WEbuilding

Präsenz und Online-Workshop in Berlin

Wer im Rahmen sozialer Projekte in Ländern des Globalen Südens ein Bauvorhaben umsetzen will, braucht grundlegendes Fachwissen im Bereich Architektur und Bauwirtschaft. Worauf kommt es an beim Bauen von Schulen, Gemeindezentren und Sanitäranlagen (WASH)?

We-Building e.V. vermittelt die wesentlichen Grundlagen dazu in einem 2-tägigen Workshop – und bietet Raum für individuelle Beratung zu aktuellen oder geplanten Bauvorhaben.

We-Building ist ein gemeinnütziger Verein und Zusammenschluss von erfahrenen Architekt/innen, die in Lateinamerika und Afrika lokale Non-Profit-Organisation finanziell und fachlich unterstützen, nachhaltige Schulen und andere öffentliche Gebäude in benachteiligten Gebieten zu bauen. Gemeinsam setzen wir auf einen umweltschonenden, nachhaltigen Ansatz und sorgen für einen kosteneffizienten Bau der Gebäude. 

Der kostenfreie zweitägige Präsenz- bzw. Online-Workshop richtet sich an alle, die sich mit den Voraussetzungen und auch den Risiken bei Bauprojekten beschäftigen wollen oder ihr Wissen auffrischen möchten, um sicherer zu werden und Fehlern vorbeugen zu können. 

Zu den Inhalten gehören u.a.

  • Der ideale Planungs- und Bauprozess und häufige Herausforderungen 
  • Möglichkeiten und Grenzen beim Nachhaltigen Bauen
  • Aufbau und Pflege tragfähiger Partnerschaften mit ortsansässigen Partnern

Input, Übungen und Gruppenarbeit wechseln sich ab. Anhand von Beispielen aus unseren abgeschlossenen Schulbau-Projekten in Ghana und laufenden Projekten in Kolumbien, Uganda, Gambia und Haiti werden Kenntnisse über komplexe Bauprozesse auch für Fachfremde leicht verständlich erklärt.

Bereits während des Workshops kann auf einzelne Bauprojekte von Teilnehmenden eingegangen werden. Zusätzlich wird eine persönliche Folgeberatung nach dem Workshop angeboten. Beratung ist auch auf Englisch oder Spanisch möglich.

Für wen

Non-Profit-Organisationen, Regierungsorganisationen, Migranten Diaspora Organisationen, Vereine und Initiativen, die sich für Bauvorhaben im Globalen Süden interessieren und alle weiteren Interessierten, auch unabhängig von Organisationen.

Es können mehrere Personen pro Organisation teilnehmen.

Wann

1. Termin, Präsenz Workshop:    Freitag, 19. November 2021 und Samstag, 20. November 2021

2. Termin, Präsenz Workshop:     Freitag, 10. Dezember 2021 und Samstag, 11. Dezember 2021

3. Termin, Online Workshop:    Freitag, 17. Dezember 2021 und Samstag, 18. Dezember 2021

4. Termin, Präsenz Workshop:    Freitag, 21. Januar 2022 und Samstag, 22. Januar 2022

5. Termin, Präsenz Workshop:    Freitag, 28. Januar 2022 und Samstag, 29. Januar 2022

Alle, von 9 bis 16 Uhr

Wo

Berlin Global Village, Am Sudhaus 2 12053 Berlin (1. und 2. Termin)

Akademie für Ehrenamtlichkeit, Marchlewskistraße 27, 10243 Berlin (4. und 5. Termin)

Hygienekonzept

Der Workshop ist für maximal 15 Teilnehmende zugelassen. Zugang haben vollständig Geimpfte und Genese sowie Personen mit tagesaktuellem negativem Corona-Testergebnis. Im Veranstaltungsraum gelten die Abstands- und Hygieneregeln.

Kosten

Der Workshop ist kostenfrei – inklusive Getränken und Snacks – Folge-Beratung ebenfalls kostenfrei möglich

Anmeldung

Vormerkungen für den Workshop-Termin sind ab sofort möglich unter: info@we-building.org

oder durch Eventbrite:

Präsenz Workshop,     19.11 – 20.11.2021    https://www.eventbrite.com/e/175067099407   

Online Workshop,     17.12 – 18.12.2021     https://www.eventbrite.com/e/175537837397

Wir bitten um verbindliche Anmeldung bis spätestens 1. November 2021



 Gefördert durch ENGAGEMENT GLOBAL mit Mitteln des

Tales from a Sustainable Construction Site: the Bucket and the Hose.

