Jason
DaSilva
I was born in Dayton,
Ohio in the late 70Õs. That year Dayton was statistically the most average
place in America and Jason was the most commonly used boyÕs name. Yet, looking
behind me, following the string of family history and culture leading up to me,
I would say that my entrance into this world was anything but average. My
nationality is being a descendant of Goa, a Portuguese colony in India until
the mid 1900Õs. My grandparents (on both sides) moved to East Africa, where my
parents were born. My parents came to America under university scholarships (my
dad to the University of Dayton and my mom, New York University), and never
returned to East Africa. For my dad, this was because of the political exile of
all Indians in Uganda. My mother, as a woman of color, is an alumnus of NYU;
She graduated in New York as a Masters in Social Work in 1976. It was in
America that my parents met, and settled in Ohio. With my fatherÕs as a
teacher, we were moved to a gritty outskirt of Fort Lauderdale, Florida, where
I spent most of my life, amongst primarily Hispanic and Caribbean communities.
After ten years, and watching our neighborhood slowly ghettoize, we picked up
and relocated to Vancouver,
Canada, where I have lived until New York in 2001.
I am an artist, an
activist, and an educator. These three elements, help me forge the path in
which I will create and share myself. I will forever create, bringing together
the stories and issues I hold close to myself. I have found ways to travel the
world, mostly through my art-making career. From Cuba to India, I have had
opportunities to collaborate artistically and explore different nationsÕ
relevant social, political, and economic structures. This work has given me ability
to carry my artistic profession in responsible ways, which reflect the changing face of todayÕs global
village. As a filmmaker, I use the form to shed light to issues I find myself
within, expanding communication on these topics, as they are relevant within
history and place. Being a South Asian diasporad, within my work, I have
effectively discussed the racially stereotyped Muslim communities living in
America after 9/11. I am focusing on the stronghold of popular media
substantiating the semiotics and images that continue to feed into the public
sphere.
Artistic Goals
I will forever create,
bringing together the stories and issues I hold close to myself. I have
persevered to look through with lens with my own eyes; being critical of media
and culture, being a person of color, and activating social change through my
work. My goals are to remain an independent artist, but also transmitting my
skills and assets to communities that I can speak for with my profession. With
my background as a multicultural artist living in North America, I look into
places and concerns that are often mistakenly/intentionally swept aside and
bring them into the light.
My work consistently reworks
models of identity, cultural hybridity, social orientation, private vs. public
space, and multifaceted existence. Implementing dominant narrative storytelling
forms, I nurture these long-established structures into dynamic ways that
create alternative and refreshing methods of storytelling. However, I am
interested in reviving forms lost with cultural extinctions and the
industrialization of the story as a popular culture commodity. As Vietnamese
artist/academic Trinh T. Minh-Ha explains in ÔWoman, Native, OtherÓ, a
minority/woman artist is consistently reminded of the thematics of his or her
work, because the access to such materials and technology is a privilege by
means as it does not hold part in the socio-economic structures set for them.
Like this, within work, I remain conscious of my placement in society, working
with personally relevant themes, and creating narrative structures both within
and alternative to popular methodologies.
My
drive for making art will always remain; I am constantly seeking out
progressive inspiration and collaboration. It is by surrounding myself,
engaging, and collaborating with other filmmakers, artists, activists, and
educators that I find my work shines out best. During my time at Emily Carr
Institute of Art and Design, my extensive self-discipline along with strong
instruction allowed me to research unique methods of filmmaking; so much so,
that I was called back as a visiting artist to teach these skills to the art
students in the following years. I will never cease to learn; there is never a
time of day where my quench for knowledge and experience ceases.
Writer/Director/Producer/Web-Developer- Jason DaSilvaÕs
first film was ÒCuba DreamsÓ. Shot in Havana in 1999 and premiered at the Latin America
Film Festival. His next film, ÒOlivia's PuzzleÓ, after screening at more than 30
festivals including Sundance, received an Oscar qualification in 2003 and was
then broadcasted on CBC, HBO and PBS. His third film, ÒLest We ForgetÓ, was released in 2004, fusing
interactive web and social-issue film. His next film ÒA Song for DanielÓ premiered at the Tribeca Film Festival in 2005 and
was on CBC and PBS. He has
received several awards including The Jerome Foundation Media Fund, The Peace
and Racial Justice Fund, The Paul Robeson Fund, a Canada Council for the Arts
grant, an NFB grant, and a fellowship award from IFP/New York. DaSilvaÕs latest
short ÒTwins of MankalaÓ was shown on PBS/POV. Jason created ÒNational InsecuritiesÓ, an
installation exhibited at the Whitney Biennial 2006.
More info: www.infacefilms.com