ICYMAN
Information Exchange
ICYMAN is invited to undertake conceptual
workshop and present ICYMAN in a seminar at 2nd International Film Festival
for Children and youth in Buenos Aries Argentine during October 30 -
November 7, 2003. This program will be presented by Ariyan Daly, ICYMAN
coordinator.
Conceptual Workshop
Participants: Children 10-12 years old
November 3, 2003 (2-4pm)
Conceptual and practical workshop with
primary students to view and vote for best works made by children and
youth from Auburn International Film and Video Festival for Children
and Young Adults 'winners compilation 2003', as well as writing and
presenting own written stories during the workshop and voting
for the best script.
Seminar
Introduction to ICYMAN
and its projects 2004-2005
In February 2004, ICYMAN
will be launching a virtual database to commence networking between
children, youth and relevant organizations internationally. ICYMAN focuses
on Information Technology, multimedia activities such as moving images
and time based art to connect children, youth and relevant organizations
globally, and also be utilized as a virtual platform for cultural, artistic
and personal development. This is an opportunity to present young people
from culturally diverse backgrounds globally in the forefront to initiate
networking and implement new ways of expressions.
INTERNATIONAL EXCHANGE PROGRAM 2003-04
Presentation & Promotion
6th Edition
Auburn International Film and Video Festival
for Children and Young Adults
September 22-26, 2003
Int.
Film Festival for
Children and Young People Argentine
(Oct-Nov 2003)
Seuol International Youth Film Festival South Korea
(Dec 2003)
Roshd International Childen's Film Festival Iran
(Dec 2003)
Taiwan International Film Festival for Children Taiwan
(Jan 2004)
Child Produced
4-14 years old
A Good Heart Ashden
Walker, Live Action 4’30” Australia 2003 (Winner)
“An African girl struggles to fit in to her new
school in northern part of Queensland, Australia. In a race at school,
a white boy who does not like her pushes her off and prevents her from
winning. As the result of this incident the teacher will give warning
to the boy to not do it again and behave with proper manners and respect
for others.”
ANTS Children
aged 8-13, Animation 2’29” Croatia 2003 (3rd
Place)
“Elementary drawing animation of a Story about a
Lazy Ant who does not want to do his work like others.”
CHOMP William
Allsop / Channel Free, Experimental 4’ Australia 2002
“An experimental film about a young boy studying
at home but instead he begins to draw random lines, which are from Television.
But the illuminating television light distorts the image and can only
hear unrelated abstract sound.”
Flying Pancakes Children
aged 7-12, Animation 2’06” Croatia 2003
“Elementary drawing animation about a pancake who
decides to make jokes with people and throws itself around in most inconvenient
ways obstructing people who are working in the market.”
Bully Duster Trinity
Catholic Collage, Live Action 5’ Australia 2003
“Miss Dust is a new teacher at school and zaps every
student with her cane who cannot solve a mathematical problem. Until
a bright student solves the problem and she gets zapped and disappears.
Then she finds herself in a Rose Garden where she is so happy smelling
the flowers and sniffing fresh air.”
Suger and Spice Katerina
Lonergan / Channel Free, Experimental 4’ Australia 2003
“Life as an adolescent is not all sugar and spice…a
freeze frame in the inertia of life at school. An experimental film
showing four girls in the school yard, walking in the bush and studying
hard for exam.”
Winston Gene
Alberts / Channel Free, Experimental 4’ Australia 2003 (2nd
Place)
“To conform to the average life of a male, is to
conform to the average thinking in the mind.”
Youth Produced
15-22 years old
The Last Tree Moritz
Mayerhofer, Animation 6’10”Germany 2003 (Winner)
“In a dark future, humans are no longer vital images.
They are suppressed to their boring work. They forget about the nature
as they become deeper involved in their everyday mundane lives. Until
the Last Tree saves the world and humans.”
Unexpected Ms.
Avil Johnson, Live Action 10” UK 2002 (2nd Place)
“Unexpected is an emotional teenage drama about
a young girl, who is raised by an abusive father. After a one-night
stand she becomes pregnant. She then has to make a crucial decision.”
