Wie zijn volgens jou de Meestervertellers van 2018?

Van wie kwamen de beste journalistieke verhalen in 2018? Ook dit jaar buigen we ons met Meestervertellers over deze vraag, met een redactie die bestaat uit Vlaamse en Nederlandse journalisten. Zij maken een eerste selectie waarover de jury zich gaat beraden, maar jij kunt ook (eigen) verhalen insturen.

Alle in 2018 verschenen Nederlandstalige journalistieke verhalen kunnen meedingen, de categorieën zijn Lezen, Luisteren, Klikken en Kijken. De criteria die worden gehanteerd bij het beoordelen van de inzendingen vind je hier. Tot uiterlijk maandag 31 december 2018 kun je verhalen inzenden via dit formulier.

Over de bekendmaking van Meestervertellers 2018 en het bijbehorend evenement houden we je op de hoogte via Facebook en de nieuwsbrief, voor nu kun je de bijzondere producties uit 2017 en eerder hier op de website terugvinden.


Gerard van Westerloolezing met Jessica DuLong - 20 december 2018

Journalist, historicus, scheepsingenieur, docent narratieve non-fictie én prijswinnend auteur: de Amerikaanse Jessica DuLong (1973) wordt niet voor niets door Mark Kramer, directeur van het Nieman Program on Narrative Journalism van Harvard University, een van de beste verhalende journalisten genoemd. Daarom spreekt zij op 20 december 2018 tijdens onze jaarlijkse Gerard van Westerloolezing.

In 2017 schreef Jessica DuLong Dust to Deliverance, over de evacuatie per schip van 500.000 Amerikanen na de aanslagen op 11 september in Manhattan. In 2010 won zij de American Society of Journalists and Authors' Outstanding Book Award for Memoir voor haar boek My River Chronicles. Momenteel is DuLong bezig met verschillende boeken over onder andere mentale gezondheid en de veranderende betekenis van Amerikaanse mannelijkheid. Ze schrijft ook voor Newsweek International, Rolling Stone, Psychology Today, Newsday en Maritime Reporter & Engineering News.

Tijdens de lezing zal DuLong spreken over wat te doen als traditionele vertelvormen een verhaal geen recht doen en hoe zo’n grote gebeurtenis als de evacuatie van 500.000 mensen in alle gelaagdheid en complexiteit te beschrijven, van karakterontwikkeling tot plaatsing in de context.

Praktische informatie

  • Datum: 20 december 2018
  • Tijd: 19:30 - 22:00
  • Locatie: Pakhuis de Zwijger, Amsterdam
  • Prijs: €17.50 (regulier) / €12,50 (Vrienden van de Stichting Verhalende Journalistiek en voltijds studenten – op vertoon van een collegekaart)
  • Kaartjes zijn verkrijgbaar in onze webshop

De Gerard van Westerloolezing, mede mogelijk gemaakt door de Gravin van Bylandt Stichting, is een initiatief van Stichting Verhalende Journalistiek als eerbetoon aan een van de grondleggers van de verhalende journalistiek in Nederland. Van Westerloo koos in zijn werk voor alledaagse onderwerpen waar niet over bericht werd, zorgde ervoor de mensen waar het om ging zelf te spreken en wachtte net zo lang met het publiceren van verhalen tot hij een compleet beeld had. Eerder werden deze lezingen verzorgd door onder andere Anne Hull, Ted Conover en Adrian Nicole LeBlanc.


Evelien Kunst is de nieuwe Programmamaker/Coördinator bij de Stichting Verhalende Journalistiek

Per 1 september is Evelien Kunst bij de Stichting Verhalende Journalistiek aan de slag gegaan als de nieuwe Programmamaker/Coördinator. Zij volgt Paulien Bakker op die per 1 juli is gestopt.
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‘Ik heb ontzettend veel zin om me voor de Stichting Verhalende Journalistiek in te gaan zetten. Wat ik met name heel verfrissend en interessant vind, is dat in alle activiteiten van de stichting makers vanuit verschillende disciplines samenkomen. Het verhalende karakter van de producties voert de boventoon en dat kan dus in de vorm van tekst, geluid, fotografie, film, illustratie of een combinatie,’ aldus Evelien Kunst. Irene van der Linde, voorzitter van de stichting, over Evelien Kunst: ‘We zijn als bestuur erg blij met Evelien en hebben er veel vertrouwen in dat zij met haar enthousiasme, gedrevenheid en creatieve ideeën de stichting op haar manier verder zal uitbouwen en daarbij onze jaarlijkse conferentie binnen Europa stevig op de kaart gaat zetten.’
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Over Evelien Kunst
Evelien Kunst is freelance consultant met meer dan 18 jaar ervaring in de documentairefotografie, marketing en educatie. Evelien is medeoprichter van Laika Productions, een storytelling bureau dat (multi)media producties initieert en produceert en streeft naar maatschappelijke impact . Zij was directeur van NOOR, een internationaal vooraanstaand fotografen collectief. Werkte voor The Red Dot Agency, een creatief strategisch communicatie bureau. Van 1999 tot 2008, werkte zij voor World Press Photo. Als project manager educatie was zij verantwoordelijk voor de jaarlijkse Joop Swart Masterclass en heeft zij verschillende trainingsprogramma’s opgezet voor fotografen in Afrika en Azië. Evelien geeft regelmatig masterclassses, onder andere aan de ‘Danish School of Journalism’ en de Fotoacademie. Meer over Evelien Kunst vind je hier.

