“Unless we know ourselves and our history, and other people and their history,
there is really no way that we can really have positive kind of interaction where there is real understanding.”
- YURI KOCHIYAMA
THIS IMMERSIVE DOCUMENTARY ON (PAN)BLACK AND (PAN)ASIAN CULTURAL AND POLITICAL RELATIONSHIPS IS A LIVING INTERACTIVE ARCHIVE AND INVITATION TO SIT WITH OUR COMPLEX HISTORIES, ACCOUNTABILITY, LOVE, AND TRUTH.
DISTRIBUTION MODELS:
100+ INTERVIEWS FILMED IN 7 COUNTRIES
CURATED IN 3 DISTINCT EXHIBITION STRATEGIES
TO CREATE 1 IMMERSIVE DOCUMENTARY
NAME / JOB / TITLE
A MEDITATIVE TAKE ON DOCUMENTARY FEATURE FILMMAKING THAT CAN BE EXPERIENCED IN TRADITIONAL THEATER SETTINGS. WE, THE EDITORS, APPROACH THE ARCHIVES AS FACILITATORS GUIDING THE AUDIENCE THROUGH THIS CONVERSATION AS WE CONNECT NARRATIVES ACROSS THE GLOBE.
A TRAVELING EXHIBITION THAT DECENTRALIZES THE FILMMAKING PROCESS AND INVITES AUDIENCES TO PARTICIPATE IN BUILDING THE ARCHIVE. VIEWERS ARE PROMPTED TO CREATE NEW CONTENT IN CONVERSATION WITH THE DOCUMENTARY IN VIDEO AND AUDIO RECORDING STATIONS.
A NONLINEAR EXCAVATION OF THE ARCHIVES THAT CAN BE EXPERIENCED ONLINE OR IN GALLERY SETTINGS. THE DOC IS BROKEN INTO 1-5 MINUTE SEGMENTS AND THE AUDIENCE IS GIVEN DECISION MAKING POWER OVER HOW THE NARRATIVE UNFOLDS IN A CHOOSE-YOUR-OWN-ADVENTURE INTERACTIVE PLATFORM.
MODEL 1:
LINEAR
MODEL 2:
INTERACTIVE
MODEL 3:
INSTALLATION
MODEL 1:
LINEAR
In our feature length version of the BUFU documentary we embark on a journey of intimacies, zooming in and out of the lives of our characters across the Pan-Black and Pan-Asian diasporas. Moving in a meditative piece we seek to breathe life into the flattened narratives of our peoples by revolutionizing and reclaiming the linear documentary form. Once a colonial tool to categorize, commercialize, consume, and ultimately control we turn the camera on its head to hack the archive in a telling of the long histories of ours that have always been.
MODEL 2:
INTERACTIVE
Utilizing new tech for old relationships we will be democratizing the “documentary” and returning agency to the viewer - transforming them from participant to maker. We take the stories of Pan-Black and Pan-Asian diasporas traveling between Ethiopia, Japan, Jamaica, Korea, India, China, and the USA weaving them into algorithm. We will build a platform that invites our communities to engage with our narratives as a choose your own adventure.
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MODEL 3:
INSTALLATION
Breaking documentary open and waging space to return equity to storytelling - we will build a traveling documentary installation that blurs the lines of where the viewer ends and story begins. Transforming audiences into new kinds of actors - social actors - political actors - to combat the passivity of consumption and activate/implicate all.
MODELS IN CONTEXT:
Each exhibition model can stand alone, allowing different organizations to display the project based on spacial participant needs. Apart they speak to different learning modalities, expanding accessibility in relation to time and space.
When all three exhibition strategies are presented harmoniously in unison, the audience is given the agency to choose the storytelling method that suits their individual needs. This is a continuation of BUFU's "get in where you fit in" curatorial pedagogy which is grounded in the belief that more complete stories create more complete solutions.
WHO WE ARE:
