REFUGE

(2018, dir. Katie Mathews)

 

Phan Plork emigrated to Buras, Louisiana, in the early 1980s to escape the brutal regime of the Khmer Rouge.  He now is part of a vibrant community of over 30 families of Cambodian descent who make their living fishing along the coast in Plaquemines Parish.  But as the State of Louisiana seeks to meet the crisis of subsidence by building freshwater diversions, fishermen like Phan are at risk of losing their livelihood as the salinity of the water changes and certain species of fish become scarce. For Cambodian and Vietnamese communities along the coast, they face a prospect of being refugees twice in one lifetime.   In the face of this emergent threat, Phan is building his third and biggest boat, Christian Girl, to take him out farther, into deeper waters that won’t be affected by changing salinity. As he looks to the future, Phan wonders if his personal resilience will be enough to see his family, home and livelihood through.  

SEDIMENT DIVERSIONS*

 

Since the Mississippi River was leveed in the 1930s, the Barataria and Breton Basins and Mississippi River Delta have lost approximately 700 square miles (or 447,000 acres) of land, representing one of the highest land loss rates in the world; these losses are due to sediment deprivation, hydrologic alteration, subsidence, sea level rise, and salt water intrusion. To address the root of the problem, the Louisiana Coastal Protection & Restoration Authority (CPRA) is seeking to “reconnect the river” and restore the natural processes that initially built the delta. Controlled sediment diversions, particularly when utilized along with marsh creation and other restoration methods, can offer a unique opportunity to strategically reestablish hydrologic flows, carry land-building sediments, nourish marshes, and sustain land.

 

*Adapted from the Coastal Protection & Restoration Authority (CPRA) website

Artist Spotlight: Katie Mathews

Katie Matthews

Katie Mathews

 

Katie Mathews is a filmmaker and ethnographer based in New Orleans.   She has experience in production management, directing, creative producing and editing. Katie is currently producing MOSSVILLE, a documentary feature in post production that explores the psychological trauma of community displacement at the hands of the petrochemical industry. She is also developing ROLEPLAY, a feature documentary that follows a group of college students as they create an original theater piece about sexual violence in their campus community.  Her work has been funded by the Smithsonian, the National Endowment for the Arts, the Louisiana Endowment for the Humanities, and Tulane University Center for the Gulf South.  She is a 2018 Fellow in the UnionDocs Summer Documentary Lab, a 2018 Fellow in the inaugural Southern Producer’s Lab and an Artist in Residence at A Studio in the Woods for their Adaptations Residency. Today she teaches Research Methods in Social Innovation at Tulane University.

KEEPERS OF THE MOUND

(2017, dir. Katie Mathews)

A Houma family cares for one of the many ancient Native American earthen mounds threatened by the rapid disintegration of the Louisiana coastline.  With the threat of land loss looming and limited resources available for coastal restoration and protection, Keepers of the Mound highlights the Houma’s fight to be considered in the cost-benefit-ratio of coastal protection.

Keepers of the Mound was commissioned by the Smithsonian and the Louisiana Endowment for the Humanities Water/Ways series. The series premiered at the New Orleans Film Festival and on Louisiana Public Broadcasting and is currently touring libraries across the state to facilitate dialogue around climate change.

Earthen Mounds & Cost-Benefit Analyses*

 

Ancient peoples began building earthen mounds in North America as early as 4,500 B.C. The Mississippi River Delta of southeastern Louisiana encompasses one of the largest areas of wetlands in North America, and archaeology attests a long and a rich history of Native American settlement. In the Mississippi River Delta mounds were built near resource-rich waterways, which could support larger human settlements. Mounds are thought to have served as community centers, ceremonial sites and even, high ground. That so many mound sites have survived in coastal Louisiana is a testament to their careful construction. Neglect, however, and coastal subsidence – the result of engineered changes to the flow of the Mississippi River – are wearing away at the mounds. Today, we are facing the loss of many of these sacred and historical sites due to rising sea levels and subsidence. Today, we are facing the loss of many of these sacred and historical sites due to rising sea levels and subsidence.  And as state officials determine the cost-benefit analysis of who and what in our state will be protected, are these indigenous sites of cultural heritage going to make the cut?

