BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//The Sanctuary For Independent Media - ECPv6.17.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:The Sanctuary For Independent Media
X-ORIGINAL-URL:https://www.mediasanctuary.org
X-WR-CALDESC:Events for The Sanctuary For Independent Media
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20070311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20071104T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20080309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20081102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20090308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20091101T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080508T180000
DTEND;TZID=America/New_York:20080508T200000
DTSTAMP:20230626T141411Z
CREATED:20080508T192700Z
LAST-MODIFIED:20230626T141411Z
UID:10001006-1210269600-1210276800@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Andrew Lynn: Blogs\, Vlogs\, and Other Web 2.0 Adventures\, Part Two
DESCRIPTION:Part two of Andrew Lynn’s workshop. In this hands-on workshop\, participants will learn about an array of free resources available for getting media out to the world. Discussion and demonstrations include techniques for compression\, syndication\, promotion and more. Each participant will have a chance to create a blog. Have your own laptop? Bring it! Participants from previous workshops who have produced short videos will post them online. (Track: Growing the Grassroots.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-andrew-lynn-blogs-vlogs-and-other-web-2-0-adventures-part-two/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080502T190000
DTEND;TZID=America/New_York:20080502T210000
DTSTAMP:20220404T153347Z
CREATED:20220404T153346Z
LAST-MODIFIED:20220404T153347Z
UID:10001604-1209754800-1209762000@www.mediasanctuary.org
SUMMARY:Madeleine Kunin Speaks on "Pearls\, Politics\, and Power"
DESCRIPTION:The former three-term Vermont Governor asks: What will it take for women to assume their rightful places in the corridors of political power? What difference do women make? What is the worst part of politics\, and what is the best part? What inspires women to run\, and how do they prepare themselves for public life? How do they raise money\, protect their families’ privacy\, deal with criticism and attack ads\, and work with the good old boys? Her new book is Pearls\, Politics and Power: How Women Can Win and Lead (2008). \n\n\n\n\n\n\n\nAbout Madeleine M. Kunin\n\n\n\nMadeleine M. Kunin was the first woman governor of Vermont\, and served as the Deputy Secretary of Education and Ambassador to Switzerland under President Bill Clinton. She is the author of Living a Political Life and is currently a Marsh Scholar Professor-at-Large at the University of Vermont and lectures on history and women’s studies. She also serves as president of the board of the Institute for Sustainable Communities (ISC)\, a nongovernmental organization that she founded in 1991. She lives in Burlington\, Vermont. \n\n\n\nAbout Pearls\, Politics\, and Power: How Women Can Win and Lead \n\n\n\nHer new book\, Pearls\, Politics\, and Power (Chelsea Green)\, is a call to action for new political engagement and leadership from the women of America. Informed by conversations with elected women leaders from all levels\, former three-term Vermont Governor and Ambassador to Switzerland Madeleine M. Kunin asks: What difference do women make? What is the worst part of politics\, and what is the best part? What inspired these women to run\, and how did they prepare themselves for public life? How did they raise money\, protect their families’ privacy\, deal with criticism and attack ads\, and work with the good old boys? \n\n\n\nKunin’s core message is that America needs an infusion of new leadership to better address the major problems of our time. To see how women can achieve that goal\, she combines her personal experience in politics; the lessons of past women’s movements; the stories of young women today who have new ideas about their role in society; and interviews with a wide range of women in positions of power\, looking for clues to their leadership\, as well as the effects of gender stereotyping. She interviews Senator Hillary Rodham Clinton\, analyzes her campaign\, and addresses the question: “Is the country ready?” Other interviewees include U.S. Representatives Loretta Sanchez\, Linda Sanchez\, Deborah Pryce\, and Tammy Baldwin\, and U.S. Senators Susan Collins\, Amy Klobuchar\, and Carol Moseley Braun\, and Governors Kathleen Sibelius and Janet Napolitano. \n\n\n\n“Here’s the book we’ve been waiting for—an insider’s view of the role of women in politics by one of America’s most distinguished public servants. Governor\, federal executive\, ambassador\, Madeleine Kunin has seen it all. And her keen eye and her deep understanding of the challenge of gender in wielding power has produced a wonderfully insightful book that should be read by every women\, and man\, who wants to lead.” —Robert B. Reich\, Former U.S. Secretary of Labor\, Professor of Public Policy\, University of California at Berkeley
URL:https://www.mediasanctuary.org/event/madeleine-kunin-speaks-on-pearls-politics-and-power/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080501T180000
DTEND;TZID=America/New_York:20080501T200000
DTSTAMP:20220330T155030Z
CREATED:20080501T150100Z
LAST-MODIFIED:20220330T155030Z
UID:10001004-1209664800-1209672000@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Andrew Lynn: Blogs\, Vlogs\, and Other Web 2.0 Adventures Workshop\, Part One
DESCRIPTION:In this hands-on workshop\, participants will learn about an array of free resources available for getting media out to the world. Discussion and demonstrations include techniques for compression\, syndication\, promotion\, and more. Each participant will have a chance to create a blog. Have your own laptop? Bring it! Participants from previous workshops who have produced short videos will post them online. (Track: Growing the Grassroots.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-andrew-lynn-blogs-vlogs-and-other-web-2-0-adventures-workshop-part-one/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080426T200000
DTEND;TZID=America/New_York:20080426T223000
DTSTAMP:20230310T162735Z
CREATED:20080426T134800Z
LAST-MODIFIED:20230310T162735Z
UID:10001003-1209240000-1209249000@www.mediasanctuary.org
SUMMARY:Free Jazz at the Sanctuary presents Fay Victor Ensemble
