• Art and culture in the fight against racism

    'Impossible is Nothing', by Thierry Oussou

    Photo: Thierry Oussou
     
    Photo: Thierry Oussou

    Art and culture in the fight against racism

    With this article we want to offer tools from the field of art and culture that can offer new perspectives on the topicality and history of anti-black racism.
    6 July 2020
    Black Lives Matter

    DutchCulture is searching for a right sustainable way to support to the recent Black Lives Matter protests in the United States and subsequently all over the world. As a network and knowledge organisation that operates from The Netherlands within the international cultural sector, we often find ourselves inspired by the power of art and culture and believe that art, culture and grassroots projects are crucial tools in the fight against racism and inequality. We think that it is most important for us to share projects and works by artist, writers and other cultural makers from The Netherlands that inform and educate on the subject matter of anti-black racism, (post-)colonialism, African diaspora and what it means to be black in a western society.

    Systematic racism

    This year has been an accumulation of events that led to the recent outburst of protests against anti-black racism. This is not a recent problem - it has been around for centuries - but COVID-19 has painfully laid bare social inequality, systematic racism and the targeted police violence against black people (also watch Infected Cities #10 about this matter). Some Europeans may feel like these are injustices that are far removed from their own personal lives, but racism is a global thing. In fact, colonialism and transatlantic slavery were European inventions. How to relate oneself to the colonial history and the current racial problems?

    Understanding through art and culture

    With this article we want to offer you tools from the field of art and culture that can offer you new perspectives and insights on the topicality and history of anti-black racism. Understanding the roots and history of anti-black racism is very important in order to understand today’s post-colonial society. In the field of art and culture we have seen a growing amount of artists and cultural makers worldwide, but here we will only focus on the ones based in The Netherlands, that address (post)colonial power structures, stories of the African diaspora in Western society and other alternative narratives that were drawn from archival research. DutchCulture has put together a list of 20 contemporary cultural manifestations of this sort.

    20 cultural manifestations

    Documentaries

    Aardappelbloed (2019) by Emma Lesuis – In this documentary Emma Lesuis, daughter of a black Surinamse mother and a white father, travels to Surinam to dig into the history of her black ancestors and to find out more about her own position as a colored person in the Western world.

    The Juggler (2019) by Sophie Kalker – This is a beautiful short film about a social circus school in South Africa that functions as a safe haven for children where they learn about trust and togetherness. Kalker managed to address social and racial inequality in a beautiful and subtle way.

    The Uprising (2019) by Pavrini Baboeram – Musician and activist Pavrini Baboeram made this is powerful music documentary that tells the story of resistance against racism in Europe.

    Stones have Laws (2018) by Lonnie van Brummelen, Siebren de Haan – This documentary is an intimate portrait of a Maroon community in Surinam. It combines their present lives and strong ties to their endangered land with stories of their ancestors, ancestral traditions and the history of slavery.

     

    Podcasts

    De Plantage van Onze Voorouders (2020) by Maartje Duin and Peggy Bouva – In this podcast series Maartje Duin and Peggy Bouva research their own ties to the history of slavery and colonization trough their family history.

    Dipsaus (founded in 2016) by Anousha Nzume, Ebissé Rouw, Mariam El Maslouhi – This is a two weekly podcast about current topics with a focus on the black narrative.

    Fufu & Dadels (founded in 2019) by Hajar Fallah, Suheyla Yalcin, Munganyende Hélène Christelle – This podcast was brought to life as a safe space for women of color to ask critical questions and talk about intercultural sisterhood.

     

    Websites

    Wit Huiswerk by Anne van der Ven – A low-threshold knowledge website for people that want to broaden their knowledge in their fight against racism.

     

    Ongoing projects

    Keti Koti Dialoog Tafel by Mercedes Zandwijken – Mercedes Zandwijken initiated the Keti Koti Tafel as a new tradition that helps people to understand and overcome the heritage of the guilt and pain of the history of slavery.  
    The Black Archives by Mitchell Esajas and Jessica de Abreu – The Black Archives is a unique historical archive for inspiring conversations, activities and literature from Black and other perspectives that are often overlooked elsewhere.

    The Black Archives by Mitchell Esajas and Jessica de Abreu – The Black Archives is a unique historical archive for inspiring conversations, activities and literature from Black and other perspectives that are often overlooked elsewhere.

