Darfur/Dafur Photo Exhibit Proposal - SPAIN (2008)
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Darfur/Dafur Photo Exhibit Proposal - SPAIN (2008)

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I contacted Leslie Thomas about her Darfur Darfur Photo Exhibit because I wanted to bring it to Spain. In order to do so, I wrote this project proposal in English and in Spanish. This was circulated ...

I contacted Leslie Thomas about her Darfur Darfur Photo Exhibit because I wanted to bring it to Spain. In order to do so, I wrote this project proposal in English and in Spanish. This was circulated to a lot of organizations throughout Spain. My initial idea was to have multiple cities show this exhibit within a similar time-frame; like throughout a month period or so. However, because the investment to show this exhibit was between $15,000-30,000 it was difficult to find organizations interested in supporting this project. Luckily, with the help of ACNUR, the Photo exhibit was shown in three different cities in Spain (Valencia, Madrid, and Bilbao).

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Darfur/Dafur Photo Exhibit Proposal - SPAIN (2008) Darfur/Dafur Photo Exhibit Proposal - SPAIN (2008) Document Transcript

  • DARFUR/DARFUR MULTI-MEDIA PHOTOGRAPHY EXHIBIT SPAIN 2008 WWW.DARFURDARFUR.ORG DARFUR/DARFUR is partnered with Global Grassroots (www.globalgrassroots.org), a 501c3 non-profit organization. LOCAL ORGANIZER: ELIZABETH E. BRAIT, SANTANDER, SPAIN (OFFICE) 34-942.364.602 | (CELL) 34-659.946.710 WCASEY@PON.NET
  • DARFUR/DARFUR MULTI-MEDIA PHOTOGRAPHY EXHIBIT – SPAIN 2008I. EXHIBITDARFUR/DARFUR (www.darfurdarfur.org) is a traveling exhibit of 170 digitally-projected changing images that providevisual education about the richly multi-cultural region while exposing the horrors of the ongoing humanitarian crisis. Thepresentation is accompanied with Sudanese inspired music. The photos are shown in the evening and they are projected ontothe exterior wall of a building. The actual exhibit is 6 to 10 minutes in length, and after which it is generally looped for a periodof time. DARFUR/DARFUR provides this exhibit at no cost.We are a group formed for the purpose of advocating peace in Darfur, Sudan. Motivated by the death and injury of over300,000 civilians since 2003 and using a photojournalism exhibit as a graphic tool, we are working to educate the public on theculture and politics of the region so that the gravity of the ongoing atrocities can be fully understood. Our goal is to promptinternational support for the prevention of further humanitarian destruction and to save lives.Since launching this exhibit in 2006, the exhibit has traveled to over 18 venues – across North America, Europe, and SouthAfrica providing continuing attention to the ongoing killing of innocent people and the devastation of their rich culturalheritage. Algunos museos y organizaciones donde ha estado expuesta son:  The United States Holocaust Memorial Museum  Jewish Museum Berlin, Berlin, Germany (with a concert by Daniel Barenboim)  The Institute of Contemporary Arts, Boston, Massachusetts (with Samantha Power and Yo-Yo Ma)  New York Historical Society, New York City, NY (with Ann Curry and John Prendergast)  The Origins Centre at WITS University, Johannesburg, South Africa  The Primedia Holocaust and Genocide Unit, University of South Africa, Pretoria, South Africa  The Montreal Musee des Beaux Arts in Montreal, Canada  The National Constitution Center in Philadelphia, PA, USA  Centro Internazionale de Fotografia (FORMA), Milan, Italy  Ortakoy Square with the United Nations High Commission on Refugees, Istanbul, Turkey  and more…The exhibit presents photographs taken in Darfur by former U.S. Marine Brian Steidle and highly acclaimed photojournalistsLynsey Addario, Mark Brecke, Helene Caux, Ron Haviv, Paolo Pellegrin, Ryan Spencer Reed, and Michal Safdieaccompanied by Sudanese inspired music. The biographies for each photographer and for the creators of the accompaniedmusic are included at the end of this proposal under the Biography section.
