This is a story about people living in Winnipeg's exchange district. Not the ones drinking beverages on patios, not the ones living in hollywoodesc condos and not the ones partying at bars although you might have seen them standing nearby outside. You sometimes find them behind the party, away from the lights and music, sometimes sober, sometimes not, sometimes drinking beer on a bench in public and sometimes passed out in a doorway, back alley or in the middle of the sidewalk. These are forgotten faces, faces nobody likes to acknowledge, people that are stereotyped, disenfranchised, and living in poverty.

 

The title 'Disenfranchised' refers to individuals who have had their rights taken away. I've witnessed and, unfortunately, been in the company of people who have cussed, name called and/or stereotyped others based on appearance and/or social class. By stripping people of their dignity and infringing on basic human right to ask for help, you facilitate closed-minded hatred towards other and become part of the problem. I've seen it. Believe me it isn't pretty...

 

According to Human Resources and Skills Development Canada, Winnipeg's poverty rate is twice as high as anywhere in Canada. So the next time you eat or watch theatre in the Exchange (or any public district) and see a homeless person, think before you speak. I don't think it's fair to condemn and judge another person until you've examined their point of view; the purpose of this film is to give individuals who seldom get a chance to speak a chance to be heard. Disenfranchised is about understanding, not empathy, before forming an opinion.

 

I asked Jordan Chailfoux, a friend and talented aboriginal photographer, to help me capture the situation in the exchange. A stunning picture is worth a thousand words and Jordan was able to capture it. Mike Duffield's powerful score, 'You Can't Ignore What's In Your Face,' gave the project shape and changed my original idea into something better.

 

Originally, I thought I would narrate the entire piece. During the editing process, I discovered that the images and audio interviews were much more powerful than anything I could say. With Bryan Wassenaar's help, we were able to mix sound bites with the music, so I decided to present the film as a photo essay/music video. I think the film speaks for itself.

 

My statement is simple. Not all people who live in poverty are dangerous individuals. That's a stereotype. The minority always rules the majority in this situation and it's unfortunate that the bad apples always leave a lasting impression. I encourage anyone to email me back with any thoughts on it.

 

Jim Agapito