    Black Heritage Tours by Jennifer Tosch – City tours trough New York and Amsterdam that show long overlooked and hidden sites and details that tell the story of the black people and the history of colonization and slavery.

    Sites of Memory by Jennifer Tosch and Kathy Streek - Sites of Memory Foundation organizes activities around the hidden and under-represented stories of our shared cultural heritage of the Netherlands and the former colonies.

     

    Visual art

    Impossible is Nothing (2016-2018) – In this art project Thierry Oussou explores the meaning of ownership and authenticity by creating a reproduction of the famous chair of the last king of pre-colonial Benin and hereby addresses the role of European postcolonial musea such as Musée du Quai Branly.

    Two Stones (2019) by Wendelien van Oldenborgh – Explores the trajectories and ideas of Caribean activist and writer Hermina Huiswoud and German architect Lotte Stam-Beese trough dialogues and appearances by contemporary protagonitsts.

    Kwatta (2019) by Raul Balai – A performance that addresses the often forgotten involvement of Belgium in the Dutch- Suriname colonial history.

    (Other names to keep an eye on: Patricia Kaersenhout, Iris Kensmil, Sharelly Emanuelson, Esiri Erheriene-Essi, Irée Zamblé)

     

    Theatre

    Swart Gat/Gouden Eeuw (2020) directed by Berith Danse and Tolin Erwin Alexander – A theatrical installation about the Maroon community in Surinam.

    De Laatste Dichters (2020) directed by Jörgen Tjon A Fong (Urban Myth) – The play tells the story of the emancipation of three Afro-American poets in the sixties.
    (Other names to keep an eye on: Esther Duysker, Ira Kip).

     

    Books, articles and publications

    Franklin (2019) written by Marga Altena, illustrated by Brian Elstak – Is a graphic fictional novel based on historical facts. It tells the often forgotten history of Afro-American soldiers that fought to free The Netherlands in WWII.

    On the Self Evidence of Blackness: an interview with Charl Landvreugd by Wayne Modest in the Caribean Journal Small Axe – Artist and academic Charl Landvreugd and researcher and professor Wayne Modest in conversation about black identity.

    Words Matter by National Museum of World Culture – This publication stresses the importance of language and how inequality and racism are sometimes embedded within words and expressions. This publication functions as a guide to consult for people that want to be considered about the words they use.

  • 'They call me babu': giving a voice to untold stories

    A still from 'They call me babu', showing a 'babu' at the docks.

    Photo: Pieter van Huystee Film
     
    Photo: Pieter van Huystee Film

    'They call me babu': giving a voice to untold stories

    Anticipating the première, we interviewed writer/director Sandra Beerends about her new historically and emotionally charged documentary.
    17 October 2019

    They call me babu (or Ze noemen me baboe) is the story of the Javanese Alima, the babu of a Dutch family in the former Dutch East Indies. Babu was the word used by Dutch families to refer to their Indonesian nannies during Dutch colonial rule. Their real names, as well as their stories, are still often unknown.

    The director Sandra Beerends depicts Alima’s story through archival footage, while Alima, the narrator, tells her stories to her deceased mother. Alima’s story coincides with the turbulent period between 1939 and 1949, that witnessed WWII, the Japanese occupation of the former Dutch East Indies and the Indonesian stride for independence from the Netherlands. In this rapidly changing world, Alima’s story is one of courage, conflicting loyalties, and new hopes. 

    Anticipating the première of the documentary, we recently interviewed Sandra Beerends to learn more about this historically and emotionally charged documentary. 

    What inspired you to make a documentary about the figure of the babu?

    "I have a Dutch-Indonesian background, my father is Dutch and my mother was born in the former Dutch East Indies. When I was growing up, she used to tell me many stories about her childhood, amongst which about her "babu". And about how from the moment she woke up until she went to bed, the babu was always there to take care of her. When I became a bit older, I realised that many people I knew that had been brought up in the former Dutch East Indies, had heart-warming stories about their babus. 

    Most of these stories stopped with WWII, when many Dutch people were interned in camps during the Japanese occupation and many ended up returning or going to the Netherlands for the first time. After these events, many of the families weren’t able to reconnect to their babus; not only because of the politically complicated situation, but also because they never knew their babu’s real name.