Moving on Ricardo
Barker, Live Action 10’ UK 2002 (3rd Place)
“A moving story about 2 young partners in crime
as well as best friends at school decide to steal the female teacher's
fancy motorbike. The younger friend is reluctant to do it but forced
by older that leads to losing his life in an accident to leave a huge
scar and guilt in his friends mind. ”
Adult Produced
for/about children
Trouble of Being a Boy Jamil
Rostami, Live Action, 24’50” Iran 2002 (Winner)
“Sirvan is a boy from one of the Kurdistan villages.
His roosters will be replaced with one another in the village. His mother
forces him to find the rooster. Suddenly some travellers come to the
village. One is a circumciser, and all the boys are afraid of him.”
Down River Reneta
Schuman, Video Clip 2’47” Australia 2002 (2nd
Place)
“When it's hot we go down river and swim
When we go fishin', we catchin' the bream
When the river's high, we jump off the bridge
When we get home we play the didge”
A Dog’s Hideaway Aviva
Barkhourdarian, Live Action 6’54” Germany 2001
(3rd Place)
“Janine has got a problem: she isn’t allowed
to have dog but there is nothing in the world she desires more then
having a dog. Polo is chained in a garage and his master tortures him.
Polo escapes towards Janine, the owner searches him, and Janie meets
Rudi the boy from the circus.”
Adult Produced
for/about youth
My Old China
Linden Goh, Live Action 11’ Australia 2001 (Winner)
“A film about growing up Chinese in the white Suburbs
of 1970’s Australia. 2 Chinese background boys being hassled by
white boys at school, as they try really hard to assimilate and having
trouble turning their parents into Aussies when they get home.”
A Case of Doubt
Torsten Schrank, Animation 3’20” Germany 2002 (2nd
Place)
“On a beautiful Autumn day the turtle Edward to
write his important love letter, But with a sudden case of doubt , Edward
thinks over his feelings.”
The Kennel Bujar
Alimani, Live Action 13’30” Greece 2002 (2nd
Place)
“Hito leaves his family in Albania and crosses over
illegally into Greece, together with his friend and several others.
At the border, the group become separated. His dog is also following
him in the distance and becomes his saviour when they get to the other
side.”
Cry for Bobo David
Cairns, Live Action 9’34” UK 2001 (3rd Pace)
“Frantic knockabout tragedy ensues when Bobo is
sent to clown prison for committing a daring but silly crime. Can he
escape in time to prevent his family from bringing shame on all clowndom?”
Little Noel Wants to Fly Nassiem
Valamanesh, Live Action 7’50” Australia 2002 (3rd
Place)
“Electricity, Helmet, Sunshine,
Mum, Dad, Brother, Bike, Knives, Stamps, Ducks, Sleep, Test, Acceptance.
A young boy from the suburbs of Melbourne who wants to join the Air
force to blow up things.”
September 2003
Who is behind the lens
now?
Madalene Chu Interviews
Vahid Vahid from CINEWEST and Ariyan Daly from ICYMAN about their international
adventures in the intersecting worlds of CCD and the film industry.
Supported with a Fellowship
from the Australia Council for the Arts and funding from the NSW Film
and Television office, Vahid Vahed has established CINEWEST, a Screen
culture and ccd organisation based in Western Sydney. The organisation
has grown from his previous work at the Auburn Community Development
Network, and continues to grow the Auburn International Film and Video
Festival for Children and Young Adults as its flagship event. Vahid
also has an international profile as a promoter of film by children
and youth, and as the Vice-President of UNESCO's CIFEJ, (International
Centre of Films for Children and Young People).
MC:
How does your experience as the Australian representative of CIFEJ and
UNESCO allow you to interact with other film festivals on an international
scale?
VV: UNESCO and
UNICEF conceived CIFEJ in 1955, which allows every country recognized
by United
Nations to have representation on it. For nearly fifty years CIFEJ objectives
has been lobbying and advocating children's issues through audio and
visual art forms, as well as providing a platform for an international
community of children, youth and relevant organizations. CIFEJ originally
had Australian representatives but not in recent years! In 2001, CINEWEST
became a member and I was nominated as a board director, and subsequently
elected as the Vice President. All CIFEJ members have similar concerns
regarding children and youth issues, and they all share global strategies
to address isolated experiences in different parts of the world.
