Arts

En 2016, le festival a 16 concerts et plusieurs animations
En 2016, le festival a 16 concerts et plusieurs animations

L’été est la saison de la musique, des arts de rue et des festivals en Europe. Dans le canton de Vaud, en Suisse, L’Association Lombric, à but non lucratif, a crée un événement différent pour la belle saison : depuis 14 ans, le Festival du Lombric porte un regard sensible aux problématiques environnementales et au dynamisme économique de la région.

Dans sa 11ème édition, le Festival est organisé sur le site de Giez par un groupe d’amis. Soucieux de leur environnement mi-campagne, mi-ville, ils ont voulu apporter une animation qui mettrait en lien des acteurs locaux avec des thèmes qu’ils souhaitaient partager. Le festival compte avec la collaboration des bénévoles et avec les dons et prêts de la communauté locale. Les restaurateurs participants sont locaux et même les bières qui sont servies dans le festival sont faites par les brasseurs artisans de la région. La nourriture est majoritairement bio et chacun peut y trouver son compte (vegan, sans lactose, sans gluten…)

Le festival est organisé dans le site de Giez, dans le Nord-Vaudois
Le festival est organisé dans le site de Giez, dans le Nord-Vaudois

Un des fondateurs du festival, Renaud Jaquet, parle de la motivation durable de L’Association: “Nous parlons beaucoup de l’impact de nos activités et projets sur l’environnement de nos jours. Le Lombric rentre de toute évidence dans cet esprit. Toutefois, quand les premiers rêves de nos jeunes motivés ont émergé, la question n’était pas encore d’actualité. C’est plus le besoin de faire un événement durable avec peu de moyens, beaucoup d’envie et de bons principes, qui a fait que le festival a une étiquette écologique et durable”, a-t-il révélé. Cette année, par exemple, les organisateurs font un appel aux participants pour utiliser les transports publics et navettes mis gratuitement à disposition des festivaliers.

Les enfants font des ateliers et balades dans le festival
Les enfants font des ateliers et balades dans le festival

Renaud Jaquet raconte qu’il y a toujours eu un jour réservé aux enfants et à leurs familles. Cela avait lieu le dimanche après le petit déjeuner offert, sachant que le soir même il n’y avait pas de concert. “De plus, le site en bordure de forêt et d’une taille raisonnable, offre une liberté aux enfants de parcourir le site sans danger”.

Le Festival de Lombric a lieu les 12 et 13 août en Giez, Vaud, avec 16 concerts et plusieurs animations, ateliers et balades. Le prix adulte est 10 CHF, mais l’entrée est gratuite le samedi jusqu’à 18h. L’organisation espère entre 600 et 800 personnes. “La fête s’annonce belle et on se réjouit de démarrer cette belle édition”, affirme Renaud Jaquet.

Écrit par Vívian Soares

How to bring closer two cultures that are a distance away from each other, with a different background on a different continent? Horyou has met Gisselle Gallego, one of the organizers of SLAFF, the Sydney Latin American Film Festival, a cultural project that does it nicely. Have a seat, be comfortable and let the show begin:

SLAFF - Sydney Latin American Film Festival
SLAFF – Sydney Latin American Film Festival

1) What does SLAFF stand for?

The Sydney Latin American Film Festival (SLAFF) is a not-for-profit Film Festival launched in 2006 and is now a highly anticipated event on the Sydney cultural calendar. In 2016 it was named “the embassy of Latin American Cinema in Oceania” by LatAm Cinema Magazine.

SLAFF is run by a group of passionate and dedicated volunteers who aim to enrich the understanding of the lives and cultures of Latin America by screening a variety of typical stories. These films look back at the history of Latin America, as well as forward to the future, to tell stories from every corner of the continent, whether indigenous or totally modern.

2) How do you usually select the movies? What are the main components/criteria that matter?

In its selection, SLAFF chooses contemporary Latin American or International films relating to Latin America in terms of content, production or co-production. They include feature films, documentaries, animations, short films and videos produced in the last 2 years.

The films should be enjoyable and appeal to a broad spectrum of the community: young people, families, migrants or those with an interest in a particular topic. Our aim is to be inclusive and diverse. We hope to introduce and inspire new ideas and perspectives to our audiences through the films that we choose.