    This made me realise something about their position – although they were cherished by the Dutch families (and especially the children), they weren’t an equal part of the family. In a sense, they were invisible. And considering the lack of information about them – with the exception of the memories of Dutch families – their stories continue to be invisible today. That’s why I wanted to tell the story of the babus, for those families who lost contact with them, but especially because I wanted to know what happened to them after the independence of Indonesia and after the (often) forced farewells. I also wanted to know how they had experienced this time shared with Dutch families. I wanted to try and tell the Indonesian side – their side – of the stories."

    A still from the documentary, showing a 'babu' next to Dutch children, on a ship heading towards the Netherlands. Photo: Pieter van Huystee Film
    I wanted to try and tell the Indonesian side – their side – of the stories
    What was your starting point when searching for stories of the babus?

    "My starting point was archival research. More specifically, I started with amateur film materials from different families that were kept at the EYE Film Museum. Many films were made by Dutch families in the Dutch East Indies, since they wanted to show to their families and friends in the Netherlands what their lives were like there. I hoped that through these films I would be able find out more about the babus. But I soon realised that that wasn’t the case. Often the films barely showed the babus or they were completely absent, since they’re weren’t the focus of the film. 

    Altogether I watched 500 films, 179 of which are partly shown in the documentary. Besides the amateur family films, I also used other sources, such as films made by Dutch factories, anthropological film materials and Dutch, Indonesian and Japanese political propaganda footage. This means that the films used, sometimes just for just a few seconds, present very different angles. And they came from different archives, including the NHK Archives (Japan) and Beeld en Geluid (the Netherlands).  A lot of the materials I used were organised and digitalised in the context of this project, which means that they are now more easily accessible to others."

    I used these oral histories to inform the narrative of the documentary
    What other sources did you use?

    "To complement the archival materials, I carried out interviews with many people in the Netherlands who had a babu during their childhood, growing up in the former Dutch East Indies. And also with the children and the grandchildren of former babus, who stayed in the Netherlands after the war. Furthermore, and perhaps more importantly, I was able to find testimonies of former babus, collected in the context of various oral history projects carried out from a sociological perspective.  

    I also travelled to Indonesia to try and find former babus whom I could talk to, based on information provided to me in the Netherlands. With a lot of effort, and the support of an Indonesian guide, her driver and many helpful neighbours, I was able to find two former babus in Bandung and a woman in Surabaya who was coordinating an oral history project amongst former babus. They told me a lot about their experiences as babus, but also about historical events at the time. As much as possible, I used these oral histories to inform the narrative of the documentary."

    A still from the documentary showing a 'babu' with the children she took care of in the Hague, the Netherlands. Photo: Pieter van Huystee Film
    Who is Alima?

    "Alima, the narrator of the documentary, is a fictional character. But almost all the stories she tells, and the feelings, thoughts, doubts, fears and hopes she shares with her mother, were based on first and second hand accounts of former babus and of Dutch family members. In this sense, Alima gives a name and a voice to the many women who worked for Dutch families in the context of the former Dutch East Indies. 

    Alima – or rather, the many Alimas – were extremely brave women. I learnt about how some babus would travel to the Netherlands with their Dutch families, a country whose language they didn’t speak, whose weather they weren’t familiar with, and they fought hard to adapt. I heard one story of a former babu who, having had the chance to learn how to read and write in the Netherlands, upon returning to Indonesia and after independence, decided to strive to ensure that other girls would have access to education like she had."

    A still from the documentary showing two Indonesian girls writing at school. Photo: Pieter van Huystee Film
    The stories of the babus were often also stories of emancipation
    What did you learn in the process of creating this documentary?

    "I was quite surprised to learn that for the women whose testimonials I read or collected, the 'Dutch period' (as they called it) was seen in a relatively positive light, since for them working for Dutch families meant living stability and security; unlike the 'Japanese period' (as it was called), a time of war during which they often didn’t have work. I also realised that many babus had struggled with a loyalty conflict, since they felt part of the Dutch family for whom they worked, but at the same time they were not, and this became clear with all the (political) changes between 1939 and 1949. For the Japanese during WWII, the Dutch were the enemy and the Indonesians were Asian, therefore they didn’t understand the babus who wanted to visit and help the Dutch families in the Japanese camps. In doing, they too became the enemy. 

