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End Childhood Hunger in Yavapai County Arizona

End Child Hunger in Yavapai County, Arizona

One in three children in Yavapai County, northern Arizona, doesn’t know where his/her next meal will come from, skips meals, or gets up from the table still hungry. While some students may get free or reduced price meals at school they lack regular meals at home. And, that’s not counting the pre-school children. In all, that translates to 15,000 hungry little bellies.

This brief documentary (12 minutes) focuses primarily on those most deeply affected: the children. The goal in making this film was to let the young people themselves drive the video as much as possible. At times children interviewed their parents and teachers, often asking very insightful questions. Children speak about how it feels to be hungry. They speak about how it feels to watch their parents sacrifice and how it feels to go to a food bank for food. In the documentary children engage in learning about healthy food choices, healthy life styles, and ways to help other children who face hunger. Although there are some interviews with the “experts,” such as a pediatric nurse, a principal, teachers, and food bank directors, the real experts are the children themselves. The narrator of the documentary is a student devoted to alleviating child hunger.

Parts of rural Northern Arizona rank with Mississippi, and now New Mexico, two states with the dubious distinction of being most filled with people facing withering poverty. Yavapai County, approximately the size of the state of Massachusetts, recently had a poverty rate of more than 20%. That means many children live in homes where they can’t count on food. But its not only the problem of poor families. Many families, particularly the working poor, may live just above the poverty line but struggle to live paycheck to paycheck, and struggle to put food on the table.

End childhood hungerThere is no Arizona state agency to alleviate hunger. So, local communities have stepped in to support their neighbors. But with the best intentions these band-aid stopgaps are still not enough. Local food banks from small corner operations to the large Yavapai Food Bank report more and more people coming in for food. They struggle to meet the growing demand. The Yavapai Food Council has successfully launched the Neighborhood Food Program, where neighbors supply bags of canned goods and nutritious package goods, in two areas—the Sedona area and Prescott. The collections from neighbors go to local food banks. Kids Against Hunger is donating half of its food to local programs for children.

Getting nutritious food to children may be a complex web of government and community groups. But the simple truth is that children are getting more and more involved and have more and more of a say in helping each other. Children are growing home and school gardens and are active in their communities to help alleviate hunger.

The target audience is the general public. Many people have no idea that their neighbors, including their neighbors’ children are hungry. If they are aware of the problem they don’t know how they can help. The goal is to raise awareness and funds and encourage Community participation.

Star York

Star York with horse sculpture
Star York

“Quiet Your Mind, Open Your Heart” is a multimedia video about internationally renowned sculptress Star York.

Star York trains horses and practices Tai Qi to nurture her creativity.

Internationally renowned sculptress Star York describes her creative process to create award-winning sculptures of wildlife, Native Americans, Cowboys.

She quiets her mind and opens her heart by training her horses, doing Tai Qi meditative movements, and working in her Abiquiu, New Mexico studio.

The goal of the multimedia video “Quiet Your Mind, Open Your Heart,” was to present Star’s creative process, which was to be used as a promotional piece. The main challenge was technical. I was cutting my teeth on audio and it was the first time I was the videographer. The only solution was to go in there, make mistakes and keep learning. Fortunately Star was patient.

Another challenge was the sheer body of Star’s work. What was the best way to represent this highly prolific, creative person who has been sculpting for more than 30 years, has been highly awarded, and publicized.

The solution here was to focus not on her work—that had been done, but how she nurtures her creativity. To cover her work we scanned photos and tear sheets of her earlier work. And, I had the permission of Wendy McEahern to use her beautiful studio photographs of Star’s sculpture. It’s always a challenge to find music that can legally be used. Star suggested I contact the composer, performer Phillip John “Aarnaquq” Charette, about using one of her favorite musical pieces, “Eagle Song.” He readily gave permission.

The final challenge, which came up during editing, was whether it is possible to use the highly personal nature of a digital story for promotional purposes. During the interviews, there was an emotional transformative moment when Star revealed the personal meaning of one of her cowboy sculptures.

The rough cut of the multimedia piece was a digital story of revelation and transformation. However, this seemed much too personal for a promotional piece. The solution here was to work collaboratively to give Star what she needed to promote her artwork.

Credits

“Quiet the Mind, Open Your Heart” written, produced, filmed, and edited by Pam Taylor.

Photography © Pam Taylor Photography

Studio photography © Wendy McEahern. “Grama’s Gifts,” “Over the Top,” “Purrfect Lazy Day,” “Regal Repose,” “Rocksie,” “Roll,” “Scratch,”“Starwildlife,” “Range Duty,” “Greatest Gift,”

Additional images by Rachel Brock, Jeff Shulman, Dell Weston, and Star York.