Some issues will always have a cultural significance to our audiences, but we also seek to highlight current events and issues. We try to determine how interesting the subject is by today’s standards and how relevant a film is in the current climate. To that end, the film should fit with or support the aims and objectives of SLAFF, i.e. encourage participation in the cultures and issues of Latin America beyond the mainstream lens.

Screening during the SLAFF
Screening during the SLAFF

3) How does your Community Support Program work?

Since 2006, SLAFF has raised over $116, 000 for social justice, human rights and development organisations in Latin America and Australia through our Community Support Programme. CSP is the cornerstone of the Sydney Latin American Film Festival and the main reason we work so tirelessly to maintain the festival’s success and momentum. Via ticket sales, SLAFF supports community development initiatives which strive to create positive change in the community by addressing social issues at a grass-roots level.

4) Since SLAFF was created, what are the memorable exploits/projects you accomplished and what are the biggest challenges you faced that you would like to share with us?

Since 2006 we have brought films from Latin America to people throughout Sydney. From the west via our Cine Barrio initiative to the Sydney Harbour Bridge as part of the Fiesta Celebrations. In 2014 we launched Pachamama, a mini festival dedicated to explore our relationship and awareness of Land and Water by highlighting conservation efforts, indigenous stories and the continued fight for awareness of environmental issues from Latin America and Australia.

In 2015 we crossed a momentous milestone with our 10th Birthday, and we celebrated it by bringing together the SLAFF Family for a night of film, music and food. The journey into our second decade has not always been without challenges. As a not-for-profit, we rely on people power to maintain our momentum and we are really grateful to every single person who has helped SLAFF in any small way. Our network and community is what keeps us striving to bring the best to the festival.

Last edition of SLAFF
Last edition of SLAFF

5) Our philosophy is about universal values that we find in the slogan « Dream, Inspire, Act » what does it means to you and your organisation?

Horyou’s slogan “Dream, Inspire and Act” is a philosophy SLAFF identifies with. By becoming a part of this community we are able to experience and participate in the initiatives and ideas that are evolving across the globe. To be able to reach out to these organisations and individuals means we are playing our part in creating a conduit for positivity that can only get stronger the more people are involved.

Written by Hannah Nunes

2015-12-07 16.20.28

Bonjour Magalie Gigot; parlez-nous un peu de vous, de votre responsabilité et de votre action au sein de WWF France.

Bonjour, je suis Magalie, je suis à WWF depuis cinq ans et je suis chargée de la mobilisation de l’ensemble du réseau des bénévoles français. Aujourd’hui, on a environ quatre mille bénévoles sur tout le territoire et on organise des événements avec eux.

Quel est l’objectif de votre présence ici à Solutions COP21 ?

Nous on a choisi de faire de l’animation avec des enfants. On devait effectivement avoir beaucoup de scolaires mais malheureusement avec les attentats on en a un peu moins que prévu. Il est très important pour nous de faire de l’animation gratuite avec des enfants en classe en maternelle ou dans le primaire. Moi je suis bénévole. Ce sont principalement des animations ludiques avec de grands jeux sympas sur ce que c’est que le développement durable à travers l’expérience de l’utilisation de l’eau, par exemple, on leur demande vous à votre avis combien d’eau vous utilisez par jour. On leur dit par exemple qu’une douche c’est 75 bouteilles d’eau, par exemple, et de les confronter ainsi avec la réalité avec des chiffres. Et finalement, on se rend compte que les enfants comprennent bien et ont des questionnements qui sont les mêmes que ceux du monde adultes. Tout cela avec des exemples simples. Et souvent, quand ils rentrent chez eux, ils disent beaucoup de choses à leurs parents et c’est vrai que les parents acceptent beaucoup plus lorsque les choses viennent de leurs enfants. Nous avons beaucoup de parents qui nous disent que ça les fait réfléchir et ça les amène à revoir certains de leurs comportements concernant le tri des poubelles, par exemple. C’est très important de sensibliser les jeunes générations, les adultes de demain.

C’est en effet très intéressant mais comment s’opère l’ancrage avec ce qui se passe ici, avec le monde des entreprises par exemple ?

