Reflections of Wata by Alison Duke

C-Magazine art review

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Reflection of Wata by Alison Duke (1 of 3 multi-screening channels revisited)

I finally got a chance to read Mary McDonald’s very thorough CMagazine’s summer 2017 art review of New-Found-Lands: Exploring the historical and contemporary connections between Newfoundland and the Caribbean diaspora curated by Pamela Edmonds and Bushra Junaid – Eastern Edge Gallery, St. John’s Newfoundland.

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C-Magazine Summer 2017 issue. See Mary MacDonald’s review on page 64

MacDonald writes about the connection I make between water and labour in my mult-screening digital installation entitled Reflections of Wata.  This work is comprised of 3 panels that screen simultaneously.  Digital installations allow me to work more freely with content.  In this medium, I feel like I am not bounded by traditional filmmaking rules of space and time.  And I feel that I can communicate more poetically, rhythmically. Since, I started my journey into the arts writing poetry, perhaps digital installations will become more significant to my artistic practice today.  Go to C-Magazine to read the review of this entire show. 

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NEWS FLASH: A single channel of Reflections of Wata will screen in a retrospective film program in Toronto on Black Canadian performance in November 2017.  This retrospective will also feature  The Trilogy (1997) a music video I directed for Motion featuring Apani and Tara Chase. Stay tuned for the official press.

 

 

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Changing Seasons

May 2017 Project

I met this group of seniors last year around the fall. They had been calling me all summer to make a video about their group that has been meeting for over 40 years in a community center in Flemingdon Park. Flemo (that’s what we called it back in the day) was home to a large West Indian community in Toronto.

(Note: Click on above photos for Vimeo link)

The area was also known for hosting epic cricket and soccer matches on the weekends. The Seniors Guyanese Friendship Association started meeting here in 1972. When I finally got a chance to speak to their treasurer, Jim Bovell, he happily said they just received a Canada 150 grant to make a video about their group.

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Here I am about to start editing the film Changing Seasons.

Before we met I couldn’t see myself doing this all. Not that I didn’t want to. I could hear my Guyanese ancestors cussing me out if I didn’t step up to the plate. At the time, I had way too much on my plate… a few educational films in post…that nagging thesis film still needed to be finished. And I knew that anything that includes any kind of historical element just takes time.

And what was their plan? Was it even feasible?

Initially they wanted me to document all of their trips and events during the following year which could have been super fun but I could only do 3 days of shooting.  What would you do with all that footage anyway, their story was much deeper and important that watching them go on trips. The more I spoke to them the more I fell in love with them telling stories, the type of stories you hear from your grandparents and also the type of stories that really provides context for the Caribbean immigrant experience in Canada. As I looked through their photo archives I noticed how the weathered look told a story of its own.  Then I thought, why don’t I just pitch to them a photo shoot where they could be interviewed while getting their portraits taken. They went for it. It was a great creative strategy that helped on all levels,

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Jalani Morgan and his camera.

I approached Toronto-based photographer Jalani Morgan to take the portraits. We decided to shoot with an old school Polaroid camera and also show the behind the scenes footage of the seniors getting their portraits taken. I really wanted to create a visual tension of the seniors in a space with old and modern technology. I wanted the film to hint, how these seniors, like this old camera (that’s been around the block a few times),  were still able to produce beautiful images.  And that’s exactly what happened  Their stories were vibrant and funny and it really felt like sitting with your grandparents and listening to them tell stories.  But getting those stories wasn’t that easy.  I didn’t know any of them. It takes time for people to open up to a strangers, so I asked their group to work on the questions and then approached visual artist/animator Sandra Brewster to interview them since she volunteered with the group on a regular basis and was the one that introduced the idea of doing this video to me.

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Cecil and Doreen dancing at home.

The video was shot in 2 days. I hired the amazing Robin Bain to be the director of cinematographer on the portrait shoot. I shot most of the b/roll of the behind the scenes of seniors coming into the shooting space as well as the footage in their homes.  We shot with DSLRs to help keep the filming vibe intimate.  We wanted the documentary to feel like a series of portraits that came alive through story rather than film about portraits.