Vertrek directeur Stichting Verhalende Journalistiek

Per 1 juli vertrekt Paulien Bakker als directeur van de Stichting Verhalende
Journalistiek. Het bestuur is haar dankbaar voor de vijf jaar dat ze zich met hart en ziel heeft ingezet om de technieken van de verhalende journalistiek in Nederland te promoten en kenbaar te maken. 
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Deskundig en gedreven organiseerde ze vijf grote conferenties met topjournalisten uit de Verenigde Staten, Nederland en andere delen van de wereld, evenals tal van andere activiteiten zoals de jaarlijkse Gerard van Westerloo-lezing, de kopgroep voor eindredacteuren en het jaarboek Meestervertellers met de top tien van de beste verhalende journalistiek producties. Daarnaast werkte ze zorgvuldig aan het uitbouwen van de fundamenten van de stichting. Bakker wil nu de ervaring en kennis die ze opdeed zelf in de praktijk brengen en zich volledig richten op haar nieuwe boek over Irak na 2003. Dat kunnen we als bestuur alleen maar toejuichen. We wensen haar veel succes.
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De Stichting Verhalende Journalistiek is inmiddels begonnen met de werving van een opvolger, die door Paulien Bakker ingewerkt zal worden. De vacature kun je hier vinden.

Bloemlezing: Over the Line

Met zoveel geweldige sprekers op onze conferentie True Stories: Find your voice within the European narrative tradition, zijn we erg verheugd om een selectie van hun projecten te mogen delen in onze online bloemlezing: Over the Line.

In deze bloemlezing is een selectie van de beste Europese narratieve journalistiek van dit moment samengebracht. De tien geselecteerde verhalen hielden een groot publiek in hun greep en bieden bijzondere lessen over Europese landen en samenlevingen overal ter wereld. Ze zijn allemaal naar het Engels vertaald - radio, online, documentaire en geschreven stukken, inclusief een persoonlijke toelichting van de makers. Ontdek nieuwe narratieve stemmen uit heel Europa en laat je inspireren om je eigen stem te vinden!

Ga hier naar de online bloemlezing: Over the Line.


How can I picture something as immaterial as culture – especially one that has nearly died out?

The Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells, and symbols were used as a practical tool in daily life; one that could heal and protect, or safeguard against evil.

This photographic project draws on these beliefs while investigating what it means to be a Forest Finn today, some 400 years and twelve generations later, at a time when the 17th-century way of life is long gone, and their language is no longer spoken.

I began to work on it as a graduation project at the Danish School of Journalism – and it evolved into a long-term venture. I spent three years on research and asked myself: How can I picture something as immaterial as culture – especially one that has nearly died out? I took certain elements of the past – fire, smoke and shamanism – and introduced them into the story. This blurs the lines between reality and fiction, between documentation and imagination. It is a deliberate attempt to create a fictional universe, a magical world.

My pictures also address the grey area between migration and origin. At what point does a migrant become a native? In fact, the only official criterion for belonging to this minority is that, regardless of your ethnic origin, you simply feel that you are a Forest Finn.

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This maker's story

Slash and Burn

Terje Abusdal explores the lives of the Forest Finns, an ethnic minority, peregrinating in the North of Finland. Their original language and religion have disappeared, but their way of life in the dense northern forests is appealing, now more than ever. It attracts new followers, who officially belong to this minority on the sole condition that they feel like it. Abusdal recreates the life of the Forest Finns in an original way, and literally sheds new light on an unknown part of Europe. As a storyteller, he knows that reality is best told with imagination. He uses fiction to document a long gone past.


