Mihkel and Steve,
The River Festival project pages should be translated into English by the end of this week..... Mihkel, if you have any students who can work from the French, all the better. Because, yes we are not on deadline.
I have sent out several more requests for help with the French/English translations but am hopeful our intern will finish in short time.
Virtual Africa pages for translation into Spanish, Russian and Estonian.
http://www.olats.org/africa/ancienContemporain/ancienContemporain.shtml
and http://www.olats.org/africa/artsSciences/artsSciences.shtml
and http://www.olats.org/africa/afriqueContinents/afriqueContinents.shtmlYou will note that these pages are ALREADY IN ENGLISH AT BOTTOM.
The pages we need translated for the River Festival project are: (we are only covering the 2000 Festival for now so there is not much http://www.olats.org/zekri/
The River Festival (here is the copy from the pages we need translated. You can work directy from this. However, there is one page which has to be actually visted because you have to scroll over artists pix for very brief bio...
Le festival de l'eau a pour ambition de parcourir les plus grands fleuves de notre plante pour y établir des liens véritables entre les hommes, de réunir des artistes de plusieurs disciplines et de tous les horizons afin de générer des rencontres où la création est liée à l'environnement de proximité et d'inscrire dans la mémoire de l'eau une partie de notre patrimoine culturel, celui qui ne s'écrit pas : le patrimoine immatériel. Evénement artistique culturel, le festival aspireà partager et faire partager la richesse de toutes les formes d'art et de cultures par des rencontres et des créations pluriculturelles et pluridisciplinaires conçues le long des berges d'un fleuve et présentées au cours d'une tournée internationale.
Les modes de création sont l'art éphémère et l'improvisation afin de préserver un rapport égalitaire entre les artistes. Ses fondements s'organisent autour du partenariat avec le pays d'accueil et de choix artistiques précis visant un dépassement des normes et des schémas rassurants qui cantonnent chacun -et les artistes en particulier- dans un style, une aire géographique voire une époque. Le festival de l'eau s'inscrit volontairement dans la durée de façon à approfondir les échanges avec les artistes et l'association partenaire et à permettre la réalisation de projets parallèles (projets artistiques et de développement).
Descending the Mouhoun River
La descente du fleuve Mouhoun s'est déroulée sur une durée de 15 jours à partir du 15 janvier 2000. Les artistes itinérants ont descendu le fleuve en pirogue sur 400 kms du village de Léri jusqu'à celui de Ouessa. Les rencontres ont eu lieu sous forme d'ateliers, de performances et de concerts entre les artistes nomades et les artistes burkinabés. Parallèlement,à Koudougou, le site web est crée. Koudougou : 1 jour (préparatifs) Lékui : 6 jours : Rencontres avec plusieurs groupes de musique traditionnelle (peuls, mossi, gourounssi) En journée, rencontres autour du conte et instruments acoustiques. Ateliers à l'école primaire. Kouri : 2 jours : Rencontres avec griot et griotte Léri : 2 jours. Etape improvisée. Arrivée de la pirogue en camion et mise à l'eau de la pirogue avec l'aide des villageois. Concert- rencontre exeptionnelle avec masques Premier voyage en pirogue. Walo : 2 jours :10 groupes musiciens traditionnels avec danses. Groupes de femmes (chant, percussions). un luthiste chanteur avec un percussionniste. Deuxième voyage. Boromo : 2 jours : Rencontres avec plusieurs musiciens : chanteurs, griot, joueurs de vièle monocorde et de tambour d'aisselle... De nombreux artistes traditionnels étaient à des funérailles dans un village éloigné. Troixième voyage Ouessa : 2 jours : rencontres avec 4 groupes de musiciens (balafons...). La pirogue reste à Ouessa. Ouagadougou : 1 jour : concert au CCF Georges Méliés du groupe nomade. Enregistrement et diffusion du spectacle multimédia sur site web. Koudougou : 1 jour : Concert avec des musiciens de la troupe SaabaThe Tour
Le spectacle Il finalise toutes les recherches, les expériences et tout le travail produit durant la descente du fleuve. Si la descente sert à développer des processus, le spectacle va, tout en restant attaché à l'improvisation, organiser la forme de l'oeuvre et lui donner sa dimension architectonique. Les représentations seront ainsi comme au bord du fleuve tout à la fois uniques et évolutives. Le matériau accumulé, va servir à présenter une création collective rassemblant l'ensemble des artistes sur une même scéne. Nous aurons donc les musiciens traditionnels, les musiciens informatiques, des textes, les projections improvisées sur écran du cinéaste et de la photographe. En plus du groupe d'artistes nomades ayant descendu le fleuve Mouhoun, il y aura six artistes burkinabés rencontrés au bord du fleuve, soit 17 artistes. Le mini concert Ces concerts s'adaptent aux lieux qui les accueillent : écoles, médiathèques, galeries, cafés etc.
