Winter 2008

Doc U Arts Institute—Engaging Documentary
Various Instructors

Personal Views / Community Goals + Relationships / Disconnection + Cultivation / Tension + Agendas / Self-reflection + Collaboration / Artistic Freedom + Public Impact / Singular Vision

Documentary artists—photographers, filmmakers, audio producers—work in the space where creative expression and community dynamics intersect. During this mini-institute we will focus on the documentary arts as active engagement and explore the inherent tensions and potentially transformative nature of the documentary arts.

Select one of three tracks—photo, audio, or video. Students are invited to bring current work. Our guest professionals will curate a small number of projects to present in public sessions. You'll have ample opportunity to receive focused feedback, both in individual and group settings. Participants will work primarily within their medium, but there will be plenty of cross-fertilization.

Institute instructors will include New York–based photographer, author, professor, and filmmaker Bruce Jackson; California-based filmmaker Christie Herring; Johanna Zorn and Julie Shapiro of the Third Coast International Audio Festival in Chicago; Karen Cirillo, curator of the short-doc traveling film festival Doxita, based in New York; Yale-educated photographer Pam Pecchio; and audio documentarian John Biewen and photographer and professor Alex Harris, both based at CDS.

Limit 20 in each track: photo, audio, video.

Date: Thursday to Sunday, February 7–10
Begins 5:30 p.m. on Thursday; 9 a.m.–5 p.m. Friday & Saturday, plus evening presentations; 10 a.m.–2 p.m. Sunday (16 hours)
Course fee: $325
Course ID: 11458 (photo); 11461 (audio); 11462 (video)

If you are a professional interested in taking this class for CEUs, please contact Garry Crites at gjc3@duke.edu or (919) 684-3178.



FOR MORE INFO:
April Walton / 919-660-3670 / awalton@duke.edu



THREE EVENING PRESENTATIONS
February 7–9, 7:30 p.m.
Part of the Doc U Arts Institute

Durham Arts Council PSI Theater
120 Morris Street, Durham, NC
Directions: http://www.durhamarts.org/facility_directions.html
$5 Suggested Donation

THURSDAY / February 7, 7:30 p.m.
Doxita–The Hours of Our Lives
A Traveling Festival of Short Documentaries
Curated by Karen Cirillo

Doxita is a traveling festival of documentary films that are under forty minutes in length. The program, approximately two hours of film, includes a wide variety of documentaries—domestic and foreign, super-short and longer format, serious and funny. It is designed to profile the great content and artistic vision that nonfiction short films provide, but that people don’t often get a chance to see. Some of the films featured in the first annual Doxita (“The Hours of Our Lives”) are:

Vángelo Monzón (Argentina/Sweden, Andréas Lennartsson, 8 min.)—A visit with Vángelo Monzón, who’s been making bricks in Argentina since he was a boy;

Cross Your Eyes, Keep Them Wide (USA, Ben Wu, 23 min.)—An invitation into Creativity Explored, a San Francisco work space for artists with developmental disabilities;

The Guarantee (USA, Jesse Epstein, 10 min.)—Through animated drawings, a man tells how he considered plastic surgery for his ballet career.


FRIDAY / February 8, 7:30 p.m.
Screening & Discussion with Bruce Jackson
Death Row
A Documentary Film by Bruce Jackson and Diana Christian

This documentary captures daily life on Death Row in Texas. When the film was made, in March 1979, 114 men were housed in the special death cells of Ellis Prison's rows J-21 and J-23. The men spend their time waiting for the State to kill them or fighting as hard as they can to prevent that death from happening. Their hardest job is staying sane. Except for four hours a week, the men are constantly locked in small one-man cells. Few outsiders visit the Row, and those who do never stay very long. The Row is the least known of all our prisons.


SATURDAY / February 9, 7:30 p.m.
Listening Session & Film Screening
Discussion with Filmmaker to Follow

Third Coast International Audio Festival Mini Listening Session
Based at Chicago Public Radio, the Third Coast International Audio Festival celebrates the best documentary audio work being produced around the world for radio and the Internet. The TCF will present a few sonic gems from its recent public audio projects, 99 Ways to Tell a Radio Story (2006) and Dollar Storeys (2007), showcasing the versatility and eloquence of the audio form in telling important stories—big and small.

Waking in Mississippi
A Documentary Film by Christie Herring
Christie Herring, a Duke University graduate, collaborated with Andre Robinson in producing and directing Waking in Mississippi. This 60-minute video about race relations in her hometown has been shown across the country, including a special screening at the National Civil Rights Museum in Memphis during the official 30th anniversary commemoration of the assassination of Martin Luther King Jr.



SOME INSTITUTE SESSION HIGHLIGHTS:
 
Death Row and the Cummins Prison Farm Project
Bruce Jackson will discuss photographs currently on display at the Center for Documentary Studies, in the exhibition Cummins Wide, and the breath of his project on prison culture, including his film Death Row, which will be screened Friday evening, February 8, at the Durham Arts Council. http://cds.aas.duke.edu/exhibits/nowonview.html#cummins
http://www.acsu.buffalo.edu/~bjackson/
 
TCF Listening Room—C'mon Feel the Radio
Engage with a variety of exciting radio work, from a story that tries to make you yawn on cue to one that challenges your ideas about big box stores, to an artist’s daring attempt to take the nation’s pulse on reparations. The program is curated by Third Coast International Audio Festival directors Johanna Zorn and Julie Shapiro.
http://www.thirdcoastfestival.org
 
The Soccer Project: Engaging Communities Around the World
Tom Rankin, Director of the Center for Documentary Studies, will facilitate a discussion with the directors and producers of The Soccer Project:—Rebekah Ferguson, Gwendolyn Oxenham, Ryan White, and Luke Boughen—about the ways they engaged with different communities during the first leg of their world journey.
http://www.thesoccerproject.com/
 
Two Visions of Documentary Engagement
Photographer and Duke professor Alex Harris will discuss his process of community engagement from his early projects in Alaska and New Mexico in relation to his latest work in Cuba.
http://www.alex-harris.com/



