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The Silk Museum of Tbilisi, Georgia

The State Silk Museum in Tbil­isi, Geor­gia is the coolest thing I’ve seen in a while, so I want to put up some pho­tos I took there. The exhi­bi­tion on dis­play is the orig­i­nal one designed when the museum opened in 1887. It was such a delight to see the museum just after pre­sent­ing my Par­sons the­sis project at the Tbil­isi Inter­na­tional Fes­ti­val “Life Beyond Tourism.” As much research as I had done on Wun­derkam­mers (Cab­i­nets of Curiosi­ties) for that project, I had never seen a mod­ern one of this mag­ni­tude in such spec­tac­u­lar con­di­tion up close. There were even Jacquard loom punched cards on dis­play! The ori­gins of mod­ern com­put­ing dis­played in a spec­tac­u­lar exam­ple of the ori­gins of mod­ern muse­ums and libraries! I had to stop to catch my breath more than once.

The Silk Museum is now home to The Geor­gian Tex­tile Group, founded by Nino Kip­shidze in 1993. This group of (mostly?) women holds exhi­bi­tions in the cap­i­tal on tra­di­tional and new Geor­gian tex­tile prac­tices and also admin­is­ters work­shops in the coun­try­side to encour­age the con­tin­ued prac­tice of tra­di­tional house­hold tex­tile pro­duc­tion. In my brief visit to the museum, I could see that these women revel in their craft and love the museum dearly. I can’t wait to go back.

Con­tinue reading…

Life Beyond Tourism” Festival in Tbilisi, Georgia

The “Life Beyond Tourism” fes­ti­val in the Geor­gian cap­i­tal of Tbil­isi last week, orga­nized by Fac­ulty of Media Art at the Tbil­isi State Acad­emy of Art as part of the Degree & Pro­fes­sion­al­ism project, attempted to bring together inter­na­tional art and design school alumni to present their the­sis projects and get a taste of Geor­gian cul­ture. The tim­ing was unfor­tu­nate as many of the Euro­pean par­tic­i­pants could not come give the vol­canic ash shut­ting down huge swaths of air space. Luck­ily for us par­tic­i­pants from Par­sons the New School for Design, our flight went through Istan­bul, so there were no prob­lems get­ting to Tbil­isi. The only other for­eign­ers to make it to the fes­ti­val were Armen­ian par­tic­i­pants from the Yere­van State Uni­ver­sity of Archi­tec­ture and Con­struc­tion who arrived by land.

Tbil­isi, Georgia

I had no idea what to expect in Geor­gia. I was rec­om­mended for the fes­ti­val because my Par­sons the­sis, Lil­liput: A Pho­to­graphic Trav­el­ogue, is per­ti­nent to the fes­ti­val theme. Four Par­sons alumni and Aca­d­e­mic Dean Lydia Matthews were treated to a week of sight­see­ing at var­i­ous his­toric loca­tions around Tbil­isi, a per­for­mance of tra­di­tional dance and song, amaz­ing food and wine, and an oppor­tu­nity to see what Geor­gian art and design stu­dents are up to.

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Yamrot and Tewodros’ Wedding

Con­grat­u­la­tions to Yam­rot and Tewodros on their recent marriage. Yamrot is a mem­ber of Sud­den Flow­ers Pro­duc­tions, the youth film col­lec­tive of HIV/AIDS orphans that I am work­ing with here in Ethiopia. She has been the back­bone of the col­lec­tive since shortly before I arrived in October. Yamrot and Tewodros were mar­ried on April 10th with a recep­tion at the home of Woin­shet, direc­tor of Hope for Chil­dren.

Yamrot and Tewodros's Wedding

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Photojournalism Gets Serious About Digital Media

Pho­to­jour­nal­ists fre­quently indulge in nos­tal­gia for job secu­rity that prob­a­bly never was by launch­ing attacks at dig­i­tal media and the inter­net for destroy­ing a fabled golden age of pho­to­jour­nal­ism. In the face of this anx­i­ety, the Spring 2010 Nie­man Report on Visual Jour­nal­ism has assem­ble a lucid and moti­vat­ing set of arti­cles that shift the focus of the conversation.

Pho­to­jour­nal­ism is chang­ing, pro­pelled by news­room bud­get cuts, mul­ti­me­dia pos­si­bil­i­ties, and the ubiq­uity of dig­i­tal images. In Visual Jour­nal­ism, pho­to­jour­nal­ists write about emerg­ing dig­i­tal busi­ness strate­gies and their efforts to expand the reach of their pho­tographs online and on gallery walls.