  • II. BACKGROUND AND MOTIVATIONCRISIS IN DARFURSudan es el país más grande de África. Localizado al sur de Egipto en el extremo oriental del desierto del Sahara, susaproximadamente 26 millones de habitantes están divididos en 26 estados con cientos de diferentes étnicas y gruposlingüísticos, bajo un régimen dictatorial islamista presidido por Omar Hassan al-Bashir. Su principal recurso económico es elpetróleo y según varios informes de la ONU el 70% de sus exportaciones se utilizan para financiar al país militarmente. Desde1955, Sudan ha sido testigo de dos guerras civiles y frecuentes golpes militares.Darfur, región occidental de Sudán del tamaño de Francia, tiene las infraestructuras básicas y sus casi 6 millones de habitantes(entre los más pobres de África) viven de la agricultura y el pastoreo nómada. Tradicionalmente las etnias africanas asentadasen Darfur (entre otras, los fur, zaghawa y massalit) y los nómadas árabes están enfrentados por el acceso a los escasosrecursos. Aunque estas tensiones pudieron mantenerse bajo control durante largo tiempo por medio de mecanismostradicionales de solución de conflictos, desde los años 80 el enfrentamiento se ha ido agudizando debido a una crecienteescasez de pastos y agua (causados por la continua desertificación y los periodos de sequía). A ello se suman los intentos dearabización por parte del Gobierno sudanés, que explotó el potencial de conflicto existente en beneficio de sus propiosintereses.Origen del conflictoDespués de décadas de abandono, la sequía, la opresión y la guerra civil en curso, el conflicto de Darfur escaló en 2003.Coincidiendo con un momento en que la comunidad internacional estaba intensificando su apoyo para la última fase de lasnegociaciones de paz y poner fin a la larga guerra civil que enfrentaba al Norte y el Sur del país desde hacía varias décadas, elconflicto de Darfur, ponía de manifiesto que en Sudán no solo se estaba librando una guerra civil entre el Norte y el Sur. Enfebrero de 2003, se formaron dos organizaciones rebeldes, que representaban en su mayoría a agricultores "no árabes negroafricanos" y musulmanes de una serie de diferentes etnias: El Ejército/Movimiento de liberación (SLA) y el Movimiento deJusticia e Igualdad (JEM). Los dos grupos declararon la lucha armada al Gobierno de Jartum exigiendo el fin de la marginacióny discriminación política y económica de las etnias africanas en Darfur. Esto desembocó en una reacción militar masiva porparte del Gobierno sudanés, provocando una escalada de violencia indiscriminada. El Gobierno armó a las llamadas miliciasJanjaweed (milicias árabes) para combatir a los rebeldes. Cometieron gravísimas violaciones de los derechos humanos yatrocidades contra la población civil bajo la responsabilidad y, en parte, en connivencia con el Gobierno sudanés. Unacomisión de investigación constituida por el Secretario General de las Naciones Unidas (ONU) informó de ejecuciones yviolaciones masivas, desplazamientos forzados e incendios y destrucción de aldeas para impedir el regreso de todos los quehabían huido. Además, durante muchos meses, el Gobierno sudanés obstaculizó por todos los medios o imposibilitó totalmenteel suministro de asistencia humanitaria a Darfur. En el verano de 2007, empezaron a aparecer brotes de violencia entre laspropias tropas Janjawee, que según informó Naciones Unidas están matando a más personas que los enfrentamientos entre lasmilicias respaldadas por el gobierno y las fuerzas rebeldes juntas. Esta última mutación del conflicto, es una muestra de lasiempre cambiante dinámica de la crisis.Situación humanitaria actual y ayuda internacionalEl genocidio del gobierno sudanés contra los civiles de Darfur, asciende a 400.000 vidas. Según datos de la ONU, el número dedesplazados internos en Darfur se cifra en estos momentos en unos 2,2 millones de personas. Además, desde el inicio de loscombates han huido al país vecino Chad unas 232.000 personas y cerca de 48.000 personas han buscado refugio en laRepública Centroafricana, donde son totalmente dependientes de las Naciones Unidas y otras organizaciones humanitarias parasus necesidades básicas de alimentos, agua, vivienda, y la atención de la salud. Acerca de 13.000 trabajadores de asistenciahumanitaria en unos 100 campamentos de refugiados en Darfur y el Chad trabajan en condiciones logísticas y de seguridadmuy difíciles y son constantemente hostigados por el gobierno sudanés y la obstrucción de la burocracia.Autorizada por la tan esperada, Resolución del Consejo de Seguridad 1769, la seguridad de los civiles depende de la presenciade Unión Africana fuerza de mantenimiento de la paz de las Naciones Unidas, conocida como la UNAMID, con más de 31.000soldados, policías y personal civil. Durante cuatro años, un interminable desfile de los enviados y funcionarios de los EstadosUnidos, muchos otros países y la U.N. han visitado Jartum con mensajes al Presidente al-Bashir. La diplomacia ha sidoesporádica, no coordinada, e incoherente. Jartum se ha convertido en un adepto a jugar en consonancia con su estrategiageneral de negar y desafiar a una débil comunidad internacional en el cumplimiento de su tregua en el genocidio en Darfur.Aproximadamente 1 millón más Darfuris siguen viviendo hoy en sus pueblos, bajo la constante amenaza de bombardeos,incursiones, el asesinato, la violación y la tortura.
