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Cecilia Vaisman at Iguazú Falls on the border of Brazil and her native Argentina in 1991.

Earlier this week we published the eulogy delivered by Sandy Tolan at a January 25 memorial event for Cecilia Vaisman at the Medill School of Journalism at Northwestern University. Today we’re sharing the words of David Jackson, an investigative reporter with the Chicago Tribune who works with Ceci’s husband, Gary Marx. You can see and hear the entire celebration here.  

On Nicaragua’s Miskito coast, Cecilia Vaisman recorded the sound of the earth on a steamy morning, the war songs of arms-bearing Indians and the droll comments of American investors who had commandeered a powerboat to explore and exploit the region’s timber.

Her radio report from that faraway place captured a world divided into two tribes. Not indigenous people versus adventuring capitalists, but: those who listen and those who don’t.

It seems so obvious on a day like this. In the end, the only thing that gives value and meaning to our lives is the good we’ve done for others. The times we pulled the ribcage open to reach for the lamp glowing there and give every bit of its warmth and light to someone else.

Cecilia gifted all of us. Again and again, she taught us and taught this heedless, out-of-kilter world to stop, and listen.

The impassioned, charismatic teenager who mastered the double bass became the master journalist so deeply in step with a polyrhythmic planet.

She took us to the heart of Charlestown, Massachusetts, and trained our ears on the heavy footsteps of Carolyn Wren Shannon walking her childhood streets, and then Shannon’s frank, forlorn voice as she recalled the casually prejudiced Irish-Catholic home where she was raised to despise blacks… and then, that native daughter’s epiphany: “You can choose to be ignorant or you can choose to be fair,” Shannon told the dark-eyed reporter from National Public Radio.

In those virtuoso broadcasts, you heard little of the journalist’s own voice – courageous, curious, musical Ceci. You didn’t hear her own footsteps as she searched the town for Shannon, and then followed her for days. Her own pounding heart as Shannon gave truth a voice.

Ceci’s colleague Alan Weisman, who with others here co-founded the radio collective known as Homelands Productions, has described some of the intrepid journeys in which Ceci seemed to equip the planet with mics and massive earphones that bound together its most remote regions.

They lay awake in the grimy mountain tents of Freedom Fighters and listened to the guns clinking as one soldier and his soldier wife shared sex amid the endless war. And then, Alan said, she hauled hours and hours of raw audio feed back to her studio and immersed herself for days in that second, sonic world. There, she practiced a kind of alchemy, Alan said, turning the globe’s headlines into poetry and song.

Ceci gifted Medill, working tirelessly to teach students the hard-won lessons of her craft, to pass on to new generations her enduring values and wisdom. I marveled to hear a flock of stories from the first radio class on WBEZ: Ceci stayed so grounded, just beyond earshot, as their young voices lifted on the air like starlings at daybreak.

She brought together the luminous friends in this room – the investigators and artists, perennial students, warriors for justice and everyday exemplary souls – because she could turn a quickly arranged lunch into an hours-long, life-changing walk.

She leaves us to care for her beloved, noble Gary and the young poet named Ana Marx and the athlete who doesn’t yet know he’s a poet, Andres. Her wings are around them now.

Her gift was so great that it showed even in small gestures, at unexpected moments. Like the bright evening in mid-June, three months before her last day, when I walked Gary down to the car where she was waiting to pick him up from work and drive them to a concert picnic at Millennium Park. Thin and hobbled by pain she did not show, Ceci slid out of the front seat and took my hands in hers. I heard what was said in the smile that was hers alone.

Stop. Listen. Live, she said.

She said, Stop. Listen. Live.

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Cecilia Vaisman at work in Brazil while reporting for the “Vanishing Homelands” series. Cecilia died in September 2015 at age 54.

Family, friends, colleagues, and students gathered to celebrate the life and work of Cecilia Vaisman at the Medill School of Journalism at Northwestern University on January 25, 2016. You can watch a video of the event here. Below are the remarks of Sandy Tolan, Ceci’s partner in Homelands Productions. 

My first memory of Cecilia Vaisman is outside NPR, the old M Street Shop, maybe 30 years ago. I was an independent radio producer living in Arizona, come to harangue editors.

Cecilia was working for All Things Considered then, just before she went to work with Weekend Edition, with Scott Simon. Anyway, we were heading with some others for a beer on the corner, two young reporters flush with the excitement of journalistic possibility. And getting RIGHT into it.

