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SUMMARY:Wafaa Bilal's "Virtual Jihadi"
DESCRIPTION:Wafaa Bilal was on hand for a reception at 6 PM followed at 7 PM by a presentation about his installation Virtual Jihadi which was to have been displayed at The Sanctuary for Independent Media. The installation was scheduled to be open to the public through Friday\, March 15 from noon to 2 PM as well as before and after regularly scheduled events through April 4\, 2008. The exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public.  The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. Another version of this installation had opened on March 5\, 2008\, at Rensselaer Polytechnic Institute but as reported by a Times Union story it was abruptly closed the following day.  Coverage of the controversy has spread around the country.  \n\n\n\n\n\n\n\n\n\n\n\nAbout the Controversy:\n\n\n\nThe exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public. The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. \n\n\n\nAnother version of this installation had opened on March 5\, 2008 at Rensselaer Polytechnic Institute but as reported by the Times Union it was abruptly closed the following day. Coverage of the controversy has spread around the country\, with stories appearing in the Washington Post\, Chicago Tribune and NY Newsday. Writing from Paris\, France cultural critic Brian Holmes offered his analysis of the art panic at RPI and Inside Higher Ed wrote about the episode in the broader context of campus censorship\, followed by another story when the show opened at the Sanctuary. \n\n\n\nA local Republican operative on the payroll of the City of Troy\, Rensselaer County and NY State called for protests at the Monday\, March 10 show opening at the Sanctuary in an article in the Troy Record. \n\n\n\nIn the widely marketed video game “Quest for Saddam\,” players fight stereotypical Iraqi foes and try to kill Saddam. Al Qaeda did its own take\, creating an online video game using the structure of “Quest for Saddam” but adding a new “skin” to turn the game into a hunt for Bush: “The Night of Bush Capturing.” Now artist Wafaa Bilal has hacked the Al Qaeda version of the game to put his own more nuanced spin on this epic conflict. \n\n\n\nIn The Night of Bush Capturing: A Virtual Jihadi\, Bilal casts himself as a suicide-bomber in the game. After learning of the real-life death of his brother in the war\, he is recruited by Al Qaeda to join the hunt for Bush. This work is meant to bring attention to the vulnerability of Iraqi civilians to the travesties of the current war and racist generalizations and stereotypes as exhibited in games such as Quest for Saddam\, along with vulnerability to recruitment by violent groups like Al Qaeda because of the U.S.’s failed strategy in securing Iraq. The work also aims to shed light on groups that traffic in crass and hateful stereotypes of Arab culture with games like Quest for Saddam and other media. \n\n\n\nWafaa Bilal was named 2007 Chicagoan of the Year by the Chicago Tribune\, which wrote\, “No artwork created in Chicago in 2007 received as much attention as Wafaa Bilal’s ‘Domestic Tension\,’ an interactive performance piece that subjected the Iraqi-born artist to a month of bombardment by paintballs from Internet viewers.” \n\n\n\nAccording to Wafaa Bilal:\n\n\n\n“My art is most influenced by the pain and suffering of growing up under Sadaam Hussein’s repressive rule from 1968 to the recent “Iraqi Freedom War”. I experienced violence on a daily basis\, and visions of death and terror together with the anguish to the Iraqi people are irrevocably etched in my memory. My generation in Iraq is defined by decades of war. Since coming to the United States I have also seen great injustice and suffering in the forms of poverty\, racism\, and many other forms of discrimination and hatred. From this point of departure\, through art I strive to uncover an overarching human condition while creating a space for provocation\, dialogue\, and contemplation. As my friend and colleague Gregg Bordowitz has written\, when we are exposed to violence on a daily basis\, how can we\, as political artists\, convey this experience clearly to the viewer and leave a lasting impression that is fresh and solid in its conclusions\, not cliché? \n\n\n\nA constant negotiation must take place in order to embrace the aesthetic pleasure of the image’s surface\, which is so necessary to capture the imagination\, and to convey the aesthetic pain of the content. The failure of this negotiation can easily result in the alienation of the viewer\, while a successful negotiation may result in active engagement and an opening of the viewer’s perspective. While I do not wish to impose narrow interpretations of my work but struggle to create complex and muli-dimensional images\, I also do not feel we currently have the privilege to enjoy art purely as aesthetic pleasure. It is a misconception that art has ever been pure; historically it has been a means of expressing personal and societal realities and interpretations. We must actively employ the tension and incongruence produced by the coexistence of aesthetic pleasure and aesthetic pain to attract and jolt the viewer in a thought-provoking manner. As an active player in society and as both educator and agitator\, the artist must keep pushing these boundaries. \n\n\n\nThe photographs I create are highly symbolic\, “hyper-real” landscapes\, landscapes of possibilities existing just beyond reality\, expressing emotions and conditions that permeate reality. They equally could be called “interior landscapes\,” representative of the psychology of human suffering in a society ruled by oppression\, domination\, and fear. Figures exist in equal balance with the landscapes\, the images drawing their complexity from this dramatic polar tension. Within the frame\, time and place loses specificity to become transcendent and expressive of a broader human condition. \n\n\n\nVideo installations provide another level of impact besides the content of the image: we observe movement\, a physical language the body understands. I play with the viewer’s presence and engagement or lack thereof\, allowing this to directly impact the action and outcome of the piece. As the viewer may be far removed from the conflict addressed within the work\, it is important to communicate to the viewer through a recognizable visual language\, and so I filter the subject through historical and psychological contexts of the subject’s specific locale. The frame acts as a historical window to the past\, while the moving image exemplifies a persistent-present\, a current condition influenced by internal or external circumstances that inhibit change. The moment something is done to change a situation\, the persistent-present becomes a progressive present where change can occur. \n\n\n\nMy memories of Iraq and my disenchantment with politics have not left me cynical\, nor drained of hope for humanity. On the contrary\, I am filled with belief in the power of the people to control their own destinies\, and I continue to believe in social justice. I hope to foster a sense of self-empowerment in my audience and to counter the sense of powerlessness people feel in the face of inhumanity.” \n\n\n\nAbout Wafaa Bilal:\n\n\n\nWafaa Bilal was born in Iraq on June 10\, 1966. Because a member of his family had been accused of disloyalty to his country\, Wafaa was denied the opportunity to pursue his dream of being an artist. Instead\, he was to attend college to major in geography. While in college\, he continued to pursue his art and was arrested and tortured for his political art work against Sadaam Hussein. \n\n\n\nShortly after the Gulf War\, Wafaa was inspired by President Bush’s message to the Iraqi citizens that if they attempted to overthrow Sadaam\, the US would stand behind them. He became involved in organizing opposition to the government and was scheduled for arrest and execution when he escaped into Kuwait. There he was accused of being a spy and was close to being shot when his student ID convinced them he told the truth. \n\n\n\nWafaa was sent to a refugee camp on the Kuwaiti border. In the camp\, people laughed when rather than accept life in a tent he began forming brick that he dried in the sun and fashioned into a home. The adobe served a practical purpose\, for it provided relative safety from abduction by Kuwaiti soldiers who sneaked into tents in the middle of the night to kidnap young people for sale to Iraqi soldiers who tortured\, raped and executed them or the Turkish soldiers themselves would rape and kill them. \n\n\n\nFor two years\, Wafaa lived in limbo not knowing if each day would be his last. Still Wafaa worked to improve his art\, cleaning toilets in the camp to earn the money for art supplies\, buying supplies for children for art therapy to help them to work through the horrors witnessed. His experiences developed within him an abhorrence of violence and oppression and strengthened his inner resolve. \n\n\n\nIn 1992\, Wafaa came to the United States and took classes to learn English. Then\, he began art studies at the University of New Mexico where he excelled. His art is of a political nature that speaks to oppression of the human spirit\, including that of women who are bound by the rules of culture. He has won many awards for his art as well as a scholarship to the Chicago Institute of Art for post graduate study. He is now teaching at that institution. \n\n\n\nIn addition\, Wafaa travels to give lectures on the oppressive nature of Sadaam’s regime in the hope of informing people of the complexities of the situation as well as the atrocities committed and the importance of nonviolent means of ending conflict. It has been 14 years since he was last able to see his mother and younger siblings. He speaks to them on the phone to hear how they flee from one war torn city to another in an effort to find safety. His 21 year-old brother who was staunchly apolitical lost his life to stray American gunfire. His father died when his health deteriorated after the death of his youngest son.
