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Which clippings match 'Lima' keyword pg.1 of 1
08 FEBRUARY 2015

Achterbahn: the story behind Berlin's abandoned Spreepark

"Norbert Witte hatte einen Traum: er wollte aus dem Berliner Spreepark–einem Freizeitpark, der zu DDR–Zeiten unter dem Namen »Plänterwald« berühmt geworden ist–den größten Rummelplatz des gerade wiedervereinigten Deutschlands machen. Stattdessen ging der König der Karusselle pleite und setzte sich mit seiner Familie und dem größten Teil seiner Gerätschaften im Jahre 2002 nach Peru ab. Er hinterließ der Stadt Berlin einen Riesenberg Schulden und ein großes Chaos. In Peru verwickelt er sich und seinen 20jährigen Sohn in Drogengeschäfte. Beide landen im Knast: Norbert Witte in Deutschland, sein Sohn in einem der härtesten Knäste der Welt…"

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TAGS

19692003 • abandoned amusement park • abandoned places in Eastern Europeabandoned ruins • abandoned theme park • Achterbahn (2009) • amusement parkBerlin • boarded up • cocaine • dark undersidedeserted placesdinosaurdocumentary film • drug smuggling • drug trafficking • East Berlin • East Germany • entertainment park • filming location • fun park • fun-rides • GDRGermany • Hanna (2011) • Kulturpark Planterwald • Lima • Marcel Witte • neglected buildings • Norbert Witte • Peru • Peter Dorfler • Pia Witte • Planterwald • prison • rollercoaster • ruins • Sabrina Witte • Sarita Colonia prison • Spree river • Spreepark • Spreepark Berlin • Spreepark GmbH • Treptow-Kopenick • Treptower Park • urban decay

CONTRIBUTOR

Simon Perkins
01 MARCH 2005

Answers to exploitation in photographs

"In 1973, while conducting a literacy project in a barrio of Lima, Peru, the noted Brazilian educator Paulo Freire (and his colleagues) asked people questions in Spanish, but requested the answers in photographs. When the question 'What is exploitation?' was asked, some people took photos of a landlord, grocer, or a policeman (Boal 1979, p.123). One child took a photo of a nail on a wall. It made no sense to adults, but other children were in strong agreement. The ensuing discussions showed that many young boys of that neighbourhood worked in the shoe–shine business. Their clients were mainly in the city, not in the barrio where they lived. As their shoe–shine boxes were too heavy for them to carry, these boys, rented a nail on a wall (usually in a shop), where they could hang their boxes for the night. To them, that nail on the wall represented 'exploitation. 'The 'nail on the wall' photograph spurred widespread discussions in the Peruvian barrio about other forms of institutionalized exploitation, including ways to overcome them."
(Singhal, A., M. J. Cody, et al. 2004)

Boal, Augusto. 1979 The theatre of the oppressed., New York, USA: Urizen Books.

Arvind Singhal, Michael J. Cody, et al. (2004). Entertainment–Education and Social Change: History, Research, and Practice, Lawrence Erlbaum Associates.

[An experiment in participatory research and research as social catalyst.]

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TAGS

1973agencyAugusto Boalawareness raising • barrio • Brazilcommunity participatory projectexploitation • institutionalised exploitation • Limanail • nail on the wall • Paulo FreirePeruphotographphotographypoverty • shoe-shine boxes • shoe-shiner • slumSouth America
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