There is room for everyone at the table.- Connie Karr
Elegy to Connie
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Kirkwood Premiere

1/21/2015

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Last Friday I crossed a huge milestone for the film by screening it in Kirkwood, the location where the shooting took place and my hometown.  Leading up to the screening I was very anxious- what if no one cared to see the film, what if people were afraid, what if someone became very upset with me for making the film? These were all things rolling around in my head before the screening.  The two weeks leading up to the screening I was emailing constantly with Maggie Duwe (my community advocate for the film), Barbara Gadon (the pastor of the church), and Elaine Cha ( a friend who is a community cinema specialist).  I sent out an email inquiry seeking facilitators for that night to a series of close friends and was satisfied to receive several responses from both friends and my Witnessing Whiteness community, almost immediately. Leading up to the film, I revamped my press release, tested equipment, worked on small group questions, and tried to stay calm. 
On Friday, as the time of the screening approached, I was thankful to see the room fill up to capacity. Barbara said we used every chair in the building- I am guesstimating the crowd was over 100.  During the film the audience was silent except for laughs and a few gasps at unknown information.  While the film screened I was able to enjoy it sitting near several friends and my mother.  We both became a little teary eyed during some scenes about Connie and I think realizing how the film was finally coming home.
After the screening I said some words that I prepared and felt that I had finally been able to convey how the issues of this story stem across so many types of social justice and the pursuit of equal rights.  I shared my empathy for everyone involved in this incident.
After I spoke, I was thankful to have the chance to talk and meet with one of Cookie's relatives and to hear that he approved of how I represented Cookie.  We spoke about locating a screening in Meacham Park. I told him I thought he was brave for showing up and not knowing how I would represent Cookie. 
Then we began to break into small groups and I watched the facilitators dive into discussions.  Moving from group to group, I got to hear bits of the conversation and was satisfied that people stuck around and were willing to speak from their heart about race, Kirkwood, politics, involvement, and moving on.  The screening went late into the night.  As we regrouped following the conversation, I had many people come up and speak with me, thanking me for my work.  Back as a large group, we shared community resources and upcoming events.  I felt a sense of connection and community being in that large room with many like-minded people.  Emily Hemeyer helped close out the meeting as we joined hands and sang, "Let there be Peace on Earth".
Celebrating the screening at the end of the night, I felt a sense of peace.  No Matter what happens with this film next, I was satisfied to know that I had shown it at the place it needed to be screened most and I was accepted in the community at the same time. 


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Diagram on Being a White Ally

12/12/2014

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S.L.I.F.F. and Fellowship

11/16/2014

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Good Tidings from a busy weekend.  I'm sitting back at my house recovering while the snow flies down outside.  This weekend has been a busy one from an art opening at SLUMA of old paintings to a fundraiser at CAM, to a lego animation class at SLAM, to the Elegy to Connie screening at SLU.
I'm also proud to announce that I received a RAC Fellowship for my art career.  I am so excited to finally be able to share this with my community here.  First up will be a period of dreaming and wrapping up film work.
I had a wonderful time arranging the SLIFF screening discussion with Mary Hammet of the Women's Commission and Elaine Cha.  I am learning strategies to engage the audience beyond the standard Q & A.  Elaine Cha has been making me aware of the subtleties of a community discussion and how like in teaching, creating prompts and asking questions of the audience can make it a community building experience larger than just the shared experience of viewing the film.   I'm still thinking of ways to improve what we did last night as well as considering the overall flow but am glad to grow as a facilitator. 
The strangest thing for me about before and after screenings is that I can't sleep.  The night before I am considering what might happen.  The night after the screening and discussion, I am thinking about things that people said (same way I used to ruminate over art critiques).  On one hand, I can't not talk about the film and the issues that it contains, on the other hand I feel like I've poured my heart out in a sort of public confessional that feels very raw, not matter how often I do it which makes me want to talk less.  I think this is just overall a sign that I need to do some grounding today.  I have just been socializing a ton this weekend.
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Updates, Mike Brown, Kirkwood and Ferguson.

