A child looks at the neighborhood of Kibera from above. He points to it, his finger like an antenna. His gaze is determined; he wears a strange apparatus on his head, from which wires connect to his radar-hand—a technology of which we know nothing. This character explores the narrow streets of Kibera, greets passersby with his fist, and unleashes the dreams they nurse in their minds. Here are their dreams, one after another: the superhero Mr. Impossible (and all the other superheroes of Kibera, a project of the artist collective Maasai Mbili); the superhero designer; a trip to the moon with spaceships made of Ugali (a typical Kenyan cornmeal dish) to party with aliens; a skilled engineer and an aerospace pilot ready to take up the challenge; the acrobat, Dj Max who performs on Matatu; the singer Beautiful Stranger who records her first hit; and many others. The child who reads dreams gathers all the children of the city behind him, and everything eventually turns into a big party—one which really happened in the middle of the Kibera neighborhood among its little shops, bars, churches and mosques, and thousands of artisans. Bisu Ndoto, the title of the video clip, means “dream” in Sardinian and Swahili. It brings together the two souls of the project, which started with some workshops in schools in Iglesias, Sardinia, in February 2017, and which has lived its central and final phase with the cinema, art, and music workshops in Nairobi. The video is based on the dreams of a group of children and young adults from Kivuli and Ndugu Ndogo rescue centers: Albert, Allan, Amos, Arafat, Cate, Cristal, David, Dennis, Domitila, Douglas, Evan Kibe, Jeremy, Mary , Michael “MC Barr” Barnabe, Newton, Peter, Phylis, Rebecca, Samuel, Samuel, Sarah, Shedrak, Stella, Stephen, Simon, Teddy, Titus, and Vanessa. Maasai Mbili participated in the video, with their and Njung’e Peter’s project “The Superheros of Kibera.” With the children as protagonists, the video was shot and edited by the director Andrea Canepari with the support of Guido Bosticco, Guido Mariani, Cherimus, and the children themselves. The music, produced by Francesco Medda in the recording studio of Mega Link Ent. of Kivuli Center, contains the contributions of: Charles “Sober Boy” Kaylech, Hussein Farouk “The Tall Guy” Ali, Idris Abdul Ismail, Mopel “Original Xloader,” Carlo Spiga “Makika.” Guido Bosticco, and Andrea Canepari. The mix was made by Francesco Medda “Arrogalla” and Carlo Spiga. The costumes and props were made during workshops led by Derek MF Di Fabio. The stories were written and staged during workshops directed by Andrea Rossi, Matteo Rubbi, and Emiliana Sabiu. The scene photographs were taken by Vincenzo Cammarata. The workshops and video clips were also created in collaboration with: Chiara Avezzano, Fiammetta Caime, Camilla Garelli, Vincenzo Cammarata, Jack Matika, Boniface Okada, Niccolò Terzi. A special thanks to Alberto Colzani for his support.
The soundtrack of the video Bisu Ndoto is the result of musical workshops led by Francesco Medda. The Sardinian musician worked together with Charles Kaylech, Hussein Farouk Ali, Idris Abdul Ismail, and Mopel in the production studio of Kivuli Center (Mega Link Entertainment). In addition to the voices and words of the musicians, the song is strongly characterized by a field research of sounds of the neighborhood and of the city. Throughout the month of April, the workshop didn’t stop for a moment: it intertwined sounds and places; the hours of day and night; the steps of Charles, Farouk, Idris, and Mopel through the streets of the city; and Maasai, Kiswahili, and Sweng, the slang of some neighborhoods of Nairobi that combines English and Swahili. Carlo Spiga (whose Sardinian trunfa accompanies the voice of Mopel at the beginning of the song), Guido Bosticco, and Andrea Canepari also collaborated on the soundtrack.
The final song, produced by Francesco Medda and mixed in collaboration with Carlo Spiga, has become the A side of the 45th “Bisu Ndoto,” one track of an album that collects and highlights the precious contributions of young Kenyan musicians. The boys involved in the music workshop are all at the start of their professional careers after having chosen to no longer live on the street and having undertaken a long rehabilitation and educational journey in the Koinonia Community centers. The song was recorded and produced in the production studio Mega Link Ent., managed by, among others, Idris Abdul Ismail and Hussein Farouk Ali.
About the musicians Hussein Farouk “The Tall Guy” Ali and Idris Abdul Ismail “Drisa,” we report the lyrics of their sections:
Idris Abdul Ismail
Kama kawa ida
Kama kata gave inanilipa tax ushuru
Niko zile za icecream na kupiga nduru
zile za kubangaiza na ku park Uhuru
ju kwa rap naingiza paper si ma ndururu
daily on air ka arufu ya samaki
design na ongea ni ile ya Kibaki
niko left na right ka mse ameachiwa haki
ku outshine ma mc ka vitu sitaki
so nipate ju ya banana nikikula ndizi
ju mtaa wanani support na ulizi
As usual As usual, the government pays me taxes (means: as usual I pay the taxes of the government – in an ironic sense) I’m enjoying an ice cream and I’m having fun around (shouting) I’m wasting my time at Uhuru Park when I make money I make money (banknotes) not small change I’m all day in the air like the smell of fish my way of talking is like Kibaki’s (I speak as Kibaki) everywhere I am as free as someone who has seen his rights recognized eclipse all the other rappers (musicians) like everything I don’t want (which I don’t like) so you find me on a banana while I eat a banana because my family helps me and gives me security stizza listen
Hussein Farouk Ali
I look up to the mirror and I see
I see myself standing I’am the new born king
Haters talking mad they are talking more about me
But the truth of the matter nobody knows about me
And music is my life ne mu manyire nyi vosi – e lo sanno tutti – everybody knows that –
the way I spit the rimes people think I’m from Jozi
Holla we holla we aint flossing
Ata mama manyire mi ni murosi – even my mam knows I am the best –
The way I spit rimes flow rimes I am a bola
hold up
the true definition of a bola
hold up
I’m flipping the game i’m changing the game I make you go insane
I am looking kind a young but I bet I am the king
I’m Obama my speakers make you go astray
I’m Osama my name makes you feel the pain
because I was born a star
I was raised a star
from 0 to 100 now I own my stuff
Some images from the workshops of writing, staging, and constructing costumes and props. 19 stories and 19 dreams slowly come to life: stories of pilots, engineers, inventors, DJs, superheroes, travelers, acrobats, singers, stylists, poets, and athletes.
