Saturday, August 12, 2017

Hate Rally in Charlottesville

What's going on in Charlottesville is what I expected. To repeat what I said after the election: 'I'm shocked that I'm not more shocked. I'm sad that I'm not more sad. The fair America you think you're defending...never existed. It's not dead. It was never alive.'

For 6 months I have been watching MSM bury a figment of its imagination. They have used this 'imagination nation' to accuse POC of not being positive enough to strive or smart enough to achieve. They have used this fake America to convince me that I'm crazy, lazy, un-patriotic or -best of all- that I am the one who is a reverse racist or the one who hates. For yrs, Blacks have been saying to college-educated whites 'you are living in a fantasy.' So now you bury your imaginary America. In Charlottesville, in Ferguson, in a Charlotte church's basement.  I was never the angry or crazy one. There is going to be a lot of suffering ahead. But not blindness. Not fantasies of that other America. 

Saturday, August 5, 2017

Ignoratti

I don't believe in Illuminati. 
Ignoratti are the real global terror. 
It's a conspiracy of the willful and woeful. 
Stupid rich white men doing stupid rich white men things.
Suckered out of money by con artist 
preying on by bloodsuckers who can sniff the hate.
Ignoratti never acknowledge the blindness of bigotry
marked them as easy targets.
They double down on hate, 
directing it to the cons and the con systems,
they have inoculated themselves from 
revelation or self-examination
through the means of a cash infusion. 

Ignoratti file lawsuits to protect the rights (aka money)
 of the stupid, hateful, and rich. 
KKK, Kremlin, and Koch. 
What a lovely group of cucks.

Thursday, August 3, 2017

Get What You Want: August 2017

1.
EWG Public Theatre
deadline: August 31st
Website: ewgapplication.publictheater.org/Programs--Events/Emerging-Writers-Group/

The Emerging Writers Group is a component of The Public Writers Initiative, a long-term program that provides key support and resources for writers at every stage of their careers. It creates a fertile community and fosters a web of supportive artistic relationships across generations. Time Warner is the Founding Sponsor of the Emerging Writers Group, and provides continued program support through the Time Warner Foundation.

Writers are selected bi-annually and receive a two-year fellowship at The Public which includes a stipend. Staged readings of works by Emerging Writers Group members are presented in the Spotlight Series at The Public. The playwrights also participate in a bi-weekly writers group led by The Public’s literary department and master classes led by established playwrights. Additionally, they have a chance to observe rehearsals for productions at The Public, receive career development advice from mid-career and established writers, and receive artistic and professional support from the literary department and Public artistic staff. Members of the group also receive complimentary tickets to Public Theater shows, invited dress rehearsals, and other special events, as well as a supplemental stipend for tickets to productions at other theaters.


2.
YALE DRAMA SERIES COMPETITION RULES
 Deadline: August 15th
Website: https://yup.submittable.com/submit/20322/yale-drama-series

The Yale Drama Series is seeking submissions for its 2018 playwriting competition. The winning play will be selected by the series' current judge, Ayad Akhtar. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center’s Claire Tow Theater. The prize and publication are contingent on the playwright's agreeing to the terms of the publishing agreement.

There is no entry fee. Please follow these guidelines in preparing your manuscript:

1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.

2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.

3. Playwrights may submit only one manuscript per year.

4. Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.

5. Plays may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.

6. Plays must be typed/word-processed, page-numbered, and in Yale Drama Series play format.

7. The Yale Drama Series reserves the right to reject any manuscript for any reason.

8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.

ELECTRONIC SUBMISSIONS:
The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.

Electronic submissions for the 2018 competition must be submitted no earlier than June 1, 2017 and no later than August 15, 2017. The submission window closes at midnight EST.

If you are submitting your play electronically, please omit your name and contact information from your manuscript. The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography where indicated in the electronic submission form.

If you would like to submit an electronic copy of your manuscript please go to: https://yup.submittable.com/submit.

HARDCOPY SUBMISSIONS:
The Yale Drama Series Competition strongly urges applicants to submit their scripts electronically, but if that is impossible, we will accept hardcopies.

Submissions for the 2018 competition must be postmarked no earlier than June 1, 2017 and no later than August 15, 2017.

3.
Blue Ink Submission (American Blues Theatre)
Deadline: August 31st
Website: http://americanbluestheater.com/blue-ink-submission-guidelines/

Submissions will be accepted July 1, 2017 through August 31, 2017 @ 11:59pm. The winning play will be selected by Producing Artistic Director Gwendolyn Whiteside and the Ensemble. The playwright receives a monetary prize of $1,000 and a developmental workshop or staged reading at American Blues Theater in Chicago. Cash prizes are awarded for finalists, and semi-finalists too.

