From the World Education Forum meeting in Palestine, October, 2010
Discussion of the World Education Forum.
Sunday, October 31, 2010
Sunday, October 24, 2010
I am a Defender of the Rainforest
This is the first portion to the documentary film "I am a Defender of the Rainforest" (Soy Defensor de la Selva). The film focuses in on the struggle and of the Kichwa people of Sarayaku in southern Ecuador. In 2002 the Argentinian oil company CGC invaded the Kichwa's Autonomous territory. The Kichwa responded by organizing themselves and pushing the company out. To learn more about the Sarayaku visit www.sarayaku.com
--Valliente2007
AsociacionASPA | December 18, 2009
Esta documental se acerca a la realidad cultural y social del pueblo kichwa de Sarayaku.
Este pueblo ancestral de la amazonia ecuatoriana, cuenta en primera persona las motivaciones sociales, ecológicas y culturales que le han llevado a ser uno de los pocos pueblos amazónicos que se han liberado del yugo de la explotación petrolera en su territorios.
Nos muestra, además la cruda realidad a la que se enfrentan cada día indígenas y campesinos del noreste del país, donde la explotación petrolera es nsinónimo de pobreza, enfermedad y contaminación
--Valliente2007
AsociacionASPA | December 18, 2009
Esta documental se acerca a la realidad cultural y social del pueblo kichwa de Sarayaku.
Este pueblo ancestral de la amazonia ecuatoriana, cuenta en primera persona las motivaciones sociales, ecológicas y culturales que le han llevado a ser uno de los pocos pueblos amazónicos que se han liberado del yugo de la explotación petrolera en su territorios.
Nos muestra, además la cruda realidad a la que se enfrentan cada día indígenas y campesinos del noreste del país, donde la explotación petrolera es nsinónimo de pobreza, enfermedad y contaminación
Sunday, October 10, 2010
Wednesday, October 6, 2010
The Radio Tisdas Sessions: Tuareg Music and Language
All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
Article 1, Universal Declaration of Human Rights
a great group of musicians from Mali and their language. music from The Radio Tisdas Sessions ... hopefully more folks will come to know them (and perhaps the language Tifinagh in a deeper sense)
from John Douglas
Tuareg People in Niger in an Al Jazeera Report by May Ying Welsh
Monday, October 4, 2010
Cine Institute's Video about a 10 Year Old Medical Assistant
Ciné Institute provides Haitian youth with education, training and employment opportunities in film. The Institute's programs include:
- Ciné Lekol - Haiti's only film school offering training in fiction, documentary and television advertising.
- Ciné Services - an income generating production center for film school students and graduates.
- Ciné Klas - daily educational film screenings in partnership with local high schools
- Ciné Klub - weekly public screening series promoting film literacy.
According to one of the teachers recently back from Haiti, the institute has received funding from several Hollywood philanthropists including Coppola and Haggis. The web site is: www.cineinstitute.com
Saturday, October 2, 2010
Loni Ding Celebration at UC Berkeley
On September 26, 2010, a celebration of the life and work of Loni Ding was organized by the Ethnic Studies Department and Asian American Studies Program at UC Berkeley, with the participation of the Center for Asian American Media.Memories of Loni and Open Studio by Daniel Del Solar
April 9, 2010
Loni Ding was part of the Open Studio production team at KQED-TV in 1974 when I applied to be the outreach and fund-raising person at Open Studio. The principal idea of Open Studio was right on the original Public Broadcasting mission, of giving voices and faces of the not-represented on TV people, cultures, arts, and issues. Open Studio staff, originally gathered together and trained to operate an entire TV station (Channel 32, a frequency given to KQED, Inc., license holder of Channel 9 and FM 88.5 in San Francisco), had been denied the promised KQED support to operate the station. Open Studio, a weekday program, was given instead, with minimal financial support.
KQED, Inc., later lost the license for lying to the FCC regarding the reason for not actually using the frequency.
I gradually became part of the production team at Open Studio, producing several shows on Community Murals, Quilapayun, and others, in addition to my outreach and fundraising work. I was the host of a program produced and directed by Loni with Stephen Dimitroff and Lucienne Bloch titled “Fresco Murals” and in my role learned the intricacies of production pre-planning necessary due to our extremely limited “camera time.” Production slot for a complicated, multi-set production was 90 minutes, start to finish. This allowed for one or two “tape stops” of the big, unwieldy 2″ videotape machines. It took several minutes to restart after a tape stop.
