DOCSLIB.ORG

SPEAKING ALONE Thavibu Gallery 21 February - 15 March, 2009 Curator: Shireen Naziree

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SPEAKING ALONE Thavibu Gallery 21 February - 15 March, 2009 Curator: Shireen Naziree An Exhibition of Conceptual Art from Myanmar/Burma AUNG MYINT, AYE KO PHYU MON, NYEIN CHAN SU SPEAKING ALONE Thavibu Gallery 21 February - 15 March, 2009 Curator: Shireen Naziree An Exhibition of Conceptual Art from Myanmar/Burma AUNG MYINT, AYE KO PHYU MON, NYEIN CHAN SU SPEAKING ALONE Thavibu Gallery 21 February - 15 March, 2009 Curator: Shireen Naziree Published 2009 by Thavibu Gallery Co., Ltd Silom Galleria, Suite 308 919/1 Silom Road, Bangkok 10500, Thailand Tel. 66 (0)2 266 5454, Fax. 66 (0)2 266 5455 Email. [email protected], www.thavibu.com Layout by Wanee Tipchindachaikul, Copydesk, Thailand Copyright Thavibu Gallery All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without prior permission in writing from the publisher. SPEAKING ALONE Shireen Naziree Myanmar... the past has been punctuated with so Most pertinent to the understanding of Myanmar’s many waves of repression that any sort of sensible cultural landscape with its melange of activity is society must renegotiate its relationships with its rich Myanmar’s capital – Yangon. Yangon is above all a historical past as well as with the dynamic flux that commercial centre with a rich history of international represents the rest of Southeast Asia. Geographically exchange. Throughout the British colonial rule that speaking, Myanmar’s isolation has become the face lasted almost a hundred years, Yangon was a hub of its current national identity which is underwrit- of international commerce. Colonial Yangon with its ten by the extreme conditions that affect its civil and spacious layout and mix of exquisite colonial and tra- social environment. Decades of social deconstruction ditional architecture was known for its beauty. Despite and economic unease have reconfigured its geographic its current dilapidated state, the arts inevitably have representation, which is clearly distant from the global t h e i r f o u n d a t i o n i n t h e c i t y ’ s f o r m e r p a s t g l o r y . intersection of technology and visual culture that allow Yangon has a number of private art galleries and openness, free movement and interconnectedness. artists whose work continues to be a vital export This national fragility results in wasted vitalities and the commodity and source of income, although it is true forced isolation of a population and culture obliged to that there are fewer foreign visitors nowadays. play their assigned roles with quiet dignity. With virtually no state support and with only two This dynamic inevitably leads one to consider whether art academies offering basic training best suited these forces allow for a blossoming of artistic activ- f o r a r t i s a n s , Y a n g o n d o e s n o t h a v e t h e g r a s s r o o t s ity and natural dialogue among artistic and cultural initiatives necessary for an innovative and internation- practitioners. As raw material, this uncertainty can be ally competitive art scene. While it is not uncommon transformed into visual poetry and become a point of to encounter numerous self-taught artists, it could departure for unanticipated artistic expeditions through o n l y b e e x p e c t e d t h a t s e r i o u s p r o f e s s i o n a l a r t i s t s irony and allusion, as well as homage to traditional (either progressive or conservative) would become cultural and moral values. Keeping in mind Myanmar’s increasingly committed to finding discursive av- rich cultural past and its current national identity, it goes enues to explore issues and expose their art envi- without saying that any shifting of cultural conditions r o n m e n t w h e r e “ a l m o s t e v e r y b o d y a s p i r e s t o b e a n will affect the production of art in meaningful ways. artist.” This attitude is not only embedded in the Speaking Alone 3 polarization that has dramatically altered every facet of r e i n t e r p r e t t h e c o m m o d i f i c a t i o n o f a r t a n d i d e a s t o economic practice, but also lies in a historically-based remind us what it really means to have the liberty to nostalgia that has become one of the foundational think differently. sources of artistic inspiration. With