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DOCUMENT a Publication of the Center for Documentary Studies at Duke University919-660-3663 | Fax: 919-681-7600 | docstudies@duke.edu | documentarystudies.duke.edu

Director: Wesley C. HoganAssociate Director for Programs and Development: Lynn McKnight Art Director: Bonnie CampbellPublishing Director: Alexa Dilworth Communications Director and Document Editor: Elizabeth Phillips Web Design and Production Manager: Whitney Baker Social Media and Digital Projects Manager: Jenna Strucko

The Center for Documentary Studies at Duke University teaches, engages in, and presents documentary work grounded in collaborative partnerships and extended eldwork that uses photography, lm/video, audio, and narrative writing to capture and convey contemporary memory, life, and culture. CDS values documentary work that balances community goals with individual artistic expression. CDS promotes documentary work that cultivates progressive change by amplifying voices, advancing human dignity, engendering respect among individuals, breaking down barriers to understanding, and illuminating social injus-tices. CDS conducts its work for local, regional, national, and international audiences.

All photographs appearing in Document are copyright by the artist. | Document is registered in the U.S. Patent and Trademark Office.

CONTENTSFROM THE CENTER 3By CDS Director Wesley Hogan

WRITING 4A New Visiting Writers Series in Ethics, Society, and Documentary Art

EXHIBITIONS 5From the World to Lynn: Stories of ImmigrationMultimedia Work by Andrea Patio Contreras

Kabul, AfghanistanPhotographs by James Longley

Veiled Rebellion: Women in AfghanistanPhotographs by Lynsey Addario

AWARDS 672014 Lange-Taylor Prize WinnerJon Lowensteins South Side Project Explores His Chicago Neighborhood

AUDIO 8Lets Talk CDS Radio

FILM 9News from the Full Frame Documentary Film Festival

EDUCATION 1011MFA in Experimental and Documentary ArtsChildren Are at the Heart of the Felsman Fellows Program, Open to MFA |EDA Grads

Undergraduate Education RIPP Fellowships in the Documentary Arts Foster Faculty Mentoring for Students

Continuing Education Distance Learning Opens Virtual Doors to CDS

PHOTOGRAPHY 11 Document Duke 360

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A found note, South Side, Chicago, 2014. Ephemera from South Side by 2014 Lange-Taylor Prize winner Jon Lowenstein.

Center for Documentary Studies AT DUKEUNIVERSITY

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Every day after school, I stayed with my grand-parents until dinner. My grandfather and I had an afternoon storytelling ritualfascinated by his vivid tales about life on a destroyer in the Pa-cic during World War II, I always wanted to hear

more. Not until you nish your math homework, hed say, so I became expert in zipping through times tables and long division. He loved cards, and often told his tales over a game of spades, never failing to get up at 5 p.m. sharp to make a gin and tonic. My memories of these moments are infused with cigarette smoke, the crisp plastic smell of new cards, and the citrus-coriander twang of Gordons gin.

One afternoon I burst into his house, unable to wait to nish my homework. Mrs. McFarlane told us about Hiro-shima today. She asked if we thought it was the right thing to do. I dont think it was right, I announced. Why did we kill so many people who werent ghting in the war? He closed his open arms and stood dead silent. Finish your math, and well talk, he announced in an uncharacteristi-cally stern tone. Perplexed, I rushed through my routine and slunk to the living room. He sat in his usual chair, the gin and tonic already poured. Perspective is a dreadful bitch, he said quietly. It shocked me: Id never heard him use profanity. Ive told you that Harry Truman saved my life, and thats true. Hiroshima and Nagasaki were neces-sary, he continued, or American soldiers would have had to ght, hand-to-hand, to take every last inch of Japan. We sat for a long time in silencealso a rst. But I suppose that there are missing granddads not telling war stories to their grandkids in Japan today because of it.

The idea of missing storyteller-grandparents stuck with me. Whose stories are missing? Who gets to tell the stories, and how do they shift depending on the teller and the au-dience? Such questions of perspective and access are at the center of CDSs world as we celebrate our twenty-fth year and think forward, at a time when I witness here each day the convergence of the best documentary traditions with cutting-edge digital tools as our artists, journalists, students, and scholars open new frontiers in the documen-tary arts.