Reading time: 2 min.

In development construction projects, there are often a number of risks to be considered. Today we’re going to talk about risks associated with the construction itself, rather than topics such as security which may surround any project.

Availability of resources, both in terms of materials as well as tools and specialist labour, can affect what is achievable. Assuming all resources are in place, however, there is also the question of the terrain itself.
Marginalised populations are often driven away from more desirable grounds, which are otherwise ripe for agricultural activities or more expensive housing. Often, what is left is unstable ground which many governmental agencies would declare unfit for construction.
Informal settlements comprised of shanties or shacks, otherwise known as Shanty towns, are typically made of materials like mud or wood and can be found on steep hillsides. They exist across the world – with some of the largest being Ciudad Neza in Mexico, Orangi in Pakistan and Dharavi in India, as well as in the Global North, such as in Athens, Los Angeles, and Madrid.
They can be places of hope, with residents often recycling as much as possible and aiming to improve their communities. Indeed, many manage to improve their infrastructure and become more typical neighbourhoods.

Construction projects in these areas very often need to take steep gradients into account. Sometimes due to inadequate budgets or lack of advanced measurement tools, it is hard to get exact information of how sloped the terrain actually is. And that data is crucial to start any kind of design. In our first project in Ghana (Darmang Community School), we were faced with the same challenge and used an ancient technique to help us out. The method is easily taught, and as it involves simple and readily-available tools can be used in future projects as well.

All you need is… a bucket and a hose!

Measuring a slope requires a few steps, and some simple mathematics.

  1. A hose is laid along the length of the slope to be measured (which we will name “a”)
  2. Water is slowly poured into hose at the higher end
  3. At the lower end, the hose is slowly raised (a ladder can be useful) until water is no longer coming out of the hose. This means that both ends have the same water level. The distance from the ground to the top of the raised slope is measured (this is “b”)
  4. We use the formula: sinA = a / b
  5. Remember not to get too wet!
The final Result: Darmang Community School. More info here.

Author: David Jenkins

„Hilfe für Helfer” Startsocial

In diesem Jahr wurden wir als eines von 100 Projekten ausgewählt, um ein Stipendium von Startsocial e.V. zu erhalten. WEbuilding wurde aus über 300 Bewerbern für das Programm „StartSocial – Hilfe für Helfer“ ausgewählt, das unter der Schirmherrschaft von Bundeskanzlerin Angela Merkel steht. Startsocial vergibt 100 4-monatige Beratungsstipendien und 25 Auszeichnungen, darunter sieben Förderpreise, an herausragende soziale Initiativen.

Many Stories at ROBA

Courtesy of ROBA School

At WEbuilding we recently concluded an expansion of the already existing River of Blessing Academy (ROBA) which includes six new classrooms. This school provides high-quality low-cost primary education in Koforidua, Ghana. Because of the school’s holistic approach, from time to time they are publishing books where every student can participate with a story or a poem. This is just one of multiple activities like art shows, science presentations, and sport events that are happening throughout the terms to give every child the opportunity to shine.

Some of the benefits of reading for pleasure in children are acquisition of general knowledge, a better understanding of other cultures, and community participation. Consequently, further benefits could be expected if they are also writing for pleasure and representing themselves with their own stories. Representation is crucial, like novelist Chimamanda Ngozi Adichie pointed out in her 2009 TED talk titled The danger of a single story. “There is an Igbo word, that I think about whenever I think about the power structures of the world, and it is „nkali.“ It’s a noun that loosely translates to ‘to be greater than another’. Like our economic and political worlds, stories too are defined by the principle of nkali: How they are told, who tells them, when they’re told, how many stories are told, are really dependent on power. Power is the ability not just to tell the story of another person, but to make it the definitive story of that person.”