    After the Japanese capitulation and the Indonesian proclamation of independence (17 August 1945), there were violent actions from Indonesian independence fighters against the Dutch (known as Bersiap). And during the Dutch 'Politionele Acties', the violent actions carried out by the Dutch to regain their colony, the babus’ former Dutch employers became the military enemies of the Indonesian people. These actions (carried out between 1945 and 1949) are known in Indonesia as Agresi Militer Belanda (or Military Aggression from the Dutch). And the period is called by Indonesians 'the revolution' or 'independence war'. I thought that the use of the different terms for the different periods was very interesting, as it revealed something about the babus’ perspectives on these developments.  

    Another important thing I learnt was that the stories of the babus were often also stories of emancipation, of finding their own space and their role in a changing world – the world of independent Indonesia. By focusing on people – and a specific group of people – rather than the wider historical events, I was able to gain a better understanding of this difficult period of time. I realised that different people experienced this period in very different, personal ways. They call me babu is really a story about the human side of this period of time."

    'They call me babu' will be premiered during IDFA (20 November – 1 December 2019) on Saturday 23 November at Eye. It will be shown at several cinemas in the Netherlands from 28 November 2019 onwards. The production team is working on making the release of the documentary also possible in Indonesia.

    This project was supported by the Shared Cultural Heritage Matching Fund of DutchCulture. 

    All images courtesy of Pieter van Huystee Film. 

    Organization: 
    International Documentary Festival Amsterdam | IDFA

  • IDFA 2018 opent met MEDIA-gesteunde film

    Still uit ‘Kabul, City in the Wind', de openingsfilm van het documentairefestival IDFA

    Photo: Kabul, City in the Wind
     
    Photo: Kabul, City in the Wind

    IDFA 2018 opent met MEDIA-gesteunde film

    Kabul, City in the Wind
    14 November 2018

    Op 14 november 2018 opent in Carré in Amsterdam het International Documentary Film Festival (IDFA) met de film Kabul, City in the Wind van regisseur Aboozar Amini. In zijn eerste lange documentaire volgt Amini in losse stijl afwisselend een buschauffeur en twee broertjes. Thuis met zijn kinderen heeft Abas plezier, maar verder is geluk schaars. Zijn bus raakt defect en schuldeisers zeuren aan zijn hoofd. Om zijn narigheid te vergeten zingt hij een lied en rookt hij zijn hasj. Afshin en Benjamin doen hun best hun vader niet teleur te stellen en nemen hun taken in en om het huis bijzonder serieus. Tussen deze impressies van het leven in Kabul laat Amini zijn hoofdpersonen rechtstreeks in de camera vertellen over hun zorgen en wat ze gedroomd hebben – de Afghaanse nachtmerrie is nooit ver weg. De film kwam tot stand met steun van de IBF Europe - International Co-production, één van de geselecteerde internationale coproductiefondsen van Creative Europe MEDIA.

    Andere MEDIA-gesteunde films die te zien zijn in het programma van IDFA 2018 zijn:

    Theatre of War van Lola Arias (Argentinië, Spanje, Duitsland)
    Los Reyes van Bettina Perut, Iván Osnovikoff (ChiIi, Duitsland)
    Srbenka van Nebojsa Slijepcevic (Kroatië)
    Doomed Beauty van Helena Třeštíková (Tsjechië)
    Katka van Helena Třeštíková (Tsjechië)
    René van Helena Třeštíková (Tsjechië)
    Private Universe van Helena Třeštíková (Tsjechië)
    Citizen Havel van Miroslav Janek, Pavel Koutecky (Tsjechië)
    Entrepreneur van Virpi Suutari (Finland)
    Hungary 2018 van Eszter Hajdú (Hongarije, Portugal)
    Bridges of Time van Audrius Stonys, Kristine Briede (Letland, Litouwen, Estland)
    Touch Me Not van Adina Pintilie (Romenië, Duitsland, Tsjechië, Bulgarije, Frankrijk)
    The Raft van Marcus Lindeen (Zweden, Denemarken, Duitsland, Verenigde Staten)

    Organization: 
    International Documentary Festival Amsterdam | IDFA

  • Suriname: Research for documentary on Nola Hatterman

    Nola Hatterman - Na fesie/De toekomst (1953)
     
    Click to see photo caption

    Suriname: Research for documentary on Nola Hatterman

    Preparatory research was done in Suriname for an upcoming film in honour of artist Nola Hatterman.
    16 April 2018

    Field research in Suriname
    In-Soo Productions from Rotterdam is currently working on a documentary on the life of artist Nola Hatterman (Amsterdam, 1899 - Paramaribo, 1984) and what she meant - and means - to Suriname and the Netherlands. Together with researcher Ellen de Vries, producer In-Soo Radstake recently visited Suriname to do preparatory research. They visited different places that were important to Hatterman, such as her last home in Brokopondo in the inlands of Suriname. They spoke to people who knew Hatterman personally or who have been inspired by her. The journey provided the inspiration and material to write the definitive script for the documentary, which is planned to be released in 2019.