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Senior Guyanese Friendship Association founding members with members at large.

I edited this piece myself largely because the budget didn’t really allow for any more hands on it. After the first pass, I decided to call it Changing Seasons, largely inspired by the letters I was given by the group about their experiences coming to Canada during different times of the year and how they felt about the group over time.  Some of those letters made it into the film as well.

The group also supplied me with over 300 photographs (and video shot on cell phones and iPads) from their personal archives.  Many of their photos from this archive were distressed.  I left them “as is” because they  felt authentic and once again worn but still beautiful like our theme. A few of the group photos had been damaged by a scanner and I decided to Photoshop those ones because it was a bit too distracting.

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Seniors trip to Washington edited with their letters

This 1/2 hour piece actually took a few weeks to edit. It was fun, but I am glad its done mostly because I’m used to collaborating with “full-time” editors. LOL!

Overall the experience was a extremely positive, personally and creatively. These seniors are truly amazing. They are professional, passionate about what they do for seniors (regardless of what Island they come from) and they embrace the arts. I’m so humbled and grateful for the opportunity to produce this work. This project taught me a lot about aging in Canada and how being a part of a group as you age could be one of the bests things you can do. The good news is that the group says that they love the film and I heard there are a few screenings already planned.

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Here I am reviewing the credits and about to output the project.

So far I’ve heard of one screening in the community and one hosted by the Guyana High Commission and Consulate of Guyana in Ottawa to celebrate the Canada 150. I have to say that the whole Canada 150 celebration is bitter-sweet.

As an immigrant, as its been 150 years of the oppression of First Nations and Metis people and many of us came to their land knowing very little about their culture and struggle for their human rights, civil rights and treaty rights. That is a film in itself.

Keep checking back with me. I will post a link to the video when the Senior Guyanese Friendship Association uploads it to their site.

 

 

 

 

 

 

 

 

 

 

 

 

Summer 2017 – The Goldelox Round-Up

What a wild summer!  There seems to be so much going on in the world and so little time to process it all. One thing I know for sure is that WE ALL need to stand up to hate and stand up for love, but we all need to have EMPATHY for one another.

Colour coded title.jpgColour coded stat.jpgCreatively, this is a big year for finishing films that illustrate what we all must understand about oppression and how to circumvent any socially constructed falsehoods which creates power dynamics where people are made to feel superior and inferior.

I’m currently, in the home final stretch on two films that forces us to think about the other side and where we are situated in their oppression.  Colour Coded, is a short documentary about the racialization of poverty in Toronto (co-directed by visual artist Liss Platt); and, Education for all of us, about the educational system in Saskatchewan through the eyes of the First Nation and Metis educators.

Both of these film are research-based.  In order for them to work I engage in a process of brand messaging.  Instead of telling you what to buy (and why you should buy it), these films, unpack themes like racism, poverty and systemic oppression to guide audiences through how to think about the injustices that exists in this world that we live in and create positive change.

I’ve learned over the years that keeping the audience engaged in branded social justice documentaries is a bit of a different road to travel than making a traditional character-based film.  It requires thinking through story using the logic behind understanding concepts that can be quite abstract, rather than just following the actions of the main character.

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Still from Education for Us All directed by Alison Duke

With branded social issues content you have to balance messaging with on-the-ground realities so the work inspires learning across the board. And by across the board I mean, it has to be able to spark conversations that will start to change the attitudes and behaviours of people with varying experiences regarding that particular issue.

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Canada 150 forgot about its Indian problem

Your audience may not know anything about the issue or they might know a lot about the issue. They may even be a leading researcher on the topic but may not have experienced it personally or know exactly how others have experienced it.

Knowing that these types of films are often used as educational resources in the humanities and arts and that they may be available to the public either online or through community-based screenings, also informs my creative process.

