Happy (stress-free) holidays!

Bigger presents from Haiti
Items from my present cupboard

I just wrote a very serious blog post, but I decided to save it til after the holiday season. I can see that people are in a party mood, which is a good thing. Even though Christmas and New Year’s come in well after Halloween and Valentine’s in my own Holiday ratings, it is a good time to see family and friends.

What’s not so good is the shopping Frenzy out there. With Canadian’s personal indebtedness at an all-time high, do we need to spend a lot more money on a lot more stuff? And do we need the stress of near-impossible parking and shopping mall line-ups?

In my Swedish family, present-giving has always been important. My mother, for one, always made beautiful packages for carefully chosen books or home-made textiles, a tradition now kept up by my sister Eva.

I like giving presents too, but I can’t stand Christmas shopping, and I have a system to avoid it. It’s the Present Cupboard. (Comes in handy for birthdays too.) All year, as I travel – or even just walk around town – I keep my eyes open for good presents. Although I won’t turn down a good sale with reduced prices, I have a big preference for buying things directly from people who make them, so I know where the money is going.

Small presents from Haiti
Inexpensive presents: the wrecked-car key rings on the right are from ATSA - the subject of my film Art en Action. You can find other presents on their website.

It seems to me this is more important than ever these days when arts and crafts are under attack from governments. If you buy something from a local artist or artisan, you are helping them stay alive and keep doing what they do best. There are also the special stores which sell fair trade presents, a great way to support cooperatives in poor countries. Many NGOs also sell fair-trade presents on-line.

And then there are great ways to contribute to good causes around the world, and ear-marking your donation as a present for a friend. This is mostly what I’ll do this year, because this has been such a terrible year for the people of Haiti.

So I will buy most of my ‘presents’ from Doctors Without Borders – you can buy cholera medicine, or pay for a day’s salary for a nurse or doctor. And I’ll make a contribution to Democracy Now!, for its great alternative news coverage totally independent of the multinational corporations who own most of the other media. ATSA is another excellent (and local!) group of engaged artists and citizens.

Boring, too ‘politically correct,’ moralistic? Some commentators in the mainstream media think so. If you asked the doctors on the frontlines in areas stricken by disaster, I think there perspective would be different.

Joyeuses fêtes!

God Jul och Gott Nytt År!

Feliz Navidad!

Happy holidays to all!

Thanks to Tobi Elliott for her help with this blog.

Anaïs: turning the tables

Trio politique
Three children from Anaïs' film Se Souvenir des Cendres: Regard sur Incendies

French would be the logical language for this post, but I’d like to share this content with people outside Quebec.

This past week was Anaïs Barbeau-Lavalette week. This extremely talented, 31-year-old Montreal director launched a novel, held a vernissage for a photo exhibition, and signed a terrific documentary broadcast on Radio-Canada Sunday night at 10.30.

The film, Se Souvenir des Cendres (“Remembering the Ashes”), is the ‘making of’ Denis Villeneuve‘s film Incendies, a fiction film based on Wajdi Moawad’s stage play of the same name. Produced by Micro-Scope for Radio-Canada, Se Souvenir follows the shooting of Villeneuve’s film in Jordan. Villeneuve and his crew worked with actual survivors of the conflicts as extras, from notably Iraq, Lebanon and Palestine, and these people become the mainstay of Anaïs’s making of film: they compare what they see on set to what they lived through in real life, and the effect is striking.

Also, Anaïs – who does her own camerawork – has a real eye for the children. There are many moving moments with children remembering war and expertly discussing arms, survival strategies, fears and hopes.

Anaïs Barbeau-Lavalette
Anaïs - Photo Credit: André Turpin

Children are also at the heart of Anaïs’s first novel Je voudrais qu’on m’efface (“I Would Like to be Erased”), based on the lives of children in the Montreal East End Hochelaga-Maisonneuve neighborhood where she shot some of her previous films.

The launch took place at the Usine C performance space, simultaneous with the première of a photo exhibition by cinematographer André Turpin, featuring very creative pictures of children growing up in a context marked by poverty, absent parents and various forms of addiction. All proceeds from the sale of large prints of the photos go to Dr. Gilles Julien, who is internationally renowned for his work with children, mainly in Hochelaga-Maisonneuve.

