VISUAL GRIOTS - A photography workshop for children in Tominian, Mali

Visual Griots, a photography workshop for the children of Tominian, Mali, is being launched in response to the recent emergence of Bamako as the center for the photographic arts in Africa. This project’s unique goal is to support and enrich this nascent artistic community by enabling Malian children, through a one-week workshop: to become contemporary griots and tell their communities’ stories through photography; to foster cultural exchange by including world renowned Malian photographer Alioune Bâ in the workshop team; and to train an emerging Malian photographer of the Seydou Keïta Photography Center in the methods and techniques of workshop instruction, with the aim of replicating similar workshops through the Center.

The Visual Griots project benefits from the expertise of three Washington D.C.-based photographers, Nestor Hernández, Sora DeVore, and Shawn Davis. Hernández and Devore have led celebrated photography projects for children in Ghana, Cuba, West Virginia and Washington D.C. Davis, who has widely published his work on Mali, also brings to the team a wealth of knowledge on Malian language and culture, stemming from his years spent there as a Peace Corps volunteer. Nestor Hernández traveled to Mali in October, 2003, to lay the groundwork for the project. The workshop is being organized in Mali through ASVIGNE (Association Vigne), an NGO run by Malian Jude Théra, a native of Tominian, now based in Bamako.

Images resulting from the project will first be shared with the community of Tominian. The pan-african photography biennial, African Photography Encounters has recently agreed to exhibit the children’s work the 2005 festival, to be held in Bamako. Finally, the works will become a part of the permanent collection of the Seydou Keïta Photography House, a new photographic gallery and resource center in Bamako. We also intend for Visual Griots to eventually be shown at the Focus Gallery of the African Voices exhibit, curated by Mary Jo Arnoldi, at the Smithsonian Museum of Natural History.

Visual Griots, has received generous funding from the Academy for Educational Development in Washington, D.C. See www.aed.org.

Connecting to Mali’s Photographic Traditions

Mali is fast becoming the center for the photographic arts in Africa. Several Malian photographers have received international acclaim, most notably Seydou Keïta, Malick Sidibe and Alioune Bâ.

Every two years, Bamako hosts the African Photography Encounters, a major photography conference and festival that draws image makers from around the world. The Visual Griot project will be represented at the sixth annual African Photography Encounters in November, 2005, through a display of the children’s work. Their images will also be displayed in Tominian so that the village youth and the greater community will have the opportunity to celebrate the children’s work.

The works will then become a part of the permanent collection of the Seydou Keïta Photography House, a new photographic gallery and resource center in Bamako named after the eminent photographer Seydou Keïta, considered the father of African studio photographers. Malian photographer Alioune Bâ, director of the Seydou Keïta Photography House, is co-teaching the workshop.

In the United States, the images by the children of Tominian will be show in a number of venues. Our team is currently working with representatives of the African Voices exhibit at the Smithsonian Museum of Natural History, as well as a number of other potential venues in Washington, D.C and elsewhere throughout the United States.

Workshop Structure

The workshop benefits from organizational support on the ground in Mali through ASVIGNE (Association Vigne), a non-governmental organization run by Malian Jude Théra, who was born in Tominian and has strong ties to the region. Students ages 9-12 from the Kuwara and Damy primary schools will be selected for the workshop by ASVIGNE, school, and community officials. The class will take place from for three days at each of the schools with 10 students from each school.

Washington, D.C. photographers Nestor Hernández, Shawn Davis, Sora DeVore, and Malian photographer Alioune Bâ will work with the young people, introducing them to photography through assignments designed to increase the children’s appreciation and awareness of community and family life. The children, in essence, become contemporary griots, telling their communities’ stories through photography.

The griot tradition in West Africa is very strong, especially in Mali. Until Muslim traders brought Arabic writing to the area, West Africa had no written language. Instead of writing histories, West Africans memorized and retold them from generation to generation. A griot is a musician and oral historian whose job it is to memorize and recount events and lineages of the past, and preserve those of the current day for the future. Most griots can trace entire family histories back to ancient times, through music and song. Griots constitute a separate group within Malian society. This important role is passed from fathers and mothers to sons and daughters, who grow up to become their family’s next oral historian.

Visual Griots seeks to connect with this artistic tradition of documentation and interpretation of village life, and reinforce, and build upon it by introducing the youth of Mali to the photographic arts.

