“Film can rescue anthropology and deliver it from its confines.”
By James Kloda
The introduction from film-maker Hugh Brody to this year’s screening of ethnographic projects made by the undergraduate and Master’s visual anthropology students suggests a liberation of authorial voice to articulate its subject through a cinematographic medium: indeed, many of the shorts that were screened were free from an imposed agenda, telling moments revealed through shrewd observation and unforced technique. Charlotte Austwick’s Welcome To The Country looked at the rural community that she grew up in, and the reaction of locals to the increasing influx of urbanites relocating there and the prejudices they hold against parochialism. There was a pleasingly sardonic wit expressed by the film-maker (an interviewee bemoans city slickers invading the countryside that cuts to an axe chopping a log), and her father proved an eccentrically entertaining character, sighing when he recognises the look of piqued curiosity exhibited by outsiders toward them (“Oh, they’re going to want to talk about the locals again…”) and recounting tales of their prurient fascination at seeing such ‘marvels’ as peas growing in the wild. But, despite justified grumblings from the villagers, there was admitted compromise in the fact that those accustomed to city ways are more prepared to pressurise local councils regarding maintenance of facilities. Austwick’s film could have perhaps benefited from the point of view of an interloper, to see what visual and behavioural contrasts exist between the two types of inhabitant, but, overall, it was a work of warm confidence.
Communities featured prominently in the next array of films, from the University’s diverse religious fraternities to a busy indoor market in Leicester, via a Cosplay conference in London. Kate Al-Khalili’s The Community Within Religion observed ritual, be it a baptism or Muslim prayer session, with intimacy, her camera genuflecting with prayer-goers and close-framing the various groups, highlighting the bond between them. Yet there was also the occasional flash of the pragmatic limitations of open-armed welcome: the RC chaplain at the University of Kent opines that he couldn’t physically cope if too many students came to the institution for Catholic foundation. Anastasia To’s Muchly Needed captured the multicultural diversity that still thrives in a fish market with a vibrancy of colour and contrast, reflected in the choice of interview subjects and close-ups of the wide variety of fish for sale. The choice of location was inspired, as many customers related to the piscine wares as a connection to home, a demand for domestic staple fuelling supply of increasingly exotic fish, which led many to recount family anecdotes of fish preparation and styles of cooking to the camera. Cosplay, filmed by Harrison Holt, asked a number of people why they participate in costuming: a means to overcome shyness; an antidote to bullying; providing outreach for disadvantaged community groups. What was striking was the static poise that cosplayers exhibited when Holt filmed them, as if waxworks in a gaudy gallery. And there was something sneakily subversive about including footage of them drinking Coca Cola or eating a Subway: for all the flamboyant esotericism on display, the cosplayers still chow down on junk food, a symbol of homogeneity if ever there was one.
The next collection of films were individual portraits that often revealed more about the film-maker than their subject. Hannah Evans’ About Dad fulfilled a desire that most of us have: to put our parents in the spotlight at the mercy of our interrogation. But her father Jeremy proves an elusive figure, disarming Hannah with a banality of recollection when she asks him what his favourite memories are of her or matter-of-factly recounting details of his brother’s death, a story that an audibly upset, off-camera Hannah hears for the first time. If the presence of a camera can open up its subject, the revelations that this affords are not always easy to swallow. With Time To Use also focused on a father, one who has taken an early retirement yet is becoming increasingly restless. Alex Astin’s frustrated insistence that his father sit back, relax and enjoy his well-deserved fallow period instead of obsessively busying himself subtly articulated an irreconcilable generational divide, made poignant by inserts of the tide ebbing and flowing on the beach that Astin Senior’s house overlooks, potent metaphors for what time there is to use. Lucinda Newman’s Portrait Of A President followed the student president of Canterbury Homeless Outreach as she discussed the voluntary work that the group do. Impact softened by prolonged imagery of the subject smoking and playing guitar in the sunshine, presumably to suggest what a free spirit she is, and no footage of or interviews with the people she helps, the film nevertheless provided a saddening exposé of NIMBY (not-in-my-back-yard) council attitude, that homeless people should be moved on to another place for someone else to deal with. This revelation was all the more powerful for its organic emergence in Newman’s conversational approach.
The peripatetic subject of Anna Bettini’s Reflessioni On The Go ambled around Canterbury’s Westgate Gardens and High Street, as his thoughts on the differences between his native Sardinia and Britain were narrated through voiceover. Whilst delineating the British stereotype that he has experienced, his comments reinforced popular notions of the Italian temperament, whether announcing that “British people give credit to our level of learning and knowledge” with blithe hauteur or detailing how quick his fellow countrymen are to make a scene in the workplace as opposed to the polite placidity of their UK counterparts. If the imagery often seemed superfluous to the pre-recorded interview (frustratingly we do not hear his comments when in front of an Italian war memorial in the city), Bettini revealed her strategy in the closing moments: since staying in Canterbury, and despite the cultural differences good or bad, he feels a closeness to his current location, as a ‘second home’ to the one of his birth, the constant roving reflective of this transition.
With so many quiet epiphanies, the final three shorts displayed a direct confidence with both style and examination. Rachel Downes’ Cirque de Curiosité had little to say about its titular cabaret company, their filmed acts intercut with rather conventional interviews. However, the acts themselves were a marvel of montage and colour, the febrile intensity of performance captured through swathes of neon, pulsating editing and multi-angled curiosity. And, for the interviews themselves, Downes made dramatic choice of camera position, filming jugglers from a high gantry or, bravely, right underneath them, the camera lens in danger of destruction should a ball stray from its controlled rhythm. Telling Secrets began with its maker and subject, Simon Holt, attempting to light candles on a birthday cake that become continually extinguished: in a droll cut, it is revealed that this is because the table is positioned next to an electric fan. Holt chose to make a film about his prior struggles with depression and is candid on camera about his feelings. But it is the facility with visual metaphor that distinguished this piece, that opening image profoundly resonant through its deadpan simplicity. A therapeutic experience, for both Holt and the audience.
Wrapping things up was Joe Spence’s Our Patch, a documentary about a farm in Herefordshire that doubles as an animal rescue shelter and a centre for people with special needs. Spence’s warmth and empathy with his subjects was touching, his camera drifting out of focus briefly as the owner of the farm becomes moved to tears, a moment of discretion to his subject but one that also elicits a similar response in the audience, the image welling up through a subtle lens shift. It is moments like this that film does not only rescue anthropology, but delivers us all from the confines surrounding us, be they social, emotional or familial.