WWF est une des premières et rares ONG dans l’environnement à avoir fait des partenariats avec des entreprises. C’est un parti-pris que nous assumons depuis très longtemps parce que nous croyons dans le dialogue, pour la concertation pour faire avancer les choses et on s’est toujours dit que si on oublie le monde économique on n’y arrivera jamais. Aujourd’hui, tout le monde travaille dans le monde des entreprises. On entend souvent: “les entreprises c’est le diable” mais ça ne se passe pas comme ça. Bien sûr, il y a encore beaucoup d’entreprises qui ne jouent pas le jeu. Les entreprises pétrolières par exemple sont encore à l’opposé de notre objectif d’un monde sans hydrocarbures, on ne pourra donc pas faire des partenariat avec elles. Mais beaucoup d’autres entreprises cherchent à évoluer et on les amène à réfléchir ensemble. La plupart des grandes entreprises travaillent par exemple avec énormément de fournisseurs et si on arrive à les amener à changer de fournisseurs c’est tout un secteur qui va changer: les concurrents vont se mettre à bouger, les consommateurs aussi, donc on va avoir beaucoup de propositions et finalement, on n’aura pas touché qu’une seule personne mais plein de personnes, un tissus économique très important.

Absolument. Est-ce que vous avez remarqué des changements significatifs de la part de certaines entreprises avec lesquelles vous avez des partenariats.

Au début, c’est vrai que ça a été très longs. Mais les partenariats c’est sur de longues années. C’est pas seulement la question climatique qui est en jeu; il y a des tas de calculs économiques qui vont avec aussi. Durant la canicule de 2003, le secteur touristique s’est effondré. Les stations de ski le jour où il n’y aura plus de neige elles vont s’effondrer… donc voilà, l’économie va être touchée de toute façon. Je pense que, contrairement au monde politique, les entreprises ne sont pas là pour quatre ou cinq ans seulement; elles espèrent être encore là longtemps; par conséquent, consentir le coût du changement maintenant leur permet peut-être d’avoir moins à payer plus tard, ou d’être forcé par des lois à payer des taxes et des compensations, etc. Donc cette prise de conscience elle n’est peut-être pas très rapide et on a sans doute besoin d’aller plus vite mais elle est là. Chaque bataille qui est gagnée nous permet de continuer à avancer. Cela nous permet de trouver des solutions et non pas que de chercher à détruire.

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Vous avez je crois un label que vous donnez aux entreprises qui ont fait un effort…

En effet, elles peuvent poser le logo WWF sous certaines conditions. Nous avons également le challenge des entreprises qui fixe divers critères de sélection. C’est un challenge international qui demande notamment aux entreprises de réduire les émissions de gaz à effet de serre. On les engage donc sur une démarche globale et longue.

Vous avez fait le tour ici ? Est-ce qu’il y a des entreprises qui ont particulièrement attiré votre attention ?

Oui en effet, nous avons des partenaire ici comme la Poste et Michelin. C’est vrai que souvent on nous dit: “pourquoi Michelin? Puisque Michelin c’est la voiture qui pollue…”; mais nous on travaille avec eux sur des solutions alternatives au caoutchouc, quelque chose qui puisse réduire sensiblement l’émission de gaz à effet de serre. Michelin c’est une très grosse entreprises qui équipe des millions de voitures; ça serait énorme si on arrive à leur faire changer de procédé, sachant que le tout électrique ne semble pas être pour tout de suite. Donc il faut agir sur toute la chaîne actuelle.

Est-ce que vous donneriez votre label à une entreprise comme Coca-Cola, par exemple ?

Justement nous avons un partenariat avec Coca-Cola sur le plan national pour baisser la consommation en eau. Avec l’Oréal, par exemple, on essaie d’infléchir leur politique d’expériences sur les animaux, donc nous n’avons pas de partenariat avec eux …

Au fait, pourquoi le Panda ?

(elle sourit) C’est en 1961, l’année de la création de WWF que le panda a été choisi comme emblème. Il était arrivé au zoo de Londres, et c’était le fait que ce petit animal était en noir et blanc. Donc ça entrait dans notre politique d’éviter l’impression en couleurs et d’imprimer en noir et blanc …

Magalie, vous êtes jeune; qu’est-ce qui vous a inspiré à vous investir aussi fortement avec WWF en tant que volontaire ?