In col­lege, I left a pho­tog­ra­phy pro­gram for a design and tech­nol­ogy pro­gram. The photo cur­ricu­lum was clearly out­dated, and too few peo­ple were doing any­thing about it.  The Nie­man Report on Visual Jour­nal­ism is an inspi­ra­tional reminder that many pho­tog­ra­phers, edi­tors, and crit­ics are seri­ously engag­ing with dig­i­tal media and all the changes that dig­i­tal is bring­ing to media in gen­eral. In the arti­cles, they pro­pose strate­gies and take their col­leagues to task for the missed opportunities.

Here are some high­lights: Con­tinue reading…

Not the Only Photographer in the Classroom

Now that I’ve been to this 2nd grade class at Mene­lik II Pri­mary School a few times, there’s only mod­er­ate com­mo­tion and excite­ment from the kids when I visit. The last time, when bore­dom with the sci­ence les­son had reached a peak, a bunch of them devised a new diver­sion and turned the cam­eras in their OLPC XO lap­tops on me.

When I looked up from tak­ing this pic­ture, four other kids were hold­ing their lap­tops up above my head to take pic­tures of me. The teacher was relieved when I encour­aged them to get back to their les­son even though I wanted to egg them on and see what they’d make.

(See my ear­lier com­ments on Mess­ing Around with Pho­tog­ra­phy in Cross-Cultural Exchanges.)

Democracy Video Challenge: Ethiopian Semifinalist

Last Thurs­day, the United States Embassy announced three Ethiopian semi­fi­nal­ists for the Democ­racy Video Chal­lenge, an annual com­pe­ti­tion spon­sored by YouTube and the U.S. State Depart­ment.  Short videos com­plet­ing the phrase “Democ­racy is…” are sub­mit­ted from across the globe. The Ethiopian semi-finalists’ films will be sub­mit­ted to the continent-wide com­pe­ti­tion. Global win­ners will be voted by the YouTube audi­ence in May. Last year, the first year of the com­ple­tion, no entries from Ethiopia were sub­mit­ted. The U.S. Embassy was eager to change that this year.

I helped by run­ning a work­shop on the com­pe­ti­tion in November. In infor­ma­tion ses­sions, the embassy iden­ti­fied con­cerns on the part of local film­mak­ers about deliv­er­ing a pow­er­ful mes­sage in three min­utes, as the com­pe­ti­tion required, and com­pet­ing with the work from coun­tries well prac­tices in sophis­ti­cated film and ani­ma­tion techniques. I attempted to address these con­cerns by ana­lyz­ing past com­pe­ti­tion win­ners and shar­ing exam­ples of tech­niques for quickly com­mu­ni­cat­ing abstract ideas through film. The results were stunning. 30 entries were sub­mit­ted, mak­ing the Ethiopian selec­tion among of the most com­pet­i­tive in Africa.

Here are the semi-finalist films: (See all the entries from Ethiopia here.)

Democ­racy is Fair Play by Yared Shumete

Update May 23, 2010: This video has made it to the final round of the com­pe­ti­tion! Your votes decide the win­ners. Vote for Yared Shumete’s video here. Vot­ing is open until June 15th, 2010.

Dire Dawa by Brook Zarai Mengistu

Fahren­heit 212 by Michael Tamire

Enjoy Procrastination

Today’s trip to Shiro Meda neigh­bor­hood to get work done with Sud­den Flow­ers turned into a morn­ing of watch­ing foot­ball (the youth cen­ter vs. the scouts) fol­lowed by an after­noon cof­fee cer­e­mony and Ethiopian Idol.  I’m mak­ing good on my New Year’s res­o­lu­tion to enjoy procrastination.

Visual Literacy and Photography Series at AAU

As an out­growth of the pre­vi­ous work­shops I ran at Addis Ababa Uni­ver­sity, I’m offer­ing a four part visual lit­er­acy and pho­tog­ra­phy series through the University’s Eng­lish Lan­guage Improve­ment Cen­ter. Yesterday’s talk was a lot of fun. Stu­dent and pro­fes­sors from sev­eral depart­ments attended. We viewed an ana­lyzed work by pho­tog­ra­phers from Richard Avadon to Lolo Veloko to Lise Sar­fati, not to men­tion Sey­dou Keita, whose pho­to­graph is used on the flyer. Quite a num­ber of stu­dents have expressed inter­est in next week’s topic. If you’re in Addis Ababa, do stop by.

