Here we go: Bolivia’s Everyday Water War is finally available in Spanish and Italian. 16 years of struggle and one year of journalistic work come to an end, and we are proud to announce that the webdoc has been published by important and committed media outlets such as Periodismo Humano in Spain and L’Espresso in Italy.
For those who don’t know these names, Periodismo Humano is an independent and quality online magazine founded by Pulitzer prize photojournalist Javier Bauluz, aimed at covering the systematic violations of human rights in every corner of the planet, whilst L’Espresso is the main Italian investigative news magazine since 1955.
Don’t wait any longer. Let Jacinto, Marcela and José guide you into the Water War…
Media has changed faster than ever in the last 10 years. Newspapers and books are now fighting with social media, blogs and interactive multimedia feature for the most precious resource: our time.
However, journalism principles have not changed that much: fair and balanced reporting, public interest, voice to the voiceless are still lighthouse guiding us in day by day decisions. A story that deserves to be told is always worth your effort.
So, maybe you’re not the king of media consumer that use to spend a night clicking around a webdoc. Maybe you would prefer to read a magazine whilst you are commuting to work or to school. What matters to us is that, if you are willing to know the story of Marcela, Jacinto and José fighting for their access to water, you can find it.
That’s why we have tried to adapt a transmedia approach in our work, scattering bits and snippets of Bolivia’s everyday water war like modern days Tom Thumbs on papers and on screen.
Summarising: with Bolivia’s everyday water war we have tried to adapt a Transmedia approach: according to photo-journalist and researcher Kevin Moloney, this means “One storyworld, many stories, many forms, many channels.” Ok, we do reckon that we’ve missed radio, but this was at least our aim.
Over the last months, our protagonists has been featured on German papers, Spanish Digital outlets, US and Italian magazines. This is the list of pieces and previews that have been published so far:
- Die Zeit, Die Ponchos der Anden, 30 November 2014 ()
- El País Planeta Futuro, Adiós a los ponchos blancos de los Andes, 18.000 años después, 15 July 2015
- El País Planeta Futuro, La guerra interminable: 15 años de lucha por el agua en Bolivia, 30 July 2015
- El País Planeta Futuro, 22.000 días sin agua potable, 30 July 2015
- Der Spiegel, Welt ohne wasser, issue 33/2015
- Narratively, 22,000 Days Without Drinking Water, 25 August 2015
- Internazionale, Acqua: fino all’ultima goccia, 18-24 September 2015
- Die Rheinpfalz, Wenn das kostbare Nass zum Kriegsgrund wird, 24 September 2015
- DiePresse, Bolivien: Der lange Kampf um das kostbare Nass, 4 October 2015
- Neues Deutschland, Bolivien hat Durst, 28 December 2015
Nevertheless, this is just a sampling of what comes next. So we hope that these few sips have made you thirsty …
Last August we decided to reveal the face of Marcela, one of our main characters, who will bring you down through the path of the Water War. But Bolivia’s everyday water war is a collective story, where the strain, the deprivations and the victories of three protagonists are crossed with the life and the ideals of more than 20 interviewees. Our main goal is to paint the most exhaustive picture that we could, because fulfilling the human right to water can be a very insidious goal.
However, some face will not be shown in the webdoc: the men who’ve spent freezing mornings wandering the Andean altiplano and sleepless nights putting everything together. The hands who rocked this cradle. The authors of Bolivia’s everyday water war.
Michele Bertelli (@MikeBertelli) is a freelance journalist and videomaker. He has covered stories for media outlets like Al Jazeera, El País, Der Spiegel, Die Zeit, Vice and Repubblica TV. He is interested in unconventional stories, migration and economic development, and has spent the last couple of years focusing on webdocs and online video formats. He’s currently living in Rome, where he produces videos for the Italian Parliament, still listening to noisy music and keeping his backpack ready.
Felix Lill (@FelixLill) is a German freelance journalist who moved from London to Tokyo after the 2012 Olympics. Now dividing his life mainly between Berlin and Tokyo, he writes a for Die Zeit, Die Presse, Der Spiegel, Neue Zürcher Zeitung, Taggespiegel, Zeit Online and others. Most of his topics are connected with economics, politics or sports. He was awarded the Austrian Sports Journalism Award in 2010, 2011 and 2012.
Javier Sauras (@jsauras) is a nomadic journalist and photographer who has been wandering from Asia to Latin America during the last five years. He has written about Japan, the Philippines, Spain, China, the U.K. and Bolivia. He is still on the road.
Your homeland is where your friends are. That’s why, after a year of work, we already feel Bolivian thanks to the people we sadly had to leave there (some of whom did not even appear in the documentary), the experiences we shared and everything they taught us.
We met two wonderful human beings, Celia and Genciano, walking along the steep sidewalks of La Paz. Celia Pérez Martín is a social worker and a specialist in gender and development and Genciano Pedriel Jare is a sound technician and serves as professor in the Universidad Autónoma del Beni university. They are both also musicians and they lent Bolivia’s Everyday Water War their musical ears and taste. While Genciano is in charge of digital audio editing, they both selected the musical track that you will hear in the documentary.
Celia and Genciano have drawn in three Andinian bands that agreed to create BEWW’s soundtrack: Awatiñas, Andes Manta Music and Toldería.
The Awatiñas are a Bolivian folk group created in La Paz in 1970 by brothers from the Conde and Beltrán families. The word awatiña means “those who take care” in the Aymara language. They sing both in Spanish and Aymara, and they play Andean instruments such as the pan flute, the sikus, the charango and the quenas. The group’s aim is to watch over the integrity and culture of Bolivia’s indigenous peoples. With over 10 albums behind their backs and several tours around Europe and Latin America, they stand as one of the best known Bolivian music groups.
The Andes Manta Music is a Peruvian band whose members come from the Andinian regions but live and work in New York. Through popular music, these musicians invite us to imagine the traditions of their culture, using the rich and eerie sounds of the rainforest. Their music is deeply rooted in the Inca cultural heritage and their ancestors, and it is played using Andinian instruments in the purest and most authentic way. The group has released several works, they have traveled around the world and they are considered a true icon of Andinian music.
Toldería is a legendary Latin-American music group from Spain. It was born thanks to the Valencian music Gonzalo Reig, who was a member of Los Calchakis group for years, which is the most important Latin-American group in all of Europe. Reig became a very experienced musician during his years working with Los Calchakis in Paris, he moved Madrid and formed Toldería.
Today we are proud of inviting you to a half-hour travel through the Andes foothills. Press play and let your mind fly!
When we started planning Bolivia’s Everyday Water War project, we chose to create an interactive documentary that would help the viewer dive into the story and get involved by its protagonists.
Immersion journalism is an interactive kind of journalism that explores the latest trends of the digital data world. We have been asked several times before what is the difference between this and the traditional narrative forms. That’s why we have decided to use this blog entry to explain ourselves better.
To begin with, interactive journalism allows a great proximity to the audience because it offers the consumer the possibility of experiencing the story from the protagonist’s point of view instead of settling for the reporter’s vision. Plus, this model often covers deep analysis and big data view that are usually put at disposal to the viewer under a Creative Commons licence.
Interactive journalism also combines video, image, audio, text and motion graphics, always available to the user to choose what to see and how to experience the story.
These new formats usually rely on social networks and are adapted for smartphones and tablets.
Since they are not limited by any style or format, there are as much interactive and immersion journalism different examples as projects. We would like to recommend three examples that really caught our eyes:
This is just the icing of a huge cake. Journalist Eva Domínguez’s blog compiles a lot of other examples. Go on and visit her blog: it’s a great way of learning about the latest trends in journalism.
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