Anaïs tells me that she used to see me as an inspiration. Well, the tables have been turned, now it’s the other way around. Chapeau Anaïs!

(Anaïs is the daughter of director Manon Barbeau and cinematographer Philippe Lavalette.)

NOTE: Se Souvenir des Cendres: Regard sur Incendies will be re-broadcast on ARTV Tuesday, Sept 21 at 4 pm, and again on Sunday at 2:30 pm and 7 pm. The film will also be presented at the Festival du Nouveau Cinéma in October.

Thanks to Tobi Elliott for her help with this blog.

Marcel Simard’s last film

MARCEL SIMARD, filmmaker
Director Marcel Simard

There is a reason why I write this in English. Most francophones in Quebec who take an interest in cinema will already be aware of what I’m about to tell you.

“There are adults who have antennas for the secret pain of our little ones – forms of suffering that are often taken to be unimportant.” Those are the opening words of Marcel Simard’s last film, spoken by himself. ‘Last film’, because Marcel is no longer with us.

Like the people he portrayed in his films, Marcel was incredibly sensitive. The sometimes overwhelming challenges of being alive and people who were close to the edge were not only his subjects, they were also an inescapable part of his own life. As he said in a statement read at his funeral, this suffering had become unbearable, and he wasn’t able to face it one more day. He isn’t here to enjoy the success of his film.

Le petit monde d’Elourdes, the title of Marcel’s beautiful film, is a play on words. It means Elourdes’ children, or Elourde’s little world. It follows the first- to third-grade students of a special Montreal school, and their incredible teacher Elourdes Pierre over a period of a year.

Elourdes Pierre, Montreal teacher
Montreal teacher Elourdes Pierre

A woman of colour, Elourdes is beautiful, sensitive, intelligent and caring. With infinite patience she attends to all the seemingly small dramas that play themselves out among the children. Many of them revolve around the conflicts between the girls who often seek exclusive friendship (a father of two daughters, I am very familiar with this. Margaret Atwood has written about it…), but others have to do with the aggressiveness of some of the boys.

For the children these are deadly serious issues, and Elourdes – just like Marcel – understands this. Her interaction with the children is beautifully filmed by Arnaud Bouquet – and kudos to sound man Pierre Duplessis who doesn’t miss one word of what the children say, or sometimes whisper.

In a very moving scene Elourdes explains her agenda: if she can teach these children to resolve their conflicts here, at this age, without violence or residual resentment, they will have learned a skill for life, and our world will be better for it.

In following the class for a year, this film resonates with other French-language films like Être et Avoir and La classe de Mme Lise. In its study of human motions as expressed at an early age, it is reminiscent of Claire Simon’s La récréation.

I made three films with Marcel Simard and his wife Monique Simard, at Les Productions Virage. (For titles see my web site.) Virage produced many of the best social-issue documentaries in Quebec. I loved Marcel’s understanding of people (he seemed to see right through any kind of façade or disguise, seeing people’s soul…) and of cinema.

Like a lot of Quebec filmmakers, social workers and people involved in fights for social justice, I will miss him enormously.

Première de ‘L’art en action’ aux RIDM

Équipe_lancement

Simon Bujold, Jeannine Gagné, MI, Annie Roy et Pierre Allard. Photo: Ariane Jacob

Dans le cadre des Rencontres Internationales du documentaire de Montréal, nous avons lancé L’art en action, notre film sur les deux artistes Annie Roy et Pierre Allard qui forment l’ATSA, L’action terroriste socialement acceptable. Les 300 personnes environ présentes dans la salle ont reçu le film de manière enthousiaste, ce qui nous a évidemment rechauffé le coeur – à moi, le réalisaeur associé et DOP Simon Bujold, la productrice Jeannine Gagné de Amazone film, et nos deux ‘personnages principaux’ qui seront désormais simplement nos amis.

Le meilleur compliment que j’ai eu pendant la fête qui a suivi venait de Hugo Latulippe, le cinéaste de Bacon et l’admirable Ce qui Reste de Nous, qui me disait:

Je suis entré dans la salle un peu découragé parce que je n’arrive pas à financer mes films, mais je suis sorti du visionnement en me disant, ‘ostie, c’est décidé, je tourne !’ C’est la leçon que tu nous donnes Magnus, il faut tourner…..’