Ils englobent plusieurs types de concerts : des concerts invitant d'autres artistes, des concerts de présentation des instruments proposés (traditionnels, informatiques) par un groupe restreint d'artistes, des concerts qui ont lieu à l'issue des ateliers avec les stagiaires. .. (à définir avec la structure d'accueil). L'atelier pédagogique Etant donné le thème des rencontres autour du Mouhoun et des artistes de ce projet, nous proposons aux villes, collectivités, salle de spectacles... plusieurs types d'ateliers qui s'adressent aussi bien aux enfants qu'aux adolescents et adultes. Tous les participants à ces ateliers présenteront leur travail sous la forme d'un concert-spectacle. -Percussions africaines -Ateliers de rythme -Ecriture poétique ou contes -Improvisation musicale -Improviser avec des instruments des nouvelles technologies (ateliers pour musiciens) -Multimédia -Theremin. Productions Entre ou après la descente du fleuve et la tournée, le festival prend en charge la production d'un CD audio, d'un film vidéo et la réalisation d'un site web.
The Artists (Artists Nomades) http://www.olats.org/zekri/html/frset_1.htm
When you scroll over pictures of ind. artists very short bio appears. You have to visit this page to do translations
Subject: Voila: RiverFestival translation!! Date: Sun, 28 May 2000 13:42:58 -0800 From: Barbara Lee WilliamsTo: Deborah Phelan CC: jocelyne.Rotily@wanadoo.fr, sjfeld@erols.com To Deborah, Steve, and Jocelyne, Below is the River Festival translation as completed by Courtney Delano Williams. (As an editor I barely touched it -- it was really clean!). It involved several hours of work so please remember to give her credit as translator. It means a lot to her. Courtie heads off to dance in the Trisha Brown workshop on the 4th but will, I'm sure, help with other translations after that. Sooo Good Luck! We look forward to seeing the translation up on the River Festival Page. Cheers- Barbara P.S. Please check the verb tense in "Updating our web-site." Our impression was that you were reporting on events that had already happened. (But we want to be sure since much of this piece is projecting into the future.) _________________________________________ River Festival Blurb (English version) Translated by Courtney Delano Williams The goal of our River Festival is to create a community that bridges cultural differences and to unite artists of all backgrounds and traditions. We hope to encourage artistic creation through an intimate and supportive environment and to ultimately document that aspect of our heritage which has never before been captured: "our immaterial inheritance." This pioneering festival, as much a cultural event as an artistic one, hopes to encourage the rich diversity that exists in contemporary art and culture by facilitating multi-cultural, multi-discipline meetings and then presenting the fruits of those encounters in an international tour to follow. Artists¹ methods of creation (including improvisation) are an art in themselves. We believe that contact during their period of creation will help to establish an egalitarian rapport between the artists who participate in the River Project. Our Festival¹s foundation lies in the partnership between its host-country and the diverse artistic choices/tastes which all participants must adjust to -- especially the artists. These choices/tastes may push the comfort level and/or exceed the expectations of our audience, yet only through this partnership will the works reveal contemporary art in all its diversity: first, as a private, individual process, and then perhaps as a new style or movement relating to form, geographical location, or period. The River Festival plans to provide artists with an abundance of time to prepare for, and eventually complete their works. This will also allow us time to plan future exchanges with the artists, and to direct artists to organizations that would support them, while simultaneously assisting in the development of parallel projects. Productions Internet site This site was created in partnership with OLATS during the early days of our River Festival. It will be updated regularly. An audio CD will be created during our European tour and a video will be released following it. The first edition of the audio CD is already out. Encounters between African artists and artists using new technology -- along with our reflections and artistic convictions regarding West Africa¹s situation regarding the N.T.C.