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Serving so many masters can get tricky but getting to the heart of it – making it clear and fresh – for a wide range of people is a challenge I embrace with every film.  The grind of documentary storytelling doesn’t change, but the stakes in social issues documentaries might be even higher. Finding the right balance is key to this type of messaging. You have to listen to the research, the clients, the participants and the universe.  Being curious about how people think and finding ways to challenge their perception has actually become a creative niche for me.  I now end all of my emails with the tagline, In Creative Solidarity!” 

After these films are released, I will be diving into films about people trying to do the right thing.  I can’t wait to tell you all about it –  In Creative Solidarity !!!


 

 

 

On the Up

17901736_10158441063955577_1257965684_oRiding the UP in the 6IX/tdot/Megacity is short for taking the train from Toronto’s Union station to the YYZ airport.

I’ve yet to ride it but heard that it’s one sweet ride.  It even has its own on-board magazine called On the Up.

Their April 2017 edition features Forward Thinkers from various industries giving thoughts on what the future will look like in Toronto and/or how it will change in the next decade or so.

I was one of the people selected to give commentary about Film and Television industry. My friend who was On the UP texted it to me with the caption, “The future through your eyes sounds inspiring!”

Black History Month

Before the 6ix: Ladies First

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My footwear selection couldn’t have been more misguided. When I was invited to participate in Before the Six: Ladies first panel discussion about the important but much undervalued  role of women in the early 80s and 90s Canadian Hip Hop movement, I realized that I hadn’t worn high tops to a panel discussion in years. But people were really rep’in. This was the second panel of a series taking place at Toronto’s Reference library during black history month. Billed as Before the 6ix: And Now the Legacy Begins, the first panel called upon hip hop pioneers The Dream Warriors, music critic/music video director John Bronski, DJ/rapper K-Cut and DJ Agile. Their discussion focused on Toronto’s historical hip-hop scene and classic rap albums from the last 25 years.  Our panel moderated by Jemini the remarkable poet and host of G 98.7FM radio featured rapper/poet/writer/hip hop goddess Motion and DJ L’Oqenz on the turntables was marqueed with a slightly different direction. Yes we were going back into the crates but our crates were not just filled with songs, our crates also contained the stories of female empowerment. It’s been a minute since I’ve been in actual world of music. I mean it’s been about 20 years since I produced and/or directed a hip hop music videos. The  notoriously productive urban music video company called Raje Film house (pronounced Rage) where I worked and also owned with Ricardo Diaz, Jeremy Hood and Earl White became the epicentre  for a lot of urban artists to get videos made and also for a lot of people interested in directing to make work. Conversing with these ladies about what it was like for black female hip hop recording artists and female music video directors for that matter, to be heard and seen back in the day brought up a lot of fond memories but more so, stories of our resilience. Yes there were lots of battles on the mic but there were also lots of battles behind-the-scenes. At times our talk seemed to highlight that we were all living in different silos, unaware of what was really happening in each other’s world. But other times, our different vantage points illustrated how present sexism is.  Showing a clip from The Trilogy, a music video I directed for Motion featuring Tara Chase and Apani in the late 90s added some laughter to the event. The video’s tongue-in-cheek push back against sexism in the industry,  turned out to be sort of a visual document that addressed our frustrations and how we used humour to survive it all. Thanks to Brodee Nimble for the videotaping our discussion. To listen to the full discussion click Before the 6ix: Ladies First video documentation. If you want to hear us talking specifically about The Trilogy it starts around the 27 minutes mark. And btw its okay to laugh!

Who am I again?

Another highlight of 2017 black history month was being mentioned by Amanda Paris as one of  7 African Canadian female filmmakers to know in her CBC Arts blog. In addition to blogging, Amanda is the host of CBC’s flagship series The Exhibitionist and the CBC Radio show, Marvin’s Room. Well I have to say that it is really humbling to be acknowleged as a pioneer alongside filmmakers who I’ve to (for so many years) for inspiration and strength. I started making films much later than these women, but whenever my work becomes a challenge looking to their films and/or learning how they overcame their own obstacles always gave me hope and a bit better understanding of who I am again. We are all beacons for others. They are:

  • Jennifer Hodge de Silva (deceased)
  • Claire Prieto
  • Sylvia Hamilton
  • Christene Browne
  • Martine Chartrand
  • Frances-Anne Solomon

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The Akua Benjamin Legacy Project

 

The Akua Benjamin Legacy Project documentaries were all executive produced by Alison Duke of Goldelox Productions for Ryerson University. Alison selected 5 Toronto-based black female to each direct a  short film on black activists whose persistent resistance against racism and systemic oppression helped to make Toronto the diverse city it is today.  These films directed by Sarah Michelle Brown, Sonia Godding-Togobo, Laurie Townshend, Ngardy Conteh George and Ella Cooper have renewed the discussion about  the legacies of anti-black racism heroes within what I like think of as the black civil rights movement in Toronto, Canada from 60-90s.  For this project we focused on Gwen and Lenny Johnston of the Third World Bookstore, Rosie Douglas, Charles Roach, Dudley Laws and Marlene Green. These groundbreaking works premiered at the 2016 inaugural Akua Benjamin Public Lecture at Ryerson University during Black History month that focused on fifty years of black activism and resistance in Toronto. It had its festival premiere at the Caribbean Tales Film Festival in 2016 and won the award for best Canadian presentation.

 

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The screening of these films have sparked a real urgency for more black Canadian content to be produced and also have highlighted the roles of black women in film.

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Each film has its own style and message. We interviewed a lot of local activists who marched along side with them.  We concentrated on what made each activist a hero in the community and what values we need to cherish.julia-farquarhson

Check out some of the media coverage of the films:

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http://www.cbc.ca/news/canada/toronto/ryerson-black-activist-documentaries-1.3454471

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Understanding HIV through my films

Spaces of Interpretation For Positive women ( a presentation at the Understanding HIV and Art panel at the OHTN on Oct 24, 2016)

Storytelling through film can be an incredibly powerful tool for gaining new perspectives and creating shared understanding. The past 15 years making documentaries including a decade long focus on social justice films – mostly about the experiences of marginalized communities in Canada – has finely tuned my artistic practice with a special awareness about the sacred politics of documenting the lives of racialized and/or gendered bodies.

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When asked to participate on the Understanding HIV and Art panel at the Ontario HIV Treatment Network (OHTN) conference it forced me to go back into the crates, if you will, and analyze the films I made about women and how they connected with each other and how they linked to my MFA thesis film that is currently a work-in-progress.

 

The Woman I Have Become

The process took me on a bit of a time warp. Some of these films were often the first of its kind and the advocacy  that came out of them at the time was considered groundbreaking.  For example, The Woman I Have Become (2007) commissioned by Women’s Health in Women’s Hands Community Health Centre was the first film to capture the plight of real African, Caribbean and black (ACB) women living with HIV in Toronto ( even though with along with Indigenous women, they had the highest new infection rates in the province). ACB women didn’t get the same level of services as gay men and when they did it get service it was often under-resourced and/or they would face systemic racism.

Today African, Caribbean and black women are quite visible in the HIV/AIDS service sector and more health care and service providers are approaching their care from an anti-oppression framework.  Who knew that a film that showed the personal journey of  black women from infection, to diagnosis, to treatment and on their path to self-empowerment would have been so significant. The film premiered on World AIDS Day December 1, 2007 at the Hot Docs Bloor Cinema.  The film was also showed at the International AIDS conference and UNAIDS in Geneva and I remember it becoming a game changer for me in terms of hot button issues that interested me.

Eventually,  The Woman I Have Become  was translated into five different African languages, Swahili, Amharic, Somali, Arabic and French, courtesy of the Minister of Health and 10,000 DVDs were produced for national and international distribution. It has had over 200 community screenings around the world and is still being used in the sector to build awareness about the issues of black women living with HIV.

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Lisingu and Chantel (L -R)  in the film The Women I Have Become commissioned by Women’s Health in Women’s Hands, ACCHO and Voices of Positive Women

 

 

 

 

Positive Women: exposing injustice

If you ask most Canadians, they are unaware of how our HIV non-disclosure laws complicated the lives of HIV positive women across the country.  However,  thanks to opportunity to produce and direct the film Positive women: exposing injustice (2012) commissioned by the Canadian HIV/AIDS Legal Network, featuring the stories of four women Jessica Whitbread, Lynn Thompson and Claudia Medina and a woman we named DC who we couldn’t reveal her identity because there was a media ban on her case that was before the Supreme Court of Canada,  I learned why it is so difficult for women living with HIV/AIDS to disclose their HIV status; and also why she may not, even though the law says that she should.

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Jessica Whitbread in the film Positive women: exposing injustice (2012) by Alison Duke commissioned by the Canadian HIV/AIDS Legal Network.

The Legal Network ended up using this film as a lobbying tool against the Supreme Court of Canada (SCC) who at the time was about to revisit the R v Currier (1998) ruling that opened the door to the criminalization of HIV people in Canada for non-disclosure. The SCC was using more recent cases such as R v DC ( i.e. our participant a white woman arrested and charged in Montreal ) and R v Mabior ( i.e. a black man arrested and charged with sexual assault in Hamilton) in their renewed discussion and eventual ruling  scheduled for the end of that year.

Visually the film is a bit of a hybrid with three distinct narratives interplaying with each other. Part of the narrative tells the stories of how each of the women interacted with HIV criminalization. Another part is a bit of an investigation trying to provide clarity to a law that forces people living with HIV to disclose their status to sexual partners if there is a significant risk of transmitting the infection. The film navigates what “significant risk” means in a world where technological and medical have made transmission of HIV very difficult and living with HIV no longer a death sentence.

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The other part of the narrative is experimental. Faceless/nameless women interact with a piece of billowing red fabric like a Greek chorus. The scarf is an an expression of the stigma and discrimination women living with HIV face in society and the media. Throughout their interaction with the fabric, I was attempting to emote a range of emotions women feel with this law,  from frustration to anger but also show courage and strength  Positive women exposing This lead to my next HIV film commission by the Legal Network.

 

Consent

The documentary Consent (2015), which I refer more as a discussion about HIV non-disclosure and sexual assault law, evolved out the 2012 Supreme Court of Canada’s ruling which changed the law to be even more precarious and there was a fall out between feminist, HIV activist and women’s rights advocates and women studies historians. Over the years there had been an growing effort to decriminalize HIV non-disclosure. However, there was a philosophical split over the appropriateness of the law that disclosure is an act of informed consent whereas non-disclosure is an act of sexual assault. This was so ironic.  When you look at the legal evolution of Canadian consent law, it was initially created to protect women from sexual assault, but now the legal duty for women living with HIV to disclose their HIV status increases their potential risks to criminalization while making them more vulnerable to violence.  This philosophical division was so deep, it was starting to affect the advocacy work for women living with HIV, as well as their quality of social services and health care. It was time to talk!

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With primary impetus of Consent being to heal wounds. We decided that it would be important to provide a brief history of how the consent law developed in Canada and why to set up the context for the conversations. Then, instead of engaging in a investigative style to find the absolute truth, we tabled all sides of the argument with the hope that violence against women advocates, consent law advocates, women’s right advocates, and historians could in their arguments come up a better solution. I think we accomplished that.  Another thing I want to not is because there were no visuals to represent these philosophical tensions I worked with illustrators Nikila Mor and Jeff Duke (my rapper/graph artist brothers) to create them.  We went with B&W sketches that was a throw back to protest posters. We came up with at least 2 dozen images that represented this conversation. The visuals were not supposed to be clean, but a bit messy and incomplete much like the conversation itself. I wanted the film to position the interview subjects also as audience members, and often layered them with these graphics. I think the film was successful because essentially we were forcing the community of women’s rights advocates, feminist and HIV activists interview subjects to engage with one another. It was like watching a clash of ideas and being forced to come up with a strategy that supports each other and more importantly women living with HIV.  Time is of the essence.