I don’t remember exactly what we talked about – maybe the trial of the church workers smuggling Salvadorans into the country, which I was working on. “That sounds GREAT, Sandy. That sounds super-interesting. That sounds AMAZING.”

Her passionate enthusiasm, her unwavering support, from day one. And maybe she talked about the street kids she had met in Rio while on assignment for NPR – her ability to open up her whole self and BECOME them. Part of her astonishing ability to transform herself, to enter someone else’s experience. As we walked toward the corner bar on 20th and M, little did I know such a deep collaboration, fellowship, friendship, kinship – witness to each other’s lives – would follow.

Soon Cecilia would join me, Nancy Postero, and Alan Weisman in a vast enterprise known as Vanishing Homelands – seven hours of documentaries, 400 hours of tape, 14 countries. In August 1990 we headed south from Tucson to Costa Rica. We drove two trucks filled with clothes, files, cassette tapes, and a few Sony TC-D5M stereo cassette recorders. With Dolby! And later Cecilia was present at the creation of Homelands Productions. And I’m here representing Homelands along with Alan, and our leader Jon Miller, and fellow Homelanders Ruxandra Guidi and Bear Guerra, now based in Ecuador.

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Cecilia was remembered by her students as demanding, passionate, and supportive.

Of course there’s a lot to say about Cecilia’s tremendous creative gifts, and her remarkable ability, as Alan says, “to set current events to music.” It’s no coincidence that Cecilia played the bass. She even enlisted two Latin American musician friends to compose and perform the theme music for Vanishing Homelands.

But despite possessing these gifts in spades, Cecilia rarely allowed any of that to obscure her appreciation for silliness, her humane appreciation for the absurd, for playfulness in the midst of the most intense kind of work.  Her ability to keep it real, and fun.

There was a sloth. A sloth living in a tree in Costa Rica, at some forest resort where we Homelanders had convened for an IMPORTANT PRODUCTION MEETING. Everything was VERY IMPORTANT in those days. Everything was EXTREMELY IMPORTANT. We had to assess our production schedule, plan our next trips into the bush, check in with our editor back in Washington – Pat Flynn, who’s here today.

But Cecilia was drawn to the sloth. And then my attention was drawn to the sloth. Because I don’t know if you’ve ever seen a sloth, but this one had a little smile on its face, and it moved… very… slowly. With its… two… fingers. I’m going to go way… over… my time… if I keep this up. That thing must have moved two feet in an hour, I’m not kidding.

But what I remember is Cecilia’s understanding of the absurd juxtaposition of the VERY IMPORTANT MEETING of these rainforest journalists on the loose… with… the… sloth. So for the whole weekend Cec and I were meeting like this (two fingers), and Ceci with that laughter where she had to catch her breath – Ana has that – to the mild annoyance of our more serious colleagues.

Down in Costa Rica, Cecilia used to lead us, now and again, in the salute to the sun. I wasn’t down with this yoga thing back then. But it was her wisdom at work: back these guys off from all this intensity! SALUTE TO THE SUN.

And then a year later, back in Arizona, Prescott, near the end of Vanishing Homelands, we had decided to try to keep our little journalist collective together. But what to name ourselves? I remember Ceci standing at a whiteboard in our basement studio in Prescott, drawing up little figures alongside our various proposed names.

Next to “Boxcar Productions” she drew a little Depression-era tramp, maybe with one of those sticks with the clothes in a bundle. Finally after a very long list of ideas – “How about The People’s Productions? How about Righteous Truth Productions? HEY, how about just THE TRUTH productions!? – Shining Light in the Shadows Productions?!?!!” – we came up with something we liked. Lost Voices Productions!

Think about that, folks. This is for a radio production company. A friend pointed out that it sounded like we all had laryngitis. So we dropped the Vanishing and settled on Homelands. I remember Cecilia’s delight in the hilarity of all of that, her ability to see the absurd inside the serious.

So many of the stories we’ve been sharing in these days center around Cecilia’s effervescence. Her incredible life force. Her AMAZING ability to connect, support, ENTHUSE – “That’s just great, Sand, that sounds AMAZING…”

When someone so powerfully infused with life force, so humane, when such a beautiful person leaves you so too early – it is hard to make sense of it. There’s a question of fairness. This isn’t fair. This. Isn’t. Fair.

