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	<title>Side by Side &#187; Cultural documentation</title>
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	<link>http://www.sidebyside.net.au</link>
	<description>PRACTICES IN COLLABORATIVE ETHNOGRAPHY THROUGH ART</description>
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		<title>Debates on agency, management and interventionism in Aboriginal Art</title>
		<link>http://www.sidebyside.net.au/2011/05/13/debates-on-aboriginal-art</link>
		<comments>http://www.sidebyside.net.au/2011/05/13/debates-on-aboriginal-art#comments</comments>
		<pubDate>Fri, 13 May 2011 07:37:58 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Australia]]></category>
		<category><![CDATA[Collaborative Ethnography]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Forms]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Visual Art]]></category>
		<category><![CDATA[Aboriginal Art]]></category>
		<category><![CDATA[Debates]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1231</guid>
		<description><![CDATA[Contemporary Australian Aboriginal art can be argued to be one of the most well known examples of collaborative ethnographic practice using creative art &#8211; the multiple functions of works, the layers of inter and cross-cultural collaboration shaping the works, the underlying relationship of Aboriginal painting to story, culture and cultural expression &#8211; all qualities that mark the broad category of contemporary Australian Aboriginal art as a form of collaborative creative ethnographic practice. See the recent Canning Stock Route exhibition &#8220;Yiwarra Kuju&#8221; at the Australian Museum for illustration of what I mean. The Aboriginal art industry has been going for many decades now and has been the subject of much scholarship, journalism and debate. It has a lot to teach us about the issues that can confront and shape collaborative ethnography/art practices. Issues such as the overlaps and competition of different agendas driving the creative practice (cultural maintenance, economic independence and engagement with &#8216;mainstream&#8217; markets, such as the market for &#8216;high&#8217; art for example);  the reception of works, their value, both financial and cultural and who benefits from this value; the kinds of organisations that emerge to support collaborative ethnographic/art practices and how these organisations shape the kinds of work made. [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Exactitudes &#8211; categorizing with the camera</title>
		<link>http://www.sidebyside.net.au/2011/05/06/exactitudes</link>
		<comments>http://www.sidebyside.net.au/2011/05/06/exactitudes#comments</comments>
		<pubDate>Fri, 06 May 2011 04:14:58 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Forms]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1224</guid>
		<description><![CDATA[I am interested in the ways people use photography to capture the specific and link it to the more general and vice a versa&#8230; to do the work of coding and categorizing &#8211; so often aimed at in research &#8211; using the visual as the primary tool. So here is a cool project looking at styles of dress in different sub-groups, a collaboration by photographer Ari Versluis and profiler Ellie Uyttenbroek that lives somewhere in the borderlands of documentary, visual anthropology, pop-culture and art. Check it out: it&#8217;s called Exactitudes &#8211; to play on the specifics of each persons individuality and the linking attitudes that form a sub-group. http://www.exactitudes.com/index.php?/series/all/65/3]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2011/05/06/exactitudes/feed</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Visual Ethnographies of Place &#8211; during and after</title>
		<link>http://www.sidebyside.net.au/2011/04/29/visual-ethnographies-of-place</link>
		<comments>http://www.sidebyside.net.au/2011/04/29/visual-ethnographies-of-place#comments</comments>
		<pubDate>Fri, 29 Apr 2011 04:00:16 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Interactive Documentary]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[The Pilbara Project]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Welcome to Pine Point]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1196</guid>
		<description><![CDATA[How do we use visual ethnography to represent places? Landscape images alone often render a place somewhat opaque &#8211; capturing a static moment, leaving out the dynamism of country, weather, sensory experience, encounters, people and their lived stories. For me some of the most successful uses of the visual in telling stories of place rely on layering, building up pictures over time or from different points of view. An interesting project that is attempting to represent the many facets of place using  visual forms is the Pilbara Project - the most recent project of FORM, funded by an ongoing partnership with mining company BHP Billiton. FORM has sponsored a number of artists &#8211; mostly photographers and videographers, but also some writers &#8211; to take journeys through the Pilbara, a region in central Western Australia most famous as the site of some of Australias richest mines. The result is presented as an exhibition, much of which can be seen on the project web site. FORM is also inviting people to submit their stories of the Pilbara, for what I assume will be another participatory layer of the project to be released down the track. Click here to see a short video [...]]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2011/04/29/visual-ethnographies-of-place/feed</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<item>