DESCRIPTION:The Fay Victor Ensemble uses vocal jazz tradition as a basis for improvising in the sense of Ornette Coleman/late Coltrane and beyond\, held in check by a healthy earthy soulfulness expressed through a focused set of originals that offer taut construction and witty lyrics. Featuring Fay Victor\, vocals; Anders Nilsson\, guitar; Ken Filiano\, bass; Michael “TA” Thompson\, drums.  \n\n\n\nCo-sponsored by the Department of the Arts at RPI\, made possible in part by the NYS Music Fund and the Performance program at the NYS Council on the Arts. \n\n\n\n\n\n\n\n\n\n* More Documentation Below\n\n\n\nMore About the Fay Victor Ensemble:\n\n\n\nFay Victor is the rare singer who can instill silence and focused attention into an audience\, and she commands infectious joy and occasionally raucous energy whenever she performs. Ms. Victor\, armed with great communicative powers\, in charge of a full-tilt band\, resulting in something that Betty Carter might have done\, had she grown up in the seventies. Her new release Cartwheels through the Cosmos on the Artist share label is easily the consummate outing of her career\, bringing together in one concise package: the vocal jazz tradition as a basis for improvising in the sense of Ornette Coleman/late Coltrane and beyond\, held in check by a healthy earthy soulfulness expressed through a focused set of originals that offer taut construction and witty lyrics. \n\n\n\nMs. Victor started her first band “Venus” at the tender age of 9. For this outfit consisting of neighborhood girlfriends\, the precocious preteen wrote the songs\, and lead the band with a firm hand while belting out its anthem – Venusized. In the early 90’s Victor found herself back in NYC with a minor dance hit under her belt as vocalist/co-writer (“You make me happy”\, with producer David Anthony)\, and a budding career as a jazz vocalist in the traditional standards vein.During an eight-year stay in Europe\, Ms. Victor made the transition from singer of standards to the unique vocal artist she has become today. She expanded her musical interests into musical areas not commonly associated with jazz singing\, from rock and blues (Jimi Hendrix\, Howlin Wolf) to avant garde jazz (Eric Dolphy\, Ornette Coleman) and modern classical (Charles Ives\, Olivier Messiaen). 1998’s “In My Own Room” still featured a selection of sparsely arranged standards in a Carmen McRae influenced vocal style\, be it with an added warmth and loose style of phrasing all of Victor’s own. But 2001’s Darker than Blue and 2004’s Lazy Old Sun offered more advanced material\, with more and more self-penned tunes trickling through the standards and progressively far-fetched covers. JazzTimes called her a “real find\, a true original\,” and Dusted’s Derek Taylor hit the nail on the head with his assessment that is she’s “ a vocalist imbued with the best elements of past matriarchs like Abbey Lincoln and Betty Carter with an ear tilted towards Euro-improv innovations.” \n\n\n\nFay Victor has appeared at venues/festivals including the Bowery Poetry Cub\, The Stone\, Zebulon\, Galapagos Art Space\, Barbes\, CBGB’s\, Cornelia Street Café\, Tonic\, the 55 Bar\, The HOWL Festival and the River to River Festival. Ms. Victor has performed with such notables as Lawrence “Butch” Morris\, Misha Mengelberg\, Gary Lucas\, Michael Moore and Steve Coleman. \n\n\n\nAnders Nilsson – guitar A bandleader in his own right\, Anders Nilsson heads up Swedish-based improv-rock-jazz outfit\, Aorta and he has had two recording with the band on the Swedish based-Kopasetic Label. Blood\, released in 2004 and the sophomore effort Janus was released in 2005. Currently Anders is teaching\, performing and writing for Aorta. Anders Nilsson grew up in Eslöv\, Sweden and early on joined a rock band. He studied Jazz studies at Malmö Academy of Music. In 2002\, he moved to New York City and since then he’s earned a Master of Jazz Studies at City College of New York. Anders has played with musicians including Kermit Driscoll\, Sabir Mateen\, Ken Filiano\, Michael Evans\, Raoul Björkenheim\, Ras Moshe\, Daniel Carter and Matt Lavelle\, amongst others. He has composed film music and collaborated with dancers and is a member of Sebastian Schunke’s Orchestra (Berlin). \n\n\n\nKen Filiano – double bass\, effects Noted for his accomplishments in jazz\, spontaneous improvisation\, classical\, and inter-disciplinary performance with dance and spoken word\, Ken Filiano fuses the rich traditions of the double bass with his own seemingly limitless\, often astonishing\, inventiveness. Ken leads two groups for which he also composes: a quartet with Michael Attias\, Tony Malaby\, and Michael T.A. Thompson\, and a quintet with Attias\, Jackson Krall\, Steve Swell\, and Tomas Ulrich. His prolific output also includes performances and/or recordings with Roy Campbell\, Nels Cline\, Ted Dunbar\, Bob Feldman\, Georgian Chamber Orchestra\, Dennis Gonzalez\, Vinny Golia\, Lou Grassi\, Hayes Greenfield\, Phil Haynes\, Fred Hess\, Jason Hwang\, Joseph Jarman\, Sheila Jordan (with the Aardvark Orchestra)\, Raul Juarena\, Joe Labarbera\, Joelle Leandre\, Frank London\, Manhattan Chamber Orchestra\, Tina Marsh\, Warne Marsh\, Bob Meyer\, Dom Minasi\, Hafez Modirzadeh\, Butch Morris\, Barre Phillips\, Roberta Piket\, Don Preston\, Bob Rodriguez\, Roswell Rudd\, ROVA Saxophone Quartet\, Ursel Schlicht\, Paul Smoker\, Chris Sullivan\, Peeter Uuskyla\, Biggi Vinkeloe\, Kenny Wessel\, Andrea Wolper\, Pablo Ziegler. Ken has also been a guest lecturer\, performer\, and workshop leader at the Actor’s Institute of New York\, San Francisco State University\, UCLA\, Centro de Arte Moderna (Lisbon)\, and at Rutgers University\, where he received his Master’s Degree. \n\n\n\nMichael TA Thompson – drums Drummer/Percussionist Michael Thompson is an anomaly. You might find him in the company of a wide variety of musical artists which include Joe McPhee\, John Stubblefield\, Henry Grimes\, Daniel Carter\, Alex Foster\, Roy Campbell Jr.\, Matthew Shipp\, Uri Caine\, John Patitucci\, William Parker\, Harvie Swartz\, Barbara Sfraga\, Mala Waldron; legendary Calypsonians The Mighty Sparrow\, The Shadow\, Becket; reggae artist Owen Gray. He has also played with Pauline Oliveros\, and Deep Listening Music. He has recorded for television including shows such as Blues Clues (Nickelodeon)\, commercials and film scores. \n\n\n\nPress:\n\n\n\n“It’s a borderless\, cacophonous\, in-your-face experiment in tone poetry and free-form expression. It’s tough. It’s gutsy. It’s brilliant.” –Christopher Loudon\, JazzTimes \n\n\n\n“Complex\, ambitious record…we can add Victor to the Betty Carter family of jazz singers\, if we could find anyone else to fill out a family.” (A-) –Tom Hull\, Village Voice \n\n\n\n“…actually stretches the definition of jazz vocals” –JazzWise\, UK \n\n\n\n“Victor is the traffic director of a group methodology that surges into the interstellar regions of sound.” –Glenn Astarita\,New & Noteworthy Monthly Column\, March 2007\, www.allaboutjazz.com \n\n\n\n“Taking jazz singing forward with a unique form of expression\, Fay