Je suis content de sortir un film que les gens trouvent inspirant, car le film que j’ai sorti aux Rencontres l’année passée, LA BATAILLE DE RABASKA (co-réalisé avec Martin Duckworth) se terminait de façon assez triste. L’art en action, comme Annie et Pierre, semble donner le goût aux gens d’agir, on ne peut pas souhaiter mieux.

Le film qui est distribué par les Films du 3 Mars prendra l’affiche au Cinéma Parallèle à Montréal le 20 Nov., et au Cinéma Cartier à Québec le 4 décembre.

Poster L'Art en Action

Our artists in Havana/Nos artistes à La Havane

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Annie Roy and Pierre Allard of ATSA with one component of their installation at the Havana Biennial
Annie Roy et Pierre Allard de ATSA avec une partie de leur installation à la Biennale de La Havane

[Français plus bas]

With my close collaborator Simon Bujold, I am just back from Cuba, where we were filming the artists Annie Roy and Pierre Allard of ATSA as they participated in the 10th Havana Biennial. The theme of the event is Integration and Resistance in a Global World. Annie and Pierre made an installation called Cannonballs and Bubblegum, a way of speaking about the repressive and destructive aspects of consumer culture – a kind of warning to people who live in a context of shortages but whose society might well experience huge changes in the decades to come. This was one of the last shoots for our film Creative Emergency (working title) produced by Amazone Film, already in editing and likely to be released before the end of the year.

Avec mon complice Simon Bujold, je suis tout juste de retour de Cuba, ou nous avons filmé Annie Roy et Pierre Allard de ATSA participant à la 10e Biennale de La Havane. Le thème de l’exposition est Intérgration et Résistance à l’époque de la mondialisation. Pierre et Annie sont venus faire une installation qui s’appelle Boules de canon et gum-balloune, façon de parler des dimensions répressives et destructrices de la société de consommation, sorte d’avertissement pour un pays qui vit la pénurie mais qui risque de vivre des changements importants au cours des prochaines décennies. C’était un de nos derniers tournages pour notre film Urgence Création (titre de travai) produit par Amazone Film – nous sommes déjà en montage, le film devrait sortit avant la fin de l’année.

Thanks to Jorge Bustos-Estefan for help with this blog.
Merci à Jorge Bustos-Estefan pour l’aide avec ce blogue.

CHANGE – Le 10e anniversaire de l’ATSA

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Annie Roy à l’occasion de l’overture de CHANGE, le nouveau magasin de l’ATSA

Cette semaine nous avons fait un tournage important lors du 10e anniversaire de l’ATSA, l’Action Terroriste Socialement Acceptable, sujet du film URGENCE CRÉATION que je fais avec Simon Bujold. Annie Roy et Pierre Allard lançaient une publication et ouvraient en même temps un magasin intitulé CHANGE sur la rue St. Laurent, à deux coins de rue de chez moi. CHANGE a ici un double sens: c’est à la fois le changement social et le petit change que Annie et Pierre voudraient ramasser en vendant des produits dérivés de leurs installations réalisées depuis dix ans. Le tout est un pied-de-nez à une société commerciale où tout est question d’argent et de produits.

Pour vous décrire les événements de la soirée de lancement, je laisse la parole à mon stagiaire Jorge Bustos-Estefan :

« L’ouverture de CHANGE (le nouveau magasin de l’ATSA sur Saint-Laurent, coin Marie-Anne) faisait partie des célébrations de leur 10e anniversaire. Annie Roy y a présenté un nouveau livre qui a pour titre ATSA, Quand l’art passe à l’action, auquel ont participé plusieurs écrivains et artistes. Elle a aussi expliqué qu’en ce moment, la motivation principale de l’ATSA est d’empêcher la victoire de Stephen Harper et des conservateurs aux prochaines élections fédérales. Ceci étant dit, le lancement du livre a été suivi par un rassemblement en plein air au Parc du Portugal, de l’autre côte de la rue, où des interventions d’artistes avaient pour principal sujet (et objet) les politiciens et les partis politiques. Ces interventions à l’allure de foire (un stand de tir, un stand d’un magicien, un bac à sable, etc.) invitaient le public à participer et prendre position avec eux. Autant l’ouverture du magasin que l’événement en plein air se sont déroulés magnifiquement et ont réussi à attirer une grande foule. Il y aura d’autres activités au magasin au cours des prochaines semaines. Pour l’instant, vous pouvez visiter leur magasin à Montréal ou le site web de CHANGE ici. »

FGourdchange888
Les politiciens et les partis politiques étaient le sujet principal de l’événement à l’extérieur.