There is a $5 administrative fee. All proceeds of the fee are distributed for playwrights’ cash prizes.

4.
Beijing Playhouse
Deadline: August 30th
Website: http://www.beijingplayhouse.com/

Beijing Playhouse is looking to identify writers who have previously produced comedy stage plays who would be interested in having their works adapted for the Chinese market. Seeking modern comedies and farces with 6-12 cast size with a strong production track record.

For Beijing Playhouse’s 2019/2020 season we may be looking for modern comedies that are specifically about China and targeted to the Chinese market. We are also looking for playwrights who are interested in having their produced comedies localized for a Chinese audience.

We’ve localized other plays to great success by introducing Chinese characters and settings and jokes into these shows. Taking a tried and tested story, like Snow White or A Christmas Carol, and localizing it for the Chinese audience has proven very popular.

While these traditional shows have been successful, there appears to be stronger interest in localizing a very modern comedy. So we’re looking for authors who are interested in the Chinese market. Our goal is in keeping the gist of a playwright's story and tightly written script, but resetting it in a Chinese location, changing jokes to Chinese jokes, changing some characters to Chinese characters, and adding Chinese language.
Beijing Playhouse is the English theatre in Beijing; for the last 12 years the largest locally produced-in-English theatre in the country. We produce standard US theatre chestnuts like Guys and Dolls, Oklahoma!, Romeo and Juliet and Wizard of Oz. Last December we did an audience interactive pantomime version of A Christmas Carol. So theatre producers here are looking to us to bring and adapt good shows from the US.
The particulars around rights/royalties would be worked out with the playwright.
Send inquiry to broadway@beijingplayhouse.com

5.
Irvington Town Hall Theater: Stage Door Playwrights Festival (November 11-12, 2017)
deadline: Sept. 1st
website: http://www.irvingtontheater.com/theatre-festival

The ITHT Stage Door Playwrights Festival celebrates original plays developed by local and NY metro area playwrights. It is dedicated to providing an arena for theatrical exploration of significant historical and modern issues that are relevant to our times. It strives to put a spotlight on the power of words and artistic expression that will enlighten and inspire audiences. It will give playwrights the opportunity to present a one act play or portion of their work in a staged reading or as staged as they prefer as part of a festival setting. It will further enable playwrights to harness the power of audience feedback through audience engagement with writers, casts and notable theatrical professionals in a Q&A session after each theatrical showing. We encourage inclusion of diversity of themes and populations as part of the goals of this festival. Each play will be a one-act that runs for no longer than one hour. We are looking for family–friendly productions as well as adult productions. The festival will run on Saturday November 11th and Sunday November 12th.

We offer a blank stage, lighting and sound. Each playwright can present as they wish in terms of highly rehearsed, costumes, props etc. Chosen playwrights are in charge of casting and getting their own director. ITHT will provide the stage manager and production manager for the festival.

Play Prerequisites

Seeking submissions of One Acts 45-60 minutes long or portion of play that are self-contained and can be performed for an audience with their clear understanding of content.

Any genre can be submitted

Play must be an original work

Family Friendly plays on topics that are appropriate for young audiences are encouraged for afternoon slots

Plays must be printed out completely as part of submission

Pages must be numbered and script should be in standard play script format

Estimated running time must be indicated

6.
ABOG Fellowship for Socially Engaged Art
deadline: September 18th
website: http://www.abladeofgrass.org/fellowship-program/

We are looking at the process and relationships of socially engaged art projects.

We see the aesthetic qualities of socially engaged art here—in how alliances are formed and maintained, the way disparate stakeholder groups are coordinated, how power dynamics are navigated, and how bridges are built between many different types of people in a socially engaged art project.

We create content that illuminates and deepens understanding of these relationships. A primary goal of ABOG is to make the “invisible” parts of socially engaged art visible. We do this through documentary films and field research that are artist-led, and are grounded in the perspective of project participants, as well as publications, web content, and public programming.

We also use this focus on process and relationships to advocate for a more expanded sense of what art is, how artists can work in communities, and how art might be integrated into everyday life. Our field research, documentary films, and other content serve as the basis for curriculum, toolkits, and consulting that enable more artists to work in partnership with non-artist stakeholders.

The deadline to apply is September 18, 2017, 11:59 PM (EST)

Fellowship projects become the focus of:
A short, engaging documentary film directed and produced by RAVA Films
Field research that utilizes action research methodology
Web content and public programs
A biennial publication
Curriculum and advocacy that advance the field of socially engaged art
Two dedicated opportunities to engage a cohort of peer artists

To realize this partnership, artists receive $20,000 in minimally restricted support.