Victor delivers with authority. She reaches out with open arms to celebrate the freedom that comes with singing what you feel.” –Jim Santella\, Cadence \n\n\n\n“Cartwheels Through the Cosmos is that rarity amongst contemporary vocal jazz releases: an album that doesn’t rely on a tired repertoire and looks\, instead\, for innovation in every corner. The beauty of Victor…is her blending of soulful delivery with avant-garde tactics. Her fearless exploration of a myriad of musical nexus points makes Cartwheels Through the Cosmos an album for those who normally stay away from vocal jazz.” –John Kelman\, allaboutjazz.com \n\n\n\n“I love it. It’s very special what you are doing. It’s a killer band and the whole concept is just fantastic!” –Dave Douglas\, Trumpeter Lazy Old Sun \n\n\n\n“…but a handful of albums by women including: Gunda Gottschalk’s Wassermonde\, Satoko Fujii’s Illusion Suite\, Susie Ibarra’s Folklorico and Fay Victor’s Lazy Old Sun earned my unreserved admiration. The first and last in the list were particularly revelatory. Gottschalk’s skills on violin\, exhibiting incredible incisiveness in a solitary recital setting\, blew my mind. Victor’s European swan song with a crack Dutch combo in tow exposed a vocalist imbued with the best elements of past matriarchs like Abbey Lincoln and Betty Carter with an ear-tilted toward Euro-improv innovations. –Derek Taylor\, Dusted Magazine-The Year in Music Feature 2004 \n\n\n\n“A boldly inventive Betty Carter-Billie Holiday hybrid…the tremendously versatile Victor takes off into all sorts of curiously exciting directions…she’s a real find\, a true original.” –Christopher Louden\, JazzTimes\, March ‘05 \n\n\n\n“Lazy Old Sun puts a fresh new twist on jazz singing…her rich alto and perfect pitch allow the 4tet to play with the fringes of dissonance…it keeps hope alive that something fresh may still be coming for jazz singing. –Phillip McNally\, Cadence magazine\, March 2005 \n\n\n\n“Fay Victor is a gifted musician\, possessed of flawless intonation\, musical imagination\, and inventive phrasing … this album deserves a first\, a second\, and a third listening.” –William Grim\, allaboutjazz.com\, April 2005 \n\n\n\n“Unlike so many vocal CD’s on the market\, this is a true collaboration. That speaks volumes about Victor’s maturity and confidence\, trusting and then delivering on the idea that she can hang with such a solid cast of improvisers(…)LAZY OLD SUN has been in heavy rotation since it arrived(…)It accounts both for the wide technical toolkit she employs (…)and for why this music hits such a poignant spot within the listener. –Charles Walker\, www.Sudden-thoughts.com\, April 2005 \n\n\n\n“Sounds like a young Betty Carter with a bad case of wanderlust…a live set strong enough to win over all but the most anti-vocal jazz-fans…” –Kurt Gottschalk\, Signal to Noise\, Spring 2005 \n\n\n\n“Fay Victor is clearly a singer who holds abstraction and soulfulness in equally high regard…Victor finds the jazz vocal possibilities in everything… (There’s) a lot to admire about LAZY OLD SUN.” –Alex Henderson\, All Music Guide\, January 2005 \n\n\n\n“…some intriguing vocalizing…invests every song with such emotional commitment that they all sound like her own originals even if they are an evergreen…the message from this session is clear—check out Fay Victor.” –David Dupont\, www.onefinalnote.com\, November 2004 DARKER THAN BLUE \n\n\n\n“She applies freedom and improvisation and constantly attacks her songs from unexpected directions…This is a fine CD from a singer who takes chances.” –Cadence Magazine \n\n\n\n“The music is almost self-propelled\, sporting a sharp efficiency (…) a certain economy that can only derive from practice and reference. Fay Victor is a thinking persons’ jazz vocalist. –C. Michael Bailey\, allaboutjazz.com IN MY OWN ROOM \n\n\n\n“4 and a half stars… She bends the lyrics\, swings\, sings ballads and the blues. Her delivery can be strong\, sassy\, smokey or sophisticated depending on the musical situation and the musical picture she wants to paint. Fay Victor has all the tools to be a major player in the jazz vocal scene.” –Dave Nathan\, All Music Guide \n\n\n\n“Fay Victor emphasizing the lyrics as if she wrote them…identifies herself as a worthy addition to a legacy of fine jazz vocalists that are worth hearing.” –Glenn Astarita\, All about jazz.com \n\n\n\n“From Miles Davis’ “All Blues” until Cole Porter’s “Everytime We Say Goodbye”\, Fay Victor effortlessly puts her own stamp on them…proves jazz is timeless…” –Elegance Magazine\, the Netherlands
URL:https://www.mediasanctuary.org/event/fay-victor-ensemble-performance/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Jazz Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080416T190000
DTEND;TZID=America/New_York:20080416T213000
DTSTAMP:20220404T151945Z
CREATED:20220305T231032Z
LAST-MODIFIED:20220404T151945Z
UID:10001589-1208372400-1208381400@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Les Saignantes\," Plus "Meokgo and the Stick Fighter"
DESCRIPTION:Jean-Pierre Bekolo’s Les Saignantes (2005) is a superbly photographed\, stylishly edited\, and tastefully scored film about two young femmes fatales who set out to rid a futuristic country of its corrupt and sex-obsessed powerful men. Young\, attractive\, fashionable\, and lethal\, they are on a mission to change the destiny of their country. Reveling in its display of excess\, committed to aesthetics of cool\, this is one of the first science fiction films to come out of Africa. \n\n\n\nScreened with Teboho Malatshi’s Meokgo and the Stick Fighter (2006)\, the story of Kgotso\, a recluse stick fighter who lives a solitary life high up in the Maluti Mountains of Lesotho. Whilst tending sheep and playing his concertina\, he sees a beautiful and mysterious woman staring at him dreamily from the water. This story of unrequited love and sacrifice captures both the cruelty and the beauty of African magical beliefs. Part of the African Film Festival program. \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nFilm still from Jean-Pierre Bekolo’s Les Saignantes (2005).\n\n\n\nAbout the African Film Festival:\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic’s Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-les-saignantes-plus-meokgo-and-the-stick-fighter/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080415T190000
DTEND;TZID=America/New_York:20080415T213000
DTSTAMP:20220404T145612Z
CREATED:20220401T165607Z
LAST-MODIFIED:20220404T145612Z
UID:10001603-1208286000-1208295000@www.mediasanctuary.org
SUMMARY:African Film Festival featuring "Juju Factory\," plus "Menged"