MC:
What are the differences and similarities between the Australian children
and youth film festival and children film festivals around the world?
VV: Unfortunately,
as our network expands across the world, we realize that unlike the
Auburn International Film and Video Festival for Children and Young
Adults, children are not included in decision making about their own
welfare culturally, artistically or politically, and often have no status
socially. Due to the nature of our event, which has embedded community
cultural development processes, we are able to experiment with form
and content according to the needs of our communities. In many international
children's film festivals it is impossible to change format and content
drastically. We invite students from primary and high schools in Western
Sydney to judge all selected works in 5 categories, which means that
the kids judge works by their own colleagues as well as works by adults
about or for them and the winners will be announced by the judges during
the last day of the festival. We are the only international film festival
in the world that has children and youth Jury only.
Historically,
adults making films for children often interpret children's film festivals
as for children audiences. Most adult filmmakers purely use the kids
for their own vision or script. The way children are presented, or the
state of the child, is never from the child's perspective, it is always
being determined by the adult and projected on to the kids. And the
kids basically play along. In the past 2 decades, this agenda has been
challenged by ccd and Screen Culture organizations around the world
that work solely with children, youth and the communities. In Australia
we're changing that, most obviously through the development of film
and film festivals by children. Auburn International Film and Video
Festival for Children and Young Adults is also at the forefront of advocating
child and youth produced works to be an integral part of prestigious
international film festivals for adults as well as children's film festivals
globally.
MC:
How is information exchange between film festival organizers around
the world takes place?
VV: New Technology
has been the only tool for us to communicate with the world outside
of Australia since the conception of CINEWEST and Auburn International
Film and Video Festival for Children and Young Adults in 1998. Most
of the time, ccd projects or organizations are not funded adequately
to suit their capacity for expansion or long-term activities, and that's
when online technology can play the greatest role through cost effective
on-line advertising and communications. Since 2000, we have not sent
any hard copy entry forms to anyone due to lack of finances and by 2002,
we have received more than 350 works from 41 countries through electronic
communications and accessing information utilizing our website. That
web-presence put us on the world map and colleagues around the world
who are active in the same field quickly recognized our efforts, and
began correspondence in order to share resources and information. This
has led to some physical visits and exchanges in presentation and promotion
of the works produced by children and youth. I was invited to Argentine
and India to promote children and youth produced films from Western
Sydney and also do a script development workshop with the kids. I was
constantly being interviewed because it was a new thing for every one
to have child-produced films for an international market!
MC:
Do the goals and motivations behind running children film festivals
vary from country to country, festival to festival or are they similar?
VV: They vary
due to the economic and political circumstances of each country that
is hosting an international children's film festival! There are many
festivals around the world that focus on representing and promoting
their country and culture globally and are funded astronomically by
their respective governments. As for many others like our festival,
the communities are the main source of support and the Government will
assist, largely through maintaining the infrastructure to continue developmental
processes.
MC:
Do film festivals around the world face similar issues around funding,
terminology, policy and practice?
VV: No they
don't. As I mentioned above many festivals are set up by their Governments
and will obtain adequate funding to promote their countries. Many credible
children's festivals like ‚32nd Roshd International Film Festival
for Children and Young Adults‚ in Tehran-Iran or 28th Golden Elephant
International Children's Film Festival in Hyderabad-India or the very
recent International Film Festival for Children and Young People (2003)
in Buenos Aries-Argentina are Government supported international 'representatives'.
They have enough funding to invite and host foreign guests as well as
showcasing mainly feature films. The disadvantage of representing Governments
rather than communities was evident in the Argentinean festival, which
did not take place in 2002 because of the political turmoil in that
country. For many festivals that have just enough funding to organize
screenings and publish catalogues it becomes a struggle to predict or
anticipate certain outcomes in a short term and formula way, as their
goals will be achieved in the long-term through hybrid strategies.