Meanwhile, in the production studio of Mega Link Entertainment, also at Kivuli Center, Francesco Medda meets the musicians Charles Kaylech, Hussein Farouk Ali, Idris Abdul Ismail, and Mopel and begins to rehearse the song that will become the soundtrack of the music video Bisu Ndoto…
Titus impegnato a completare la sua storia
Alcuni dei sogni scritti dai ragazzi esposti nel laboratorio di Kivuli Center
Tonny e Stephen AKA Mr Impossible visitano l’ufficio dell’ingegnere Amos e dei suoi assistenti (Alan e Domitila) per coinvolgerlo nella costruzione della navicella spaziale. Messa in scena di alcune storie durante gli workshop a Kivuli Center
Prima fase del laboratorio di costruzione dei costumi
Paul, Shedrak e Titus vestiti da abitanti della Luna
Domitila e Rebecca aiutano Vanessa nei preparativi per le riprese del suo sogno
Fasi di lavorazione del costume di Mr Impossible
La maschera di Mr Impossible disegnata da Shedrak
Francesco Medda nel production studio di Kivuli con Idris, Farouk e Mopel
During the creation of Bisu Ndoto, Cherimus collaborated with the artistic collective Maasai Mbili (M2), founded in 2001 by Otieno Gomba and Otieno Kota in the Kibera neighborhood, and with the collective Nyota Arts Group. Their beautiful project “Superheros of Kibera,” with which children are directly involved in imagining themselves as superheroes to transform their neighborhood, has in fact entered the dream of one of the children that took part in the video clip Bisu Ndoto. Stephan, a.k.a. Mr Impossible, was welcomed into the ranks of the legendary superheroes of Kibera. The video shows us the magic moment of their putting on their costumes, of their transformation into superheroes: sparkling clothes, determined gaze, superpowers ready to explode to fight injustice and to defend the weakest. There are those who, like Squid1, save people during the fires that afflict Kibera; there are also those who, like Wonder Woman, read the truth in the minds of everyone, bringing honesty and peace back to society. The project was created to center the children of the neighborhood, to give space and legitimacy to their voices and power to their imaginations. It represented the precious possibility to be what they want to be, what they dream of, to think big. “We want to show to this kids [sic] that you can be the Batman in your community, you can transform your community,” explains the artist Steve Nyenze of Nyota Arts Group, another collective involved in the project, in an interview. Through drawing, painting, and the many art practices transmitted during the workshops led by the artists of the collective Maasai Mbili and Nyota Arts Group, the children were able to build themselves up as superheroes, not just through a costume, but through trying to make a difference in their lives and those of others.
Maasai Mbili (M2) (3) was founded in 2001 by Otieno Gomba and Otieno Kota. The pair began by selling novel hand-painted signs along Kibera drive, before acquiring a permanent site in 2003.(4) This became the M2 Art-centre; serving as a studio cum gallery and a juncture for many creatives and artists in the area. The M2 Art-centre was a pioneering visual art space in Kibera; initiating opportunities for participation, collaboration, teaching and socialisation – as well as providing a space to work. Today there are approximately 20 members. (5) Painting is at the heart of M2’s artistic practice – some artists continue sign-writing. However M2 also venture into community outreach projects, conceptual work, fashion, film, mixed media, music, photography and sculpture. The work they create, along with the artists, traverse local, national and global art worlds.(6) Unsurprisingly, as was the need for such a space, the M2 art-centre attracted many artists – most of whom come from this informal settlement. Consequently, M2 has a continuous and authentic relation with the neighbourhood and its people – remaining the most significant artists’ collective in Kibera (7). Though spend a day at this centre and you will notice another element – its positioning in community life. With doors always open, countless members of the public drop by M2 daily – some discuss problems and seek advice, others socialise, and for some a moments respite is treasured. All however experience the art of M2, in some form or other, and it is evident that this art-centre is a valued cultural space in the community. However the art-centre is only one story, or perhaps better phrased one location, of this collective. A short walk from their art space you come across their “second studio” – a local bar selling the illicit home-brewed spirit Changaa. It is here where some artists come for “art supplies” (Changaa) which helps to “kufungua Kichwa” (open the head). While there may be a link between artistic inspiration, heightened creativity, and the use of alcohol, this “second studio” is also a rousing social space – stories are told, opinions shared, quarrels settled (though sometimes made) and concepts conceived. It is easy to see how this space becomes a fitting extension to the M2 art-centre. Though there is an additional space which is central to this story – perhaps a ‘third studio’ – where community life is played. This space is Kibera. There is a certain juxtaposition of beauty and ugliness found here. Nevertheless, however one may characterise Kibera, the home of M2, it is certainly never dull or sterile.
‘Superheroes of Kibera’ is a multidisciplinary art project that works with young people to create their own locally relevant superheroes. The overall aim of the project is to use art as a medium to identify and address issues of public concern, which will heighten awareness or deepen knowledge of social issues, and in doing so create new modes of perception, to tell us who we are, and could be. The project takes place in Kibera, one of Kenya’s largest informal settlements and is coordinated by, and involves artists from, Maasai Mbili and Nyota Arts. This project comes at a time when society is seemingly moving into a culture of pervasive self-interest and self-indulgent passivity, where people regularly tend to be spectators rather than participants, and typically embrace the status quo or easy options rather than attempt to bring about change. Though this is not the characteristic of a superhero. Superheroes are often described as those who pursue justice, defend the defenceless, or help those who cannot help themselves. They show courage, determination, persistence, teamwork, and creativity. They don’t accept defeat. They won’t ever give up. They believe in themselves, and in their cause, and they go all-out to achieve their goals. They don’t do what they do because it’s popular. They do it because it’s right. The image of a superhero, and their moralistic character, regularly present us with something to aspire to in our own lives. But who are the superheroes for young people in Nairobi, and if young people were given an opportunity to create a superhero, then what would it be like? Additionally, what are the challenges, issues, or problems that young people and their communities face which these superheroes will help solve and fight? This project will answer these questions by engaging with young people from Kibera in a series of creative art workshops where they will create superheroes relating to their specific contexts and lives. Their superheroes will be expressed and created through drawings, paintings, costumes, photography and film. Through understanding who, or what, a superhero is; the project will also draw on the heroic acts of those who live and work around us every day. These activities will provide an opportunity for role play, creative expression and experimentation in which young people will not only learn and develop their artistic abilities but also explore notions of right and wrong, civic responsibilities, and – through the concept of a superhero – the kind of person they, and their peers or fellow citizens, can become. As a result this project will shed new light on humankind’s present condition and offer a new sense of direction and resolve as we live our own lives. With the image of the ‘superheroes of Kibera’ in our mind we may find it broadens our mental horizons and supports our moral determination, while also entertaining us.
“…there is something that goes out there, they say”
CHERIMUS SUMMER SCHOOL
July 14-24 2018
OPEN CALL Deadline: June 10 2018
Cherimus is a not-for-profit organization founded in Perdaxius, Sulcis area, southern Sardinia, in November 2007 by a group of artists and professionals from different sectors and disciplines, based in Sardinia and all over the world.
Cherimus’ aim is to contribute to the development of the social and cultural heritage – past and present – of the Sulcis region through art, as a way of reflecting and intervening into its economic, social, political and cultural problems.
Like most marginalized areas of today, Sulcis is torn between the preservation of its heritage and its ongoing incorporation into the global sphere. Yet, the territory does not always seem to be able to actively manage this transition: its local history and identity run the risk of becoming mere ‘anecdotes’ or curiosities for tourists, rather than being consciously integrated into the real existence of communities, so as to create new avenues for culture and communal life.
Cherimus wants to open Sulcis up to inputs and experiences coming from distant places, building a bridge between regions that are geographically remote or apparently incompatible but which may nonetheless experience similar contradictions between their marginality and cultural richness. To this purpose, we have developed throughout the years a number of projects in collaboration with African, Middle Eastern and American institutions.
Cherimus Summer School is an experimental space designed to promote formal and informal discussions and exchanges among artists, researches and cultural managers. It aims to explore different forms of art-making through non-institutional teaching methods and experimental ways of sharing knowledge.