		<title>Participatory Ethnography &#8211; One Arm Point Community School Culture Program</title>
		<link>http://www.sidebyside.net.au/2011/04/08/part-ethno-culture-programs</link>
		<comments>http://www.sidebyside.net.au/2011/04/08/part-ethno-culture-programs#comments</comments>
		<pubDate>Fri, 08 Apr 2011 05:58:02 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Australia]]></category>
		<category><![CDATA[book-making]]></category>
		<category><![CDATA[Collaborative Ethnography]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Education & Learning]]></category>
		<category><![CDATA[One Arm Point]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[The Mulka Project]]></category>
		<category><![CDATA[Video]]></category>
		<category><![CDATA[Yirrkala]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1151</guid>
		<description><![CDATA[Recently published by Magabala Books is &#8220;Our World: Bardi Jaawi Life at Ardiyooloon&#8221;, a collaborative ethnography of Bardi culture as enacted through the One Arm Point Community School Culture Program. One Arm Point is an Aboriginal community on the Dampier Penninsula, North West of Broome, Western Australia. The  book draws on materials made out of a Culture Program run through the One Arm Point Community School, in which all kids at the school participate in fortnightly  Culture Days and culture is integrated into the broader school curriculum. The &#8220;Our World: Bardi Jaawi Life at Ardiyooloon&#8221; book, and the One Arm Point Community School Culture Program are an example of how collaborative ethnography is being used in Indigenous education in Australia. The materials in the book began as small laminated booklets (and accompanying DVD&#8217;s) made following each Culture Day. Students, teachers, community elders and Aboriginal and Islander Education Officers (AIEO&#8217;s) documented cultural activities and lessons for use in the classroom and distribution in the community. The process of learning cultural knowledge (such as traditional hunting techniques, language words and phrases, cultural knowledge about local places, season, weather and tides&#8230;) is done in a practical way in the Culture Program, with kids, [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Letters from the Backside &#8211; Fairgrounds Racetrack and the New Orleans Neighborhood Story Project</title>
		<link>http://www.sidebyside.net.au/2011/04/01/letters-from-the-backside</link>
		<comments>http://www.sidebyside.net.au/2011/04/01/letters-from-the-backside#comments</comments>
		<pubDate>Fri, 01 Apr 2011 05:59:31 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[book-making]]></category>
		<category><![CDATA[Collaborative Ethnography]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Neighborhood Story Project]]></category>
		<category><![CDATA[New Orleans]]></category>
		<category><![CDATA[self representation]]></category>
		<category><![CDATA[USA]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1177</guid>
		<description><![CDATA[Checkout the newest offering from the Neighborhood Story Project in New Orleans: &#8220;After a season of writing workshops on the backside of the Fair Grounds, the Neighborhood Story Project has produced an exhibition of open letters written by jockeys, trainers, grooms, hotwalkers, veterinarians and track employees&#8230; Each year, more than 700 workers arrive in October and leave after the Louisiana Derby at the end of March. In this project, the writers have documented the joys and struggles of the horseracing world during the months in between. The exhibit includes handmade letter boxes with copies of the letters that can be taken home to read more about the months of work and planning that go into creating the racing glory that lasts less than two minutes.&#8221; See the NSP website to read one of the letters and for details on the exhibition, or read the article written on the project in the New York Times.]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2011/04/01/letters-from-the-backside/feed</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Highrise &#8211; 360 Documentary</title>
		<link>http://www.sidebyside.net.au/2011/03/25/highrise-360-documentary</link>
		<comments>http://www.sidebyside.net.au/2011/03/25/highrise-360-documentary#comments</comments>
		<pubDate>Fri, 25 Mar 2011 02:10:09 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Canada]]></category>