When my own father died at 49 when I was 18, I remember my anger at the unfairness of it all, and the confusion, trying to understand how such a life force left us so early. And at the memorial and celebration of his life, at our house in Milwaukee, on that cold February day in 1974, I remember a complete stranger walking up to me and offering me some unsolicited insight, which at the time I didn’t appreciate, wasn’t ready to hear. But I’ve thought of it more than a thousand times since then.

She said, as I stared at the floor, “You know, when someone you love dies, there is a giant hole. A hole so big you can’t move. You can’t take a single step. And then after a little while, the hole shrinks a little bit, and you can begin to at least walk around the hole. And then it shrinks a little bit, and a little bit more, and a little bit more. But it never goes away. That hole is with you for your life.”

And that is not all bad. Because we have example. We have inspiration. In our case, here today, we have not only Cecilia’s compassion, enthusiasm, her life force, her playfulness, her humor, her generosity, to give and give and give, with every last ounce of her strength. Cecilia leaves us with so much inspiration. So many things from her that we can choose to aspire to in ourselves. And one more of those things is kindness.

I want to close with a few lines from “Kindness,” a poem by Naomi Shihab Nye.

Before you know kindness as the deepest thing inside,
you must know sorrow as the other deepest thing.
You must wake up with sorrow.
You must speak to it till your voice
catches the thread of all sorrows
and you see the size of the cloth.

Then it is only kindness that makes sense anymore,
only kindness that ties your shoes
and sends you out into the day to mail letters and
purchase bread,
only kindness that raises its head
from the crowd of the world to say
it is I you have been looking for,
and then goes with you every where
like a shadow or a friend.

RIO VERDE, ECUADOR. - JAN. 14, 2016: Barcelona Sporting Club team members run through drills during pre-season afternoon practice on January 14, 2016 at the government operated Centro de Entrenamiento para el Alto Rendimiento. Bear Guerra for the New York Times
Players for Ecuador’s Barcelona Sporting Club run through drills during pre-season practice near their base in Guayaquil. Photo by Bear Guerra for the New York Times.

Our Bear Guerra recently spent two days with Ecuador’s most popular soccer team as part of an article and photo spread in today’s New York Times. There are 12 photos in all. Freelancer Noah Schumer wrote the story, which chronicles the team’s efforts to reverse its recent run of bad fortune. Check it out!

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Homelands’ Sandy Tolan records Palestinian musicians playing near a checkpoint in the West Bank.

In a wide-ranging review of recent books on the Middle East, essayist N.S. Morris lauds Sandy Tolan’s Children of the Stone: The Power of Music in a Hard Land for its intimacy and freshness.

“Tolan exhibits novelistic flair and a tireless penchant for the telling detail,” she writes in the Los Angeles Review of Books. “His approach to character is immersive, and his treatment of the politics swirling around its characters is comprehensive.”

Norris’ article, called “Reading the Middle East,” looks at works of creative nonfiction that use a “micro” lens to examine the conflict in Israel and Palestine. These books provide “a single access point through which to tell the region’s complicated history… one small story through which larger historical truths can be elucidated anew.”

 

 

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Florida strawberry worker Jesus Garcia, left, at his trailer with Al Letson, host of the radio show Reveal. Garcia, originally from Mexico, is pushing for the sorts of improvements that the state’s tomato workers have won through the Fair Food Program. Photo by Jonathan Miller.

The strawberries on your breakfast cereal might not taste so sweet if you knew how bitter life can be for the folks who pick them. As if backbreaking labor and extremely low wages weren’t enough, strawberry workers are routinely cheated, threatened, and exposed to highly toxic pesticides.

Homelands’ Jonathan Miller recently traveled to Florida with Al Letson, host of the Center for Investigative Reporting’s Reveal radio show, to meet with workers, farm owners, and farmworker advocates.

The result was a story called “When Working Conditions are Ripe for Change,” part of a special hour “examining the complicated networks of labor, trade, and regulation” that bring food to our tables each day.

Lucas Benitez, in red, co-founder of the Coalition of Immokalee Workers, meets at the group's south-central Florida headquarters with visiting strawberry workers and their families. Jesus Garcia is at the far right. Photo by Jonathan Miller.
Lucas Benitez, in red, co-founder of the Coalition of Immokalee Workers, meets at the group’s south-central Florida headquarters with visiting strawberry workers and their families. Jesus Garcia is at the far right. Photo by Jonathan Miller.

Conditions for strawberry workers are especially rough in Florida, the second biggest producer after California. In 2014, the U.S. Department of Labor found violations at 26 of the 30 strawberry farms it inspected in Florida’s main strawberry-growing region.