The danger of a single story is that it creates stereotypes, which for the most part are incomplete, and after a while these stereotypes might become the norm to think about or view a country, a region, a population. With these multiple stories and poems written by the ROBA students, they are not only staying motivated in their learning process and finding their strengths, but are also giving readers, be it their parents, siblings, friends or neighbors the chance to have a ‘balance of stories’, to access many stories, while emphasizing their agency to imagine and tell their own. We leave you here with some of the many stories and worlds from Koforidua, Ghana.

A thing is a thing

Beginning in the sixties but throughout the following decades several artists from Latin America have adopted performance as their art form, this would include performances, happenings, actions, photo, video, and private performances. Colombia is a country with a varied artistic repertoire, and since WEbuilding has two ongoing projects there we have been exploring performance artists from this country, and today we would like to share some with you.

It was in 1990 that a performance work first received a prize at an art event in Colombia, and the award was for María Teresa Hincapié, at the XXXIII Salón Nacional Artistas, which points to her foundational role in the development of this practice in Colombia, as Maria Iovino says in her article from the book Arte [no es] vida: actions by artists of the Americas 1960-2000.

According to Iovino, before Hincapié there where two artist who had produced performance pieces in Colombia, María Evelina Marmolejo and María Teresa Cano. Marmolejo’s actions, where influenced by the expressionist lines of Body art, and focused on the topic of the woman as a life-giving body.

Other performance artist that began their work in the late seventies and early eighties, were Sara Modiano, Rosemberg Sandoval and Delfina Bernal.  

Witnesses to the Ruins (Testigo de las ruinas) by Mapa Teatro group (created by Heidi, Elizabeth, and Rolf Abderhalden) is another of the most well-known performance works from Colombia. Their performance in a non-chronological way synthetizes the groups experience during the process of disappearance of El Cartucho neighborhood in Bogotá. They documented the disappearance of a place, and the appearance of a non-place, to make visible how the residues and traces of what has been lost remain, as well as the narrations that reconfigure the neighborhood’s memory, as stated by the Hemispheric Institute.

Finally, Nadia Granados also from Bogotá, has been working with performance since 1997. She develops a highly political art that aims to go beyond the merely aesthetic through audiovisual elements related to pornography, sexualized bodies, and eroticism as a weapon of transgression. On Granado’s website she states that her work is both performative and technological, both art and activism, and a mix of cabaret, public intervention, and video transmissions.

Some common themes addressed by all these artists are land, life, death, violence, feminism, origin, displacement, and the body. All of which are intrinsic to Colombia’s history, but also connected to the current global political economy. We hope this small collection is enriching and sparks your interest in Colombian and Latin American art.

Nadia Granados: la artista colombiana del performance postporno | Intocables Shock

African Culture Stories 2:
An encounter with Mozambican film

A poster for the Fim do Caminho festival
Source: http://festivalfimdocaminho.org/

Picking up on our last post, here is the second installment of African Culture Stories: a cinematic excursion to Mozambique!

Mozambique is home to a thriving film industry whose development closely mirrors the country’s turbulent and violent history. Mozambican cinema was born in the wake of the country’s independence in 1975, at the end of a brutal 10-year war with Portugal. The first act of the new government was to establish a National Film Institute, whose job was to produce a weekly newsreel (entitled Kuxa Kanema, meaning „the birth of cinema“) that would “capture the image of the people and deliver it back to the people,” and which was shown all over the country – even in remote rural areas, where they were projected by mobile film vans.

The determination of the government and the personal commitment of the country’s president Samora Machel led to the creation of one of the first film production facilities in Africa, which attracted directors of international renown, including French directors Jean Rouch and Jean-Luc Godard and Portuguese-Brazilian filmmaker Ruy Guerra, who in 1979 produced Mozambique’s first feature film, Mueda: memória e massacre, considered a classic of anti-colonial cinema. For a glimpse into these early years of Mozambican film-making, check out the fascinating documentary Kuxa Kanema: The Birth of Cinema by Portuguese filmmaker Margarida Cardoso.

Still from the documentary
Kuxa Kanema: The Birth of Cinema

The rise of video and television, and especially death of President Samora in 1986, ushered in a new period dominated by video as a cheap and accessible medium. A central figure of this time was the Brazilian director Licínio Azevedo, today one of Mozambique’s most prominent filmmakers known for Virgem Margarida (2013) and O Comboio de Sal e Açúcar (The Train of Salt and Sugar, 2016), both of which explore the traumas left by the country’s past.