-- have determined our topic, specifically, a journey down the Mouhoun River, focusing on encounters between traditional arts and new technologies. The Festival Descent down the Mouhoun. . . encounters between traditional arts and new technologies. In January of 2000, a group of international artists from 4 continents (the majority of whom employ new technologies in their work) will unite under the joint direction of Dominique Chevaucher and Carmel Zekri to travel the Mouhoun River in a dugout boat. During this venture, they will meet Burkinab artists living in villages along the river¹s edge. During the day, artists will facilitate various activities ‹ primarily encounters with the villagers (specifically with women and children). At night, they will host concerts where the artists will improvise and "jam" together. Between November or December of 2000 and May or June of 2001, the nomadic group of artists -- including those Burkinab artists encountered along the river -- will tour Europe. This tour will feature artists¹ studios and residences, where each will devise and facilitate pedagogical activities, as well as meetings between the touring artists and those who live in the region being visited. In addition, the festival¹s website will be created in Koudougou during our trip down the river. Program The trip down the Mouhoun River was planned to take place over a span of 15 days beginning on January 15, 2000. The selected artists have already traveled down the river, reaching as far as Ouessa, a small village 400 km. from Léri. For the most part, the contact these nomadic artists have had with the Burkinab artists has taken the form of performances and concert-sessions. Updating (for our web-site): Koudougou:1 day (preparations) Lékui: 6 days‹ Encounters with numerous traditional musicians from the area (peuls, mossi, gourounssi). During the day meetings take place regarding these artists and their acoustic instruments. There are also activities at local primary schools. Kouri: 2 days‹ Encounters with griot and griotte. Léri: 2 days‹ Improvised stage. Our dugout arrived in a truck and was placed in the water with the help of villagers. We host a celebratory concert with masks. The first voyage in the dugout is completed successfully. Walo: 2 days‹ 10 traditional musical groups come to perform (with female vocalists and dancers.) The second dugout voyage takes place. Boromo: 2 days‹ More meetings with local musicians: singers, griots, vièle players. Numerous artists left our company (temporarily) to pay their respects at a local funeral and burial service. Our third voyage is underway. Ouessa: 2 days‹ Meetings with 4 musical groups (balafonsŠ) The dugout is currently in Ouessa. Ouagadougou: 1 day‹ We held a concert of the nomadic artists¹ improvised music at the C.C.F. This spectacle has been recorded and downloaded onto the Koudougou website. Koudougou: 1 day‹Concert featuring musicians from the Saaba musical troupe. The Voyage The performance in Koudougou seems to capture all of the research, experiences and work produced during the course of the trip down the Mouhoun River. If our trip serves as any basis for developing or planning future processes, then we must say that improvisation served a great purpose in our production. Improvisation alone allowed for us to create our work, and it helped to give our works an architectonic dimension. Representations of our works will thus mirror our experience on the river‹they will be both unique (distinct to our voices) and evolutionary. The material accumulated over this voyage is a collective creation, one that came