  • SolucionesLa coalición “Save Darfur” hace una llamada a la comunidad internacional para acabar con el genocidio y propone un mayorcompromiso entre los líderes mundiales y especialmente China, que como principal inversor petrolífero en Sudán, ayuda afinanciar las operaciones militares en Darfur. Por otro lado, la organización, anima a que la ayuda humanitaria en Darfur seaconstante mientras se realizan esfuerzos para proteger a los civiles y abrir un corredor a un acuerdo duradero para el fin delconflicto. Esto significa también, una continua financiación de programas de ayuda internacional y un impulso a Sudán a ponerfin a la obstrucción de los esfuerzos de ayuda.
  • III. PROPOSAL AND PROJECT GOAL: BRINGING DARFUR/DARFUR MULTI-MEDIAPHOTOGRAPHY EXHIBIT TO SPAINPROJECT GOALThe goal of this project is to bring the DARFUR/DARFUR Multi-Media Photography Exhibit to multiple cities in Spain eitherto be shown simultaneously (same night) or to be shown over a short period time (no more than a month). In this case, theexhibit would tour to different cities across Spain. This exhibit is intended to reach a wide audience in both small and largecities. Therefore, each event location should be situated in a place that is exposed to a lot of foot traffic, as well as possiblyoffer the ability to be seen by people in vehicles driving by. Ideally, there should be a plaza or an area where people cancongregate to get full viewing of these spectacular images.The event is planned for sometime in 2008. The exact date is still to be determined. Since this exhibit is intended to be shownin the dark this project should happen when the weather condition is favorable. Possible months are May, June, July, August,or September.FEATURES AND BENEFITS Awareness:  This exhibit facilitates the mobilization of creating awareness about the Darfur crisis.  Opportunity to increase a national level of awareness about the Darfur crisis among Spanish citizens.  An opportunity to bring activists, politicians, photojournalists, survivors, and witnesses together to focus on this crisis in a public arena  The photographs present a visual perspective into the Darfur crisis with the idea of motivating action and awareness towards finding a solution to this inhumane situation.  For some, the images offer a wake up call reminding us that we humans have a collective responsibility to prevent this kind of crisis from occurring. National Media:  A multi-city event (in Spain) offers increased media attention on the cities where the event will occur.  One of the project objectives is to increase national media attention on this crisis. Educational:  This exhibit educates people about a different culture and way of life than ours. Inspirational:  The images remind us of how lucky we are in our lives and that not everybody lives as we do.
  • IV. METHODOLOGYExhibit is free for each location to borrow and free for the public to view.Event DescriptionThis exhibit can be a one-day event or a multi-day event. At each location there should be an opening ceremony that would lastno more than one hour. This would include speakers such as politicians, activists, photojournalists, survivors and/or witnessesof genocide and/or the crisis in Darfur. After a series of short speeches about the Darfur crisis, testimonial comments aboutgenocide, the exhibit will be introduced. The DARFUR/DARFUR photography exhibit runs for 6-10 minutes with Sudanese-inspired music, and can be repeated continuously for any period of time.If a location is interested in doing a multi-day event, this can be done similarly to the first day or without presentations, just re-playing the photography. Additionally, an event like this presents a wonderful opportunity to invite NGO organizations whoworking directly in Darfur to participate by setting up tables with literature to educate the public about this crisis and to offercitizens information on how they can make a difference in their own communities regarding this crisis. Live music is also awonderful addition and can be of African or other influence.How to become a part of this project 1) Decide if your organization wants to be a part of this national project. 2) Decide on a well-located location that would attract a lot of people. 3) Decide on some potential dates you would like to have this exhibit in 2008, including how many days. Possible months include May, June, July, August, or September. 4) If after reading this proposal your organization does not have all the funds necessary to host an exhibit, it may be possible to find financial supporters from other resources. For instance, consider collaborating with other organizations in your city that could offer financial support. Additionally, you could consider pursing local and/or regional government, refugee or human right NGOs, banks with social programs, and businesses that have departments of corporate responsibility for additional funds. 5) Once you decide to participate in this national project contact Elizabeth E. Brait, a Spain-based organizer living in Santander, Spain. Her phone number is 942-364-602 or 659-946-710, and her email is wcasey@pon.net. She can help facilitate your event.Each location should feel free to design an event around the DARFUR/DARFUR exhibit. Included in this proposal are multipleideas for designing your event. If the locations want guidance or assistance, that is completely available. Feel free to contactElizabeth Brait and she will do whatever possible to assist your location with organizing this event.Once event dates and multiple locations are determined outside organizations and businesses will be pursued to donateadditional funds to help where funding may be short.Projectors:Each location can choose whether they want to use two or three projectors. The images are projected using 12,000 lumenprojectors that are projected onto either a screen, fabric or directly onto the wall of the exterior of a building.The size dimensions of projected images:The size of each projected images on screens or fabric is approximately 10 x 6.5 meters, the presentation is never square, anduses the aspect ratio off 4:3. The projected image / screen size may need to be reduced depending on the building, expenses,etc. Also, when you have the three full panels the projected images can be slightly smaller because together they give theimpression they are larger. The idea is to show these images as large as possible. If you need a screen, it is may also be possibleto have the fabric screen tied to the building, rather than use a structure in order to cut down on costs. The DARFUR/DARFURexhibit has been adapted to fit multiple complications and scenarios in the past with a successful outcome.Audiovisual Component:An audiovisual company will provide the rental of the 12,000 lumen projectors, installation of the screens or fabric, andequipment for the music and opening ceremony. This exhibit has been designed to be projected the exterior walls of a publicbuilding. This is done either using multiple screens, fabrics, or directly onto the wall. Costs for these different options arediscussed under the Budget section of this proposal and can vary greatly depending on the location and length of the event,obstacles and limitations, and which audiovisual equipment materials are needed. It is possible to present this exhibit indoors,however it is much more spectacular outdoors and likely will reach more people.It is possible to hire an audiovisual company to work at multiple sites. There are pros and cons to this approach. The pros arethat there could be some continuity between the multiple events, if this exhibit occurs on different days in different locations.