Resolation Prize Winners
HUGH BRODY VISUAL ANTHROPOLOGY PRIZE: Our Patch– Joe Spence
RUNNER-UP: Welcome To The Country– Charlotte Austwick
DAVID PICK DOCUMENTARY PRIZE: Telling Secrets– Simon Holt
RUNNER-UP: Muchly Needed– Anastasia To
PUBLIC ENGAGEMENT PRIZE : Telling Secrets– Simon Holt
RUNNER-UP: With Time To Use– Alex Astin
AUDIENCE AWARD: Our Patch– Joe Spence/Telling Secrets- Simon Holt
RUNNER-UP: Muchly Needed– Anastasia To
CSAC SPECIAL DISTINCTION PRIZE IN TECHNICAL & CINEMATOGRAPHIC CREATIVITY & DIGITAL STORYTELLING: Cirque de Curiosité– Rachel Downes
[All the screened films can be accessed through clicking on the links above]
With the support of the Center for Public Policy Transformation, Sarine Arslanian explores through documentary the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy implemented by the government as a measure for flood prevention. Her documentary also examines the bureaucratic and environmental challenges, and alternative approaches to make the plans more sustainable on the long term.
Sarine won the Hugh Brody Visual Anthropology Runner Up prize for her film ‘Connecting Strings; Armenian Spirit in Music’.
Since graduating from Kent in 2012, with a degree in ‘Cultural Studies and Social Anthropology’, my passion for travelling, discovering new cultures, learning about people, languages, customs and cuisines has taken me to various places around the world.
For 15 months, I travelled throughout Latin America and South East Asia, where I was trying, as much as I could, to experience new places the way the locals do.
Taking an anthropological perspective in producing development-related documentaries has been something I have been aspiring to ever since I took the ‘Visual Anthropology’ class in Kent.
Hence, I decided to return to the UK to pursue a masters degree in ‘Development Studies’ at the University of Cambridge.
After graduation, I moved to Jakarta, Indonesia, where I have been living since. I am now working as a researcher for a local think tank called Transformasi, exploring the socio-economic impacts of public policies in the country, through visual means.
A year ago, if you had asked, I would never have thought about Jakarta. But the think tank I work for has some connections with the Centre of Development Studies at Cambridge and I received an email about this position a little before graduation. The job description looked amazing, especially as it involved producing documentaries based on my research. So I thought, why not move to Jakarta? 🙂 I wasn’t expecting to love the city so much! It’s a hectic city with a lot of pollution, and traffic, but there is always something interesting going on. The movement, colours, smells, people, food, cultural diversity etc. definitely make the place for me. I have had countless amazing experiences, especially with people in rural areas and slums, but also more ‘disturbing’ but memorable ones, such as experiencing kerokan; a traditional massage to let the wind flow out of your body – someone rubs a coin across your back so hard that you end up with ‘tiger’ stripes, having my roof fall in my room and my room flood, also pushing a bike through flood water, etc. It’s basically a love and hate relationship that is making me love the city even more.
I have produced the documentary ‘The Reality of Ciliwung People in Jakarta’, which explores the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy. It also looks at bureaucratic and environmental challenges, and alternative approaches to make the relocation plans more sustainable on the long term.
I could never be thankful enough to Mike and all the wonderful people I met in my ‘Visual Anthropology’ class at Kent. The experience I gained both in the classroom and while filming and editing my first documentary ‘Connecting Strings; Armenian Spirit in Music’ is invaluable. It taught me culturally sensitive research skills, and the more technical and practical aspects of filmmaking that I am now applying in my current job.
I will be working here until the summer, and planning to produce one or two more documentaries until then!
(You can see her prize winning film in SELF Spaces)
@Porchlight1974 @KentSAC @CTunaker @Pelaris
Carin Tunaker is a PhD student in social anthropology at the University of Kent. Her research examines the conditions and circumstances that contribute toward LGBTQ youth homelessness in East Kent. Carin and the co-director for this project, Prem Konieczny from Porchlight, used participatory film-making as a research tool for this project. Below she explains the process and the outcomes both for the young people and for her own research.
The film was a project by and for young homeless people living in Porchlight’s young persons’ services in Canterbury and Tonbridge. It follows three young people, Josh, Shaunagh and Michael, through their journeys as homeless youth living in hostels in Kent. In making this film, they wanted to show people that being young and homeless isn’t always what you think it might be; they wanted to challenge negative stereotypes of homeless people and show what the ‘reality’ of homelessness is, for them.
There were never any grandiose intentions for this film project, it simply started out with me, as a Support and Resettlement worker in Porchlight, asking the residents in the project where I worked, to sit down and brainstorm with me about perhaps making a film on homelessness. I had little hope of engagement and excitement about the project, because engaging young people who are going through a traumatic time in their lives in something as time consuming as making a film, seemed a distant and optimistic idea. But after a few false starts, one young person, Shaunagh, who had done a course at college in film, decided she felt confident enough to take the lead and motivate others to join in too. All in all, around 15 young people from Porchlight took part in the process of making this film. There was one simple guideline: the film had to be about homelessness. The rest was up to them.
After careful consideration, the girls decided that they wanted to make a film about youth homelessness, to show people what it’s REALLY like. They often hear homeless people described as rough sleepers, dirty beggars, drug or alcohol misusers and generally a drain of society’s resources – descriptions that they felt do not fit them in any shape or form and they wanted to challenge this. So then they had to figure out HOW to make their point. Initially, they thought that just filming different activities and doing a general tour of the hostel would be enough, but it wasn’t long before they realised that they needed some hard evidence of people’s ignorance and misconceptions. Reluctantly, all agreed that they would need to go into town and ask the general public for their opinions – on film!
We borrowed equipment from the Visual Anthropology programme at the University of Kent, but at first, nobody wanted to touch the camera and nobody wanted to be ON camera, which gave a bleak outlook for the entire project. To take the pressure off, I decided to keep the camera in the hostel’s office and told the service users that they could wait until something ‘interesting’ happened and come and get it when they felt inspired and wanted to use it. Eventually they did take the camera away and returned to me with it full of footage of interviews that they had done with each other on their ideas of youth homelessness. Most was not useable because of issues with sound and/or image, but because they had now broken down the barrier of fear of the camera, the film project could now mature into something that they felt capable of taking ownership of.