9/27/2014

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These have been a busy past couple of months.  I've returned to teaching at Marian Middle School and I have the honor of being a teacher with the Community Arts Training program through RAC for their Cherokee Street Place based program.  Additionally Cam and I are doing a residency at the Forsyth School in Clayton where we are working with 5th graders to discover their "inner heroes".  Over the last month and a half I've been going to Ferguson once a weekend to do community art projects with kids and families at Canfield Green, the site of the Mike Brown Shooting.  I've been holding meetings with a variety of allies in Kirkwood to try and set up some additional screenings of Elegy to Connie in Kirkwood and beyond next year.  At home, I am working on the ongoing process of starting to submit to film festivals in hopes of having screenings outside of St. Louis. 

I've been thinking a lot about the film and Ferguson.  I've been thinking a lot about Ferguson and Kirkwood.  I've been thinking a lot about
how to be an ally.  I guess to begin I will backtrack....

The first few days after the shooting felt like the trauma of the Kirkwood Shooting.  We (my community of family and friends) were glued to the television and to the internet and to Twitter feeds, watching the unfolding of the protests and the looting.  Some of my friends were going down to Ferguson and to City Hall every day to protest.  I was starting back my teaching that week so I could only watch the events from these media outlets.  I was even afraid- How would I as a white lady be received in Ferguson or Canfield Green? 
News spread via Facebook and word of mouth, protestors being gassed and brutalized by an overly armed police force, friends arrested, friends of friends being shot.  The images looked like something out of the Civil Rights Movement.  I followed posts of friends on the frontline.  One woman friend stood with young African American men that were angry and protesting.  Her and group of friends embraced a young man that was enraged about the loss of his friend and as they hugged him and tried to offer him support, they all began to cry. 
The Thursday after the shooting
I attended a group discussion at R.A.C. and listened as people voiced their frustration, anger, and sadness, about what was going on.  Lack of programs in North County for kids, lack of elder leaders, issues with unchecked police brutality, problems of segregation and poverty, the shadow of power structures, like the Kirkwood/ Meacham Park relationship,   the Ferguson and Canfield Green relationship seemed to be a boil waiting to explode.  All along I think I was searching to figure out, what could I do, how could i be an ally? 
Online I watched my Facebook feed as conversations occurred about issues I'd been discussing with Elegy to Connie, the impacts of white privilege and segregation, the lack of diverse leadership in the Ferguson City Council and police force and other councils and police forces across St. Louis.  The tenuous relationship between some African American communities in Ferguson and the police force.  The way in which the city profits from ticketing with disproportionate rates between white and minorities indicating racial profiling.  At the heart of this I think is the deep systemic and institutional racism that remains rampant in the U.S.  This story happened in Ferguson and like the Kirkwood Shooting, it could have happened anywhere. This is why I think the county carried on "Hand Up! Don't Shoot". 
The next night I went to peace protest in downtown St. Louis near the arch.  Following the protest I walked with an old activist friend that gave me advice.  Then I headed home to light a candle for Mark Brown.  At that moment I felt very disconnected, I wanted to participate but could not locate my place.
The next day I headed down to Ferguson and St. Mark's Church to attend an Amnesty International
Meeting and to be a part of a discussion about how to use arts as a tool for healing in Ferguson.  Elizabeth Vega and Aziza Binti presented their projects poems, prayers, and affirmations. After the meeting, I drove by the QT site and thought I saw some students of mine protesting.  I parked the car and walked down to the QT with a friend,  the site was peaceful and energetic.  A multi-generational group of people, primarily African American, protested on both sides of the street.  Drummers hung out under the the gas station awning.  People were making signs.  At one point Reverend Jesse Jackson showed up for a photo op. On the street it was like a continuous parade of cars, honking, people putting their hand ups in a gesture of solidarity.  A women hugged me and thanked me for coming.  I spoke with Elizabeth about doing some prayer drawings with people after the March.  After seeing a call from Earth Dance Farm director Molly Rockamon, I volunteered to also create a prayer drawing as part of the Ferguson Market.