  • The costs of the equipment could be less since the equipment would be rented over a longer period or time, as price per unitdecreases over time. However, there would be additional costs in other expenses, such as travel. This is one of many optionsthat can be considered.The exhibit can be seen in one of two scenarios as described by the images below. The first is using 1 DVD player with 2 –12,000 lumen projectors (projecting 2 images). In this scenario, the image will be the same in both projectors. Theamplifier/speakers will be connected to the DVD. In the second scenario, there are 3 DVD players with 3 – 12,000 lumenprojectors. Each projector shows a different image. This exhibit is intended to have 3 DVD players with 3 – 12,000 lumenprojectors, however due to audiovisual obstacles such as distance, light, etc the 1 DVD player with 2 – 12,000 lumen projectorsscenario was created as an alternative.Scenario 1: Scenario 2:1 DVD player with 2 – 12,000 lumen projectors 3 DVD player with 3 – 12,000 lumen projectors Same image is on both screens at the same time. Each projector projects a different image.Opening Ceremony: SpeakersSpeakers for the opening ceremony could include politicians, activists, photojournalists, survivors and/or witnesses of the crisisin Darfur or from other countries. DARFUR/DARFUR has a lot of contacts with NGO’s, photojournalists, and others whowork toward making change for Darfur and can assist in helping identify local speakers for each location. However, if yourorganization has any contacts with anyone who could be a potential speaker feel free to design your own speaker panel.Inviting the DARFUR/DARFUR photographers to speak at your eventSome of the DARFUR/DARFUR photojournalists are well-known and highly acclaimed in the world of photography andphotojournalism. They may be available to speak at your event. If you want to invite them, please contact Elizabeth E. Braitand she can provide you with more information. Under the Biography section of this proposal, you will find a description foreach photographer and photojournalist.Additional Activities:Some locations may want to have additional activities, such as music, poetry, rent a video about Darfur, or have performancetheatre. These are all wonderful ideas and can be integrated into the exhibit in a variety of ways. For example, a multi-dayevent could include additional speakers, music, and performance for the following days after the opening ceremony. This couldbe a wonderful way to draw more attention and focus to this humanitarian crisis.Another option is to also organize a silent vigil walk to the exhibition and opening ceremony. An example of this from a pastevent done in Rochester, NY, USA can be seen at: http://www.rit.edu/~mro8906/DarfurDarfur/. The actual exhibit in this linkwas done at The George Eastman House, of Eastman Kodak Collection in Rochester, NY, USA.The Devil Came on Horseback, an award-winning film will be available in Spanish in November 2007(www.thedevilcameonhorseback.com). It is available for rent for $300, plus shipping fees. This documentary film exposes thetragedy that has been taking place in Darfur seen through the eyes of U.S. Marine Brian Steidle, who coincidently contributedsome photos to the DARFUR/DARFUR exhibit. It is a powerful film and could be worth considering including as part of yourevent. The $300 rental fee funds are donated to Global Grassroots, an organization that is establishing a schools project in theChad Refugee camps, as well as an ongoing water (partnered with charity water) and solar cooker project for these camps.There are other great films available, also. For more information, contact Elizabeth E. Brait and she can help you research this.