from many different artists working together in a remote place. It will therefore include selections by traditional musicians as well as new technological musicians. Moreover, the visual products will include text, improvised projections onto a screen and photography. In addition to the group of nomadic artists travelling along the Mouhoun, there will be six Burkinab, for a total of 17 artists in the festival. Mini Concerts These smaller concerts will vary depending on their location and participants. They will be held in schools, cafes, galleries, discotechs and other establishments. These concerts will may be publicized in the area, may be presentations of musical instruments (both traditional and technological) by the musicians who play them and may simply be the result of our improvised activities. In any case, they ought to draw a large and diverse audience. Schedule of Activities Having chosen the festival¹s theme (as noted, the facilitation of meetings along the Mouhoun River in order to bridge the gap between traditional art and newer technologies) we have proposed numerous types of activities to each village and community, including concerts and performances. Each activity is as accessible and interesting to adolescents as it is to the community¹s adult members. All of the participants can present their work in the form of a concert-performance. There will be performances of African percussion, spoken word, written tales or poetry, multimedia creations and improvisational music (with both traditional African and new technological instruments provided by local and visiting artists). Productions During or following the excursion down the Mouhoun River, the festival will take charge of producing an audio CD, a filmed video and the creation of a website: Location: http://www.olats.org/zekri/html/frset_1.htm The Artists¹ Partners Privileged partner: The association BENEBNOOMA (out of Koudougou) Partnerships with local associations: SIGNUR Management operating system and trade for the use of the resources (Ouagadougou) ZAKA (Ouagadougou) ACDC (Niamey) Theatre of fraternity (Ouagadougou) Supporters: Ministry for Foreign Affairs FAAA-- French Association of Artistic Action (http://www.afaa.asso.fr) Town of Grenoble Arts center¹s Andre Malraux from Vandoeuvre lès Nancy Embassy of the Netherlands in Burkina Faso Austrian co-operation in Burkina Faso Ministry for the culture of Burkina Faso Collaborators: OLATS production (Observatoire Leonardo des Arts et Techno-Sciences-- http://olats.org) The Web Bar in Paris (http://www.webbar.fr) Mondomix (http://mondomix.org) CCF George Melies (French Arts center of Ouagadougou) ----------------------------------------------------------- Partners
Partenaire privilégié:
l'association BENEBNOOMA (Koudougou)
Partenariat avec des associations locales:
SIGNUR Système Intégré de gestion et de négoce pour l'utilisation des ressources (Ouagadougou)
ZAKA (Ouagadougou)
ACDC (Niamey)
Théâtre de la fraternité (Ouagadougou) Avec le soutien:
Ministère des affaires étrangères
AFAA Association Française d'Action Artistique (http://www.afaa.asso.fr)
Ville de Grenoble
Agence de la francophonie
Centre culturel André Malraux de Vandoeuvre lès Nancy
Ambassade des Pays-Bas au Burkina Faso
Coopération Autrichienne au Burkina Faso
Ministère de la culture du Burkina Faso
Avec la collaboration :
OLATS production (Observatoire Leonardo des Arts et Techno-Sciences) ( http://olats.org)
Le Web Bar (Paris) (http://www.webbar.fr)
Mondomix (http://mondomix.org)
CCF Georges Melies (Centre culturel français de Ouagadougou)
Africa Links
Ghana Food http://www.ontheline.org.uk/explore/journey/ghana/food.htm
NETWALK IN SOUTH AFRICA (www.cicv.fr/netwalk)
www.cicv.fr/
Phil.M philippe monvaillier JohanesburgGuayana Hammocks Cyberbusiness threatened
http://www.gol.net.gy/rweavers/We Mediahttp://www.wemedia.com"
This is something I want to follow up on... I am sending it to you for posting on the template (or somewhere) as work in progress/development so it does not fall through the cracks....