That morning I met a friend at the market, it was raining heavily, but will attended.  I sat down under a tent with a therapist and started to draw.  The drawing became a mandala.  I noticed that the market was a primarily white space it had such a different feel then the QT site, it was a somber space and I think people were really questioning what was going on.  At Earthdance's booth, she offered free hugs.  A group of residents sold "I love Ferguson" signs. 
After I finished the drawing I headed over to St. Mark's Church to meet up with Elizabeth Vega, we set up an art space in the gym and then headed down to the protest.  

The protest was a joyous diverse space.  They marched from Canfield Green to St. Mark's, ending in the back of the church at a parking lot where there was a rally.  I went inside to the gym and worked with a few kids and families to create the prayer drawings.

The following week I attended another meeting at RAC.  This one was aimed at coming up with solutions.  The only problem I felt was, I wasn't sure what the needs were.  I sat with a group of people, many with ties to Ferguson and we identified a few: increased relationships between white and African-American residents via events like concerts and potlucks, revisit police presence by encouraging police officers to walk door to door and form relationships with residents, advocate diverse citizen participation in local politics.

That next Sunday I returned to Canfield Green with Elizabeth Vega to help her with the story wall, an ongoing community mourning wall she had facilitated where people could stop and add a writing or collage expressing their feelings or hopes
in response to the Mike Brown Shooting.  I also brought a "milagro" project, which was essentially making protective miracle necklaces or junk "juju" necklaces from plastic charms.  My project fast became a hit among the kids and I was happy to sit with an attentive group of mothers and kids making jewelry.  We were all sad when I had to go. 

The following week we met up at  lot
and I continued to help facilitate the story wall, this time I began to add a protective layer to the wall so that it could be preserved.  I had many conversations with people about the wall.  One young boy said to me that he was moved by the fact that it could have been him.  Mike Brown was at the wrong place at the wrong time.

During my most recent trip to Canfield Green, I was able to participate in a button making workshop with kids.  The milagro making continued and the story wall also was still expanding. I met two wonderful teenage girls that became some engaged with the button making that they covered their jean jackets and jeans with buttons, like some new young trendsetters.  At one point I had to go the bathroom and the girls kindly offered to let me use theirs.  They walked me to their house a few blocks and I strangely felt like they were also watching out for me. After I used the bathroom I walked back to art making and I thought about how there might be people, white people, that were afraid to walk in Canfield Green, this same sort of person that might have once told me that I should be afraid to walk in Meacham Park.  This sort of though is the systemic racism we live in.  A wise African American friend said to me, a white person walking in a black community gets helped- why are you here?  are you lost?  do you need something?  She talked about how a person of color sometimes feels the need to "care" for a white person and how a person
of color would probably never harm a white person walking in their community because it is tied with the historic conscience of the death a person of color might experience as a result of the injury of a white person- lynching, hanging, and beatings (I'd even extrapolate this to injuring a police officer).  Meanwhile, if a person of color is walking in a white neighborhood, they would likely be accused of doing something wrong, possibly arrested or at the very least followed.  Such terrible contradictions we live in. This is some of the whiteness I carry.

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Arriving to now, tomorrow I'll go out to Canfield Green and sing with Celia and the Footbeat.
This all still feels like one huge work in progress, this is a movement.  I feel torn by my time about being present in Ferguson and then actually doing this same work in all the communities I participate in, I want to be confident about having difficult conversations and confronting systemic racism.  While working preserving one of the story wall pieces at my studio I came across a business card for Non Violent Protest principals and this one stuck with me and this is what I'm going forward with today: don't attack racist people, attack racist systems.  Kirkwood/Meacham Park and Ferguson/Canfield Green, it overlaps some of same issues at the heart of Elegy to Connie are unmasking themselves in Ferguson.

I leave you with this article from Time.

In February 2008, Charles Lee “Cookie” Thornton, a lifelong African American resident of the suburb of Kirkwood, murdered Kirkwood’s mayor (who died several months later), a police sergeant, a mayoral candidate and two other citizens at a city council meeting, an act that must rate among the most horrendous political assassinations in American history. Thornton was killed by police. He was clearly deranged, but what drove him crazy was his sense of betrayal at the hands of white Kirkwood. Thornton had grown up in the all-African American Meachum Park area of Kirkwood, was a rabid supporter of Kirkwood’s 1991 annexation of Meachum Park, and was, if anything, for a time, an emblem of crossing St. Louis’s racial divide.