Cherimus Summer School seeks to establish a relation with the local communities’ existing energies, through the encounters we will make on our way and thanks to the guest artists we will collaborate with.
Up to 10 participants from all nationalities will be selected. The Summer School will last 9 days and will take place in Perdaxius and in the Sulcis area.
Every day of the Summer School, the selected artists will take part in the workshops organized by Cherimus’ network of artists. The workshops will give them the opportunity to get into contact with the different elements that coexist in the Sulcis area, such as landscapes, sounds, flavors, customs and traditions, which will be investigated through dynamic classes.
The outcome of the Cherimus Summer School will be defined together with the participants.
RANGE OF ACTIVITIES (the scheduled activities will be defined together with the participants):
– Visit to Pranedda: we will trace its untracked paths! Pranedda faces Perdaxius; it is a ancient mountain where legendary and mysterious events happen. Here you can find an article about the mountain written by Cherimus artists Matteo Rubbi and Santo Tolone: http://www.flashartonline.it/article/matteo-rubbi-santo-tolone/
Music workshops on the ancient melodies of Sulcis; invention of new and old instruments;
Astrosafari: we will observe the stars and invent tales during an outdoor night potluck;
Underwater video shooting using props made out of natural elements collected in the area;
Watching pink flamingos on the beach;
Exploration of the old Sulcis-Iglesiente mines;
Walks to different Nuragic archeological sites;
Cooking workshops with the local population from Perdaxius, focused on traditional Sulcis recipes;
Preparation of Cocoi, the porcupine bread with an astonishing shape;
ARTISTS AND STAFF CHERIMUS SUMMER SCHOOL:
Fiammetta Caime: She deals with coordination, administrative management and logistics of Cherimus’ projects. She lives and works in Milan. She is fond of art and people.
Derek MF Di Fabio: visual artist. His works are part of experiences that can be re-lived through shared memory and they can no longer be circumscribed as a who/how/where. With Isa Griese they perform as2008daughtersinquiring into the production of goods. He is part of Cherimus since 2010.
Matteo Rubbi: visual artist, co-founder of Cherimus with Marco Colombaioni and Emiliana Sabiu. In his works he invites the viewers to read the context in which they live and their role in society.
Emi Sabiu: she cofounded Cherimus in 2007, with Matteo Rubbi and Marco Colombaioni; she invents projects linked with art and people. She is from Perdaxius, where she lives and works most of the times.
Carlo Spiga: visual artist and musician, under the moniker of Makika. He’s part of Cherimus since 2010. He lives and work in Cagliari.
LOCATION : Perdaxius is located ~70 Km from Cagliari. The nearest train station is Carbonia which is reachable by train from Cagliari airport and Cagliari city centre.
Accommodation Info : A flat with three separate bedrooms, shared kitchen, living room and garden.
Technical Info : Basic working power tools and multimedia devices (printer, video-projector, audio and video recording devices).
COST : EUR 500.00 The fee includes:
Accommodation in double/quadruple fully equipped bedrooms
Farm to Table Breakfast
Workshops and seminars
Excursions
On-site support
Not included:
Travel costs
Lunch and dinner
This is the first Summer School organized by Cherimus and it doesn’t receive any external funding.
We can provide a formal letter or invitation to enable the artist to search for funding and cover the costs.
APPLICATION PROCESS
Language : English, Italian, French
We are looking for a heterogenous group of artists from different backgrounds and working on different media;
Art-collectives are welcome;
Applications may be submitted via video or audio, to support those with dyslexia, rather than in written form.
To apply, please provide:
a statement describing why you are interested in the Cherimus Summer School (max 500 words)
a portfolio and/or links to your works
a brief biographical note and information relating to your personal circumstances, if applicable (max 500 words)
Please send 1 PDF file compiling all the application materials to cherimus@gmail.comwith the subject: Cherimus SUMMER SCHOOL
Attachment should not exceed 24 MB.
Video and sound files should be uploaded online. Please, include links and passwords, if necessary, in the PDF.
APPLICATION DEADLINE : June 10, 2018
The participants will be notified about the outcome of the selection process via email by 18th June.
The deadline for the payment of fees will be 25th June.
A minimum of 6 participants will be required to activate the Summer School.
For more informations contact us: cherimus@gmail.com Emi Sabiu +393486299861
“… nanta ca inguni ddoi essit cosa”
“… dicono che lì c’è qualcosa”
“… nanta ca inguni ddoi essit cosa”
“… dicono che lì c’è qualcosa”
CHERIMUS SUMMER SCHOOL
14-24 luglio 2018
Open Call Deadline: 03 giugno 2018
Cherimus è una associazione no-profit fondata a Perdaxius, nel Sulcis (sud-ovest Sardegna), nel novembre del 2007, da un gruppo di artisti e professionisti di vari settori e discipline, provenienti dalla Sardegna e dal resto del mondo.
Cherimus partecipa attraverso l’arte contemporanea allo sviluppo del patrimonio sociale e culturale – passato e presente – del Sulcis Iglesiente, considerando l’arte come riflessione e intervento sulle questioni economiche, politiche e culturali del Sulcis.
Come ogni “periferia”, il Sulcis, oggi, è diviso fra la conservazione della sua eredità e la spinta verso l’inserimento nella sfera globale. Tuttavia la transizione rischia di essere solo subita: la storia e l’identità territoriale rischiano di trasformarsi in aneddoto o semplice curiosità turistica, piuttosto che essere consapevolmente integrate dalle comunità locali per creare nuovi spazi culturali e di vita comune.
Cherimus cerca di aprire il Sulcis a esperienze e idee provenienti da paesi lontani costruendo un ponte tra realtà geograficamente distanti o apparentemente incompatibili, che tuttavia spesso condividono lo stesso squilibrio fra ricchezza e marginalità culturale.
A questo scopo, abbiamo sviluppato negli anni numerosi progetti in collaborazione con istituzioni di Africa, Medio Oriente e America.
Cherimus Summer Schoolè uno spazio sperimentale pensato per stimolare una discussione formale e informale tra artisti, ricercatori e cultural manager, che esplora le diverse discipline dell’arte attraverso un metodo di insegnamento non istituzionale. Cherimus Summer Schoolsi relaziona alle energie e tensioni presenti nella società, attraverso gli incontri che hanno luogo nel corso della residenza e grazie agli artisti che terranno I laboratori.
Saranno selezionati fino a un massimo di 10 partecipanti provenienti da tutte le nazionalità. Cherimus Summer School avrà una durata di 9 giorni e si svolgerà a Perdaxius e in tutto il Sulcis. Durante la Cherimus Summer School i laboratori saranno organizzati quotidianamente. I laboratori offriranno la possibilità di entrare in contatto attivo con diversi aspetti del territorio del Sulcis: il paesaggio, i suoni, i sapori, i costumi e i gesti.
È prevista una restituzione la cui forma finale verrà definita durante i laboratori.
Esempi di attività previste (il programma verrà definito insieme ai partecipanti):
Astrosafari: workshop notturno all’aperto in cui osservare le stelle e inventare storie;
Escursioni attraverso siti archeologici nuragici, luoghi preistorici che segnano ancora oggi il paesaggio del Sulcis;
Laboratorio di cucina tenuto da Perdaxini sulle ricette tradizionali sulcitane;
Laboratorio musicale sulle antiche melodie del Sulcis, provenienti da un passato remoto; creazione di nuovi e antichi
strumenti musicali;
Workshop sulla preparazione del Cocoi, il pane-porcospino dalla forma sorprendente;
Walking workshop: esplorazione delle miniere e degli antichi sentieri;
Workshop di video subacquei: riprese sottomarine con oggetti di scena costruiti con materiali recuperati in loco.