Yangon’s cultural landscape seemingly isolated, Although artistic production is often permeated with it is tempting to question how conceptual art practices the nostalgia of a quiet paradise that idolises the past may be perceived to have long-lasting effects while and is deeply engaged in the serenity of Buddhism, claiming to be original yet inclusive, autonomous yet simultaneously there exists a desire to reflect on the relevant. An art space such as the Lokanat Art Gallery present with its contemporary values, as well as his- in downtown Yangon has served as a vital social and tory. In addition, there is the mapping of an expanded intellectual gathering point of the city’s artistic scene field by subtly negotiating the relationship between the s i n c e t h e 1 9 7 0 s . W i t h i n i t s d o w n t o w n l o c a t i o n i n visible and the invisible. This refers to the subliminal a time-scarred building, Yangon’s art community aspects of culture that are articulated through every- has literally preserved an artistic lifestyle of quiet yet day events and daily practices, which suggest a more determined opposition to the flattening of cultural circuitous commentary on Yangon’s contemporary meaning and imagination. This has occurred at a art scene. time when the speed of an electronically linked planet i s r e f l e c t e d i n t h e s w i f t e x p a n s i o n o f a r t p r a c t i c e s Conceptual art and performance art often focus on beyond traditional painting and sculpture to an negating art’s commodity status, a crucial dimension inclusiveness that represents the best possible means that the global contemporary art market now mani- of making personal artistic statements. Freed from festly appropriates. A handful of Yangon artists clearly the constraints of the canvas, conceptual art allows embrace conceptual art practices and performance the artist freedom to express any concept through art that subtly focus on the notion of social sculpture, any means, especially relating to the politics of the which in turn consistently addresses the structures day or the politics of the self. o f p o w e r , c h a l l e n g i n g t h e c o n t r o l l e d a m b i g u i t y t h a t generally characterizes art in order to promote criti- Aung Myint’s art is a clear product of the dynamic cal awareness and dialogue. In a place where art feels interplay between art and life in Myanmar. more literal than ever, conceptual art practices actively 4 Speaking Alone A self-taught artist, Aung Myint graduated as a his own synthesis of Theravada Buddhist influences in psychologist from the Rangoon Arts and Science traditional Burmese art (where non-realist depictions University in 1968. Although his interest in art began reflected the artist’s inner visions and spirituality) and at an early age, it wasn’t until 1969 that he actively t h e i n t e r p r e t i v e c h a r a c t e r i s t i c s o f W e s t e r n a b s t r a c t pursued artistic expression when he participated in a expressionism (amongst others), Aung Myint became group show in Yangon. Sympathetic to the political a leading figure on Yangon’s art scene. struggle that has nurtured present-day Myanmar, he sought new ways of seeing that would parallel his Aung Myint and his peers were seeking new dimen- concerns. Given the lack of support and exposure to sions of expression and were ready for a new explosion modern art during the latter half of the twentieth cen- in art. The work Beginning and End in 1995 marked tury, largely as a result of the introduction of socialism Aung Myint’s debut as a pioneer of performance in 1962, Aung Myint became one of the founding a r t . T h e a e s t h e t i c t h a t d e v e l o p e d , i n h e r i t e d f r o m h i s members of Yangon’s Inya Gallery of Art in 1989. With vanguard experimental art, would extend itself to earn him international recognition and become an important element in the development of new media art in Myanmar. A renowned painter (Aung Myint was the recipient of the Juror’s Choice Award at the 2002 ASEAN Arts Awards competition), he used his experience of examining the illusory space of the canvas to configure his place in performance art by making of himself a piece of material, which together w i t h m o v e m e n t a n d o t h e r e l e m e n t s a l l o w e d f o r complex and emotional statements.
