CONTACT: KARTEMQUIN FILMS AEn: Xan Aranda / Xan

CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
A
ferocious
kill
on
the
SerengeJ...
warnings
about
endangered
species…
These
clichés
of
nature
documentaries
disregard
a
key
part
of
the
landscape:
villagers
just
off‐camera
who
navigate
the
dangers
and
costs
of
living
with
wildlife.
Africa
is
emerging
from
a
history
of
“white
man
conservaJon”
that
displaced
indigenous
people,
banned
subsistence
hunJng,
and
fueled
resentment.
Now,
a
revoluJon
in
grass‐roots
wildlife
conservaJon
is
turning
poachers
into
protectors.
But
change
doesn’t
come
easy.
With
memorable
characters
and
spectacular
locaJons,
MILKING
THE
RHINO
tells
joyful,
penetraJng
and
heartbreaking
stories
from
Kenya
and
Namibia
–
revealing
the
high
stakes
obstacles
facing
Community‐Based
ConservaJon
today.
DIRECTED
&
PRODUCED
BY
DAVID
E.
SIMPSON
Co‐Producers:
Jeannie
R.
Magill
and
Rehad
Desai
ExecuJve
Producer:
Gordon
Quinn
From
Kartemquin
Films,
the
makers
of
HOOP
DREAMS,
STEVIE,
and
other
award‐winning
documentaries.
CONTACT
A"n:
Xan
Aranda
[email protected]
Telephone:
(773)
290‐9623
LENGTH
53
and
83
minute
versions
available
FORMAT
High
DefiniJon
COMPLETED
June,
2008
www.MilkingTheRhino.org
MILKING
THE
RHINO
is
a
co‐produc7on
of
David
E.
Simpson,
Kartemquin
Films,
and
the
Independent
Television
Service
(ITVS),
with
funding
provided
by
the
Corpora7on
for
Public
Broadcas7ng
(CPB).
Himba
women
herding
caQle,
Marienfluss
Valley,
Namibia
(Photo:
Jason
Longo)
View
the
trailer
at
h"p://www.youtube.com/watch?v=K6vWkQTlNLs
A
selecJon
of
press,
cast,
crew,
and
producJon
images
may
be
viewed
at
h"p://www.flickr.com/photos/milkingtherhino/sets
For
more
informaHon
and
hi‐res
images,
contact:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
MILKING
THE
RHINO
is
a
co‐producJon
of
David
E.
Simpson,
Kartemquin
Films,
and
the
Independent
Television
Service
(ITVS),
with
funding
provided
by
the
CorporaJon
For
Public
BroadcasJng
(CPB).
Major
funding
for
MILKING
THE
RHINO
was
provided
by
The
John
D.
and
Catherine
T.
MacArthur
FoundaJon.
www.MilkingTheRhino.org
Director’s Statement
I
like
wild
animals
as
much
as
the
next
person,
but
what
drew
me
to
MILKING
THE
RHINO
was
the
people.
I
wanted
to
tell
the
story
of
conservaJon
from
the
African
perspecJve
—
something
that
I,
for
one,
had
never
seen.
Africa
is
the
world’s
conservaJon
laboratory.
But
like
most
Westerners
I
was
ignorant
of
the
dark
side
of
Africa's
conservaJon
history:
that
it
furthered
the
tourism‐agendas
of
colonial
governments
while
displacing
and
alienaJng
indigenous
people.
In
post‐colonial
Jmes,
conservaJon
has
been
turned
on
its
head
by
a
growing
consensus
that
the
world’s
remaining
wildlife
is
doomed
unless
local
people
are
given
a
say
and
a
stake
in
preserving
it.
My
goal
in
MILKING
THE
RHINO
was
to
explore
the
nuances
and
complexiJes
of
this
new
people‐centered
approach.
I’m
capJvated
by
the
noJon
of
a
community
undergoing
rapid,
radical
change.
The
Himba
and
Maasai
are
among
the
oldest
ca"le
cultures
on
earth;
herding
is
in
their
DNA.
So
for
the
Il
Ngwesi
community
to
retool
their
economy
and
lifestyle
to
favor
eco‐tourism
and
conservaJon
–
at
the
expense
of
grass
and
space
for
ca"le
–
is
like
removing
a
rib.
I’m
fascinated
by
the
conJnuing
debate
within
the
community,
and
by
the
collision
of
ancient
ways
with
Western
expectaJons.
My
hope
is
that
this
film
will
cause
audiences
to
revise
their
images
of
Africa
and
Africans.
Most
Westerners
see
Africa
through
a
haze
of
reportage
about
wars,
AIDS,
poverty,
corrupJon.
Rural
Africa
in
parJcular
is
viewed
as
backwards
and/or
romanJcally
pure.
By
weaving
stories
of
complex,
mulJ‐faceted
characters,
MILKING
THE
RHINO
breaks
with
stereotype
to
paint
rural
Africans
as
akina
sisi
–
“people
like
us.”
‐
David
E.
Simpson
July,
2008
PHOTO: David E. Simpson (left front) with James Ole Kinyaga (right front) at Il Ngwesi Lodge, Kenya
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
Crew
David
E.
Simpson
has
crased
award‐winning
films
for
twenty‐five
years.