URL:https://www.mediasanctuary.org/event/wafaa-bilals-virtual-jihadi/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Gallery Show,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080310T170000
DTEND;TZID=America/New_York:20080310T180000
DTSTAMP:20220404T161713Z
CREATED:20080310T164000Z
LAST-MODIFIED:20220404T161713Z
UID:10000892-1205168400-1205172000@www.mediasanctuary.org
SUMMARY:The Great "Virtual Jihad" Controversy with Wafaa Bilal
DESCRIPTION:The Sanctuary gives refuge to artist Wafaa Bilal after he is banned from the RPI Campus.  On Monday\, March 10\, Iraq-born video artist Wafaa Bilal will be on hand for a reception at 6 PM followed at 7 PM by a presentation about his installation Virtual Jihadi which was to have been displayed at The Sanctuary for Independent Media. The installation was scheduled to be open to the public through Friday\, March 15 from noon to 2 PM as well as before and after regularly scheduled events through April 4\, 2008. For full details\, watch this 22 minute video documentary about the controversy produced by the Hudson Mohawk Independent Media Center. \n\n\n\n\n\n\n\n\n\nAbout the Controversy:\n\n\n\nThe exhibit was shut down–along with The Sanctuary for Independent Media itself–on trumped-up code violation charges by City of Troy officials on the morning of Tuesday\, March 11\, just minutes before the show was to open to the public. The Sanctuary remained closed until a grand re-opening celebration on April 26 capped off two months of fundraising and renovations. \n\n\n\nAnother version of this installation had opened on March 5\, 2008 at Rensselaer Polytechnic Institute but as reported by the Times Union it was abruptly closed the following day. Coverage of the controversy has spread around the country\, with stories appearing in the Washington Post\, Chicago Tribune and NY Newsday. Writing from Paris\, France cultural critic Brian Holmes offered his analysis of the art panic at RPI and Inside Higher Ed wrote about the episode in the broader context of campus censorship\, followed by another story when the show opened at the Sanctuary. \n\n\n\nA local Republican operative on the payroll of the City of Troy\, Rensselaer County and NY State called for protests at the Monday\, March 10 show opening at the Sanctuary in an article in the Troy Record. \n\n\n\nIn the widely marketed video game Quest for Saddam\, players fight stereotypical Iraqi foes and try to kill Saddam. Al Qaeda did its own take\, creating an online video game using the structure of Quest for Saddam but adding a new “skin” to turn the game into a hunt for Bush: The Night of Bush Capturing. Now artist Wafaa Bilal has hacked the Al Qaeda version of the game to put his own more nuanced spin on this epic conflict. \n\n\n\nIn The Night of Bush Capturing: A Virtual Jihadi\, Bilal casts himself as a suicide-bomber in the game. After learning of the real-life death of his brother in the war\, he is recruited by Al Qaeda to join the hunt for Bush. This work is meant to bring attention to the vulnerability of Iraqi civilians to the travesties of the current war and racist generalizations and stereotypes as exhibited in games such as Quest for Saddam\, along with vulnerability to recruitment by violent groups like Al Qaeda because of the U.S.’s failed strategy in securing Iraq. The work also aims to shed light on groups that traffic in crass and hateful stereotypes of Arab culture with games like Quest for Saddam and other media. \n\n\n\nWafaa Bilal was named 2007 Chicagoan of the Year by the Chicago Tribune\, which wrote\, “No artwork created in Chicago in 2007 received as much attention as Wafaa Bilal’s ‘Domestic Tension\,’ an interactive performance piece that subjected the Iraqi-born artist to a month of bombardment by paintballs from Internet viewers.” \n\n\n\nAccording to Wafaa Bilal:\n\n\n\n“My art is most influenced by the pain and suffering of growing up under Sadaam Hussein’s repressive rule from 1968 to the recent “Iraqi Freedom War”. I experienced violence on a daily basis\, and visions of death and terror together with the anguish to the Iraqi people are irrevocably etched in my memory. My generation in Iraq is defined by decades of war. Since coming to the United States I have also seen great injustice and suffering in the forms of poverty\, racism\, and many other forms of discrimination and hatred. From this point of departure\, through art I strive to uncover an overarching human condition while creating a space for provocation\, dialogue\, and contemplation. As my friend and colleague Gregg Bordowitz has written\, when we are exposed to violence on a daily basis\, how can we\, as political artists\, convey this experience clearly to the viewer and leave a lasting impression that is fresh and solid in its conclusions\, not cliché? \n\n\n\nA constant negotiation must take place in order to embrace the aesthetic pleasure of the image’s surface\, which is so necessary to capture the imagination\, and to convey the aesthetic pain of the content. The failure of this negotiation can easily result in the alienation of the viewer\, while a successful negotiation may result in active engagement and an opening of the viewer’s perspective. While I do not wish to impose narrow interpretations of my work but struggle to create complex and muli-dimensional images\, I also do not feel we currently have the privilege to enjoy art purely as aesthetic pleasure. It is a misconception that art has ever been pure; historically it has been a means of expressing personal and societal realities and interpretations. We must actively employ the tension and incongruence produced by the coexistence of aesthetic pleasure and aesthetic pain to attract and jolt the viewer in a thought-provoking manner. As an active player in society and as both educator and agitator\, the artist must keep pushing these boundaries. \n\n\n\nThe photographs I create are highly symbolic\, “hyper-real” landscapes\, landscapes of possibilities existing just beyond reality\, expressing emotions and conditions that permeate reality. They equally could be called “interior landscapes\,” representative of the psychology of human suffering in a society ruled by oppression\, domination\, and fear. Figures exist in equal balance with the landscapes\, the images drawing their complexity from this dramatic polar tension. Within the frame\, time and place loses specificity to become transcendent and expressive of a broader human condition. \n\n\n\nVideo installations provide another level of impact besides the content of the image: we observe movement\, a physical language the body understands. I play with the viewer’s presence and engagement or lack thereof\, allowing this to directly impact the action and outcome of the piece. As the viewer may be far removed from the conflict addressed within the work\, it is important to communicate to the viewer through a recognizable visual language\, and so I filter the subject through historical and psychological contexts of the subject’s specific locale. The frame acts as a historical window to the past\, while the moving image exemplifies a persistent-present\, a current condition influenced by internal or external circumstances that inhibit change. The moment something is done to change a situation\, the persistent-present becomes a progressive present where change can occur. \n\n\n\nMy memories of Iraq and my disenchantment with politics have not left me cynical\, nor drained of hope for humanity. On the contrary\, I am filled with belief in the power of the people to control their own destinies\, and I continue to believe in social justice. I hope to foster a sense of self-empowerment in my audience and to counter the sense of powerlessness people feel in the face of inhumanity.” \n\n\n\nAbout Wafaa Bilal:\n\n\n\nWafaa Bilal was born in Iraq on June 10\, 1966. Because a member of his family had been accused of disloyalty to his country\, Wafaa was denied the opportunity to pursue his dream of being an artist. Instead\, he was to attend college to major in geography. While in college\, he continued to pursue his art and was arrested and tortured for his political art work against Saddam Hussein. \n\n\n\nShortly after the Gulf War\, Wafaa was inspired by President Bush’s message to the Iraqi citizens that if they attempted to overthrow Saddam\, the US would stand behind them. He became involved in organizing opposition to the government and was scheduled for arrest and execution when he escaped into Kuwait. There he was accused of being a spy and was close to being shot when his student ID convinced them he told the truth. \n\n\n\nWafaa was sent to a refugee camp on the Kuwaiti border. In the camp\, people laughed when rather than accept life in a tent he began forming brick that he dried in the sun and fashioned into a home. The adobe served a practical purpose\, for it provided relative safety from abduction by Kuwaiti soldiers who sneaked into tents in the middle of the night to kidnap young people for sale to Iraqi soldiers who tortured\, raped and executed them or the Turkish soldiers themselves would rape and kill them. \n\n\n\nFor two years\, Wafaa lived in limbo not knowing if each day would be his last. Still Wafaa worked to improve his art\, cleaning toilets in the camp to earn the money for art supplies\, buying supplies for children for art therapy to help them to work through the horrors witnessed. His experiences developed within him an abhorrence of violence and oppression and strengthened his inner resolve. \n\n\n\nIn 1992\, Wafaa came to the United States and took classes to learn English. Then\, he began art studies at the University of New Mexico where he excelled. His art is of a political nature that speaks to oppression of the human spirit\, including that of women who are bound by the rules of culture. He has won many awards for his art as well as a scholarship to the Chicago Institute of Art for post graduate study. He is now teaching at that institution. \n\n\n\nIn addition\, Wafaa travels to give lectures on the oppressive nature of Saddam’s regime in the hope of informing people of the complexities of the situation as well as the atrocities committed and the importance of nonviolent means of ending conflict. It has been 14 years since he was last able to see his mother and younger siblings. He speaks to them on the phone to hear how they flee from one war torn city to another in an effort to find safety. His 21 year-old brother who was staunchly apolitical lost his life to stray American gunfire. His father died when his health deteriorated after the death of his youngest son.