Osservazione dei fenicotteri rosa sulla spiaggia.
Artisti e staff della Cherimus Summer School:
Fiammetta Caime: Si occupa di coordinamento, gestione amministrativa e logistica dei progetti di Cherimus. Vive e lavora a Milano. Ama l’arte e le persone.
Derek MF Di Fabio, artista visivo. I suoi lavori fanno parte di esperienze che possono essere rivissute attraverso la memoria condivisa, così non possono essere più circoscritti in un chi/come/dove. Assieme a Isa Griese, è 2008daughters, nelle cui performance si producono beni di prima necessità. È parte di Cherimus dal 2010.
Matteo Rubbi: artista visivo, co-fondatore di Cherimus con Marco Colombaioni ed Emiliana Sabiu. Nel suo lavoro, invita lo spettatore a leggere il contesto in cui vive e il ruolo che ricopre nella società.
Emi Sabiu: ha co-fondato Cherimus nel 2007 con Matteo Rubbi e Marco Colombaioni. Ama inventare progetti che riguardano l’arte e le persone. Perdaxius è il suo paese.
Carlo Spiga: artista visivo e musicista, con il nome di Makika. È parte di Cherimus dal 2010. Vive e lavora a Cagliari.
Location Perdaxius si trova a circa 70 Km da Cagliari. La stazione ferroviaria più vicina è quella di Carbonia, raggiungibile in treno dall’aeroporto e dalla città di Cagliari.
Alloggio Appartamento con tre camere da letto separate, cucina in comune, soggiorno e giardino.
Informazioni tecniche Strumenti di lavoro di base e dispositivi multimediali (stampante, videoproiettore, dispositivi di registrazione audio e video).
Costo : 500.00 EURO
La quota comprende:
Sistemazione in camere doppie / quadruple completamente attrezzate
Colazione a chilometro zero
Laboratori e seminari
Escursioni
Supporto in loco
La quota non comprende:
Spese di viaggio
Pranzi e cene
Questa è la prima Summer School organizzata da Cherimus e non riceve alcun finanziamento esterno. Possiamo fornire una lettera di invito formale per consentire all’artista di chiedere finanziamenti e coprire i costi.
Modalità di partecipazione
Lingue: italiano, inglese, francese;
Stiamo cercando un gruppo eterogeneo di artisti provenienti da diversi background, esperienze e pratiche.
I collettivi di artisti sono benvenuti.
Le richieste di partecipazione possono essere presentate in forma video o audio, anziché per iscritto, per supportare chi affetto da dislessia.
Per partecipare, si prega di fornire:
Uno statement che spiega perché si è interessati alla Cherimus Summer School (max 500 parole);
Portfolio o Curriculum Vitae e/o link alle opere;
Una breve nota biografica che includa eventuali informazioni personali, se necessario (max 500 parole).
Si prega di inviare un file in formato PDF che raccolga tutti i materiali suddetti all’indirizzo cherimus@gmail.com con oggetto: Cherimus SUMMER SCHOOL.
L’allegato non dovrà superare i 24 MB.
I file audio e video devono essere caricati online. Si prega di includere link ed eventuali password nel PDF
Application deadline
03/06/2018
I partecipanti selezionati riceveranno comunicazione diretta via email entro il 18 giugno.
I partecipanti dovranno versare la quota di partecipazione entro il 25 giugno.
La Summer School sarà attivata a partire da un minimo di 6 partecipanti.
Per maggiori informazioni contattaci:
cherimus@gmail.com
Emi Sabiu: +3486299861
Scorrere la pagina per la versione in italiano
“…nanta ca inguni ddoi essit cosa”
“…there is something that goes out there, they say”
CHERIMUS SUMMER SCHOOL
July 14-24 2018
OPEN CALL Deadline: June 10 2018
Cherimus is a not-for-profit organization founded in Perdaxius, Sulcis area, southern Sardinia, in November 2007 by a group of artists and professionals from different sectors and disciplines, based in Sardinia and all over the world.
Cherimus’ aim is to contribute to the development of the social and cultural heritage – past and present – of the Sulcis region through art, as a way of reflecting and intervening into its economic, social, political and cultural problems.
Like most marginalized areas of today, Sulcis is torn between the preservation of its heritage and its ongoing incorporation into the global sphere. Yet, the territory does not always seem to be able to actively manage this transition: its local history and identity run the risk of becoming mere ‘anecdotes’ or curiosities for tourists, rather than being consciously integrated into the real existence of communities, so as to create new avenues for culture and communal life.
Cherimus wants to open Sulcis up to inputs and experiences coming from distant places, building a bridge between regions that are geographically remote or apparently incompatible but which may nonetheless experience similar contradictions between their marginality and cultural richness. To this purpose, we have developed throughout the years a number of projects in collaboration with African, Middle Eastern and American institutions.
Cherimus Summer School is an experimental space designed to promote formal and informal discussions and exchanges among artists, researches and cultural managers. It aims to explore different forms of art-making through non-institutional teaching methods and experimental ways of sharing knowledge.
Cherimus Summer School seeks to establish a relation with the local communities’ existing energies, through the encounters we will make on our way and thanks to the guest artists we will collaborate with.
Up to 10 participants from all nationalities will be selected. The Summer School will last 9 days and will take place in Perdaxius and in the Sulcis area.
Every day of the Summer School, the selected artists will take part in the workshops organized by Cherimus’ network of artists. The workshops will give them the opportunity to get into contact with the different elements that coexist in the Sulcis area, such as landscapes, sounds, flavors, customs and traditions, which will be investigated through dynamic classes.
The outcome of the Cherimus Summer School will be defined together with the participants.
RANGE OF ACTIVITIES (the scheduled activities will be defined together with the participants):
– Visit to Pranedda: we will trace its untracked paths! Pranedda faces Perdaxius; it is a ancient mountain where legendary and mysterious events happen. Here you can find an article about the mountain written by Cherimus artists Matteo Rubbi and Santo Tolone: http://www.flashartonline.it/article/matteo-rubbi-santo-tolone/
Music workshops on the ancient melodies of Sulcis; invention of new and old instruments;
Astrosafari: we will observe the stars and invent tales during an outdoor night potluck;
Underwater video shooting using props made out of natural elements collected in the area;
Watching pink flamingos on the beach;
Exploration of the old Sulcis-Iglesiente mines;
Walks to different Nuragic archeological sites;
Cooking workshops with the local population from Perdaxius, focused on traditional Sulcis recipes;
Preparation of Cocoi, the porcupine bread with an astonishing shape;
ARTISTS AND STAFF CHERIMUS SUMMER SCHOOL:
Fiammetta Caime: She deals with coordination, administrative management and logistics of Cherimus’ projects. She lives and works in Milan. She is fond of art and people.
Derek MF Di Fabio: visual artist. His works are part of experiences that can be re-lived through shared memory and they can no longer be circumscribed as a who/how/where. With Isa Griese they perform as2008daughtersinquiring into the production of goods. He is part of Cherimus since 2010.