Many of Thornton’s demons were imaginary. Yet his unhappiness, his disappointment that the racial divide within the suburbs was impossible to transcend is felt by many African American. So, Thornton, in his brother’s words, “went to war.” And so has, it now seems, a portion of African American St. Louis, triggered by a particular outrage, but largely an expression of rage against a particular set of enduring arrangements. Perhaps the problem with race relations is that the more things change, the more they remain the same
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Letter to Kirkwood City Council Human Rights COmmission

8/15/2014

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In light of the recent events in Ferguson.  I've decided to make this letter I wrote to the Human Rights Commission of Kirkwood, public.

Dear Human Rights Commission,

Please accept my apology in not being able to deliver this in person as I am teaching a college course at the same time of this meeting.  


Last summer I had the impactful experience of participating in a Witnessing Whiteness Group that met in Kirkwood.  To get to how this impacted me, I will have to backtrack.  I was raised in Kirkwood and attended the public school system from Robinson Elementary through Kirkwood High School.  I treasure the education I received and I have fond memories of a quaint childhood full of friendships, many of which I’ve continued to maintain.  My mother, Kathy Paulsen, was involved in local projects from girl scouts and church groups, to councilperson campaigns and tree planting initiatives.  Due to this wealth of experiences, I thought I was informed about life in Kirkwood.


The Kirkwood City Council Shooting was a tragic life changing moment for my family as we were left to make sense of the loss of my mom’s closest friend, Connie Karr.  My mother regularly attended council meetings discussing and presenting issues at these meetings.  From my observation, she, along with a group of friends, had spent years trying to make their voices heard.  In the aftermath of the shooting, I had a hard time understanding how race played a part in the events that night.  I now attribute this lack of understanding to my own color blindness.  


At healing sessions after the shooting, I felt there was a much more complicated story that was missing.  Talking with women connected to Connie, we discussed making a film, and this desire to understand the tragedy propelled me to begin that four year long process.


Along the way I interviewed a woman of color from Meacham Park.  Her stories made me realize how little I understood about Meacham Park.  I did not know its history. I did not know how large it had been originally vs. how small it had become.  I did not know about the population loss that the community experienced following the Target/Walmart development.  Seeing my own ignorance about a community that was a part of my hometown opened my eyes to the fact that I had not been experiencing a full perception of Kirkwood.  This understanding lined up with my attending a Witnessing Whiteness Introductory meeting. This meeting was the first times I can remember acknowledging the privilege I experience as a white heterosexual able bodied educated woman.


With questions in my heart, I began to attend Witnessing Whiteness meetings at a home in Kirkwood.  These meetings became one of the biggest healing tools I have experienced with regards to my understandings of: the life of Cookie Thornton, living in a racially segregated city, and my relationships with people of color.  


On a personal level I could look back and ask these questions:  Why did I have so few close friendships with people of color while growing up in Kirkwood?  Why couldn’t I remember people of color participating in my school’s gifted programs?  Why did I remember middle school as a more diverse environment than high school-a place where we became racially separated via Honors and AP classes?  How had my inability to acknowledge my own white privilege damaged or prevented my friendships with persons of color from going deeper?  How had I denied a person of color’s feeling that they had experienced racism living in Kirkwood? I continue to find new questions to ask myself and this process has made my life more meaningful.


From what I am learning, institutional racism thrives on colorblindness, our ability to deny that race and privilege exist and are a lense by which people experience life.  Furthermore we remain living in a racially segregated society that is entrenched and perpetuated by a quietly racist system.  I as a white person am not always able to see the hidden workings of this system although I live with it every day. From the words of Mark Warren, “With whites living in racial isolation from blacks, we form few friendships with people of color and subsequently are less knowledgeable about racial inequities.”  I’ve come to understand that as a result of this, if I don’t make an effort, I will remain a part of a mostly white community.  I view Kirkwood as a primarily white experience.  