This expanded landscape is reflected throughout this special 25th Anniversary edition of Document: Workshops

created by MFA|EDA graduates and Felsman Fellows Laura Doggett and Braxton Hood for Syrian refugee girls in Jor-dan and Turkey, respectively, allow the girls to narrate their own experience in place of the hundreds of journalists who have traveled there. The yearlong Document Duke 360 photo challenge highlights Duke in a kaleidoscope of non-traditional images taken by a wide range of community members. CDSs new visiting writers series, an expand-ing repertoire of online Continuing Education classes, and new RIPP Fellowships for undergraduates extend the tools of documentary to a wider range of voices producing thoughtful, creative work, as does Full Frames School of Doc summer camp for Durham high school students. The audio programs multi-year project on sports as contested territory has opened the voices of youth in intense athletic training, among others, to millions of listeners on NPR. The 2014 Lange-Taylor Prize winner, Jon Lowenstein, combines a range of media and toolsblack-and-white photos, ex-perimental video, geo-tagging, and social media, to name a fewas he explores his South Side, Chicago, neighbor-hood. Photographers Lynsey Addario, James Longley, and Andrea Patio Contreras push open new doors of percep-tion, stretching the frame (Longley), the veil (Addario), and public ignorance (Contreras) beyond convention, so we can reconsider what we know.

This vital rethinking, a practice I rst learned from my grandfather, is among the most powerful forms of human knowledge creation we have. It only grows more so as our access to information and tools shift in ways that were unimaginable when CDS opened its doors at Duke Univer-sity in 1990. To see, for instance, how crowd-sourced doc-umentary practices are evolving in real time worldwide, one need only do a Twitter search for #BlackLivesMatter. Or watch the evolving Take Back the Archive project and website created by a group of activists, scholars, students and archivists at the University of Virginia as they provide space for an otherwise unwritten history.

Such material provokes thorny questions of authorship, curation, and context for any documentarian, but the tools, thoughtfully used, will help extend the range and impact of documentary perspectives connecting the worlda key priority for CDS as we head into our next twenty-ve years. Please join us; its going to be a great, mind-expanding ride.

DOCUMENT FROM THE CENTERBY CDS DIRECTOR WESLEY HOGAN

COVER: Faces of CDS; photographs by row, left to right. TOP ROW: By Tone Stockenstrm from the 2005 CDS exhibit Tone Stockenstrm: Collaborative Projects. By Rob Amberg from his 2002 CDS/UNC Press book Sodom Laurel Album and 2003 CDS exhibit of the same name. By Ami Howard from the CDS book 25 Under 25 Up-and-Coming American Photographers, Volume Two. CDS lm instructor Gary Hawkins, by Pam Cook. Visitor to CDS, by Christopher Sims. SECOND ROW: By Roger LeMoyne, winner of the 2007 Lange-Taylor Prize with Kurt Pitzer. 2008 Lehman Brady Professor Brett Cook, by Christopher Sims. Ann Tome, by Tom Rankin for CDSs Maasai project in Kenya. Thelonious Monk, by W. Eugene Smith, archived at the Center for Creative Photography, University of Arizona, and used in the CCP/CDS Jazz Loft Project. THIRD ROW: First CDS director Iris Tillman Hill, by Tory Jeffay. By Matt Herron from the 2004 CDS exhibit Oh Freedom Over Me. By 2008 CDS/Honickman First Book Prize in Photography winner Jennette Williams from her 2009 CDS/Duke Press book, The Bathers. 200405 Lehman Brady Professor Allan Gurganus, by Christopher Sims. Second CDS director Tom Rankin, by Tory Jeffay. FOURTH ROW: 200607 Lehman Brady Professor Karen Michel, by Charles Thompson. By Dona Ann McAdams, winner of the 2002 Lange-Taylor Prize with Brad Kessler. By Jim Lommasson, winner of the 2004 Lange-Taylor Prize with Katherine Dunn. By Sascha Pflaeging from the 2012 CDS exhibit When Janey Comes Marching Home: Portraits of Women Combat Veterans. By Bruce Jackson from his 2012 CDS/UNC Press book, In This Timeless Time: Living & Dying on Death Row in America. BOTTOM ROW: 2004 Lehman Brady Professor John Cohen, by Christopher Sims. 200506 Lehman Brady Professor Natasha Trethewey, by Nancy Jacobs. 2010 CDS/Honickman First Book Prize in Photography judge William Eggleston, by Joanna Welborn. Two-time (2010, 2014) Lehman Brady Professor Mike Wiley, by Steve Exum. By John Moses from the 1997 CDS book The Youngest Parents (Robert Coles) and the 1998 CDS exhibit The Youngest Parents: Photographs by Jocelyn Lee and John Moses.