One of the few Mozambican feature films available on YouTube with English subtitles is Terra Sonâmbula (Sleepwalking Land, 2007) by Teresa Prata. This lyrical movie tells the story of the young boy Muidinga, who is wandering the war-ravaged countryside with his guardian Tuahir. When Muidinga discoveres a set of notebooks inside a burnt-out bus, the narration begins to shift between his present reality and the story evoked by his readings of the notebooks, which offer a personal perspective on the country’s conflict-ridden history.

And what about today? Among the up-and-coming generation of Mozambican filmmakers are Mickey Fonseca and Pipas Forjaz, who founded their own production company and produced their first feature, the crime thriller Resgate (Redemption) in 2019. This hard-hitting film, which was partially financed via crowdfunding, won the 2019 Africa Movie Academy Awards for best screenplay and best production design and will become the first independent Mozambican movie to be streamed on Netflix, where it is set to premiere this month.

Conditions for film-making remain difficult in a country where – according to the website of the Fim do Caminho festival, the first regularly recurring film festival outside of the capital Maputo, which was active from 2014 to 2017 – the number of functioning cinemas can be counted on two hands.

Abandoned newsreels
(Still from the documentary Kuxa Kanema)

Putumayo (not the record label)

At WEbuilding one of our goals is to contribute in the development of rural population through education and essential infrastructure that creates opportunities for young people. We are pairing with Catalina Muñoz Foundation to build two new school buildings needed at the public school „Centro Educativo Madre Laura„, located in the Santiago municipality of the Putumayo department in southern Colombia.

This is a vast and multi-faceted region and its name derives from the Putumayo River, which is born east of the city of Pasto; and as it pours into Brazil it is called Içá. The Putumayo is a tributary of the Amazon River, and it has been written about in fiction and non-fiction accounts for at least a couple of centuries. The area called Putumayo in these writings does not obey however to strict departmental boundaries, but to looser and expansive limits regarding the Amazon region of Colombia, and even beyond political frontiers.

Perhaps the most well-known narrative about this region in Colombia is The Vortex, a novel published in 1924 by José Eustasio Rivera, a frontier fiction which has also been classified as Latin American Regionalism or “earth novel”. In it, the Putumayo River and the jungle become a set in which the author represents many subjects, like the fluidity of borders, the diversity of identities, culture, and people in Colombia and South America, the importance of local and ancestral knowledge, and the internalized colonization which governments and companies kept imposing on indigenous groups after political independence from European countries.

In one of W.G. Sebald’s most popular novels, The Rings of Saturn, he talks about Roger Casement, a British Foreign Office diplomat who in the early twentieth century set out to the Putumayo River to investigate allegations against the Peruvian Amazon Company (PAC)—of British-Peruvian ownership. All these allegations included but where not limited to enslaving, torture, starvation, murder, and other atrocities towards Putumayo’s indigenous communities and foreign workers, as retold in Casement’s private journal and testimonies he compiled. Both “The Vortex” and Casement’s accounts are unbelievable, the first fiction inspired by truth, and the second truth suitable for fiction.

A bit to the southeast, yet still in the realm of these natural borderlands, is the series Green Frontier. A thriller about a detective investigating a strange murder in a port town between Colombia and Brazil. With a nonlinear narrative the story unfolds a wealth of imagery and conflict regarding the region. It is centered on a secret that preserves the jungle, hence the world. This series set in current times takes us back to older representations of the Amazon written by foreign and national “explorers” as either an Eden or a Green Hell; researched in Lesley Wylie´s Colombia’s Forgotten Frontier: a literary geography of the Putumayo.

Although this river and region are far away from Bogota, the capital city of Colombia, and even further from the social imagery linked to this country, they have played an influential role in its history and culture and produced powerful texts.  

African Culture Stories 1: A quick look at Ghanaian cinema

Welcome to our African culture thread!  In these posts, we will be taking a closer look at some aspects of the cultural life of the countries where WEbuilding’s projects are happening. We hope they pique your curiosity!

“Ghanaian cinema.” What comes to mind? I wasn’t sure either, but as it turns out, the seventh art in Ghana has a turbulent and fascinating history. From its beginnings – in the 1940’s, when it first became widely accessible – cinema in Ghana was linked to politics: the big screen was an important propaganda tool of the British colonial government (to rally support for the war effort, among other things).