As
a
producer,
director
and
editor
he
plies
his
trade
in
the
belief
that
a
well‐told
story
can
move
viewers’
hearts
and
minds
regarding
crucial,
human
issues.
David
co‐produced
and
directed
WHEN
BILLY
BROKE
HIS
HEAD,
a
documentary
about
disability
culture
that
won
the
Sundance
Film
FesJval’s
“Freedom
of
Expression
Award,”
along
with
major
prizes
at
dozens
of
other
fesJvals.
He
recently
co‐produced
and
edited
FORGIVING
DR.
MENGELE,
David E. Simpson about
an
Auschwitz
survivor’s
controversial
campaign
of
Producer/Director/Writer/Editor forgiveness,
which
won
the
2006
Slamdance
Grand
Jury
Prize
for
documentaries.
David
directed
REFRIGERATOR
MOTHERS,
about
a
generaJon
of
mothers
who
raised
auJsJc
children
under
the
shadow
of
professionally‐
MOTHERS
promoted
mother‐blame.
The
film
won
top
honors
at
the
Florida,
Indiana,
and
Sedona
film
fesJvals
and
aired
on
the
PBS
series
P.O.V.
David
produced
and
directed
Halsted
Street,
USA,
a
mulJ‐award‐winning
snapshot
of
America
through
the
prism
of
one
mulJ‐cultural
street.
His
experimental
narraJve,
Dante’s
Dream,
a
re‐working
of
Dante’s
cosmology,
earned
five
1st‐Place
fesJval
awards.
When
not
producing‐direcJng
his
own
work,
David
edits
long‐form
documentaries.
His
credits
include
Kartemquin
Films’
recent
release
TERRA
INCOGNITA:
MAPPING
STEM
CELL
RESEARCH,
which
aired
on
PBS’
Independent
Lens;
the
PBS/Kartemquin
series
THE
NEW
AMERICANS;
the
Emmy‐nominated
NOVA:
MYSTERIOUS
CRASH
OF
FLIGHT
201;
Frontline/Marian
Marzynski’s
SHTETL
(grand
prix,
Cinema
du
Real);
Kartemquin
Films’
5
GIRLS
and
VIETNAM
LONG
TIME
COMING;
and
an
episode
of
THE
PEOPLE’S
CENTURY
for
BBC/PBS.
Jeannie
R.
Magill
owned
and
operated
Westwind
Safaris
and
Tours,
a
safari
company
specializing
in
educaJonal
safaris
to
Kenya.
She
was
a
VisiJng
Scholar
with
the
Program
of
African
Studies,
Northwestern
University;
and
she
served
as
a
consultant
to
the
renovaJon
of
the
African
wing
of
Chicago’s
Field
Museum
of
Natural
History.
She
has
chaired
panel
discussions
for
the
African
Trade
AssociaJon
Congress,
presented
numerous
educaJonal
talks,
and
published
many
arJcles
for
travel
trade
newspapers
and
magazines.
She
recently
moved
to
Santa
Fe,
New
Mexico.
Jeannie R. Magill
Originator/Co-Producer
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
Crew, continued
Rehad Desai, Co-Producer
Jason Longo, Camera
Rehad
Desai
has
a
history
degree
from
the
University
of
Zimbabwe
and
a
postgraduate
degree
in
TV
and
film
producing.
In
1996
he
entered
the
TV
and
film
industry
as
a
director
and
producer,
where
he
has
focused
much
of
his
energy
on
historical
and
socio‐poliJcal
producJons.
His
2004
documentary
BORN
INTO
STRUGGLE,
about
his
relaJonship
with
his
father
–
a
leader
in
the
South
African
liberaJon
movement
–
won
numerous
awards,
including
the
Cape
Town
World
Cinema
FesJval.
Rehad
is
presently
the
South
African
board
member
for
SACOD,
a
regional
filmmakers
organizaJon,
and
is
convener
for
the
United
Producers
IniJaJve
in
South
Africa.
Jason
Longo
graduated
from
Ithaca
College
in
1994
with
a
BFA
in
Film,
Photography
&
the
Visual
Arts.
Jason’s
camerawork
has
been
showcased
on
the
PBS
programs
Frontline,
The
American
Experience,
and
NOVA,
as
well
as
on
The
Discovery
Channel,
The
History
Channel,
TLC,
and
The
NaJonal
Geographic
Channel.
Recent
works
include
RAISING
CAIN,
a
2‐hour
PBS
special
examining
the
emoJonal
lives
of
adolescent
boys,
and
PATRIOTS
DAY,
a
film
about
the
lives
of
revoluJonary
war
re‐enactors
in
Boston.
Currently,
Jason
is
co‐producing
and
photographing
STANDARDS
OF
DECENCY,
a
film
following
a
mentally
retarded
man
on
Mississippi’s
death
row.
NaJve
Chicagoan
Richard
Pooler
brings
to
his
work
twenty
years
experience
in
locaJon
and
documentary
sound
recording.
His
credits
include
Bob
Hercules’
DID
THEY
BUY
IT?
(1990),
the
Frontline
series
COUNTRY
BOYS
(2006),
and
Steve
James’
REEL
PARADISE.
Richard
is
preparing
for
a
producJon
trip
to
Nepal,
where
he
will
record
sound
for
a
documentary
about
the
treatment
of
uterine
prolapse
among
remote
populaJons.