DESCRIPTION:As part of the African Film Festival\, we present a screening of Balfua Bakupu-Kanyinda’s film Juju Factory (2007). Kongo Congo lives in Brussels\, in the Matange district on which he is writing a book. His editor wants a kind of traveler’s book spiced with ethnic ingredients. However\, the writer is inspired by the vision of complex and tormented souls that he meets at all crossings. Through his writing\, he meditates upon the invisible connections between Congolese history and its ghosts. How is it possible to stand upright in this chaotic history? By having the “juju”\, self confidence\, and Beatrice’s love.  \n\n\n\nScreened with Jean-Pierre Bekolo’s Menged (2006). Adopted from an Ethiopian folktale\, this film is very much a parable for Ethiopia today. A country in transition between modernism and traditional belief.  \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary.  \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nStill from Balfua Bakupu-Kanyinda’s film Juju Factory. \n\n\n\nAbout the African Film Festival:\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilites\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the A.M.E. Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the A.M.E. Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. A.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church.  \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. Along with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia.  \n\n\n\nIn West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout the Rensselaer Polytechnic Department of the Arts\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-juju-factory-plus-menged/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080411T200000
DTEND;TZID=America/New_York:20080411T223000
DTSTAMP:20220401T163217Z
CREATED:20220401T163216Z
LAST-MODIFIED:20220401T163217Z
UID:10001601-1207944000-1207953000@www.mediasanctuary.org
SUMMARY:African Film Festival Presents Mamadou Diabate Ensemble
DESCRIPTION:As part of the African Film Festival\, we present a live performance by Grammy-nominated kora master Mamadou Diabate from the West African country of Mali with his ensemble as part of the 2008 African Film Festival. The Mamadou Diabate Ensemble includes Mamadou Diabate on kora\, Balla Kouyate on balafon\, Baye Kouyate on talking drum and calabash\, and Noah Jarrett on bass. Mamadou Diabate is a master of the kora\, the ancient 21-string West African harp. He was born in 1975 in Kita\, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates\, Mamadou comes from a family of griots\, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people’s consciousness of the past\, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali\, covering much of West Africa.  \n\n\n\nBecause The Sanctuary for Independent Media has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the Mamadou Diabate Ensemble is co-sponsored by the AME Zion Church and made possible by volunteer labor\, small financial contributions from hundreds of patrons of The Sanctuary For Independent Media. \n\n\n\n\n\n\n\nMamadou Diabate. Photo by Johndan Johnson-Eilola.\n\n\n\nAbout Mamadou Diabate:\n\n\n\nMamadou Diabate is a master of the kora\, the ancient 21-string West African harp. He was born in 1975 in Kita\, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates\, Mamadou comes from a family of griots\, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people’s consciousness of the past\, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali\, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today\, not only for the Manding\, but for many citizens of Mali\, Guinea\, Gambia\, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning. \n\n\n\nMamadou’s father Djelimory played the kora\, the jeli’s venerable 21-string harp. He was widely known as N’fa Diabate\, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four\, Mamadou went to live with his father in Bamako\, where the Ensemble was based. When it came time for him to return to Kita and go to school\, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument\, and from there he listened and watched and devoted himself to practicing the kora\, to the point that his mother worried that he was not concentrating enough on school. When she took it away\, it only reduced his interest in studying\, and he quickly resorted to making his own kora so he could continue. \n\n\n\nBefore long\, Mamadou left school and began playing kora for local jeli singers\, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade\, mostly weddings and baptisms. When he was fifteen\, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year\, he went to Bamako\, and under the tutelage of his famous kora playing cousin\, Toumani Diabate\, he worked the jeli circuit\, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city’s posh Amitié Hotel. Toumani gave his cousin the nickname “Djelika Djan” meaning “Tall Griot\,” a reference to Mamadou’s impressive physical stature. The name has stuck. \n\n\n\nIn 1996\, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour\, Mamadou decided to continue his work in the United States and\, since then\, he’s made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita\, Tata Bambo Kouyate\, Kandia Kouyate\, and Babani Koné. He has performed at the United Nations\, Lincoln Center\, the Metropolitan Museum\, and at the Smithsonian Institute in Washington. In addition\, he’s delved into uncharted waters\, jamming with all manner of expert musicians\, including jazz luminaries Donald Byrd and Randy Weston\, Zimbabwean legend Thomas Mapfumo\, and blues masters Eric Bibb and Guy Davis. Mamadou’s recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown\, jazz bassist Ben Allison\, and Benin’s celebrated Angélique Kidjo. \n\n\n\nMamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu\, the region centered between Gambia\, Senegal\, and Guinea Bissau\, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art. \n\n\n\nHe recorded his debut\, “Tunga” (Alula Records\, 2000)\, where he was joined by an impressive cast of handpicked musicians and friends who helped him show both reverence for the traditional sounds of his craft and to display an adventurous spirit in keeping with the practice of always furthering the griot’s art. \n\n\n\nMamadou Diabate’s solo kora recording ‘Behmanka’ (World Village\, 2005) was nominated in the 2005 48th Annual GRAMMY Awards 2005 World Music category. \n\n\n\nMamadou Diabate’s kora recording “Heritage” (World Village\, 2006) showcases his ensemble work with trio. Heritage features Mamadou’s touring band\, Guinean guitarist Djikoryam Mory Kante\, balafonist Bala Kouyaté\, Baye Kouyaté on calabash and talking drum\, and on bass\, American jazz musician Noah Jarrett. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nThe location of this event in north Troy has special significance. \n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region.