WWF_logo1_inarticle

Avant, j’était chargée des relations presse avec la télé et les radios mais j’ai toujours voulu rejoindre une ONG et faire du bénévolat et quand j’ai eu une opportunité de rejoindre WWF par le biais du service civique qui, comme vous le savez, a remplacé le service militaire. J’étais entrée pour faire un remplacement pour une mission de six mois en tant que bénévole et finalement je ne suis jamais repartie. Ce que j’aime c’est travailler avec les bénévoles parce qu’on a cette occasion de ne pas se contenter de dénoncer mais on a cette capacité de dialogue. On est légaliste, par exemple; on ne fait pas de rassemblement illégal parce qu’on veut que nos actions aboutissent. On a énormément de projets terrains. Avec WWF, on récolte des fonds et on va dans les ONG pour leur proposer ou les aider dans des projets innovants. Dès que les projets sont sur de bons rails et qu’elles peuvent se débrouiller elles-mêmes alors on va en aider d’autres. On travaille avec beaucoup de locaux en Afrique et ailleurs, les femmes et des entreprises. On essaie de comprendre leur culture et de les aider sur le terrain de façon pratique et respectueuse tout en les amenant à changer progressivement certaines choses. Nous travaillons par exemple beaucoup sur la question de la déforestation en Afrique. Des maisons ont été construites, des associations de femmes ont été créées… Voilà, c’est ça qui m’inspire.

Nous avons une devise à Horyou: rêver, inspirer et agir. Vous, qu’est-ce qui vous fait rêver ?

Oh moi il y a plein de choses qui me font rêver. Une planète que les gens apprennent à respecter et à ne plus regarder sur le court terme. Une planète où il y a encore des forêts, des animaux à l’état sauvage… une vrai prise de conscience de l’importance de l’environnement.

Avez-vous un message à adresser à la COP21 et aux citoyens du monde ?

On n’a plus de temps à perdre. On a besoin de tout le monde, des citoyens comme des entreprises. On a besoin de toute la société.

Merci Magalie et bonne chance à nous tous.

Par Elie Ayoub

JJ-D_19_2

By Amma Aburam

We sat in a booth at the rear of the Fert Barton hall in Geneva, a gracefully and beautifully lit white exhibition space. At its center, a long sculpture representing passing people and beyond that hang two large size photographs by photographer Jean Jacques Dicker. The two photographs represent two rooms he lived in during his many travels – Dicker has visited 92 countries in his lifetime and he masters six languages. They were part of an exhibition that was to showcase the African continent. Well-chosen they represented the highlights from his two years travel on the continent, in 1977-1978 and then again in 1984, crossing from North to South Africa. Horyou seized a chance to talk to Mr. Dicker about his lifetime of travels and the stories behind his photos.

As he walks in, it is obvious that Jean Jacques Dicker is a child of the Hawaiian Islands. Wearing sandals, a tussled scarf and a light khaki jacket, he states his rebellion against the cold weather and his desire to return to his home in Honolulu, Hawaii. Born and raised in Switzerland, he studied at the University of Geneva before heading to Honolulu to study at the University of Hawaii. Today, he still lives and finds inspiration on the island as a waiter and a photographer.

Jean-Jacques Dicker and his wife Yuko Kamiyama
Jean-Jacques Dicker and his wife Yuko Kamiyama

The Afrique exhibition began on the 24th of November 2015 and will carry through to the 15th of January 2016. The photos tell the story of a well-travelled man, one that has found his “home” in many different places. Michel Auer, founder of The Auer Foundation, made the exhibition possible: “I have known Michel for many years and he decided to organize this exhibition for my work and that’s how I’m here,” Mr. Dicker utters. His photography career was triggered by one simple fact: “I wanted to travel,” he confesses. “I finished University and worked for a year then I travelled. I came back and took photo course because I figured if I could do that I could make a little money on the side.” Little did he know he had a natural talent with the camera. He got countless compliments for his work, learnt how to print, entered competitions and won awards: “I was flattered and enjoyed doing it, which is the most important part”, he admits.