  • Inviting NGO’s and UN agencies to table the event:The benefit of inviting a NGO’s and UN agencies to set up tables at an event is they offer a wide range of information, such asprovide public advocacy for solutions to the Darfur crisis, education about the crisis, opportunity to learn about other humanright crisis, present ideas for how to participate in making change, creating greater awareness, and help facilitate actions thatindividuals can make in their own communities. Sometimes, they provide form letters for individuals to sign and they willforward the letters to government officials. Some organizations may have a local affiliate or may be willing to send people toyour event from a near-by region or city. You could also ask them about possible speakers when inviting they to set a table up.Participation also offers the NGO an opportunity to fundraise so they can continue the work they do.FundraisingDARFUR/DARFUR is donating this exhibit for free. They are not asking for any donations. However, you should know that ingeneral any funds raised in connection with DARFUR/DARFUR are used to provide public advocacy for solutions to this crisisin Darfur and to assist NGOs providing on the ground medical and social care in the region.IV. BUDGETEXHIBIT AND COSTSThe DARFUR/DARFUR exhibit is free, however there are expenses for audiovisual and travel, as outlined in this section ofthe proposal. Based on the past exhibits, the budget of the audiovisual part of this project ranges between 15,000 to 40,000euros. It is possible it could be less depending on the building the images are projected onto and other parameters. The budgetdepends on the location of the exhibit, number of exhibit days, which audiovisual equipment and installation labor are neededfor exhibit and opening speaker ceremony, and the travel expenses (which is the least of the costs).If your organization has it’s own audiovisual company and you prefer to use them, we are willing to work with you and youraudiovisual specialist regarding this exhibit. In that case you would only contribute to the travel section of the budget, whichwill be split between all participating event location organizations. However, if you need an audiovisual specialist, once anevent location is determined we can work together to determine the exact costs of this event.The most basic audiovisual costs will include 2 or 3 12,000 lumen projectors, DVD players, cables between the DVD playersand the projectors, roughly a 6 meter high structure used to increase the height of the projectors, speakers and amplifier. Themost economical option is to project the images directly on the outside wall of the building without a screen. However, thebuilding should be light gray to white, not too dark, and have few ridges. Windows can create problems. However, it ispossible to have them covered with white fabric. Otherwise, you may need to include projection screens that vary in optionsand costs. Additional costs will be determined by your location and the design of your event.Different audiovisual companies will offer different costs or different execution options and audiovisual company estimatesmay vary. Once you have a prime location in mind, we can work together to get the best price for your audiovisual needs.AUDIOVISUAL DISCOUNTMost of the audiovisual companies I have spoken with have agreed that once we know where the exhibits will be shown, theexact dates, and exact amount of rental equipment is needed they are willing to consider offering a discount since this exhibit isnot-for-profit and is supported in many cases by NGO’s.
  • TRAVEL EXPENSES: (3 people)1 Exhibit Curator (Leslie Thomas), 1 Exhibit Photographer, 1 Local Spain-based Organizer (Elizabeth E. Brait)Below is just an estimate. At this point in the process it is difficult to estimate the exact costs of airfare, hotels, food (howmany days), etc. Once we know how many organizations want to have an exhibit location, the exact exhibit dates, the finalcosts can be determined. Best guess at this point is that the curator and photographer will need to be in Spain for one week tovisit all exhibit locations for a test-run of the exhibit. If the Spain-based organizer is needed, she will also travel to the variouslocations. If not, no expenses will be incurred. Therefore, the majority of the travel costs (as described below) would be for theCurator and Photographer. A minimal fraction of these costs would be for the Spain-based Organizer (Elizabeth E. Brait) toassist at the exhibit locations, when and if necessary.Additionally, the costs under in this section will be split between all of the locations where the event will take place in Spain.The costs could include airfare from the US to Spain, airfare within Spain, car rental (if necessary), public transportation, hotel,and daily food supplement. Item CostsTravel: RT US -Spain (approx 1 week)US to Spain 1100 euros/CuratorUS to Spain 1100 euros/PhotographerTravel within Spain between Participating Locations: TBD (approx 1 week)TBD euros/CuratorTBD euros/PhotographerTBD euros/Spain-based OrganizerHotel: TBD, Approximately 90 – 120 euros/day (approx 1 week)TBD euros/CuratorTBD euros/PhotographerTBD euros/Spain-based OrganizerCar Rental:(If necessary to travel between locations) TBD (approx 1 week)Public Transportation:(If necessary to travel between locations) TBD (approx 1 week)Food: TBD, 40 euros/day (approx 1 week) euros/Curator euros/Photographer euros/Spain-based OrganizerV. MARKETING AND ADVERTISINGOrganizations which have a marketing department, should rely on your own resources, otherwise additional funds will beneeded to assist in marketing efforts for these exhibits. If any organization can offer any assistance to other exhibit locations,please inform Elizabeth Brait.VI. MEDIAOnce the exhibit locations and exhibit dates are determined an official press release will be created and distributed to mediaoutlets. We intend on alerting a variety of media outlets about this national event to gain as much coverage as possible.