INSTRUCTOR BIOS

Bruce Jackson is SUNY Distinguished Professor of English and Samuel P. Capen Professor of American Culture at State University of New York at Buffalo. Before joining the UB faculty in 1967, he was for four years a junior fellow in the Harvard Society of Fellows. He has received grants or fellowships from the John Simon Guggenheim Foundation, American Council of Learned Societies, National Endowment for the Arts, National Endowment for the Humanities, New York Council for the Humanities, and other agencies and foundations. He is the author or editor of twenty-five books, among which are The Negro and His Folklore in 19th Century Periodicals (Texas, 1967), In the Life: Versions of the Criminal Experience (Holt, Rinehart and Winston, 1972; French edition with introduction by Michel Foucault, 1975), Wake Up Dead Man: Afro-American Worksongs from Texas Prisons (Harvard, 1972; Georgia, 2000), Get Your Ass in the Water and Swim Like Me: Narrative Poetry from Black Oral Tradition (Harvard, 1974; Routledge, 2004), Law and Disorder: Criminal Justice in America (Illinois, 1985), Death Row (with Diane Christian; Beacon, 1980), Disorderly Conduct (Illinois, 1992), and The Story Is True: The Art and Meaning of Telling Stories (Temple University Press, 2007). He is the author of hundreds of scholarly and general interest articles that have appeared in Ácoma, Harper’s Magazine, LatinoAmerica, Harvard Journal of Negro Affairs, Journal of American Folklore, Il Polo, Atlantic Monthly, Antioch Review, New York Times Magazine, Artvoice, Counterpunch, American Anthropologist, The Nation, The New Republic, Society, and Rolling Stone. He has been a guest on PBS’s Newshour, NPR’s Tavis Smiley Show, and many other programs. His documentary films have been shown at the Museum of Modern Art, at the Library of Congress, and at major international film festivals, and have been broadcast in the United States, France, and Germany. He recorded and edited eight ethnographic sound albums and CDs, one of which, Wake Up Dead Man, was nominated for a Grammy. He is editor of the American Subcultures book series (Praeger), co-editor of the book series Folklore and Society (University of Illinois Press), and director of the Center Working Papers book series. He has been president of the American Folklore Society, editor of Journal of American Folklore, and chairman of the board of trustees of the American Folklife Center in the Library of Congress. He is also a documentary photographer. In 2002, the French government appointed him Chevalier of L’Ordre des Arts et des Lettres.

Christie E. Herring is an independent documentary film producer based in San Francisco. She entered the world of professional filmmaking directly after graduating from Duke University in 1996, when she collaborated with Andre Robinson in producing and directing Waking in Mississippi. This sixty-minute video about race relations in her hometown, Canton, Mississippi, has been widely screened, including a special community screening at the National Civil Rights Museum in Memphis to mark the thirtieth anniversary of the assassination of Martin Luther King Jr. Herring’s film Bodies and Souls illuminates the efforts of Sister Manette, a Catholic nun running the only health clinic in rural Jonestown, Mississippi. This sixteen-minute documentary (a “gem,” according to the Arkansas Times) has won several awards and continues to be screened at film festivals across the country. Herring’s award-winning short documentary Chickens in the City was spotlighted in San Francisco magazine and has been shown at more than a dozen festivals worldwide.

John Biewen is the audio programs director at the Center for Documentary Studies; he was formerly a correspondent-producer for American RadioWorks, the national documentary unit of American Public Media. He has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA), and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, he lived and taught in Osaka, Japan, from 1985 to 1987.

Pamela Pecchio received her MFA in photography from the Yale University School of Art in 2001. Her work is included in many private and public collections, including the Ogden Museum of Southern Art, the Beinecke Rare Book and Manuscript Library at Yale University, and the Yale Davenport College collection. She has exhibited her work across the U.S. as well as internationally in China, Spain, Italy, and Holland. She is currently Assistant Professor of Photography at the University of North Carolina–Asheville. She was nominated in 2007 for The Patron Saint of Photography, a teaching award given by the Santa Fe Center for Photography.



Johanna Zorn, executive director of the Third Coast International Audio Festival, is the founding mother of the festival and enjoys working with the entire crew on every aspect of the project. Additionally, Zorn takes the lead when it comes to budgeting, fundraising, and public relations. She has worked at Chicago Public Radio for more than two decades, including ten years as the executive producer of the acclaimed documentary series Chicago Matters. She continues to contribute to the series as both an editor and a reporter. In her spare time she’s raising three children.

Julie Shapiro, managing director of the Third Coast International Audio Festival, has been with the festival since its inaugural year (2000). She works on every aspect of the festival and manages a great deal of the artistic and logistical details. Before moving to Chicago, Shapiro worked at the Center for Documentary Studies at Duke, and while living in North Carolina produced Storylines Southeast, a public radio series about literature from that region. She was assistant director of Transmissions, an annual experimental sound and art festival, from 1998 to 2001. Shapiro makes audio art for public presentation and can occasionally be heard on the public radio airwaves.

Karen Cirillo is the founder of Docuphile Media LLC, a company specializing in programming, consulting, and producing nonfiction film and video. She started Doxita, a traveling film festival, as a way to celebrate short documentary work. She is the Shorts Programmer for the True/False Film Festival. In addition, she has consulted and worked as a program advisor for Silverdocs, IFP, Human Rights Watch, Margaret Mead Film Festival, Duke University Screen Society, Full Frame, Docuclub, and the Newport International Film Festival. She spent four years as festival coordinator and associate director–programming at the Full Frame Documentary Film Festival. She also currently works as executive producer of Children’s Broadcasting Initiatives at UNICEF.

Alex Harris, one of the founders of the Center for Documentary Studies, has taught documentary photography and writing at Duke since 1975. Among his books are River of Traps, a finalist for the Pulitzer Prize in general nonfiction in 1991, and A New Life: Stories and Photographs from the Suburban South. His current work is about contemporary Cuba, aging in America, and the autobiographical impulse in photography. Harris helped to launch the Humanitarian Challenges Focus program at Duke and is currently teaching photographic fieldwork courses related to humanitarian and policy issues. In some courses, such as Advanced Documentary Photography, Harris emphasizes the new digital technology to produce photographs. Harris co-directs the Lewis Hine Documentary Fellows Program, a year-long postgraduate fellowship program based at the Center for Documentary Studies. Through the Hine Program recent Duke graduates work with international humanitarian organizations focused on marginalized children. All Hine Fellows complete an in-depth documentary project to benefit the non-governmental organizations and communities with which they work. Alex Harris's work can be seen on the Web at http://alex-harris.com







Portraits and Dreams: Literacy Through Photography Workshop
Katie Hyde, Elena Rue

Discover the program created by photographer and teacher Wendy Ewald that encourages students to explore their world through photography. This workshop demonstrates ways to use photography and writing as a tool for increasing students’ critical thinking, self-expression, and personal involvement in school. By linking picture making, writing, and critical thinking, this workshop will help teachers make connections across the curriculum. Teachers will use photography to investigate self-portraiture and dreams, learn about LTP’s collaboration with Durham schools, and plan a project to implement in their own classrooms.

