When is Co-creation Possible?

D. Naaman
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Abstract

In the early stages of production of the participatory interactive documentary Jerusalem, We Are Here (2016), I described the process I had envisioned to a curator friend. She listened intently and then said, “I think you can pull it off, because you don't have an artist's ego.” I wasn't sure whether this was a compliment, but I recalled this statement recently, when I was asked about my position as an Israeli making a project with and about Palestinians, and a metaphor emerged. “I am the central nervous system of this project,” I replied. “But its heart is entirely Palestinian.” As an Israeli showcasing an actively obfuscated Palestinian past, and as a documentary filmmaker working with non-professionals, I knew from the get-go that I have a lot of structural power: professionally I knew what makes for a good story, and how to go about it. As an Israeli, I also had unparalleled access to archives and libraries and current Israeli residents and realtors, and was thus well situated to obtain information Palestinians are mostly unable to access. I also knew that the stories revealed in the process of our interactions were impacted by my subject position as an Israeli and a Canadian citizen. And I knew that I had (and still have) many blind spots. The question of how to work ethically within this structural imbalance of power occupied me from the beginning. The first …
什么时候可以共同创造?
在参与式互动纪录片《耶路撒冷,我们在这里》(2016)的早期制作阶段,我向一位策展人朋友描述了我设想的过程。她专心地听着,然后说:“我觉得你能演好,因为你没有艺术家的自负。”我不确定这是否是一种恭维,但我最近想起了这句话,当我被问及作为一个以色列人与巴勒斯坦人一起制作一个项目的立场时,一个比喻出现了。“我是这个计划的中枢神经系统,”我回答。“但它的核心完全是巴勒斯坦人。”作为一个展示巴勒斯坦历史的以色列人,作为一个与非专业人士合作的纪录片制作人,我从一开始就知道我有很多结构性的力量:从专业角度来说,我知道什么是一个好故事,以及如何去做。作为一名以色列人,我也有无与伦比的机会接触档案和图书馆,接触以色列居民和房地产经纪人,因此能够很好地获得巴勒斯坦人大多无法获得的信息。我也知道,在我们的互动过程中所揭示的故事受到我作为以色列和加拿大公民的主体地位的影响。我知道我曾经(现在仍然)有很多盲点。如何在这种权力结构失衡的情况下合乎道德地工作,这个问题从一开始就困扰着我。第一个……
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