Issue-Based Fellowships
ABOG-David Rockefeller Joint Fellowship in Criminal Justice

This fellowship examines the transformational roles artists play in a criminal justice context.
Applicants working in criminal justice are automatically considered.

ABOG Fellowship for Contemplative Practice, in partnership with the Hemera Foundation

This fellowship supports artists who work with the intersection of social practice and contemplative practice.
Applicants who would like to be considered will be asked to answer two supplementary questions in the online submission form. Click here to learn more and read FAQs.

7.
Sky Cooper New Play Prize
deadline: August 31st
website: http://www.marintheatre.org/productions/new-plays-program/new-play-awards

Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receives a $10,000 award and a developmental workshop as part of the theater’s annual New Play Reading Series. The winning play will also be considered under option for a full production at MTC as part of the theater’s annual main stage season.

8. 
Urban Stages: Words by Women
Deadline: August 31st
Website: http://urbanstages.org/

To encourage the development and production of plays by women, we put out a special call for our Words by Women Reading Series periodically. These plays are given special attention and considered more immediately by our Literary Committee. Plays must be written by female playwrights. While not mandatory, we encourage casts with a majority of women and plays exploring social issues facing women today. Plays may have been developed or produced elsewhere, but never produced in New York City.

While not mandatory, we encourage casts with a majority of women and plays exploring social issues facing women today. Plays may have been developed or produced elsewhere, but never produced in New York City.

Submit plays to:
Urban Stages
555 Eighth Avenue, RM 1800
New York, NY 10018

write WORDS BY WOMEN on the envelope you send your play in.

Full-length plays only:

- scripts must be firmly bound
- No changes or revisions accepted after submission
- No double-sided pages.
- 7 actors or less (unless otherwise noted)…doubling is fine

With your submission, please include:

- Biography and/or author’s history of the play
- Character breakdown
- Brief synopsis of the play.
- A small SASE envelope for a response letter.
  *Whole plays will no longer be returned. All plays will be recycled.

-There is no limit to submissions.
-Subject matter and character variations are open.

-There is no submission fee.

It usually takes up to six months for us to read and process your script. We ask that you do not call or email our offices to inquire on the status of your play. Plays from overseas and throughout the United States are accepted and considered.
BUT special attention will be given to playwrights who live in or near New York.

We recommend not spending extra money to send your play express, overnight or via other expensive services.  We accept plays year-round and for special deadlines, we accept plays postmarked on the deadline date. For special deadlines, late plays are just entered among our general year-round submissions.

*Words by Women submissions ARE eligible for The Emerging Playwright Award.

9.
BETC New Generation Residency
deadline: September 1st
website: http://betc.org/programs-events/generations/

THIS OPPORTUNITY IS FOR PLAYWRIGHTS WHO ARE PARENTS OF AT LEAST ONE CHILD 18 OR YOUNGER. Boulder Ensemble Theatre Company (BETC) is now accepting submissions for our next Generations residency competition. In order to support the work of parent playwrights, BETC is seeking full-length plays written by a parent with at least one child under 18 years of age as of September 1, 2017. The winning playwright will receive: a week-long workshop residency in Boulder, Colorado, with daily rehearsals, culminating in a staged reading of the selected script; the chance to rewrite and revise during the week as part of the script development experience; a stipend for travel and lodging; a $500 prize; and a $500 childcare stipend to defray the costs associated with childcare during the residency. During the residency, the selected play will be rehearsed with a cast of professional actors, director, and dramaturg. The week will culminate in a public reading. The residency will take place in May 2018; specific date arrangements will be made directly with the winning playwright. Competition submissions are due by September 1, 2017. Entry Guidelines: Plays must be in the English language. Scripts that have been produced by Equity or professional companies or that have been published are ineligible. We will consider scripts that have had a workshop, reading, or academic production. Scripts may not be under option or scheduled for production or publication as of September 1, 2017. BETC will negotiate an option on the winning play and have right of first refusal on the world premiere production. The winning play will receive full consideration for production in an upcoming season. You can view past competition information and full submission guidelines on our company website. Please note: playwrights submitting through the NPX are not required to submit additional materials beyond your tagged script. If your play is selected as a finalist, BETC will reach out for additional support materials as needed. The application deadline is September 1, 2017. Our winning playwright will be notified by December 1, 2017.


10.
Breckenridge Creative Arts: Tin Shop and Robert Whyte House Residency
Deadline: September 29th
Website: http://www.breckcreate.org/opportunities/tin-shop-call-to-artists/

Breckenridge Creative Arts seeks to present innovative work that is new to Breckenridge and Colorado. BCA encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice.