URL:https://www.mediasanctuary.org/event/the-great-virtual-jihad-controversy-with-wafaa-bilal/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080309T130000
DTEND;TZID=America/New_York:20080309T170000
DTSTAMP:20220330T153347Z
CREATED:20080309T231900Z
LAST-MODIFIED:20220330T153347Z
UID:10000890-1205067600-1205082000@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Andrew Lynn: Media Literacy for Educators
DESCRIPTION:We live in the most media-saturated time in history\, with messages aimed at youths beginning at a very early age. As educators\, we have a responsibility to help our students become aware of their ability to read between the lines. This session is intended to enhance teachers’ toolkits by providing resources and methods for using social media in the classroom: attend for both practical skill and brainstorming with other regional educators. (Track: Youth Media.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-andrew-lynn-media-literacy-for-educators/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080305T180000
DTEND;TZID=America/New_York:20080305T210000
DTSTAMP:20230626T143256Z
CREATED:20080305T172900Z
LAST-MODIFIED:20230626T143256Z
UID:10001346-1204740000-1204750800@www.mediasanctuary.org
SUMMARY:People to People in Iran\, Dinner and Talk
DESCRIPTION:Cultural travelers Priscilla Fairbank\, Jonathan Hill\, and Barbara Spring share visuals and experiences from their December 2007 tour of Iran with Fellowship of Reconciliation. You are invited to join the group for a casual dinner.  \n\n\n\nCitizen diplomats Priscilla Fairbank\, Jonathan Hill and Barbara Spring share stories and pictures from their December 2007 tour in Iran with Fellowship of Reconciliation. They met everyday people of all ages and walks of life: casual bazaar shoppers\, high school and college students\, children and parents on the street or in public parks\, clerics in mosques. \n\n\n\nCome for an evening of enlightenment about present day Iran and its rich history and culture. \n\n\n\nPresented by Iran Working Group of Upper Hudson Peace Action. Co-sponsored by Troy Neighbors for Peace and Women Against War.
URL:https://www.mediasanctuary.org/event/people-to-people-in-iran-dinner-and-talk/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Community Event,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080227T180000
DTEND;TZID=America/New_York:20080227T203000
DTSTAMP:20220331T162723Z
CREATED:20220331T162722Z
LAST-MODIFIED:20220331T162723Z
UID:10001344-1204135200-1204144200@www.mediasanctuary.org
SUMMARY:Adam Rudolph’s Moving Pictures Octet Performance
DESCRIPTION:This group’s collective background spans a wide range of musical experiences\, including performances with world music ensembles\, 20th century chamber groups and leading artists in the jazz and rhythm & blues fields. Featuring Hamid Drake\, percussion; Graham Haynes\, horns; Ned Rothenberg\, winds; Kenny Wessel\, guitars; Adam Rudolph\, percussion; Steve Horn\, winds; Brahim Fribgone\, our; Shanir Blumenkrantz\, contrabass. This evening’s concert coincides with the release of Rudolph’s new CD Dream Garden on Justin Time records. Interpretations of the compositions from the CD will be performed\, as well a newly commissioned works. \n\n\n\nThe new compositions performed this evening were created with support from Chamber Music America’s New Works: Creation and Presentation Program funded though the generosity of the Doris Duke Charitable Foundation. Presented with support from the Arts Department at RPI and the Performance program at the New York State Council on the Arts. \n\n\n\nLive Performance of Adam Rudolph\n\n\n\n \n\n\n\n Dream Garden features: Adam Rudolph: handrumset (congas\, djembe\, tarija) bendir\, talking drum\, thumb pianos\, udu drums\, cajon\, gongs\, percussion\, sintir\, vocal; Brahim Fribgane: oud\, dumbek\, vocal\, udu\, cajon\, sintir\, percussion; Graham Haynes: cornet\, flugelhorn; Hamid Drake: trap drum set\, bata\, frame drums\, congas\, percussion\, vocal; Kenny Wessel: electric and acoustic guitar; Ned Rothenberg: shakuhachi\, bass flute\, bass clarinet\, alto saxophone; Shanir Blumenkranz: contrabass\, oud and sintir; Steve Gorn: bansuri bamboo flute\, soprano saxophone\, clarinet. \n\n\n\nSince 1991 Adam Rudolph’s Moving Pictures has performed at many major festivals and concert venues in both Europe and the United States. In addition\, each member has concertized extensively throughout North and South America\, Europe\, Asia\, Africa\, and Australia: their collective background spans a wide range of musical experiences\, including performances with world music ensembles\, 20th century chamber groups and leading artists in the jazz and rhythm & blues fields. The concert repertoire consists of original compositions by Mr. Rudolph that serve as a basis for improvisational dialogue. \n\n\n\nAbout the Music\n\n\n\nAdam Rudolph writes: \n\n\n\n“I compose forms\, which serve as thematic material to provide an orchestrated context for improvisational dialogue. Music materials consist\, among other things\, of original melodies\, textural gestures\, sound languages\, tone rows\, traditional and synthetic scales\, diadic and intervallicaly generated harmonies\, call and response\, polyphony\, dynamics\, and the coloration of silences. \n\n\n\nUnique forms are generated through my concept of “Cyclic Verticalism”\, whereby polyrhythms\, as used in African music\, are combined with rhythm cycles\, as used in Indian music. When combined with the above-described tonal materials\, larger forms can be generated. In my compositions these materials are utilized to serve emotional coloration; what in India is called Rasa. Performers are given the freedom to use their imagination and listening ability to develop the compositions within their own individual motion and timing\, while still relating to the overall form and to their aesthetic and musical functions. The concept is to generate unusual relationships of sound against sound\, form against form\, and rhythm against rhythm in a non-linear\, ever shifting kaleidoscope of music images. \n\n\n\nAbout Adam Rudolph\n\n\n\nOriginally from Chicago\, composer and handrummer/percussionist Adam Rudolph has been hailed as “a pioneer in world music” by the New York Times and “a master percussionist” by Musician magazine. He has released over twenty recordings as a leader and appeared on numerous albums. For the past three decades he has performed extensively on concert stages and music festivals throughout North & South America\, Europe\, Africa\, and Asia. \n\n\n\nSince the 1970’s Rudolph has been developing his unique syncretic approach to hand drumming in creative collaborations with outstanding artists of cross-cultural and improvised music\, including: Don Cherry\, Jon Hassel\, Sam Rivers\, Hassan Hakmoun\, L. Shankar\, Omar Sosa\, Wadada Leo Smith\, and Pharaoh Sanders. In 1988 Rudolph began his association Yusef Lateef\, with whom he has toured worldwide and recorded over 15 albums. \n\n\n\nRudolph is artistic director of and composes for several performing ensembles: Adam Rudolph’s Moving Pictures Quartet and Octet\, Hu: Vibrational with Hamid Drake\, and Vashti International Percussion Ensemble. He performs as half of the Wildflowers Duo with Butoh dance innovator Oguri. Rudolph also conducts and composes for the Go: Organic Orchestra\, a 30-piece woodwind\, brass\, strings and percussion ensemble\, which he founded in 2001. \n\n\n\nRudolph recently premiered his first Opera\, The Dreamer\, based on the text of Friedreich Nietzsche’s “The Birth of Tragedy”. His rhythm methodology