This cinema-politics connection continued well after the country’s independence in 1957. In 1964, President Kwame Nkrumah established the Ghana Film Industry Corporation, to restore cinema to the people and foster national pride and self-determination. In the two years until Nkrumah’s overthrow in 1966, the GFIC produced over 150 films that served (as filmmaker Kofi Bucknor explains in this informative video about the early history of cinema in Ghana) as a “tool for having Ghanaians understand what governance was about.”

In the subsequent political turmoil, the Ghanaian film industry entered a period of decline, until the country’s first independent film hit theatres in 1981. This was Kwaw Ansah’s Love Brewed in the African Pot, a love story set in the colonial period that quickly became a classic, winning the UNESCO award for best cultural film. On the difficulty of financing his production in the face of a government-dominated film industry, Ansah recalls: “It took me about eight years. Finally, the bank gave me an audience. But then they wanted a fixed asset. I was working, I didn’t even have a car.” Luckily for Ansah (and for the history of African cinema) his father-in-law saved the situation by offering his house as collateral.

Ghana’s European cinematic breakthrough came two years later with Kukurantumi, the Road to Accra, by award-winning actor-director King Ampaw. Incidentally, this film – one of the first Ghanaian movies to be aired on European television – is set in the same region of Ghana as Koforidua, the site of WEbuilding’s River of Blessing Academy school project.

At the same time, with the advent of video in the 1980s, an independent amateur VHS film scene began to develop. Self-proclaimed directors would create their own scripts and film them with amateur actors. “It fell to people who had money to buy a video camera and shoot, it wasn’t about the quality of acting, it was just to put something on camera,” actress Anima Misa Amoah recalls. “So, in that period a lot of people got involved who had no idea of how to direct a movie.” But those were the times, and there was a cultural vacuum to fill.

Thirty-five years on, this grassroots approach continues to inform Ghanaian films, which are becoming increasingly present on the international scene. In 2019, The Burial of Kojo, a micro-budget local production by the 38 year-old hip-hop and visual artist Blitz Bazawule, became the first Ghanaian film to be released on Netflix, after winning numerous nominations and awards at the 15th Africa Movie Academy Awards. Since 2017, Accra also hosts the Ndiva Women’s Film Festival.

The Rex Cinema in Accra
(source: cinematreasures.org/)

Our First Shamba

Mozambique is a multilingual country. Numerous Bantu languages are spoken along with Portuguese. Many words and expressions are borrowed between languages, we like one very much: Machamba, from the Swahili term Shamba, which means cultivated land or plot.

At WEbuiliding we have an ongoing project that involves a Machamba, it’s an ecological farm that will supply the Munti Centre of Khanimambo Foundation. They have been working there for ten years, at Xai-Xai in the province of Gaza, south of Mozambique. They focus on children and families from close-by communities, in education, health, and nutrition support. Everyday four-hundred kids eat at Munti Centre, where they already have a small Machamba, managed by a group of mothers whose children attend the centre. The mothers sell them part of the vegetables they harvest, and thus the program has fresh and healthy supplies!

In this project, together with Khanimambo Foundation we’re building a larger Machamba of 15 hectares, that’ll generate new training opportunities, employment, and social growth. We’ll oversee the architectural design and construction and will be implementing sustainable techniques and bioconstruction with materials from the region. On October 2019 we had our site visit to Mozambique and we ate loads of delicious plates, one that we enjoyed a lot was Xima, a type of porridge made with water and corn flour. Xima is eaten as a staple carb in most meals, and usually comes with a vegetable or meat stew. Other vegetables that are widely grown in Mozambique, and at Munti Centre’s Machamba, are potatoes, cassava, carrots, squash, chards, spinach, aubergines, and legumes like nhemba beans.

Even with its high agricultural potential the rate of chronic malnutrition affects 43% of children under five years of age, according to the country’s most recent Demographic Health Survey. So, to ensure a healthy diet, at Munti Centre they have weekly menus based on specific child nutritional needs. In the video below you can meet Guida, the centre’s nutrition specialist who shares their strategy to tackle chronic malnutrition with knowledge and a bit of magic soup😉.