Richard K. Pooler
Location Sound Recording
President
and
founding
member
of
Kartemquin
Films,
Gordon
Quinn
has
been
making
documentaries
for
over
40
years.
Roger
Ebert
called
Kartemquin’s
first
film
HOME
FOR
LIFE
(1966)
“an
extraordinarily
moving
documentary.”
Gordon
has
created
a
legacy
that
is
an
inspiraJon
for
young
filmmakers
and
Kartemquin
is
a
home
where
they
can
make
films
that
invesJgate
and
criJque
society.
Kartemquin’s
best‐known
film,
HOOP
DREAMS
(1994)
was
Gordon Quinn execuJve
produced
by
Gordon.
Recent
works
include
STEVIE
Executive Producer (2003),
for
which
Gordon,
the
film’s
ExecuJve
Producer
and
fwhich
Award
Gordon,
the
film’s
producer
Cinematographer,
won
the
Cinematography
at
who
the
was
Sundance
Film
execuJve
FesJval,
producer,
FIVE
GIRLS
(2001),
and
cine
REFRIGERATOR
MOTHERS
(2002),
and
VIETNAM
LONG
TIME
COMING
(1999).
Broadcast
on
NBC,
the
film
won
a
NaJonal
Emmy
and
Director’s
Guild
of
America’s
award
for
Best
Documentary.
Gordon
execuJve
produced
THE
NEW
AMERICANS
(2004)
and
directed
the
PalesJnian
segment
of
this
award
winning
seven‐hour
PBS
series,
and
recently
produced
GOLUB,
LATE
WORKS
ARE
THE
CATASTROPHES
(2005).
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
David E. Simpson Filmography - Director
DIRECTOR
David
E.
Simpson
[email protected]
Chicago,
Illinois
USA
tel
/
fax:
(773)
761‐8855
MILKING
THE
RHINO
PRODUCER
/
DIRECTOR
/
WRITER
/
EDITOR
2008,
DOCUMENTARY,
85
MIN
REFRIGERATOR
MOTHERS
DIRECTOR
/
CO‐PRODUCER
/
EDITOR
2002,
DOCUMENTARY,
54
MIN
Grand
Jury
Prize,
Florida
Film
FesJval
Best
Documentary,
Sedona
InternaJonal
Film
FesJval
Best
of
Show,
Indiana
Film
Society
“Indyfest”
(Full
list
available
upon
request)
HALSTED
STREET,
U.S.A.
PRODUCER
/
DIRECTOR
/
WRITER
/
EDITOR
1999,
DOCUMENTARY,
57
MIN
Gold
Medal‐
Social
Issue
Documentary,
Houston
InternaJonal
Film
FesJval
Grand
Jury
Prize,
Vis.com
Film
&
Video
FesJval
Screened
at
MoMA’s
New
Documentaries
Series
Featured
on
Southern
Film
Circuit
Tour,
2000
WHEN
BILLY
BROKE
HIS
HEAD…
AND
OTHER
TALES
OF
WONDER
CO‐DIRECTOR
/
CO‐PRODUCER
/
EDITOR
1994,
DOCUMENTARY,
57
MIN
Freedom
of
Expression
Award,
Sundance
Film
FesJval
DuPont‐Columbia
Award
for
Excellence
in
Broadcast
Journalism
Audience
Award,
Leipzig
Int’l
Documentary
&
AnimaJon
FesJval
Best
Journalis7c
Film,
Leipzig
Int’l
Documentary
&
AnimaJon
FesJval
Best
Documentary,
Atlanta
Film
FesJval
First
Place
‐
Documentary,
Central
Florida
Film
&
Video
FesJval
Silver
Hugo,
Chicago
InternaJonal
Film
FesJval
(Full
list
available
upon
request)
TOM
CHICAGO
ON
LOCATION
PRODUCER
/
DIRECTOR
/
VIDEOGRAPHER
/
EDITOR
1990,
DOCUMENTARY,
23
MIN
DANTE’S
DREAM
PRODUCER
/
DIRECTOR
/
CINEMATOGRAPHER
/
EDITOR
1990,
EXPERIMENTAL,
10
MIN
Grand
Prize,
CinemaJc
Arts
Film
&
Video
FesJval
First
Place‐
Experimental
Film,
CinemaJc
Arts
Film
&
Video
FesJval
Jury
Award,
New
York
ExposiJon
of
Short
Film
&
Video
(Full
list
available
upon
request)
PARADISO
PRODUCER
/
DIRECTOR
/
CINEMATOGRAPHER
/
EDITOR
1990,
EXPERIMENTAL,
3
MIN
WANDERLUST
PRODUCER
/
DIRECTOR
/
CINEMATOGRAPHER
/
EDITOR
1975,
EXPERIMENTAL,
11
MIN
Honorable
Men7on,
Chicago
InternaJonal
Film
FesJval
Filmography,
pg.
1
of
2
PRODUCER
/
EDITOR MAPPING
STEM
CELL
RESEARCH:
TERRA
INCOGNITA
EDITOR
2007,
DOCUMENTARY,
83
MIN
Official
Selec7on,
InternaJonal
Documentary
Film
FesJval
Amsterdam
FORGIVING
DR.