  • Nikila Mor is an illustrator/filmmaker in my MFA program at York University and was able to come on board and since I’ve been making films I’ve leaned on my brothers artistry for story boarding and graphic in my work.
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Illustration by Nikita Mor and Alison Duke for the documentary Consent (2015)

Looking at all this work you will notice a progression of style. There had been a lot of technical changes and advancements in film over the past 10 year and I really tried to embrace it in the work. In the first film, The Women I Have Become,  I did most of the filming myself in an effort to manage the confidentially of some of the participants who gave us great access but didn’t want to showing their faces. Its mostly a handheld documentary shot in the style of investigative journalism with available lighting. We filmed on mini-DV tapes in standard definition.

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Unlike, the Woman I Have Become, shot on miniDV, my current films are shot digitally in 2K and 4K resolutions. In the more recent films, I’m shooting with professional  cinematographers such as Kim Derko and Robin Bain, so the films are lit beautifully and the images bounce of the screen with vibrant colour and attitude. Besides the technical maturity of the material ( which makes me sometimes not want to look at the earlier work), there are a few other reasons causing me to pause.  Seeing images of the late, Rhonda Stephens (2007) and recently deceased,  Devica Hintzen (2016) featured in the Women I Have Become and others who I’ve met along the way but didn’t really know like Kim Johnson or only heard of like Marisol Desbiens makes me feel so sad. These films are real documents of lives. I see the work as a testament to them and the countless other faceless/nameless HIV positive who have passed or have experienced great violence.  Just because they-have-a-socially-stigmatizing-infection that spreads through bodily fluids such as blood, semen and breast milk is no reason for their oppression.  So I look at these films as evidence of a moment of time in our collective history when it comes to HIV/AIDS and about the change we hope for.

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Saskatoon, First Nations HIV Activist, Lynn Johnson in Positive Women: exposing injustice

When revisiting these works again,  I am hopeful that people embrace the women participating in the films.  The fact is that these women didn’t just do interviews.  They let me become a part of their life. I’m still friends with many to this day. I’ve made these films because HIV disclosure still remains such a loaded ask. To disclose anything deeply personal is an action of faith – an action of trust. But  HIV disclosure requires people to be okay with being the most vulnerable yet still be brave. I hold onto the fact that these women have disclosed to me is a responsibility to get the story right!   Their  disclosure on film is a special gift to the world!

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Graphic images from Consent (2015) commissioned by the HIV/AIDS Legal Network.

Note:  All of these films and videos presented here have been used within the HIV/AIDS medical and social services sector and as educational resources in the schools of social work, women’s studies, medical sciences and law.  The attached links are available free of charge to use for educational purposes. If you would like to purchase high resolution copies with discussion guides or would like to donate to organizations who are commissioning these works, please contact:

The Process of Thinking

The process of thinking about how the work connects to one another does take some work on the part of the audience. You have to know a little bit about the history of HIV laws in some cases.  And sometimes the law has changed between each production. I try to provide some of the information in the films, as my way of keeping tabs on the history of the movement.

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When commissioned to make work about HIV, I really make an effort to work as closely as possible with the community members, participants, and/or an advisory team because I want to make sure that the films represent the issues in a way they feel confident that they can use the films for advocacy, education and research. But I also push for the community to think about how an art form such as filmmaking can be used to tell stories.  A lot of the times because the issues are so current that it hasn’t fully been documented or there are no images to represent the issue, and I welcome the opportunity to create new images. The degree to which some of the more ethereal imagery can represent the emotional journey of the issue, is a challenge. Sometimes  creating specific illustrations or manipulate existing images to create not something new and unique but to update the conversation.

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Raven Dauda in Disclosure courtesy of ©Goldelox Productions

Manipulating newspaper clippings, archival materials, personal photographs and/or video are a part of this practice.  I make it a practice, that the community is able to screen and comment on rough cuts and fine cuts. This really helpful because sometimes they have the best solutions for challenges the film may have or what needs to be communicated better. When the films are complete I go to the first premiere and that’s it.