Maker: Terje Abusdal

Category: Click

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Slash and Burn

The Forest Finns were slash-and-burn farmers. This ancient agricultural method yielded plentiful crops, but required large forested areas, as the soil was quickly exhausted. In fact, it was a scarcity of natural resources in their native Finland that forced the first wave of migration over the border. Fuelled by failing crops and war, the Forest Finns needed new land to cultivate.

Many of the migrants went southwest and tried their luck in the wilderness. In the following decades, they spread across the forest areas of Scandinavia in search of land with the best and highest-density spruce. The occasional migration was an essential part of their existence, as mobility was necessary to continue their slash-and-burn farming.

Today, the Forest Finns are recognised as one of the national minorities in Norway. More and more people feel a connection to it – although there are no statistics on their numbers. Yet the Forest Finn culture as it was four centuries ago no longer exists.

The Forest Finns’ understanding of nature was rooted in an eastern shamanistic tradition, and they are often associated with magic and mystery. Rituals, spells, and symbols were used as a practical tool in daily life; one that could heal and protect, or safeguard against evil.

View Slash and BurnExplanation by makerBack to the stories
 


Terje Abusdal (1978) is a visual storyteller from Norway working mainly on independent projects in the intersection between fact and fiction. In 2014 he studied Advanced Visual Storytelling at the Danish School of Media and Journalism in Aarhus, followed by an number of Master Classes with Simon Norfolk and Aaron Schuman. In 2017, his story on the Forest Finns – Slash & Burn – won the Leica Oskar Barnack Award and the Nordic Dummy Award. Two years before, he published his first photographic book Radius 500 Metres on Journal. His work was recently exhibited at Fotogalleriet in Oslo, FOTODOK in Utrecht and Luma Rencontres Dummy Book Award in Arles. In May 2017 he was a Docker at Docking Station (Amsterdam). Abusdal lives in Oslo.

Why this story?

Norwegian photographer Terje Abusdal consciously crosses the line between fiction an reality in his staged documentary series ´Slash & Burn´. He explores the lives of the Forest Finns, an ethnic minority, peregrinating in the North of Finland. Their original language and religion have disappeared, but their way of life in the dense northern forests is appealing, now more than ever. It attracts new followers, who officially belong to this minority on the sole condition that they feel like it. Abusdal recreates the life of the Forest Finns in an original way, and literally sheds new light on an unknown part of Europe. As a storyteller, he knows that reality is best told with imagination. He uses fiction to document a long gone past.

Explanation by the maker

This photographic project draws on these beliefs while investigating what it means to be a Forest Finn today, some 400 years and twelve generations later, at a time when the 17th-century way of life is long gone, and their language is no longer spoken. I began to work on it as a graduation project at the Danish School of Journalism – and it evolved into a long-term venture. I spent three years on research and asked myself: How can I picture something as immaterial as culture – especially one that has nearly died out? I took certain elements of the past – fire, smoke and shamanism – and introduced them into the story. This blurs the lines between reality and fiction, between documentation and imagination. It is a deliberate attempt to create a fictional universe, a magical world. Read more

Explanation by makerBack to the stories

We set out to Lesbos, armed with many sketchbooks and endless drawing materials

In October 2017, me and my colleagues Judith Vanistendael and Mei-Li Nieuwland set out to Lesbos, armed with many sketchbooks and endless drawing materials. We stayed in Kara Tepe and Moria camps for 7 days. As artists we drew what no camera had been able to capture until then: the clothes that were set out to dry on the barbed wire of the camp, the little kids sliding off a hill in plastic crates, the improvised coffee corner, the outdoor cooking stations made of bricks, the cooking gear made of iron fence, and the containers and tents in which the refugees live. Based on our observations and interviews, three very different comics were made and published in several news media, including French newspaper Le Monde and the website for graphic journalism Drawing The Times. Even Greek media mentioned the project. We hoped that readers would be informed that the refugee crisis is still not over, despite what most people think.

Graphic journalism plays an important role in history. During World War I, many illustrators were sent to the battlefields to document what cameras couldn’t. In Auschwitz, the most detailed visual documents left are the drawings of the artists that lived there. Still, it seems that in the age of film and photo, these reportage drawings have lost their value. I am convinced that graphic journalism can play an important role, even in contemporary journalism. Drawing offers the journalist an approachable way of gathering visual information, where cameras can be too intrusive or too obvious. The artistic element makes it more accessible to readers of all ages and could be used to reach out to new audiences. For the subjects of the report, drawing is a very pleasant way of communicating.

It’s not as threatening as photography or audio recording can be. Also, if the subjects want to stay anonymous, it is possible to simply give them a different face or haircut in the drawings, while in film and photography the faces would have to be blurred. In comics, it is also possible to draw what the journalist can’t see. By drawing memories as flashbacks, it is possible to go back and forth in time. A documentary filmmaker would have much more trouble and would have to use voiceovers or actors to get that done. 