As one of its cultural
development strategies, CINEWEST supports individuals and community
groups involved in ccd and screen culture activities in Western Sydney,
to become independent, and eventually mange their own affairs. CINEWEST
auspices ICYMAN, a fledgling international network of children and young
adults aged 6-22 who are interested in artistic expression through new
technologies, multimedia, film and video productions. Based in Western
Sydney, it aims to transcend Australian contemporary culture and identity
through a global focus, while providing children and youth of Western
Sydney, from a variety of different ethnic, religious and cultural backgrounds,
opportunities to explore, develop and create. A living example of community
participation, direction and control, ICYMAN's project coordinator and
publicist, is the 16 years old Ariyan Daly.
MC:
How did you become involved and appointed as project coordinator and
promoter of ICYMAN?
AD: I have been
involved in making film and theatre since I was 5 years old, as a performer
and later as a creator of various video productions. I had a short video
showcased at the 1st Auburn International Film and Video Festival for
Children and Young Adults in 1998 when I was 10 years old. I have been
involved with the festival and CINEWEST as a volunteer on many projects
since then. ICYMAN is intended to be managed by young people and I was
an appropriate candidate to take on the position for time being because
of my age and previous involvement with the community and multimedia
projects.
MC:
How is ICYMAN coming into being?
AD: I need to
basically promote the organization and coordinate projects as well as
seeking children, youth and relevant organizations and individuals from
around the world to become members for the next 2 years. ICYMAN accepts
full memberships only from children and youth 4-22 years old but others
who have similar aims and objectives, such as organizations and adult
individuals, can become supporting members.
The
response to my first introductory letter using the CINEWEST email-list
has been phenomenal, as we have received many membership requests from
around the world and a special invitation for me and two other ICYMAN
Steering Committee Members (Ramtean Roozbahani 18 years old and Bradley
Barnden 21 years old) to attend INFAC (International Filmmaking and
Acting Camp) organized by the Seoul International Youth Film Festival
held during August 11-17, 2003. This was a great opportunity for us
to promote ICYMAN among 140 young people from 20 countries attending
the workshops and also learning about how‚ a similar event could
be staged next year in Australia.
CINEWEST Ltd
auspices ICYMAN until it becomes a legal entity, which will be by the
year 2006. I certainly hope that we will remain partners in initiating,
supporting and developing CCD and Screen Culture initiatives locally,
regionally, nationally and internationally. We will also share resources
that will assist in establishing links quicker to achieve our similar
aims and objectives.
MC:.
How does ICYMAN plan to work on local, regional, national and international
scales?
AD: Through a number of projects, initially;
1. Establishing
a database of children and youth that are interested or active in the
production of multimedia i.e. film, video, audio and new technology,
and supporters - relevant organizations and/or adult individuals who
are active in the development or producing programs for children and
youth locally, regionally, nationally and internationally.
2.Establishing
an interactive website to be utilized as a common platform for children
and youth to express and communicate with each other through text, moving
images, audio and visual displays.
3.Establishing
a distribution unit ICYMAD (International Children and Youth Multimedia
Access Distribution)‚ to present, promote and disperse the works
received by children and youth universally.
4.Establish
an international Jury for International Children and Youth Film Festivals,
as well as forming various international steering committees to initiate
and implement projects globally.
5.Develop strategies
and present new initiatives to relevant organizations, governmental
bodies and educational institutions regarding multimedia access to address
children and youth issues globally.
6.Develop strategies
and implement cultural and artistic exchange programs for children,
youth with relevant organizations/partners locally, regionally, nationally
and internationally.
7.Organize
a series of screen culture events and activities conceived, organized
and presented by children and youth globally such as ICYMAC (International
Children and Youth Multimedia Access Camp)‚ in partnership with
Sydney Olympic Park Authority, the Australia Council for the Arts and
other relevant organizations during September 25-30, 2004.
MC: How
can such a small and new organisation hope to promote and establish
itself on an international level?
AD: ICYMAN is a regional organization with an
international perspective and the Internet plays a significant role
in promoting and developing ideas that derive from not only local young
minds but from around the world. Without access to New Technology, the
expertise of CINEWEST, and adequate funds, achieving our aims and objective
would be virtually impossible.
MC: What
methods are you using to promote ICYMAN amongst youth in Western Sydney?
