not many) children’s dreams.

Honest, heartfelt, direct, collaborative and unrelenting. A perfect model.

Photorama

One of my images for Photorama 2010 at Gallery TPWClick to see diptych.

It’s Photorama time again at Gallery TPW in Toronto, their annual photo sale to help support their programming. I’ve got two images included in this year’s sale (click above to see the two images together) from my work earlier this year in El Ejido, Spain. The star of the show, as he is every Photorama, is Ed Burtynsky with a print from the BP spill in the Gulf of Mexico. I only caught a glimpse of the show when I dropped off my prints, and will be out of town for the duration, but it looked like there was a lot of great work up for grabs. The sale is just getting underway, and on until December 4th, so still lots of time to head over to Ossington to check it out. (I highly recommend going late (the Gallery is open until 7:00) and then heading up the road to Foxley for a snack!!)

From the Archive: Kidmat Zion

SILWAN, EAST JERUSALEM, 2004. One of the first Palestinian homes in the neighbourhood of Silwan in East Jerusalem taken-over by Israeli settlers to start the settlement of Kidmat Zion. (Lucas Mulder / Ballad Photo)SILWAN, EAST JERUSALEM, 2004. One of the first Palestinian homes in the neighbourhood of Silwan in East Jerusalem taken-over by Israeli settlers to start the settlement of Kidmat Zion. Click for a larger version.

An article today in the Guardian about a Palestinian family of 14 forced from their home in East Jerusalem. There are always murky financial transactions around such expulsions (or at least such transactions are claimed) which usually blocks any recourse Palestinians might have in the Israeli courts.

A few snippets from an article in the New Standard written shortly after I took the above photo. From a Palestinian landowner, Osama Zahaikah, living in the immediate area…

“Over there is Kidmat Zion,” said Osama Zahaikah, the landowner. Standing in the fresh bulldozer tracks of Nof Zion, Zahaikah pointed to a lone house on the opposite hill, just meters in front of the solid concrete wall that defines the eastern edge of what Israel considers Jerusalem. “That lone house is owned by a Jewish family,” said Zahaikah. “There is another just over the hill. It is the beginning of a future settlement.”

Zahaikah’s concern for the future of his village was palpable. “You see, this process; it is a cancer,” he said, standing with his brother Saleh overlooking the heavy construction equipment at work on the new settlement. “It will never stop. Soon,” predicted Osama, “[the Israeli settlers] will bargain with the [Palestinian] families in the area and the settlement will expand, ultimately connecting it here, with Nof Zion. This is what we are worried about – the connection of each of these settlements. This is how it works.”

And from Uri Bank, a right-wing Israeli politician, and then chairman of the Moledet party, whose sole platform calls for the expulsion of Palestinians into Jordan.

“We break up Arab continuity and their claim to East Jerusalem by putting in isolated islands of Jewish presence in areas of Arab population,” Bank said. “Then we definitely try to put these together to form our own continuity. It is like Legos: you put the pieces out there and connect the dots. That is Zionism. That is the way the State of Israel was built. Our eventual goal is Jewish continuity in all of Jerusalem.”

And thus the whole dirty business of settlement expansion continues, unabated and with state-sanctioned impunity. Shameful.

From the Archive: Al-Walaja

Abu Nidal, a Palestinian farmer finds the original location of Al-Walaja on a map dating from the 1920s. Al-Walaja was one of the many hundreds of Palestinian villages destroyed, or depopulated during the Nakba of 1948, and the subsequent creation of the Israeli state. Click for a larger version.

Palestinian historian Walid Khalidi writing about what remains of the original village of Al-Walaja, now part of an Israeli recreation area…

“A few stone houses still stand on the village site. Otherwise, the site is covered with stone rubble, and with almond trees that grow on the western terraces of the village and to the north. A spring in a valley west of the site still flows out of a stone-and-concrete structure. The 1948 Armistice line passed through the southern lands of the village. The United Nations Relief and Works Agency (UNRWA) built refugee shelters and an elementary school on the land that became part of the West Bank. There is a white marker on the grave of one village woman; her first name, Fatima, is visible on it, but her last name is illegible. The village area is used as an Israeli picnic site; the Israeli Canada Park now lies to the north.”

Paolo Canevari’s Bouncing Skull

The other night a friend who’s working on a project around trauma turned me onto this video by Italian artist Paolo Canevari. One criticism she’d received of it was that it’s a “conceptual one-liner.” Personally, I think it goes a little deeper than that. The video is shot in Belgrade, within the ruined compound of the Serbian Army Headquarters, destroyed by NATO bombs in 1999. The video begins and ends with an image that wouldn’t feel out of place in a portfolio of someone like James Nachtwey, framed perfectly with the skull and the destroyed building behind (the kid, too, does a great job of reframing things once he’s tuckered out). During the 10 minutes between there are some lovely notions (grand and not-so-much) of memory (war/muscle), omnipresence (war/football/rubber), pollution (war/rubber), even recycling (rubber/history). Life, death and banality.

So, is it a one-liner? Even if it is I think it’s a good one.

quare siletis juristae in munere vestro?