Badger’s Parting Gifts

Badger’s Parting Gifts is the story about a mole who knows that he will die soon. It is based upon the Children’s Book Badger’s Parting Gifts (1984), winner of the Mother Goose Award in 1985 for the most promising newcomer in Illustration. In a sensitive approach author Susan Varley outlines the topic of grief not as a feeling ‘to be overcome’ but as a measure of depth: As time goes by Badger’s friends follow the direction of this grief in the sense of a sounder and discover how lives are closely knit together by shared experiences, a tie that doesn’t cease with death.

If you are searching for a mindful way to talk to your child/ren about dying and/or death as being a part of life (note how the film links the passing of time with passing away), this sure is a book and/or film to consider.

Sources:

Badger’s Parting Gifts (Film)

– Badger’s Parting Gifts at Andersen Press (Book)

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1 Billion Rising

US-feminist, activist and author Eve Ensler’s currently promotes her campaign OneBillionRising: the celebration of the 15th anniversary of V-Day (founded 1998) on 14 February 2013 with a global strike and dance against violence against women.

” She [Eve Ensler] believes in the power of collective experience, the power of direct action, the power of people having an experience together, in the streets or in the theater. […] She’s not interested in intra-feminist fights over essentialism and identity. […] Ensler believes in the outrageous, that which upsets, disrupts. It displaces things as they are to make room for what might be.” [Flanders, Laura. “Eve Ensler Rising.” The Nation November 26 (2012)]

Source:

– US-version of the OBR Anthem (on Youtube)

 

Inspired to a new Project

Check out My Projects so that you don’t miss out on a New Project that will be created collectively (together with people who contribute their filming of local events and/or their own performances and/or film projects on the day) in Scotland: a film workshop on the topic of Violence Against Women in Scotland that will be based on the contributions.

Why? To raise awareness how violence can take on culturally specific forms and because I believe that an affirmative mode to address violence in educational settings enables people not to feel at unease or be scared and thereby distanced or paralysed but to actively engage with the topic and learn about the fact that gender-based violence is not a ‘women’s matter’ (the latter being an argument based on discrimination as if you could separate the violence inherent in an act from the person who commits it – can you? – I believe that it sticks to the person who commits it, not to those who were victimised. So who’s to blame/shame if anyone?).

Go to My Projects

sources:

V-Day

One Billion Rising

Facebook website V-Day including information on One Billion Rising

Eve 2009 TEDxCharlotte

see also:

– Ganz, Marshall. “What Is Public Narrative?”. Harvard, Kennedy School 2008. 1-19. Print.

[review] Claudia Llosa 2009 The Milk of Sorrow

This carefully composed film is a silent story of the presence of violence that does not vanish with death.

The film traces the transgenerational effects of violence in a Peruvian setting after the guerilla war (1980s-1990s). Its story revolves around Fausta to whom the Milk of Sorrow was transmitted by her mother while breast feeding her: milk tinged with sorrow following atrocities that victimised her mother.

Based on Kimberly Theidon’s anthropological work* which includes rape survivor testimonials this award-winning film refrains from judgments. It does not resolve the atmospheric friction created by counter-rotating logics such as a life-threatening potato growing inside Fausta’s body that is at the same time a tool for protection. Originating in the Andes the potato thus can be understood as a referent to a state of indeterminacy – not so much in relation to a mere psychological concept of trauma but to the cultural condition of guerilla wars.

Emphasising the sensuality and fragility of being the film allows for an entry point to an understanding of violence beyond identity, beyond the immobility of social roles: it is a glimpse at fragments of understanding – a glimpse at how meaning is shaped into being. This translation of sensuality that refers back to sorrow as a fluid that can be transmitted is most clearly exemplified by the voice of Fausta’s mother. A cragged voice that permeates the frame  – indeterminate, antidromic and exactly therein so decisive.

* = Entre Prójimos: El conflicto armado interno y la política de la reconciliación en el Perú. Instituto de Estudios Peruanos: Lima, Perú, 2004; transl. Intimate Enemies: Violence and Reconciliation in Peru, Studies in Human Rights, University of Pennsylvania Press.

 

sources:

watch the trailer on Youtube

– Tapias, Maria. “Emotions and the Intergenerational Embodiment of Social Suffering in Rural Bolivia.” Medical Anthropology Quarterly 20/3 (2006): 399-415. Print.

– Diestro-Dópido, Mar. “The Milk of Sorrow.” Sight & Sound 20.5 (2010): 80-80. Print.

– Chang, Chris. “The Milk of Sorrow.” Film Comment 46.5 (2010): 73-73. Print.

 

see also:

– Interview with Claudia Llosa, the director

– website Kimberly Theidon, Department of Anthropology, Harvard University

– Kimberly Theidon on WordPress