AD: We are hoping to reach the communities through
the already existing networks such as CINEWEST and CCDNSW, as well as
advertising in local and ethno-specific media outlets and websites.
We will encourage young people to become members in order to take advantage
of the projects ICYMAN will undertake in the future. We are offering
free membership until 2005 and will encourage schools and higher educational
institutions in the Western Sydney region to become supporting members
to further promote ICYMAN.
_________________________________________________________
Evaluating
1st INFAC, August 2003
By Miomir Rajcevic
"… Making
film becomes a base for the teenagers to think and express themselves
freely. Also it has the meaning of the nature of democratic and human-centered
thoughts including various fields of humanities, society and science.
This is an opportunity to communicate with the teenagers around the
world…"
Dong-Ah Broadcasting College,
Seoul International Youth Film Festival,
Municipality of Anseong
First of all, I would like to express my content that I had the opportunity
to participate in the INFAC workshop. I would like to point out, especially,
the best possible level of collaboration with the organizers and coordinators
of the workshop, but also with the leaders of the foreign groups, witch
participated in this workshop.
The most of the participants of this workshop were the young people
(17 to 19 years old) from all over the Korea. The choice of participants
was very good, because for each place there were four candidates applying.
Beside the participants from Korea, the groups of filmmakers from eight
countries participated, as well, in this workshop:
Australia:
Bradley Barnden
Ariyan Daly
Ramtean Roozbehani
Austria:
Alexander Glehr
Thomas Reider
Germany:
Daniel Stephan
Philipp Ristic
Marie Luise Goerges
Hungary:
Szilvia Lakatos-Toth
Monika Kispeter
Csaba Kispeter
Kalman Czibolya
Norway:
Christina Fredriksen
Maria Steinsvik
Poland:
Marcin Klujsza
Dominik Ociepka
Sebastian Borowczyk
Serbia and Montenegro:
Jelena Ristic
Vuk Spasojevic
Nikola Ljuca
Miomir Rajcevic
USA:
Tenzin Pelzom Tingkhye
Evan William Driscoll
Gretchen Linda Ludwig
Anna Sophia Silverstein
Which makes it really international!
ENTRY FORMS
In my opinion the entry forms were made in a very practical way. They
were easy to fill in and had almost all the necessary data. Perhaps,
it will be a good thing to add, in order to facilitate the organization
of participant's travel, the place of the nearest airport and alternative
airport, as well as the obligatory form with parent's permission for
the minor participants.
In order to facilitate the choice of participants of the workshop of
next year, the following should be filled in:
1. Which part in the team the candidate would like to take over,
2. Which will be the alternative part (parts) that the candidate would
take, if for the first one there is no place left and
3. If the candidate wants to work in team, which will deal with the
dramatic film or documentary film
I think that it is very important to send, together with the Entry Form,
the list of technical capacities with basic conditions for filming and
editing (number of hours for filming, filming conditions with available
equipment for filming, use of lights, number of hours for editing…).
It would eliminate, from the beginning, the possibility of confusion
and will help the candidates to prepare their project according to the
regulations.
Maybe, it would be a good thing to add to the Entry Form the script
writer, which could while the workshop is going on, if his script is
adopted, take over the part of the director, cameraman, actor…
Like this, the organizers could influence preliminary the quality and
diversity of films, which will be made during the 2nd INFAC 2004.
Before coming to Korea
The preparations for the workshop, made the organizer, were considerable.
The hall process of team making was open for all the participants and
it ended on time. All the necessary contacts with organizers, assistants
in the teams and with other participants of the 1st INFAC were updated
regularly. There was no interruption in communication and all the details
about program, lodging, schedule and way of work, traveling was very
detailed. The organizers, also, made an effort to give to the foreign
participants enough important details about Korea.
Arriving in Korea and lodging
The reception of guests at the Seoul airport and the transfer to the
Dong-Ah Broadcasting College took place without any problems. All the
procedure were very simple, and the organizers were very amiable and
done everything in order to make everyone content.
The food, as well as the Korean and the European food, was carefully
chosen, of good quality and prepared with care. As I could've seen it,
everyone was content with the food.