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Conrad Coates and Raven Dauda in Disclosure © Goldelox Productions

The community is encouraged to take the film out into the world without me to have their own conversations about it. They are free to re-critique the work and talk about what they like and/or what they don’t like, without worrying about hurting the feelings of a sensitive filmmaker.

Two things that I have learned documenting this world is how even more powerful the it becomes when you are able to engage the audience. Most of these films are 20-48 mins in length but the discussions are often 45 – 90 mins long. The screening are quite the event! Another thing I have learned is the power of  empathy in

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Broadway Cares Screening NYC, for Positive Women: exposing injustice with HIV is not a Crime

storytelling. My next project on HIV is my MFA thesis film entitled Disclosure which is a hybrid film that’s part documentary, part drama.  I am exploring the use of empathy as a structural devise. It is an independent production that I am completing in 2017.

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FILMS

  • The Woman I Have Become (2007) about the experiences of 8 African and Caribbean living with HIV in Toronto Focused on stigma and discrimination from community and by healthcare providers. The film provided a space for black women with HIV to become more visible in health care system and ASO sector. Link to complete video:   The Woman I Have Become
  • Positive women exposing injustice (2012) looked at how HIV non-disclosure law affected 4 positive women across Canada. Opened a national discussion about the challenges that the criminalization of HIV- non disclosure presents for women living with HIV. Positive Women: exposing injustice
  • CONSENT (2015) a discussion between feminist, HIV activists, lawyers and academic. Provided a space for different groups of women on opposite sides of HIV non-disclosure legal measures and advocacy to voice concerns but also a path forward that empowers women living with HIV. Consent

Reflections of Wata

 

Reflections of Wata is a video installation created by Alison Duke for the New-Found-Lands Exhibition: exploring historical and contemporary connections between Newfoundland and the Caribbean Diaspora.  The exhibition is curated by Pamela Edmonds and Bushra Junaid at the Eastern Edge Gallery from September 9- October 18th. The Krio word for water is wata and this installation speaks to the journeys of black bodies crossing the Atlantic Ocean from the time of slavery to immigration.

 

Continue reading

The Akua Benjamin Project

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The Akua Benjamin Legacy Project is a series of short documentaries celebrating 50 years of black Activism in Toronto, Canada and the lives and legacy of Charles Roach, Dudley Laws, Marlene Green, Rosie Douglas and Gwen and Lenny Johnston, six prominent social justice/civil rights heroes in that struggle. The films were executive produced by veteran documentary filmmaker/video artist Alison Duke and directed by 5 local talents. The series includes: Charley directed by Laurie Townshend, Dudley Speaks for Me directed by Ngardy Conteh George, Where is Marlene Green? directed by Ella Cooper, Rosie, the Fearless Rebel directed by Sonia Godding Togobo and Book of Love directed by Sarah Michelle Brown.

 

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The New Year 2016

I only started this blog in Dec 2015. Way behind most people I suppose but nonetheless, I am happy to create a space to chat about my work and also give thoughts about the works of others. Creatively speaking, last year was a year of Consent, a short social justice documentary that I produced and directed commissioned by The Canadian HIV/AIDS Network. The film had a Toronto premiere on November 28th at the Art Gallery of Ontario Jackman Hall theatre as well as several screenings leading up to international Aids Day including;

  • Montréal, QC: Tuesday, December 1, 2015, 7:00pm at Pavillon Judith Jasmin Annexe (JE), Université du Québec à Montréal (UQAM), 1564 Saint-Denis.
  • Edmonton, AB: Tuesday, December 1, 2015, 7:00pm at Latitude 53 Contemporary Visual Culture (10242 – 106 Street)
  • Vancouver, BC: Thursday, October 22, 2015, 7:30pm at Fletcher Challenge Theatre, 515 West Hastings Street.

International screenings:

It was also a year of looking at different ways to tell the stories that I’ve spent so many years documenting, researching and writing about. I am hoping that this space will nurture how I communicate these ideas and inspire my growth as an artist, storyteller, film curator and critic.