Week by week, they got more and more confident with the camera and eventually we could have a session talking about HOW to use the camera, what to think about in terms of positioning of the subject, background noise and other technicalities. Keeping the camera on site for ‘interesting’ moments turned out to be a much better idea than trying to produce interesting moments on demand, so this is how we proceeded. All the service users taking part were dealing with issues of their own during this time period, such as difficult family relationship problems, depression, self-harm, problems in college, trying (and mostly failing) to find work, relationship problems and so on. These, of course, took precedence, so finding ‘good’ days to film was always a challenge.
Eventually, despite personal fears and inhibitions, a group of our young service users took to the streets of Canterbury and bravely approached strangers to ask them what they thought a homeless person looks like. The replies were shocking and showed exactly the kind of negative stereotypes that they were expecting to hear – and worse! There were comments such as homeless people are dirty, disgusting, smelly, have a lack of personal hygiene, and (a personal favourite), they always have long hair (!). While filming in Canterbury town centre, I started out as the cameraman, since nobody else dared to do it, but after a few of our interviews, confidence grew in the group and eventually everyone had a go at either asking questions or holding the camera.
Film as Method
Most of the filming was done by the young people, but my colleague Prem Konieczny (who edited the film) and I also did some. I took the camera with me to any activity I did with the service users and rigged it up for some group discussions as well, for which I asked the questions. I had my own agenda for this film project: I wanted to get the service users to engage in meaningful conversations about their ideas of what ‘home’ is to them, and what ‘homelessness’ actually means, which in turn would inform my own research into youth homelessness. A lot of the conversations ended up far less serious than intended, with more banter and jokes than thoughtful ideas; breaking through this hurdle of protective chitchat was quite challenging. One of the more successful ideas was to put the questions up on the wall behind the camera and allow the service users to speak freely about them, rather than me probing and asking questions directly to them. This somehow seemed to give them more power over the conversation and removed the teacher/student aspect that can sometimes feel more like an interrogation.
By allowing the service users to be in charge of this project, not only did they get a huge confidence boost themselves and learned a great deal in the process, but it was also a method for me to open different channels of thought and reflection from them, as opposed to normal casual conversations or interviews. As an anthropologist in the hostels, I had spent significant time trying to get them to talk about these concepts in general conversation and interviews, with mixed results. Suddenly, with them in charge of the camera and their own voice, they felt the need to put words to their thoughts in a way that was never necessary in my previous inquisitions as ethnographer and fieldworker. Rouch, in his 1973 essay ‘The Camera and Man’, couldn’t be more right when he said that “The situation is clearly this: the anthropologist has at his disposal the only tool (the participating camera) that offers him the extraordinary possibility of direct communication with the group he studies-the film he has made about them.”
I never had any intention for ‘true objectivity’ or a search for the ‘truth’ for this film, if ever such a thing existed (Pink outlines this debate well in the introduction to her book Doing Visual Ethnography). As Vertov’s concept of the ‘cine-eye’ dictates, my own intent and actions inevitably shaped this film. However, as Rouch advocated, I did engage in ‘audiovisual reciprocity’ where the participants were a part of the process, from start to finish: the service users that took part in this project had a say in what the film should show; the participants “staged” the reality that they wanted to portray publicly. In a way, it feels like fulfilling the dream of Jean Rouch, when he said that this type of ethnographic filmmaking will help us make a ‘shared anthropology’; “Which is to say, the time of the joint dream of Vertov and Flaherty, of a mechanical cine-eye-ear and of a camera that can so totally participate that it will automatically pass into the hands of those who, until now, have always been in front of the lens. At that point, anthropologists will no longer control the monopoly on observation; their culture and they themselves will be observed and recorded. And it is in that way that ethnographic film will help us to “share” anthropology.”
Once the filming was done, Prem and I started the painstaking process of sieving through hours of footage, much of it unusable, to find the hidden gems – footage of the service users interviewing each other and thinking seriously about their own situations, about homelessness, about being young and living in a hostel, about their potential futures, hopes and dreams. We constructed a rough draft of the clips and invited the service users to the Visual Anthropology lab at the university to watch the draft film and comment. They deemed the film inconclusive, and a bout of new shooting ensued. They had a clear idea of the direction they wanted the film to take, so they constructed interviews with each other targeting the information they felt was missing. This part of the project was truly inspiring, since at this point the service users had really taken charge of their own film and displayed a proud ownership of it.
The young people that joined us in the Visual Anthropology lab had mostly never visited a university and never thought they would ever do so either, and after the end of this some had grown aspirations for taking up study and possibly even continue onto university to pursue a career in filmmaking, grades permitting. Seeds of hope and possibilities were sown and self-esteem grew and blossomed in a way that you could almost see and feel. It all culminated in a cold but sunny afternoon at the UKC campus, where some final shots were done in the UKC campus’ labyrinth.
I was a mere bystander while Shaunagh walked through the labyrinth, making her way to the centre, through the maze of paths, filmed by her friends from the hostel. The shot captured the apogee of the film project, where the service users thoughts and realisations met in the middle of the maze, expressed by Chelsea who exclaimed in realisation: “Hey, the maze totally symbolises everything about this film, about us and what it is we want to say!”
Finally we added the music. Porchlight had for some time collaborated with an agency called Rhythmix, who visited our hostels to teach our young people to make their own music. Michael (a.k.a. ‘Ike Boi’), who appears in the film as one of the main characters, provided most of the music that he had created together with Rhythmix, and another service user Amy provided the songs for the start and end credits with her own wonderful talent.
It took over a year for the film to make its way from the end of filming to the finished product. In that year, our service users moved on, moved out, and quite possibly forgot temporarily about their experiences as filmmakers. Unfortunately some made themselves un-contactable as well (purposefully or un-purposefully), so they missed the opportunity to see the film in its finished form, screened at the Lupino Screening Room at UKC in November 2014. Those who came told us they felt very proud to have taken part in something like this. They spoke of their hopes for futures in the film industry – they want to send the film to the BBC and E4, and some hope to start careers in singing and/or film. In the least they want to pass the buck to other young homeless people now living in Porchlight’s hostels, for them to continue with ‘Episode Two’ of Homeless Youth!
Former MPhil student Elif Eda Tibet tells us about her latest documentary.
Amchi is an observational road trip documentary, about an idealistic Tibetan doctor Amchi Karma Chodon journey with her five month old baby Teljor into the Himalayas of Ladakh.