URL:https://www.mediasanctuary.org/event/african-film-festival-presents-mamadou-diabate-ensemble/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:African Music,Performance
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080410T180000
DTEND;TZID=America/New_York:20080410T200000
DTSTAMP:20220330T154505Z
CREATED:20080410T154200Z
LAST-MODIFIED:20220330T154505Z
UID:10001000-1207850400-1207857600@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Penny Lane: Editing Basics\, Part Two
DESCRIPTION:A continuation of the editing workshop. Have great footage\, but need to put it all together? This basic editing class is for you. Participants work individually and in groups over two lab sessions to learn the basics of audio and video editing. Bring any footage shot over the course of the workshop series; if you have a laptop\, bring it! Includes the fundamentals of selecting material\, planning the sequence of a story\, and setting up a basic editing project. (Track: Documentary.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-penny-lane-editing-basics-part-two/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080409T190000
DTEND;TZID=America/New_York:20080409T213000
DTSTAMP:20220415T155441Z
CREATED:20220401T160430Z
LAST-MODIFIED:20220415T155441Z
UID:10001602-1207767600-1207776600@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Clouds Over Conakry\," plus "Mama Put"
DESCRIPTION:Part of the African Film Festival\, a screening of Clouds Over Conakry (2007) by Cheick Fantamady Camara. At the age of 25\, the artist-caricaturist BB finds himself faced with an impossible choice. Son of Karamo\, the inflexible imam (who is also the guardian of his village’s ancestral traditions)\, BB is chosen to be his father’s worthy successor. But he refuses to accept his destiny\, preferring to fight to exert his trade freely and to live his love for the beautiful young computer scientist\, Kesso\, to the full. Presented with Seke Somolu’s Mama Put  (2006). The power of food to transform\, rescue\, and wreak revenge is eloquently demonstrated in this Nigerian film.  \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nFilm still from Clouds Over Conakry.\n\n\n\nAbout the Films:\n\n\n\nClouds Over Conakry (Cheick Fantamady Camara\, Guinea. 2007\, 113″). A romantic twist on the standby theme of African cinema\, traditionalism vs. modernism\, as a lovestruck cartoonist learns the spirits have chosen him instead of his religious older brother to succeed his father as imam of Guinea’s capital\, Conakry. But he refuses to accept his destiny\, preferring to fight to exert his trade freely and to live his love to the full. \n\n\n\nMama Put (Seke Somolu\, Nigeria. 2006\, 26″). The power of food to transform\, rescue and wreak revenge is eloquently demonstrated in this Nigerian film. A single woman\, who makes and sells street food\, is struggling to bring up her family. Her young son desperately needs kidney treatment\, and just when it seems things can get no worse\, a gang of armed youths break in to the house. The mother decides that the gang must go\, and prepares a meal to send them on their way. \n\n\n\nAbout the African Film Festival\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-clouds-over-conakry-plus-mama-put/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080408T190000
DTEND;TZID=America/New_York:20080408T210000
DTSTAMP:20220404T152143Z
CREATED:20220331T181251Z
LAST-MODIFIED:20220404T152143Z
UID:10001350-1207681200-1207688400@www.mediasanctuary.org
SUMMARY:African Film Festival Featuring "Bling\, A Planet Rock\," with Filmmaker Raquel Cepeda and "Growing Stronger"
DESCRIPTION:Filmmaker Raquel Cepeda presents Bling A Planet Rock (2007)\, a feature documentary by Raquel Cepeda\, takes a hard-hitting look at how “blinging” in the flashy world of commercial hip-hop played a role in the 10-year civil war in Sierra Leone. This film takes U.S. hip-hop celebrities Paul Wall\, Latin hip-hop artist Tego Calderon\, and Raekwon from Wu-Tang Clan on a journey to Sierra Leone’s diamond mining communities\, introducing them to former child soldiers\, refugees\, and local hip-hop artists.  \n\n\n\nIncluded in this screening is Growing Stronger (2005) by Tsitsi Dangarembga. After living a high profile life as a model and wife to the coach of the Zimbabwe national football team\, Tendayi Westerhof stunned the nation by becoming the first high profile person to go public about her HIV-positive status in 2002. Part of the African Film Festival program. \n\n\n\nBecause the Sanctuary has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the African Film Festival is made possible with volunteer labor and hundreds of individual donations from patrons of The Sanctuary for Independent Media\, co-sponsored by the Arts Department at RPI\, A.M.E. Zion Church and the New York State Council on the Arts. \n\n\n\n\n\n\n\nProduction still from Bling: A Planet Rock. Photograph by Irena Mihova.\n\n\n\nAbout the African Film Festival at the Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media’s annual African Film Festival begins in Troy on Tuesday\, April 8\, 2008. We will be presenting four feature films (including\, on the opening night of the festival\, Bling: A Planet Rock director Raquel Cepeda)\, four short subjects and an evening of African music with Grammy Award-nominated kora master Mamadou Diabate and his quartet. \n\n\n\n“From Egypt to South Africa\, veteran filmmakers are using film to address the issues changing the face of the African continent today\,” said Mahen Bonetti\, founder and executive director of the AFF. “Additionally\, technology is empowering emerging filmmakers to add their voices to those telling Africa’s stories.” \n\n\n\nEach evening of the Festival features one full-length film and one short: on Tuesday\, April 8; Wednesday\, April 9; Tuesday\, April 15 and Wednesday\, April 16. Films begin at 7 PM. In addition\, the music of Malian kora great Mamadou Diabate and his ensemble will be featured live in a concert at 8 PM on Friday\, April 11. The film lineup includes: \n\n\n\nBling: A Planet Rock (Raquel Cepeda\, Sierra Leone/USA. 2007\, 90″) A documentary about American hip-hop culture’s obsession with diamonds—“blinging”—and all its social trappings\, and how this infatuation correlated with the ten-year conflict in Sierra Leone\, West Africa. The film follows three rappers—Paul Wall\, Tego Calderon\, and Raekwon—as they trek to the country to meet the survivors\, perpetrators and diamond miners in the country. The film also features Kanye West\, Juelz Santana\, Jadakiss and former child soldier/author Ishmael Beah. \n\n\n\nGrowing Stronger (Tsitsi Dangarembga\, Zimbabwe. 