  • VII. BIOGRAPHY OF PHOTOGRAPHERS, MUSIC, AND CURATORU.S. Marine Corps. Brian SteidleBrian Steidle grew up living around the world as the son of a naval officer, now retired Admiral. He graduated with a B.S.from Virginia Polytechnic Institute in 1999 and received a commission in the U.S. Marine Corps as an infantry officer. Hecompleted his service with the USMC at the end of 2003 with the rank of captain.In January 2004, he accepted a contract position with the Joint Military Commission in the Nuba Mountains of Sudan, workingon the North-South ceasefire. Within seven months he worked his way up from a team leader to the senior operations officer.In September 2004, Steidle was invited to serve in Darfur as an unarmed military observer and one of only three U.S.representatives to the African Union monitoring the ceasefire.After six months, Steidles conscience would no longer allow him to stand by without taking further action. He becameconvinced that he could be more effective by bringing the photographs and story of what he witnessed to the world.Steidle returned to the United States in early February 2005 and has since spoken at over 100 public awareness events acrossthe country and has been interviewed by as many international and national media outlets, including The New York Times,The Washington Post, BBC, CBS Evening News, CNN, NPR, ABC Dateline, and many others. He has met with U.S. Secretaryof State Condoleezza Rice, U.S. Deputy Secretary of State Robert Zoellick, and U.S. ambassadors to the UN. He has testifiedbefore the U.S. Congress and has spoken before the UN Human Rights Commission and the British House of Commons. Formore information on Brian Steidle, visit http://www.briansteidle.com/.Steidle remains an advisor to numerous NGOs regarding Darfur and is currently co-writing his memoirs, to be published in thespring by Public Affairs Books. More of his story and images can be found in his online photo essay, "In Darfur, My CameraWas Not Enough."Mark BreckeMark Brecke is a photographer and filmmaker who has been documenting war, ethnic conflict, and genocide over ten years andacross three continents in some of the most troubled regions of the world including Cambodia, Rwanda, Kosovo, Sudan, WestBank, and Iraq.Emerging from the late 1980s experimental film community in San Francisco, he studied cinema with Phil Green (apprenticeof Ansel Adams and assistant to Dorothea Lange), and continued his studies at UC Berkeley with the found footageexperimental filmmaker Craig Baldwin.In 2004, Amnesty International selected Breckes experimental documentary film War as a Second Language to be included inits permanent film archive.Since returning from Darfur in December 2004, Brecke has been touring with his images of the Sudan crisis and has given over60 lectures and slide presentations. He has spoken at the Kennedy School of Government at Harvard University, UCLA Schoolof Law, Brown University, the Fletcher School at Tufts University, and the World Affairs Council. He has been featured onCurrent TV, NPR, and Amy Goodmans Democracy Now.Breckes most recent documentary film They Turned Our Deserts Into Fire (release date fall 2006) captures AMTRAKpassengers reactions to photos and stories from Darfur while Brecke was traveling from San Francisco to Washington D.C. inorder to give his Darfur presentation to members of Congress in July 2005. In 2006 the U.S. Senate selected ten of BreckesDarfur photographs to be hung in the Russell Rotunda of the U.S. Capitol building in Washington D.C. For more informationon Mark Brecke, visit his website http://www.warandweddings.com/.Ron HavivRon Haviv has produced some of the most important images of conflict and other humanitarian crises that have made headlinesfrom around the world since the end of the Cold War.A co-founder of VII, whose work is published by top magazines world-wide including Fortune, The New York TimesMagazine, Time, Vanity Fair, Paris Match, and Stern. He has published two critically acclaimed collections of hisphotography, Blood and Honey and A Balkan Journal and Afghanistan: On the Road to Kabul. He has contributed his wide-ranging body of work to several other books.With a special focus on exposing human right violations, Ron Haviv has covered conflict and humanitarian crises in LatinAmerica, Africa, the Middle East, Russia, and the Balkans. Most recently he has documented wars in Darfur and DR Congo.