The necessary documentation in order to get accustomed more easily,
in English and in Korean, was prepared and immediately distributed.
All the necessary announcements were placed at the visible place and
the work schedule was very precise and easy to understand.
Dong-Ah BC is surrounded with forest and has a lot of possibilities
for sport (football, basketball, tennis…), which should be pointed
out next year. Maybe, the ones who are interested will bring the sport
equipment with them!
During the entire stay, the transport was very well organized and very
comfortable. The organizers were present all the time and they were
ready to help and answer all the questions 24 hours per day.
In the dormitory there is well-equipped gym and few washing and drying
machines, witch should be pointed out, for the next year, as well.
I think that it is important to point out that the toilets and the bathrooms
are common and that the participants have to bring with them enough
towels.
Workshop organization, technical equipment
Opening:
In a very friendly and relaxed atmosphere, the workshop commenced with
an official opening. The opening ceremony was very well imagined and
divided in three parts. The introduction part, where the important people
of Korean public and cultural life, addressed to the participants, was
interesting, well coordinated and short. The speakers:
Choong-Goo Lee, President of Dong-Ah Broadcasting College:
…I expect that all the campers show their full ability and actively
participate in both filmmaking and in other activities…
Yong-Kwan Lee, Chairman of SIYFF Organization Committee:
…Hope this camp help developing communication between international
cinekids and become a support of filmmaking in the long run. It is real
pleasure of mine meeting you…
Dong Hee Lee, Mayor of Anseong-si:
…I wish INFAC for youth becomes a container that carries dream
of youth and a platform for cultural interchange of youth from the world.
The second part of the opening ceremony was very well imagined combination
of Korean music for young people and of show program, and the third
part was the common dinner, witch helped the participants to get to
know each other better.
Theory and preparation:
First day of work began with the theory. The actors had the hall day
lecture and practice in a special group, and the others (directors,
cinematographers and editors) had, all together, the introduction lectures
about directing, camera and editing.
The lectures lasted three hours and they were very carefully prepared,
adapted to the participant's age and useful, as the preparation for
work. The sequence was logic (directing, filming, editing) and it was
really a good thing that everyone participated to all the lectures,
because this increased the harmony of the teams as well as the friendship
and teamwork.
The special pleasure on the first day represented the choice of actors
in the evening. In very cheerful and friendly atmosphere, the teams
selected the actors for their films.
Filming:
Dang-Ah BC is very well technically equipped. It was a real pleasure
to see 25 teams, completely equipped with all the necessary equipment,
start filming at the same time. 25 cameras worked that day on the space
of Dong-Ah Broadcasting College. Some of them were filming in the buildings,
some outside and some of them inside and outside. They were followed
by the teams of documentary makers, newspaper photographers, journalist
of radio and TV stations. They were filming all day, having the lunch
brake.
I think that eight hours of work was quite enough to film all the necessary
material for three to five minute production. The digital equipment
allowed them to work simply and to have the quality picture and the
enough number of cameras and equipment eliminated the nervousness and
waiting. All the teams finished this phase of work in time.
Editing:
The editing of films started the same day, after dinner. Dong-Ah Broadcasting
Collage is equipped with a big number of editing units (PC off-line,
Premiere 6.5), so each team had the possibility to use its own editing
place. As all the time, each team has the assistant, witch is film educated
and witch was ready to help at any moment to solve eventual problems.
Those, who didn't manage to finish the editing that evening, had the
opportunity to finish it in the morning the day after. In the anticipated
time, all the films, except one (because of the technical problems)
were finished. Unfortunately, this film was not shown at the final show
and didn't take place at the judging, but it was finished late and shown
at the firewall party.
Screening and jury:
The film screening, of very big quality, took place, in two parts, in
front of all the participants and organizers of the workshop in a very
good projection hall. The members of the jury had the opportunity to
see 24 films (19 dramas and 5 documentary films) of the official competition
for the grand prix and five equal awards. Out of competition, the special
surprise film, made by the guests from Germany, was shown.
At the final ceremony, the awards and symbolic prizes were awarded with
loud support of the auditorium, which confirmed, in that way, the decision
of the jury.