Vidéo par Jorge Bustos-Estefan et Isabelle Kostecka

CHANGE – Fliming ATSA’s 10th Anniversary

AnnieChange.0883
Annie Roy speaking at the opening of ATSA’s new store CHANGE

The other day, we went to shoot an important event involving ATSA (Action Terrosite Socialement Acceptable). To commemorate their 10 years of doing art interventions, they opened a new store, CHANGE. The name has a double meaning, referring to both the spare change they hope to make by selling some of the franchise products, spinoffs from their major art installations over the last ten years, an social change. We got the chance to catch Pierre Allard and Annie Roy in the middle of bustling last-minute preparations (our film isn’t called CREATIVE EMERGENCY for nothing!) and what’s more, we got to see them interact with the crowd attracted by the press conference and the launch activities. Now I’ll let my intern Jorge Bustos-Estefan say a few words to fill you in:

“When I first heard about ATSA, I was intrigued by the name (ATSA is the French acronym for Socially Acceptable Terrorist Action). Then, as I read on and learned that it is really an art-driven venture, things started to make a little more sense; yet, it wasn’t until I got the chance to attend one of their events and be exposed to their art firsthand that I really caught on to the drive behind ATSA. Being the artists/activists that they are, they seek to engage the community in a number of topics through their art and events; and their agendas change over time, based on the issues they deem need to be dealt with most urgently at a particular moment.

The opening of CHANGE (ATSA’s new store on Saint-Laurent, corner Marie-Anne) was part of their 10-year anniversary celebration. There, Annie Roy presented a new book titled ATSA, Quand l’art passe à l’action, in which a variety of writers and artists participated. She also explained that ATSA’s main motivation these days is to galvanize people to prevent Stephen Harper and the conservatives from winning the upcoming federal election. With this in mind, the book launch was followed by an outdoor gathering at the Park of Portugal across the street, where the artists’ latest interventions treated the politicians and all the political parties as the main subject (and object). These interventions, which were of the street-festival type (shooting galleries, a magician’s stand, a sandbox, etc.) invited the public to take part and make a statement with them. Both the store opening and the outdoor event were successful in attracting a lot of people and turned out magnificently. I am looking forward to their next event. In the meantime, you can come and visit the store in Montreal or go the CHANGE website here.”

FGourdchange888
The politicians and the political parties were the main subject at the outdoors event.

Video by Jorge Bustos-Estefan and Isabelle Kostecka [in French]

State of Emergency: the Interns speak

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Simon (camera) and myself filming Pierre and Annie at State of Emergency.

(Photo by Marc-André Verpaelst.)

( This is a translation of a post from last week.)

I wrote about our shoot at ‘State of Emergency,’ the artistic & social happening organized by Annie Roy and Pierre Allard in Montréal. It’s for my project ‘Urgence Création.‘ Three interns came out to help us during the shoot. Here they are, with a few words about what they learned:

jeanne with stone1
Jeanne Pope

“This is the second year I have this experience at ATSA and like last year I come away with the feeling of having been with a family with all its foibles, all the grumpiness, the jokes, the love, the merriment. And now the gathering is over, we have to say good-bye till the next time….This is one aspect – the other is to be part of a documentary crew. This work takes patience, time, reflection, good humour, love. The family, or as Alex says, the ‘heroes’ welcome us in to their lives, sharing their life experiences. I see how Magnus and Simon take so very gently what they need to carve out a story. It is an incredible experience. Once again, to everyone, Annie, Pierre, Magnus, Simon, and wonderful friends made – thank you for sharing with us.” Jeanne Pope