Throughout the workshop, children will use photography and writing to tell their stories. By giving the children these tools, the Visual Griots project will help them put what they see into a form that communicates their world to the community at large. They will use photography as a way of defining their world and affirming their control over important aspects of it.

Fieldtrip to Djenne: Mali’s UNESCO World Heritage Site

The workshop will culminate with a field trip to the ancient island city of Djenne, a UNESCO World Heritage Site, renowned for its monumental Sudanese architecture. The vast majority of students in the Visual Griots workshop will have never visited Djenne, which is located 100 miles from Tominian. After spending the week in Tominian documenting various aspects of their daily lives, the Djenne component of the workshop will provide the students with the opportunity to document a foreign environment and new experience. Through the resulting images we will be able to compare and contrast the images taken in Tominian and Djenne.

Inhabited since 250 B.C., Djenné became a market centre and an important link in the trans-Saharan gold trade. In the 15th and 16th centuries, it was one of the centers for the propagation of Islam. Its traditional houses, of which nearly 2,000 have survived, are built on hillocks (toguere) as protection from the seasonal floods. The use of local materials, such as mud and palm wood, the incorporation of conventional styles, and the adaptation to the hot climate of West Africa are expressions of the architecture’s elegant connection to the local environment. Such earthen architecture, which is found throughout Mali, will last for centuries as it’s commonly maintained.

For More info CLICK HERE

Spyhop Productions: Empowering Youth through Multi-media

All of Spy Hop Productions’ programs encourage youth to explore issues and concerns that are relevant and meaningful to their lives, to become critical consumers of media, and to become actively involved in their communities. Through the production of their own media, youth are given an opportunity to discover their voice, think creatively, and work collaboratively with peers from diverse backgrounds.

Spy Hop’s programs include the Youth Documentary Arts Program (Reel Stories, Documenting Communities, Write-Shoot-Ride, and Digital Storytelling), the Pitch-Nic Young Writer/Director program, Loud and Clear Youth Radio program with KRCL 90.9FM, Media Studio Apprenticeship Program, and numerous community partnerships.

The majority of Spy Hop’s programs are offered free of charge, and financial assistance is available to those who need it. The young producers’ creative works developed through Spy Hop programs have reached local and national audiences in the millions, appearing in numerous local, national, and international film festivals.

For More Info CLICK HERE

SOIL - Looking Through Their Eyes: A Photo Empowerment Project

Sustainable Organic Integrated Livelihoods (SOIL) is a non-profit organization dedicated to protecting soil resources, empowering communities and transforming wastes into resources in Haiti. We believe that the path to sustainability is through transformation, of both disempowered people and discarded materials, turning apathy and pollution into valuable resources. SOIL promotes integrated approaches to the problems of poverty, poor public health, agricultural productivity, and environmental destruction. We attempt to nurture collective creativity through developing collaborative relationships between community organizations in Haiti and academics and activists internationally Empowering communities, building the soil, nourishing the grassroots.

Looking through their eyes is a photo empowerment project for youth, which is designed to encourage them to discuss and engage in local issues that effect their communities. It facilitates the opportunity for young people to look critically at their environment, share emotions, build unity, and brainstorm together. Most importantly, the photo empowerment project builds confidence and challenges kids to effect change in their lives.

Photography:
The first step is making a connection with a local youth group or organization. We begin by sitting together in small groups of varied age and gender and teaching them how to use the digital cameras. With a laptop we are able to review the photos with almost instant feedback. The participants are always very enthusiastic - for many of them it is the first time they have ever seen or had the opportunity to use such technologies.
After the training, each person is given a camera for a couple of days and asked to answer the following questions in the form of pictures:
What do you like about living in your community?
What you don’t like about living in your community?
What makes you happy?
What makes you sad?
What makes you angry?

The photos are both provocative and artistic and give us the rare opportunity of “looking through their eyes” and beginning to understand and talk about some of the realities of living in poverty.

For more info CLICK HERE

ArtVenture Freedom to Create Prize

Finding light in darkness and courage in truth.