In the film Amchi Karma goes to Zanskar, the most remote region in Ladakh, to give a final revision class for her graduated students on women and child-healthcare. Before she reaches to her final destination she stops by at Tso Moriri, the highest lake in Ladakh near Korzok village to find the Changpa nomads so to give them an awareness campaign on preventive women and child healthcare. The film raises concerns over the protection of the medicinal plants which are under great threat due to climate change, overgrazing, unscientific exploitation and questions the future of the young amchis, as Tibetan Medicine if not supported by the government and its own people, is a tradition under the threat of extinction.
Amchi Karma Chodon a Tibetan refugee and a prior nomad herself, holds the Katchupa diploma (Tib. dka’ bcu pa), which she received from the Central Institute of Buddhist Studies, Choglamsar. She is the main professor during the Dusrapa training (4 years education program for Tibetan Medicine) at the NGO where she currently works for in Ladakh Society for Traditional Medicines (LSTM). She has been a social worker for the last thirty years of her life, in which in between she ran a clinic for sometime in Leh. Her skills and knowledge have given her the opportunity to travel to England, Switzerland and France, where she has given lectures and treated European patients as well.
It was during my time at the NGO (2012) where I was assisting the program coordinator on financial and administrative issues where Amchi Karma suggested that I come and travel with her, to understand better what they do. I was delighted by her offer and made some funny dance moves out of joy. Amchi and her eldest son, a 14 year old Monk who came for a visit from DehraDun, laughed out loud. She observed that I was just like her son.
This little brief dialogue was the beginning of my very meaningful friendship with this very intelligent and courageous woman, who’d play a major role in my spiritual, mental and personal development in the following months.
I felt extremely fortunate, that I was there with her to film events as they happened. As a team in LSTM we had the idea to use some visual clips for fundraising purposes. Also, Amchi Karma Chodon wanted to interview her students’ for their feedback on the courses she had given to them and she wanted them to raise their voices on the difficulties they faced while treating patients. So initially we used visual material solely for research and documentation purposes. Although I did not speak and understand a word of Bhoti language, I had this strange instinctual feeling that I should be filming any detail that I was allowed to by the Amchi, students and the people. We actually had no time to even set up a tripod, as we were on a constant move and had lots of work to do to carry out the awareness campaigns. We would carry them out in two to three different villages a day and would go to sleep by midnight and wake up early the next morning, to carry on.
After a very challenging, exhausting and yet a life changing experience of 15 days travelling in Zanskar (October 2012) together in very difficult conditions. Horrible roads and flat tires were the least of the challenging issues we faced. On the way back I got extremely sick. Amchi Karma diagnosed me with a minor inefficiency problem in my left kidney that was probably triggered by the high altitude, an illness that was hidden in me for long.
After a week of trying to recover in Leh, which was quite difficult as the weather got extremely cold, dropping down to minus 15 degrees at nights, I had to fly back to Delhi, and later on had to go back to my home in Istanbul. I insisted on using Amchi Karma’s prescribed medicines for 52 days, and I was entirely cured within two months. The doctor in Istanbul couldn’t believe how effective the medicines she gave were, in the beginning the doctor just laughed at me, and insisted that I take Western medicine just in case.
But I knew that this was not a mystical recovery, the medicine I used was based on a thousand year old heritage, and on medicinal plants that would grow only on the high altitude of the mighty Himalayas, ancient scripts based on astrology, prayers and hundreds of trials and enhancements made on it. There was nothing for me to be surprised about. The surprised doctor keenly watched the film and admitted that there was a lot for him to learn from holistic medicine, which is exactly what LSTM strives to achieve by bringing together Tibetan Medicine with Allopathic medicine in India.
So after I became better, I sat down to watch the recently transcribed material we had, and I could not believe my eyes that there was a very satisfying and natural scenario to it. After asking for the full consent and permission from Amchi Karma I proposed to turn it into a film. All I did was to bring things together as they happened and ask to my favorite two-world famous Tibetan musicians Tenzin Choegyal and Ani Choying Dolma for consent four soundtrack to their beautiful songs. Both said yes, and have granted their music with great generosity.
It actually took me a whole year to decide what to do about the film, whether I should have gone back to Ladakh to improve the film or should I just be going on with what I was gifted for the time I was granted there. I followed my inner voice and decided that I should follow the amateur in me. I decided to keep the film as sincere and simple as possible and let go of my desire to improve it artistically. That would have been another year of struggle, and might have complicated my relationships with the people out there if I went with a professional team of cameramen.
After I made up my mind, it took me only four months to finish the editing myself. I needed no color or sound correction as what I had was absolutely beautiful thanks to the serene landscape and good fortune we had while filming randomly.
It was also remarkable that I finally recovered from my illness during the post production process so I decided to put an explanatory sentence under the title AMCHI, “on the path of Sowa Rigpa, the way to healing…”
I then submitted the the film to various festivals. It recently won two awards of excellence for the best original song and filmmaker of inspiration, and two honorable mentions for best originality/creativity of the story and best cinematography from Indonesia’s prominent International film festival of Jakarta (June 2014). The awards were given by the health minister of Indonesia. We have also been nominated for the best foreign documentary film by American Online Awards (Dec.2014) and have been officially selected for a showcase in Lucerne Film Festival in Switzerland (Oct 2014).
Aside from raising awareness and advocating for the recognition of Sowa Rigpa around the world, opening up conversation among the prominent amchis to consider women and child healthcare more in depth within the discipline, our other major aim continues to be to find the right sponsor for LSTM. I believe the film can play an important role in this goal.
Our film was also reviewed by The Tibetan council for Medicine and gained approval from the prominent amchis from Men- Tsee Khang in Dharmsala which was established by his Holiness the 14th Dalai lama during the 50’s after establishing his government in exile there in India. The film was then screened at the Tibet festival of the people of Himalayas organized by the Tibet bureau of his Holliness in Paris on the 14th of June in 2014, followed up by a conversation with Amchi Tsamchoe.
Very soon Amchi will be distributed by a professional distributor and all the royalty rights will be dedicated to Amchi Karma and her social projects on women & healthcare. After all, participatory and shared anthropology should not just remain as an approach for the making of the film and the post production process but should be there as a concern for after what happens also.
I believe filmmakers should share their earnings with the people they film as they are the reason for their films to come into existence in the first place. It was saddening for me to read just recently that the lead Nepalese actor today , who played at the inspiring film nominated for Academy Awards, Himalaya by Eric Valli is still penniless and struggles for survivor. I dreamt of becoming a filmmaker after seeing that film.