One of the most important books in comic journalism is Palestine by Joe Sacco, which was published in the 90s. He was the first to make a detailed drawn report where he combined journalism, travelogue and cartooning. For his other books he traveled to Gaza, Iraq and Gorazde. In his comics, Joe himself is always the main character and we see the world through his eyes. This narrative style is still used today by most graphic journalists. Another important book is Pyongyang by Guy Delisle, a Canadian artist. He lived in North Korea for two months and drew what cameras were not allowed to capture. His book is not just a great comic, it is also a very important historic document of what life in North Korea looks like – even though he sees it from a Westerner’s perspective. What Joe Sacco and Guy Delisle have in common is the sense of humor, which surfaces even in spite of all the traumatic stories and events that they capture on paper.

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This maker's story

Europe’s Waiting Room

Graphic journalism is an old craft, one that was already practiced during World War I, as Aimée points out in the explanation of her work. She is afraid that reportage drawings have lost their value in this age of film and photo. But she herself proves that this is not the case. On the contrary, her pictures of refugees on the island of Lesbos tell a story that we would not have known otherwise. Apparently trusted by the refugees, Aimée comes very close to them with her sketchbook, and draws their lives with caring detail.


Maker: Aimée de Jongh

Category: Click

NRC / Drawing the Times

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Europe's Waiting Room

Graphic journalism is an old craft, one that was already practiced during World War I, as Aimée points out in the explanation of her work. She is afraid that reportage drawings have lost their value in this age of film and photo. But she herself proves that this is not the case.

On the contrary, her pictures of refugees on the island of Lesbos tell a story that we would not have known otherwise. Apparently trusted by the refugees, Aimée comes very close to them with her sketchbook, and draws their lives with caring detail. We see how the refugees make cooking utensils out of barbed wire, take a peek in their toilets and look their kids, who suffer from attachment disorders, straight in the eye. You can almost smell and hear the camp, that’s how close you get through Aimée’s drawings, which made readers of NRC Handelsblad, De Standaard and Le Monde close witnesses of one of the great human tragedies of our time.

Go to Europe's Waiting RoomExplanation by makerBack to the stories
 


Aimée de Jongh (1988) is an award-winning animator, comic author and illustrator from Rotterdam, the Netherlands. After publishing her first comic book 'Aimée TV' at the age of 17, Aimée proceeded to become a promising comic author with a large variety of styles and techniques. Next to working on comics, Aimée has a great passion for animated film. She received her degree in 2D Animation at the Willem de Kooning Academy and attended the Gobelins Summer School for Character Animation in Paris. Working professionally for ten years now, Aimée created over 10 different comic series, including the daily comic 'Snippers' for newspaper Metro. Other works include children's books illustrations, music videos, independent short films and commercial animations for TV. In 2014, Aimée was an artist in residence at the 18th Street Art Center in Los Angeles, where she
exhibited together with Miljohn Ruperto. The film 'Janus', which they made together, was shown at the Biennial in the Whitney Museum in New York.


In recent years, Aimée's main focus in comics has been graphic novels. Her first one, 'De Terugkeer Van De Wespendief'(2014), tells the story of bookseller Simon, who's facing a financial and emotional crisis. The book won the Prix Saint-Michel, and was translated in French by Dargaud as 'Le Retour de la Bondrée', and in English as 'The Return of the Honey Buzzard', by Selfmadehero. The book was also translated to Spanish and Serbian. In 2016, a feature film based on the book was released, directed by Stanley Kolk and produced by Family Affair Films. In 2016, Aimée returned to animation shortly and released her biggest project yet: 'Behind the Telescopes', a 71-minute 2D animated film with harpist Lavinia Meijer. The movie was screened only with a live music performance, and it ran in Dutch theatres for a year. The show will still be touring through China in 2018. Aimée is currently working on her new graphic novel for Dargaud, written by the acclaimed Belgian comic author Zidrou, to be released in 2018.

Why this story?

I didn’t have any interest in journalism until 2017. That year, I quit my job as a daily cartoonist and began thinking about what else I could do with my craft of drawing. Through a friend who volunteered at the Greek island of Lesbos, I found out that photography and film were not allowed in the refugee camps. This meant that there was only little visual documentation available from inside the camps. Only low-quality handheld-camera footage was available from the biggest refugee camp, Moria, which is forbidden for journalists of any kind. I contacted Dutch newspaper NRC and Flemish newspaper De Standaard to work on a very special project: to draw the life in the camps and publish a graphic journalism report. As this was my first project in this field, I asked two colleagues to join me: Judith Vanistendael and Mei-Li Nieuwland. The project was funded by the BJP Fund and the Pascal Decroos For Investigative Journalism Fund.