book\, Pure Rhythm was published by advance music\, Germany in 2006. He has received grants and compositional commissions from the Rockefeller Foundation\, Chamber Music America\, Meet the Composer\, Mary Flagler Cary Trust\, the NEA\, Arts International\, Durfee Foundation and American Composers Forum. \n\n\n\nAbout the Musicians:\n\n\n\nRegarded as an emerging force in contemporary electronic and world music\, GRAHAM HAYNES has redefined and deconstructed that genre some still call jazz. He has recorded seven critically acclaimed CDs as a leader and has worked with Steve Coleman\, Roy Haynes\, Ed Blackwell\, Abbey Lincoln\, Pharaoh Sanders\, Vernon Reid\, Cassandra Wilson\, Butch Morris\, David Murray\, Karl Berger\, Brice Wassy\, Cheick Tidiane Seck\, George Russell\, George Adams\, Jaki Byard\, Bill Laswell\, Sting\, Sekou Sundiata\, Tracie Morris\, Talvin Singh\, Will Calhoun\, Don Byron\, Greg Osby\, and Geri Allen\, among others. \n\n\n\nSTEVE GORN has performed Indian classical music and new American music on the bansuri bamboo flute and soprano saxophone in concerts and festivals throughout the world. A disciple of the late bansuri master\, Sri Gour Goswami of Calcutta\, he has recorded and performed with a wide range of artists including Paul Simon\, Tony Levin\, Jack DeJohnette\, Glen Velez\, and Simon Shaheen. He has composed for film\, television\, dance and theatre\, and performed in concerts and festivals throughout the world. \n\n\n\nHAMID DRAKE has toured extensively throughout North America\, Europe\, Africa and Japan with many of today’s outstanding artists in improvisational and world music’s\, including: Don Cherry\, David Murray\, William Parker\, Pharaoh Sanders\, Dewey Redman\, Jim Pepper\, Marylyn Crispell\, Peter Brotzman and A.A.C.M. co founder Fred Anderson. He also performs as leader of his own ensemble Bindu. \n\n\n\nA virtuoso on both the oud and dumbek\, BRAHIM FRIBGANE was born and raised in Morocco\, where he grew up surrounded by North African\, Gnawa\, Berber\, Arabic and Andulusian music. Brahim tours and performs extensively with Club D’elf\, Medeski\, Martin and Wood\, Hassan Hakmoun\, Vashti Percussion Group\, and Leni Stern. He is a composer of dozens of songs on the oud. \n\n\n\nComposer/Performer NED ROTHENBERG has been internationally acclaimed for both his solo and ensemble music\, presented for the past 25 years in North and South America\, Europe and Asia. Recent recordings include Intervals\, a double-cd of solo work\, Ghost Stories\, Power Lines and Port of Entry with his trio Sync. Other collaborators have included Sainkho Namchylak\, Paul Dresher\, John Zorn\, Marc Ribot\, Yuji Takahashi and Evan Parker. \n\n\n\nSHANIR EZRA BLUMENKRANZ is one of the NYC downtown scenes’ most in demand bass players. He has collaborated with Ikue Mori\, Bill Laswell\, John Zorn\, Ravi Coltrane\, Roy Campbell Jr.\, Tony Malaby\, Jenny Scheinman\, Avishai Cohen\, Marty Ehrlich\, Sylvie Courvoisier\, Susie Ibarra\, Min Xiao-Fen\, Michiyo Yagi\, Marc Ribot\, Kenny Wollesen\, Mark Feldman\, and Louie Belogenis among others. \n\n\n\nKENNY WESSEL worked with revolutionary jazz artist Ornette Coleman for over 12 years (1988-2000)\, touring the world as a member of Prime Time\, during which time he performed “Skies of America\,” Ornette Coleman’s seminal work for symphony orchestra and jazz ensemble\, with Kurt Masur and the New York Philharmonic and London’s Philharmonia Orchestra. Kenny has also worked with Steve Turre\, David Leibman\, Pat Metheny and Johnny Hartmann\, and with North Indian musicians V.M. Bhatt\, Debashish Bhattacharya\, Karaikudi Mani\, and Samir Chatterjee. Ken has toured South Asia and South America. He is currently on the faculties of the Music Conservatory of Westchester and Rutgers University.
URL:https://www.mediasanctuary.org/event/adam-rudolphs-moving-pictures-octet-performance/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Jazz Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080222T180000
DTEND;TZID=America/New_York:20080222T203000
DTSTAMP:20230320T154714Z
CREATED:20220331T161545Z
LAST-MODIFIED:20230320T154714Z
UID:10001341-1203703200-1203712200@www.mediasanctuary.org
SUMMARY:"A Love During the War" Screening with Filmmaker Osvalde Lewat-Hallade
DESCRIPTION:What are the consequences when rape is used as a weapon of war? Osvalde Lewar-Hallade’s moving documentary A Love During the War (2005) explores the question from the perspective of women in Africa\, where this tragedy is witnessed again and again. One of the emerging voices of feminist African filmmaking\, the Cameroonian director Osvalde Lewat-Hallade is well on her way to becoming her continent’s Kim Longinotto or Barbara Kopple\, forging direct cinema with activist power. Osvalde Lewat-Hallade will be present for audience questions at a screening of her film. Part of the African Film Festival program.  \n\n\n\nThis presentation is co-sponsored by the Arts Department at RPI and made possible by volunteer labor\, hundreds of small donations from patrons of The Sanctuary for Independent Media\, and support from the Electronic Media & Film program at the NYS Council on the Arts. \n\n\n\nStill from A Love During War.\n\n\n\nAbout the Film:\n\n\n\nA Love During the War is a docudrama following the experiences of a journalist who is separated from her husband when the Democratic Republic of Congo erupts into civil war. She reunites with her husband in Kinshasa\, but the memory of the horrors suffered by other women during the war still haunts her. Despite her husband’s protests\, she returns to Eastern Congo to find that the legacy of violence continues to infect the lives of women young and old. However\, not everyone remains a victim as women have started denouncing the abuses they suffered. \n\n\n\nA Love During the War manages a remarkable feat\, telling an uplifting story of love that is utterly uncontrived\, while situating it within the context of a bloody war and the horrifying phenomenon of systematic rape committed by militias and armies in the Congo. \n\n\n\nThe two lovers in question are journalist Aziza and her husband Dedier\, who are separated by the outbreak of the Congo-Kinshasa war in 1996\, a conflict that eventually claimed the lives of three million people. Direct\, riveting interviews reveal the angst Aziza and Dedier endured throughout their six-year-long severance. \n\n\n\nThrough the actions of Aziza\, who takes an interest in the brutal experiences of a young girl who was gang-raped by several uniformed men\, director Osvalde Lewat-Hallade seamlessly synthesizes a personal story with an examination of the use of rape as a tool of war. The result is stirring and ultimately galvanizing\, as one cannot help but feel awed by the courage and resilience of women who have overcome stigma and trauma to speak out. \n\n\n\n\n\n\n\nAbout the Director:\n\n\n\nOsvalde Lewat-Hallade started her career as a journalist. She produced her first documentary\, Upsa Yimoowin (The Pipe of Hope) in Toronto in 2001. That film denounces the sidelining of Native Americans. Her second film\, Beyond the Pains\, was made in 2003 and is based on the life of a prisoner who was sentenced to four years in jail for a minor crime and ends up being imprisoned for 33 years. Beyond the Pains was the recipient of the TV Film Prize at the Avanca City Festival and of the Human Rights Prize at the Vues d’Afrique Festival in Montreal. A Love During the War\, her latest documentary film\, won two jury mentions in Fespaco and the Montreal Film Festival. She has just completed a feature film\, “Black Business.”