It is very upsetting to see that the industry and agents between the broadcasters and filmmakers are making things very difficult, and that is why I decided to remain out of the industry. I managed to make my way into being even more creative and productive while producing really low budget films that got into festivals and Tv broadcast, as I collaborate only with the like minded people. As we live on the cutting edge of technology, it is certainly the time for independent documentary filmmakers and visual anthropologists to establish their vision more widely.
One should recognize and admit that the making and the destiny of a film is beyond the filmmaker herself, as the universe may have better plans with it and it would be a pity if one blocks good things from happening with unnecessary limiting self interests, as for me there is nothing so important about “the self” if compared to the amazing life stories we have luckily access to film.
So, I suggest 7 epistemological and ideological ideas to guide ethical visual anthropological film-making. I find them to be very rewarding and am determined to follow them in future work. I gathered these principles from my personal experiences and from literature, particularly the book edited by Pink , Alfonso and Kurti on “Working Images: Visual Research and Representation in Ethnography” (2004);
- The film’s main characters should become full members of the research and film-making process.
- There should be the desire to reach and work towards social change leading to a fairer society based on self-management and solidarity among persons and groups.
- There should be a (Self-) critical passion for revealing hidden aspects of our society and ourselves.
- There should be a conviction that social change will only follow individual transformation, and can be best achieved through group work and equal participation.
- To ensure that the achievements of our individual and group subjects work to reduce negative entropy.
- In order to work this way it is imperative that no person or institution, including film / research team, NGO or association sets the agenda on the basis of their financial contribution. It is a prerequisite that our documentaries are majorly self funded- and visuals are strictly protected and not shared other then education and cultural use with third parties.
- That all the earnings from awards and royalty rights of the distribution of the films or images shall be shared equally between the filmmakers and the main characters.
To learn more about the film:
Official Web Site: www.amchithefilm.com
To learn more about Eda Elif Tibet’s latest productions:
June 11, 2014
For those of you who missed the Inter-Reflexions video and photo exhibition on June 3rd, worry not. You can now watch the videos on line, just click on each video’s link in this post. And now you can view the photos in the digital exhibition below:
Prizes were won by the following:
- Anthropological Vision: Jamie Baird for ‘The Evolution of Murals in East Belfast’
- Most innovative use of Photography: Sarah Graham for ‘Threads of History’
- Best overall photo / set of photos: Joanna Jones for ‘Timberlina: portraits of a contemporary drag artist’
Reflexion– expression without words; a remark expressing careful consideration; a calm, lengthy, intent consideration.
Inter– Between, among; mutually; reciprocally
Marlowe Lecture Theatre 1, University of Kent, Tuesday, 3rd June, 1-7pm
This year’s screening and exhibition of third year visual anthropology projects was titled Inter-Reflexions. The organisation of the screening programme made more explicit how our students’ projects speak to each other as much as they do to the wide issues they engage with. They testify to the processes of collaboration and feedback they followed and inspiration they took from teaching in visual anthropology theory in the Autumn term.
In this yearly event we celebrate our students commitment to creative use of photography and video that takes visual anthropological methodologies into engagement with the issues and interests that inspire and fascinate them.
For the screening we started with the body’s most symbolised extension into the space that surrounds us in Matthew Neale’s Hair, a critical exploration of the meanings of hair and hair products. The student experience also featured strongly in Hollie Goman’s intimate enquiry into what university means to students, in The Art of Growing Up. In an altogether more imagined and playful space of magic and alternative use of university spaces, Jake Conley and Chelsey Jacobs, entered into the games of the Harry Potter inspired university club, The Hogwarts Society. By contrast, Liam Dorr took us off campus in an ethnofiction inspired film on one student’s plan for the perfect party. Ongka’s Big Moka was the inspiration, but Joel’s Big Party is a lot funnier.
From the student ‘hair’ and the now we moved to the theme of eternity and longevity in shorts that tackled religion, activism and laughter. Christiane Howe deepened our appreciation of arranged and sometimes fortuitous marriages in The Unification Movement. Annabelle Spooner travelled to South Korean churches in the UK to see the challenges they face in Yeswhonim.
In Of Families and Eternity, Robert Malin delivered new insights from behind the doors of the Mormon church. In fighting for the continued use of their skatepark on the Southbank, the activists that Henry Worger collaborated with in Culture with a Capital U, also desire a sense of continuity and longevity. Troy King’s The Act of Laughter delved deeply into the challenges of being a stand up comedian and found strong links with anthropology.
Dr Oliver Double, who starred in Troy King’s film, dropped in to contribute further insights into stand up comedy.
In the break we had the opportunity to look at the photographic exhibition. It covered similarly wide-ranging topics, exploring a range of photographic techniques within anthropology as well as diverse visual subjects. From the performance of gender and sexuality, to the effect of moving into a retirement home, to the emotional journey of a mixed-martial arts fighter as he prepares for, and takes part in, the biggest fight of his career, the photographic projects asked how, as researchers, we can explore and depict the encounters with life that make up the human experience using photography. This year’s photographers were: Alice Keegan, Lewis Batterham, Jamie Baird, Ayla Jay, Joanna Jones, Sarah Graham, Thomas Lindsay, Rebecca Scutcher, Keira Henderson, Daven Nijran-Talwar, Lydia Hill and Monique Dray.
We returned from the break to the themes of home, place and identity, linked in a series of shorts that travel from Cornwall to Canterbury’s Good’s Shed, to London protests against homelessness, to a novel exploration of the idea of stress and ending with one man’s fight with mental illness. Jesse Tomlinson tested claims for Cornish identity in Ve Bos Kernewek in a short in which he was also tested. In Localised, Oliver Seary took us to the heart and soul of local produce, through evocative visual portraits of traders from the Good’s Shed. Experimental in format with a challenging message, Mike Cadby, delivered a novel framing of the challenge of homelessness in Life’s a Beach. Scott Skinner addressed the question of how the idea of stress effects us using a key TED talk as a vehicle propelled by anthropological interest in the reception of media. A Stressful Perception aims to transform the audience’s perceptions. In Fragments of a Life, Simon Schwarz took us into the home of one man and their journey of facing mental illness through the camera.
Our final group of films shifted more deeply into the theme of reflection. In A Journey Into Landscape & Tourism in Aljezur, Alex Woodcock, journeyed to Portugal to meditate on a village where most of the population now live in cities.