Dijana portrait

Dijana Lazar

“State of Emergency,” was the first experience that I have had working on a documentary project as well as being a fascinating meeting with people who passinoately struggle for social justice through artistic performance. The whole time I felt an incredible positive energy which emerged from this site stemming from the campfire and the energy of the volunteers and of the committed artists. While following Magnus and Simon I very quickly understood how over the years they had become personally involved and had woven very strong bonds with the ATSA folk. It is undoubtedly this constancy and engagement which has gained the confidence of these vulnerable and marginalized people, who sometimes turn to the camera to speak about their rights or just simply about their problems. I now realize that, while a documentary is being made it is necessary to include/understand the motivations of the people involved, and it is necessary to follow events which unfold while being able to react instantly in order to collect any relevant and revealing situation.” Dijana Lazar.
ÉU07 Alex62

Alex Hamel with the former minister Louise Harel.

“I threw myself into this training by telling myself that this experience would help me to take a step towards the world of the professional documentary. I am not disappointed! As well as helping Magnus and Simon Bujold continue their work, I lived an outstanding personal experience by integrating myself, like them, into this facet of the real world. I met Pierre and Annie, the inspired artists who sustain this event with remarkable energy. I spent time with unique people who give life to State of Emergency. I also saw energetic people ready to put their hand to any task. I saw the poets and heroes of urban survival dressed and equipped like adventurers. After years of effort to get people used to being filmed (which is not easy), the camera and the boom have become a part of the furnishings here. Sounds and images cry and mingle in truthful overtones. I am sure the crew’s tactful approach and good nature which allows them this level of intimate approach towards the subjects will pay off in the quality of the film.

Finally, I adored being able to do some filming for Magnus’ blog-video and the shoot itself. That’s really where I want to be at! Aesthetically the camp is marvelous! The evening; the lights of the city; the camp fires making everything shinny and bright, with our dear old November covering us with water and ice – everything that reflects on tarmac and wet rain coats – lovely!
And the camp people are beautiful! Less influenced by politeness, fashion and social pressure, people here let their appearance tells us their story.”

Sate of Emergency is beautiful!” Alex Hamel.

Thanks to Jeanne, Dijana and Alex.

Tournage État d’Urgence: la parole aux stagiaires

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Myself and Simon Bujold (camera) filming Annie Roy and Pierre Allard, the founders of ATSA. Photo Marc-André Verpaelst.

Je vous avais parlé de notre tournage à État d’Urgence, le ‘happening’ artistique et social organisé par Annie Roy et Pierre Allard. Trois stagiaires sont venus nous aider durant la semaine. Je leur ai demandé qu’est-ce qu’ils ont appris?

jeanne with stone1“C’est la deuxième année que je vis cette expérience à l’ATSA et comme l’année dernière j’en repars avec le sentiment d’avoir été entourée d’une famille, avec ses manies, ses moments de grondement, ses blagues, son affection, sa joie. Hélas la réunion de famille s’achève et on doit se dire au revoir jusqu’à l’année prochaine…C’est une facette de l’expérience, l’autre est de vivre cette expérience en tant que membre d’une équipe documentaire. Ce travail exige de la patience, du temps, de la réflexion, de la bonne humeur et de l’amour. La famille, ou les Héros, pour citer Alex, nous accueillent dans leurs vies, leurs histoires se dévoilent graduellement et j’ai pu observer la façon dont Magnus et Simon prennent ce dont ils ont besoin pour modeler leur histoire.”

Jeanne Pope

Dijana portrait“L’Etat d’urgence était pour moi une première expérience de tournage documentaire ainsi qu’une rencontre fascinante avec les gens qui portent en eux la passion et la détermination de changer le cours des choses et qui réclament la justice sociale à travers la performance artistique. Tout le long, j’ai ressenti une incroyable énergie positive qui se dégageait de ce site animé par le feu de camp et l’ardeur des bénévoles et des artistes engagés. En suivant Magnus et Simon j’ai très vite compris qu’au fil des années ils étaient devenus personnellement impliqués et qu’ils avaient tissé des liens très forts avec les gens de l’ATSA. C’est sans doute cette constance et cet engagement qui leur a valu la confiance des ces personnes vulnérables et marginalisées qui ont par moments profité de la caméra pour réclamer leurs droits ou parler ouvertement de leurs problèmes.