URL:https://www.mediasanctuary.org/event/a-love-during-the-war-screening-with-filmmaker-osvalde-lewat-hallade/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080217T130000
DTEND;TZID=America/New_York:20080217T170000
DTSTAMP:20220330T153127Z
CREATED:20080217T230700Z
LAST-MODIFIED:20220330T153127Z
UID:10000889-1203253200-1203267600@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Elizabeth Press: Citizen Journal Primer
DESCRIPTION:Digital media tools are more accessible to amateur journalists and community organizers than ever before. In this workshop\, participants will examine a variety of examples of citizen journalism\, and learn research and production tips from a seasoned professional as well as a Democracy Now! producer\, Elizabeth Press. (Track: Growing the Grassroots.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-elizabeth-press-citizen-journal-primer/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080215T180000
DTEND;TZID=America/New_York:20080215T210000
DTSTAMP:20230109T030552Z
CREATED:20080215T152200Z
LAST-MODIFIED:20230109T030552Z
UID:10000886-1203098400-1203109200@www.mediasanctuary.org
SUMMARY:"King Corn" Screening with Panel
DESCRIPTION:Director Aaron Woolf’s entertaining feature-length documentary about the subsidized crop that drives our fast-food nation raises troubling questions about how we eat and how we farm. Complimentary organic popcorn and corn-free sodas for all.  \n\n\n\nCo-sponsored by Honest Weight Food Co-Op as well as Roots and Wisdom. \n\n\n\nKing Corn movie still\n\n\n\nKing Corn is a feature film documentary about the subsidized crop that drives our fast-food nation. Almost everything Americans eat contains corn: high fructose corn syrup\, corn-fed meat\, and corn-based processed foods are the staples of the modern diet. Ready for an adventure and alarmed by signs of their generation’s bulging waistlines\, college friends Ian Cheney and Curt Ellis know where to go to investigate. \n\n\n\nEighty years ago\, Ian and Curt’s great-grandfathers lived just a few miles apart\, in the same rural county in northern Iowa. Now their great-grandsons are returning with a mission: they will plant an acre of corn\, follow their harvest into the world\, and attempt to understand what they—and all of us—are really made of. \n\n\n\nThey move to the heartland to learn where their food comes from. With the help of friendly neighbors\, genetically modified seeds\, and powerful herbicides\, they plant and grow a bumper crop of America’s most productive\, most-subsidized grain on one acre of Iowa soil. But when they try to follow their pile of corn into the food system\, what they find raises troubling questions about how we eat—and how we farm. \n\n\n\nKing Corn movie poster\n\n\n\n“Genetically engineered corn can be ‘hidden’ in everyday grocery items ranging from bread\, to soda\, to the ramen noodles you had for lunch\,” Karisa Centanni\, Education Coordinator at the Honest Weight Food Co-op\, comments. “The same genes that comprise this ‘corn’ are showing up in our hair and skin\, believe it or not\, yet we have no idea about the kind of biological and environmental changes this may cause over a long period of time.” Immediately following the screening a panel comprised of two local\, organic farmers—Leslie Herd and Chris Kemnah—and Louise Maher-Johnson\, a non-GMO activist who has coordinated two statewide lobby days (2005 and 2006) to inform legislators about transgenic food\, will be available as part of a panel discussion and to answer audience questions and concerns. \n\n\n\nYouth gardeners from Roots and Wisdom will serve corn-free\, New-England-made sodas and organic popcorn during a pre-screening reception\, beginning at 6 PM\, and following the film. They will talk with attendees about the important role they are playing to recover the local foods system through farming themselves. All sales of concessions will go directly to programming for Roots and Wisdom. \n\n\n\nRoots and Wisdom is a youth agriculture and community service program bringing together Schenectady County residents to grow organic vegetables for donation to local food pantries and for sale locally. Participants learn about sustainable agriculture\, nutrition\, hunger\, and diversity. Roots and Wisdom creates genuine change by helping county residents in need and providing youth with opportunities to work hard and grow. \n\n\n\nThe Honest Weight Food Co-op\, founded in 1976\, is open to the public seven days a week. A member-owned and -operated organization\, Honest Weight Food Co-op is committed to providing the community with affordable\, high quality natural foods and products for healthy and ecologically sustainable living. The store offers a full line of brand-name grocery products\, more than 500 domestic and imported cheeses from rBGH-free dairies\, an extensive selection of bulk foods\, and the area’s widest selection of locally produced food products. Honest Weight Food Co-op is centrally located at 484 Central Avenue\, between Partridge and Manning\, in Albany\, NY. \n\n\n\nThis presentation is made possible in part by volunteer labor and hundreds of small donations from patrons of The Sanctuary for Independent Media.
URL:https://www.mediasanctuary.org/event/king-corn-screening-with-panel/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080209T190000
DTEND;TZID=America/New_York:20080209T213000
DTSTAMP:20230310T162636Z
CREATED:20080209T150100Z
LAST-MODIFIED:20230310T162636Z
UID:10000885-1202583600-1202592600@www.mediasanctuary.org
SUMMARY:Free Jazz from the Sanctuary prsents Kahil El’Zabar’s Ethnic Heritage Ensemble
DESCRIPTION:Kahil El’Zabar formed the Ethnic Heritage Ensemble in 1973 to combine concepts of African American music making with traditional African music and make something new. After 35 years\, this legendary band is still serving people worldwide with their special brand of 21st century Griot music. El’Zabar’s last performance at the Sanctuary was named one of 2007’s ten best by Metroland. Don’t miss this one! Corey Wilkes\, trumpet; Ernest Khabeer Dawkins\, saxophone; Kahil El’Zabar\, composer\, percussion\, vocals.  \n\n\n\nCo-sponsored by the Department of the Arts at RPI\, and made possible in part by the NYS Music Fund. \n\n\n\n\n\n\n\n\n\nAbout Ethnic Heritage Ensemble:\n\n\n\nThe Ethnic Heritage Ensemble was formed 35 years ago. Kahil El’Zabar is the founder of the band and led its first performance at Child City Arts Center\, in Chicago\, in 1973. This was a year after he had returned from the University of Ghana. His goal was to combine concepts of African American music making with the earlier roots of traditional African music and make it something new. After 35 years\, this legendary band is still serving the people worldwide with their special brand of 21st century Griot music. The current band consists of the young trumpet titan\, Corey Wilkes\, along with Chicago saxophone legend\, Ernest Khabeer Dawkins and the award winning multi percussionist\, vocalist\, and composer\, Kahil El’Zabar. \n\n\n\nThe Ethnic Heritage Ensemble\, is now in the pantheon of jazz history. Few bands have lasted more than three decades and there are no signs of this illustrious ensemble slowing down. Their music conjures a spiritual journey to the inner self. It spans time through multiple expressions that transcend styles and genres. There is an extremely personal virtuosity to the Ethnic Heritage Ensemble’s way of making music. It appears simple on the surface\, yet when one goes deeper in the music they are amazed at the density of form. \n\n\n\nWe are reaching out to our community worldwide in 2008\, to collectively celebrate the triumph of the Ethnic Heritage Ensemble\, in staying true to their mission. It is rare to witness such conviction and commitment in these times. This music has enormous history and incredible love. We are all here to make a difference; we must be about the work of our hearts. Living out your dream is the greatest honor one can express. The Ethnic Heritage Ensemble is the real deal and they have truly done it their way! Let us celebrate the Ethnic Heritage Ensemble’s 35th Anniversary now and forever. Aluta Continua!!