Matteo Rubbi: visual artist, co-founder of Cherimus with Marco Colombaioni and Emiliana Sabiu. In his works he invites the viewers to read the context in which they live and their role in society.
Emi Sabiu: she cofounded Cherimus in 2007, with Matteo Rubbi and Marco Colombaioni; she invents projects linked with art and people. She is from Perdaxius, where she lives and works most of the times.
Carlo Spiga: visual artist and musician, under the moniker of Makika. He’s part of Cherimus since 2010. He lives and work in Cagliari.
LOCATION : Perdaxius is located ~70 Km from Cagliari. The nearest train station is Carbonia which is reachable by train from Cagliari airport and Cagliari city centre.
Accommodation Info : A flat with three separate bedrooms, shared kitchen, living room and garden.
Technical Info : Basic working power tools and multimedia devices (printer, video-projector, audio and video recording devices).
COST : EUR 500.00 The fee includes:
Accommodation in double/quadruple fully equipped bedrooms
Farm to Table Breakfast
Workshops and seminars
Excursions
On-site support
Not included:
Travel costs
Lunch and dinner
This is the first Summer School organized by Cherimus and it doesn’t receive any external funding.
We can provide a formal letter or invitation to enable the artist to search for funding and cover the costs.
APPLICATION PROCESS
Language : English, Italian, French
We are looking for a heterogenous group of artists from different backgrounds and working on different media;
Art-collectives are welcome;
Applications may be submitted via video or audio, to support those with dyslexia, rather than in written form.
To apply, please provide:
a statement describing why you are interested in the Cherimus Summer School (max 500 words)
a portfolio and/or links to your works
a brief biographical note and information relating to your personal circumstances, if applicable (max 500 words)
Please send 1 PDF file compiling all the application materials to cherimus@gmail.comwith the subject: Cherimus SUMMER SCHOOL
Attachment should not exceed 24 MB.
Video and sound files should be uploaded online. Please, include links and passwords, if necessary, in the PDF.
APPLICATION DEADLINE : June 10, 2018
The participants will be notified about the outcome of the selection process via email by 18th June.
The deadline for the payment of fees will be 25th June.
A minimum of 6 participants will be required to activate the Summer School.
For more informations contact us: cherimus@gmail.com Emi Sabiu +393486299861
“… nanta ca inguni ddoi essit cosa”
“… dicono che lì c’è qualcosa”
“… nanta ca inguni ddoi essit cosa”
“… dicono che lì c’è qualcosa”
CHERIMUS SUMMER SCHOOL
14-24 luglio 2018
Open Call Deadline: 03 giugno 2018
Cherimus è una associazione no-profit fondata a Perdaxius, nel Sulcis (sud-ovest Sardegna), nel novembre del 2007, da un gruppo di artisti e professionisti di vari settori e discipline, provenienti dalla Sardegna e dal resto del mondo.
Cherimus partecipa attraverso l’arte contemporanea allo sviluppo del patrimonio sociale e culturale – passato e presente – del Sulcis Iglesiente, considerando l’arte come riflessione e intervento sulle questioni economiche, politiche e culturali del Sulcis.
Come ogni “periferia”, il Sulcis, oggi, è diviso fra la conservazione della sua eredità e la spinta verso l’inserimento nella sfera globale. Tuttavia la transizione rischia di essere solo subita: la storia e l’identità territoriale rischiano di trasformarsi in aneddoto o semplice curiosità turistica, piuttosto che essere consapevolmente integrate dalle comunità locali per creare nuovi spazi culturali e di vita comune.
Cherimus cerca di aprire il Sulcis a esperienze e idee provenienti da paesi lontani costruendo un ponte tra realtà geograficamente distanti o apparentemente incompatibili, che tuttavia spesso condividono lo stesso squilibrio fra ricchezza e marginalità culturale.
A questo scopo, abbiamo sviluppato negli anni numerosi progetti in collaborazione con istituzioni di Africa, Medio Oriente e America.
Cherimus Summer Schoolè uno spazio sperimentale pensato per stimolare una discussione formale e informale tra artisti, ricercatori e cultural manager, che esplora le diverse discipline dell’arte attraverso un metodo di insegnamento non istituzionale. Cherimus Summer Schoolsi relaziona alle energie e tensioni presenti nella società, attraverso gli incontri che hanno luogo nel corso della residenza e grazie agli artisti che terranno I laboratori.
Saranno selezionati fino a un massimo di 10 partecipanti provenienti da tutte le nazionalità. Cherimus Summer School avrà una durata di 9 giorni e si svolgerà a Perdaxius e in tutto il Sulcis. Durante la Cherimus Summer School i laboratori saranno organizzati quotidianamente. I laboratori offriranno la possibilità di entrare in contatto attivo con diversi aspetti del territorio del Sulcis: il paesaggio, i suoni, i sapori, i costumi e i gesti.
È prevista una restituzione la cui forma finale verrà definita durante i laboratori.
Esempi di attività previste (il programma verrà definito insieme ai partecipanti):
Astrosafari: workshop notturno all’aperto in cui osservare le stelle e inventare storie;
Escursioni attraverso siti archeologici nuragici, luoghi preistorici che segnano ancora oggi il paesaggio del Sulcis;
Laboratorio di cucina tenuto da Perdaxini sulle ricette tradizionali sulcitane;
Laboratorio musicale sulle antiche melodie del Sulcis, provenienti da un passato remoto; creazione di nuovi e antichi
strumenti musicali;
Workshop sulla preparazione del Cocoi, il pane-porcospino dalla forma sorprendente;
Walking workshop: esplorazione delle miniere e degli antichi sentieri;
Workshop di video subacquei: riprese sottomarine con oggetti di scena costruiti con materiali recuperati in loco.
Osservazione dei fenicotteri rosa sulla spiaggia.
Artisti e staff della Cherimus Summer School:
Fiammetta Caime: Si occupa di coordinamento, gestione amministrativa e logistica dei progetti di Cherimus. Vive e lavora a Milano. Ama l’arte e le persone.
Derek MF Di Fabio, artista visivo. I suoi lavori fanno parte di esperienze che possono essere rivissute attraverso la memoria condivisa, così non possono essere più circoscritti in un chi/come/dove. Assieme a Isa Griese, è 2008daughters, nelle cui performance si producono beni di prima necessità. È parte di Cherimus dal 2010.
Matteo Rubbi: artista visivo, co-fondatore di Cherimus con Marco Colombaioni ed Emiliana Sabiu. Nel suo lavoro, invita lo spettatore a leggere il contesto in cui vive e il ruolo che ricopre nella società.
Emi Sabiu: ha co-fondato Cherimus nel 2007 con Matteo Rubbi e Marco Colombaioni. Ama inventare progetti che riguardano l’arte e le persone. Perdaxius è il suo paese.
Carlo Spiga: artista visivo e musicista, con il nome di Makika. È parte di Cherimus dal 2010. Vive e lavora a Cagliari.
Location Perdaxius si trova a circa 70 Km da Cagliari. La stazione ferroviaria più vicina è quella di Carbonia, raggiungibile in treno dall’aeroporto e dalla città di Cagliari.
Alloggio Appartamento con tre camere da letto separate, cucina in comune, soggiorno e giardino.