 

*Adapted from Dr. Jayur Mehta’s research at the Grand Caillou site in Bayou Grand Caillou

PROJECT PARTNER: United Houma Nation
Artist Spotlights: Paavo Hanninen & Justin Zweifach
Paavo Hanninen

Paavo Hanninen

Paavo Hanninen is a New Orleans-based filmmaker and cinematographer. Films he has served as DP for have played Sarajevo, Clermont-Ferrond, Rooftop Films, and Rotterdam among other festivals. His work as a filmmaker and cinematographer has been featured on Time.com, Huffington Post, Washington Post, Complex, Rolling Stone, and NPR among other venues. His own films have played at festivals including New Orleans, Sidewalk, Curitiba, and selection in the Berlinale Short Film Cloud. He is currently at work on a number of narrative and documentary projects including a feature-length screenplay, a feature-length documentary, and a pair of narrative short films. 

Justin Zweifach

Justin Zweifach

Justin Zweifach is an award winning cinematographer whose work has been exhibited at festivals and platforms around the world. The first feature he shot, OTHER MONTHS, premiered at SXSW 2014, and garnered him favorable reviews from Fandor’s “Keyframe,” citing him as a “true breakout star,” and “exhilaratingly talented.” He returned to SXSW in 2017 with his second feature, Peter Vack’s ASSHOLES, which was awarded the Adam Yauch Hornblower Award for a film that “strives to be wholly its own, without regard for norms or desire to conform,” and has recently been picked up for theatrical distribution by Factory 25 and Breaking Glass Pictures.  Aside from SXSW, his work has been featured at several festivals, including Sundance, Toronto International Film Festival, Slamdance, and BAM Cinemafest, as well as on major media outlets such as Lifetime, PBS, VH1, MTV, TIME, Huffington Post, Rolling Stone, The Atlantic, and The New York Times. 

LOCKED

(2019, dir. Daneeta Loretta Jackson)

Local Urban Ecologist Dr. Josh Lewis tells the one hundred year tumultuous history of the Industrial Canal and Lock that dissect the infamous 9th Ward of New Orleans. He describes the wide reaching effects of how Louisiana does water borne transportation and succinctly outlines how business elites, the Port of New Orleans and the Army Corps of Engineers used irresponsible urban planning that caused repeated catastrophic flooding in the Greater New Orleans region for over a century. The film includes dramatic hundred-year-old historical moving pictures depicting events unfolding as citizens experienced them at the time of happening and lays out how the various affected communities have been resisting  the destruction of life and land for decades.

ARMY CORPS OF ENGINEERS

 

Large water planning organizations in coastal communities such as New Orleans have traditionally addressed only one bottom line: economic. This must change. In coastal communities, we must take into account the environmental and social bottom lines as well and put citizens above private industry profit. The citizens of Louisiana have long paid a price in health, well-being, property and life for the indigenous resources of the region. At the same time, Louisiana is the last to see equitable economic value from these resources. One of these large planning projects, the industrial canal system, has also been responsible for loss of over 50,000 acres of wetlands as it continues to collapse in on itself. Now, the Army Corps of Engineers want to replace the Lock, the only working component of the entire system. The lock replacement will cost 1bn (most likely more as the ACE have never completed on budget) and will take 13 or more years to complete. This water planning decision is based solely on economics: increasing maritime profit. Public funds would pay for half of this project. Corporate welfare. Instead, fix the flooding problems that the entire system caused in the first place. And, also, any water project in coastal communities from now on should take into account climate change, which is clearly affecting our state despite denial at the highest level.

Artist Spotlight: Daneeta Jackson

Daneeta Jackson

Daneeta Jackson

 

Daneeta Jackson is a creative storyteller, visual artist and a partner at the ElekTrik Zoo, a New Orleans-based creative content collective. She has written, produced and directed 70+ short-form narrative, documentary & experimental films, three long-form films, & a variety of commercials, PSAs, branded videos, social media spots & web videos for a number of local, national and international clients. Her primary form is hybrid: mixing narrative and documentary elements together to make a greater truth. Daneeta is a native of Big Branch, Louisiana and uses her birthplace to inspire much of her work. In 2016, she became radicalized by the NOLA Indivisibles who advocate, educate and disrupt for the benefit of the people in their communities. As a filmmaker from Louisiana, the Climate Apocalypse always features prominently in her work.