2005\, 30″) After living a high profile life as a model and wife to the then-coach of the Zimbabwe national football team\, Tendayi Westerhof stunned the nation by becoming the first high profile person to go public about her HIV positive status in 2002. Her enemies increased\, some going to the extent of calling her disclosure a publicity gimmick. This beautiful woman has gone on to become a public figure in a very different way\, as an elegant and glamorous AIDS activist in the world of modeling and the public media. \n\n\n\nAbout the Filmmakers:\n\n\n\nRaquel Cepeda is an award-winning editor and multi-media journalist\, producer and filmmaker\, as well as a multi-cultural media consultant specializing in translating news and social/global issues into an authentic language that is palatable to younger generations—18-34 years of age—stateside and abroad. Cepeda is the director and writer Bling: A Planet Rock\, co-produced with a19\, VH1\, and the United Nations Development Programme (UNDP). She also served as a creative consulting producer on From Mambo to Hip-Hop\, directed by Henry Chalfant (Style Wars) for PBS (2007). \n\n\n\nCurrently\, Cepeda is in production on BLOW US UP!\, a wartime concert documentary starring platinum selling rapper Paul Wall and TV Johnny who will journey into the past to see the future—in Iraq and Johnny’s homeland\, Vietnam. Following in the tradition of the highly acclaimed Bling: A Planet Rock\, BLOW US UP! uses the medium of hip-hop to engage a new audience in the history of two American wars\, a generation and musical genre apart from each other. \n\n\n\nMalian kora musician\, Mamadou Diabate is a member of the Mandinka West African jeli (musician caste) family. His musical lineage goes back seven centuries to the time of Sunjata Keita\, the conqueror of the Malian empire. Now based in the United States\, Mamadou performs around North America and Europe. Interested in bringing the kora to new audiences\, he has played with jazz and other contemporary artists\, however he remains rooted in the traditions of the Manding kora and his griot heritage. He is one of a handful remaining kora players that are keeping alive the kora tradition. \n\n\n\nAbout the African Film Festival\n\n\n\nThe African Film Festival (AFF) is a New York non-profit arts organization. The organization\, established in 1990\, began as an ad hoc committee of African and American artists and scholars. In the 1950s and ’60s\, African filmmakers began to create images of post-colonial Africa with nuanced understanding of Africa’s cultural diversity. Over the last half a century\, having sliced through stereotypes with exacting social critique\, African cinema has become a unique blend of aesthetic experimentation\, history\, and politics. As African nations have constructed modern identities from traditional and colonial experiences\, the role of visual culture in communicating these new transitional identities has immediacy for audiences around the world. The impetus for themes such as colonialism\, post-independence corruption\, and chronicles of “tribal” customs often erupts from the ironies of contemporary life. But African filmmakers also draw from springs of myth\, fantasy\, humor\, and magic to nourish a narrative sensibility in which tradition and modernity encounter each other. The oral traditions\, unique pacing\, and non-linear style of African story-telling have in fact become classifying characteristics of African filmmaking. This kind of art is a powerful intellectual and emotional force for social change.  \n\n\n\nAs the twenty-first century begins\, we are witnessing a great revolution in mass communications capabilities that drastically reduces the distances between cultures. Images\, sounds\, and ideas are being exchanged almost instantaneously\, creating dynamic hybrid cultures. As Western consumer culture has influenced global society\, so it has been invigorated by the differing sensibilities\, traditions\, and styles of other cultures. Likewise\, African film has evolved from its early exploration of colonialism into a new\, diasporic\, and international consciousness. For the past decade\, the African Film Festival has bridged the divide between post-colonial Africa and the American public through the medium of film. AFF’s unique place in the international arts community is distinguished not only by leadership in festival management but a comprehensive approach to the advocacy of African film and culture. We are particularly mindful of the many ways in which cinema is as much a medium of cultural exchange as an educational gate-way. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region. \n\n\n\nAbout Rensselaer Polytechnic’s Department of the Arts:\n\n\n\nThe Department of the Arts at Rensselaer was founded in 1972. It is built around a world class faculty and is dedicated to interdisciplinary creative research in electronic arts\, offering a unique environment in which to develop and realize innovative art within a technological university. iEAR Presents! is a series of public performances\, exhibitions\, screenings and lectures. Curated by artist faculty\, iEAR Presents! seeks to bring artists into a creative dialogue regarding integrated electronic arts practice and theory with a participatory community of faculty and students from Rensselaer Polytechnic Institute and members of the general public.