And the DOL wasn’t even looking at chemical exposure, which advocates say is one of the most serious hazards for strawberry workers. Several of the pesticides and fumigants approved for use in strawberries have been shown to cause cancer and other illnesses.

But there may be a template for change, in the form of a surprisingly successful effort to protect the rights of the state’s tomato workers.

Designed by the Coalition of Immokalee Workers, a grassroots advocacy group, and supported by 14 of the country’s largest food companies, the Fair Food Program compels retailers to buy their tomatoes only from farms that pledge zero tolerance for human trafficking, sexual and physical abuse, wage theft, child labor, and other illegal practices.

Coalition organizer Gerardo Reyes Chavez says traditional corporate social responsibility programs are more interested in public relations than in systemic change. The Fair Food Program, in contrast, is an example of what his group calls “worker-driven social responsibility.”

“It’s created by workers, it’s overseen by workers, and when there are problems happening, the workers themselves become the eyes of the entire Fair Food Program,” Reyes says. “So that is the difference, and we need to recognize it so that we don’t get confused when we hear corporations saying that they are already doing their part.”

Jon Esformes is co-CEO of Pacific Tomato Growers, one of the top five tomato producers in the country. An ardent supporter of the Fair Food Program, he recently entered the strawberry business in order to pressure other growers to improve conditions for workers. Photo by Jonathan Miller.

The program has been awarded a Presidential Medal for Extraordinary Efforts to Combat Human Trafficking, a Clinton Global Citizen Award, and a Roosevelt Institute Freedom From Want Medal. More importantly, Reyes says, the difference for more than 30,000 tomato workers has been “like night and day.”

“This is a market-based solution that has brought Florida’s tomato industry from a place that was known as ground zero for modern-day slavery to one of the best workplace environments in U.S. agriculture in the space of four or five seasons,” says Laura Safer Espinoza, a former New York State judge who directs the Fair Food Standards Council, which monitors compliance.

The Fair Food Program is now looking to expand to other states and other crops, and strawberries are an obvious candidate. In their piece, Jonathan and Al meet up with one farm owner who is determined to help make that happen.

While you’re on the Reveal site checking out the story, give a listen to “From the Battlefields to the Strawberry Fields,” a not-so-sweet history of the strawberry industry by the show’s Delaney Hall.

 

Children of the StoneSandy Tolan‘s Children of the Stone has been named one of Booklist‘s Top 10 Art Books of 2015. The news was published in the magazine’s November 1, 2015, issue on the arts.

Reviewer Donna Seaman wrote: “Tolan illuminates hidden dimensions of the Israeli-Palestinian conflict by telling the story of Ramzi Hussein Aburedwan, who, against great odds, founded a music school in a refugee camp outside Ramallah.”

Booklist is the publication of the American Library Association. Click here to read the full Children of the Stone book review from March.

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Camila with her ladybug star machine. Photo by Bear Guerra.

There’s a sweet write-up about Homelands’ Bear Guerra on the Dispatches from Latin America section of the American Illustration and American Photography (AI-AP) website. Bear was recently honored in the group’s Latin America Fotografía competition for his ongoing series featuring his and Ruxandra Guidi‘s daughter, Camila.

“I’m hoping to capture something universal, something that not only other parents can appreciate, but all of us who were once children can, too,” Bear tells writer David Shonauer.  You can read the entire profile here, and see two of Bear’s winning photographs here. And you can dive deep into Bear’s work at his personal website.

 

 

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Cecilia Viviana Vaisman, 1961-2015.

We Homelanders have lost our beloved friend and colleague Cecilia Vaisman. Ceci died of cancer early on September 27 in Chicago. She was 54. Our love goes to her husband, Gary Marx, daughter, Ana, and son, Andres.

Cecilia was a co-founder of Homelands Productions, and was serving as senior producer and president of our board when she died. She was also an associate professor at the Medill School of Journalism at Northwestern University.

Homelands may be a collective of professional journalists, but it is also very much a family, and Ceci is one of the big reasons for that. Not only was she a kick-ass radio reporter, editor, and producer; she was also a warm, intense,  and huge-hearted human being. We will miss her terribly.

You can read a brief bio of Ceci here, and her obituary in the Chicago Tribune here. You can listen to the radio pieces she did with Homelands here. What a loss for us, and for everyone, that we will no longer hear her voice.