ArtVenture, in association with ARTICLE 19, is proud to launch the inaugural Freedom to Create Prize. This international prize will recognise artists who use their talents to promote human rights, including the freedom of expression, empathy, equality and understanding

In all societies, the development of the arts has been a sign of culture and light. Yet not all governments provide citizens with the ‘

freedom to create’ needed to foster innovation, commerce and prosperity. Some governments harass and impoverish their citizens, steal resources, stifle entrepreneurship and undermine human ingenuity and hope. In these societies, art can play an important role in giving a voice to those who are denied opportunity and resources.

ArtVenture Freedom to Create Prize will consist of three categories. The main prize will be open to individuals or artistic groups in all creative fields including the visual and performance arts, music, crafts, design and literature. The winner of this award will receive US$ 50,000.

ArtVenture Freedom to Create Youth Prize will be open to artists who are under the age of 18 with the winner receiving US$ 25,000 scholarship and advocacy prize. The final category, the ArtVenture Freedom to Create Imprisoned Artist Prize, will focus on artists who are currently imprisoned for their artwork. The winner will receive US$ 25,000 towards supporting their family, paying legal costs and supporting advocacy efforts.

This is not an art prize. It will not simply judge the skill of the artist but recognise how the artist has used their work in speaking out in defence of human rights and freedom of expression. The inaugural prize will be a unique and significant award and will be judged by a panel of eminent artists, and human rights experts and philanthropists.

For More info CLICK HERE

Connect with IPE on Facebook

Looking for more ways to connect to the Institute? You can now join us on Facebook, the world’s most popular social networking site, to track all IPE news, updates and events. Follow the link below, or CLICK HERE to visit IPE’s Facebook page.
Link: http://www.facebook.com/pages/Los-Angeles-CA/Institute-For-Photographic-Empowerment/14986231023

Homeless capture their street lives on camera

Published 8:47 AM EDT, April 5, 2008. A photography exhibition by and about the homeless — spawned by a good, hot breakfast? Only a creative type could make that leap.

And last weekend, the leap culminated in the opening in Huntington of an exhibit of nearly two dozen black-and-white images taken by a group of homeless men.

The seeds for the exhibit, which runs through April at Temple Beth El and will be shown at other Long Island congregations, were sown in November 2006, when photographer Rob Goldman found the only slot open on a volunteer sign-up sheet at his temple, for a project with the Huntington Interfaith Homeless Initiative, involved getting up in the dark to make breakfast once a week.

The group’s program, which was organized with the Family Service League of Huntington in 2005, shelters Huntington’s homeless during cold weather, providing hot meals and a warm place to sleep at eight local congregations, says Carol Werblin, who chairs Temple Beth El’s social action committee and is also heavily active in the initiative.

Although he cooked for the men each week, Goldman, 45, says it took almost until the end of the program that first season he was involved, in March 2007, for relationships to start to build. That was partly because most of the homeless served by the group are from Central America and Mexico and don’t speak much English.

“I really wanted to find a way to not be a voyeur, not a casual observer…to find out what it’s like to not have what I have,” Goldman says.

He was inspired by photographer Zana Briski’s 2004 film, “Born Into Brothels,” which won a best documentary Oscar and concerns children living in Calcutta’s red-light district who used cameras to chronicle their lives. Goldman enlisted Manhattan firms Flatiron Color and Lexington Labs to process film and produce exhibition prints at low cost. The homeless-assistance group Friends of the Students for 60,000 and Temple Beth El’s Social Action Committee helped buy the 80 disposable cameras the men used.

The exhibit captures the photographers’ lives on the community’s streets and in the woods where they sometimes sleep.

“They take amazing pride in their work,” Goldman says, and they got excited when he displayed their photos for them, saying, “‘That’s mine! That’s mine!’”

At the exhibit’s opening on March 29, the photographers were brought in to see their handiwork. Their pride was evident as they examined their framed photos on the temple’s stark white walls and grinned as they shook Goldman’s hand and embraced him.

Asked what he hopes the exhibit will accomplish, Goldman acknowledges the lack of any simple solutions to the men’s homelessness. “I don’t propose to have any answers; that’s the beauty of art,” he says. But perhaps the show, he adds, will “force people to look at their own questions and see if the solution can begin.”

To see the video of the project, click here.

Copyright © 2008, Newsday Inc.

Urban Photo Album, Ankara, Turkey

Type of Project: Multilateral Exchange Project
Theme: art, cultural heritage, sports, environment, social work, leisure time activities, volunteering..