If you don’t think this is true, ask yourself:  How often am I in the company of people of color?  How often am I a minority?  How many close friends of color do I have?  


To be true, as a white person I find it incredibly difficult to talk about race and white privilege and I think this is part of the racial beliefs we’ve inherited.  Witnessing Whiteness has helped me to start doing this work.  I think the citizens of Kirkwood would greatly benefit from participating in this program.  I would hope that one of the many things that might spring from this tragedy would be for the Kirkwood community to be a leader in race work.  But the work has to start with us, according to Witnessing Whiteness author Shelly Tochluk “everyone who lives in this country has a personal stake in healing our relationship to race if we are ever going to be able to move past it. Everyone”.  


I look forward to the day when we stop building upon Meacham Park and instead commit to protect its rich legacy as an African American community.  I want to see a museum in Meacham Park where everyone can learn about its history like its incredible baseball team in the early 1900s.  I’m going to cheer when there is a council person and even Mayor from Meacham Park.  My fear is that its going to be gone before we’ve realized what we’ve lost.


Yours,

Sarah Paulsen
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What we talk about when we talk about violence in chicago

7/16/2014

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http://www.npr.org/blogs/codeswitch/2014/07/12/330784587/what-we-talk-about-when-we-talk-about-violence-in-chicago

If you haven't checked out this NPR article, its a good one that gets at some of the racial disparity between how mass shootings are publicly described and identified.

"
We have templates that we superimpose on Chicago and places like it. These templates distort the ways violence comes to bear on individual lives, obscure the patterns that come with that violence, and shape . These are each human-scale tragedies worthy of human-scale consideration. To really understand what happened in Chicago last weekend, we have to be able both to see those shootings as mass shootings, and to see the lives they shatter."
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St. Louis Filmmaker's Showcase

7/16/2014

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Post Screening Q&A, from left- Kathy, Nancy, Lucy, Gina, and Me. Photo by Debby Flondro.
Thanks to everyone who came out on Sunday.  I was nervous but had such a wonderful time seeing old and new faces turn out at the Tivoli on Sunday afternoon.  It was the first time I have seen the movie that large, and what fun it was to see my art moving at that scale.  I especially valued the conversation after the film, where four of the interviewed women were there, and able to speak.  Some healing moments happened, including my mother being able to connect with a work friend of Connie's that I think she so needed to meet, and I was able to meet a relative of Cookie Thornton's.  I appreciated how everyone wanted to keep talking so much, that we kept pouring out into other parts of the theater and finally outdoors.  I met a Kirkwood grad that I had not seen in years and learned that she was hoping to make a film about Meacham Park.  I am cheering for her, I'd love to see a story about Meacham Park made by someone who grew up there.  As the days have passed since the screening, I've enjoyed bit by bit, receiving email from people that attended the event or even seeing my students who came and having conversations with them.  This sort of thing keeps me going.
Questions asked included- Why Animation?  How is Connie's Family?  What do we think about with the problems of mental illness, particularly undiagnosed? How has council changed since the shooting and to what extent have they talked about the shooting?  These are just a few.

As it really is sinking in that this film is nearly finished, I begin to consider what it means to get it out into the world,  I certainly want to share it within Kirkwood and I also hope to share it in cities outside of St. Louis.  I also want to pause and be ok with the notion that I've already succeeded, in making the story and in sharing it with my immediate community.  
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Pre-Screening Jitters