In Transient Reflections, Becci Geach translated the experience of being human in moving trains into a visual aesthetic that linked us to fellow passengers. Piano Talk, focused on the destination. Helen Peek explored the reasons why people come from far and wide to play the pianos in King’s Cross Station. Naomi Webb’s Running Monologue, was a strikingly personal portrayal structured by a powerfully moving motif. Sam Parsons’ gravity defying film, Leave it on the Ground, opened up the social and personal motivations of sky divers and concluded our afternoon.
This concluded the screening part of the day.
This year we welcomed back Professor Hugh Brody to award the prize in his name. We were also excited to learn how the Tracks Across Sand project has developed since last year. Tracks Across Sand is a major video project that looks the history of the first indigenous land claim in Africa. Last year he started a major fundraising initiative to fund the dissemination of the film and to create an online resource. This year he confirmed that he has got funding to screen the film all over the African continent and to set up an archive at the University of Cape Town.
This year we also welcomed a new judge for the screening to award the David Pick Documentary Prize. In a career spanning more than three decades, David Pick produced and directed hundreds of television programmes in the UK, mainly for ITV. From science magazines (The Real World) to religious/ethical affairs documentaries (The Human Factor); from a twice-weekly live soap opera (Together) to filmed family comedy (Worzel Gummidge); from documentaries like The Tigers’ Tale, chronicling the excavation of The Channel Tunnel, to The Hannibal Test, which followed Ian Botham and elephants on a charity trek across the Alps.
Are Mothers Really Necessary?, a seven-part series for Channel 4 on the work of the controversial child-psychiatrist, Dr John Bowlby, was focused on three of his major studies: Attachment, Separation and Loss. The filming presented many practical and ethical challenges to the documentary-maker: in a residential unit for children suffering the effects of severe emotional and/or physical abuse; in day-care centres for babies and toddlers; in a preparatory boarding school; in the mother-and-baby units of British and American prisons; in the cancer wards of children’s hospitals; and with grieving parents in a children’s hospice. Since retiring from TV, David has studied Creative Writing, taking two modules of a part-time BA at UKC before joining the MA programme at Christ Church Canterbury, where he gained a distinction. His first novel, Mrs May: A PsychoSexual Odyssey, tells the story of a primary schoolteacher’s mission to redeem a teenage thug, once a delightful child in her reception class. Mrs May is available as a paperback or e-book on Amazon.
In the dialogue between Hugh Brody and David Pick we hoped to find the creative tension and possibilities between the increasingly blurred boundaries of ethnographic and documentary filmmaking.
The photography prizes were judged by Glenn Bowman and Maria-Paz Peirano. Maria-Paz Peirano is a PhD student researching Chilean cinema. Glenn Bowman is a reader of social anthropology at the University of Kent, Director of the Liberal Arts programme and a visual anthropologist who uses photography extensively in his research in Jerusalem and the Occupied Territories of Palestine, Macedonia and Cyprus.
To see photos of the day please click on our Flickr photostream.
Photography prizes went to the following:
Most innovative use of photography: Sarah Graham for ‘Threads of History’
Anthropological Vision: Jamie Baird for ‘The evolution of Murals in East Belfast’
Best overall photographs: Joanna Jones for ‘Timberlina: an anthropological case study of a contemporary drag artist’
The photography exhibition can be viewed online here.
David Pick Prize –Fragments of a Life – Simon Schwarz
Peter McCulloch, the key protagonist and collaborator in Simon’s film received the prize in his absence.
David Pick Runner Up- Localised– Oliver Seary
Special Commendation- The Unification Movement– Christiane Howe
Hugh Brody Prize –Running Monologue–Naomi Webb
Hugh Brody Runner Up Prize- Joel’s Big Party – Liam Dorr
Audience Prize-Fragments of a Life–Simon Schwarz
Photographs by Caroline Bennett and Mike Poltorak.
The screening and exhibition of third year anthropology student visual projects took place over a long afternoon in Marlowe Lecture theatre. The event was attended by a large group of students, staff and people who had featured in the films. We were especially happy to see Caroline Grundy, a longstanding member of staff who had recently retired. For many years she had wanted to be present for the whole event.
This year’s photographic display covered a wide range of themes, demonstrating a common desire among students to engage with people in the local area and explore anthropology’s relevance for making sense of cultural difference in Southeast England.
Topics covered include the Kurdish Newroz (New Year) celebrations in Finsbury Park, sexuality, tattooing, Canterbury and its cathedral, cultural greetings, Canterbury markets and more. Photographic work by Katie Bowerman, Bianca Corriette, Helen Delmar, Myrthe Flierman, Sophie Giddings, Tabitha Hamill, Ville Laakkonen, Sarah O’Donovan, Sophie Tyler, Emma Ward and Matt Weston was exhibited in the Marlowe Foyer. Glenn Bowman judged the three photography prizes.
The theme of people’s engagement with place was also very strong in this year’s video projects. The Cathedral featured in two meditative films by Charles Beach and Claire McMurtrie.
We were extremely happy to welcome Professor Roger Just back this year. His popularity and inspiration in the year of his retirement had prompted the students that year to suggest a prize in his name. This was the last year that students taught by him were still at Kent. We were very happy to welcome a longstanding friend of the school Professor Hugh Brody, and previous Stirling Lecturer, to award a prize in his name. He took time from a intensive schedule of screenings of a groundbreaking film project that documents an indigenous land claim in South Africa.
In 2011 he gave a retrospective of his work at Kent. Our third judge, Dr Kate Moore, is also a documentary filmmaker and had recently been awarded her PhD in visual anthropology for a project in collaboration with the Powell-Cotton Museum on their Angolan collection that led to a major exhibit, ‘TALA! Visions of Angola’ that gained widespread acclaim. As the teacher of the course last year, we were especially interested to hear her opinion of the changes in filmmaking styles and focus from last year’s cohort, screened as ‘Self Spaces’ .
We reflected on the students last year and what were they doing now. Nazly Dehganiazar and Harriet Kendall won the Roger Just and Hugh Brody prizes last year for their films ‘Canterbury’s Buskers’ and ‘Voices from the Back Seat’ and we were all very moved to watch their video messages from Holland and the US. Nazly is now doing an MA in Social Anthropology, while Harriet is using her anthropological skills, in the year before going to film school, as the cultural adviser in the English Village in Disneyworld.
Films were grouped into themes related to peoples’ engagement with space and introduced by the teacher of the video project, Mike Poltorak. After the screening of a group of films, the directors came to the front for a Q and A. If you’d like to make your decision about your favourite film please feel free to view and read about them before you read the judges’ choices below.