MENGELE
CO‐PRODUCER
/
EDITOR
2006,
DOCUMENTARY,
82
MIN
Special
Jury
Prize
for
Documentary,
Slamdance
Film
FesJval
SOMEBODY’S
CHILD:
THE
REDEMPTION
OF
RWANDA
EDITOR
2004,
DOCUMENTARY,
52MIN
Grand
Jury
Prize
for
Best
Documentary
Short,
New
York
InternaJonal
Independent
Film
&
Video
FesJval
THE
NEW
AMERICANS
SUPERVISING
EDITOR
2004,
DOCUMENTARY
TELEVISION
SERIES,
SEVEN
60
MIN
EPISODES
Gold
Hugo,
Chicago
InternaJonal
Television
CompeJJon
Chicago
Award,
Chicago
InternaJonal
Television
AssociaJon
Best
Limited
Series
Award,
InternaJonal
Documentary
AssociaJon
Special
Screening,
InternaJonal
Documentary
Film
FesJval
Amsterdam
5
GIRLS
CO‐PRODUCER
/
EDITOR
2001,
DOCUMENTARY,
113
MIN
Henry
Hampton
Award,
Council
on
FoundaJons
Film/Video
FesJval
Silver
Plaque,
Chicago
InternaJonal
Film
&
Television
CompeJJon
Outstanding
Achievement
Award,
Parents’
Guide
to
Children’s
Media
VIETNAM
–
LONG
TIME
COMING
SUPERVISING
EDITOR
1998,
DOCUMENTARY,
116MIN
Audience
Award,
Aspen
Film
FesJval
Best
Documentary,
Directors’
Guild
of
America
Best
Documentary,
Temecula
Valley
InternaJonal
Film
FesJval
(Full
list
available
upon
request)
LIVING
IN
TALL
TREES
EDITOR
/
ASSOCIATE
PRODUCER
1997,
TELEVISION
DOCUMENTARY,
29
MIN
SHTETL
EDITOR
/
ASSOCIATE
PRODUCER
1996,
DOCUMENTARY,
172
MIN
Grand
Prix,
Cinéma
du
Réel,
Paris
First
Place,
Jerusalem
Film
FesJval
SKIN
DEEP
EDITOR
/
ASSOCIATE
PRODUCER
1996,
TELEVISION
DOCUMENTARY,
52
MIN
NOVA:
MYSTERIOUS
CRASH
OF
FLIGHT
201
EDITOR
/
ASSOCIATE
PRODUCER
1993,
TELEVISION
DOCUMENTARY,
53
MIN
Nominee,
NaJonal
Emmy
Award
Excellence
in
Media
Award,
NaJonal
AeronauJcs
and
AviaJon
AdministraJon
Filmography,
pg.
2
of
2
Credits Kartemquin
Films
&
Independent
Lens
present
MILKING
THE
RHINO
A
film
by
David
E.
Simpson
Directed,
Produced,
Wri_en,
and
Edited
by
David
E.
Simpson
Originator
&
Co‐Producer
Jeannie
R.
Magill
ExecuHve
Producer
Gordon
Quinn
Photographed
by
Jason
Longo
LocaHon
Sound
Recording
Richard
K.
Pooler
Original
Music
Mark
Bandy
Narrator
Munyikombo
Bukusi
Co‐Producer
Rehad
Desai
Associate
Producer
Xan
Aranda
Associate
Editor
Liz
Kaar
EdiHng
Consultant
Gordon
Quinn
Technical
Supervision
Jim
Morrisse"e
AddiHonal
Music
Joel
Diamond
AddiHonal
Camera/Sound
David
E.
Simpson
AddiHonal
EdiHng
Aaron
Wickenden
Archival
Research
Carolyn
Faber
LocaHon
Guides/Fixers
Boas
Hambo
Etosha
Karutjaiua
Nancy
Kireu
TranslaHon
Silas
Kimerei
Manfred
Tjitjo
Gerson
Kapi
John
Kasaona
Kimberly
Eggert
NarraHon
Recording
Experimental
Sound
Studio
Lou
Malozzi
–
Engineer
Audio
Mix
Mark
Bandy
Digital
Color
CorrecHon
Nolo
Digital
Film,
LLC
Mike
Matusek
–Colorist
Boris
Seagraves
–
Engineer
Joe
Flanagan
‐
Producer
Tape
Capture
&
Conversions
Global
Video,
LLC
Title
&
Graphics
Dizzy
Giant,
LLC
Dan
Sharkey
Ma"
Sharkey
Online
EdiHng
Media
Process
Group
Steve
Hullfish
–
Editor
ProducHon
Support
Staff
Jennie
Gambach
JusJne
Nagan
Zak
Piper
Joanna
Rudnick
Bookkeeping
Yvonne
Afable
Pam
Diaz
Kartemquin
Interns
Mary
Adekoya
Dorian
Anderson
Michael
Carney
Michael
Chandler
Shana
East
Ryan
Gilbert
Bryce
Goodman
Elliot
Greenberger
Susan
Hanrahan
Kirsten
Johnson
Amadi
Jordan‐Walker
Brendan
Kirwin
Jessi
Knowles
Danielle
Krudy
Ma"
Lauterbach
Ahnna
Lee
Todd
Lillethun
Charle
Lucke"
Meghan
McGillen
Fouzia
Najar
Aziza
Ngozi‐Walker
Nick
Nummerdor
Kevin
O'Dowd
Chad
Owen
Neal
Patel
Jackie
Robinson
Dinesh
Sabu
Tom
Salek
Brian
Schodorf
Rich
Simpson
Beckie
Stocchez
Ivana
Stolkiner
KaJe
Weber
Ma"
Wi"mer
Ellen
Wohlberg
AddiHonal
TranscripHon
Dorothee
Royal‐Hedinger
Ashley
Barnes
Jennifer
Brandel
John
Kostka
Carol
Martori
Archival
Footage
Budget
Films
Fred
MacDonald
Archive
Library
of
Congress
NaJonal
Geographic
Smithsonian
InsJtuJon
South
African
NaJonal
Film
&
Video
Archive
WPA
Music
“Samburu”
Performed
by
Bomas
of
Kenya
Courtesy
of
ARC
Music
ProducJons
InternaJonal
Ltd.