		<category><![CDATA[Collaborative Ethnography]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[digital stories]]></category>
		<category><![CDATA[High Rise]]></category>
		<category><![CDATA[Interactive Documentary]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Social Justice]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Video]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1155</guid>
		<description><![CDATA[Following on from the National Film Board of Canada&#8217;s desire to continue participatory film making into the digital age they have produced an ambitious participatory digital ethnography project called High Rise. NFB calls High Rise a 360 degree documentary &#8211; by which they mean it is an interactive documentary &#8211; a field growing in popularity as the wonders of web design improve day by day. High Rise profiles high rise living in a number of places around the world using photography, edited extracts from interviews and oral histories and a very cool panorama web design that allows you to virtually look around the spaces in which the stories take place and dive into different elements of the stories with audio, visual and text based stories on tap. click here to see a trailer on the project or just go to the High Rise site and explore. (Check out previous posts on interesting work from the Canadian National Film Board here)]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2011/03/25/highrise-360-documentary/feed</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Urban / Desert exchange &#8211; powered by video</title>
		<link>http://www.sidebyside.net.au/2010/09/09/urban-desert-exchange</link>
		<comments>http://www.sidebyside.net.au/2010/09/09/urban-desert-exchange#comments</comments>
		<pubDate>Thu, 09 Sep 2010 02:34:46 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Australia]]></category>
		<category><![CDATA[Collaboration]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Curious Works]]></category>
		<category><![CDATA[empowerment]]></category>
		<category><![CDATA[Martu Media]]></category>
		<category><![CDATA[self representation]]></category>
		<category><![CDATA[Social Justice]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Video]]></category>
		<category><![CDATA[Western Desert]]></category>
		<category><![CDATA[Indigenous]]></category>
		<category><![CDATA[indigenous media]]></category>
		<category><![CDATA[online channel]]></category>
		<category><![CDATA[refugee]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1106</guid>
		<description><![CDATA[Check out a cool project that is using participatory video making to link communities in the western desert and the western suburbs of Sydney. The Stories Project &#8211; hosted by Curious Works in collaboration with Martu Media has brought together young film makers from the western desert and refugees living in western Sydney to make their own media and create a dialogue through video exchange. You can read about the project here and see videos posted on the Stories Project online channel here.]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2010/09/09/urban-desert-exchange/feed</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>&#8220;Between Land and Water: United Houma Nation&#8221; Poster Release Event</title>
		<link>http://www.sidebyside.net.au/2010/08/28/between-land-and-water-united-houma-nation-poster-release-event</link>
		<comments>http://www.sidebyside.net.au/2010/08/28/between-land-and-water-united-houma-nation-poster-release-event#comments</comments>
		<pubDate>Fri, 27 Aug 2010 23:23:51 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Collaborative Ethnography]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[Neighborhood Story Project]]></category>
		<category><![CDATA[Posters]]></category>
		<category><![CDATA[USA]]></category>
		<category><![CDATA[United Houma Nation]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1120</guid>
		<description><![CDATA[The United Houma Nation&#8217;s oral history poster project will debut at the Jean Lafitte Acadian Wetland Center (Thibadeaux, Louisiana, USA) on September 4, 2010 from 2:00-4:30 p.m. The project is a collaboration between the United Houma Nation&#8217;s tribal council, the University of New Orleans&#8217; Neighborhood Story Project, and Side by Side Community Projects, Australia. It was sponsored through a grant from the Greater New Orleans Foundation. The photography by Maya Haviland of Side by Side Community Projects and the stories by Rachel Breunlin of Neighborhood Story Project at the University of New Orleans provide insight into the Houma community and traditions. The event, free and open to the public, will include intertribal dancing, a presentation on the history of the United Houma Nation by tribal historian Mike Dardar, and an &#8220;unveiling&#8221; of the posters. There will be light refreshments and time to meet the people who contributed oral histories to the project afterward. See below for details of the event: What: &#8220;Entre yakni et oké: United Houma Nation&#8221;&#8212;&#8221;Between Land and Water: United Houma Nation&#8221; Poster Release Event When: September 4, 2010 2:00-4:30 p.m. Where: The Wetlands Acadian Cultural Center of Jean Lafitte National Historical Park and Preserve, 314 Saint Mary [...]]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2010/08/28/between-land-and-water-united-houma-nation-poster-release-event/feed</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>searching for eldorado</title>