URL:https://www.mediasanctuary.org/event/kahil-elzabars-ethnic-heritage-ensemble/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:African Music,Community Event,Jazz Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080201T190000
DTEND;TZID=America/New_York:20080201T210000
DTSTAMP:20230320T154850Z
CREATED:20080201T202600Z
LAST-MODIFIED:20230320T154850Z
UID:10000883-1201892400-1201899600@www.mediasanctuary.org
SUMMARY:Brian De Palma's "Redacted"
DESCRIPTION:The exclusive Capital Region release of Brian De Palma’s fictional documentary\, Redacted (2007). De Palma (Carrie\, Dressed to Kill\, The Untouchables\, Mission Impossible) won the Silver Lion for Best Director at the 2007 Venice Film Festival for this movie\, a fictional story inspired by true events in Iraq. “The only Iraq film I would rank alongside No End in Sight in the category of essential viewing.” (Scott Fondas\, LA Weekly). Screenings will take place on both February First and February Second\, 2008. \n\n\n\nCo-sponsored by Bethlehem Neighbors for Peace\, Women Against War and Chatham Peace Initiative. \n\n\n\nRedacted Poster\n\n\n\nAbout the Film:\n\n\n\nDe Palma won the Silver Lion for Best Director at the 2007 Venice Film Festival for this film\, a fictional story inspired by true events. Redacted is a unique cinematic experience that pushes viewers to radically reconsider the filters through which we see and accept events in our world\, the power of the mediated image and how presentation and composition influence our ideas and beliefs. \n\n\n\nCentered around a small group of American soldiers stationed at a checkpoint in Iraq\, Redacted alternates points of view\, balancing the experiences of these young men under duress and members of the media with those of the local Iraqi people\, illuminating how each have been deeply affected by the current conflict and their encounters with each other. The charged apotheosis of Brian De Palma’s filmmaking career\, Redacted caps off a body of work which has explored the politics of image-making and reception more fully than any living filmmaker.  \n\n\n\n“Once again a senseless war has produced a senseless tragedy\,” says De Palma. “I told this story years ago in my film ‘Casualties of War.’ But the lessons from the Vietnam War have gone unheeded. How to tell the story today? And how did it all begin? Last year at the Toronto Film Festival I was approached by a representative of HDNET films who asked if I would be interested in making a film using high definition video. I said I would if I could find a subject matter that would be best explored in the medium. Then I read about an incident in the Iraq War where members of a US army squad had reportedly raped a 14 girl\, slaughtered her family\, shot the girl in the face and set her body on fire. How could these boys have gone so wrong? In searching for the answers\, I read soldier’s blogs\, books\, watched soldier’s home made war videos\, surfed their web sites\, and their ‘YouTube’ postings. It was all there\, and all in video. “To redact is to edit\, or prepare for publishing. Frequently\, a redacted document or image has simply had personal (or possibly actionable) information deleted or blacked out; as a consequence\, redacted is often used to describe documents or images from which sensitive information has been expunged. The true story of our Iraq War has been redacted from the mainstream corporate media. If we are goings to cause such disorder then we must face the horrendous images that are the consequences of these actions. Once we saw them in Vietnam our citizens protested and brought that misguided conflict to an end. Let’s hope the images from this film have the same effect.” \n\n\n\nAbout Brian De Palma:\n\n\n\nBrian De Palma/Scott Wintrow: Getty Images\n\n\n\nWriter/director Brian De Palma has showcased his filmmaking talents in diverse films ranging from thrillers such as “Sisters\,” “Obsession\,” “Dressed to Kill\,” “Body Double” and “Snake Eyes\,” to the blockbuster action film “Mission: Impossible\,” the acclaimed police dramas “Scarface\,” “The Untouchables” and “Carlito’s Way” to the unique visions in “Carrie” and “Phantom of the Paradise. “De Palma has also directed war films\, comedies and science fiction.  \n\n\n\nBorn in Newark\, New Jersey on September 11\, 1940\, De Palma grew up in Philadelphia where his father was an orthopedic surgeon. Early on\, De Palma became fascinated by physics and went to Columbia College to study the subject. He soon changed paths and began studying first theater\, then cinema.  \n\n\n\nIn 1960\, he made his first mid-length feature\, “Icarus\,” followed by “6601224\, The Story of an IBM Card” and “Wotan’s Wake\,” for which he received several awards. De Palma undertook his first full-length feature\, “The Wedding Party\,” while studying at Sarah Lawrence College. “The Wedding Party\,” a semi-improvised comedy\, would be Robert De Niro’s and Jill Clayburgh’s film debuts. After this first film\, De Palma went on to do several documentaries and short films\, including “The Responsive Eye\,” and put on an exposition of Op Art at the Museum of Modern Art in New York.  \n\n\n\nIn 1967\, he made his second full-length feature\, “Murder à la Mod\,” a sophisticated thriller packed with Hitchcockian references. The anti-establishment fever of the sixties led him to make the satirical comedies “Greetings” (Silver Bear at the Berlin Film Festival) and “Hi Mom\,” which lifted him into the ranks of young American filmmakers. The big Hollywood studios began paying attention to De Palma\, but it was his modest independent production “Sisters\,” which brought his first big success. Breaking away from the semi-improvisational style of his previous films\, he made apparent that his talent for writing\, his sense of construction\, his framing and rhythm were worthy of the best Hollywood directors.  \n\n\n\nTwo years after his success\, De Palma made the musical thriller “Phantom of the Paradise” which came away with the Grand Prize from the 1975 Avoriaz Film Festival. In 1976\, he (with Paul Schrader) wrote and directed “Obsession\,” a romantic thriller starring Cliff Robertson and Genevieve Bujold\, followed by “Carrie\,” which triumphed worldwide and earned Sissy Spacek and Piper Laurie Oscar nominations. The film\, which also featured Nancy Allen\, John Travolta and Amy Irving\, remains one of the most brilliant adaptations of a Stephen King novel. Its famous last scene\, as well as others\, has been widely imitated over the years.  \n\n\n\nIn 1977\, De Palma directed Kirk Douglas\, John Cassavetes and Amy Irving in “The Fury\,” a spy film that combined the occult with political fiction. In 1978\, he made “Home Movies\,” a semi-autobiographical comedy starring Kirk Douglas and Nancy Allen\, with the assistance of fellow film students from Sarah Lawrence.  \n\n\n\nIn 1980\, De Palma returned to suspense with “Dressed to Kill\,” starring Michael Caine\, Nancy Allen and Angie Dickinson\, then went on to write and direct “Blow Out\,” which explored two of his major themes: voyeurism and politics.  \n\n\n\nIn 1982\, Brian De Palma directed a baroque\, hyper-violent remake of “Scarface” from an Oliver Stone screenplay\, starring Al Pacino and Michelle Pfeiffer.  \n\n\n\nIn 1984\, he made “Body Double\,” which gave Melanie Griffith her breakthrough role. Leaving behind the film genre which had made him famous\, Brian went on to direct “The Untouchables\,” a huge spectacular saga about prohibition which earned its star\, Sean Connery\, an Oscar\, and launched the careers of Kevin Costner and Andy Garcia.  \n\n\n\nIn 1989\, Brian directed Michael J. Fox and Sean Penn in the war film “Casualties of War” and in 1990\, he adapted Tom Wolfe’s satirical novel “The Bonfire of the Vanities\,” which starred Tom Hanks\, Melanie Griffith and Bruce Willis.  \n\n\n\nIn 1992\, De Palma returned to thrillers with “Raising Cain\,” which starred John Lithgow and Lolita Davidovich\, as well as directing Al Pacino in “Carlito’s Way.” \n\n\n\n In 1996\, he brought together Tom Cruise\, Jon Voight\, Emmanuelle Beart and Jean Reno in “Mission: Impossible\,” a tribute to the cult television series.  \n\n\n\n“Mission: Impossible” became an enormous international success and was followed by “Snake Eyes\,” starring Nicolas Cage and Gary Sinise\, as well as his first science fiction film\, “Mission to Mars\,” which starred Gary Sinise\, Tim Robbins\, Don Cheadle and Connie Nielsen.  \n\n\n\nMost recently\, De Palma directed Josh Hartnett\, Hilary Swank\, Aaron Eckhart and Scarlett Johansson in the 2006 film noir thriller\, “The Black Dahlia\,” an adaptation of the popular novel by James Ellroy. \n\n\n\nPress: \n\n\n\n“An amazingly vigorous work and De Palma’s strongest cinematic statement since ‘Casualities of War’” — Richard Corliss\, Time \n\n\n\n“The only Iraq film I would rank alongside ‘No End in Sight’ in the category of essential viewing” — Scott Fondas\, LA Weekly \n\n\n\n“A sensational film. De Palma’s filmmaking skills have seldom been a razor sharp” — Ray Bennett\, Hollywood Reporter \n\n\n\n“De Palma’s anger and frustration with the media course through ‘Redacted’ like an electrical current” — Stephanie Zacharek\, Salon
URL:https://www.mediasanctuary.org/event/brian-de-palmas-redacted/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080120T130000
DTEND;TZID=America/New_York:20080120T170000
DTSTAMP:20220330T152829Z
CREATED:20080120T143200Z
LAST-MODIFIED:20220330T152829Z
UID:10000880-1200834000-1200848400@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Jill Malouf: Nuts and Bolts for Shooters
DESCRIPTION:Do you own  video camera or plan to purchase one soon? Want to become a filmmaker\, but aren’t sure where to start? Already a video shooter\, but not as good as you know you can be? Join us Sunday\, January from 1-5pm. Bring your personal video camera to this workshop for hands-on lessons on how to make the most of what you have. Polish up your shooting skills and learn how to make great recordings in a variety of settings. Material covered will include: manual camera functions\, shot composition\, recording sounds\, and how to cover an event. (Track: Documentary.) \n\n\n\n \n\n\n\n\n\n\n\nAbout the Instructor:\n\n\n\nJill Malouf has been involved in film and video production for more than 10 years as a videographer\, camera assistant\, gaffer\, grip\, and editor. She has worked on everything from major nationwide television commercials to low budget motion pictures and documentaries. She is also an avid still photographer and promotes the Capital Region with her photography through a local company she co-founded called Imagine Albany. \n\n\n\nSign up online or call (518) 207-6264. Cost for one workshop is $50 (or take three at the discounted rate of $125)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-jill-malouf-nuts-and-bolts-for-shooters/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071215T200000
DTEND;TZID=America/New_York:20071215T223000
DTSTAMP:20230109T030546Z
CREATED:20071215T144600Z
LAST-MODIFIED:20230109T030546Z
UID:10000995-1197748800-1197757800@www.mediasanctuary.org
SUMMARY:Trio Tarana
DESCRIPTION:Trio Tarana is led by percussionist/composer Ravish Momin\, who currently resides in New York City but was born in India and has lived in the Middle-East and England.  Therefore\, the creation of Trio Tarana\, in 2003\, was a natural culmination of all of those diverse influences. “Tarana” itself refers to a song-style in North Indian classical music\, where nonsense syllables or mnemonic drum sounds are used to spontaneously improvise a fluid chant or composition.    \n\n\n\nIn keeping with their namesake\, the trio primarily utilizes Indian and East-Asian rhythms as the foundation for a new creative musical experience; they also employ compositions that seamlessly blend written material with spontaneous group interaction. Their mission is to continue to explore the intersections of diverse Asian musical traditions with jazz\, and to share their unique Asian American musical concept and identity with audiences worldwide.  \n\n\n\nWhile Ravish had formally studied North Indian classical music and jazz\, he had also absorbed diverse influences growing up\, and was not prepared to discard them\, for one specific musical idiom.  He had felt rootless\, without a unique musical identity.  As an Asian American percussionist living in the United States\, he had long wanted to create music that both\, utilized his Indian musical traditions reverentially\, and was also reflective of his diverse influences\, thus rightfully depicting his hybrid musical identity. The trio consists of Momin with Sam Bardfield\, violin\, and Brandon Terzic\, oud\,  pioneering an improvised fusion of Asian and American influences.
URL:https://www.mediasanctuary.org/event/trio-tarana-2/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Jazz Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071214T190000
DTEND;TZID=America/New_York:20071214T210000
DTSTAMP:20220614T171644Z
CREATED:20071214T143400Z
LAST-MODIFIED:20220614T171644Z
UID:10000993-1197658800-1197666000@www.mediasanctuary.org
SUMMARY:"What Would Jesus Buy?" Screening
DESCRIPTION:What Would Jesus Buy? follows Reverend Billy and the Church of Stop Shopping Gospel Choir as they go on a cross-country mission to save Christmas from the Shopocalypse: the end of mankind from consumerism\, over-consumption and the fires of eternal debt! From producer Morgan Spurlock (Supersize Me) and director Rob VanAlkemade comes a serious docu-comedy about the commercialization of Christmas. Bill Talen (aka Reverend Billy) was a lost idealist who hitchhiked to New York City only to find that Times Square was becoming a mall. Spurred on by the loss of his neighborhood and inspired by the sidewalk preachers around him\, Bill bought a collar to match his white caterer’s jacket\, bleached his hair and became the Reverend Billy of the Church of Stop Shopping.  \n\n\n\nSince 1999\, Reverend Billy has gone from being a lone preacher with a portable pulpit preaching on subways\, to the leader of a congregation and a movement whose numbers are well into the thousands. Through retail interventions\, corporate exorcisms\, and some good old-fashioned preaching\, Reverend Billy reminds us that we have lost the true meaning of Christmas.  \n\n\n\nWhat Would Jesus Buy? is a journey into the heart of America – from exorcising the demons at the Wal-Mart headquarters to taking over the center stage at the Mall of America and then ultimately heading to the Promised Land … Disneyland. Will we be led like Sheeple to the Christmas slaughter\, or will we find a new way to give a gift this Christmas? What Would Jesus Buy? may just be the divine intervention we’ve all been searching for. The Shopocalypse is upon us …Who will be $aved?
URL:https://www.mediasanctuary.org/event/what-would-jesus-buy-screening/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071207T180000
DTEND;TZID=America/New_York:20071207T203000
DTSTAMP:20220330T190612Z
CREATED:20071207T145000Z
LAST-MODIFIED:20220330T190612Z
UID:10000991-1197050400-1197059400@www.mediasanctuary.org
SUMMARY:"The Business of Being Born" Screening
DESCRIPTION:Birth: it’s a miracle. A rite of passage. A natural part of life. But more than anything\, birth is a business. Compelled to find answers after a disappointing birth experience with her first child\, actress Ricki Lake recruits filmmaker Abby Epstein to examine and question the way American women have babies. The Business of Being Born interlaces intimate birth stories with surprising historical\, political and scientific insights and shocking statistics about the current maternity care system. When director Epstein discovers she is pregnant during the making of the film\, the journey becomes even more personal. Should most births be viewed as a natural life process\, or should every delivery be treated as a potentially catastrophic medical emergency?  \n\n\n\nCo-sponsored by BirthNet.