Explanation by the maker

In October 2017, we set out to Lesbos, armed with many sketchbooks and endless drawing materials. We stayed in Kara Tepe and Moria camps for 7 days. As artists we drew what no camera had been able to capture until then: the clothes that were set out to dry on the barbed wire of the camp, the little kids sliding off a hill in plastic crates, the improvised coffee corner, the outdoor cooking stations made of bricks, the cooking gear made of iron fence, and the containers and tents in which the refugees live. Based on our observations and interviews, three very different comics were made and published in several news media, including French newspaper Le Monde and the website for graphic journalism Drawing The Times. Even Greek media mentioned the project. We hoped that readers would be informed that the refugee crisis is still not over, despite what most people think. Read more

Explanation by makerBack to the stories

We wanted to invite users to think about how they think the policies should work

How did the making of The Deal come about?

We travelled to Lesbos to see what the EU-Turkey deal meant in practice. And we were shocked. Thousands of people were crammed into camp Moria, without decent sanitary facilities, no proper help for their medical needs, and without proper legal aid. It’s a humanitarian crisis in Europe and the EU is looking away. With our film we wanted to make a nuanced and critical analysis of the deal and the people directly involved: the ‘architect’ of the deal Gerald Knaus, refugee Ramy Qudmany, who crossed after the deal, was shipwrecked and has been stuck on the island for more than one and half years, the volunteers from all over Europe who want to help and Greek Katerina, who helps refugees and almost serves as a ‘moral conscience’.

The Deal is part of the cross media project ‘The Asylum Search Engine’, a cross-border, multidisciplinary, transmedia project that explores the complex world of European asylum policy and connected asylum policies of EU member states. The main and initial component is a web documentary providing insight into the European and different national asylum policies and inviting users to think about how they think the policies should work.

The refugee crisis has deeply divided Europe. While some call for closed borders, others advocate free entry. Although few topics ignite such heated debate, how and whether the policies work is almost impossible to comprehend thanks to the vast number of procedures, organizations, rules and exceptions. We live in a democratic society where we share responsibility for our asylum policy. But how can we be sure it is the right policy if it is too complex for most people to comprehend? The EU Asylum Search Engine aims to unravel these complexities. It poses the questions: How does our asylum policy work? And how do we actually want it to work?

At what moment did you think ‘This won’t work, I’ll have to give up’. And how did you continue from there?

Funding for the film was difficult, because the refugee topic is no longer ‘hot’. Fortunately we had the support of broadcaster IKON/EO and two smaller funds. But we made it really low-budget (with the support of our amazing crew).

During the research and production we often asked ourselves: how are we going to tell such a tough, bureaucratic story in a film? Also, things are shifting quickly, new policies are made every day, new deals were being constantly discussed. When we were filming on Lesbos even the Refugee Treaty itself came under attack.

How can we make a film that is up to date and at the same time is more than something you would see on the news?

During the edit period we often thought: hell, this is not going to work. But that is a normal process. And in the end we discovered that telling the story from three different perspectives brought the complex political and rational story also to the heart.

Could you tell us something about the state of narrative in your country, The Netherlands?

There are many possibilities for storytelling in The Netherlands, both in the sense of funding as well as media outlets that are open for different (and new) forms of storytelling. I’m really lucky to be based here.

Who are your narrative hero’s in your country?

In writing, I’m inspired by the work of Joris Luyendijk, whose productions are all well investigated and of great quality, and Paul Teunissen, who writes great narrative stories. Others I look up to are Minka Nijhuis, Ryszard Kapuściński and F. Springer. Filmmakers that inspire me are Kim Longinotto and Baz Luhrmann. I’m also inspired by the radio projects of Laura Stek and the trans-media projects and photography of Anaïs Lopez, whose project The Migrant I co-produced.

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This maker's story

The Deal

In March 2018, it is two years since the EU-Turkey migrant deal came into effect. Under the deal, Syrian refugees who had reached Greece were to be returned to Turkey, while Syrian asylum seekers in Turkey were to be resettled in the EU. S ome regard the deal as a necessary evil; others as a diabolical pact. The EU-Turkey deal now serves as an example for new agreements with countries in North Africa. But does it even work? For whom? And what have we learned from it? Documentary The Deal explores the answers to these questions as well as possible improvements for Europe's current asylum policy. 


Maker: Eefje Blankevoort and Els van Driel

Category: Watch

EO/IKONdocs

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