Date: Tue, 28 Mar 2000 19:16:21 -0800 >From: luke ryland
>X-Accept-Language: en >MIME-Version: 1.0 >To: Deborah Phelan >Subject: Re: Guayana Hammocks Cyberbusiness threatened > >deb -am running a million miles an hour - off 2 DC 2morrow - will *try* 2 >get 2 >ur stuff soon > >sorry > >luke > >Deborah Phelan wrote: > >> Note: These hammocks referred to by curator of British Museum as one of the >> finest examples of art they have collected over the past century!!!! >> >> South America Outreach --- An interesting example of the problems >> developing when local artists try to market their creations via the >> internet.... some great resources here for funding, developmnent, >> contacts..... >> >> March 28, 2000 >> >> LETHEM JOURNAL >> Weavers Go Dot-Com, and Elders Move In >> >> By SIMON ROMERO >> >> ETHEM, Guyana -- This village in the remote southern savannas, little more >> than an airstrip and scattered mud huts, could easily be taken for one of >> those far-flung places untouched by the digital revolution. >> It had no phones until two years ago, and the concept of paying with money >> is still quite foreign to many residents. >> >> Claudio Edinger for The New York Times >> The women of Lethem, Guyana, sold 17 hammocks around the world last year >> for as much as $1,000 apiece. A power struggle has developed. >> >> ------------------------------------------------------------------------ >> But it was in this community of 2,000 people that an organization formed by >> indigenous women of two tribes revived the ancient art of hand-weaving >> large hammocks from locally grown cotton -- and then took their exquisite >> wares online. They hired a young member to create a Web site. And last >> year, they sold 17 hammocks to people around the world for as much as >> $1,000 apiece, gigantic sums in these parts. >> Perhaps too gigantic. The foray into electronic commerce created tension >> between the weavers and the traditional regional leadership in the same >> way, perhaps, that many a geeky start-up has sent shivers down the spines >> of corporate titans. Threatened by the women's success, regional leaders >> moved in and took control of the weavers' organization. The woman who >> created the Web site quit in a fury, and the group has been struggling >> since then to get by. >> "It is the classic tale of old power reacting to new power," said Terry >> Roopnaraine, an expert on the indigenous population here who teaches at >> Cambridge University. "When you bring in the Internet and start to empower >> people, that doesn't maintain the status quo. So the status quo quite >> rationally reacts to defend its interests." >> Guyana, the lone English-speaking country in South America, illustrates the >> effects of decades of economic isolation. Rickety Land Rovers dating from >> before 1966, when the country gained independence from Britain, vie for >> space on unpaved roads with old British-built army trucks. >> The indigenous peoples here are known as Amerindians, to distinguish them >> from the majority population, descendants of indentured servants from >> India. The Amerindians rely heavily on help from international aid >> organizations. A worker with one group, Matthew Squire of Britain's >> Voluntary Service Overseas, was instrumental a decade ago in reviving >> hammock making by Amerindian women of the Rupununi, as this region is >> called. >> Using 19th-century accounts and illustrations of the hammocks made by >> European travelers, Mr. Squire and several women reintroduced the process, >> from cultivating the cotton on small family plots to weaving the >> brown-and-white hammocks. "This was something that was untainted by the >> rest of the world that was still alive in memory," said Mr. Squire, who now >> lives in Sussex, England. >> By the mid-90's, the weavers, 300 women from the Wapishana and Macushi >> tribes known as the Rupununi Weavers Society, had sold a hammock to the >> British Museum in London. The museum called it "one of the most perfect >> forms of indigenous art we have purchased this century." >> Still, there were obstacles in transforming the production into a modern >> venture. The Rupununi is linked to the capital, Georgetown, by an unpaved >> road that can take days to traverse. The small airstrip here makes flights >> possible, but costly. And because the concept of money was foreign, the >> weavers' society had to devise how to compensate members with alternatives. >> One preferred currency is salt, used to preserve meat. >> Two years ago, as the weavers tried to sell their hammocks to museums and >> collectors by mailings through an unreliable postal service, Guyana >> Telephone and Telegraph installed telephone lines here using an innovative >> satellite system. >> A few months later, the chief executive of the company, Bill Humphries, an >> American, offered the weavers society two telephone lines, free Internet >> access and $12,000 worth of equipment, including a desktop computer and a >> scanner. >> >> The New York Times >> ------------------------------------------------------------------------ >> >> "It was a marvelous opportunity to get good publicity and free >> advertising," said Mr. Humphries, now an executive with a >> telecommunications