With excellence, diversity, and relevance as core values of BCA, our goal is to continue to introduce the Breckenridge community and its guests to the works of regional, national, and international artists of the highest caliber. A multi-layered programming team guides BCA’s artistic vision and curatorial framework. Our experienced team of arts professionals shapes the artistic quality of programming selected to ensure the highest international standard while truly reflecting the unique character of Breckenridge.

The Tin Shop and Robert Whyte House provide opportunities for artists to live and work on the Breckenridge Arts District campus. Artists are invited to stay for a minimum of two weeks and up to several months, depending on program needs. Each facility features a fully furnished studio apartment upstairs and a low-tech working studio on the main level. Artists are selected based on the excellence of their work and public participation abilities. Our guest artist programs provide time and space for artists to work in mediums of their choice. In return, we ask that artists host open studio hours and workshops that engage all facets of the community, including the local school district.

Support: Private housing; Wireless internet connection provided in living area; Spouses/partners allowed for full stay; Children allowed for full stay; There are many opportunities for artists to earn income during their residency through workshops, educational programs, lectures, and demos. Artists may have the opportunity to exhibit their work at a local gallery.
Costs: There is no charge for artists to stay at the Tin Shop. Artists are responsible for all transportation costs, food and materials for personal work.

11.
UCROSS Foundation Residency
Deadline: October 1st
Website: https://ucrossfoundation.submittable.com/submit

Artists, writers and composers from around the United States and the world, in all stages of their professional careers, are invited to apply to work on individual or collaborative projects. Fellows are chosen by a panel of professionals in the arts and humanities in a highly competitive application process.  The quality of an applicant's work is given primary consideration.  Final invitations for residencies are extended at the discretion of the Ucross Foundation.

There are two residency sessions annually. Application deadlines are March 1 for Fall Session, which runs from August through the first Friday in December, and October 1 for Spring Session, which runs from March through the first Friday in June.  Residencies vary in length from two to six weeks. Applications are only accepted by online submission.

To apply, each applicant must complete a Ucross Foundation Residency Application Form and provide the required materials, including two letters of recommendation, a project description and a work sample as described in the Application Guidelines. There is a $40 nonrefundable application fee.  There is no fee for a residency.

Current work is requested. The nature of the work sample submitted should correspond to the nature of the work you propose to do while in residence. An applicant's work sample is the most significant feature of his or her application. Unless work is interdisciplinary, i.e., the various genres interconnect, each applicant is encouraged to apply in a primary discipline and submit a work sample and project description, which emphasizes this single discipline. Competition for residencies varies seasonally and with the number of applications.

WORK SAMPLE: should be representative of the genre in which you plan to work while in residence. Writing samples should be double-spaced. Appropriate samples are as follows:

PLAYWRITING: one complete play*

SCREENWRITING: one complete screenplay*

12.
MacDowell Colony
Deadline: Sept 15th
Website: http://www.macdowellcolony.org/

The MacDowell Colony provides time, space, and an inspiring environment to artists of exceptional talent. A MacDowell Fellowship, or residency, consists of exclusive use of a studio, accommodations, and three prepared meals a day for up to eight weeks. There are no residency fees.

MacDowell Fellows are selected by our admissions panels, which are comprised of a revolving group of distinguished professionals in each artistic discipline who serve anonymously for three years.

The Colony accepts applications from artists working in the following disciplines: architecture, film/video arts, interdisciplinary arts, literature, music composition, theatre, and visual arts. The sole criterion for acceptance is artistic excellence, which the Colony defines in a pluralistic and inclusive way. MacDowell encourages applications from artists representing the widest possible range of perspectives and demographics, and welcomes artists engaging in the broadest spectrum of artistic practice and investigating an unlimited array of inquiries and concerns. To that end, emerging as well as established artists are invited to apply.

MacDowell is committed to a policy of nondiscrimination and equal opportunity for all persons regardless of race, sex, color, religion, creed, national origin or ancestry, age, marital status, sexual orientation, gender identity, gender expression, and disability. No one with the AIDS virus, ARC, or HIV shall be denied admission as long as he/she is otherwise qualified. The Colony offers barrier-free access in all main buildings and some studios.