Music: “Eagle Song” by Phillip John “Aarnaquq” Charette

David Michael Kennedy on Portraiture

Portrail of David Michael Kennedy
David Michael Kennedy

This is a spin off of a Video Boot Camp at The Santa Fe Workshops, taught by Richard Newman. At the workshop 5 participants created a group video about famous photographer David Michael Kennedy. I thoroughly enjoyed learning from David Michael Kennedy, the learning environment created by Newman, as well the creativity and enthusiasm of the team.

When I got home I really wanted to practice the techniques we had learned using the assets but with my own creative vision. I focused on the question I had asked, “How do you Connect with People?,” used the footage for that interview (shot by Christine Garceau and John Dickson), added some images of Kennedy’s work, and some B roll I shot.

Newman was very encouraging in my little endeavor and he facilitated permission from the Santa Fe Workshops, which they graciously gave. David Michael Kennedy has been very supportive. I made some some minor changes he suggested. To my delight and surprise he sent me several more images to cover “jump cuts.” In the end, David Michael Kennedy not only approved the video for my portfolio, but liked it so much he wants to put the video on his website.

Edwin Sulca

Master weaver Edwin Sulca of Ayacucho Peru creates tapestries rich in the legacy of the Andean cultural traditions.

For more than 20 years the people of Ayacucho endured the terrorism of the the Sendero Luminoso, birthed in the small mountain town, and later the government troops sent to battle the terrorists.

Sulca, wove the histories of his people in his tapestries. When we met in his hometown more than 15 years ago he just began to speak about the meanings of his tapestries, his hopes and dreams for his people, and for universal peace.

Recently I visited Sulca and interviewed him about his creativity, his work, and his life. This is a short audio clip where he is speaking about his most famous piece, “El Viento,” The Wind.

“I wish to be like the wind that runs over the continents, and drags all evils, and smashes them against the rocks. I wish to be the brother who gives his hand to the fallen one, and , strongly embraced, seeks the peace of the world.’

 

Hunger in the Verde Valley: The Silent Disease

Face of Rural Hunger
This man, like other people in the Verde Valley, uses a local Food Bank because food is scarce.

The Verde Valley, population 60,000, once northern Arizona’s breadbasket of agriculture is struggling with rural hunger.  One in four adults, or approximately 15,000 people don’t know where their next meal will come from. Even worse, one in three children are hungry and malnourished.  That’s 20,000 hungry children.

These numbers are increasing as close to half of the middle class residents are sliding into poverty, due to job loss, low wages, home foreclosures, and bankruptcies.

The working poor, often juggling several low paying jobs, find they need to turn to emergency food resources because they can’t make it.

The people living in the Verde Valley are proud, independent, and hard working, when they can get work.  They are unwilling, for the most part, to reveal their inability to put food on the table.

Hunger here is a Silent Disease.

Go to YavapaiFoodCouncil.org to learn more or donate.

Indian Camp

Bob Anderson is a Penobscot Indian of midcoast Maine. He comes from a long line of people who have used their entrepenurial acumen to survive during tough economic times.  Anderson grew up on the Old Town Indian Reservation where he learned how to gather materials for baskets and make baskets along with the rest of the community. Eventually he collected and sold baskets, as his parents and grandparents had.

Although they had to become salesmen to survive, his family boasted activists–his aunt was responsible for obtaining voting rights for Penobscots in Maine.

I met Bob when he was 82 and was just recovering from a stroke.  He was humorous, direct, and practical when I interviewed him for this brief video which explores stereotypes about Native Americans.

Baskets from Pamela Y. Taylor on Vimeo

I put together this very short story in 4 intense days at the Maine Media Workshops under the expert instruction of Bruce Strong.

Kerala India

trader at sunset on Kovalum Beach, India

Coastal Carolina Life  published an article I wrote and photographed about south Kerala, India. View the PDF: SouthKerala

There is actually a funny story behind this article. Last December (2011) I went to India for a month with a friend.  I was not on assignment, but of course I couldn’t resist taking pictures.  It was a challenge to carry all my clothes and my camera gear in a back pack for a month.

Most of the trip was in south Kerala with its beautiful beaches, ayuvedic centers, rich cultural events, such as Kathikali, the ancient dance drama, and Indian classical dance and martial arts. Other highlights were a visit to an ashram, an overnight birthday trip on a converted rice barge, and a sojourn in the home of a Keralite family. I also enjoyed many visits to an amazing diversity of religious sites–Hindu, Christian, Muslim, Jewish, and Jain.