“Litungu
(Bukusu)”
Performed
by
TradiJonal
ArJsts
Courtesy
of
Tamasha
CorporaJon
Limited
“NyaJJ
–
Ndalo‐Manyieny”
Performed
by
Bomas
of
Kenya
Courtesy
of
ARC
Music
ProducJons
InternaJonal
Ltd.
“Il
Ngwesi
Lodge”
Wri"en
&
Performed
by
Mark
Bandy
Courtesy
of
Mark
Bandy
“Changing
Culture”
Wri"en
&
Performed
by
Mark
Bandy
Featuring
Michael
Levin
Courtesy
of
Mark
Bandy
“Kimanga
Cha
Manga”
Performed
by
Bomas
of
Kenya
Courtesy
of
ARC
Music
ProducJons
InternaJonal
Ltd.
“Etono”
Performed
by
TradiJonal
ArJsts
and
Mark
Bandy
Courtesy
of
Tamasha
CorporaJon
Limited
“Ndingo”
Performed
by
TradiJonal
ArJsts
Courtesy
of
Buda
Musique
“Yamala”
Performed
by
Yunasi
Courtesy
of
Yunasi
“Windhoek”
Wri"en
&
Performed
by
Mark
Bandy
Courtesy
of
Mark
Bandy
“Growth
of
Conservancies”
Wri"en
&
Performed
by
Mark
Bandy
Courtesy
of
Mark
Bandy
“100‐Year
Lease”
Wri"en
&
Performed
by
Otuma
Ole
Kuraru
Courtesy
of
Otuma
Ole
Kuraru
“Herdsman”
Wri"en
&
Performed
by
Kalahari
Surfers
Courtesy
of
Warrick
Sony
“Chant
Himba”
Performed
by
TradiJonal
ArJsts
Courtesy
of
Buda
Musique
“Aounga”
Performed
by
TradiJonal
ArJsts
Courtesy
of
Buda
Musique
“Himba”
Composed
&
Performed
by
Joel
Diamond
Courtesy
of
Joel
Diamond
Thank
You
Diane
Billing
Jerry
Blumenthal
Elizabeth
Chadri
Ian
Craig
Helen
Gichohi,
PhD
Peter
Gilbert
Emily
Hart
Jeff
Heilizer
Robert
Hitchcock,
PhD
Beth
Iams
Kaburu
Ikunyua
Il
Ngwesi
Group
Ranch
Margaret
Jacobsohn,
PhD
Steve
James
John
Kasaona
James
Ole
Kinyaga
The
Ian
Korleski
Family
Lewa
Safari
Camp
Lindberg
Safaris
“Omoramba”
Performed
by
TradiJonal
ArJsts
Courtesy
of
Buda
Musique
“Conflict”
Wri"en
&
Performed
by
Mark
Bandy
Featuring
Michael
Levin
on
flute
Courtesy
of
Mark
Bandy
“Myth
of
Wild
Africa”
Featuring
Michael
Levin
Wri"en
&
Performed
by
Mark
Bandy
Courtesy
of
Mark
Bandy
Hector
Magome,
PhD
Lamson
Makuleke
Livingston
Makuleke
Marienfluss
Conservancy
Stuart
Marks,
PhD
Daniel
Miller
Charles
MwiJ
Karen
No"
Ben
Roman
Leslie
Simmer
Garth
Owen‐Smith
The
Sancho
Soeiro
Family
Ines,
Jasha
&
Leon
Sommer‐Simpson
Clive
Stockill
Aaron
Wickenden
Wilderness
Safaris
R.
Michael
Wright
Development
Assistance
Julie
F.
Simpson
Funding
provided
by:
The
John
D.
and
Catherine
T.
MacArthur
FoundaJon
NaJonal
Endowment
for
the
Arts
Illinois
Arts
Council
And
others.
A
complete
list
is
available
from
PBS.
ExecuHve
Producer
for
ITVS
Sally
Jo
Fifer
Milking
the
Rhino
is
a
co‐producJon
of
David
E.
Simpson,
Kartemquin
EducaJonal
Films
and
the
Independent
Television
Service
(ITVS),
with
funding
provided
by
the
CorporaJon
for
Public
BroadcasJng
(CPB).
This
program
was
produced
by
Kartemquin
EducaHonal
Films,
which
is
solely
responsible
for
its
content
www.MilkingTheRhino.org
©
2008
Kartemquin
EducaHonal
Films
All
Rights
Reserved.