If you are a professional interested in taking this class for CEUs, please contact Garry Crites at gjc3@duke.edu or (919) 684-3178. (Limit 20)

Thursday & Friday, February 28 & 29, 2008
9 a.m.–4 p.m. (12 hours)
Course fee: $285 • Enroll by 2/14: $265
Course ID: 11440

Katie Hyde has been involved with the Literacy Through Photography program since she studied with Wendy Ewald in 1998. She currently directs the LTP program at the Center for Documentary Studies and travels nationally to teach LTP workshops at major museums, schools, and community organizations. She earned her doctorate in sociology at North Carolina State University and teaches visual sociology at Duke University.

Elena Rue is Literacy Through Photography’s program coordinator. She oversees the LTP program in the Durham Public Schools and helps lead LTP workshops. Before joining LTP, Rue worked as a documentary photographer for five years and has worked for several projects and programs at the Center for Documentary Studies. In 2006 she was a CDS Lewis Hine Documentary Fellow in Ethiopia.

Fall 2007

Youth Noise Network Radio Workshop
September 29, 2007 (Section 1)
October 6, 2007 (Section 2)

Get involved—Speak Up and Make Some Noise

The Center for Documentary Studies and Youth Noise Network present an intensive one-day immersion into documentary storytelling and radio production. This workshop is offered exclusively for teenagers (ages 13–18) living in Durham County.

This workshop is mandatory for teens applying to participate in YNN. If you aren't interested in joining YNN, you are still welcome to apply to attend the workshop.

You'll learn hands-on skills in recording and digital audio editing; practice the art of storytelling; discuss why it's important for teens to make media; and produce a short audio piece with teens from all over Durham.

Recording equipment, computers, and editing software will be provided. No experience in audio production is required. All you need to bring is your lunch.

The workshop will be facilitated by Tennessee Watson, Youth Noise Network Coordinator; and Kim Arrington, Durham-based poet and educator.

DEADLINE: Apply by September 14, 2007

DOWNLOAD APPLICATION (120 kb)

Section 1
Date: Saturday, September 29, 2007
9 a.m.–5 p.m.
Course fee: $25

Section 2
Date: Saturday, October 6, 2007
9 a.m.–5 p.m.
Course fee: $25

Partial and full scholarships are available. See the application form for details.  

For more information contact:
Tennessee Watson, Youth Noise Network coordinator
919-660-3696 / tjwatson@duke.edu





Summer 2007 Audio Institutes

Hearing Is Believing I: An Audio Documentary Summer Institute
John Biewen

The Center for Documentary Studies presents a weeklong, morning-till-night immersion in audio documentary work. You’ll learn hands-on skills in recording and digital audio mixing; discuss issues such as the ethics of documentary work; explore varied uses for audio documentaries (it’s not just radio anymore); and hear accomplished producers play and talk about their work in evening presentations. During the week you’ll work with a fellow student to produce and edit a short audio documentary, from the first interview and sound-gathering to the final mix.

Computers and editing software will be provided for your use in completing your institute project. Students should bring field-recording equipment, including recorder, microphone, headphones, and tapes, minidisks, or flash cards. No experience in audio production is required. A basic comfort level with computers is desirable. The institute counts as 40 hours toward the Certificate in Documentary Studies.

The institute will be led by John Biewen along with other staff members of the Center for Documentary Studies. Visiting artists will also join the institute faculty; past instructors have included Chris Brookes, Neenah Ellis, Deb George, Karen Michel, Dmae Roberts, and Judith Sloan.

Register early; spaces are limited.

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

Date: Sunday to Saturday, June 17–23
This 7-day intensive starts Sunday, 3 p.m.; Monday-Friday, 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 3 p.m. (40 hours)
Course fee: $775
Enroll by 6/1: $745
Course ID: 10820

The Durham News reports on the summer 2007 audio institute

Association of Independents in Radio profiles the CDS audio institute in the summer 2007 issue of AIRspace

Summer 2007 audio institute documentaries on iTunes

John Biewen is the audio programs director at the Center for Documentary Studies; he was formerly a correspondent-producer for American RadioWorks, the national documentary unit of American Public Media. He has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA), and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, he lived and taught in Osaka, Japan, from 1985 to 1987.



Hearing Is Believing II: Making It Sing
John Biewen

An intensive six-day workshop for students who’ve recorded interviews and gathered sound and are ready to construct a four- to ten-minute audio documentary. This course is designed for those who are ready to begin editing their project and have a basic grasp of audio editing software, or for individuals who have completed Make That Audio Doc and/or the one-week Hearing Is Believing summer institute and are ready to try a more ambitious project. This time you’ll bring your own recordings to the institute. You’ll get lessons and personal guidance from seasoned radio documentary producers as you structure and script your piece, record your narration tracks (if any), and mix your documentary on ProTools.

The institute will be led by John Biewen along with other staff members of the Center for Documentary Studies. Visiting artists will also join the institute faculty; past instructors have included Chris Brookes, Neenah Ellis, Deb George, Karen Michel, Dmae Roberts, and Judith Sloan.

Register early; spaces are limited.

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

Date: Monday through Saturday, August 13–18
This 6-day intensive starts Monday, 6 p.m.; Monday–Friday 9 a.m.–4:30 p.m. (plus evening presentations); concludes Saturday, 2 p.m. (35 hours)
Course fee: $775
Enroll by 7/31: $745
Course ID: 10822

Summer 2007 audio institute documentaries on iTunes

John Biewen is the audio programs director at the Center for Documentary Studies; he was formerly a correspondent-producer for American RadioWorks, the national documentary unit of American Public Media. He has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA), and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, he lived and taught in Osaka, Japan, from 1985 to 1987.





Summer 2007 Video Institute

Documentary Video Institute
Randolph Benson, Jim Haverkamp, Simone Keith, Erika Simon, Carol Thomson, April Walton

In this eight-day intensive, you will be fully immersed in the process of documentary filmmaking. Working in small production teams (one instructor for every four students) led by experienced documentary filmmakers, you will be introduced to an array of tools and techniques as you collaborate with a partner to direct, shoot, edit, and screen a documentary short. By the time you arrive at the institute, we will have arranged for you to do fieldwork in the Durham community on a documentary subject; you will then work with your partner to decide the technical and creative approach you want to take with your project. We will also explore different documentary genres and discuss collaboration, ethics, and community outreach. Small group learning environments and personalized training will keep you involved and on track regardless of your previous experience level. In addition, nationally known guest instructors will teach classes and screen their work in evening sessions. Past visiting filmmakers have included Linda Goode Bryant (Flag Wars), Marco Williams (award-winning Two Towns of Jasper), Ross McElwee (Sherman’s March; Brightleaves),
and Alice Elliott (Academy Award-nominated The Collector of Bedford Street).