URL:https://www.mediasanctuary.org/event/the-business-of-being-born-screening/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071205T180000
DTEND;TZID=America/New_York:20071205T203000
DTSTAMP:20220330T185141Z
CREATED:20071205T153400Z
LAST-MODIFIED:20220330T185141Z
UID:10000990-1196877600-1196886600@www.mediasanctuary.org
SUMMARY:Margaret Mead Film & Video Festival
DESCRIPTION:Flock of Dodos (Randy Olson\, 2006). Who are the dodos in the current debate over evolution versus intelligent design?  With a Super Size Me – style good spirit\, marine biologist turned filmmaker Randy Olson travels the country in search of an answer.  He starts with his 82 year old mother who is neighbors with the top lawyer for intelligent design in Olson’s home state of Kansas\, which is the epicenter of the controversy.  This film gets beyond the tedium of the “debate” of who’s right and who’s wrong.  Instead\, it explores how those who embrace each side are “communicating” their ideas to the public.   \n\n\n\nPart of iEAR Presents!\, co-sponsored by the Department of the Arts at RPI and funded in part by the Electronic Media and Film Program at the New York State Council on the Arts\, a state agency.
URL:https://www.mediasanctuary.org/event/margaret-mead-film-video-festival-2/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071202T130000
DTEND;TZID=America/New_York:20071202T170000
DTSTAMP:20220330T150944Z
CREATED:20071202T150000Z
LAST-MODIFIED:20220330T150944Z
UID:10000987-1196600400-1196614800@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Victoria Kereszi\, Andrew Lynn\, and Branda Miller: Holiday Animation Camp
DESCRIPTION:Learn do-it-yourself stop-motion animation techniques in this fast-paced hands-on workshop.  Participants will work in small groups with clay\, collage\, and/or cut-outs to create animated scenes\, characters and short stories.  Youth ages 10-18 are encouraged to attend; all ages are welcome.
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-victoria-kereszi-andrew-lynn-and-branda-miller-holiday-animation-camp/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071201T200000
DTEND;TZID=America/New_York:20071201T223000
DTSTAMP:20230224T164751Z
CREATED:20071201T151300Z
LAST-MODIFIED:20230224T164751Z
UID:10000985-1196539200-1196548200@www.mediasanctuary.org
SUMMARY:The Thirteenth Assembly
DESCRIPTION:The Thirteenth Assembly is a touring collective made up of four musicians (Mary Halvorson\, Jessica Pavone\, Taylor Ho Bynum and Tomas Fujiwara) organized into four different and musically distinct small ensembles.  Styled somewhere between the classic r&b/soul revues of the 60’s and a postmodern traveling circus\, The Thirteenth Assembly presents a selection of some of the latest-emerging young artists and bands in New York’s creative music scene in one package.  Over the course of an evening\, each group performs a thirty-minute-minute set\, offering a glimpse of the vibrant and varied stylistic diversity and creativity of this particular musical community.  The ensembles are: The Thirteen Four\, Taylor Ho Bynum/Tomas Fujiwara Duo\, Mary Halvorson/Jessica Pavone Duo\, Taylor Ho Bynum Trio (with Mary Halvorson & Tomas Fujiwara).  \n\n\n\nPresented with support from the One of the 13-part “Free Jazz from the Sanctuary” series recorded live at The Sanctuary for Independent Media – a unique celebration of freedom through creative expression. Co-produced by NY Media Alliance and the Arts Department at Rensselaer Polytechnic Institute with support from the New York State Council on the Arts and the New York State Music Fund\, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.New York State Music Fund.
URL:https://www.mediasanctuary.org/event/the-thirteenth-assembly/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Jazz Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071128T190000
DTEND;TZID=America/New_York:20071128T210000
DTSTAMP:20260814T142430Z
CREATED:20071128T153300Z
LAST-MODIFIED:20260814T142430Z
UID:10000984-1196276400-1196283600@www.mediasanctuary.org
SUMMARY:Margaret Mead Film & Video Festival
DESCRIPTION:Sisters in Law (Kim Longinotto & Florence Ayisi\, 2005\, Cameroon). “Men are going to get the message now.”  The lawyers and judges in one small courthouse in Kumba\, Cameroon are helping to transform women’s and children’s lives by protecting them from domestic violence.  From the maker of Divorce Iranian Style and Gaea Girls comes this latest project celebrating dynamic women in non-traditional roles.  A testament to how a few strong women can help to make an impact on individual lives as well as traditional world-views. \n\n\n\nPart of iEAR Presents!\, cosponsored by the Department of the Arts at RPI and funded in part by the Electronic Media and Film Program at the New York State Council on the Arts\, a state agency.
URL:https://www.mediasanctuary.org/event/margaret-mead-film-video-festival/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071119T190000
DTEND;TZID=America/New_York:20071119T210000
DTSTAMP:20220614T171916Z
CREATED:20071119T152200Z
LAST-MODIFIED:20220614T171916Z
UID:10000982-1195498800-1195506000@www.mediasanctuary.org
SUMMARY:"Whiskey Tango Foxtrot: A Photographer's Chronicle of the Iraq War" with Photojournalist Ashley Gilbertson
DESCRIPTION:Arriving in Iraq on the eve of the U.S. invasion\, unaffiliated with any newspaper and hoping to pick up assignments along the way\, Ashley Gilbertson was one of the first photojournalists to cover the disintegration of America’s military triumph as looting and score settling convulsed Iraqi cities.  Just twenty-five years old at the time\, Gilbertson soon landed a contract with The New York Times\, and his extraordinary images of life in occupied Iraq and of American troops in action began appearing in the paper regularly.   \n\n\n\nWhiskey Tango Foxtrot (The University of Chicago Press\, 2007) gathers the best of his photographs\, chronicling America’s early battles in Iraq\, the initial occupation of Baghdad\, the insurgency that erupted shortly afterward\, the dramatic battle to over take Fallujah\, and ultimately\, the country’s first national elections.  This wide-ranging treatment of the war from the viewpoint of a photographer is the first of its kind.  In it he grapples with the reality that Iraq – despite the sacrifice in Iraq and American lives – has descended into a civil war with no end in sight.   \n\n\n\nCo-sponsored by Women Against War and Bethlehem Neighbors for Peace.
URL:https://www.mediasanctuary.org/event/whiskey-tango-foxtrot-a-photographers-chronicle-of-the-iraq-war-with-photojournalist-ashley-gilbertson/
CATEGORIES:Panel Discussion,Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071116T190000
DTEND;TZID=America/New_York:20071116T210000
DTSTAMP:20220330T181400Z
CREATED:20071116T191100Z
LAST-MODIFIED:20220330T181400Z
UID:10000981-1195239600-1195246800@www.mediasanctuary.org
SUMMARY:"Meeting Resistance" with Filmmakers Molly Bingham and Steve Connors
DESCRIPTION:Meeting Resistance (2007) is set in the streets\, alleyways and ubiquitous teashops of the Adhamiya neighborhood of Baghdad.  It enters the physical and psychological heart of the “insurgency” against the American occupation.  Presented by photojournalist/directors Steve Connors and Molly Bingham\, who spent ten months among the insurgents there to create the exclusive\, unique\, and at once compelling and insightful film about their lives\, motivation\, and goals.  \n\n\n\nMeeting Resistance focuses on eight “insurgents\,” each with his or her own take and reasons for opposing the American-led occupation. All are people who\, within days of the fall of Baghdad\, were arranging themselves into resistance cells\, finding the money and weapons to fight against the American military.  The film witnesses how they began to organize themselves\, reveals why they have decided to violently oppose the occupation of the country\, and hears in their words the underlying ideological foundations to their fight and how and why those have changed over time.  \n\n\n\nThe directors’ unsurpassed access and visually stunning cinematography makes this film a one-of-a-kind; essential viewing for audiences around the world concerned with a deeper understanding of the current situation in Iraq\, and with the human condition of resistance.   \n\n\n\nCo-sponsored by Women Against War\, Bethlehem Neighbors for Peace\, and the Chatham Peace Initiative.
URL:https://www.mediasanctuary.org/event/meeting-resistance-with-filmmakers-molly-bingham-and-steve-connors/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Panel Discussion,Screening
END:VEVENT
END:VCALENDAR