(End
of
Credits)
Background on
Community-Based Conservation
The
empty
spaces
of
a
na7onal
park
are
an
ar7fact
in
Africa.
A
na7onal
park
speaks
of
people
no
longer
able
to
coexist
with
animals
—
of
reserva7ons
for
Na7ve
Americans
in
the
United
States
and
Bantustans
in
South
Africa.
What
is
truly
at
stake
is
the
loss
of
our
ability
to
coexist
among
ourselves,
much
less
with
other
species.
With
the
disappearance
of
Maasai,
Bushman
and
Pygmy
tradi7ons,
and
the
establishment
of
parks,
we
have
made
space
for
nature
but
lost
the
in7macy
of
living
with
it.
When
you
have
lived
among
people
who
live
with
nature,
it
is
hard
to
accept
that
coexistence
is
dead.
‐
David
Western,
conservaJonist
and
author
When
colonial
governments
in
Africa
wanted
to
create
protected
areas
to
house
Africa’s
immense
diversity
of
flora
and
fauna,
they
looked
to
America
for
their
model.
Yellowstone
NaJonal
Park,
created
in
1872,
ushered
in
a
preservaJonist
paradigm
that
erected
fences
between
wildlife
and
humans.
Like
Yellowstone,
the
creaJon
of
Africa’s
parks
and
preserves
involved
the
forced
removal
of
thousands
of
indigenous
people
whose
coexistence
with
wildlife
was
deemed
untenable.
This
strategy
ignored
the
fact
that
many
of
the
people
evicted
had
been
living
in
ecological
balance
with
wild
animals
for
millennia.
But
it
appealed
to
African
administrators
who,
like
their
western
counterparts,
were
parJal
to
the
“myth
of
a
wild
Africa,”
one
where
animals
exist
in
splendid
isolaJon
from
human
interference.
While
enshrining
wildlife
in
protected
areas,
most
TwenJeth
Century
African
governments
banned
subsistence
hunJng
by
indigenous
people,
making
safari
hunJng
a
socially
exclusive
acJvity.
But
animals
refuse
to
stay
within
park
boundaries.
70%
of
Africa’s
wildlife
lives
outside
contained
areas.
As
human
development
spreads,
so
do
conflicts.
Elephants
and
buffalo
destroy
crops;
antelope
compete
with
ca"le
for
scarce
grazing
resources;
predators
a"ack
humans
and
livestock,
devastaJng
communiJes.
Suffering
losses
to
life
and
livelihood,
but
unable
to
legally
hunt,
many
rural
Africans
came
to
view
wildlife
resen}ully
as
“the
White
Man’s
property.”
By
the
la"er
half
of
the
20th
century,
spurred
by
the
growing
independence
of
many
African
naJons,
conservaJon
had
become
charged
with
poliJcal
conflict.
Poaching
and
social
upheaval
threatened
the
future
of
wild
animals
even
in
protected
areas.
In
the
past
three
decades,
a
new
brand
of
thinking
‐‐
based
on
the
idea
that
people
who
live
amongst
wildlife
are
osen
ideally
suited
to
be
its
protectors
‐‐
has
turned
conservaJon
upside
down.
Known
variously
as
CBC
(Community‐based
ConservaJon),
CBNRM
(Community‐based
Natural
Resource
Management),
CBWM
(Community‐based
Wildlife
Management),
etc.
‐‐
the
various
strands
all
share
a
common
set
of
goals:
to
grant
communiJes
sustainable
use
of
natural
resources
from
which
they
previously
had
been
barred,
invest
local
people
with
conservaJon
decision‐making
powers,
and
recognize
communiJes’
historical
rights
of
tenure
to
resources
and
land.
In
programs
supported
by
government
and
private
sector
funding,
community‐run
eco‐
lodges
and
cultural
tourism
turn
wildlife
into
an
asset
for
remote
communiJes.
Sustainable‐use
hunJng
quotas
can
bolster
the
community’s
meat
intake
or
be
aucJoned
off
to
trophy‐hunJng
safari
operators.
Community
game‐guard
programs,
established
to
monitor
and
protect
wildlife,
provide
employment
and
uJlize
animal‐tracking
skills
innate
to
the
community
for
generaJons.
In
these
and
other
ways,
ranchers,
farmers
and
pastoralists
are
finding
new
reasons
to
preserve
protected
areas
and
conserve
wildlife
and
other
natural
resources
on
their
own
lands.
(
Background
on
CBC
con7nues
next
page
)
Background on CBC, continued
Yet
CBC
faces
formidable
criJcs
and
obstacles.
TradiJonal
preservaJonists
and
some
animal
rights
advocates
challenge
the
noJon
of
“sustainable
uJlizaJon”
of
wildlife,
and
warn
that
endangered
species
will
suffer.
Governments
and
developers
balk
at
ceding
land
rights
to
pastoral
people.
Academics
and
funders
quesJon
whether
CBC
is
living
up
to
its
hype:
do
the
benefits
really
trickle
down
to
the
average
household?
How
has
wildlife
fared?
What
are
the
realiJes
on
the
ground?
The
transfer
of
authority
over
conservaJon
to
local
people
is
a
process
fraught
with
difficulJes.