The Center for Documentary Studies will provide computers, editing software (Final Cut Express), and sound equipment. Basic computer skills are required. Participants should bring their own digital video cameras and lavalier microphones, headphones, and two DV tapes. If you have a tripod, please bring it to the institute with you.

Register early; spaces are limited.

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

Date: Saturday to Saturday, July 28–August 4
This 8-day intensive starts Saturday, 3 p.m.; Monday–Friday, 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 3 p.m. (48 hours)
Course fee: $1,290
Enroll by 7/13: $1,275
Course ID: 10824

Jim Haverkamp is an award-winning filmmaker and editor based in Durham. His credits include the documentaries Monster Road (co-producer, co-editor) and Armor of God (co-director), both collaborations with Brett Ingram. His other documentary and fiction films have screened in festivals across the country, and he was awarded a Filmmaking Fellowship from the North Carolina Arts Council in 2000. He is a former organizer of the Flicker Film Festival in Chapel Hill.

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. His work has been featured on the Bravo Network, the Independent Film Channel (Split Screen), WTTW-Chicago, UNC-TV (NC Visions), and Telewizja Polska S.A.–Poland. He received an Eastman Kodak Excellence in Filmmaking Award at the Cannes Film Festival.

Simone Keith’s short documentary Heavier Than Air has screened at numerous festivals and aired on UNC-TV. A native of Brazil, she has been making documentaries and video essays since arriving in North Carolina ten years ago. Keith has earned two Telly Awards and has collaborated on The Wonder of It All, a UNC-TV documentary about the life of George Beverly Shea, which was nominated for a regional Emmy. She currently works at North Carolina State University, where she is the videographer and editor for In the Garden with Bryce Lane.

Erika Simon has been teaching Final Cut to beginners at CDS since 2003. She was an editor for Gatewood: Facing the White Canvas and directed and edited SAF’s Levante: Theater for Social Change and a PSA that aired on Univisión. Her short doc, Gemini World, recently won the Carrboro Film Festival Audience Award. She is a recipient of the Martha Nell Hardy Award for Outstanding Teaching, UNC–Chapel Hill.

Carol Thomson has been creating Web sites and multimedia works since 2000 when she began her documentary studies in Australia. Carol completed her Certificate in Documentary Studies at the Center for Documentary Studies in 2005. She is working on a multimedia documentary, Bridging Rails to Trails: Stories of the American Tobacco Trail, which will be published on the Web and as a CD-ROM. A work-in-progress version can be seen at http://bridgingrailstotrails.com. Thomson’s Web and multimedia company, FireStream Media, LLC, is located in downtown Durham.

A native of western North Carolina, April Watson is the learning outreach coordinator at the Center for Documentary Studies. Her favorite part of the job is connecting people passionate about a project with the resources that will enable them to bring it to life. She is the producer/director of Standing at the Crossroads, a video documentary about sustainable farming in North Carolina. Walton is a freelance video producer and a board member for Student Action with
Farmworkers.

Summer 2007 LTP Institute

Literacy Through Photography
Wendy Ewald, Denise Friesen, Katie Hyde

The Literacy Through Photography (LTP) Basic Workshop is open to anyone with a desire to learn how to bring together photography and writing. The workshop is appropriate for anyone seeking a collaborative approach to documentary work, or wanting to explore new approaches to documentary photography. Educators, artists, community workers, and researchers have adapted LTP methodologies in communities and schools around the world. This workshop is a wonderful opportunity to engage photography as an art form and educational medium, a mode of self-exploration, a way to connect visual literacy to verbal and written communication, and as a tool to facilitate community dialogue.

Throughout the week, participants receive hands-on instruction as they carry out assignments based on LTP’s core themes: self-portrait, community, and dreams. Participants will learn to process film and to print photographs in the darkroom. Both inexperienced and advanced photographers will have an exciting opportunity to creatively explore and produce their own work.

Workshop participants will learn the methods that LTP uses to teach creative writing and photography. Sessions focus on learning technical skills, viewing photographs, completing writing and photography exercises, and developing curricula. Participants will have an opportunity to discuss their own ideas for future projects. Individuals who have designed and successfully implemented their own LTP inspired projects will also present their work to the group.

NOTE: Participants will be provided with cameras for each of their projects. Digital formats will NOT be supported for this workshop.

Date: Monday to Friday, June 25–29
8:30 a.m.–4:30 p.m. (30 hours)
Course fee: $720
Enroll by 6/11: $695
Course ID: 10821

The summer 2007 LTP workshop is full.

Wendy Ewald, who has worked with children in many countries and in various communities within the United States, is the creative director of the Literacy Through Photography program at the Center for Documentary Studies. She has received numerous awards for her work with children and photography, among them fellowships from the Fulbright Commission and the MacArthur Foundation. Ewald has written nine books, most recently American Alphabets.

Denise Friesen first attended a Literacy Through Photography workshop in 1998 as a teacher in the Durham Public Schools. A National Board Certified teacher, she implemented LTP in her fourth- and fifth-grade multi-age classroom for five years. She also helped to curate the retrospective Who Am I?: A Decade of Literacy Through Photography in Durham, 1990–2000. Currently, Friesen oversees the LTP program in the Durham Public Schools and works closely with undergraduate students, teachers and students—including at-risk students and those identified with learning disabilities. She brings her eight years of teaching experience to LTP workshops and to an undergraduate LTP course she co-teaches with Wendy Ewald.

Katie Hyde has been involved with the Literacy Through Photography program since she studied with Wendy Ewald in 1998, and is currently the program’s director. She has traveled nationally to teach LTP workshops at major museums (e.g., The High Museum of Art in Atlanta and The Queens Museum of Art in New York), at schools, and with community organizations. She has also taught at Penland School of Crafts in Western North Carolina. Hyde earned her doctorate in sociology at North Carolina State University; her fieldwork has focused on recent Latino/a immigration in North Carolina, women’s activism in Russia, and girl’s education in rural Nepal. At Duke, she teaches an undergraduate course called Sociology Through Photography, and she collaborates with Wendy Ewald to teach a course focusing on children’s self-expression and race and gender issues within education.





Winter 2007 Documentary Happening Institute

Documentary Happening Institute
Various Instructors

Now in its eleventh year, the Documentary Happening is a community festival where documentary artists come together to see and discuss work, to learn and be inspired. This year, we’ve added a new element—the Documentary Happening Institute!