URL:https://www.mediasanctuary.org/event/african-film-festival-featuring-bling-a-planet-rock-with-filmmaker-raquel-cepeda-and-growing-stronger/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080406T180000
DTEND;TZID=America/New_York:20080406T213000
DTSTAMP:20220331T174926Z
CREATED:20220331T174926Z
LAST-MODIFIED:20220331T174926Z
UID:10001349-1207504800-1207517400@www.mediasanctuary.org
SUMMARY:"Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?" with Filmmaker Leonard Helmrich
DESCRIPTION:Leonard Retel Helmrich is an internationally recognized Indonesian filmmaker. His featured documentary The Eye of the Day (2001) made him famous in the documentary film world. The follow-up\, Shape of the Moon (2004)\, was selected for many important festivals and won the top documentary award at the Sundance Film Festival. In Helmrich’s Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?\, the Jakarta-based Indonesian puppeteer and troubadour Agus Nur Amal travels to Bali to call to account the people who were responsible for the bomb attack on a nightclub there on 12 October 2002. Come early for a 6 PM potluck with the artist! \n\n\n\nCo-Sponsored by the Department of the Arts at RPI.  \n\n\n\n\n\n\n\nStill from Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?\n\n\n\nAbout the Film:\n\n\n\nIn Promised Paradise: How Can One Believe That Terrorism Leads To Heaven?  the Jakarta-based Indonesian puppeteer and troubadour Agus Nur Amal travels to Bali to call to account the people who were responsible for the bomb attack on a nightclub there on 12 October 2002. Like in his theatre shows\, humour is his main weapon. Before an audience of children\, we see him enact the attack on the Word Trade Center inside a gigantic “TV set.” The doll of Osama Bin Laden swaying his hips gets his audience roaring with laughter. But people stop laughing when his shadow play about the WTC disaster changes into images of new bomb attacks in Indonesia–first on the Australian Embassy in September 2004\, and later in Bali in October 2005. Director Leonard Retel Helmrich\, the 2004 winner of the Joris Ivens Award with The Shape of the Moon (De Stand van de Maan)\, uses ingenious editing to have Agus talk with the brain behind the attack in a “TV interview.” Agus also consults a paranormal advisor and asks him where the perpetrators of the suicide attack are now. “Their heaven is our hell\,” is the conclusion. But while Agus is in Bali\, his friend Endang\, who is still in Jakarta\, falls prey to intolerance and violence. (Source: IDFA catalogue) \n\n\n\nAbout Leonard Retel Helmrich:\n\n\n\nLeonard Retel Helmrich’s work includes the short fiction film De Drenkeling (The Drowning Man)\, the feature-length film The Phoenix Mystery\, and the multiple award-winning documentary Moving Objects (1991). He shot several short documentaries before\, during and after Suharto stepped down as president of Indonesia. With his feature documentary The Eye of the Day\, he instantly became famous in the documentary film world and won many international awards. Shape of the Moon\, a follow-up to The Eye of the Day\, was selected for many important festivals including the top documentary award at the Sundance Film Festival.
URL:https://www.mediasanctuary.org/event/promised-paradise-how-can-one-believe-that-terrorism-leads-to-heaven-with-filmmaker-leonard-helmrich/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080406T130000
DTEND;TZID=America/New_York:20080406T170000
DTSTAMP:20230626T144250Z
CREATED:20080406T173100Z
LAST-MODIFIED:20230626T144250Z
UID:10001348-1207486800-1207501200@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Leonard Helmrich: Single-Shot Cinema
DESCRIPTION:In the afternoon workshop Leonard Helmrich will be explaining his “single-shot cinema” theory\, a way of filming using one fluid shot with multiple angles.
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-leonard-helmrich-single-shot-cinema/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080404T190000
DTEND;TZID=America/New_York:20080404T210000
DTSTAMP:20220722T154749Z
CREATED:20080404T172900Z
LAST-MODIFIED:20220722T154749Z
UID:10000998-1207335600-1207342800@www.mediasanctuary.org
SUMMARY:"Strange Culture" Screening with Steve Kurtz
DESCRIPTION:Lynn Hershman Leeson’s Strange Culture (2007) is a brilliantly conceived documentary that breaks conventional rules to tell a story of post-9/11 paranoia and the risks artists face when their work questions government policies. The subject of this film- artists and college professor Steve Kurtz- has been charged as a suspected terrorist and faces up to 20 years in prison. He will be in attendance for this benefit event. NEW LOCATION: Christ Church\, 35 State St. \n\n\n\nCo-sponsored by the Department of the Arts at RPI. \n\n\n\nStill from Strange Culture.\n\n\n\n \n\n\n\nAbout the Film:\n\n\n\nArtist and college professor Steve Kurtz was preparing for a MASS MoCA exhibition that lets audiences test whether food has been genetically modified when\, days before the opening\, his wife tragically died of heart failure. Distraught\, Kurtz called 911\, but when medics arrived\, they became suspicious of his art supplies and called the FBI. Dozens of agents in haz-mat suits sifted through his home and impounded his computers\, books\, cat\, and even his wife’s body. The government held Kurtz as a suspected terrorist\, and\, nearly three years later\, the charges have not been dropped. He still faces up to 20 years in prison. \n\n\n\nBecause Kurtz cannot legally talk about the case\, Leeson enlists actors\, including Tilda Swinton\, Josh Kornbluth\, and Peter Coyote\, to interpret the story. Leeson skillfully weaves dramatic reenactment\, news footage\, animation\, testimonials\, and footage of Kurtz himself into a sophisticated documentary about post-9/11 paranoia and the risks artists face when their work questions government policies.
URL:https://www.mediasanctuary.org/event/strange-culture-screening-with-steve-kurtz/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080403T180000
DTEND;TZID=America/New_York:20080403T200000
DTSTAMP:20220330T154419Z
CREATED:20080403T235500Z
LAST-MODIFIED:20220330T154419Z
UID:10000996-1207245600-1207252800@www.mediasanctuary.org
SUMMARY:Be The Media! Workshop with Penny Lane: Editing Basics Workshop\, Part One
DESCRIPTION:Have great footage\, but need to put it all together? This basic editing class is for you. Participants work individually and in groups over two lab sessions to learn the basics of audio and video editing. Bring any footage shot over the course of the workshop series; if you have a laptop\, bring it! Includes the fundamentals of selecting material\, planning the sequence of a story\, and setting up a basic editing project. (Track: Documentary.)