Most of us live in very big and crowded cities. And as the time passes the places we live and our city have been changing. We want to share this life together for 6 days and take photos from all different ways of life in Ankara. So, we will visit many places and take photos with our digital cameras.

We believe in the power of the arts as a medium for social transformation and that the re-connection to create processes within social, educational, governmental and non-governmental structures. This exchange program aims to give Turkish and European organisations the opportunity to enhance exchange, partnership and co-operation. By discussing the experiences of the participants from various countries we hope to create chances to establish face-to-face contacts and discover new opportunities for further and long lasting relationships between different countries.

Photography, especially digital photography, is increasingly used as a tool for bringing new social processes, development in all sections of our global society. We would like to bring together and catalyse the young people in the concept of photography and co-operate and share experiences and projects through collaboration in the area of art and bring new intercultural learning in the concept of photography. This exchange aims at bringing together youth leaders and experts to discuss art issues and real-life problems and to develop communication and negotiation skills

The activities to be done will concern about the knowledge, skills and motivation of the participants. We believe that giving chance young people to show their desires and skills with other young people by sharing the same atmosphere and showing them that they can create new things even in a short period of time this project will encourage them to be more active in their real life.
There will be 3 activities on 3 different topics. These are:

-the advantages and the disadvantages of living in a big city
-what can we do as active citizens to have better life in our cities
-the importance of photography. (and also discuss the importance digital photography)

For Original Post CLICK HERE

 

 

Photography as a Tool for Understanding Youth

This United States-based study examines the use of youth photography as a research method by comparing the results of a community photography project to standardised questionnaire results evaluating youth/community relationship. As stated in the research, “[r]ecently, interest in photography as a tool for research and action has gained new energy under the rubric of photovoice.”

The authors found evidence that participation in photovoice projects strengthens youth relationships to their communities and attemped to compare that evidence to evidence from other research tools.

From the abstract:

“The purpose of this study was to compare photographic and questionnaire-based approaches to examining youths’ relationships with their communities. Thirty youth living in an urban neighborhood developed a collection of photographs depicting connections to their community. Youth also completed the Neighborhood Youth Inventory, the Collective Efficacy scale, and the Sense of Community Index, and were interviewed. A method of assigning ratings to the youths’

photographs that combined their own ratings with independent ratings by social scientists resulted in a measure that correlated significantly with questionnaire-based measures. This article discusses and illustrates the results through a case study, and identifies the advantages and disadvantages of each method as a tool for understanding neighborhood connections.”

The youth perspective on the differences between a questionnaire format and a photographic research approach to measurement of their relationship to their communities suggest that they found the questionnaires more comprehensive, but lacking in certain categories, e.g., transportation, nature, playgrounds, and small businesses. They criticised this method as constraining. They criticised the photography method because some photos that they felt were critical did no develop well and other photos lacked key people in the community because of the release forms needed for photographing subjects (which was reported to engender suspicion among adults toward youth in the project). The youth also feared that the photos would be misinterpreted or misunderstood.

The researchers found that their attempt to code the youth photos to compare scores with the questionnaires they administered did not yield strong correlations. However, “[w]hen researchers weighted youth ratings of their photographs based on the photograph’

s relevance to social connectedness, photography scores correlated significantly with total scores on both the Sense of Community Index and the Collective Efficacy measure.”

In conclusion, the authors commented that, beyond the correlation with existing methods, youth photography can both provide researchers with insight “into the unseen perspectives of community insiders”, and it also has the potential to spur action as well as research by altering the photographer’s relationship with the surroundings.

For Original Post CLICK HERE

Kashmir Seasons

Creative Photography as a Psycho-social Therapy Project in Kashmir, Pakistan, with Child Survivors of the October 8, 2005, Earthquake

A project of Diakonie Emergency Aid (DEA), a member of the global alliance Action by Churches Together (ACT) InternationalObjective of the project

Diakonie Emergency Aid (DEA) is carrying out a psycho-social project involving creative photography with 80 children between the ages of 12 and 18 at several middle schools in villages located in Kashmir in Pakistan. With guidance from workshop sessions and interactive discussions, the children have been photographing daily life in their surroundings, paying particular attention to the changing seasons and the recovery of life after the October 8, 2005, earthquake that struck border areas of Pakistan and India. With the single-use cameras they are provided, the children are also given notebooks to record related thoughts in a diary

Prior to the start of the project, the children’s teachers were introduced to the psycho-social aspects and impacts of the project. Together with their help, the children who are particiating in the project were selected.
Within special tutorials and workshop discussions, the photographs of the children are short-listed, analyzed, discussed and edited together with each and every student who participates in the project, thus involving the children in a creative self-expression exercise through photography and writing. By capturing a sense of time and place, this educational project will re-establish a sense of belonging, and, therefore, an improvement in the mental health of the participants.