Come to Durham for over three full days and four fabulous nights of documentaries, documentaries, documentaries. Select one of three tracks—photo, audio, or video. Learn from media gurus John Biewen, Alex Harris, Barrett Golding, Karen Michel, and Tom Rankin (more to be announced!). It’s an opportunity to mix and mingle with your documentary makin’ peers and to learn advanced skills. A major focus will be the art of editing—whether it’s audio, video, or selecting a sequence of images. How can we best create compelling narratives? What are the rules? When should we break them? You’ll have ample opportunity to receive focused feedback on your work, both in individual and group settings. Participants will work primarily within their medium, but there will be plenty of cross-fertilization, with classes on merging photography and audio, ways to create multimedia documentaries, and thinking critically about the art of documentary on the Web.

Note: Registration for the new Documentary Happening Institute includes all of the traditional Happening events (Friday evening/Saturday/Sunday). For more information on the Documentary Happening Institute, and bios of all our instructors, please go to the CDS Web site at http://cds.aas.duke.edu/events//happinstiute.html.

Limit 16 in each track: photo, audio, video.

Date: Wednesday to Sunday, January 31–February 4
Begins 5:30 p.m. on Wednesday
9 a.m.–5 p.m. Thursday–Saturday, plus evening presentations
10 a.m.–2 p.m. Sunday (16 hours)
Course fee: $325
Course ID: 10850 (photo), 10861 (audio), 10860 (video)





Summer 2006 Audio Institutes

Hearing Is Believing: An Audio Documentary Summer Institute
John Biewen
Class ID: 10147

The Center for Documentary Studies and American RadioWorks team up for this weeklong, morning-till-night immersion in audio documentary work. You’ll learn hands-on skills in recording and digital audio mixing; discuss issues such as the ethics of documentary work; explore varied uses for audio documentaries (it’s not just radio anymore); and hear accomplished producers play and talk about their work in evening presentations. During the week you’ll work with a fellow student to produce and edit a short audio documentary, from the first interview and sound-gathering to the final mix.

Computers and editing software will be provided for your use in completing your institute project. Students should bring field-recording equipment, including recorder, microphone, headphones, and tapes or minidiscs. No experience in audio production is required. A basic comfort level with computers is desirable.

The institute counts as two elective courses toward the Certificate in Documentary Studies.

The Institute will be led by John Biewen, Durham-based correspondent for American RadioWorks, the national documentary unit of American Public Media, along with staff members of the Center for Documentary Studies. This year’s visiting artists are Chris Brookes, who recently won a 2006 Peabody Award, and Judith Sloan, an award-winning actress, oral historian, and audio artist.

John Biewen, a correspondent-producer for American RadioWorks, the national documentary unit of American Public Media, has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. Now based at the Center for Documentary Studies, in 1997–98 he covered the Rocky Mountain West as a staff reporter for NPR. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA), and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, he lived and taught in Osaka, Japan, from 1985 to 1987.

Chris Brookes is an independent radio producer whose programs have been heard in the United States, Ireland, Australia, New Zealand, England, The Netherlands, and Canada. His documentaries have won more than thirty awards, including the Prix Italia, Prix Marulic, and Prix Europa Special Commendations for Documentary; Gabriel, Gracie, Armstrong, United Nations, Third Coast Festival/Robert H. Driehaus, and New York Radio Festival Grand awards in the U.S.; and Canada’s Atlantic Journalism Award, ACTRA Nellie, CAJ Best Investigative Journalism, and CBC President awards. Most recently, “The Wire” (an eight-part series exploring the effect of electricity on music co-produced by Brookes, Paolo Pietropaolo, and Jowi Taylor), won a 2006 Peabody Award. He is also an author, television writer, and playwright, and has taught documentary feature-making and storytelling at festivals and workshops across North America and Europe. Brookes currently directs the production company Battery Radio, with studios at the bottom of the cliff where Marconi received the first trans-Atlantic wireless message in St. John’s, Newfoundland.

Judith Sloan is an actress, oral historian, and audio artist whose multi-character solo performances combine humor, pathos, and a love of the absurd. In 2005, she won the BAXten Artist Award as a performing artist, and she was one of four producers commissioned to produce a new Short Doc by the 2005 Third Coast International Audio Festival. Her audio pieces include radio documentaries that have been produced for National Public Radio and New York Public Radio, audio sound pieces for exhibitions, and audio sound and music pieces for her collaborative award-winning multimedia project Crossing the BLVD: Strangers, Neighbors, Aliens in a New America, created in collaboration with Warren Lehrer. Crossing the BLVD is part of a multimedia project that began with storytelling workshops in libraries, community centers, and schools throughout Queens and culminated in a 400-page book and audio CD (published by W.W. Norton), public radio documentaries, a traveling exhibition of photographs and sound stations, a performance, and an interactive Web site: www.crossingtheblvd.org. A faculty member at the Gallatin School at NYU, Sloan is also director of Cross-Cultural Dialogue Through the Arts, an arts mentorship program creating collaborations between disparate communities, providing theatre training and language skills to underserved immigrant teenagers in workshops with college students and professional artists. Sloan often collaborates with her husband, Warren Lehrer, with whom she co-founded EarSay, a nonprofit organization dedicated to documenting and portraying lives of the uncelebrated and fostering dialogue across cultures, religions, generations, class, and gender.

Register early; spaces are limited. (Limit 24)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

7-day intensive: Sunday, 5 p.m., to Saturday, 1 p.m.
June 4–10, 2006
Center for Documentary Studies
Course fee: $775
* Enroll by 5/15: $745




Hearing Is Believing II: Making It Sing
John Biewen
Class ID: 10148

An intensive six-day workshop for students who’ve recorded interviews and gathered sound and are ready to construct a four- to ten-minute audio documentary. This course is designed for those who have collected sufficient sound for a project and have a basic grasp of audio editing software, or for individuals who have completed “Make That Audio Doc” and/or the one-week “Hearing Is Believing” summer institute and are ready to try a more ambitious project. This time you’ll bring your own recordings to the institute. You’ll get lessons and personal guidance from seasoned radio documentary producers as you structure and script your piece, record your narration tracks (if any), and mix your documentary on ProTools.

The institute counts as two elective courses toward the Certificate in Documentary Studies.

The institute will be led by John Biewen, Durham-based correspondent for American RadioWorks, the national documentary unit of American Public Media, along with staff members of the Center for Documentary Studies. Previous guest instructors have included award-winning producers Deborah George and Karen Michel.

John Biewen, a correspondent-producer for American RadioWorks, the national documentary unit of American Public Media, has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. Now based at the Center for Documentary Studies, in 1997–98 he covered the Rocky Mountain West as a staff reporter for NPR. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA), and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, he lived and taught in Osaka, Japan, from 1985 to 1987.