It
will
not
happen
quickly
or
easily.
The
mixed
track
record
of
community‐conservaJon
to
date
provides
a
cauJonary
tale.
However,
few
serious
conservaJonists
advocate
returning
to
the
orthodox
“fences
and
fines”
approach
that
bred
resentment
between
communiJes
and
the
very
idea
of
conservaJon.
Most
people
working
in
the
field
agree
that
while
community‐based
conservaJon
faces
daunJng
obstacles,
it
must
be
made
to
work.
CONTACT:
KARTEMQUIN
FILMS
A"n:
Xan
Aranda
/
[email protected]
/
(773)
290‐9623
www.MilkingTheRhino.org
Background
on
CBC,
pg.
2
of
2
Interview with David E. Simpson
By
Betsy
Cass,
Kartemquin
Films
Summer
Intern
The
original
interview
may
be
found
at
h"p://kartemquin.com/newsle"er/2008/08/milking‐the‐rhino‐interview
Where
did
the
seed,
the
original
idea,
for
Milking
the
Rhino
come
from?
The
idea
for
the
film
came
to
me
from
my
co‐producer,
Jeannie
Magill,
who
has
a
background
in
educaJon
safaris
in
Kenya.
I
think
she
had
taken
a
class
in
environmental
ethics
and
became
aware
of
trends
in
Kenya
toward
community‐based
conservaJon
and
decided
that
more
people
in
our
Western
world
needed
to
know
what
was
going
on
in
community
conservaJon.
When
she
found
me
I
couldn’t
disagree.
It
just
struck
me
as
a
terrific
idea
for
a
film,
because
people
in
the
northern
hemisphere
are
largely
unaware
of
what
conservaJon
means
nowadays.
They’re
basically
thinking
of
a
twenty
year
out
of
date
model,
someJmes
known
as
the
fortress
model,
which
means
you
erect
fences
around
reserves.
Most
of
the
conservaJon
world
is
now
of
the
consensus
that
for
wildlife
to
survive
and
to
do
well
in
a
meaningful
way,
there
has
to
be
some
stake
in
its
survival.
There
has
to
be
some
stake
for
people,
rural
people,
who
live
amongst
them.
Were
there
any
special
preparaGons
you
went
through
in
making
this
film,
especially
pre‐producGon
aspects?
Yeah,
it
was
pre"y
challenging
to
get
ready
for
the
shoots,
because
90%
of
the
filming
was
done
at
really
remote
locaJons,
parJcularly
in
Namibia,
where
we
were
off
the
typical
safari
path,
up
in
areas
that
aren’t
easily
accessed.
You
have
to
drive
three
days
from
the
capital
city
to
get
where
these
communiJes
are
and
electricity
is
rare.
You
have
ba"eries
to
charge;
you
have
to
find
means
of
transportaJon.
We
had
to
find
camping
gear.
There
were
stretches
where
we
didn’t
have
a
bed
to
sleep
in,
so
we
had
to
be
pre"y
self‐
sufficient.
Between
that
and
the
someJmes
tricky
visa
and
filming
permit
securing
processes,
in
Namibia
in
parJcular,
there
was
a
lot
of
pre‐producJon.
Did
you
have
a
guide
when
you
were
there?
Who
was
responsible
for
organizing
that
aspect
of
it?
I
was
responsible
for
organizing
it,
but
with
huge
help
from
Jeannie
and
our
associate
producer
Xan
Aranda.
Early
on
we
made
a
good
contact
with
one
NGO
that’s
parJally
featured
in
the
Namibian
story.
They’re
called
IRDNC.
They’re
a
grassroots,
on
the
ground,
field
NGO,
so
they
loaned
us
one
of
their
field
people
and
one
of
their
vehicles
and
then
we
had
our
vehicle
as
well.
They
could
guide
us
up
to
where
we
needed
to
go
and
make
introducJons
to
people.
Usually
the
person
from
this
organizaJon
had
business
up
there,
so
they
weren’t
only
guides;
they
became
characters.
Our
main
character
in
Namibia,
John,
was
a
field
officer
for
this
NGO
and
is
now
the
assistant
director
of
the
place.
His
work
became
part
of
the
story.
The
film
has
been
discussed
as
“the
other
side”
of
a
nature
documentary,
but
a
lot
of
the
process
of
shooGng
actually
looked
like
it
was
a
liPle
bit
similar.
Have
you
ever
done
anything
like
that
before?
No,
I’d
never
done
any
nature
or
wildlife
photography.
There
are
some
days
when
we
would
focus
on
wildlife,
parJcularly
in
Kenya.
Out
of
the
50
shooJng
days
there
were
probably
3
days
that
were
just
dedicated
to
shooJng
wildlife.
But
we
weren’t
quite
equipped
the
way
that
Planet
Earth
is.
We
had
a
truck
and
a
tripod
and
a
great
cameraman.
But
for
me
it
was
always
the
people
who
were
the
focus.
It
was
the
way
the
cultures
were
undergoing
vast,
radical
transformaJon
because
of
this
new
potenJal
in
the
wildlife
economy.
That’s
what
was
fascinaJng
to
me.
I
guess
this
is
fairly
unusual
for
documentary,
but
when
you’re
watching
the
film,
you
can
really
feel
the
presence
of
the
crew.
