Haiti Reporters

School building of Haiti Reporters © 2011 Kreider-Verhalle

This past weekend, the second group of students graduated from the 4-month intensive course at the Film and Journalism School Haiti Reporters in Port-au-Prince. The school opened its doors in October last year. It is the brainchild of the Dutch documentary filmmaker and journalist Ton Vriens and is sponsored by the Dutch human rights group ICCO, the Dutch ministry of Foreign Affairs, the Turtle Tree Foundation, and American companies such as Tekserve and Canon USA.

The school offers hands-on media training that gives students the skills to handle professional video- and photo cameras, and editing software. In addition, the curriculum offers courses in entrepreneurship, web design, writing, and media ethics. One of the goals is to prepare students to become community journalists, enabling them to tell the stories of the small communities around them. Ideally, the graduates would not only witness the development and reconstruction – or lack thereof – of their country, but also investigate and critically reflect upon it. Not only as community journalists, but also as civic journalists they could start making products that can function as forums for discussion and that can build up both their own as well as others’ social capital in the process.

In the daily practice of Haiti, this is all easier said than done. While it would be a challenge to give a similar 4-month crash course to any group of young people, trying to do it in Haiti exposes one to the country’s idiosyncratic trials.

Haitian media – they mainly exist in the form of radio and newspapers – have a long history of being mere tools to earn and secure political power. Only in the 1970s, still under Duvalier’s dictatorship, did one radio station start to air local and international news in Creole, the language of the majority of Haitians, instead of French, the language of the elite. It took until 1986, the year of Duvalier’s fall, before journalists enjoyed a meaningful freedom of the press and played a supporting role in the newly developing civil society. The military coup of 1991 . . .

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MoMA KIDS: Teaching Art Appreciation

Mark Rothko, "No. 16 (Red, Brown, and Black)" 1958, Oil on canvas © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York  21.1959 | moma.org

Iddo Tavory recently began teaching at the New School, in New York, after completing his Ph.D. at UCLA, in Los Angeles. His areas of research focus include the sociology of religion, temporality and interaction. -Jeff

Last week I went to MoMA. Since I came to New York I got more “culture” than ever before. It isn’t that Los Angeles had no great museums, but something about New York—or perhaps the fantasies of the city that I had—spurred me to go to museums much more. The exhibition I went to was Abstract Expressionist New York, which I was particularly excited about: New York art, shown in New York.

In other words, it is a bit like listening to the Red Hot Chili Peppers in California, only far more highbrow. As my partner and I were walking around, we were trying to make sense of the paintings, to decide if we like De Kooning and Motherwell, to “get a feel” for this kind of art. Though we both come from middle-class families, neither of us feels really comfortable around modern art, say, after early Expressionism or Cubism.

It isn’t that we don’t like it, it’s just that we don’t feel like we know how to evaluate it. It isn’t that we aren’t moved, it is almost as if we don’t know how to be moved. It is a strange sensation, looking at a painting and trying hard to be moved. Being moved, after all, shouldn’t involve trying. That’s the whole idea with emotion.

In fact, we do learn to be moved. More precisely, we learn ways to open ourselves to the possibility of being moved. Through the process known in sociology as “socialization,” we learn the knowledge, skills and preferences that will shape the choices we make, the direction we take.

This isn’t only a nice sociological idea, but something that we found out first hand when we were leaving the . . .

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