Informazioni tecniche Strumenti di lavoro di base e dispositivi multimediali (stampante, videoproiettore, dispositivi di registrazione audio e video).
Costo : 500.00 EURO
La quota comprende:
Sistemazione in camere doppie / quadruple completamente attrezzate
Colazione a chilometro zero
Laboratori e seminari
Escursioni
Supporto in loco
La quota non comprende:
Spese di viaggio
Pranzi e cene
Questa è la prima Summer School organizzata da Cherimus e non riceve alcun finanziamento esterno. Possiamo fornire una lettera di invito formale per consentire all’artista di chiedere finanziamenti e coprire i costi.
Modalità di partecipazione
Lingue: italiano, inglese, francese;
Stiamo cercando un gruppo eterogeneo di artisti provenienti da diversi background, esperienze e pratiche.
I collettivi di artisti sono benvenuti.
Le richieste di partecipazione possono essere presentate in forma video o audio, anziché per iscritto, per supportare chi affetto da dislessia.
Per partecipare, si prega di fornire:
Uno statement che spiega perché si è interessati alla Cherimus Summer School (max 500 parole);
Portfolio o Curriculum Vitae e/o link alle opere;
Una breve nota biografica che includa eventuali informazioni personali, se necessario (max 500 parole).
Si prega di inviare un file in formato PDF che raccolga tutti i materiali suddetti all’indirizzo cherimus@gmail.com con oggetto: Cherimus SUMMER SCHOOL.
L’allegato non dovrà superare i 24 MB.
I file audio e video devono essere caricati online. Si prega di includere link ed eventuali password nel PDF
Application deadline
03/06/2018
I partecipanti selezionati riceveranno comunicazione diretta via email entro il 18 giugno.
I partecipanti dovranno versare la quota di partecipazione entro il 25 giugno.
La Summer School sarà attivata a partire da un minimo di 6 partecipanti.
Dragos Olea of Apparatus 22 arrived in Sulcis on November 11th; it was his first time in Sardinia and his first collaboration with Cherimus. He spent two weeks with us, leading eight workshops in Villamassargia, Domusnovas, Musei, and Iglesias and presenting his work to the public at Villamassargia: two intense weeks to officially launch the project “The Possible Gardens.” The first week was dedicated to getting to know the children and the parks, to understanding the wishes and the dreams of the kids through their words and their drawings. Dragos also shared the work of Apparatus 22, focusing on public projects carried out across Europe.
The first meeting with each class consisted of a visit to the garden made available for the project. In Villamassargia, it’s a former cemetery; decommissioned for years, it still retains traces of the avenue that cut it in two, lined by cypress and palms. The children have reconquered the space and have imagined castles and flags, crazily-outlined playing fields, houses of flowers, burrows where one can look for shamrocks and collect lucky symbols. Dragos is very curious and asks many questions to the children, visiting them in their favorite little corner, where they’re already very much at home.
The garden of Domusnovas has at its center a large tree with open arms, a carob tree within which the children gathered as in a magic flask. Someone has imagined the carob tree at the center of an intricate labyrinth, a place in which to play and get lost and find each other again. On the tree in the center there is also a house in which musical instruments are collected. In Musei, the smallest village, the class is made up of ten students, in reality two classes in one: one fourth and one fifth grade class. The village was rapidly depopulated, the teacher tells us, after the closure of the Portovesme industrial plant. The garden is a narrow tongue of green between two streets; it is difficult to imagine a park in it. But the children composed it naturally, extending the limits of that little handkerchief of a park, envisioning in it an open-air dance school; a rich orchard to take care of and from which to collect fresh fruit; a track that goes up and down where one can ride horses and motorcycles; a bush where one can bring their own favorite animals, hens, dogs and cats; and finally, a thread suspended between the trees for attaching drawings for an annual festival. Dragos wrote all this in his notebook, thought to himself and smiled.
Working in Iglesias immediately after Musei is strange: we felt as though we were passing from a remote rural village to the core of a gigantic metropolis. Its park is the largest of the four and has two floors: a high hill, dense with trees, from which a little triangle of sea and the mining town and hills of Monteponi can be seen between the houses. Rolling down the steep descent to the foot of the hill, one finds oneself on a flat meadow where it is lovely to run free. In fact, the children did run, up and down, and one even rolled down the hill and thought that such a thing must absolutely be included in the park, that the grassy slopes must be preserved.
In the woods, someone imagined a magical dwelling for inventing spells, another a planetarium where the motion of the stars is determined from the flight of owls, and yet another proposed monuments dedicated to Hypatia and Frida Kahlo. Dragos followed the children and tried to imagine what lay beyond the houses, beyond the hills, out there where a child would want to be able to see from the top of a tree. The following week, at school, everything became solid and spectacular. The children collected paper, fabrics, and all kinds of gaudy materials to shape their ideas and make models of them. Many things have changed since the first meeting: the children have worked in groups to combine the ideas and forces that provoked by Dragos’s presence. On Dragos’s part, he has studied their ideas and proposed many possible ways of developing them. In Villamassargia, the den has become a mini pinnetta, a typical Sardinian stone building. The playing field now has a jagged perimeter that recalls the old maps of Sardinia, and here and there doors and passages arise from the grass, every element linked by rules of the game yet to be written. In Domusnovas, labyrinths in the form of mice are imagined, as well as astronomical observatories and theatrical stages, all around the carob tree. In Musei, barres for dancing, axes of balance, a track for horses and motorcycles, and a thread to attach drawings became a single line going up and down across the orchards and grass. In Iglesias, the animals multiply: octopuses, owls, turtles, dragons, and panda-corns. The observation point becomes an elastic rainbow carpet, even equipped with an elevator…
At the end of the workshops there was time left to visit the MAN of Nuoro and, on our way back, the well of Santa Cristina. We greeted Dragos immediately after visiting the flea market in Cagliari, a beautiful sunny morning at the end of November. The adventure of “The Possible Gardens” has really begun!
Yassine Balbzioui flew to Sardinia directly from Marseilles where he attended an artist residency at La Friche la Belle de Mai. Yassine already knew Sardinia and Cherimus very well: in 2011 he collaborated on the project Happy April, creating workshops throughout the Sulcis-Iglesiente area with Marco Colombaioni; in 2013 we worked together in the towns of Masainas, Giba, Villaperuccio, Perdaxius and Piscinas for the project La biblioteca fantastica; and in 2015 he was with us in the Sant’Elia’s neighborhood in Cagliari for the Sardinian part of the project Côte À Côte, begun the year before in Rabat, Morocco. Primarily a painter, Yassine Balbzioui uses sculpture, installation and performance in his practice, spreading a visionary and playful force with both hands that encourages the observer to recalibrate their relationship with the world. After the work of collecting and developing key ideas for the parks carried out with Dragos Olea of Apparatus 22, Yassine set his work on the physical development of the various projects that emerged. He wanted to immerse himself in the four parks by accepting the “utopian challenge”, as the artist calls it, that the project I giardini possibili proposes: a transformation that really starts with children, not as a pretext but as a foundation. The classrooms were thus emptied of their benches and transformed from time to time into a wall to decorate and knock down, a dense maze of drawings of fountains, an infinite line with which the body must relate and dance, a large scale model made of moss, clay, chalk and paint—almost a science fiction crèche. Ideas have been thrust into form, gesture, leap, and fall. The materials were mixed in order to become inextricable, and in this way, possibilities were unleashed and ultimately freed. Thanks to Yassine Balbzioui, “I giardini possibili“ have traveled much: they too have become living and fluttering creatures.