Toute cette expérience était très instructive, car elle m’a permis d’apprendre que lors d’un tournage documentaire il faut comprendre les motivations des acteurs et il faut suivre les évènements en étant toujours capable de réagir sur le moment même afin de capter les situations pertinentes et révélatrices.”

Dijana Lazar

 

ÉU07 Alex62“Je me suis lancé dans ce stage en me disant que cette expérience m’aiderait à faire un pas vers le monde de la production professionnelle de documentaires. Je ne suis pas déçu ! En plus de continuer un travail formateur aux cotés de Magnus et de Simon Bujold, son proche collaborateur, j’ai pu vivre une expérience personnelle marquante en m’intégrant comme eux au sujet du documentaire. J’ai pu rencontrer Pierre et Annie, les artistes inspirants tenant ce projet à bout de bras avec une énergie remarquable. J’ai pu passer du temps avec les gens uniques qui donnent vie à l’État d’urgence. Beaucoup sont des sans-abris. Je n’ai pas vu beaucoup de soulons en guénilles. J’ai vu plusieurs raconteurs hors-pairs. J’ai vu des bouts-en-train énergiques et des gens prêts à mettre la main à la pâte. J’ai vu des poètes et des héros de la survie urbaine équipés comme des aventuriers. Après des années d’efforts indépendants pour apprivoiser ce sujet difficile, la caméra et la perche font maintenant partie des meubles. Des images et des sons criants et véridiques peuvent être capturés. La démarche à long terme de Magnus et Simon porte fruit à merveille ! Je garderai en tête leur tact et leur bonhomie qui leur permet ce niveau d’approche du sujet.

Finalement, j’ai adoré pouvoir capturer quelques images, que ce soit pour le blog-vidéo de Magnus ou pour le tournage lui-même. C’est réellement ça mon dada… Esthétiquement, l’endroit est merveilleux ! Le soir, les lumières de la ville et les feux du camp rendent l’endroit brillant et chatoyant. Notre cher mois de novembre recouvrant tout d’eau et de glace, tout ça se reflète sur l’asphalte et les imperméables mouillés. Et, les gens au camp sont beaux ! Moins influencés par la politesse, la mode et la pression sociale, nos sujets résument par leur apparence des histoires entières. Le camp de l’ÉTAT d’urgence, c’est juste beau !”

Alex Hamel (avec l’ex-ministre Louise Harel dans la photo)

 

Merci à Jeanne, Dijana, Marc-André, et Alex!

ATSA: “State of Emergency” shoot

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Photo Marc-André Verpaelst

(This was first posted in french, thanks to Jeannette Pope for the translation.)

Wednesday evening we began Filming State of Emergency 2007, ( État d’Urgence 2007) an artistic and social ‘happening” which takes place in Émilie Gamelin square in Montreal until Sunday the 25 Nov. Organized by the artists Annie Roy and Pierre Allard, founders of ATSA (Socially Acceptable Terrorist Action), the event is in it’s 8th year. This is the occasion for marginalized people from all areas of life to meet, to get a bit of warmth and very good food, as well as to take part in the varios activities and to attend shows. If you live in the Montreal area, come and take a look. It is well worth it.

I have worked for two years on a film project called Urgence Création, with my collaborator and close friend Simon Bujold. Up till now we have only received some reserach money from SODEC, our provincial funding agency, but when there are things going on which we just can’t miss out on, then obviously we are there and whip out our cameras…

We approached an excellent producer, Jeannine Gagné of Amazone film, who is very interested in producing this film. After two years working on this project, Annie and Pierre have became good friends of ours. Their work is admirable. The true subject and backbone of this film is the intensity of their engagement with their art, with society, and with life.

Here a small video made by our trainee Alex Hamel.
The two merry technicians you will see who are dancing away are Simon and I.

[youtube TpC3VIHVxTg]

Here we are doing an interview with my friend and neighbor the Montreal sculptor Armand Vaillancourt. He installed a covered steel wall of barbed wire a symbol of exclusion for Etat D’urgence;

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(Translator’s PS: I have been doing some work here with Magnus and Simon. I am really appreciative for this chance to see documentary filmmaking done with such simplicity, love, care and humanity. I am learning alot, as well as making lots of new friends. Jeannette Pope. )