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At the age of 71, Mr. Dicker has made his “home” in Kenya, Japan, South Africa, France, Switzerland and New York. We asked him about the highlights of some of these experiences, starting with the African continent. “In Africa, the highlights are the people, the relationships I built,” he says. One of the exposed photos is a shot of his room in Kenya, where you can tell he lived a simple life. It shows a simple bed and a simple coat hanging above the bed. He lived with prostitutes in Nairobi, as part of one of his photographic projects. Then, finally, he made it to South Africa: “travelling through the continent I crossed quite a few unsettling countries; but South Africa was the scary one. It’s what we had been hearing on the news: Mandela was in jail, apartheid was in full bloom and I was breaking the law because I had a black girlfriend when I was there.” Mr. Dicker didn’t let himself be influenced by the social and political state of affairs; he treated everyone equally and made life long friends thanks to his kind attitude: “I worked in a restaurant where the waiters were white and the assistants black. I would help them out, I would eat leftovers with them, they would ask if I didn’t mind eating with them and I would say of course not! I was from Europe and that was normal to me”, he recounts. Upon his departure, the assistants made a circle around him and told him he was the only white man they respected because of his humility and kindness.

In his South-Asian adventures he met with his aunt. An experience he relates with emotion, joy and awe just as if he was reliving it: “I met my Aunt who was French and who went to live in India about 40/50 years ago. I had lost touch with her since 1962 but I knocked on her door and said remember me I’m your sister’s son. That was fun. I met my nieces as well.” This experience was proof that we can find home in travelling as well.

Jean-Jacques Dicker with Michel Auer
Jean-Jacques Dicker with Michel Auer

Today, If there is still a place he would like to visit, it is Brazil; having missed the chance to go years ago. A hitch hiker at heart, in the sixties he took the road from San Diego to Mexico and then to different places for about 3 months: “I did that in 1966, back then it was all about flower power. I’m not sure what it would be like to do that today”, he adds.

Aside from his travels, Mr. Dicker keeps photography close to home. One of his recent series is comprised of portraits of restaurant workers, his colleagues back in Honolulu; a black and white series delicately highlighting the different personalities he encounters and works with everyday. “I’m not big on messages in my photography. I want to capture beauty and experiences for myself. If people like it, that’s even better,” he explains.

Mr. Dicker is a dreamer from the sixties: “I dream that there will be no religions, no nations and no flags. These are the things that separate people,” he declares passionately. For him inspiration simply resides in photography. He points to one of his photos of his bedroom in Kenya: “Hopefully, when you see that you are inspired to go live in a room like it or get on the road,” he says. He then points to a photo of a child on a boat on a river in Kenya as well: “look at that kid. I am so fortunate to have witnessed that and it was even more fun and special that he didn’t notice me taking the photo. He certainly made me so happy and maybe he will make others happy too.” To act for Mr. Dicker is to share his experiences through conversations such as this interview: “To act is to talk to you and say all these things about nations, flags and religions and if you put that in an article and someone is inspired or semi-thinks about it, that’s a good thing.”

His exhibition continues until the 16th of January at the Espace Fert Barton in Geneva.

By Amma Aburam

Catching up with Reza is always a pleasure. The photographer is a humanitarian force, consistently using photo to change the lives of people around the world. With him, there is always something new to discuss. This time he tells us about projects: a recollection of stories and photographic plans, never picked randomly but always made to have an impact on the people who participate in, see and share them.

One of his on-going projects that he brings to life through various initiatives as time goes by is called A Dream of Humanity. The idea is to have an umbrella term for his various humanitarian endeavors that take place in different parts of the world. His most famous initiative is called Exile Voices, which consists of giving cameras to children in refugee camps to take photos of their daily lives, joys and struggles. Exile voices is a project he aims to pursue for the next five years.

"Frozen Shoes" - Photo by Maya Rostam, Exiled Voices project
“Frozen Shoes” – Photo by Maya Rostam, Exile Voices project

Reza is currently working on an interactive book around the theme of Afghanistan Peace Warriors. He believes that the Internet with all its tools is an important vector of connection and knowledge. He reckons its ability to help reach millions of people with an idea is priceless. “The book is a way to link Afghanistan to the modern world, to move it away from its traditional cultural biases and ancient stories”, he explains. The book is a way to reach Afghan as well as global citizens, hence its multilingual and interactive approach designed to allow readers to engage, explore and grow their knowledge.