Register early; spaces are limited. (Limit 12)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

August 14–19, 2006
6-day intensive: Monday, 6 p.m., to Saturday, 1 p.m.
Center for Documentary Studies
Course fee: $705
* Enroll by 7/31: $675





Summer 2006 Video Institute


Documentary Video Institute
Randolph Benson, Jim Haverkamp, and Erika Simon
Class ID: 10149

In this eight-day intensive, you will be fully immersed in the process of documentary filmmaking. Working in small production teams (one instructor for every four students) led by experienced documentary filmmakers, you will be introduced to an array of tools and techniques as you collaborate with a partner to direct, shoot, edit, and screen a documentary short. By the time you arrive at the institute, we will have arranged for you to do fieldwork in the Durham community on a documentary subject; you will then work with your partner to decide the technical and creative approach you want to take with your project. We will also explore different documentary genres and discuss collaboration, ethics, and community outreach. Small group learning environments and personalized training will keep you involved and on track regardless of your previous experience level. In addition, nationally known guest instructors will teach classes and screen their work in evening sessions. Past visiting filmmakers have included Marco Williams (award-winning Two Towns of Jasper), Ross McElwee (Sherman’s March; Brightleaves), and Alice Elliott (Academy Award-nominated The Collector of Bedford Street).

The Center for Documentary Studies will provide computers, editing software (Final Cut Express), and sound equipment. Basic computer skills are required. Participants should bring their own digital video cameras and lavalier microphones, headphones, and two DV tapes. If you have a tripod, please bring it to the institute with you.

The institute counts as two elective courses toward the Certificate in Documentary Studies.

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. Jim Haverkamp is an award-winning filmmaker and editor; he coproduced and coedited Monster Road, which won the Best Documentary award at the 2004 SlamDance Film Festival. His short films have shown in festivals across the country, and he was awarded a Filmmaking Fellowship from the North Carolina Arts Council in 2000. Erika Simon is a gifted editor and teacher; she is a recipient of the Martha Nell Hardy Award for Outstanding Teaching at UNC-Chapel Hill, where she earned an M.A. in communication studies. This past year, she participated in a unique program that paired Anglo-American filmmakers with Latina women to produce documentaries of their lives and communities.

Register early; spaces are limited. (Limit 24)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

July 22–29, 2006
8-day intensive: Starts Saturday, 3 p.m.; Monday-Friday 9 a.m.–5 p.m. (plus evening presentations); concludes Saturday, 1 p.m.
Center for Documentary Studies
Course fee: $1,280
* Enroll by 7/7: $1,250






Summer 2006 Literacy Through Photography Institute

Literacy Through Photography Institute
Wendy Ewald, Denise Friesen, and Katie Hyde
Class ID: 10206

The Literacy Through Photography (LTP) Institute is open to anyone with a desire to learn how to bring together photography and writing. The workshop is appropriate for anyone seeking a collaborative approach to documentary work or wanting to explore new approaches to documentary photography. Educators, artists, community workers, and researchers have adapted LTP methodologies in communities and schools around the world. This workshop is a wonderful opportunity to engage photography as an art form and educational medium; as a mode of self-exploration; as a way to connect visual literacy to verbal and written communication; and as a tool to facilitate community dialogue.

Throughout the week, participants will receive hands-on instruction as they carry out assignments based on LTP’s core themes: self-portrait, community, and dreams. Participants will learn to process film and to print photographs in the darkroom. Both inexperienced and advanced photographers will have an exciting opportunity to creatively explore and produce their own work.

Workshop participants will learn the methods that LTP uses to teach creative writing and photography. Sessions will focus on learning technical skills, viewing photographs, completing writing and photography exercises, and developing curricula. Participants will have an opportunity to discuss their own ideas for future projects. Individuals who have designed and successfully implemented their own LTP-inspired projects will also present their work to the group.

NOTE: Participants will be provided with cameras, film, and photographic paper for each of their projects.

The institute counts as two elective courses toward the Certificate in Documentary Studies.

Wendy Ewald is a senior research associate at Duke University’s Center for Documentary Studies (CDS) and the New School’s Vera List Center, and Creative Director of the Literacy through Photography program at CDS. She has received numerous awards for her work with children and photography, among them fellowships from the National Endowment for the Arts, the Fulbright Commission, and in 1992 the MacArthur Foundation. Ewald has had more than twenty-five solo exhibitions. She has published seven books, most recently Secret Games: Collaborative Work with Children, 1969–1999 and I Wanna Take Me a Picture: Teaching Photography and Writing to Children. Her photographs are in major collections, including the International Center of Photography and the Metropolitan Museum of Art.

Denise Friesen first attended a Literacy Through Photography workshop in 1998 as a teacher in the Durham Public Schools. A National Board Certified teacher, Friesen implemented LTP in her fourth- and fifth-grade multi-age classroom for five years. She also helped to curate the retrospective Who Am I?: A Decade of Literacy Through Photography in Durham, 1990-2000. Currently, Friesen works with the LTP program at CDS, coordinating efforts in the Durham Public Schools and working closely with undergraduate students, teachers, and students, including at-risk students and those identified with learning disabilities. She brings her eight years of teaching experience to LTP workshops and to an undergraduate LTP course she co-teaches with Wendy Ewald.

Katie Hyde has been involved with the Literacy Through Photography program since she studied with Wendy Ewald in 1998, and is currently the program’s director. She has traveled nationally to teach LTP workshops at major museums (e.g., The High Museum of Art in Atlanta and The Queens Museum of Art in New York), at schools, and with community organizations. She has also taught at Penland School of Crafts in Western North Carolina. Hyde earned her doctorate in sociology at North Carolina State University; her fieldwork has focused on recent Latino/a immigration in North Carolina, women’s activism in Russia, and girl’s education in rural Nepal. At Duke, she teaches an undergraduate course called Sociology Through Photography, and she collaborates with Wendy Ewald to teach a course focusing on children’s self-expression and race and gender issues within education.

Register early; spaces are limited. (Limit 20)

June 19–23, 2006
5-day intensive: Starts Monday, 8:30 a.m.; Monday-Friday 8:30 a.m. to 4 p.m.; concludes Friday, 4 p.m.
Center for Documentary Studies
Course fee: $655
* Enroll by 6/5: $625

Summer 2005 Audio Institutes


Hearing Is Believing: An Audio Documentary Summer Institute
John Biewen

The Center for Documentary Studies and American RadioWorks team up for this weeklong, morning-till-night immersion in audio documentary work. You’ll learn hands-on skills in recording and digital audio mixing; discuss issues such as the ethics of documentary work; explore varied uses for audio documentaries (it’s not just radio anymore); and hear accomplished producers play and talk about their work in evening presentations. During the week you’ll work with a fellow student to produce and edit a short audio documentary, from the first interview and sound-gathering to the final mix.