		<link>http://www.sidebyside.net.au/2010/05/19/searching-for-eldorado</link>
		<comments>http://www.sidebyside.net.au/2010/05/19/searching-for-eldorado#comments</comments>
		<pubDate>Wed, 19 May 2010 00:48:15 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Brazil]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[empowerment]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Sao Paolo]]></category>
		<category><![CDATA[Searching for eldorado]]></category>
		<category><![CDATA[self representation]]></category>
		<category><![CDATA[Social Justice]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=1019</guid>
		<description><![CDATA[In the growing tradition of using participatory photography as a tool in the empowerment of marginalised young people, the searching for eldorado project (procurando eldorado in Portugues), which happened in Sao Paolo, Brazil in 2004/05, got young people (10-18 yrs) from that community to create a picture portrait of their community using digital photography. As the project website says, &#8220;the primary aim of the project was not to teach the participants photographic or digital skills, although they undoubtedly learnt much about these areas, to which the majority had not been previously exposed. The basis of the project was a series of group discussions about the community and the places, people and things within it that were important to the young people involved. Within these discussions ideas about representation and self-representation were raised and the dominant media image of Eldorado, and other marginalised communities, as relentlessly violent and hopeless brought into question.&#8221; Utilising the power of citizen journalism which digital cameras and the distribution tool that is the internet can provide this project is an example of the ways in which NGOs and other organisations seek to support alternative media representations of marginalised communities using participatory photography. The images from this project [...]]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2010/05/19/searching-for-eldorado/feed</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Exhibition from Refugia Guzmán Pérez, Ch&#8217;ol photographer from Chiapas Mexico</title>
		<link>http://www.sidebyside.net.au/2010/02/14/rgp-expo</link>
		<comments>http://www.sidebyside.net.au/2010/02/14/rgp-expo#comments</comments>
		<pubDate>Sun, 14 Feb 2010 00:16:22 +0000</pubDate>
		<dc:creator>Maya</dc:creator>
				<category><![CDATA[Archivo Fotografico Indigena]]></category>
		<category><![CDATA[Chiapas]]></category>
		<category><![CDATA[Chiapas Indigenous Photography Project]]></category>
		<category><![CDATA[Cultural documentation]]></category>
		<category><![CDATA[From the Rural Community to the City - Refugia Guzman Pérez]]></category>
		<category><![CDATA[Participatory Visual Research]]></category>
		<category><![CDATA[Photography]]></category>
		<category><![CDATA[Side by Side Gallery]]></category>
		<category><![CDATA[Ch'ol]]></category>
		<category><![CDATA[Refugia Guzmán Pérez]]></category>

		<guid isPermaLink="false">http://www.sidebyside.net.au/?p=975</guid>
		<description><![CDATA[Side by Side Gallery is proud to present the online exhibition &#8220;From the Rural Community to the City- The Chol ethnic group in Chiapas, Mexico&#8221; -photographic works by Refugia Guzmán Pérez, a Ch&#8217;ol photographer from the Chiapas Photography Project (CPP) and the Archivo Fotográfico Indígena (AFI) – Chiapas, Mexico. Read an introduction to the exhibition by CPP/AFI founder and director Carlota Duarte below, and visit Side by Side Gallery – Refugia Guzmán Pérez to view the online exhibition (or follow links to Project Galleries on the Side By Side blog). It pleases all of us involved in the Chiapas Photography Project to share this unique work in process by Refugia Guzmán Pérez. Refugia conceived of this personal photo project as a way to link the past and present of her family and her Chol community. Since 1997, Refugia has been photographing her family in rural Salto de Agua and urban San Cristóbal de Las Casas. She supplements her vision of her family’s life with the old photographs she was able to collect from family members. Indigenous people in Chiapas rarely have photos from earlier generations, making Refugia’s project a distinct contribution to indigenous art and history. While the project speaks of Refugia’s family’s [...]]]></description>
		<wfw:commentRss>http://www.sidebyside.net.au/2010/02/14/rgp-expo/feed</wfw:commentRss>
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