At the end of the project, the children will be encouraged to choose their 12 best photos of the four seasons in all the villages, from which a calendar will be put together as the final product of the project. The calendars will be distributed to all the children involved in the project as well as in all the schools in the Salmiah and Chikar villages of Kashmir. Thus, the children themselves will have created their own calendar for 2008.

Carrying out the project

In June 2006, 70 cameras were distributed to 60 children. The ages of the children varied from 12 to 16. Boys and girls took part, with emphasis on an equal distribution of cameras to both groups.

The aim of the project was to enable and facilitate a group of children affected by the earthquake to create a photo story that would represent the place they live in, what they lived through, and how they are recovering. With this purpose, and working under the theme of the natural environment, the project set about to produce a calendar with photos that accurately described the change of seasons, paralleling the changes in the children’s lives. The change in seasons was found to be a natural theme in which the children can easily depict the changes in their lives after the earthquake. Also this would help them understand the fragility of nature, and therefore the reasons for the earthquake, as well as providing the added benefit of not blaming themselves and their communities for the disaster they lived through, a frame of mind that is common in the culture and belief system of the Kashmiris.
Part I: Summer
Children’s Pakistan - Summer Photo Essay

The first part of the project involved photographing the summer season. It was decided to work in two different settlements for the project - Chikar town and Jabar Jandali village.

Chikar is a more “urban” area, and Jabar Jandali is by far the most remote and “rural” of the surrounding villages in the area of DEA’s operation.
Other similar photos taken by children in other parts of the world hit by disasters (Bam, Iran, tsunami areas in Sri Lanka, and refugee camps in the Sahara Desert) were shown to the children. They were asked to discuss the similarity of these disasters as well as the similarity of their photos, the emotions they are portraying, and the messages they are giving through these photos. These workshops were an opportunity to provoke discussion and thought about the entire experience of photography while at the same time creating a dialog among all participants and world cultures.

Out of 1,680 photographs taken by the boys and girls, 45 were chosen to represent the first part of the project.
For the first anniversary of the earthquake, an exhibition was held at Chikar Fatima Foundation School on October 9, 2006, with outdoor shows held near DEA’s Chikar camp and in all of the 16 villages of Salmiah union council.

Thousands of children from the town and surrounding villages came to the shows. The Chikar exhibition was organized entirely by the children of Chikar Fatima Foundation School, who also put on various colourful performances.

The activities of the day included drama performances, singing, dancing, prayers for those who died in the earthquake, and speeches by students, teachers, and community members.

The outcome of the first part of the project showed the expressiveness, empowerment, pride, self-confidence, and responsibility of the children.

The selection of these 45 images of the summer season formed a basis of the next phase of the project autumn.

Part II: Autumn Children’s Pakistan - Autumn Photo Essay

For the second phase of the project, the schools in the village of Pano Pindi were included to give more students a chance to express themselves through photography.

Similar to the first phase of the project, the children were given one week to shoot their photos during the second week of October.
After a wide edit was made, the photos were brought back to the children to discuss with them the reasons behind the chosen photographs. Workshop sessions on further editing and discussions on photo contents and composition were held. A second set of cameras was given to the children to shoot with over the Ramadan Eid holidays. Having seen their efforts and results in the first round of photos, the children were encouraged to take photos in a different and more creative and expressive way. Approximately half the participants showed clear improvement in the second set of photos shot, signalling that they were positively affected and had taken note of what was said in the workshops.
Of all the 2,160 photos shot from the 90 cameras distributed, a final selection of 50 images was made.

After this, the chosen images were handed back to participants, and they were asked to write captions for them. Some of the captions had personality, revealing a lot more of the participant than just a plain description of the image.

Even though the first snow fell in the village of Jabar Jandali on November 17, 2006, the autumn session was closed with the consensus that the third part of the project would begin the first week of December.