Was
that
a
conscious
decision?
(
Interview
con7nues
next
page
)
Interview, continued
That’s
a
tough
quesJon.
I
would
say
that
we
had
no
deliberate
intenJon
to
make
ourselves
part
of
the
story,
nor
do
I
ever
want
to
propagate
the
myth
that
this
is
life
captured
objecJvely,
because
there’s
no
such
thing.
I
think
that
you
can,
to
some
extent,
always
sense
the
crew’s
and
the
director’s
relaJonship
to
their
subject
in
the
way
that
the
subject
is
interacJng:
how
much
they’re
willing
to
open
up,
how
they
interact
with
the
camera,
how
they
address
the
camera
or
the
person
standing
next
to
it.
There
is
some
tension
in
the
film,
both
racial
and
cultural
tension.
I
was
wondering
how
you
built
the
relaGonship
with
your
subjects
and
made
it
clear
you
weren’t
exploiGng
them.
I
think
that
the
relaJonship
is
founded,
first
of
all,
on
the
fact
that
we
were
with
people
from
an
NGO
that
were
well
trusted.
You
can’t
find
a
place
on
earth,
hardly,
where
film
crews
haven’t
been.
And
if
they’re
extremely
remote
places,
film
crews
are
that
much
more
a"racted
to
them.
So
you
will
osen
find
that
people
in
remote
places
have
already
had
negaJve
experiences
with
the
media
or
with
film
crews.
We
find
ourselves
having
to
repair
the
damage.
I
hope
it
also
has
to
do
with
the
fact
that
they
can
sense
that
we’re
genuinely
interested
in
telling
their
story
from
their
perspecJve,
which
is
always
the
rock
bo"om
goal
of
the
film:
to
tell
what
community
conservaJon
feels
like
from
the
rural
African
perspecJve
instead
of
the
white
conservaJon
perspecJve,
which
is
the
view
of
every
other
conservaJon
film
I’ve
ever
seen.
I
think
that
people
really
did
sense
that
we
respected
and
were
interested
in
their
experience.
The
film
ends
on
a
hopeful
note,
with
rain
(aVer
a
long
drought),
but
it
doesn’t
really
give
much
of
a
sense
of
closure.
Did
you
feel
a
sense
of
uncertainty
when
you
were
filming
about
the
future
of
either
your
subjects
or
that
sort
of
grassroots
conservaGon?
Very
much
so.
The
rain
is
a
momentarily
upbeat
note,
but
it
certainly
isn’t
meant
to
imply
that
everything’s
going
to
be
all
peachy
keen
from
here
on
out.
There
are
a
lot
quesJons
about
whether
those
two
places
(portrayed
in
the
film)
will
work.
So,
it’s
by
no
means
sure
that
this
is
a
formula
that
can
be
prescribed
successfully.
But
what
we
did
feel
in
terms
of
a
sense
of
hopefulness,
was
that
there
were
some
really,
really
commi"ed
people,
like
our
two
main
characters,
John
and
James,
who
are
passionate
and
commi"ed
and
smart
and
are
going
to
try
and
make
things
work
for
these
communiJes
in
our
film.
There
are,
by
extension,
a
lot
of
other
places,
commi"ed
individuals
and
commi"ed
grassroots
NGOs
that
really
want
to
make
this
work
for
the
right
reasons.
But
there
are
a
lot
of
obstacles.
In
fact,
one
irony
in
the
Kenya
story
is
that
early
in
the
film
somebody
says,
well,
“What
if
we
get
a
drought
of
tourism
like
happened
aser
9/11,
when
the
tourism
dried
up?
Then
we’re
really
puzng
all
our
eggs
in
one
basket.”
And
it
was
their
own
poliJcal
unrest
in
Kenya
that
brought
about
a
horrible
drought
of
tourism,
just
earlier
last
year.
Tourism
just
completely
dried
up
in
all
of
the
mainstream
safari
circuits
and
also
for
a
place
like
il
Ngwesi.
They
suffered
pre"y
badly,
so
they
are
vulnerable
to
that.
But
that’s
what
makes
it
a
great
story
to
me.
These
people
are
taking
a
gamble
collecJvely,
as
a
community.
Gambling
may
be
the
wrong
word
because
it
implies
a
certain
irresponsibility.
They’re
making
a
sort
of
calculated
wager
and
they’re
doing
it
in
a
pre"y
sophisJcated
manner.
The
world
premiere
is
going
to
be
Johannesburg?
Yeah.
It’s
premiering
at
this
very
exciJng
film
fesJval
(the
TriConJnental
Film
FesJval).
It’s
actually
premiering
in
four
different
ciJes.
It’s
going
from
Jo‐burg
to
Cape
Town
to
Pretoria
to
Durban.
We’ll
also,
when
we’re
in
South
Africa,
be
meeJng
with
some
potenJal
partners
to
distribute
the
film
throughout
Southern
Africa
at
the
community
level,
doing
mobile
screenings
and
get
it
distributed
educaJonally
and
more
grassroots.
And
finally,
what
are
you
working
on
next?
I’m
sJll
trying
to
recuperate
from
this.
In
some
ways
finishing
the
film
is
the
beginning
of
the
next
phase.
(July,
2008)
Interview,
pg.
2
of
2