The idea of organising a carnival came up from some talks Marco and I had when I was in Italy between 2008 and 2009. Marco used to go around to visit Milan’s art galleries and he often took me with him. In those years he kept telling me his idea of bringing a matatu (a minibus for public transportation which is often coloured, airbrushed and filled with loud music) to Milan.
During our talks we realised that Italy, and Europe, celebrate the carnival, which is an explosion of fantasy, just like matatus. Marco was wondering how Kenyan creativity would have been brought to life in a context like that. Carnival is madness, but also an explosion of life and an expression of the beauty of life.
The idea of the carnival has started becoming reality last year, while I was walking along Kabiria Road together with Chiara. We told to ourselves: “The Ciak! Kiberaproject is coming to an end. Our next challenge must be a carnival!” I once went to the Arcireale’s carnival – Sicily’s most beautiful – where parades with flowers, fire and smoke are organised. The celebrations last an entire week there. This got me imagining what could be generated from a similar experience if it’s brought to Africa. I really want to participate in a carnival in the streets of Nairobi, in Africa, and eventually see it having a life of its own, with its African uniqueness.
The idea of bringing a carnival to Nairobi, and organising it with street children, is brilliant. It gives the opportunity of making something that is still hidden shine. There are so many hidden treasures on the street that remain unknown until you touch them. A rough diamond seems like a worthless rock but if you work with it, it will shine. If you do nothing and ignore street children’s life, you won’t get to know, and understand, what we’re losing as human beings. The fact that we’re finally doing this carnival in Nairobi, after all these years, proves that our idea was like a seed in the conscience of many people and, after a long journey, is now growing.
The carnival gives us the opportunity of opening a magic window. Due to their living conditions, street children believe they can’t make their dreams come true so they keep them just in their heads. The carnival is actually a window that allows the world and society to see these hidden treasures. When it comes to the life on the street, we often see the negative side alone – people living in miserable conditions. But by giving them a chance these people shine. These children manage to do things we can’t even imagine. The carnival makes us see this potential to its fullest.
I think we have the chance of giving children a voice. They communicate in ways we don’t know, and only by doing so we can get to really know them. They’ll send a clear message on what their dreams are. They’ll talk about their everyday life on the street, how they live it, how they like it, what they’re learning from it. This carnival will make us discover the negative and positive sides of street life we don’t know yet. It will make us explore a still unknown world and will let street children teach us the small things that make life more beautiful and that we’re slowly leaving behind.
When we bumped against difficulties during the first workshops, I thought about the Chinese bamboo. The bamboo plant, in fact, grows in a strange way. Planting bamboo may seem a loss of time because you don’t see it growing through the years. Many stop cultivating it indeed. In reality, the plant takes five years to grow a solid network of roots. In the same way, our first (often difficult) encounters in the street were creating a network of relations. We were laying the foundations on which would build.
Building this carnival can be hard work because each group on the street is different and lives diverse experiences. Sometimes it takes more time to understand the dynamics lived on the street. But this allows creating a connection with them, familiarising and making them understand we’re friends who came to participate in their life in a new way. When there will be mutual trust, then our work will take off and speed up because we’ll understand each other faster and more easily. Just like the Chinese bamboo that grows fast and tall after five years, all of a sudden.
This carnival has been put at the service of something precious as it has effects on the idea street children have of themselves, whilst bringing beauty out of the experience they’re living. You can be beautiful inside but if society keeps sending you negative messages about yourself, you start questioning your beauty. When children thrive through an experience of this kind, this helps their self-esteem and reinforces the idea they have of themselves. Even if they’re going through a rough situation, they understand they’re special and that they have something unique in the world. They’ll understand there’s still hope, all is not lost, there’s something we can do. This carnival proves this. It is a proof that there’s life, even on the street.
Okada Buluma was born in Kenya, near Lake Victoria in 1982. He coordinates the educational project of NGO Koinonia community for children and young people. He has lived on the street in his past and loves to play.
During an afternoon break between one workshop in Ngong and another in Kawangware, I went with Ibrahim Nehme, writer-in-residence of the Darajart project, and Elisa Simoncelli, filmmaker and volunteer at Amani for Africa, to Mother House, one of the rescue centres for street children run by Koinonia Community and Amani. There we met street educators Jane Wanjiru (JW) and Mary Osinde (MO), who were previously present and provided support at the various art workshops held by Cherimus as part of the Carnival! Nairobi project. They talk about their relationship with the “bases”: street communities where children and young people involved in the project live.
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Mary, what do you think about the workshops we’re organizing with the kids living on the street?
This project is very positive because it gives street kids the space to be creative, to share their ideas and even… laugh! We’ve seen some of the kids helping each other to draw and express themselves. I can say that the drawings are very useful because they allow us to imagine what these guys would like to be in the future. This could help us especially in the rehabilitation process of some children. Part of this work was useful in view of the International Day of the Street Children celebrated on 12 April, considering that some organisations could take inspiration from the Carnival! Nairobi and maybe reply it. It’s a good thing that there is an exchange of good practice between organisations and institutions.
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What does it mean to be a street educator?
MO: When we go out on the street we meet these young boys. Over three months we try to create a bond: they know our names, we trace the houses from where they fled in order to meet their families before they enter our centres. Meanwhile, we are with them, we do activities, eat and spend time together. They share their thoughts with us and sometimes they open up and start to tell us about why they left home and ended up on the street.
JW: We mainly go to the suburbs of Nairobi. We talk to the boys on the street and we try to contact their families. We try to involve them in many activities like football. We usually do the same with the girls. We also organize a tournament for street children involving the different bases, to unite them. The bases are different from each other, they don’t do the same things, sometimes there have different dynamics.
Through this tournament the bases know and recognize each other, and therefore they can help each other. Last year there was a group of girls who liked football and were looking forward to playing. They also had a coach: at the base there is a field where you can play. It was exciting for them! It was nice to involve all those bases because they had never been in contact with each other for so long. When someone changes a base now, for example from Ngong to Kawangware, we already know each other and it’s like having just one big street family.
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How do you choose the children who enter the rescue centres?
MO: The selection is made for children aged between 6 and 15. In the different bases some children are younger, and age is the only criterion. Before we begin the rehabilitation process we identify their families, and if we aren’t able to do so we turn to social services.
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What do you expect from this carnival?
MO: I try to imagine how they will carry the big floats and how they will wear the masks, because in Kenya nobody has ever seen anything like that. People will say, “Hey, these people are dressed up like what?”. We know the Kenyans and they may think we are crazy, but we know what we’re doing.
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How many bases does Koinonia Community work with?
JW: There are many bases, but I can name a few: we have Kawangware and Sokomjinga, Strong boys, we have Vancouver and Ngong. There are many in the city: we work primarily with Central Park, CBD, Grogon, Mlango, but also Eastleigh, Mtindwa, Muturwa, Gikomba.
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How are the names of the bases chosen?
JW: I think they choose their names according to what they feel they belong to. There is a sense of belonging to something: if they identify with Arsenal (the English football team) they will probably take that name. Most of the time they identify themselves with something they believe in or love. Names are chosen while talking, maybe the name comes out and someone says, “We could call ourselves like that” and so on. For example, the Strong boys feel strong, although they may actually seem weak (laughs).
