Project Basho Article in The Philadelphia Inquirer

Project Basho Article in The Philadelphia Inquirer

In a recent email Tsuyoshi Ito of Project Basho writes:

Hi everyone,

Karen Heller, a reporter from the Inquirer, is writing about Project Basho. The article, The Picture Place is going to be published Tuesday, November 27th, 2007.

It will be an great way to let people know about what Project Basho has to offer and what it is about. If you could forward the news to the interested parties, it is greatly appreciated.

Thank you again for your continued support and involvement with Project Basho.

Warmly,
Tsuyoshi

. .

Project Basho Article in The Philadelphia Inquirer
The Picture Place
by Karen Heller, Inquirer Staff Writer
Photograph by Ron Tarver, Inquirer Staff Photographer
Featuring Interviews with Friends of Project Basho:
Tsuyoshi Ito, Andrea Modica, Robert Cocozza, Kara Lafleur, and Genevieve Coutroubis.

. .

~ by Kara LaFleur on November 27, 2007.

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Work To Ride (a work in progress)

Work To Ride is a program for at risk and urban youth located in the Belmont Plateau section of Philadelphia’s Fairmont Park. Founded in 1994 by Lezlie Hiner, WTR started as a refuge for the youth of West Philly who were willing to put in a little work to get off the streets. In exchange for doing barn chores, they were allowed to pursue an equestrian sport of their choosing. Following Lez’s passion, many of them chose Polo; and in 1997, they had the first African American Polo Team in America. Ever. Over the years the program has evolved from a mere handful to over twenty and has seen the addition of Kate Simmer, Program Director who facilitates increased community support and involvement. The kids still have to work with the horses and now undergo tutoring to keep their grades up in order to participate in anything from Horse Shows to Steeple Chases. Today, against all odds, these kids continue to prove themselves both on the field and off. The images contained within Work To Ride (a work in progress) seek to explore the very heart and soul of this program. After volunteering with WTR for eight months, I began to photograph informally around the barn, with what the kids affectionately coined my “dollar camera”. Quiet and unassuming, the Holga is less intrusive than other, more sophisticated alternatives, allowing for a more immersive approach to the project. Using this plastic camera with all of its idiosyncrasies uniquely conveys the underlying socio political implications of class and race inherent within this program from which a deeply touching narrative of impoverished youth and unparalleled opportunity arises.

Kara LaFleur