The Center for Documentary Studies will celebrate its 25th Anniversary throughout 2015 with a series of events culminating in a gala symposium in the late fall. Visit our dedicated anniver-sary website for news, highlights, event updates, and more.

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EXPANDING THE ESTABLISHMENT Writers Series Celebrates New VoicesBy CDS Writer-in-Residence Duncan Murrell

In the world of writing and publishing, its common for the best-known, most recognized authors to be invited to universities for a couple of days to read and talk with students in exchange for rst-class accommodations, promotion, and generous honoraria. A consequence of

this steady procession of writers who are already members of the literary establishment is that, for students at least, it creates a fairly circumscribed contemporary canon: These are the writers you should be reading.

This past fall some of us at Duke Universityspecically, at the Center for Documentary Studies and the Kenan Institute for Ethicsdecided that lesser-known writers of note should also be brought to campus, treated just as grandly, and presented to students as representatives of a more inclusive, less-estab-lished establishment.

The KenanCDS Visiting Writers Series in Ethics, Society, and Documentary Artfunded generously by CDS, Kenan, and nine campus partnersis intended to give new, unique, and diverse voices in nonction literature the wider airing they de-serve. Our rst writer, Eula Biss, author of On Immunity, is a small-press author and one of the leaders of a renaissance in American essays. During her visit to campus in November, she conducted seminars over lunch with students and a book club with university staff; sat on a faculty panel examining the inter-section of metaphor, illness, and art; and gave a fantastic pub-lic reading in front of a packed crowd. In the spring we will host Leslie Jamison, author of the critically acclaimed essay collec-tion The Empathy Exams. Both women are young and fearless writers tackling the most difcult subjects, be it disease and our obligations to one another beyond our own survival, or the challenge of practicing radical empathy for one another while living our way through violence, fear, insecurity, and injustice.

It seems tting in this twenty-fth year of the Center for Docu-mentary Studies that we have formalized a writers series around an attitude that has for many years animated CDSs work with authors and the literature of documentary writing. From the sup-port the Lange-Taylor Prize gave to C.D. Wright while she was writing her landmark series of documentary poems on Louisiana prisons, to the recognition of Natasha Tretheweys documentary work as a poet and essayist, to the parade of fantastic writers published years ago in DoubleTake magazine, CDS has gone out

Visit on the CDS Porch, our news blog, cdsporch.org

of its way to expand the universe of documentary writing and to recognize those writers carrying it forward.

Meanwhile, the writing program at CDS has grown in for-mal and informal ways. This year we will offer a record num-ber of writing courses through our Continuing Education pro-gram, each taught by some of the best writers and teachers in North Carolina and beyond, and well be expanding our use of online classes for students across the country and the world. Our undergraduate and graduate writing courses continue to be popular with students, for instance our Documentary Pub-lishing course, which produces a new showcase of student workVanishing Point, an online magazine of documentary arts (vanishingpointmag.com). Many of our students have gone on to writing careers at such places as Mother Jones, The Wall Street Journal, The National Journal, The Nation, and Grantland, while others are attending some of the nest MFA writing programs in the country. And as Dukes MFA program is in Experimental and Documentary Arts, Im working with a number of those grad students as they expand their art practice to include writing.

The writing program thrives as we head into CDSs future, thanks to the far-sightedness of our leaders here and the sup-port of all our colleagues. We hope youll come see exactly what were talking about this spring, when Leslie Jamison comes to campus as our second Kenan-CDS Visiting Writer on March 18. Or just stop by and visit; writers always like to talk.

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This award honors the best in documentary photography and writing in alternating years, with a focus on current or recently completed work from a long-term project. The 2015 CDS Documentary Essay Prize will be for documen-tary writing. The winner of the competition will receive $3,000 and have his or her work featured in Document as well as on the CDS website.

