TCF Ep. 463 - Sara Terry

The Candid Frame: Conversations on Photography

Ibarionex R. Perello

Cameras, Art, Photoshop, Visual Arts, Career, Interviews, Photographers, Arts, Photography, Photo, Digital

4.8 • 749 Ratings

🗓️ 15 April 2019

⏱️ 81 minutes

🔗️ Recording | iTunes | RSS

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Summary

Sara Terry is an award-winning documentary photographer and filmmaker known for her work covering post-conflict stories, and a 2012 Guggenheim Fellow for her long-term project, “Forgiveness and Conflict: Lessons from Africa.” Her first long-term post-conflict work, “Aftermath: Bosnia’s Long Road to Peace,” led her to found The Aftermath Project in 2003 on the premise that “War is Only Half the Story.” An accomplished speaker on aftermath and visual literacy issues, her lectures include a TEDx talk, “Storytelling in a Post-Journalism Word,” and several appearances at The Annenberg Space for Photography. She has directed and produced two feature-length documentaries, Fambul Tok (2011) and FOLK (2013). Fambul Tok, about a groundbreaking grass-roots forgiveness program in Sierra Leone, premiered at SXSW in 2011, and grew out of her photo project, “Forgiveness and Conflict: Lessons from Africa.” It was supported by the Sundance Documentary Institute and Chicken and Egg and was hailed by Paste magazine as one of the best 100 documentaries of all time. Terry became a photographer and filmmaker after a long, award-winning career in print and public radio. She is working on her third documentary, “That’s How We Roll,” about mobile home parks and the affordable housing crisis. Resources: Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort. You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Transcript

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0:00.0	This is IbarianX and this is The Candid Frame.
0:05.0	Last year, I was honored to be asked to serve as a judge to determine who would be awarded a generous grant from the Aftermath Project,
0:27.9	a non-profit organization which, for over a decade, has supported the work of photographers telling the stories of what happens when war and conflict end.
0:40.4	All day long, my fellow judges and I looked at photographs and read the proposals of stories
0:47.0	of how people and communities struggle to return to a state of normalcy after years of violence, betrayal, and desperation.
0:57.6	What happens to the people left behind when the journalists and diplomats have left to pursue
1:03.3	another story or other troubles?
1:06.4	It's that question that has been at the heart of the work of today's guest, Sarah Terry,
1:13.3	a photographer and filmmaker.
1:15.7	For her, it is the story of what comes after that that she feels is deserving of our attention,
1:23.3	especially after the more obvious stories have been told and pictures have been made.
1:29.8	She believes that these narratives deserve more than a clinical exposition of facts.
1:36.8	Even when a forensic anthropologist she was working with asked her to make an image in a mass grave,
1:47.0	she realized that there was a moment of hope in the midst of unimaginable tragedy. And she's going, Sarah, here, look here. And so I put her
1:55.6	a little point and shoot up to my eye, and like, I nearly threw up because she was holding the preserved hand, preserved not like
2:04.2	we would think of hands today, but unusually well preserved hands of what had been a teenage
2:11.6	boy from Sarbanina attached to his body and it was a really important forensic anthropological thing, and she wanted me to document it.
2:20.5	And so as I took the picture for her and I was just like, oh, my God, I'd let me get out of here fast.
2:25.3	I was like, oh, no, Sarah, that's the picture you've been waiting to make.
2:31.1	And I picked up the Lyca, and I made a photograph of Eva and Peotter in that grave,
2:37.0	with those surrounded by these horrible things, and Eva is holding the hand of this boy.
2:44.0	And it's like the final image in the Love and Death chapter. It's one of the most definitive images in my career,
	...

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