  • His often searing photographs have earned Haviv some of the highest accolades in photography, including awards from WorldPress Photo, Pictures of the Year, Overseas Press Club, and the Leica Medal of Excellence. He regularly lectures at universitiesand seminars. Numerous museums and galleries have featured his work, including the UN, the Louvre, and the Council onForeign Relations.Haviv has been the central character in three films. National Geographic Explorers Freelance in a World of Risk explores thehazards inherent in combat photography. The Serbian made documentary Vivisect explores Serbian reaction to the Blood andHoney exhibit. Eyes of the World, which was featured in film festivals worldwide, examines Haviv as a witness to war. Inaddition, Haviv has spoken about his work on The Charlie Rose Show, NPR, Good Morning America, ABC World NewsTonight, CNN, and MSNBC. For more information about Ron Havivs work visit http://www.viiphoto.com/haviv/darfur/.Paolo PellegrinPaolo Pellegrin was born in Rome in 1964. He became a Magnum member in 2005 and has been a Newsweek contractphotographer since 2000.In 1995, his reportage on AIDS in Uganda won him the first prize at World Press Photo in the "Daily Life" category. In 1996,he won the Kodak Young Photographer Award-Visa DOr in Perpignan for his images on AIDS in Uganda and he was selectedto be a part of the World Press Photo Master Class. The same year he was awarded the Euro Fuji Award/Italy.The book Children, containing images of children in Uganda, Romania, and Bosnia, came out in 1997. That same year, hereceived first prize at the International Photofestival in Gijon for his work on children in Bosnia. His book Cambodia waspublished in November 1998. This book was the result of Pellegrins collaboration with MSF (Medicines sans Frontieres) inItaly. In 1999, he was awarded third prize in the category "Portraits" at World Press Photo. In 2000, he won first prize at WorldPress Photo in the "People in the News" category for his work on Kosovo, received an Honorable Mention in the Hansel-MiethAward for a story on Albania, and was the recipient of the prestigious Hasselblad Grant. In 2001, he was awarded both theEuroFuji Award/Italy and the Leica Medal of Excellence.In 2002, Pellegrin won the Hansel-Meith Award for a story on a Bosnian village and won first prize in the World Press Photoin the "People in the News" category for his work in Algeria as well as an Honorable Mention for the Robert Capa Gold MedalAward. In the same year, his book Kosovo: The Flight of Reason was published. Pellegrin also served as a jury member forWorld Press Photo. In 2003, he was awarded the Borsa di Studio Marco Pesaresi in Italy. He also received the Overseas PressClub Olivier Rebbot award in 2004 and World Press Photo "Stories" second prize for Arafats funeral.In 2005, Pellegrin won first prize in the World Press Photo "Portrait Stories" category with his work from the funeral of PopeJean Paul II and he won third prize in the Arts and Entertainments section with images from the New York Fashion Week. Heis one of the authors of Off Broadway. For more information, visithttp://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R13CHLN&nm=Paolo%20Pellegrin.Lynsey AddarioLynsey Addario is a photojournalist based in Istanbul, Turkey, where she freelances for The New York Times, The New YorkTimes Magazine, Time, Newsweek, among others, through her New York-based photo agency, Corbis.Addario began photographing professionally in 1996, with no professional training or studies, for The Buenos Aires Herald inArgentina. She worked there for one year before returning to New York. In 1997, she began freelancing for the New YorkDaily News, Newsday, and eventually the Associated Press, where she became a consistent contributor for three years. Duringher time in New York, Addario completed several overseas self-assignments, with Cuba as a focus.In January 2000, Addario moved to India. While there she traveled from the main cities in India, dedicating most of her workin South Asia to the treatment of women in the developing world: the life of women under the Taliban, female burn victims inIndia, and the lives of women along the Ganges River. After spending two years based in Mexico City she she returned toSouth Asia, where she covered the war in Afghanistan and womens education since the fall of the Taliban, and myriadimmigration, human-rights, and social features in Mexico for a variety of publications including The New York Times.In January 2003, Addario moved to Istanbul, Turkey, in order to situate herself closer to feature and news stories in the MiddleEast. In February, she traveled to Northern Iraq, where she spent six months covering Northern and Southern Iraq for The NewYork Times Magazine, Time, and The New York Times. She has recently been working on feature stories in Saudi Arabia.
  • In 2002, Addario was named the "Young Photographer" of the year by the International Center of Photography, one of theThirty Best Emerging Photographers by Photo District News Magazine, and was selected and participated along with elevenother photographers in World Press Masterclass in Amsterdam in November 2003. For more information, visithttp://www.lynseyaddario.com/main.php.Helene CauxHélène Caux is an independent photojournalist based in New York City since 1994. Born in Amiens, France, she earned amasters degree in American history from Sorbonne University and an advanced degree in journalism from Institut Pratique deJournalisme in Paris. She is currently working on two long-term photography projects: one on cross-dressing and genderrepresentations in New York, the other on refugees in the United States.Caux has combined humanitarian aid work and photography for the past nine years, traveling for UN agencies to West Africaand the Balkans. In Kosovo, she collaborated with the UN High Commissioner for Refugees to produce two photo books. One,A Journey Home, depicts the exodus of Kosovo Albanians to Macedonia and Albania in 1998-99 as well as the daily lives ofminority Serbs and Roma after the war. The other, Kosovar Women, is a collection of images about the role of women inrebuilding a peaceful and multiethnic society in Kosovo.Cauxs photographs have appeared in the International Herald Tribune, New Scientist, Amnesty International Press Sweden,Médecins Sans Frontières Kosovo reports, La