Draws Too Much in Class: A Portrait of Mike Jasorka
This is the first in a series of video and still bio-portraits of the artists working at Venice Arts. Created by volunteer artist-mentor and filmmaker, Bill Clarkson, about Mike Jasorka, a Lead Artist in our Comics program.
Curated by Bill | Items: 2
Through Our Eyes: Summer 2010
These are some photos from the summer 2010 training program that Venice Arts led for the fabulous Teaching Artists working with the Ho Family Foundation, as well as some photos from the Photo Camp led by the Teaching Artists.
Curated by Lynn | Items: 10
Stories of Change
From the Kolda Region, Senegal, January 2013—The photos in this gallery share images from the field as the Venice Arts-Tostan team work on three short-short films (4-5 minutes) funded by Sundance-Skoll's Stories of Change. Working titles:
We hope that these films will also show the extraordinary efforts of men and women, elders and youth to break from long-held traditions, perhaps making a small contribution to inspiring the efforts of others working toward peace and security, whatever their methods and wherever they may live.
Tostan's Model: Tostan's intensive, three-year community-based approach to informal education in Africa starts in a classroom, teaching people about human rights—to health, education, a clean environment—after which participants disseminate or "diffuse" what they have learned to others in their families and communities, as well as to other villages. Tostan also works with each community to create their own infrastructure, called the Community Management Committee, with elected leaders who oversee community development and assure that the work lives on long after Tostan has left. For more information, visit Tostan.
Curated by Lynn | Items: 15
Teaching In The Field: Senegal
Our third day of training included reviewing shooting exercises from the following day and doing critique; taking out and reviewing the field-equipment (better cameras, sound equipment, and more); and a team shooting exercise that focused on interviews and/or portraits. With one interpreter and a few participants who also spoke English, the teams navigated French, English, Woloff, and Pulaar to create their pieces.
Our Process Alex, Brigid, and Christian each worked with a different team of three participants with a goal to help them integrate everything they had learned, thus far about the power of story and participant storytelling, documentary aesthetics, and filmmaking concepts and technical skills.
Each group worked in crews, with some choosing a single role for the duration of the exercise (sound, camera, direction, etc.) and others rotating roles. In addition to integrating knowledge and building skills through practice, our goal was to give participants an experience of "teaching in the field," which is central to Venice Arts pedagogy. This was done in several ways: At times, the Venice Arts' filmmaker set-up the shots and talked through what they were doing and why, including other choices that they might make; at other times, the participants set-up all components of the shot and received feedback from the filmmaker and their peers on shot composition, sound, light, and more. The filmmakers also asked questions of the participant-team to get them thinking about the creative and technical choices that they were making and why. They also worked collaboratively to make decisions about what stories to pursue and what the approach might be.
Curated by Lynn | Items: 9