A kathikali Dancer prepares for a Performance
Kathikali Dancer prepares for a Performance

It was a journey of stunning landscapes, lovely people, exotic food, and rich cultural displays.

This summer, while driving across the US midwest, I received an email from Carolyn Males, the new editor of Coastal Carolina Living, asking if I could supply an article about India, complete with photos. So it was that I found myself madly typing on my laptop about moist tropical Kerala as my friend drove thousands of miles across the parched US midwest.

I found it enormous fun to once again write and illustrate as I had many years ago.  So far I’ve received the most comments about the Ayuvedic foot massage.

Explorations

Epidaurus Greece
Dreaming at Aesclypian Temple, Greece

Being around so many creative artists, I feel drawn to exploring with different media, not just photography.

Sometimes exploring means a journey inward instead of to another continent. A dream, a vision, a painting, can become the passport stamp. Exploring can be traveling to Greece with Jungian< therapist and dream tender JoHanna McNamee and going on an inner journey of dreams and visions.

Exploring  means painting with abandon or making a clay mask on a hot summer day. Exploring means combining photographs, paints, fresco to create an image. 

Here are some still-wet experiments with different media such as gel emulsion transfer, fresco, painting, and clay, using photographs and Photoshop as a basis. Exploring can also mean going to the edge of our known understandings.  An example is “The Next Level of Living,” a short video about a man dying of a malignant brain tumor and how it transformed him, his family, and friends.

Currently I’m exploring audio portraits about enduring relationships.

I have galleries of mixed media images called Alternatives: Mixed Media.

Also, check out the work of mixed-media artist Peggy Doig.

Arches National Park, Utah
Digital image of Arches, Utah

 

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Alternatives


Over the years I have been exploring ways to manipulate images.  Some of these are through photoshop alone.

Some combine alternative mixed media which include photographs that I have digitally created, paintings, gel emulsion transfer, or fresco.

These are some ways I am exploring by manipulating images in photoshop.

I created this explosion of lizards from a photograph I took of a collared lizard at a Mesa Verde, CO parking lot.

Check out my Alternatives: Mixed Media gallery, which includes images digitally manipulated in photoshop as well as gel emulsion transfer images, enhanced by handpainting, clay images and fresco.

Arches National Park, Utah
Digital image of Arches, Utah

JoHanna McNamee gives workshops in clay figure and maskmaking. Sedona artist Peggy Doig gives workshops on mixed media. See her website at Essence-studio.com.


 

 

Hannibal Oral History Project

Students interview elders about racism in America’s Hometown

I was asked by the Hannibal Community Partnership for Reconciliation (CPR) to teach middle school students how to interview their elders about racism in Hannibal, Missouri.  They had a team of 18 racially diverse students interview both Caucasians and African-Americans about growing up in “America’s Hometown, birthplace of Mark Twain.

A grant was provided by the Disciples of Christ Church,  Rev. Minnie Smith opened up the Willow Street Church to have the workshops and interviews, and community members gave donations.

Miss Mary Carter
Mary Carter

On this project I was an educator as well as a multi-media director; I  was the program facilitator as well as the producer for the documentary.

I drove three days from Arizona to Missouri to teach the students about interview techniques, audio equipment and editing software.  I brought out a portable studio to make portrait images of the participants.  Most importantly, I worked closely with the CPR project task force to do team building and create dialog in the community.

The greatest challenge of making this documentary was creating a meaningful narrative from more than 600 minutes of recorded interviews from 10 interviewees and 18 students.

The solution was to work closely with transcripts to build a compelling narrative, which was divided into stating the problem of racism, showing how the students were able to ask tough questions, and finally the students describing what they learned and their visions for change.

The result is a  20 minute documentary that combines personal stories, vintage photographs, portraits, and images of the participants at work.  More importantly the youth are enthusiastic about the project and what they have learned not just technically but about their peers and elders.

The hope is that this documentary will continue to raise awareness in the community between ages and races.

DVDs of the project are sold at the Mark Twain Museum in Hannibal, Missouri.

The Peace Maker

A Palestinian Peace Maker in Santa Fe, New Mexico.

Palestinian Sami Jabber and his family moved to Santa Fe, New Mexico where they opened a café called Alfanoose, The Magic Lantern. It has become a popular gathering place for great Middle Eastern food, music, and international camaraderie.