    The life and work of Nola Hatterman
    Migration, xenophobia and decolonisation were Hatterman’s most important themes - and they are as relevant now as they were then. In Suriname, Hatterman worked on her own art and on the professionalisation of art education. Toward the end of her life, she retreated to the inlands of Suriname to complete her historical four-panel work on Maroonage, amongst the Maroons. In 1984 Hatterman, then 84 years old, died during a car accident on the way to her own exhibition.

    This research project was supported by the Shared Cultural Heritage Matching Fund.

    Organization: 
    In-Soo Productions

  • Suriname: A snapshot of current Shared Cultural Heritage projects

    Jaji is a documentary about solidarity among people of Javanese-Surinamese origin.

    Photo: JAJI
     
    Photo: JAJI

    Suriname: A snapshot of current Shared Cultural Heritage projects

    From a restored international cemetry from the 18th century to a documentary about descendants of Javanese-Surinamese people.
    24 April 2017

    Both Suriname and Guyana share a history with the Netherlands and have a wealth of cultural heritage. Here are some examples of current projects in Suriname and Guyana.

    The Oranjetuin cemetery
    Suriname has hundreds of old buildings and places with a rich history. The Oranjetuin, a cemetery from the 18th century, is one of those places. During the colonial era, people with different nationalities and social backgrounds were buried here. Each grave tells its own story.

    The Oranjetuin is interesting for both the Surinamese people and for countries that have a shared history with Suriname. This piece of funerary heritage had fallen into disrepair over the years. As a public/private initiative, the Oranjetuin is now being cleaned up and restored. The Embassy of the Kingdom of the Netherlands in Paramaribo financed the restoration of the brick wall.

    Jaji – a documentary about solidarity
    Shared cultural heritage is more than bricks and buildings. Suriname has a wealth of immaterial heritage. In 2015, Suriname commemorated the arrival of the first group of Javanese contract workers from the Dutch East Indies.

    To mark this historical fact, the documentary Jaji was made. The Javanese word ‘jaji’ refers to the special relationship that arose between people while crossing the ocean from the Dutch East Indies to Suriname. In this documentary, filmmaker Jeffrey Salimin seeks the answer to the question of whether the jaji feeling still exists and what happened to the descendants of Javanese-Surinamese people, 30,000 of whom are living in the Netherlands.

    The Dutch Embassy in Suriname developed a corresponding school programme in which secondary school students interactively discussed culture, traditions, language, music, entrepreneurship and social engagement. Interested in this documentary? You can watch the trailer here (in Dutch).

    European heritage in Guyana
    Guyana also has an extensive cultural heritage from other European countries. The Guyana Heritage Society and the European Union, in collaboration with the National Trust of Guyana, have jointly produced the book Aspects of European-Guyanese Heritage. Guyana’s relationship with Europe stretches back to the 15th century, when Spanish explorers arrived at the mouth of the Essequibo River, followed by the Dutch, Portuguese, French and British. The book is a collection of the footprints of various European countries in Guyana.

    Organization: 
    Embassy of the Kingdom of the Netherlands In Paramaribo
    National Trust of Guyana
    Guyana Heritage Society


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    Merits (2018)

    Events
    2 international activities
    Ranking
    34/145 ranking within discipline
    Awards
    0 international awards
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    Biography

    The IISH conducts advanced research on the global history of work, workers, and labour relations and to this end gathers data, which are made available to other researchers as well. Research The IISH carries out and stimulates scholarly research. It is a respected meeting place for researchers from all over the world and organizes conferences, symposia and international research projects. The institute publishes research results through international academic publishers. The International Review of Social History is published for the institute by Cambridge University Press and appears three times a year, plus one supplement. Collections The institute holds over 3,000 archives, more than 1,000,000 printed volumes, and an equivalent number of audio-visual items, in total ca. 50 kilometer. The largest part of the collections is accessible without any restrictions.