Vie, and on the UN and UNHCR Web sites. Her work on refugees and womenhas been exhibited in several galleries in Kosovo. Cauxs project "The Freedom of Movement Train: A Multiethnic Kosovo/aJourney" was featured in the Open Society Foundations Moving Walls 8 exhibit. For more information about Cauxs work inSudan, visit National Geographics online photo essay of her work, Surviving Darfur: African Refugee Life. Visithttp://news.nationalgeographic.com/news/2005/06/0620_050620_darfur.html andhttp://news.nationalgeographic.com/news/2005/06/photogalleries/darfur/ to see her photo essay.Michal Ronnen SafdieUpon her return from the Chad/Darfur, Sudan border, Safdie wrote: "Our first impression is one of devastation, as we gaze atscenes of scattered bodies in destroyed villages, fields and mass graves. While the international community debates whether touse the term genocide (which seems to depend on the number of people killed and the motivation of the killers), the Bahairefugee camp is all about those who survived the killings, the lucky. We might take some comfort in the fact that they havebeen spared, but what kind of a life are they living, what does the future hold for them?" For more, visit:http://www.guernicamag.com/art/68/the_bahai_refugee_camp/.Ryan Spencer ReedBorn in Ludington, MI, Ryans journey documenting critical social issues began in 2002 after pursuing medicine in college. Atwhich point he sold his car to move to Nairobi, Kenya. After several months there he set foot in the Kakuma refugee camp innorthwestern Kenya—home to more than 90,000 refugees from conflicts across East Africa, most of whom are Sudanese fromthe Southern war. Working exclusively on Sudan since that time, Ryan has entered Sudan a half dozen times in both the southand Darfur, in addition to covering the mass exodus of refugees into Eastern Chad and Kenya. For more information, visithttp://www.ryanspencerreed.com/main.html.About the MusicThe song accompanying the images is "To the Sudanese Women" by Farah Siraj. It can be found on We are all Connected, aCD produced by Berklee College of Music and Mercy Corps. For more information and to purchase the CD, visithttp://www.berklee.edu/darfur/.The We are all Connected project began when three women -- Linda Mason, wife of Berklee president Roger Brown; LizWalker, news anchor for Boston CBS-4; and activist Rev. Dr. Gloria White Hammond -- were planning a trip to Darfur, Sudan,with the relief group Mercy Corps in 2004. Berklee College president Brown proposed the idea for a songwriting competitionto the college to create a gift of music and hope for the women and children of Darfur in a way that only Berklee could provide."To the Sudanese" was among the two winning songs.Upon hearing the two songs in the refugee camps, the Sudanese women leapt to their feet and began trilling and singing injubilant musical response. That beautiful outpouring of emotion in melody and rhythm was recorded and brought back toBerklee with Linda Mason. A new songwriting competition was created -- this time the sounds from the Sudanese women werethe inspiration, and their voices can be heard throughout this recording. Both the original songs and the new ones incorporatingthe voices of Darfurian woman are included on the CD.
  • Leslie Thomas, the Curator of DARFUR/DARFURLeslie Thomas is an architect and curator. Ongoing projects include the DARFUR/DARFUR exhibit, which she began out of adesire to bring the individual faces of the humanitarian crisis in western Sudan to the world. Exhibiting at such venues as theLos Angeles Hammer, the Boston ICA, the Royal Ontario Museum, the Jewish Museum in Berlin, and FORMA in Milan theexhibit has brought its large-scale projections to the streets of the world’s major cultural centers. A founding principal withLARC Inc. and LARC Studio, a national architectural practiced based in Chicago, New York, and Los Angeles, she is agraduate of Columbia University and the Georgetown University School of Foreign Service. An Emmy award winning artdirector she is committed to the use of art and design for public good.
  • VII. CHECKLISTThis page is for your organization to fill out if you decide to participate in this project. The purpose is to tell us what you areable to do and where we need to help you. Name of Organization Sponsoring the Exhibit: _________________________________________________ Contact Person _______________________________________________________ Address/City/Region/Zip-code _______________________________________________________ Phone _____________________ Email ___________________________________________AUDIOVISUALDo you have an audiovisual company you prefer to work with?  Yes  NoIf so, please provide the following: Company Name ______________________________________ Contact Name ________________________________________ Phone _______________________________________________ Email ________________________________________________How many days do you want to have the exhibit for? _________________________How many projectors/screens to you plan to use? _________________________BUDGETWill you need financial assistance to pay for this exhibit?  Yes  NoIf so, how much? _______________________________________________What do you need financial assistance for? _______________________________________________*We are hoping that each organization will be able to provide some, if not all financial of the financial support for this exhibit.However, if that is not the case, we are willing to try to help identify funds.TRAVELClosest Airport to your location: _________________________How far is it from your location? _________________________MARKETING AND ADVERTISINGCan organization cover your marketing and advertising needs for this exhibit?  Yes  NoIf so, please provide the contact information of the person in charge of marketing: Company Name ______________________________________ Contact Name ________________________________________ Phone _______________________________________________ Email ________________________________________________* We ask for this because we will need to coordinate with them about marketing this event since it is a part of a nationalcollaboration including other locations around Spain. We would like to have a cohesive marketing campaign.MEDIADo you have any media contacts that might be interested covering the exhibits across Spain?  Yes  No