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As in most bases there are mainly boys, is it difficult for you doing this job being a woman?
JW: When I go to a base, I don’t sit with them at first. I just talk and say, “I’m like your sister,” so we can talk about what happens to them. When they see this approach they feel good to the point that if you have a problem they try to help you because they know you well. When there are activities you can join in and they like that. They tell us, “You can do this with us, come! Let’s go!”, so you feel safe.
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In the base of Mtindwa there are some girls with their children. Why do we only find boys when we arrive in the morning?
JW: I think most of the time, especially in urban areas, girls simply sleep somewhere in the morning. There are, but they go elsewhere in the same area, hide themselves and rest.
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What are your expectations for the carnival?
JW: We have many activities, but this is a new one. Some of the boys ask us: “Why do you ask us to draw?”. When they took part in the workshops and started drawing interesting things, we realised that many of them are talented, but that they never had the opportunity of expressing themselves as such. I’m eager to see the carnival, I know it will be exciting! It’s the first time we have such a thing here.
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During one of the activities we built flags, how did you think it went?
JW: At first we (Victor, who is about 13 years old, and I) designed a sheet metal roof. Then we had to cut the shapes from the fabrics and I thought: “Who knows how this will work…”, but then we did it, we cut the zig-zag fabric and it worked well.
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Was Victor the happiest boy in the world at that time?
JW: Yes, and he’s looking forward to coming to the next workshop tomorrow!
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How are the bases organised? We have understood that all of them have leaders, someone to whom the group can refer. How does this kind of society work, are there some rules?
JW: I think these young people, girls and boys, live like a family. In a family system there’s a leader, like a father or a mother. And the boys follow this person: if the leader tells them to do something, everyone will follow him. For example, children on the streets are often addicted, and sometimes when we talk to them they’re told to put away the drug, everyone does so because they listen to the leader. This is a rule that they follow. Another rule is that they must be there for each other and help each other out: if you have something you have to share it with the others; if one of them is beaten, the others will fight to protect him. This is the most beautiful thing: they live like a family.
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Is the leader the oldest one or are there other criteria?
JW: In most cases leaders are the oldest ones, but another element of leadership is the time they spent in the base. There are people who stay for a week and then leave, some stay for a month, and others stay on the same base for years.
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Do you try to build up a relationship with the leader to gain access to the base?
MO: Yes, the leaders are those who can help you access the base. They’re also the ones who can protect you if something happens.
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What was the biggest challenge you had to face?
MO: When I started off it was a big challenge because I am a woman. Many people on the street are drug users and at first you are a bit afraid of them, but after two or three days they were already very friendly. It is essential to introduce yourself because there are people who approach them, beat them, slap them, even the police. But if they know who you are, you are safe.
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How has the situation changed since you started? Are there fewer children on the street?
MO: Yes, I am talking about this side of the city (Dagoretti, Kawangware, etc.), the number of boys is decreasing. But further into the city centre there are still many of them because when you rescue one, others arrive. Now the government is also beginning to look after their protection. Perhaps in five years’ time we will have fewer children on the streets.
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Your objective is to reunite children with their family, what happens when a child has no family?
MO: Some children don’t have parents. That’s when we rely on relatives. No one is born without a father and a mother, we usually trace the family and even if it is very far away, we reach it.
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During the art workshops we felt welcome, we received respect and affection. What is the perception of other people who don’t live on the street? We know that there’s discrimination against them. Once there was a girl in the neighbourhood who teased them, calling them animals. Do you think the carnival could question this perception?
MO: People consider these guys as thieves. They are afraid they can hurt them. People from the highest social classes in particular judge them because of the way they dress, because they are dirty, and they wonder what they eat. We are waiting for the carnival because at that moment we will be with them and our hope is that people can look at them differently. Many times they have a negative perception of us too: they ask themselves/wonder “How can you do this work?” The Carnival is a way to make the community communicate with the youth.
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We conclude this conversation by recalling a drawing made at Kawangware. It was Mavo’s drawing, in which he designed a beautiful hardware store. On one side there was a landscape, a dawn. Or a sunset perhaps. Next to it he wrote “Land of Horror”. So we asked him the reasons why he wrote that and he replied that they call the police “horror” because sometimes the police arrive and beat them for no reason, as if they had no value. How can the carnival and other initiatives such as International Street Children’s Day help on a political level?
JW: I think that this carnival, this party, in which people will see us all together will raise questions and I think our answer will be to make people understand that these people are important, they are human beings like everyone else and it is only because of some problems that have ended up on the street. I think most people think they have simply run away from home, while there are many factors that push a young person to make this choice. It’s important to try to understand what those reasons are before getting an idea. Even in the case of police officers, the reason they behave in that way is that they think they are thieves and that, in some cases, they can be associated with criminals and other situations that society doesn’t accept.
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Interview by Matteo Rubbi, with the participation of Ibrahim Nehme and Elisa Simoncelli
A matatu can fly, or almost: carefree, skipping traffic, light and levitating, passengers, engine, tires, transmission and muffler included, made of thin fabric and light. A hardware store can also fly, in the wind and in the sun: plates, shovels, saws, hammers, scales, all with special powers, darting. Another matatu then, can be long and sinuous like a dragon and meander through the streets, welcoming and dancing on the inside and accessible from any part: every point is good for entering and exiting, each coil good for improvising a song or a dance step. A house made of plastic and bamboo sits atop a car, roving: irreverent pirate and solid shelter at the same time. An enchanted forest of very tall trees dripping with noisy leaves: at the top, umbrellas and fantastic inhabitants look down. The world turned upside down in Nairobi that day, April 14, 2018, after two months of workshops in the sun and in the rain: the world of the kids, both girls and boys, living in the streets of Kawangware, Mtindwa and Ngong. Each of these places hosts a base, and each base is a large and complex family in which each person stands up for themselves as well as supports and cares for each other each day. Vulnerable and discriminated against by the richest classes, these families have created a wonderful feast, revealed their universe, and shared it with us; their imagination and their work have given a unique form—unlike anything ever seen—to the Nairobi Carnival, the first ever. The party reclaimed the streets: that day, the Riruta-Satellite neighborhood really seemed to be everyone’s, and it shone because it had its children and teenagers at its center. The beauty of Nairobi is their beauty. The video tells the story of Carnival! Nairobi, collecting many different fragments and putting them together. The point of view is that of Derek MF Di Fabio, a visual artist who worked with the boys in the workshops together with Cherimus, the Koinonia educators and the girls and boys of the rescue centers. Derek focuses on the kids who live in the street and on all the collaborations with local artists and artisans who, by joining forces, made the carnival possible. The beautiful soundtrack of the video was also produced in the bases, through workshops conducted by musician Luca Garino. A group of young musicians from Nairobi (MegaLink Ent Studio) who have also lived in the street in the past, curated the music production. The video also tells of the meeting of Ibrahim Nehme—one of the two artists in residence for Darajart 2018, together with Luca Garino—and Byub, a poet who lives on Kabiria Road. Ibrahim, he tells us, became a poet in Nairobi. In the video, Byub’s words are accompanied by images of a tree fallen during a storm at Kivuli Center, almost a thunderbolt.