And amidst the high-pressure schedule, each of the three Open Studio producers, Loni Ding, Irene del Rosario Buck, and Valentine Herz, had to shoot two half-hour programs each week, be in preparation with two programs in the coming week, and in early pre-production for two more programs two weeks further in the future. Always it was working with individuals and groups that had only a minimal understanding of the elements of a 30 minute TV program so considerable “ground work” was necessary for each production. Whatever the limitations, financial and technical, Open Studio programs won local Emmy awards and it was a well-regarded program offering of KQED-TV.
Into this high-pressure production group, Loni began to do work required to produce a TV program on the Chinese Archeological Exhibition, an early attempt by China to become less isolated from the world. The exhibition had taken place in Paris and in Washington, D.C., and through the efforts of many had finally been scheduled to be at the de Young Museum. Loni worked at top speed, without any money, without any grants, and finally, through her relentless and effective outreach, had a production crew ready to go to the exhibit overnight, starting at 10 pm and going till 7 am, for four nights to do the principal photography of the exhibition that became part of the 90 minute PBS special titled, “600 Millennia: China’s History Unearthed.”
After the last night of shooting, Loni needed a lift back to her home near Chinatown and I gave her a ride. On the way home Loni suggested that we go get some dim sum, at the time, a food unknown to me. At the small restaurant in Chinatown, Loni suggested that I might like to try chicken feet. I agreed, and a plate of chicken feet, well-cooked and delicious, arrived at our table and I ate them with great pleasure. Then Loni suggested that I try duck feet, which were also quite good, but not as good as the chicken feet, in my opinion. I was hooked.
I always seek out chicken feet when I get to a new Chinese restaurant. It is an addiction which I greatfully attribute to my on-going collegial friendship I’ve had with Loni. She leaves a great legacy in terms of the many that she has trained, taught, and worked with.
Loni Ding, PRESENTE!
April 9, 2010
Loni Ding was part of the Open Studio production team at KQED-TV in 1974 when I applied to be the outreach and fund-raising person at Open Studio. The principal idea of Open Studio was right on the original Public Broadcasting mission, of giving voices and faces of the not-represented on TV people, cultures, arts, and issues. Open Studio staff, originally gathered together and trained to operate an entire TV station (Channel 32, a frequency given to KQED, Inc., license holder of Channel 9 and FM 88.5 in San Francisco), had been denied the promised KQED support to operate the station. Open Studio, a weekday program, was given instead, with minimal financial support.
KQED, Inc., later lost the license for lying to the FCC regarding the reason for not actually using the frequency.
I gradually became part of the production team at Open Studio, producing several shows on Community Murals, Quilapayun, and others, in addition to my outreach and fundraising work. I was the host of a program produced and directed by Loni with Stephen Dimitroff and Lucienne Bloch titled “Fresco Murals” and in my role learned the intricacies of production pre-planning necessary due to our extremely limited “camera time.” Production slot for a complicated, multi-set production was 90 minutes, start to finish. This allowed for one or two “tape stops” of the big, unwieldy 2″ videotape machines. It took several minutes to restart after a tape stop.
And amidst the high-pressure schedule, each of the three Open Studio producers, Loni Ding, Irene del Rosario Buck, and Valentine Herz, had to shoot two half-hour programs each week, be in preparation with two programs in the coming week, and in early pre-production for two more programs two weeks further in the future. Always it was working with individuals and groups that had only a minimal understanding of the elements of a 30 minute TV program so considerable “ground work” was necessary for each production. Whatever the limitations, financial and technical, Open Studio programs won local Emmy awards and it was a well-regarded program offering of KQED-TV.
Into this high-pressure production group, Loni began to do work required to produce a TV program on the Chinese Archeological Exhibition, an early attempt by China to become less isolated from the world. The exhibition had taken place in Paris and in Washington, D.C., and through the efforts of many had finally been scheduled to be at the de Young Museum. Loni worked at top speed, without any money, without any grants, and finally, through her relentless and effective outreach, had a production crew ready to go to the exhibit overnight, starting at 10 pm and going till 7 am, for four nights to do the principal photography of the exhibition that became part of the 90 minute PBS special titled, “600 Millennia: China’s History Unearthed.”
After the last night of shooting, Loni needed a lift back to her home near Chinatown and I gave her a ride. On the way home Loni suggested that we go get some dim sum, at the time, a food unknown to me. At the small restaurant in Chinatown, Loni suggested that I might like to try chicken feet. I agreed, and a plate of chicken feet, well-cooked and delicious, arrived at our table and I ate them with great pleasure. Then Loni suggested that I try duck feet, which were also quite good, but not as good as the chicken feet, in my opinion. I was hooked.
I always seek out chicken feet when I get to a new Chinese restaurant. It is an addiction which I greatfully attribute to my on-going collegial friendship I’ve had with Loni. She leaves a great legacy in terms of the many that she has trained, taught, and worked with.
Loni Ding, PRESENTE!
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