"Reconstruction" - © Reza
“Reconstruction” – © Reza

Another project seeks to engage the youth on current social issues. “I love Nature, I hate Pollution” is a competition created and launched by Reza in 2012 also titled Children’s Eyes on Earth. It does not only aim to raise children’s awareness of ecological issues but also to teach them about the power of photography. “I believe that 15 years ago, to be a photographer you had to have a reputation and the means to buy the material, as well as the ability to learn techniques. Today’s generation has access to limitless technologies like smartphones and I-pads to take photos” he states. For him, this can make photography trivial at times. His project is to show children that some themes and issues are so important that you can use your smartphone camera for more than just taking selfies. “It is important to have the youth know this, and to train them about it at a young age”, he adds. The competition aspect is simply to make it more exciting for them; kids love its game aspect and engage fully because of that. When I launched the project, kids from 90 countries participated; they all proved their creativity, curiosity and enthusiasm about nature and environmental issues “At the end of the day, adults see these photos and get a unique insight on how kids view their surroundings. From the refugee camp to this competition, it is easy to see that kids have a photographic eye that influences people differently”, he adds.

Reza has travelled the world and his photos have focused on various peoples, in struggles and in joys. One of his series focused on farmers in Morocco and their stories. This was in support of an NGO called AgreSud, which lacked funds while supporting agriculture in various places in the world. Reza’s humanitarian work extends to NGOs such as this one and his photos allow for the stories of these peoples to be told.

"The Frame" - © Reza
“The Frame” – © Reza

Similarly, he photographed women in Rwanda in a series called Words of Rwandan Women, as part of a project on women and their role in shaping the future of humanity. “I believe the world would be a much better place if women where in domains and positions of power and decision-making: in politics, communications, education and more”, he says. “War is the affair of men, just as we see males in various species battle things out. Women are mothers, nurturers, they give life so they don’t want to take it away”, he adds. In Rwanda and Burundi specifically, he was working on a before, during and after the genocide conflicts photo documentation. The women in these series have untold stories, one of them being about those who were raped during these conflicts. These women decided to keep their children despite the circumstances and were rejected by their families, tribes and friends, kicked out of their communities and villages. Once their tragic stories told through this series and in New York Magazine, many NGOs felt called to action and went out there to help them.

With Reza, there is no underestimation of the power of photojournalism and its endless impact on communities and lives. He has a real heart for helping others and using his talent to bring positivity to the world.

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Version Française ici

The weekend 19th to the 20th of September in Geneva marked the yearly Alternatiba Léman Festival which was centered on the theme of promoting local initiatives for climate change and the art of positively living together. The Festival hosted conferences and debates, as well as food and clothing stands, music, movie projections and local food products. It took place on the sunny Plaine de Plainpalais, a prominent square within the city of Geneva, with events also held at the house of associations and the communal hall of the Plainpalais neighborhood.

The Festival gathered around 500 people in support of local farmers, local merchants and helpful sustainable living in Geneva and the surrounding areas. It was a true embodiment of local actions for climate and the joys of connecting for a positive lifestyle. Horyou collaborated with the association and supported its “The Meal” initiative, a lunch cooked with locally produced agricultural products, with the idea to gather a large number of people from across the world to share a Meal in support of farmers and their plea for food sovereignty and access to resources, soil, water and seeds.

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“The Meal” was held simultaneously in about 20 other locations worldwide, with the same goal of promoting consumption of local products. In Geneva, it delighted 200 people on the Plaine and consisted of long tables filled with fresh tomatoes, salads, gazpachos, fresh fruits and vegetables, sauces and pasta.

“The Meal”, a truly unifying power in its ideals and encouragement throughout the world, was thus the occasion for all participants to get together, share thoughts and build solidarity within their communities, on the spot, as well as via Skype conversations. Geneva connected with Mali – led by Aminata Touré -, Morocco – led by Nicole Jeffroy -, Nepal – led by Jagat Basnet -, and Pakistan – led by a young university student called Irene Farkhanda -, to mention but a few locations.

Proceeds from “The Meal” went to various nonprofits in Geneva and in Benin, as the Festival had a dedicated area for local nonprofits and various organizations. Horyou had a stand as well, and so did some of the organizations on the Horyou platform, such as One Action and Voix Libres. The event went on through Sunday with even more participants and visitors. We look forward to seeing bigger local agricultural food tables, and more Meals shared in more locations across the world at next year’s festival.

By Amma Aburam

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