7/11/2014

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This past week has been one of steady press for the film.  The St. Louis Filmmakers Showcase this weekend will be my first screening of the film for broader St. Louis.  In these days leading up to the film, I seem to be filled with anxiety.  I think I tend to be a private person, but I've grown comfortable speaking in public due to teaching and a few public art roles. On Tuesday, I was interviewed on St. Louis on Air with Don Marsh, later I interviewed with Art Holliday.  I am thankful for the chance to share the film, but miss how TV news and on-air conversation is largely a one sided conversation, I am always left feeling very curious about the listening audience and perhaps a bit too self critical about what I said/ how I could have said it better.  I am happy in the present having conversations, but feel nervous about the image of myself that is left behind. 
Sure there is probably a psychological aspect to this, when I was a kid my parents told me they would record my tantrums and play them back to me later so that I could see how ridiculous I looked. I don't really like seeing myself on video. This is also probably why I've always preferred to be behind the scenes of things. 
There are a lot of unnecessary fears that are appearing for me.  One strange fear is that a person will come watch the movie and then haggle me about how much they hate it.  Another is that I will be stumped by questions.  This is revealing of how much I like to be prepared.  I am dealing a lot with my perfectionism, with the release of this film.  On some level, I needed to finish the film because of grants, my time schedule, and just a general mental readiness.  Even now when i see things there are scenes I'd re-cut, and I think my sound guy, Steven,  is going through the same experience.  Its not a perfect film by any means, but it was the best I could do and it was an incredible labor of love.

Since this is the first large public screening I am also afraid of being rejected by my hometown, Kirkwood. In some ways its much easier to travel to other communities and share the film because it is not such an up close and personal experience.
I think a lot about the form of this film.  I probably consider it to be in the end more of a personal narrative vs an investigative documentary.  When I began the film I interviewed the women I did, because I felt it was the story I had access too.  I don't really consider myself a journalist but rather an artist and this was the sort of personal story I felt I could tell.  Working on the film, I felt a personal catharsis as if something huge was being lifted off my conscious, as much as it may have benefited the women I interviewed.

I am mostly writing today though because my intern advised it, because I'm tired of the thoughts running through my head, and because this is the reality of me, living in my skin, and sharing this film. 
The other strange thing about a film is that, these are ideas that I've thought about a while and they are also one that have passed for me, with each step of the making.  As I've worked on it, I've generally felt a greater compassion, for all involved and there the night of the shooting.  It's also strange to have a film be about one thing, but then to have another emotional takeaway based on my making of the film.  For instance, I thought this was really a film sharing the story of Connie, her connection to these women, their experiences trying to have voice in their community, the way that their lives intersected with Cookie's, and how they made sense of the shooting.  Along the way coming to understand the race component through my failed attempts at finding information about Meacham Park and then comprehending Harriet's stories, lead me to understand white privilege and institutional racism.  It just shook me.  So there are so many topics in this film, but I also don't want to misrepresent the film as something it is not.  The presence of the film for me, psychologically, is much greater than just what is captured in the hour film.
Is it a film or a giant art project?  Definitely I approach this as I have any other art projects, all encompassing, working in any media, collaborative and individualistic.  Not knowing all the rules of film-making, I probably combine what I think I know, with intuition, with video art knowledge, with storytelling, and with how I'd make a painting. 
My fear makes me want to travel away or hide out in my house.  I've faced other things I've been afraid of in the past, and usually after I've experienced the fear, it doesn't have a hold on me or it becomes a lot smaller.  I think I can face this one

So tomorrow and tonight, I will try to nurture myself with friends and meaningful experiences.  I will be a participant.  I will try to think positively about how amazing it is that I was able to complete this film and that I've had such meaningful conversations around it.  I am already viewing it as a success.  Anything else that happens is just icing on the cake. 
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Sound Work

5/19/2014

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For the past few months since the screening, Steven Thomas has been hardworking at sweetening the sound.  After our first screening, Steven realized many things he wanted to re-work.  I've meanwhile been waiting patiently so that we can release a film at its best quality.  In the meantime, I am getting ready to travel to Wichita in two weeks for a screening and animation workshop.  Looking forward to meeting some new artists and sharing a conversation around this story.
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Animation workshop at Fort Gondo

5/5/2014

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Sunday after the Gondo screening, I held a free animation workshop where I shared my animation tips and attendees got to make their own animated .  Thirteen people attended the workshop and it lasted for two hours.  First I talked about items on the wall and I explained how the props were used in the animation.  After that I demonstrated how to use the animating software and invited a few people to try it out.  Finally the participants split up into groups and worked on sets that they animated together.  All in all it was a fun afternoon to share my animation and I think it may have ignited the interest of a few new animators!
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