I would like to suggest, that the next year, the participants of the
workshop should be allowed to vote and award the prize of audience.
CONCLUSION
1st INFAC proved itself with big potential and aim to become one of
the biggest world's film workshops. There were 150 young participants
from Korea and another 8 countries from Europe, America and Australia.
They had formed 25 teams-film crews and during the workshop made (completely
produced) 25 good quality films, 2-5 minutes long each. INFAC results
are telling everybody of serious intentions of organization team of
INFAC to fight for prestigious place on the map of world's media summer
workshops.
University of media language once again, as so many times before, proved
its efficiency! Engaged together on film production young people from
all over the world showed absolute readiness for understanding. No matter
how difficult for some of them was to communicate in English (official
language of the workshop), they needed only few hours to make atmosphere
of full cooperation.
Differences in every day habitations of participants and traditional,
cultural and religious backgrounds worked for (not against) richer media
expression involved in filmmaking in workshop. Perfect natural surrounding
where Dang-Ah BC is situated and hospitality just make fine addition
to excellent conditions the College itself offers.
And that is not all!
There were perfectly organized for us sightseeing trips to some of numerous
places of cultural - historical heritage of Korea. As usual, we believe
to know a lot about others, but there is much left to learn. Some of
the participant was invited to spend several days in Korean families
and they got more complete experience about this wonderful country.
I do hope that this visit is only the beginning of great global project.
I am personally wishing to organization team and all participants to
continue in such a good manner and produce a lot of new films.
_____________________________________________________________
WORLD SPORTS EXPO
FOR YOUTH
A visual and audiovisual art exhibition
1. THE
PROJECT
The message of the
Olympic Games (Citius, Altius, Fortius) Athlima in Greek means sport;
on a second level it means struggle, a creative struggle to be faster,
higher, stronger. The Olympic Spirit rewards excellence in sport and
in culture, in a struggle where participation is more important than
victory. In this connection, the Athlima World Sports Expo promotes
youth creativity and artistic achievements through the encounter between
diverse world cultures. It brings together youngsters from Europe and
the rest of the world in a vast project of global participation.
The context of the
exhibition
As indicated, Athlima means sport and this is the theme of the global
exhibition to be organized in Athens in July and August 2004. The exhibition
is to feature visual, audiovisual and web-based creations addressed
to children as well as art creations produced by children. It aims at
highlighting the world's impressive cultural diversity and encouraging
intercultural exchange. It focuses on knowledge and active promotion
of the world's different cultural identities.
The exhibition likewise
encourages intercultural exchange, contributing to cultural bridge building,
the development of new conceptual tools and the enhancement of communication
skills, optimizing the global socio-cultural encounter. Each country
contributes art creations covering the entire history of sport and focusing
attention on the current situation in youth sport, as an index of the
social synergy and cultural expressiveness of all its citizens. Moreover,
through expansion of the contemporary visual arts the past, present
and future of youth sports is creatively endorsed in each country within
a process of evolving a common European mosaic or artistic expression
on a theme of broad social relevance.
The selection of
the art works is carried out through networks with members and core
action groups all over the continent, so as to ensure large-scale representation
of young people and artists from all European countries. The networks
involved have made an acknowledged contribution to other European cultural
projects at present being implemented with wide social and cultural
support.
An on-line service
hosting the international dialogue between youngsters and artists supports
the exhibition operation, enhancing its European character and ensuring
worldwide dissemination of the relevant information. This service, together
with the ongoing collaboration with global networks promoting youth
art, serves to secure representative participation of non-European countries
in the project. The exhibition aims to carry out an indicative mapping
of the international situation and a wide-ranging and detailed presentation
of European realities at an historic moment when the Olympic Games are
returning to their birthplace.
After the Games it
is proposed that the exhibition be made mobile and embark on a tour
of the countries inside and outside Europe that are in a position to
meet the costs of hosting it.
2. AIMS
OF THE PROJECT
· The promotion
of European audiovisual and web-based art creation addressed to children
· The encouragement of children's creative work in audiovisual
and web-based arts
· Emphasis on cultural bridge-building in order to focus on the
world's cultural diversity and identify points of convergence between
Mediterranean countries through a constant flow of information establishing
the basis for intercultural synergy
· The development of a common approach to children's sport as
a basic question of education and culture and a medium of communication
· The comparison of what is offered by the professionals with
the images perceived by children and the elaboration of a creative dialogue
between developers and users of visual, audiovisual and web-based products.