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    Contact

  • Amsterdam, Traces of Sugar


    Description: 
    The documentary 'Amsterdam, traces of sugar' focuses on the traces in Amsterdam, which lead us to the past and the history of slavery. T he Dutch Golden Age was a period in Dutch history, in which Dutch trade, science, military, and art were among the most acclaimed in the world. This documentary focuses on an underexposed side of the Dutch Golden Age: the slaveholders and merchants who were based in Amsterdam and were directly involved in slave trade. We visit specific spots around the famous canals of Amsterdam and learn more about this shared past of Amsterdam and her former colonies.
  • 15 November 2016

    Night of the Russian Documentary

    Still uit Not My Job (2015) van Denis Shabaev. Deze documentaire, over een arbeidsmigrant uit Tadjikistan in Moskou, wordt op dinsdag 15 november vertoond in De Balie tijdens de Avond van de Russische Documentaire.

    Photo: Denis Shabaev
     
    Photo: Denis Shabaev

    Night of the Russian Documentary

    What does Russia look like trough the lens of a new generation Russian documentary filmmakers?
    15 November 2016

    On the eve of IDFA 2016, Russian film director Marina Razbezhkina, curators Kristina Daurova and Ksenia Gapchenko and Dutch film director Jessica Gorter discuss the current state of documentary filmmaking in Russia. After the debate two recent and remarkable documentaries are screened that shed a different light on Russia.

    Our guests are:
    Marina Razbezhkina, director, writer and producer. For the past seven years, Razbezhkina has been head of the Moscow School of Documentary Film and Documentary Theatre, which she co-founded with Mikhail Ugarov. 
    Ksenia Gapchenko, film critic and programmer. She studied at the Moscow School of Documentary Film and Documentary Theatre and worked as programming director for the Documentary Film Centre in Moscow. Currently Ksenia works as a festival advisor on Russian documentary film from the Netherlands.
    Kristina Daurova, independent filmmaker and artist. She also works as a programmer and film critic, collaborating with various cultural institutions. Kristina was previously active as art-director of SiberiaDOC,. Since autumn 2015, she has been a participant of the “Master of Film” programme at the Netherlands Film Academy. 
    Jessica Gorter, director and producer. She has worked as an independent filmmaker and directed, produced and shot several documentaries on post-soviet Russia. In 2011 her second feature length documentary ‘900 Days’ premiered, about the siege of Leningrad during World War II.

    After the debate, two films will be screened:

    Not My Job (2015 – 70 minutes), by Denis Shabaev
    Farrukh is a migrant worker. Together with his father, mother, and brothers he lives in Moscow and takes every job that can bring him some money. But it wasn’t the reason he left Tadjikistan, his young wife and small kids. Farrukh wants to become an actor, a very famous actor. Director Denis Shabaev has created a picture of Russia that we are not accustomed to seeing: as a destination for individual longing and a magnet for so many souls from the former Soviet republics.

    Blood (2013 – 59 minutes), by Alina Rudnitskaya
    This vivid black-and-white film captures the daily goings-on at a Russian blood bank. Each day, a small, closely-knit team packs a van full of the supplies they will need to do their job in the most remote corners of the countryside. In most western countries, donating blood is an ethical deed that people do without financial compensation, but in Blood, a few touching scenes are enough to render the economic necessity palpable.

    Practical information
    Date: Tuesday 15 November 2016
    Location: De Balie, Kleine-Gartmanplantsoen 10 in Amsterdam
    Time: 19.45 - 23.30
    Buy your tickets (à 10/8,50 euros) online

    The Night of Russian documentary is part of a series of four Russia Reports that are jointly organised by De Balie and Dutch Culture in the period October 2016-January 2017.

     

     

    Location: 
    De Balie
    Discipline: 
    Documentary
    Organization type: 
    Debate Centre
    Event type: 
    Debate
    Screening
    Website: 
    http://www.debalie.nl/agenda/podium/avond-van-de-russische-documentaire/e_978256...


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    Merits (2019)

    Events
    2 international activities
    Ranking
    192/565 ranking within discipline
    Awards
    0 international awards
    |

    Biography

    The IDFA Bertha Fund is designed to stimulate and empower the creative documentary sector in Africa, Asia, Latin America, Middle East and parts of Eastern Europe by supporting innovative documentary projects by talented filmmakers from these regions.

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    Contact



  • |

    Merits (2019)

    Events
    6 international activities
    Ranking
    13/641 ranking within discipline
    Awards
    0 international awards
    |

    Contact