Impacts of the project

The main purpose of this project is to empower individual children through the act of taking photos. This also enhances a thought process - in essence: “We are given a task, so how do we accomplish it?” Because the children are working toward a goal and a product, there is a sense of responsibility that accompanies the project and the act of taking photos.
This also encourages self-confidence and enhances the social skills of the children through participatory and interactive workshops and the act of sharing their creative work with others.

Eventually, it gives the participants satisfaction to have their photos shared and appreciated; even more so for those whose photos were displayed in the exhibition. The accompanying satisfaction is encouragement.

The participants add their individuality to the project through creative photos and writings about the seasons. In the open discussions periodically held throughout the project, children have asked about the fragility of their natural surroundings, the earthquake and even about global warming. After the final discussion, a group of children from Chikar actively picked up litter from the school yard because they had all determined that their natural environment was precious.

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Photo-voice project shows homelessness through the eyes of those who live it

June 26, 2008
Photo-voice project shows homelessness through the eyes of those who live it

A University of South Carolina psychology researcher and three graduate students, using photographs taken by 16 of Columbia’s homeless citizens, have created a display that depicts homeless life.

Thirty-five photographs from the photo-voice project and description are on display in the community gallery at the Columbia Museum of Art through Aug. 3. Together, they convey feelings about being homeless, illustrate shelters used to survive, describe ways to make money and detail the many legal challenges that homeless people face. Visitors also can take an audio tour, which includes interviews with the homeless talking about their experiences.

The exhibit, “While I Breathe I Hope (Dum Spiro Spero): Columbia’s Homeless Share Their Stories Through Words and Images,” is a collaboration between the university team (assistant professor Dr. Brett Kloos and graduate students David Asiamah, Greg Townley and Dorian Lamis) and the Midlands Interfaith Homeless Action Council, the Central Carolina Community Foundation and the museum.

“It struck us that the voices of the homeless were missing in the larger discussion about homelessness in the community,” said Kloos. “There are many good people working on homelessness issues in Columbia. We felt that one contribution we could make was to talk with people who are homeless and help find a way for their voices to be heard to a greater extent.”

Kloos and his students started the photo-voice project last winter by talking with homeless individuals who were taking refuge at Columbia’s winter emergency shelter on Huger Street.

There, they interviewed people and asked for volunteers who would be interested in taking photos of their daily experiences. They distributed 78 disposable cameras, along with instructions on techniques, safety and ethics. Thirty-six of the cameras were returned, and the team was able to discuss the photos and their meaning with 28 of the participants.

Some of the photographers said the camera gave them a sense of identity.

“Most people are not proud of being homeless, but taking the pictures made me feel strong and proud,” said Lesa, one of the photographers. “It felt good taking pictures.”

Townley believes visitors to the exhibit will be struck by the humanity of the individuals who are featured in the photos and in captions.

“It’s embarrassing to me,” said an anonymous person from the shelter speaking of homelessness. “It’s kinda - I feel degraded, and it’s embarrassing to my family and friends. Took a lot of my morale, my pride away and stuff like that. It don’t feel good; it don’t feel good at all.”

Asiamah hopes common stereotypes of the homeless will be dashed. Kloos says the general public will be surprised to learn that many homeless individuals work and that most are not chronic substance abusers or mentally ill.

Kloos says they chose South Carolina’s state motto for the title of the project because it conveys the spirit of the homeless and the challenges for the community to address homelessness.

The motto’s first part, Dum Spiro Spero or “While I Breathe I Hope,” captured the resilience and hope of the people who shared their experiences. The second part, Animis Opi Busque Paratu or “Prepared in Mind and Resources,” captured the community’s struggle to understand homelessness and to better address it.

“Taking photographs for this project made me realize that being homeless is not only our problem, but it’s a public problem,” said Beverly, another photographer for the project. “It’s a lot of things that need to be done to help the community and society.”

Kloos specializes in community psychology and has studied homelessness for more than 12 years. The photo-voice project was an outreach effort of a graduate course on community intervention. Townley is from Rock Mount, N.C., and David Asiamah and Dorian Lamis are from Little Rock, Ark., and Atlanta, Ga, respectively.

For more information on the exhibit and Columbia Museum of Art hours and admission costs, visit the Web site: www.columbiamuseum.org.

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