· The determination of a common global position on children's
sport, as expressed in visual, audio-visual and net-based products;
the promotion of pictures by children and the views and demands of children
pertaining to the fields of physical exercise and sport; the development
of input into state policy-making on children's sport as well as into
aesthetic and audiovisual education.
· The establishment of a decisive cultural and financial role
for youth sports in the global socioeconomic structure
3.
MEANS OF IMPLEMENTATION
Informing and communication
Information dissemination and continuous communication with the organizational
centre is to be effected through specific structures with specialization
in children's sport and in visual and audiovisual education.
Television channels
and websites presenting the development of the organization and the
art education structures will both have an important role to play in
this connection.
Each country will
activate sports associations and other related organizations to provide
us with a general overview of sports education at the national level.
State and private television networks will present the audiovisual products
being made available to youngsters for their information and education
in relation to sport. Our research collaborators in each country will
identify websites carrying useful information, so that the corresponding
organizational department can liaise with them and establish the appropriate
links. Art networks will be responsible for transmission of information
and selection from all member countries of the visual art material created
by children for the Athlima project.
3.2 Presentation of material
The exhibition is specially designed to group together entries from
each participating country and to be accessible to both adult visitors
and children. It will include symbols and other components that will
provide a fitting embodiment for the sports message of each country
and numerous artistic works created by children for the project.
Exhibition planning
will be focused on attracting interest from children. It will be an
event oriented primarily towards children, leading them and inspiring
them to search for the different cultural characteristics of each country
as they relate to the significant, popular and accessible theme of sport.
The presentation
of audiovisual products is to be conducted through pre-installed monitors,
video-walls and info points. Moreover, individual screening booths will
be in operation for the duration of the exhibition, with public screening
scheduled in accordance with the timetable.
All web-based products
are to be presented in real time through individual PC monitors and
pre-installed video-walls and info points.
All sections of the
exhibition are to be constantly on-line, connected through a PC link
operated by the information and communication service.
The exhibition will
fully covered and promoted by television channels, the press and Internet.
The official catalogue
will be available in four languages for the duration of the exhibition.
4. ORGANIZATION
Organization gets
under way with the approval of the project and will come to an end by
June 2004.
The exhibition is
to last two months, with public participation expected from all parts
of Greece. Though focused on European participation, it will also accept
contributions from anywhere outside Europe. Governmental, non-governmental
and international organizations specialized in visual, audiovisual and
web-based production and in education will all be involved in co-organization.
The exhibition will be made mobile and will go on a tour, for at least
two weeks, of countries requesting a visit and able to cover the expenses.
Co-organizers and
partners are to be assigned specific roles. Co-organizers will bear
five percent of the costs and will undertake suitable specialized tasks.
Partners will be responsible for their own national participation and
for disseminating information on the project. The project's co-ordinating
committee will work out conditions of participation for professionals
and children, which will be publicized internationally.
Both co-organizers
and partners will be responsible for bringing together the visual, audio-visual
and web-based creations and submitting them to the co-ordinating committee,
on which all co-organizers will be represented.
The coordinating
committee will be charged with securing a suitable exhibition venue
and planning the tour. It will find the premises for the lectures, workshops
and ancillary functions. It will establish the committees responsible
for transport, receipt, maintenance and dispatch of the works.
An international
evaluation committee will be set up to take responsibility for acceptance
of works into the exhibition. People of distinction from the arts and
the audiovisual world will make symbolic awards to both professionals
and young artists at the exhibition's closing reception.
Workshops, lectures
and other ancillary functions for organized groups of children and professionals
will be staged at regular intervals and on request.
Exhibition preparations
and publicity will be concentrated at a specially created website, capable
of attracting lively participation from all over the world. The virtual
exhibition will be hosted on the website starting from August 2004 and
for two months following the completion of the tour.
The exhibition tour
is tentatively programmed to get under way by October 2004.
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