The submissions deadline for the 2015 CDS Documentary Essay Prize in Writing is February 15, 2015.

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CDS DOCUMENTARY ESSAY PRIZE IN WRITING

ABOVE: A mural on the Duke Graftti Wall publicizing Eula Bisss reading. Photograph by Duncan Murrell.

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FROM THE WORLD TO LYNNStories of ImmigrationPorch and University Galleries | Through April 13, 2015

Duke University alum (12) Andrea Patio Contreras was nineteen years old when she arrived here from Colombia. The magnitude of the immigration phe-nomenon in the United States took her by surprise, shes quoted as saying in a story in the New Yorker

blog Photo Booth. Its a phenomenon that has continued to fas-cinate her, and one she mines in this multimedia exhibit explor-ing Lynn, Massachusetts, a hub of refugee resettlement where Contreras worked during her time as a CDS Lewis Hine Docu-mentary Fellow. Composed of black-and-white photographs, au-dio oral histories, and an interactive website, From the World to Lynn is a project that Contreras undertook to help her better un-derstand the community, where almost 30 percent of the popu-lation of 90,000 is foreign-born. Every year people from all over the world arrive in this small post-industrial city in the North-eastCambodians, Bhutanese, and most recently, Iraqis have come looking for better lives, just like thousands of Europeans did decades before them.

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TOP: From Veiled Rebellion: Women in Afghanistan. Photograph by Lynsey Addario. The exhibit is presented in partnership with Project&, an arts entity focused on cultural production with social impact; projectand.org. ABOVE: From From the World to Lynn: Stories of Immigration. Photograph by Andrea Patio Contreras. RIGHT: Installation shot of Kabul, Afghani-stan. Photograph by Tracy Fish.

EXHIBITIONS

PICTURING AFGHANISTAN

As American troops withdraw from Afghanistan, exhibits by renowned conflict photographer Lynsey Addario and film-maker James Longley use smaller figurative lenses to portray broader realities within a country in turmoil for decades.

Kabul, AfghanistanPower Plant Gallery, American Tobacco CampusThrough February 20, 2015 | Closing Event 58 p.m.

In Kabul, Afghanistan, James Longley uses panoramas to break free of the limitations of a single photos frame, which, he says, hardly do the place justice. That place is Jada-e-Maiwand, a neighborhood in old Kabul that was devastated during Afghanistans civil war. Twenty years later it is only partially rebuilt: Mud-brick homes flank open sewers . . . and winding alleyways reveal blacksmiths, corner grocers, bolani mongers, and bakers impaling warm fish-shaped loaves on nails above their shop windows. Related program-ming includes screenings of Longleys award-winning films. The Power Plant Gallery is a joint initiative of CDS and Dukes MFA in Experimental and Documentary Arts.

y powerplantgallery.org/kabul-afghanistanVeiled Rebellion: Women in AfghanistanJuanita Kreps Gallery at CDS | February 9April 15, 2015

Since her first trip to Afghanistan in 2000 to document the lives of women under the Taliban, MacArthur Fellow Lynsey Addario has returned many times, always training a close eye on womens lives in all areas of Afghan society: culture, politics, education, employment, and domestic life. Much has changedthe same stadium where the Taliban performed public executions now hosts events for both sexesbut Afghanistan remains a country where it is extremely difficult to photograph women because of cultural and societal ta-boos. Most need permission from a male relative. The body of work in Veiled Rebellion is the result of Addarios 2009 com-mission by National Geographic for a comprehensive photo essay depicting the many facets of womens lives in Afghani-stan. Addarios new book, Its What I Do: A Photographers Life of Love and War, will be out on February 5, 2015.

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The Dorothea LangePaul Taylor Prize has been part of the Center for Documentary Studies from the beginning, established in 1990 to encourage artistic collaboration in the tradition of acclaimed photographer Lange and writer and social scientist Taylor. The prize now supports documentary artists, working alone or in teams, whose extended eldwork projects rely on the interplay of words and images.

This past fall, a CDS selection committee chose Jon Lowenstein to win the 2014 Lange-Taylor Prize for South Side, his project about the Chicago neighborhood where he has lived and worked for over a decadea place where, he writes, I have witnessed the systematic and ongoing deconstruction and undermining of communi-ties and the ensuing ght to maintain a semblance of order while those neighborhoods crumble in front of our eyes. With the South Side project, he hopes to create a lasting testimony . . . to the legacy of segregation, the impact of vast wealth inequality, and how de-industrialization and globalization play out on the ground in Chicago.