The Peacemaker: From Palestine to Santa Fe, New Mexico from pamela y. taylor on Vimeo.

I created this story for a Santa Fe Workshops class on audio storytelling, given by Bob Sacha. It was my first foray into recording interviews for a visual story. We used soundslides a program to make slideshows on steroids.

The challenge was taking pictures and doing interviews in a limited amount of time. I prefer to devote a great deal of time so people can feel comfortable and there is emotional depth to a story. Jabber himself turned out to be the solution. He gave me free access to photograph and gave several short interviews. He and his wife are genuinely warm and personable.

In the end, I was a bit disappointed with the resulting story. However, Jabber was delighted with the DVD I presented to him.

I found that the real story, one I didn’t have time to do, was about an organization they support each year called Creativity for Peace. Based in New Mexico, it promotes understanding and leadership among Palestinian and Israeli young women.

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DMZ Phoenix

JC Shaba
JC Shaba

Time to Serve Those Who Served

The Justa Center in Phoenix Arizona helps homeless senior citizens get vital documents, a source of income – whether it is employment, social security, etc, and a safe place to live. About a year ago they asked me to do a video about homeless senior veterans. The result was this multimedia documentary which premiered at the fundraiser Bets for Vets November 2011.

There were several challenges to this documentary. The obvious one was tracking down people who live at no fixed place, with no phone or other means of contact.  Another challenge was documenting their environment, a dangerous area known as “the zone,” the combat zone. Another formidable challenge was getting people who would permit photographs and interviews.  Most people are not proud of this time in their life when they are reduced to living on the streets.

Fortunately I was often able to arrange meetings at the Justa Center. Several former combat vets gave me tours of “the zone.” They watched my back as I shot pictures. As for getting permissions, people were so grateful that the Justa Center helped them get back on their feet, that they agreed readily to portraits and interviews. Not only that, many people opened up about their lives in ways that humbled me.

Post production also presented challenges.  As always, I was looking for good, legal music. Songwriter Chris Lux  gave me permission to record him singing his original song, “Cadillac Street.”

The most important challenge was time, or lack of it. So many veterans were incredibly forthright as they described their military service, their struggles upon coming home, and their reasons for finding themselves homeless, including ptsd, hospitalizations, addictions, and the recession. It was painful to cut out many moving stories in the interest of keeping a shorter piece.

My goal is to edit short audio portraits where more of these courageous veterans can come forward with their stories.

Credits:

“Cadillac Street” written and performed by Chris Lux

Photos: Laird Brown, Pam Taylor

Video: Walt Carr, US Navy Reserve; Pam Taylor

Advisors:
Malcolm Burns, US Marine Corps, Vietnam
John McNamee, US Navy, Iraq
Eduard Uzumeckis, PhD, US Army, Vietnam

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Social Change

Nicaraguan Girl
Nicaraguan Girl
Social Change through Multimedia Documentaries.

Multicultural diversity has formed me. From childhood within a United Nations community in New York City, to covering civil unrest in Central America and living and working in Thailand and Peru, I find it natural to relate to people of many cultures, socio-economic backgrounds, and beliefs.

Although I began with “hard news” photojournalism, my strength today focuses on in-depth features.

I take the time to research a social issue, whether it is Americans struggling with racism or rural poverty, Peruvians or Burmese surviving civil strife, or people worldwide living their beliefs with integrity in a changing world.

Rather than do a quick in-out interview and photos, I take time to get to know the people I’m interviewing, photographing, or filming–time to establish trust and to really hear their stories– time to sensitively portray how they  overcome adversity.

Time to put a person’s face to mind-numbing statistics.

I seek out people who are traditionally marginalized, “voiceless;” often people find a voice as they tell their story.  This could be homeless senior citizens, “at-risk” teenagers, a Peruvian weaver who could only “tell” the story of his people at war through his tapestries, or Afro-American elders who know the effects of subtle racism.

Most people are grateful whenever someone not only listens to their inner truth but also portrays their inherent dignity.

Although I work with visual stories and audio stories, I believe multimedia documentaries are the most powerful means of presenting a narrative.  Integrating visual images, animation, video footage, interviews, and music surpasses linear text.

Recently I trained a group of racially mixed young teenagers how to interview each other and their elders about a difficult social issue: racism.  Students, who were struggling academically, benefitted from this non-linear way of learning and relating to others.

Multimedia documentaries can educate, move, and inspire us in ways traditional text cannot.

I create compelling authentic narratives that give voice to the “voiceless,” move viewers, and inspire social change.