Load more

Recommended publications
  • 2005 Martell Contemporary Art Research Grant R
    MEDIATINGMEKONG THE 2005 Martell Contemporary Art Research Grant R. Streitmatter-Tran for the Asia Art Archive Ho Chi Minh City, Vietnam Contents Precursors: A River Runs Through It Mediating the Mekong The Mekong Vacuum Infrastructures and Superstructures Cambodia Myanmar Vietnam Laos Thailand The Future Flow References The research for this report, made possible by the 2005 Martell Contemporary Asian Art Research Grant and the Asia Art Archive in Hong Kong, was conducted between July 2005 and September 2006. I would like to thank the team at the Asia Art Archive for their support, in particular Phoebe Wong and Claire Hsu for their encouragement and advice throughout the life of the project and for the opportunity to have presented the research in Hong Kong in June 2006. The report would not have been realized without the contributions of the many artists, curators and arts organizations in Cambodia, Vietnam, Laos, Myanmar and Thailand who provided information, media and honest opinion. It is my hope that this report may assist as an entry point for those wishing to explore further this unique and often overlooked region. Richard Streitmatter-Tran, artist Ho Chi Minh City, Vietnam September 2006 Mediating the Mekong It begs to ask why what a Thai actress allegedly says about Cambodia really matters at all? For those familiar Martell Contemporary Asian Art with this region of the world, it is clear. Economically, Research Grant the mass exportation of Thai culture (programming, entertainment and media) has increasingly become an Final Report for the Asia Art Archive issue of national concern for Laos and Cambodia who share close cultural and linguistic similarities.
    [Show full text]
  • Prevention of Blindness in Myanmar: Situation Analysis and Strategy For
    Prevention of Blindness in Myanmar: Situation Analysis and Strategy for Change (Supported by International Agency for Prevention of Blindness and Standard Chartered Bank) Report Prepared by Gopal P. Pokharel, MD, MPH Mechi Eye Hospital Rohit Khanna, MD, MPH L V Prasad Eye Institute Submitted to International Agency for Prevention of Blindness (IAPB) and Standard Chartered Bank (SCB) Content Page No A. Acknowledgements 1 B. List of Acronyms 3 C. Executive Summary 5 D. Background 7 E. Situation Analysis 11 1. Blindness and Visual Impairment (VI) in Myanmar 11 2. Workload Estimate 13 3. National Plan for action for VISION 2020 14 4. Eye Care Infrastructure 14 5. Human Resource (HR) 17 6. Training 19 7. Service Delivery 18 8. Primary Health Care and Primary Eye Care 21 9. INGO services in Myanmar 22 10. Private Sector in Myanmar 24 11. SWOT 24 F. Recommendations 25 Annexure 1. Schedule for IAPB 2. Presentation: Situation Analysis: Eye Care in Myanmar 3. Presentation: Human Resources Development in Ophthalmology in Myanmar 4. Presentation: Helen Keller Eye Health Initiatives in Myanmar 5. Report: Myanmar Eye Care Program 1 A. ACKNOWLEDGEMENTS We extend our gratitude to the following members: No. Name Designation Department 1. Professor Than Cho Rector University of Medicine-1, Yangon. 2. Dr. Ngwe San Medical Superintendent Yangon Eye Hospital, Yangon. 3. Dr. Aye Ko Ko Regional Director Yangon Regional Health Department. 4. Professor Tin Win Professor/Head Department of Ophthalmology, Yangon Eye Hospital 5. Dr. Khin Nyein Lin Deputy Director Department of Health, (Trachoma Control and Nay Pyi Daw. Prevention of Blindness Program) 6.
    [Show full text]
  • SIPF10-Festival-Guide.Pdf
    Introduction Patron’s Message At the core of the Singapore International Photography Festival (SIPF) is a firm belief that photography can be enjoyed by all. This is a simple mission statement – straightforward in meaning but not easily achievable, for art is personal and therefore subjective. Regardless, the inaugural SIPF in 2008 was a milestone in Singapore’s arts scene. It leapfrogged photography, which for the longest time has been considered to be the poor cousin of other fine art forms, to the next level of development. Much excitement was created in the photography community and most of it translated into a source of motivation behind the many creative works. Without a doubt, the return of the biennial SIPF is highly anticipated by many – artists and audience alike. City Developments Limited (CDL) is pleased to once again lend our support to such a worthy initiative. As the Festival Patron this year, we hope to see more emerging talents being unearthed and given the opportunity to share their works on a regional or even international stage. More importantly, the participation in SIPF should in itself trigger growth and development as an artist. It is in the same spirit that CDL organises the biennial Singapore Young Photographer Award which endeavours to groom budding photographers and at the same time elevate the profile and standard of photography in Singapore. Indeed the popularity and acceptance of photography have surged substantially in recent years, but there is still work to be done before it is truly recognised as a mainstream fine art form. It is noteworthy that this year’s Festival incorporates a new themed category titled ‘Human : Nature’ in response to the universal concern of environmental sustainability.