South Side combines black-and-white photographs, video, personal narrative writing and poetry, oral histories, and the collection of found ephemera in an effort to stitch this story together and trace the space between post-industrial meltdown and repackaged, gentried city. With the award, Lowenstein will continue his eld-work, which includes geo-tagging and mapping his photographs with Instagram (follow him @jonlowenstein), as well as continue to write and make short experimental lms, in hopes of weaving together the disparate strands of the project to shed light on where we are at not only in Chicago but in the United States at this vital moment in our nations history.

With the prize, Lowenstein wins $10,000 and a solo show at CDS. A multimedia exhibition of South Sidephotographs, texts, and video will open at the Center for Documentary Studies in fall 2015.

To view excerpts from Jon Lowensteins prizewinning submission and to learn more about the 2015 Lange-Taylor Prize competition y documentarystudies.duke.edu > Awards > Lange-Taylor

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A book of essays by todays best audio-documenta-ry practitioners edited by John Biewen and coedited by CDS publishing and awards director Alexa Dil-worth is now in its fifth printing. Reality Radio: Tell-ing True Stories in Sound was originally published in 2010 by the University of North Carolina Press and the Center for Documentary Studies as part of the Documentary Arts and Culture series.

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LETS TALK CDS RADIOBy CDS Audio Director John Biewen

These days at the Center for Documentary Studies, its routine for people to talk about the four mediums in which we teach, present, and produce: photography, lm/video, writing, and audio. We have four banners on the front porch, each trumpeting one of those me-

diums. (Increasingly, youll hear people evoke a fth medium, or mode: multimedia in its many forms.)

Audio has not always had that kind of stature at CDS. For its rst decade or so, the Center celebrated the visual im-

age and the printed word. Cofounded by photographer Alex Har-ris (who had led CDSs precursor, the Center for Documentary Photography), CDS was grounded in photo from the start. Non-ction writing also held a prominent place, for example through the Lange-Taylor Prize for collaborating writers and photogra-phers, and in DoubleTake magazine, which started publication in 1995. The DoubleTake Film Festival was born in 1998, later to become the Full Frame Documentary Film Festival.

Audio did happen at CDS in the early years. Staff and stu-dents would lug recorders out into the world, usually to capture interviews for use in text-based oral history projects. But it took awhile for audio to get full billing as a documentary medium of its own at CDS.

In 2001, under then-director Tom Rankin, Elana Hadler Perl became the Centers rst Documentary Radio Programs Direc-tor. Having spent three years managing the Centers ambitious multimedia Indivisible project, Elana, a former NPR staffer, was charged with creating an expanded audio program at CDS. What would that look (or sound) like? Elana was feeling her way into that question when I turned up.

Visit on the CDS Porch, our news blog, cdsporch.org

Id moved to Durham, and the Center had agreed to take me in, in residence, loosely speaking, though I was working full-time as a correspondent/producer for American RadioWorks (ARW), the documentary unit of American Public Media. The Center provided ofce space and I tried to be of occasional use as Elana got the audio program off the ground. In 2002 and 2003 we coproduced the joint ARW/CDS radio documentaries Days of Infamy: December 7 and 9/11 and Korea: The Unn-ished War.

When Elana left CDS, the audio program fell to merst on a part-time, shared basis as I continued to work for American Ra-dioWorks, and then, in 2006, full-time. By then, the basic struc-ture of the CDS audio program as it exists today was in place. We offer an undergraduate audio course each semester (also available to grad students); we teach a couple of week-long sum-mer institutes that draw students from across the country and beyond, as well as Continuing Education classes taught by other radio folk in the area; and were a production house that makes CDS Radio projects for national and international audiences.

The current multi-year project, Contested: Sports and Soci-ety, may appear on its face to be something of a departure, both for CDS and for me. Part of CDSs core mission is to amplify voices, advance human dignity, engender respect among indi-viduals, break down barriers to understanding, and illuminate social injustices. Much of our radio work has focused directly on the sorts of themes such a mission statement would sug-gest: race and class, local democratic action, the lives of Latino immigrants and family farmers, an overlooked history of stolen Native American lands. Sports?