company in Nashville, Tenn. >> Someone was needed to coordinate maintaining a Web site capable of >> marketing the hammocks. The phone company paid for Sharla Hernández, a >> promising young member of the group and a protégée of Mr. Squire, to go to >> Georgetown to learn about the Internet. >> After Ms. Hernández returned here with knowledge of the Web, the enterprise >> took off. Since mid-1998, the society has sold 20 hammocks over the >> Internet. Although their prices seem high here, they are not much >> considering that an estimated 600 hours of work goes into each hammock. >> For the powers of Lethem, though, Ms. Hernández and the weavers were >> perhaps too successful, bringing attention and potentially substantial >> income to people who under the existing leaders have known only poverty and >> powerlessness. >> "We became a huge threat," Ms. Hernández, 21, with a fashionable haircut >> and the colorful clothing of an American college student, said in an >> interview. Accelerating a push to gain power over the organization, a push >> that began even before telephones and the Internet arrived, establishment >> figures like Muacir Baretto made a successful effort to take control of the >> weavers' society. >> Mr. Baretto is the Rupununi district chairman, an elected post similar to a >> state governor in the United States, and a former "touchau," or chief, of >> his village near Lethem. >> A soft-spoken Amerindian of 47, he rides a Chinese-built motorcycle around >> town. Like other members of the country's political class, he received part >> of his education in Moscow when Guyana had Communist leanings after gaining >> independence. >> Mr. Baretto said in an interview that one lesson he brought back from >> Moscow was "that the socialist economic model was not viable." >> "But I also learned that strong leadership was necessary for any >> organization to function properly," he said. >> Using his influence, Mr. Baretto persuaded the weavers' society to elect >> him chairman, although the group began as a nongovernmental entity with >> support from international aid organizations intent on keeping such >> operations separate from government. >> >> Claudio Edinger for The New York Times >> A telephone executive offered the weavers two lines, free Internet access >> and $12,000 of equipment, including a computer and scanner. >> >> ------------------------------------------------------------------------ >> He has since stepped down as chairman. But from behind the scenes, Mr. >> Baretto remains the most influential management figure. >> The struggle for power has not just been between the women who provide the >> labor for the enterprise and the region's men. Shirley Melville, owner of a >> general store that doubles as the main watering hole and money-lending >> operation here, is a crucial member of the governing body. >> "I'm here to make sure our culture is not damaged," said Ms. Melville, 40, >> an Arawak Amerindian from another part of Guyana who has married into one >> of the dynastic cattle-ranching families of the Rupununi. >> Ms. Hernández said she felt that she was being marginalized and resigned >> from the organization in February. >> "I was made to cry by these people, especially once when Shirley told me, >> 'You are a twinky little thing and I am a tiger, so you watch out, girl,' " >> Ms. Hernández said. >> Since her resignation, the weavers' society has had just one inquiry about >> buying a hammock over its Web site, www.gol.net.gy/rweavers. >> For people used to a bitter economic existence, the turn of events is >> perhaps no surprise. "We women do most of the work and the men get >> rewarded, so what is the difference here?" a weaver, Violet Eusebio, asked. >> Joyce Clement, another member of the organization who grows cotton and >> works as a weaver, said of Mr. Baretto: "He's a one-quarter leader >> providing one-quarter results. The Internet, the phones, they've brought >> attention to the society that is being used for self-interest." >> But Mr. Baretto sees it differently. "Regardless of what has happened and >> been said," he said, "we have the best interests of the society's members >> at heart." >> >> ------------------------------------------------------------------------ >> Related Sites >> These sites are not part of The New York Times on the Web, and The Times >> has no control over their content or availability. >> >> * www.gol.net.gy/rweavers >> >> ------------------------------------------------------------------------ >> Ask Technology questions and tell other readers what you know. Join Abuzz, >> a new knowledge network from The New York Times. >> >> >> >> >> ------------------------------------------------------------------------ >> >> Home | Site Index | Site Search | Forums | Archives | Marketplace >> Quick News | Page One Plus | International | National/N.Y. | Business | >> Technology | Science | Sports | Weather | Editorial | Op-Ed | Arts | >> Automobiles | Books | Diversions | Job Market | Real Estate | Travel >> Help/Feedback | Classifieds | Services | New York Today >> Copyright 2000 The New York Times Company >> >> Advertisement > >-- >____________________________ >Luke Ryland >luke@GiftedU.com >icq: 118 333 80 >voice/fax: 708 575 5311