NO MAN’S LAND

(2019, dir. Katie Mathews)

A BEEF IT’S WHAT’S FOR DINNER bumper sticker adorns the back of Earl Armstrong’s green pickup; cattle has been the lifeblood of Earl’s family and remains so today. Several years ago, when the Army Corps of Engineers and State threatened to abandon an underperforming diversion project in West Bay, Earl Armstrong began advocating for his home in lower Plaquemines Parish. He addressed the Corps on the need to build islands in West Bay to slow down the water as it entered the bay and allow sediment to drift to the bottom of the bay rather than get swept into deeper water.  The first island was built in 2010, and three more built after that, with sand bars popping up a year later – the first sign of a new beginning – land coming, not going, in Plaquemines Parish.

VALUING INTERGENERATIONAL KNOWLEDGE IN LOUISIANA’S COASTAL COMMUNITIES*

 

The West Bay Diversion was the first uncontrolled sediment diversion for restoration purposes built in Louisiana. Sediment diversions are one of the strategies used to rebuild land in the Louisiana Master Plan—the largest strategic land-building effort in the history of the United States. West Bay was an unprecedented project that allowed coastal restoration scientists to examine whether river diversions can successfully build land.

 

In 2008, the West Bay Diversion project showed little to no land growth and constituted a growing financial burden. That year, West Bay’s administering agency voted to close the project due to increases in cost associated with dredging the Pilottown Anchorage Area—a demand of lobbyists from the maritime industry. Earl knew, however, that land was growing, though it was happening slowly. And he knew that West Bay was important to the survival of his home.

 

After living and working in the Plaquemines coastal community all his life, Earl’s expertise allowed him to see that West Bay would fill in if more islands would be constructed and that, as sediment was increasingly trapped in the basin, it would reduce the amount of dredging required downstream. He took charge of West Bay and embarked upon a fiery advocacy campaign to keep the project open. Ultimately, he succeeded, raising important questions not only about the long-term trajectories of projects like West Bay, but also the consideration of local, intergenerational knowledge in policy decisions affecting Louisiana’s vulnerable coastal communities.

 

*Adapted from an article by Tori Bush in 64 Parishes, the magazine of the Louisiana Endowment for the Humanities.

Artist Spotlight: Alexander Glustrom

Alexander GlustromAlexander Glustrom

 

Alexander Glustrom has directed, shot, produced, and edited a wide variety of film projects ranging from commercial, music, and art videos that have reached hundreds of thousands online, to documentaries that have been featured in film festivals internationally. He has shot footage that has aired on HBO, CNN, Fusion, NYtimes.com, Great Big Story and Democracy Now. He has also created a number of fundraising videos that have raised thousands of dollars for New Orleans youth programs. Alex’s major work is the award winning documentary film, Big Charity, which he directed, shot, produced and edited. Big Charity won The Jury Award and Audience Award at The New Orleans Film Festival, was awarded Documentary of the Year by Louisiana Endowment For The Humanities, and was named the 5th Best Film Made in Louisiana in 2014. Alex was awarded “Filmmaker of the Year” at the 2015 New Orleans Millennial Awards and named as one of New Orleans’ “40 under 40 brightest and most innovative young people” by Gambit Magazine. He is currently in post production on his second feature length film “Mossville.” 

LAFITTE 2068: NO PLACE TO CALL HOME

(2019, dir. Emerson Boutte)

Citizens of older generations from Lafitte speak out on how coastal erosion, subsidence, and floods have severely impacted their lives. Clothile Cobert, Lanvin LeBlanc, Edward Perrin, and Jerry Victoriano share personal experiences and memories of certain places they got to experience and how much of what they once knew is now gone. They explain how the land of Lafitte has changed before their own eyes as they have grown up and built a life in the small town.  Young students and citizens from Lafitte share and express how little they know about the severity of coastal erosion. The goal of this documentary is to raise awareness and inspire the young generations of Lafitte, and other coastal towns facing the same problems, to be more involved and want to stand up and help save Lafitte from becoming nonexistent within the next 50 years.