Underlying the Contested project, though, is our belief that sport is a rich vein in which to nd stories of unity and division, identity, inequality, and the American Dream. The rst major it-eration of Contested, a one-hour episode for the NPR program State of the Re:Union, told Durham, North Carolinabased sto-ries about young athletes and their families and the fault lines (race, class, gender) that are laid bare, sometimes mended, and sometimes exacerbated in the world of youth sports.

Thanks to a grant from the National Endowment for the Hu-manities, the work on Contested continues. The rst in an oc-casional series aired on NPRs All Things Considered in October 2014: A look at the failure of a Cardinals playoff run to unite the St. Louis area in the face of the police shooting of the unarmed teenager Michael Brown.

Stay tuned, theres more to come.

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CDS Radio Past and {BC: or &} Present

By CDS Audio Director John Biewen

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The School of Doc, Full Frames free five-week sum-mer camp program, introduces Durham public high school students to the professional tools and practices of documentary filmmaking. During the programs fourth year this past summer, twelve students and three student interns created their own short films about Durham icon Pauli Murray and CAARE, Inc., a Durham nonprofit. Their films premiered to a packed house at the Full Frame Theater, and the students are excited to screen their works at the 2015 festival. The Teach the Teachers program instructs Durham public school teachers on incorporating documentary film into their curricula. In 2014, six teachers attended workshops as well as the festival. Teach the Teacher alumni create study guides for films in the new Full Frame Library housed at the School for Creative Stud-ies, accessible to all Durham public school teachers. The library currently includes twenty films that have screened at past Full Frame festivals.

THE NEXT GENERATION

Find out more about CDS at documentarystudies.duke.edu

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FULL FRAME DOCUMENTARY FILM FESTIVALFour Days and Then SomeBy Lindsay Gordon-Faranda Full Frame Communications Manager

Our staff is excited to be gearing up for the eighteenth annual Full Frame Documentary Film Festival, April 912, when nearly a hundred documentary lms from all over the world and more than twelve thousand pa-trons will converge on two city blocks in downtown

Durham (providing a huge boost to the local economy in the processnearly $2.5 million in 2014).

Full Framea qualifying festival in the Documentary Short Subject category of the Academy Awards and a qualifying event for the Producers Guild of America Awardsis known for its friendly, supportive vibe. Interaction and conversation among lmmakers, subjects, and audiences is a hallmark, whether in-formally at post-screening Q&As or at our A&E Speakeasy pan-els with documentary industry insiders. Besides the work of es-tablished lmmakers, Full Frame showcases works-in-progress by rst-time documentarians as part of the Garrett Scott Doc-umentary Development Grant; past Garrett Scott projects in-clude The 12 OClock Boys, In Country, 1971, and (T)error, which is premiering at this years Sundance Film Festival.

While most people know Full Frame for the festival, were much more than a four-day event. Full Frame was included in Movie-Maker magazines 2014 list of the 25 Coolest Film Festivals in the World in no small part because of our year-round program-ming. As the magazine attests, the very best [festivals] ele-vate their communities throughout the year, as we do with year-round screenings, free and open to the public, and educational programs (see The Next Generation) that further our mission to bring documentary lm to the Durham and wider Triangle com-munities, building new audiences for nonction cinema.

Free screenings in the 100-seat Full Frame Theater at the American Tobacco Campus are part of the Full Frame Road Show Presented by PNC. With PNCs support weve expanded our free offerings beyond Durham, including Cary and Chapel Hill in 2014, a year that also saw us partnering with the Down-town Raleigh Alliance and the Durham Pride Festival on free out-door screenings. Our much-loved Winter Series brings documen-taries with Oscar buzz to Fletcher Hall at the historic Carolina Theatre in Durham. Speaking of Oscar buzz, at the time of this writing our Best Short at the 2014 festival, J. Christian Jensens White Earth, was shortlisted for an Academy Award, as were

several features that included Full Frame Films and lms made by previous Full Frame directorsThe Case Against 8, Citizen Koch, Last Days in Vietnam, The Overnighters, Citizenfour, and Life Itselfthe latter two lms directed by Full Frame advisory board member Laura Poitras and 2014 Full Frame Tribute recipi-ent Steve James, respectively.

We at Full Frame believe that documentary lm can change lives, and were proud to strive for and prove that every month of the year, not just during four amazing days in April.

Passes for the 2015 Full Frame Documentary Film Festival go on sale February 11; individual tickets go on sale April 2. See the Full Frame website for more information. The Full Frame Documentary Film Festival is a program of the Center for Documentary Studies.

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ABOVE: Outside at the 2014 Full Frame Documentary Film Festival. Photo-graph by Kallyn Boerner. OPPOSITE: Brothers Geonnie Brodie and Jalanie Taylor, members of a Pop Warner football team in Durham, North Carolina. Video still by Hannah Colton from the Contested project.

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Felsman Fellows ProgramMFA | EDA Grads Raise Awareness on Childrens Issues

Arriving at the gate of the camp changed a lot of things in my life. From that moment I just felt like a different person. From a simple normal girl, to a girl with dreams who would like to achieve her goals. I had condence I am going to change. And for real, I did change. I am another kind of girl: a courageous girl. KHALDIYA, 17 YEARS OLD

How does it feel to be a Syrian girl in Jordan who is living in the worlds second largest refugee camp, Zaatari? Hundreds of journalists have visited Zaatari, but what would Syrian girls tell us about their own lives if given the opportunity to make photo-graphs and videos of life in the camp?

Those are questions posed by Laura Doggett, a recent gradu-ate of the Master of Fine Arts in Experimental and Documen-tary Arts program (MFA |EDA) at Duke. In 2014, Laura created a media workshop for Syrian girls at Zaatari under the auspices of the J. Kirk Felsman Program on Children in Adversity based at Dukes Sanford School of Public Policy. Laura and fellow MFA|EDA graduate Braxton Hoodwho created her own media workshop for Syrian refugee girls in Turkeyeach worked close-ly with a recent Masters of Public Policy graduate to combine documentary and policy analysis focused on young womens lives in the camps and urban settings.

This modelcombining in-depth documentary work with pol-icy analysis on issues affecting childrenis at the heart of the Felsman Fellows Program, created in the memory of Dr. Kirk Felsman, a clinical child psychologist who taught at CDS and Sanford. Felsman worked for over thirty years around the world with street children, child soldiers, refugees, immigrants, and children affected by HIV-AIDS, wars, and natural disasters.

The program matches graduates of the MFA|EDA program and the Masters of Public Policy program at the Sanford School with international organizations committed to the care and pro-tection of vulnerable children and youth. Each Fellowship culmi-nates in an opportunity to showcase research and documentary work in Washington, D.C. The program also creates a strong social media presence around the Fellows work to raise aware-ness and advocate for innovative global policy on issues affect-ing vulnerable children and youth.

Currently, MFA |EDA grads Elizabeth Landesberg and Sarah Garrahan are documenting child protection and labor issues as Felsman Fellows in Peru and Brazil alongside public policy graduates Lauren Beaudry and Stephanie Reist. Their work with

Visit on the CDS Porch, our news blog, cdsporch.org

the Felsman Program in South America is funded by the Bernard Van Leer Foundation with additional support from Marilyn and Richard Preyer. Alex Harris, MFA |EDA instructor and Duke Professor of the Practice of Public Policy and Documentary Studies

View photos and videos from Felsman Fellowships

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Undergraduate Education New Fellowships Foster Professional Mentoring

The Center for Documentary Studies is pleased to launch a new initiative for Duke University undergraduates this semester, when the rst Research in Practice Program (RIPP) Fellowships in the Documentary Arts will be awarded. The mentoring and professional practices program is an independent studies ar-rangement that strengthens bonds between students and CDS faculty and builds in more time for projects to mature outside the connes of a regular course. Faculty will guide the Fellows in conceiving of and implementing the most appropriate outcome for a nal documentary project on social issuesa lm, photo exhibit, website, audio recording, or magazine-length article are among many possible options. Fellows will present their projects to the public at the end of the semester.

The RIPP Fellowships in the Documentary Arts add a new di-mension to our undergraduate teaching and research program, says Christopher Sims, undergraduate education director at CDS. By supporting some of our most engaged students, the fellowships will directly impact the production of well-crafted and deeply observed documentary work. This initiative will push students to think how and where their work can travel off-cam-pus in a nished form, where it can engage audiences, spark conversations, and make lasting impressions.