    [Show full text]
  • BEYOND BURMA an Exhibition of Conceptual Art from Myanmar
    BEYOND BURMA An Exhibition of Conceptual Art from Myanmar Thavibu Gallery 10 November – 8 December, 2012 Curator: Shireen Naziree Artists: Phyu Mon, San Minn, Phyoe Kyi, Nyein Chan Su, Kaung Su BEYOND BURMA An Exhibition of Conceptual Art from Myanmar Thavibu Gallery 10 November – 8 December, 2012 Curator: Shireen Naziree Published 2012 by Thavibu Gallery Co., Ltd Silom Galleria, Suite 308 919/1 Silom Road, Bangkok 10500, Thailand Tel. 66 (0)2 266 5454, Fax. 66 (0)2 266 5455 Email. [email protected], www.thavibu.com Layout by Wanee Tipchindachaikul, Copydesk, Thailand Copyright Thavibu Gallery All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, without prior permission in writing from the publisher 4 BEYOND BURMA FOREWORD Jørn Middelborg, Thavibu Gallery Thavibu Gallery has the pleasure of presenting the current catalogue and exhibition, BEYOND BURMA by five contemporary Myanmar artists: San Minn, Kaung Su, Phyu Mon, Nyein Chan Su and Phyoe Kyi. The exhibition takes place in Bangkok, Thailand, on 10 November – 8 December, 2012. The country formerly known as Burma was renamed Myanmar in 1989 by the country’s military junta. Many countries continued to use the term ‘Burma’ for several years, unwilling to recognise Myanmar’s repressive policies and poor adherence to human rights. However, since 2010 the political situation has undergone changes in many areas, initiated by the current President Thein Sein. Daw Aung San Suu Kyi was released from house arrest, and there is cautious optimism – something that has not been seen in the country since the military takeover in 1962.
    [Show full text]
  • Recommendations for a Market-Led Approach to Community Forestry in Myanmar Duncan Macqueen Report of an Advisory Mission, 3-16 D
    Recommendations for a market-led approach to community forestry in Myanmar Duncan Macqueen Team Leader – Forest Team International Institute for Environment and Development Report of an advisory mission, 3-16 December 2012 1 Table of contents EXECUTIVE SUMMARY .................................................................................................................................... 4 ACKNOWLEDGEMENTS .................................................................................................................................. 6 ACRONYMS ........................................................................................................................................................ 7 1. INTRODUCTION TO COMMUNITY FORESTRY IN MYANMAR ............................................................... 8 Historical background ............................................................................................................................... 8 Breakdown in sustainability ...................................................................................................................... 9 Emergence of community forestry as a response .................................................................................. 10 2. RATIONALE FOR A MARKET-LED APPROACH .................................................................................... 11 Economic opportunities and poverty reduction ..................................................................................... 11 Forest protection in the face of climate
    [Show full text]
  • Short Introduction to Myanmar Performance Art
    Short Introduction to Myanmar Performance Art Mingalarbar! Greetings from Myanmar! This is a short introduction to the development on performance art in Myanmar. In western countries and some Asian countries, performance art is said to have been conceived in 1960s. Let's have a look at what was happening in Myanmar at that time. The country was under the control of Burma Socialist Programme Party for 26 years from 1962 to 1988. It can also be considered the beginning of an endless dictatorship. Art related books were few and far between and only three books about Modern Art were published. One was From Tradition to the Modern penned by Bagyi Aung Soe, a senior artist who sought education at the famed Shantiniketan. This book encouraged local artists to incorporate Modern Art techniques into their works. Another book was called Abstract Art. A young Japanese-Myanmar artist wrote it and it explained what Modern Art is. Third book is called “ Searching for aesthetic”_ crecitc on modern art. These three books were all there was in 1960s and 1970s. In such a closed society, Myanmar artists were very much in the dark about what was going on in the international arts scene. But they made use of whatever resource was available, and they consistently practiced Modern Art. On 8, August 1988, led by university students, people took to the streets to topple the military regime. Remembered as the 8888 Uprising, it was the biggest revolution against dictatorship in the history of post-colonial Myanmar. As a result, the notorious Socialist government resigned.
