Workshop & Panel: AMIA 2017
Panel at Association of moving image archive 2017, New orleans
Skill Share in Asia & Africa: Case Studies in Cambodia, Philippines, Japan, and Malawi
Speakers: Marie Lascu (XFR Collective), Nobukazu Suzuki (independent archivist), Ann Adachi-Tasch (CCJ)
In learning how to catalog independent moving image collections, an educational model alternative to traditional institutional training programs are welcomed by collection caretakers whose professional training may often be limited by available resources and time. Moreover, formal institutional training programs for moving image archiving may not exist in certain countries, furthering difficulty for some to obtain knowledge and technical skills to take care of valuable collections. Rather than students gathering at a central institution to learn, the model of experts bringing knowledge to a local collection can effectively raise the awareness and knowledge of anyone who is interested in taking care of their collection. The models of Community Archiving Workshop and others, in which experienced archivists partner with collection caretakers to provide hands-on training are welcomed method for certain collections that seek proper maintenance by their own community volunteers.
This session presents case studies of initiatives that have aimed to share skills to document and maintain independent moving image archives in Japan, Malawi, Cambodia, and the Philippines. Nobukazu Suzuki has worked within and outside of Japan to conduct skill-share for cataloging at Malawi National Archives (Zomba, Malawi in Africa), Bophana Audiovisual Resource Center (Phnom Penh, Cambodia) and Okinawa Prefectural Archives (Okinawa, Japan). Marie Lascu is a member of the NYC-based XFR Collective, an all-volunteer run non-profit that partners with artists, activists, and individuals to help jump start independent preservation efforts. Lascu has participated in several Community Archiving Workshops (CAW) in the U.S. over the last 7 years as a member of AMIA's CAW committee, and assisted in a recent Community Archiving Workshop for the 2017 South East Asia Pacific Audio Visual Archives Association (SEAPAVAA) conference in Manila (Philippines) that was organized by Benedict Olgado (University of Philippines School of Library and Information Studies) and Mona Jimenez (Associate Director, Moving Image Archiving and Preservation Program at NYU). Under the nonprofit organization Collaborative Cataloging Japan, Ann Adachi-Tasch has organized initiatives that aim to foster international exchange and skill-sharing through lectures, workshops, and studio collection survey in Tokyo, Japan. AMIA’s International Outreach Committee sponsors this panel presentation.
Marie Lascu is a graduate of NYU’s Moving Image Archiving and Preservation (MIAP) M.A. program. She is the audiovisual archivist for Crowing Rooster Arts, a non-profit that has spent over 20 years documenting the arts and political struggles of Haiti. She is a member of the Community Archiving Workshop (CAW) committee, participating in multiple workshops organized during annual AMIA conferences. Since 2015, she has been an active member of the XFR Collective, a non-profit organization that partners with artists, activists, individuals, and groups to lower the barriers to preserving at-risk audiovisual media.
Nobukazu Suzuki is an audiovisual archivist who has worked in film preservation and digitization for 13 years. Nobukazu learned the foundations of film archiving when he worked as an assistant film curator, from 2005 to 2007, at the National Film Center, The National Museum of Modern Art, Tokyo. As a film technician at Tokyo Ko-on, Inc., since 2007, he has repaired and digitized several thousand films from the 1910s to the present. H has conducted the film salvation project for the great East Japan Earthquake since 2011 and devised salvaging methods for water damaged films and videotapes. From 2014 to 2015, he worked as an AV archivist at the Bophana Audiovisual Resource Center in Cambodia supported by Overseas Study Program for Emerging Artists program by the Agency for Cultural Affairs, Japan. He inspected the film collection of the Cambodian government and carries on researching Cambodian film history. Since 2016, he worked as a film preservation consultant for the film preservation project in Malawi, Africa, organized by National Archives of Malawi, Rei foundation Ltd., and Tokyo Ko-on, Inc. He is a member of Film Preservation Society, Tokyo and an individual member of SEAPAVAA.
Ann Adachi-Tasch is Executive Director of Collaborative Cataloging Japan, a not-for-profit that supports preservation and archiving of Japanese historical and experimental moving image works. Ann has worked at The Museum of Modern Art where she managed projects for the Museum's global research initiative titled Contemporary and Modern Art Perspectives (C-MAP), and contributed to the launch of its digital platform, post (post.at.moma.org). In 2009, she organized a touring screening program and publication of Japanese experimental video and film, Vital Signals at Electronic Arts Intermix, a video art archive and distributor where she was the Distribution Coordinator. Ann has given presentations and written about the status of media archiving in Japan, at The Museum of Modern Art, Tokyo; Tate Modern (London); Keio University Art Center (Tokyo); and the Archives of American Art (Washington D.C.), among others.
This program is supported by the Japan U.S. Friendship Commission.