Floating Like Angels

One of today’s dance per­for­mances at Hope for Chil­dren.

Where Time and Space are Not Rationalized

In an ear­lier post, I made a fum­bling attempt to describe local con­cep­tions of time that can leave for­eign­ers like me con­founded and frus­trated here in Ethiopia. Soci­ol­o­gist Don­ald Levine does an amaz­ing job describ­ing this and many other aspects of Amhara soci­ety in his 1965 book Wax and Gold. The fol­low­ing pas­sage had me laugh­ing hys­ter­i­cally for all the foiled attempts as mak­ing plans or solic­it­ing infor­ma­tion about past events that it brought to mind. Levine’s work on the Amhara peas­ant of 40 years ago remains rel­e­vant for under­stand­ing the urban Ethiopian of today.

In the Abyssin­ian world view, time is not ratio­nal­ized for sec­u­lar pur­poses.  Some peas­ants cal­cu­late the hour by the shad­ows on the moun­tains, but the effort is not taken very seri­ously. Units of time are of lit­tle con­cern in the work­day world.  When a man says he is going on a trip ‘tomor­row,’ every­one assumes that he means he may be leav­ing a few days later. Many appoint­ments are made, but few are kept lit­er­ally; so that the phrase habe­sha qataro (“Abyssin­ian appoint­ment”) has come to sig­nify an appoint­ment to which one comes quite late or not at all. There is lit­tle sense of time in the abstract.  When an Amhara peas­ant is asked how long a cer­tain trip takes, he does not reply ‘ten hours,’ but rather; ‘If you leave here at dawn you will arrive there before it turns dark’; and his esti­mate of the arrival time tends to vary accord­ing to whether or not he wants to ques­tioner to make the trip.

His­tor­i­cal time is still more vaguely con­ceived than local time. The Amhara peas­ant has lit­tle sense of knowl­edge of his­tory. He con­sid­ers all that hap­pened before Menelik’s day as ‘ancient times,’ and more or less as an undif­fer­en­ti­ated period. He knows very few of the ear­lier emper­ors, no his­tor­i­cal dates, and often not even the exact year, let alone date, of his own birth.  He has no idea when the church in his area was built and no inter­est in pre­serv­ing such his­tor­i­cal mon­u­ments or memen­tos as may exist in his country…

Space, like time, is not regarded as an amoral and homo­ge­neous con­tin­uum to be sub­mit­ted to sys­tem­atic mea­sure­ment… The reluc­tance to ratio­nal­ize space is con­spic­u­ous even in the cap­i­tal of Ethiopia, where to this day there are no street num­bers, so that places can only be iden­ti­fied roughly as near a cer­tain police sta­tion or past a cer­tain hos­pi­tal. Direc­tions are indi­cated with dif­fi­culty.  The points of the com­pass are almost never used, though there are words for the four direc­tions.  Instead, the vague terms for ‘up’ and ‘down’ serve to answer almost every ques­tion about location.

You can prob­a­bly see how this way of look­ing at time and space would throw a Type A New Yorker like me for a loop. It also helps explain why so many peo­ple I talked to about Ethiopia before I arrived spoke with bit­ter frus­tra­tion about the time they spent here.

Another fac­tor con­tribut­ing to this frus­tra­tion is the wax and gold poetic tra­di­tion that is the main sub­ject of Levine’s book. Wax and gold is a poetic style char­ac­ter­ized by dou­ble enten­dres.  The wax is what the words osten­si­bly mean and the gold is the hid­den mean­ing.  In day-to-day com­mu­ni­ca­tion, this tra­di­tion can man­i­fest as active deceit that is praised as clev­er­ness in tra­di­tional Amhara cul­ture.  By no means do all Ethiopi­ans espouse double-handedness, but the impli­ca­tions of this cul­tural tra­di­tion is a topic of con­cern for orga­ni­za­tions like the Ethiopian Insti­tute for Non­vi­o­lent Edu­ca­tion and Peace Stud­ies.  When he wrote his book, Levine was hope­ful that the wax and gold tra­di­tion could facil­i­tate mod­ern Ethiopian diplo­macy.  Unam­bigu­ous com­mu­ni­ca­tion is only part of main­tain­ing bureau­cratic, ratio­nal sys­tems.  The most effec­tive admin­is­tra­tors though have a high tol­er­ance for ambi­gu­ity both in prac­tices and in com­mu­ni­ca­tion in the effort to main­tain har­mony and min­i­mize inter­per­sonal tensions.