Computers and editing software will be provided for your use in completing your Institute project. Students should bring field-recording equipment, including recorder, microphone, headphones, and tapes or minidiscs. No experience in audio production is required. A basic comfort level with computers is desirable.

The Institute counts as two elective courses toward the Certificate in Documentary Studies.

The Institute will be led by John Biewen, Durham-based correspondent for American RadioWorks, the national documentary unit of American Public Media, along with staff members of the Center for Documentary Studies. Special guest instructors include Neenah Ellis, producer of the NPR series One Hundred Years of Stories and author of the accompanying bestselling book If I Live to Be 100, and the award-winning independent producer Karen Michel.

John Biewen, a Correspondent-Producer for American RadioWorks, the national documentary unit of American Public Media, has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. Now based at the Center for Documentary Studies, in 1997–98 he covered the Rocky Mountain West as a staff reporter for NPR. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA) and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, from 1985 to 1987 he lived and taught in Osaka, Japan.

Neenah Ellis is a veteran documentary producer, writer and editor. She has been a producer and writer for NPR’s All Things Considered and numerous other NPR news and cultural programs. Her free-lance work has included films for the National Park Service and The Discovery Channel, a ten-year oral history project for the United States Holocaust Memorial Museum, and a New York Times best-selling book titled If I Live to Be 100: Lessons from the Centenarians. She is a member of the Association of Independents in Radio and serves as an AIR mentor to new producers. She is the recipient of two radio production grants from the Corporation for Public Broadcasting and her work has won three George Foster Peabody Awards, the Radio-Television News Directors’ Edward R. Murrow Award, and the Alfred I. DuPont – Columbia University Award.

Karen Michel is an upstate New York-based independent radio producer who got her start in media as a guest on Art Linkletter's Kids Say the Darndest Things. She has lived and worked in Alaska, Mexico, Japan, Greenland, India, Canada, Kenya, Nepal, Madagascar, and other geographies real and imagined. Her academic training is in visual arts and cross-cultural education; she's been an exhibiting artist (jewelry, photography, drawing, and holography) and a teacher. Since falling into a job in public radio in Fairbanks, Alaska, long ago, she has been committed to sound, as an audio artist and as a journalist. She's received many awards and fellowships—Peabody, Robert Wood Johnson, National Endowment for the Arts, Corporation for Public Broadcasting, National Federation of Community Broadcasters, the Japan Foundation, and the Fulbright/Indo-U.S. Subcommission, among them.

Register early; spaces are limited. (Limit 24)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

August 14–20, 2005
7-day intensive: Sunday, 5 p.m., to Saturday, 1 p.m.
Center for Documentary Studies
Course fee: $745




Hearing Is Believing II: Making It Sing
John Biewen

An intensive six-day workshop for students who’ve recorded interviews and gathered sound and are ready to construct a four- to ten-minute audio documentary. This course is designed for those who have collected sufficient sound for a project and have a basic grasp of audio editing software, or for individuals who have completed “Make That Audio Doc” and/or the one-week “Hearing Is Believing” summer institute and are ready to try a more ambitious project. This time you’ll bring your own recordings on Day One. You’ll get lessons and personal guidance from seasoned radio documentary producers as you structure and script your piece, record your narration tracks (if any), and mix your documentary on ProTools.

The Institute counts as one elective course toward the Certificate in Documentary Studies.

The Institute will be led by John Biewen, Durham-based correspondent for American RadioWorks, the national documentary unit of American Public Media, along with staff members of the Center for Documentary Studies. Guest editors will include Deborah George and Sharon Ball.

John Biewen, a Correspondent-Producer for American RadioWorks, the national documentary unit of American Public Media, has produced a large body of work on economic and social issues, as well as investigative reports and historical documentaries. Now based at the Center for Documentary Studies, in 1997–98 he covered the Rocky Mountain West as a staff reporter for NPR. His reporting has won numerous honors, including the Robert F. Kennedy (2000, 2001), Society of Professional Journalists (Sigma Delta Chi), Edward R. Murrow (RTNDA) and (American Bar Association) Silver Gavel Awards. A graduate of Gustavus Adolphus College in St. Peter, Minnesota, with a degree in philosophy, from 1985 to 1987 he lived and taught in Osaka, Japan.

Sharon Ball is an editorial consultant and independent news and feature editor, specializing in public radio. She is former senior editor of the NPR News Cultural Desk in Washington, D.C., where she established the network’s first formal religion, media, and race relations reporting beats and raised the editorial profile of arts journalism. At NPR News, the many series and documentary projects she developed and edited include “The Other History” by Edward Ball (no relation), which led to Ball’s book Slaves in the Family, winner of the 1998 National Book Award for Nonfiction. Among Ball’s recent clients and independent projects are the NPR program On the Media; “Alice and Zora” for the NPR Morning Edition series “Intersections”; and “The Color of Night” for Chicago Public Radio’s documentary series Chicago Matters. During twenty-five years in public and commercial radio, Ball was a newscaster, news producer, fill-in host, senior administrator, and essayist. Her awards and honors include Sigma Delta Chi and Gabriel awards, a Case Media Fellowship at Harvard University Divinity School, and a John Fetzer Institute Senior Scholarship. Her media appearances include moderating the panel discussion “The Future of Diversity in Media” broadcast live on C-Span. She has lived and worked in Japan and Taiwan, trained in group facilitation, and studied speech and English at Ohio University and George Mason University.

Deborah George is an award-winning producer, editor, and reporter. Since 1996, she has been editor of the RadioDiaries series produced by Joe Richman for NPR. She was Senior Editor with American RadioWorks for four years, producing documentaries and investigative reports for public radio. George was with National Public Radio for fifteen years, as Producer of Weekend Edition Sunday and as an editor and producer on NPR’s National, Foreign and Cultural desks. She also produced special series for NPR’s newsmagazines, including “The Great Divide: Affirmative Action in America”; “The Prejudice Puzzle”; “Democracy in America” and “The Subject Is Sex.” She was NPR’s first liaison for independent producers. George’s career has taken her to Asia, Africa, and Latin America. The stories she’s covered include welfare reform, the politics of biotechnology, the Los Angeles riots, the Rwandan genocide, and the war in Sierra Leone. In 1993, she received a journalism fellowship at the University of Chicago to study urban affairs. She has received grants from the National Endowment for the Arts and the National Endowment for the Humanities. Her work has garnered many awards, including an Alfred I. duPont-Columbia University Gold Baton and the Robert F. Kennedy and Edward R. Murrow (RTNDA) awards.