URL:https://www.mediasanctuary.org/event/be-the-media-workshop-with-penny-lane-editing-basics-workshop-part-one/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Workshop
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080325T190000
DTEND;TZID=America/New_York:20080325T210000
DTSTAMP:20220614T170955Z
CREATED:20080325T171900Z
LAST-MODIFIED:20220614T170955Z
UID:10000898-1206471600-1206478800@www.mediasanctuary.org
SUMMARY:"State of Fear" with Filmmaker Pamela Yates
DESCRIPTION:Filmmaker Pamela Yates presents a screening of her award-winning film\, State of Fear\, bringing a new level of documentary storytelling to an epic tale of one nation’s journey through a war on terror. How can an open society balance demands for security with democracy? State of Fear dramatizes the human and societal costs a democracy faces when it embarks on a “war” against terror\, a “war” potentially without end\, all too easily exploited by unscrupulous leaders seeking personal political gain.  The film follows events in Peru\, yet it serves as a cautionary tale for a nation like the United States.   \n\n\n\nThe Truth Commission granted Skylight Pictures access to its extensive testimonial evidence from 20 years of violence\, as well as hundreds of hours of rarely seen archival material and thousands of exquisite still photographs that will help bring this timely story to an international audience. \n\n\n\nStill from State of Fear.\n\n\n\nAbout the Film:\n\n\n\nHow can an open society balance demands for security with democracy? State of Fear dramatizes the human and societal costs a democracy faces when it embarks on a “war” against terror\, a “war” potentially without end\, all too easily exploited by unscrupulous leaders seeking personal political gain. The film follows events in Peru\, yet it serves as a cautionary tale for a nation like the United States. \n\n\n\nFilmmakers Pamela Yates\, Paco de Onís and Peter Kinoy masterfully blend personal testimony\, history and archival footage to tell the story of escalating violence in the Andean nation and how fear of terrorism was used to undermine democracy\, making Peru a virtual dictatorship where official corruption replaced the rule of law. \n\n\n\nTerrorist attacks by Shining Path guerrillas provoked a military occupation of the countryside. Military justice replaced civil authority\, widespread abuses by the Peruvian army went unpunished\, and terrorism continued to spread. Nearly 70\,000 civilians eventually died at the hands of the Shining Path and the Peruvian military. Old-fashioned police intelligence finally subdued the terrorist threat but Peruvian leaders continued to use the fear of terrorism to gut the democracy\, making Peru a virtual dictatorship where a vast web of corruption replaced the rule of law. \n\n\n\nIn 2000 this autocratic regime collapsed beneath the weight of its own corruption\, and the new democratic government established a Truth and Reconciliation Commission that opened a door to the past\, throwing light on the relentless violence that had engulfed this Andean nation for twenty years. \n\n\n\n“A brilliant and moving film\, which is both a portrait of Peru and a chronicle of terror and response–fanaticism\, bravery\, heroism\, abject fear and the way everyone is affected by such events. It is what Orwell called the aim of great art\, which was both imaginative in craftsmanship and politically committed at its heart.” –Paul Theroux\, author
URL:https://www.mediasanctuary.org/event/state-of-fear-with-filmmaker-pamela-yates/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080318T190000
DTEND;TZID=America/New_York:20080318T210000
DTSTAMP:20220518T162404Z
CREATED:20080318T171000Z
LAST-MODIFIED:20220518T162404Z
UID:10000895-1205866800-1205874000@www.mediasanctuary.org
SUMMARY:The Yes Men Live!
DESCRIPTION:Anti-corporate pranksters give the inside scoop on their latest impersonations\, from representing Halliburton at a Gulf Coast reconstruction conference to being Exxon at Canada’s largest petroleum industry gathering. The Yes Men agree their way into fortified compounds of commerce\, ask questions\, and then smuggle out the stories of their hijinks to provide the public a glimpse at the behind-the-scenes world of business. The Yes Men are team players… but they play for the opposing team. \n\n\n\nEver wondered what makes The Yes Men tick? Check out this live-in-person presentation by The Yes Men and see clips from their upcoming film! NEW LOCATION: Christ Church United Methodist\, 35 State St. \n\n\n\n\n\n\n\nHighlights of Yes Men Adventures:\n\n\n\nVivoleum: Exxon’s Climate-Victim Candles (June\, 2007). Imposters posing as ExxonMobil and National Petroleum Council (NPC) representatives delivered an outrageous keynote speech to 300 oilmen at GO-EXPO\, Canada’s largest oil conference\, held at Stampede Park in Calgary\, Alberta. \n\n\n\nWharton: WTO Proposes Slavery for Africa (November\, 2006). At a Wharton Business School conference on business in Africa\, World Trade Organization representative Hanniford Schmidt announced the creation of a WTO initiative for “full private stewardry of labor” for the parts of Africa that have been hardest hit by the 500 years of Africa’s free trade with the West. \n\n\n\nHUD: HUD Secretary Jackson Announces New Direction for Agency (August\, 2006). Mayor Ray Nagin and Governor Kathleen Blanco speak. After pitching his administration’s policies in the usual way\, Nagin tells a long story in which truth and lie go skinny-dipping; lie steals truth’s clothes\, and truth chases after. “What you have is truth running naked after well-clothed lie.” \n\n\n\nSurvivaball: Halliburton solves global warming! (May\, 2006). “The SurvivaBall is designed to protect the corporate manager no matter what Mother Nature throws his or her way\,” said Fred Wolf\, a Halliburton representative who spoke today at the Catastrophic Loss conference held at the Ritz-Carlton hotel in Amelia Island\, Florida. “This technology is the only rational response to abrupt climate change\,” he said to an attentive and appreciative audience.
URL:https://www.mediasanctuary.org/event/the-yes-men-live/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Screening,Speaker
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080310T180000
DTEND;TZID=America/New_York:20080310T200000
DTSTAMP:20220512T181313Z
CREATED:20080310T165200Z
LAST-MODIFIED:20220512T181313Z
UID:10000893-1205172000-1205179200@www.mediasanctuary.org
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
END:VCALENDAR