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DTSTART;TZID=America/New_York:20080406T130000
DTEND;TZID=America/New_York:20080406T170000
DTSTAMP:20230626T144250Z
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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:20080406T180000
DTEND;TZID=America/New_York:20080406T213000
DTSTAMP:20220331T174926Z
CREATED:20220331T174926Z
LAST-MODIFIED:20220331T174926Z
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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: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: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: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: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
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