Noisy Neighbours Michael Selmes
Why Whitstable? Anastasia Sotiriou
Discontinuous Space Claire McMurtrie
Ethnochoreology Shaheen Kripalani
Cathedral Triptych Charles Beach
More Human Kane Taylor
The 1882 Movement Harry Farrell
Using the Stour Michael Bonnington
Starry Chi-An Peng
6 Miles Southeast Oliver Hall
The Lives We’ve Lost Bhokraj Gurung, Danny Mahaffey
Anglo-Deutsch Edward Coates
Under My Skin Olivia Maguire
From East to West Carmen Yam, Thomas Slatter
The Art of Being Lost Elinor Turnbull
Hugh Brody spoke about the high quality of films this year and how so many of the films deserved a prize. He reviewed all the film drawing attention to particular things he liked in each film. The judges’ decision however was unanimous. The Hugh Brody Prize went to Charles Beach for his film ‘Cathedral Triptych’. The runner up prize was awarded to Olivia Maguire for ‘Under My Skin’.
The Roger Just Prize for Visual Anthropology went to Chi-An Peng for ‘Starry’ and the runner up prize to Harry Farrell for ‘The 1882 Movement’.
The Audience Prize was voted on by a large audience of students, visitors and staff. It went to Elinor Turnbull’s ‘The Art of Being Lost’. The runner up prize went to Carmen Yam and Thomas Slatter’s ‘From East to West’. It was a close vote with the difference between 1st and 2nd only one vote and closely followed up by Bhokraj and Danny’s film, ‘The Lives We’ve Lost’ picking up a large number of second place votes.
The prize was awarded by Alex Woodcock, representing our very active student group TRIBE, and Kate Moore. TRIBE organised the first ever undergraduate conference (Breaking Bubbles) in anthropology in the UK.
For the photography prizes there were three categories and a special mention.
Katie Bowerman won the prize for Innovative Photography.
Tabitha Hamill won the prize for Best Set of Photographs.
Ville Laakkonen won the prize for Best Anthropological Content and received a special mention. As a visiting student from Finland, Ville was particularly happy to receive this accolade and commented on how studying at Kent had been an incredible beneficial experience.
The three prize winner’s work is currently on permanent display outside the visual anthropology room in the Marlowe Building.
Students and staff joined together to thank the teachers of the visual anthropology projects course this year, Matt Hodges (Photography) and Mike Poltorak (Video), for their inspiration and considerable work that went into preparing the exhibit and screening. Mike Poltorak thanked the students for their energy and creativity and expressed the desire for them to keep in contact after graduation to help inspire future generations of visual anthropologists.
You can see photos of the event here. You can also see all the films and read more about them in the dedicated blogs above.
We’d love to read any comments in this blog or in our facebook group, UK Visual Anthropology especially related to how these films can be useful more broadly. Please post the films you like on your networks so that our students get the wider recognition they deserve.
Video Prizes Awarded
Cathedral Triptych Charles Beach (Hugh Brody Prize for Visual Anthropology)
The 1882 Movement Harry Farrell (Roger Just Runner-Up Prize)
Starry Chi-An Peng (Roger Just Prize for Visual Anthropology)
Under My Skin Olivia Maguire (Hugh Brody Runner Up Prize)
From East to West Carmen Yam, Thomas Slatter (Audience Runner Up Prize)
The Art of Being Lost Elinor Turnbull (Audience Prize)
February 13, 2013
Francesco Bondanini, a University of Kent alumnus, uses participatory visual methods to explore and empower the lives of migrants and detainees in Spain and Germany. In the interview about his work below, he describes how the use of visual methods not only enables a greater depth of experience and knowledge, but more importantly, allows people to become involved and benefit from his work in a much more meaningful way.
Tell us about the project you are involved in right now?
I have just finished the first part of a project called “Marcaré” in Melilla. Together with a team we worked in the periphery of the city with vulnerable groups, mostly from Amazigh origin (Berbers). We used art and audiovisuals as a tool to empower people and as a means for them to recover their surroundings. It was a participatory project, in the sense that we worked together with young people and women with the aim to transform the area where they lived.
How and why did you get involved?
Knowing about my PhD, in which I used many art and audiovisual methods, Dr. José Luis Villena, a professor at the University of Granada, believed I could coordinate the project, and the Instituto de las Culturas, a public institution that works on cultural projects in the city, funded it. Together we started collaborating with local NGO Melilla Acoge with whom I had worked during my PhD, with the Red Ciudadana por la Paz, and with neighbourhood associations that made it possible for us to get into these areas.
‘Marcaré’ uses visual methods developed during your PhD: can you tell us about your PhD and how you started to use these techniques?
I studied Communication at the Lumsa University in Rome and I have always been very interested in Social Sciences; once I started my PhD I believed I could use what I learnt at University about photo and video in my anthropological research.
Throughout my PhD I broadly studied the situation of migrants dwelling in a particular place – the so-called European border zone. Specifically, my research focuses on the everyday-lives of migrants living in the CETI (Temporary Permanence Camp, as per its Spanish acronym) in the autonomous city of Melilla, a Spanish enclave in Northern Africa. Through qualitative criteria and analysis, I researched into the way a wide variety of migrants, such as Subsaharan Africans, Algerians, and Asians, rebuild their lives in this border zone. I paid particular attention to migrants’ strategies of integration and their structural and social exclusion.
In this research I used a participatory methodology that employs audiovisuals and art. I ran workshops on photo, video, radio and theatre to migrants and then debated the results with them. I also used audiovisual techniques during interviews.
What methods do you use in your current work and how have these developed from those used in your PhD?
During my fieldwork I used a sort of participatory approach with the migrants that were living in the CETI of Melilla. I ran audiovisual workshops; that was also a way to get in touch with migrants. Following these we organized exhibitions of their works, a Seminar and a theatre piece too. The visual work provided a way to create an open climate of opinion about their problems in the city, and a way to make their stories visible to the rest of the citizens. In the new project (Marcaré) I used the experience gained from the projects in my PhD and applied them within a different group and context. I worked with an amazing team, and with a higher level of organization (and a higher budget) we were able to reach more people.
What difference do you think visual methods make?
I believe the use of visuals is a way to make the work accessible to a larger audience. This kind of work sometimes risks not being so “academic” but I believe it helps to make some kind of advocacy. On the other hand, I believe in the approach that is based on the fact that the groups with whom we are working make the visual and artistic products; we often limit our role to coordination of activities only.
What happens to the work produced in this project?