Register early; spaces are limited. (Limit 12)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

May 24–29, 2005
6-day intensive: Tuesday 6 p.m., to Sunday, 1 p.m.
Center for Documentary Studies
Course fee: $675





Summer 2005 Video Institute


Documentary Video Institute
Randolph Benson, Jim Haverkamp, and Erika Simon

In this eight-day intensive, you will be fully immersed in the process of documentary filmmaking. Working in small production teams (one instructor for every four students) led by experienced documentary filmmakers, you will be introduced to an array of tools and techniques as you collaborate with a partner to direct, shoot, edit, and screen a documentary short. By the time you arrive at the Institute, we will have arranged for you to do fieldwork in the Durham community on a documentary subject; you will then work with your partner to decide the technical and creative approach you want to take with your project. We will also explore different documentary genres and discuss collaboration, ethics, and community outreach. Small group learning environments and personalized training will keep you involved and on track regardless of your previous experience level. In addition, nationally known guest instructors will teach classes and screen their work in evening sessions. Past visiting filmmakers have included Marco Williams (award-winning Two Towns of Jasper) and Alice Elliott (Academy Award-nominated The Collector of Bedford Street). Finished shorts will automatically be submitted to the CDS Documentary Happening, a community festival where documentary artists come together to see and discuss work, to learn and be inspired.

The Center for Documentary Studies will provide computers, editing software (Final Cut Express), and sound equipment. Basic computer skills are required. Participants should bring their own digital video cameras and lavalier microphones, headphones, and two DV tapes. If you have a tripod, please bring it to the Institute with you.

The Institute counts as two elective courses toward the Certificate in Documentary Studies.

Randolph Benson is a graduate of Wake Forest University and of the North Carolina School of the Arts School of Filmmaking. His film Man and Dog has appeared in eighteen film festivals in seven countries and has garnered numerous awards, most notably a Gold Medal in the Academy of Motion Picture Arts and Sciences’ Student Academy Awards. Jim Haverkamp is an award-winning filmmaker and editor; he coproduced and coedited Monster Road, which won the Best Documentary award at the 2004 SlamDance Film Festival. His short films have shown in festivals across the country, and he was awarded a Filmmaking Fellowship from the North Carolina Arts Council in 2000. Erika Simon is a gifted editor and teacher; she is a recipient of the Martha Nell Hardy Award for Outstanding Teaching at UNC-Chapel Hill, where she earned an M.A. in Communication Studies. This past year, she participated in a unique program that paired Anglo-American filmmakers with Latina women to produce documentaries of their lives and communities.

Register early; spaces are limited. (Limit 24)

Information packets and schedules will be mailed to registered students at a later date. The enrollment fee includes lunches and one dinner.

July 30–August 6, 2005
8-day intensive: Starts Saturday, 3 p.m.; Monday-Friday 9 a.m. - 5 p.m. (plus evening presentations); concludes Saturday, 1 p.m.
Center for Documentary Studies
Course fee: $1,250






Summer 2005 Literacy Through Photography Institutes/Workshops

Literacy Through Photography Institute
Katie Hyde and Denise Friesen

For the first time, a Literacy Through Photography week-long course can be taken for Continuing Studies credit toward the Certificate in Documentary Studies. The institute counts as two elective courses toward the Certificate in Documentary Studies.

The Literacy Through Photography (LTP) Institute is open to anyone with a desire to learn how to bring together photography and writing. The workshop is appropriate for anyone seeking a collaborative approach to documentary work or wanting to explore new approaches to documentary photography. Educators, artists, community workers, and researchers have adapted LTP methodologies in communities and schools around the world. This workshop is a wonderful opportunity to engage photography as an art form and educational medium; as a mode of self-exploration; as a way to connect visual literacy to verbal and written communication; and as a tool to facilitate community dialogue.

Throughout the week, participants will receive hands-on instruction as they carry out assignments based on LTP’s core themes: self-portrait, community, and dreams. Participants will learn to process film and to print photographs in the darkroom. Both inexperienced and advanced photographers will have an exciting opportunity to creatively explore and produce their own work.

Workshop participants will learn the methods that LTP uses to teach creative writing and photography. Sessions will focus on learning technical skills, viewing photographs, completing writing and photography exercises, and developing curricula. Participants will have an opportunity to discuss their own ideas for future projects. Individuals who have designed and successfully implemented their own LTP-inspired projects will also present their work to the group.

The featured artist for this workshop will be Wendy Ewald. For more than thirty years, Ewald has worked with children internationally and in various communities within the United States. In 1989, she developed the Literacy Through Photography program at the Center for Documentary Studies, in conjunction with the Durham Public Schools. Writer and spoken word artist Dasan Ahanu will also present at the workshop.

NOTE: Participants will be provided with cameras, film, and photographic paper for each of their projects.

Katie Hyde has been involved with the Literacy Through Photography program since she studied with Wendy Ewald in 1998. She has been an LTP project coordinator for more than five years. She has traveled nationally to teach LTP workshops at major museums (e.g., The High Museum of Art in Atlanta and The Queens Museum of Art in New York), at schools, and with community organizations. She has also taught at Penland School of Crafts in Western North Carolina. Katie earned her doctorate in sociology at North Carolina State University. Her fieldwork has focused on recent Latino/a immigration in North Carolina, women’s activism in Russia, and girl’s education in rural Nepal. At Duke, she teaches an undergraduate course called Sociology Through Photography, and she also collaborates with Wendy Ewald to teach a course focusing on children’s self-expression and race and gender issues within education.

Denise Friesen first attended a Literacy Through Photography workshop in 1998 as a teacher in the Durham Public Schools. A National Board Certified teacher, Friesen implemented LTP in her fourth- and fifth-grade multi-age classroom for five years. She also helped to curate the retrospective Who Am I?: A Decade of Literacy Through Photography in Durham, 1990-2000. Currently, Friesen works with the LTP program at CDS, coordinating efforts in the Durham Public Schools and working closely with undergraduate students, teachers, and students, including at-risk students and those identified with learning disabilities. She brings her eight years of teaching experience to LTP workshops and to an undergraduate LTP course she co-teaches with Wendy Ewald.

Register early; spaces are limited. (Limit 24)

May 9–13, 2005
5-day intensive: Starts Monday, 9 a.m.; Monday-Friday 9 a.m. to 5 p.m. (plus evening presentations); concludes Friday, 5 p.m.
Center for Documentary Studies
Course fee: $645

Two additional LTP workshops will be offered in Durham this summer: Session One: June 6–June 10, Session Two: June 27–July 1