Applicants must have completed at least one Documentary Studies course and undertaken an intensive period of documen-tary fieldwork through opportunities at CDS and Duke. For more information on the RIPP Fellowships and other student oppor-tunities, see Undergraduate Awards and Fellowships on the CDS Undergraduate Education webpage.

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ABOVE: Video still from Children, a lm by Marah, a Syrian girl in the Zaatari refugee camp in Jordan. OPPOSITE: High school student Asia Bridges models a headpiece for her flag team, which will march in over a dozen parades during Mardi Gras. Photograph by Distance Certicate student Lindsey Phillips.

Find out more about CDS at documentarystudies.duke.edu

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Continuing EducationExpanding Options Open Virtual Doors to CDS

We started out offering just a few online classes to see how that would work, says program director April Walton, of CDS Continuing Educations initial foray into digital classrooms in 2010. The technology has improved so dramatically since then, we now feel like our classes can be meaningful through a virtual platform, says Walton. At present, there are about a dozen online options each semester, with plans for more. Ive heard hesitation from people about online classes, says stu-dent Lindsey Phillips, an aspiring lmmaker based in New Or-leans, but this is a really easy system. . . . Each class Ive taken, the instructors have all been great about giving us time to talk and have feedback sessions with them, so it doesnt feel like youre missing out on being in a classroom.

Continuing Educations online classes have become an in-creasingly common entry point for students who go on to en-roll in the CDS Distance Certicate program, a special curricu-lum launched two years ago that allows out-of-town students to complete the requirements for a Certicate in Documentary Arts, a structured sequence of courses that culminates with the completion of a nal documentary project.

The demand started with people whove come through our summer institutes, says Walton, speaking of the annual week-long institutes in audio, photography, video, and writing that draw a majority of students from outside North Carolina. Ev-ery class you take earns credits toward the certicate whether youre signed up for the program or not. So we had this whole group of people who were asking for a way to complete the re-quirements.

Walton modeled the Distance Certicate on low-residency masters degrees, in which students are required to come to campus periodically. We do want people to have a connection here, and feel a sense of belonging here, she says. Thus the DocuArts Retreat, which takes place in Durham each winter, and which Walton describes as a very intensive, long-week-end, once-a-year forum for distance students to share the work theyve done, build a community within their group, and make some substantial progress toward their nal project.

Distance Certicate students also select from a set of elec-tive summer institutes, weekend workshops, and online class-es, which are never canned lectures; the goal is to simulate the in-person classroom experience via videoconference, with interaction further facilitated by a class-specic blog.

Lindsey Phillips is set to be among the Distance Certicate programs rst graduates. She wanted training in directing, in-

terviewing, and story structure to add to her background in digi-tal media production but didnt want to relocate for grad school. Thats when she discovered CDS and its Continuing Education program via Google. The classes shes taken as a distance stu-dent have given her the tools to undertake her documentary on the costumers who supply New Orleans Mardi Gras krewes. As Phillips says, Ive learned how to have a game plan, essentially. How to sit down and put a system in place, and how to move forward. Marc Maximov, CDS Continuing Education Coordinator

For more information on the Distance Certificate, and to regis-ter for on-site and online spring classes and summer institutes:

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Ambitious Yearlong Project Aims for the Unconventional

What dont we know about you and Duke? The Center for Documentary Studies and Duke Photography are asking that question with Document Duke 360. The yearlong photo challenge invites members of the extended university com-

munity to break out of the familiar to create an origi-nal, crowdsourced view of whats distinct, poignant, complicated, iconic, eccentric, engaging, inspiring, and uncomfortable about Duke. By the end of 2015 we hope to have created, collectively, a new and unconventional portrait of who we area 360-degree view captured in 365 evocative and provocative images that speak to the many worlds that are lived and experienced at Duke University.

One photo a day, chosen by CDS and Duke Photog-raphy staff, will be featured on the project website, Instagram feed, and other Duke University digital and social media outlets. From those winning photos, guest curators will also choose a photo of the month. So lets Duke it out. Between now and December 31, give us your best shots. Any format in any style is welcome.

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