I believe in the importance of showing the works, to prove what has been done and to share peoples’ stories and reach a wider audience. I spend a lot of energy preparing exhibitions within the districts of the people in order to show to the other inhabitants their work. These exhibitions are also a way to make visible ideas of transforming the surroundings. We also worked through performances, murals and artistic installations in the districts, and each of these enabled many other people to share and understand.
We worked a lot in a district called Monte María Cristina. We held three exhibitions of photos made by the young pupils that participated in our workshops. We usually held these in the Neighborhood associations that we had worked in for the original workshops. On one occasion some of the pictures were pasted on the walls of the district. At the opening of another, the pupils performed an “action painting” in front of an improvised audience.
We also painted two of the patios of the prison of the same barrio. The two murals were created and painted by the prisoners. This was the process: we presented our idea (to paint the patio) and told them to think about what they wanted to see in their patio, something they didn’t have or couldn’t see inside the prison. Karima Soliman, an artist who is part of the team, put together their ideas and sketches and then we moved onto the wall. We spent almost two weeks working with them on the mural, debating ideas and the painting process. This was one of the best experiences of the project; and this is how I conceive the participation approach.
Good stories? Bad stories? Things you would change?
Good stories: Fortunately many. Last week Trini Soler, a technician of the RNE (National Spanish Radio) that also collaborates in “Marcaré”, told me that she met a young pupil who had taken part in our radio workshop. The pupil discovered that Estitxu González, another member of the team, was performing a theatre piece and she decided to go. When the young pupil met Trini, she asked her when we would be going back to the Monte to follow up with the workshops, because she had lots of things prepared. We are possibly the first team that is using artistic and audiovisual tools to involve people, especially the younger people in cultural activities in these areas. The fact that the girl went to the performance of my colleague made me think that we are going in the right direction, trying to make culture delve into these barrios.
On another occasion, we painted a mural in a park in the Pinares, a zone in another marginal part of the city. When we arrived the park was in a bad condition. We followed the same process as we did in the prison; in this case working with young pupils. They created and painted the mural with the help of Manolo López, a professor at the Schools of Art in Melilla and part of our team as well. We were afraid that the mural would only last a few days before being destroyed, because as they told us, this is what normally happens. Instead, after almost six months the mural persists intact on the wall. The mural was our way to improve the park and give it back to the youth that are living there; to transform it into a space to play.
Bad stories: There are a few anecdotes related to bureaucracy and our relations with the Centre in Granada that was our partner in the project; unfortunately the relation was not so fluid.
I would like to continue with this project. We would like to transform it into a sort of Programme, i.e. something that could be permanent. The team is now working on parallel projects but we would like to start again with “Marcaré” in a few months, so yes, we would like to change into something bigger.
Have you noticed any changes in people through being involved in these visual projects?
Yes. I believe audiovisuals are a way to let people express their feelings. We gave them training and then they were able to express better their need to transform the reality where they are living or improve their quality of life. Audiovisuals and art give people the power to express themselves. We also tried to give them useful feedbacks and suggestions. Once a young student from a public school where we held a photo workshop confessed: “maybe I will not be a professional photographer, but I hope that in the future I will travel all over the world to immortalize every place and moment with my camera”.
How has your work changed through the process (academic and none)?
I started using Visual methods because I find it fascinating. Then I started to use participatory methodologies because I felt that the result of the interviews was better if I moved from behind the camera to beside the camera; making the subject feel more comfortable while he could manage the situation better. I believe that in this way I could reach different and better data, more in agreement with the kind of research I do. On the other hand, l believe in the methodology I use, because it gives me the chance to know the world I am studying from the inside; the workshops are a way to get in contact with people and establish relations that eludes from the duality of interviewer-interviewee.
When I started “Marcaré” I felt that I should be surrounded by a team of professionals of audiovisuals and art, for this reason I looked for people with this profile to join the team. As a result, the quality of the workshops and the works produced definitely improved.
What advice would you give to people trying to work in visual methods?
I would suggest they get in touch and talk with the people with whom they are filming, establishing the way to use visual methods. Sometimes these people feel uncomfortable but we don’t understand it. I also suggest trying to collaborate with the interviewee, in this way the work will surely gain something from the experience as well.
And what’s next for you?
I have just landed in Cologne (Germany). I will be here until June developing a research project funded by the DAAD (German Academic Exchange Service) at the University of Cologne that involves Spanish migrants living in the city. I will use visual methods and a participatory approach in the research. And as I mentioned before, we hope to take “Marcaré” to the next level in the not too distant future.
Francesco B. Bondanini (interview by Caroline Bennett)
For more info about the project MARCARÉ, visit:
Web (in English): http://marcaremelilla.wordpress.com/in-english/
On Facebook: Marcare Melilla: arte y transformación social
On Twitter: @marcaremelilla
January 26, 2013
Last week my friend Paul Christensen invited me to attend a ceremony of spirit mediums with him. The day was fascinating – full of sounds, smells and sights and whole new part of Cambodia I had not yet experienced. I spent the day taking photos (as usual), the full gallery of which can be seen on my flickr page here. I’ve also added a few below.
People in Cambodia mostly don’t visit spirit mediums to negotiate and understand the past; they visit them to deal with the present and plan the future. Between the pair of us (Paul and I), and many other researchers besides, we were expecting spirit mediums to be one of the avenues people used to negotiate the terrible period of civil war and conflict in the 1960s and 70s, and in particular the horrific violence wrought by the Khmer Rouge from 1975 – 1979. But this appears not to be the case. That period of history is not approached through ghosts and spirits; it is experienced and integrated into today’s life in a million different ways, some of which I am exploring in my research on mass graves. But the mediums are an important part of Cambodian life for a whole host of other fascinating reasons, and if you want to know more I’d drop Paul a line!
January 10, 2013
Back in August 2012 I spent a day at the Vietnamese floating village at Kampong Chnnang, central Cambodia. Lying at the mouth of the Tonle Sap Lake, much of the town of Kampong Chnnang spends half the year beneath the water. Allowing for this, many of the local people have adapted their lives and homes, whilst the local Vietnamese community lives entirely in a floating village; living their lives on the water in floating houses, shops on boats, and livelihoods which make the most of the surrounding water and wetlands: subsistence based on fishing and wetland rice farming. I took a lot of photos that day documenting the everyday life on water of the floating village, and I was fortunate to have some of the photos I took selected to be part of the Intimate Lens Festival of Visual Ethnography in Caserta, Italy in December last year. Now you can see the full gallery on my flickr page. Here’s a taster below. Enjoy!