TEACHING CLIMATE CHANGE*

 

A recent NPR/Ipsos poll found that fewer than half of K-12 teachers in the United States teach their students about climate change. Although more than 8 in 10 of these teachers support integrating lessons about climate change into their curricula, many lament that they don’t have the materials needed to teach the subject and that, considering robust state and local standards, climate change is not sufficiently related to the subject(s) they teach. Although at least 36 state education standards mention “the reality of human-caused climate change,” in most of these states, climate change is mentioned only briefly in earth and environmental science classes that are not required for graduation. In fact, only two states require students to take earth or environmental science classes to graduate from high school. Louisiana is not one of them.

In the coming years, students across Louisiana’s coastal communities will become leaders in the fight against coastal land loss, one of the most devastating effects of climate change. In LAFITTE 2068, these students argue that they have a right to be taught about climate change if they will be charged with the duty of saving their communities from it.

 

*Adapted from an article by Anya Kamenetz in NPR. Click here to read tips for teaching climate change in any classroom.

PROJECT PARTNERS: Fisher Middle/High School
Artist Spotlight: Emerson Boutte

EMERSON BOUTTE

 

Emerson Boutte is a senior at Fisher High School in Lafitte, Louisiana. Once she graduates high school, she plans on majoring in film to become a filmmaker. She has created multiple short films for school projects as part of her digital media class. She has recently created her first short documentary, Lafitte 2068: No Place to Call Home, while interning at NOVAC. Emerson wants to raise awareness for the youth to realize how fast her hometown is being washed away, and inspire them to make a difference and help in saving Lafitte.

ANTENNA:: SIGNALS:: DOCS – Monique Verdin

(2018, dir. Katie Mathews)

As part of its Signals live magazine program, the artist collective Antenna partnered with NOVAC to create short documentaries highlighting the work of the locals scientists, artists and activists who have presented at Signals.  In this Antenna::Signals::Doc, indigenous artist Monique Verdin is all three, a naturalist, filmmaker and community leader who sees the connection between how we live on the earth and who we are.

INDIGENOUS FLORA & THE COLLECTIVE MEMORY

 

The Land Memory Bank and Seed Exchange will travel to climate challenged communities in the Greater New Orleans area to be activated as a multipurpose base camp and transitory-gallery, a shelter, a studio, a resource center, an idea depot, a seed bank and a civic dialogue space. A key part of the Exchange programming will include the offering of photographic portrait services free of charge to communities. Additionally, the Exchange will offer restoration and digitization of photographs documenting land, plants and/or people. When appropriate, audio and video documentation will be captured. Collected images and stories will be exhibited and featured as part of the roaming Exchange and will be filed in a publicly accessible Land Memory Bank digital archive. By collecting, educating and dispensing of native species, biodiversity and medicinal plant knowledge will be preserved, food sovereignty strengthened and the natural system will have a chance to be protected, restored and remembered. A catalog will be constructed, as an online reference, out of the visual land and seed data.

PROJECT PARTNER: Antenna::Signals
Artist Spotlights: Ikeem George & Monique Verdin
Ikeem George

Ikeem George

Ikeem George is a photographer and independent filmmaker from New Orleans. He started working in film as an editor and videographer his senior year of high school. Following high school, he spent three years working for the Institute of Women and Ethnic Studies (IWES) and New Orleans Video Access Center (NOVAC) before going out on his own as a full-time freelance filmmaker and editor.

Monique Verdin

Monique Verdin

Monique Verdin is a daughter of southeast Louisiana’s Houma Nation. The complex interconnectedness of environment, economics, culture, climate and change have inspired her to intimately document Houma relatives and their lifeways at the ends of the bayous, as they endure the realities of restoration and adaptation in the heart of America’s Mississippi River Delta. Monique is the subject/co-writer/co- producer of the award-winning documentary My Louisiana Love (2012). Her interdisciplinary work has been included in an assortment of environmentally inspired projects, including the the multiplatform/performance/ecoexperience Cry You One (2012-2017) as well as the publication Unfathomable City : A New Orleans Atlas (2013). Monique is a member of the United Houma Nation Tribal Council and is director of The Land Memory Bank & Seed Exchange; anå experiential project engaged in building a community record through cultural happenings, strategic installations and as a digital archive, sharing stories, native seeds and local knowledge.