    [Show full text]
  • “Yangon Made My Heart Beat Fast” New Contemporary Art from Myanmar
    16TH FEB/ 30TH MARCH 2017 “YANGON MADE MY HEART BEAT FAST” NEW CONTEMPORARY ART FROM MYANMAR KARIN WEBER GALLERY 20 ABERDEEN ST CENTRAL, HONG KONG 17 FEB- 30 MARCH 2017 11AM - 7PM 3 scene. This group of better-known artists included Aung INTRO Myint and Min Wae Aung. Karin Weber Gallery played a pivotal role in introducing Burmese art to international collectors, arranging numerous exhibitions in fifteen years often at great risk and difficulty for the gallery itself. A key show for the gallery was a solo exhibition for Htein Lin, fresh out of prison, in 2008. The artist’s talk at Amnesty International coinciding with the show cost Karin her In 1999, our gallery founder, Karin Weber was introduced travel visa to Myanmar for several years. to Burmese art and was mesmerized by the talent. With the easing of military restrictions, Myanmar is The artists had had little contact with the outside world changing rapidly. After a long span of time characterized by the apparent lack of any visual change in the country due to the political isolation of their home country. Their and the people, Yangon is now pulsating with new energy. work revolved around traditional culture and everyday Myanmar observer and curator Melissa Carlson themes, but their use of color and material was bright, echoes these views. Having researched and witnessed spirited and felt extremely contemporary. censorship at close quarters, she co-curated the 2014 exhibition Banned in Burma: Painting Under Censorship, showcasing over fifty censored works from Burmese artists who endured and resisted the censorship. She curated the 2015 exhibition Burma by Proxy: Art at the Dawn of Democracy, highlighting the hopes and doubts of an emerging democracy.
    [Show full text]
  • Myanmar Insider
    A GenTLeman’S A TRIP TO GUIDE TO STYLE LIFE DOWNTOWN KyaUkme Page 14 Page 24 Page 25 MYANMAR INSIDER THIS MONTH’S INSIDER NEWS ON BUSINESS, LUXURY, REAL ESTATE, LIFESTYLE & LEISURE Volume 1 • Issue 5 • April 2014 1200 KYATS INSIDE INSIDER Make way for the ASEAN Economic Community p.23 By late next year, the Myanmese will wake up to a new Asian economic order - and most of them won’t even realise it. The much anticipated (or dreaded) “ASEAN Economic Community”, or the AEC, is scheduled to come into existence on December 31st, 2015. The AEC is the first step to achieving full regional economic and financial integration among the ten member countries of the Association of Southeast Asian Nations (ASEAN) by 2015. It’s ASEAN’s version of the European Common Market. Ngapali Beach p.27 The plane to Ngapali Beach pretty much lands on the beach itself, so maybe think twice about going if you’re a nervous flyer. From the cabin window it looked as though we were about to land on water, then a short, dusty runway appeared from nowhere just before we hit it. Baggage claim took place in the carpark outside the tiny airport’s main entrance. EXPAT INSIDER Sport in Yangon p.31 There’s been a remarkable emergence of sports clubs in Yangon within the past two years. The great thing about living in a city that has relatively few activities available is that it’s relatively easy to start one of your own. If you are enthusiastic about a sport or activity, the chances are that someone else is, too, and all it takes is a few emails, one or SUNIL SETH two conversations, and you’ll have an activity of some sort COUNTRY HEAD - TATA INTERNATIONAL up and running.
    [Show full text]
  • Mediating the Mekon Progress Report
    AAA Martell Contemporary Asian Art Research 200520052005-2005---2006200620062006 Grantee’s Progress Report Richard StreitmatterStreitmatter----TranTran “““Mediating“Mediating the MekongMekong”””” May 4, 2006 Since the midterm report submitted in December 2005, several events have occurred that are of significance to the Mediating the Mekong project. I highlight below some of these recent events by country, including an abridged itemization of materials collected. CAMBODIACAMBODIACAMBODIA Early this year, Cambodia was being compared to Myanmar in certain publications on account of the political offensive by Prime Minister Hun Sen against those he claimed were responsible for defamation. These parties included a Phnom Penh radio broadcaster and a human rights activist. The prime minister ultimately dropped legal proceedings against several of his critics – likely resulting from a voicing of international concern. This created a very interesting dynamic, at least from my perspective where a year earlier I marveled at the freedom within the press when compared with the cultural controls existing in Vietnam. It appeared that Cambodia had gone through a short-lived backlash from which it now appears to have quickly recovered. Despite the tendency for unexpected and wild fluctuations, Phnom Penh remains an extremely attractive city in terms of a location to openly exchange ideas. However, the arts infrastructure remains in the early developmental stage and in is some respects behind both Myanmar and Vietnam – states that enforce rigid cultural controls. I was pleased to discover that there were indeed many more Cambodian arts organizations than I was previously aware but sadly funding of some of these organizations remained problematic. Last week I received word from Sovanna Phum that they are in extreme financial duress and facing dissolution unless immediate funding is secured.
    [Show full text]
  • The Independent Contemporary Art Scene of Myanmar
    KÁLMÁN Borbála A SITE FOR MINDFUL (RE)DEFINITION: THE INDEPENDENT CONTEMPORARY ART SCENE OF MYANMAR MA Thesis in Cultural Heritage Studies: Academic Research, Policy, Management. CEU eTD Collection Central European University Budapest June 2017 A SITE FOR MINDFUL (RE)DEFINITION: THE INDEPENDENT CONTEMPORARY ART SCENE OF MYANMAR by KÁLMÁN Borbála (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest June 2017 A SITE FOR MINDFUL (RE)DEFINITION: THE INDEPENDENT CONTEMPORARY ART SCENE OF MYANMAR by KÁLMÁN Borbála (Hungary) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest June 2017 A SITE FOR MINDFUL (RE)DEFINITION: THE INDEPENDENT CONTEMPORARY ART SCENE OF MYANMAR by KÁLMÁN Borbála (Hungary) Thesis submitted
    [Show full text]
  • 1 Lee Wen 19 Tay Lian Teck Drive Singapore
    Lee Wen 19 Tay Lian Teck Drive Singapore 455652 Tel/ Fax: (65) 62414190 Mobile: 90173926 Ms. June Yap Visual Arts Manager National Arts Council, Singapore 12 September 2005 Dear June Yap, Re: SIA/NAC Travel Grant for National Review of Live Art Glasgow NRLA-Midland 2005 Perth 2005 Performance Site, NICA, Yangon. Thanks very much for providing the above said travel grant for above said events. 1) The event in Yangon was organized by Jay Koh and Chu Chu Yuan of NICA (Networking Initiative for Culture and the Arts). I gave a workshop lecture about the situation of performance art in Singapore relating to my own individual work to local artists as well as some foreign artists participating in the event. As there was not enough room in NICA house which runs an art space in a private rented house, I had to stay at a nearby hotel. Following the workshops it was followed by two full days of performance art in which I presented my solo performance. 2) Prior to going to National Review of Live Art Glasgow, I went to London for some research and visited the Live Art Development Agency. I had a very good discussion with the directors Louis Keidan and Daniel Brine and was given an overview of their operational management. I also managed to get in touch with editors of Performance Research who publishes a quarterly magazine based in Dartington College of Arts, Totnes. Upon contact I was invited to Dartington after the NRLA event in Glasgow to participate in their Crossing time event.
    [Show full text]
  • 1.2 SRJS Myanmar
    Shared Resources Joint Solutions (SRJS) - Myanmar Joint Programme Report 2017 ~ 2020 Zaw Htet Aung Tanintharyi April 2021 SRJS Myanmar | 87 Table of Contents 1. INTRODUCTION ............................................................................................................................................................... 1 1.1 SRJS Global Programme ........................................................................................................................................................................ 2 1.2 SRJS Myanmar ........................................................................................................................................................................................... 4 2. CONTRIBUTIONS OF SRJS PARTNERS ....................................................................................................................... 7 2.1 Organizing and Empowering Communities ................................................................................................................................. 8 2.2 Indigenous Peoples’ Rights and Forest Conservation .......................................................................................................... 11 2.3 Land issues, Mining and Fisheries ................................................................................................................................................ 13 2.4 Engagement with Government and Civic Space .....................................................................................................................
    [Show full text]