13.
2018-2019 Cullman Center Fellowship
Deadline: September 29th (now open)
Website: www.nypl.org/help/about-nypl/fellowships-institutes/center-for-scholars-and-writers/fellowships-at-the-cullman-center

The Cullman Center’s Selection Committee awards up to 15 fellowships a year to outstanding scholars and writers—academics, independent scholars, journalists, and creative writers. Foreign nationals conversant in English are welcome to apply. Candidates who need to work primarily in The New York Public Library's other research libraries—the Library for the Performing Arts, the Schomburg Center for Research in Black Culture, and the Science, Industry and Business Library—are not eligible for this fellowship, nor are people seeking funding for research leading directly to a degree.

The Cullman Center looks for top-quality writing from academics as well as from creative writers and independent scholars. It aims to promote dynamic communication about literature and scholarship at the very highest level—within the Center, in public forums throughout the Library, and in the Fellows’ published work.

A Cullman Center Fellow receives a stipend of up to $70,000, an office, a computer, and full access to the Library's physical and electronic resources. Fellows work at the Center for the duration of the fellowship term, which runs from September through May. Each Fellow gives a talk over lunch on current work-in-progress to the other Fellows and to a wide range of invited guests, and may be asked to take part in other programs at The New York Public Library.

Sunday, July 30, 2017

In Remembrance of My Aunt Dolly: Int't Woman of Mystery and Adventure

My childhood coin collection started when Aunt Dolly came back from London handed me some coins with Queen Elizabeth II's face etched in the medal. I had never touch or seen anything but American money. What the hell is this? She told me that these were coins from England. My adolescent mind was blown: other money, other countries, other customs, otherness. In one instance I made a quantum leap into awareness: there is an entire planet of otherness. Something as simple as this blew my adolescent mind. I looked up London and the UK. On her next trip she brought me back coins with different languages on them and even some paper money. France, Italy, Germany, Greece. I began reading about these new worlds. I kept the coins in an old wooden jewelry box. When I was bored I would put some of the coins in my hand and -with eyes closed- try to guess the nation by the indentations around the edges and the feel of the different faces. I would memorize the different rectangular shapes of the paper money and then I imagined I was a blind person who could travel with through my supernatural ability of touch. I would pick up a German Mark and be in Berlin looking at the Wall, or hold a Franc in my hand in order to go to the Eiffel Tower. Aunt Dolly taught me that being Black wasn't synonymous with being provincial. I didn't have to be small. My life is limitless and as diverse as the currency of the world. I started putting the coins in different plastic bags, sorting them by country and amount. I keep the paper money at the bottom of the box. Whenever I felt constricted or confined, I could reach into my coin collection. When I went to Mexico for the first time I remembered Aunt Dolly and I wanted to bring her back some pesos, but I knew she already had them. When I was in London I set aside some British pounds in her honor. When my childhood body was stuck in Florida, she gave me my first 'mental passport' to explore. She was my travel companion in this life...and she will be there in the next. Rest in Peace, Aunt Dolly. I love love love you.

Monday, July 24, 2017

Marlton House Memories

On Thursday I have a meeting at Marlton Hotel. I am excited to be back on my old stomping grounds, but on very different terms. A decade ago I lived in the same building when it was a scuzzy, partial-dorm for New School University. I was a grad student and RA for the students. Marlton housed both students as well as old-time pimps, drug dealers and chess hustlers who worked Washington Square Park for money (and couldn't be kicked out b/c of NYC tenant laws). No one thought anything of putting up hayseed freshmen in a building where prostitutes would ride the rickety elevator after a long night of work. I remember finding little baggies of cocaine spilled across the stairs to the student lounge, presumably from a late-night of debauchery. I remember a Swiss student going on a coke bender b/c I was the RA on duty that had to 'bring him back down to earth' and tell him he had 24 hrs to immediately leave the dorm forever. There was another student who was starring in porn movies while still in school.

Every room was a tiny studio with a bed, desk, closet/dresser combo, and a minifridge/mini-microwave. Old wiring and dusty circuit breakers meant that almost all excessive electronics were banned so -of course- everyone had hot plates in their room, DJ turn tables, and video game consoles that would short circuit a floor and plunge everyone into darkness. Each floor had a shared bathroom at the end of the hall and the pipes would knock and scream. The Hell's Angel bikers would hang out down the block at Grey's Papaya, a 24-hr hot dog stand where you could get the greasiest 99 cent hot dog smothered in stinky sauerkraut and spicy mustard. Students, bikers, homeless, and hookers would be there late into the night scarfing down dogs with the obligatory pina colada drink that was just flavored sugar water dispensed by the gallon. Hell's Angels would then go roaring by the Marlton Dorm at around 2 or 3 am during the week and back to their HQ in the East Village.

You couldn't keep the windows open during the day because the wind might change directions and blow black chimney smoke from a nearby building into your room, covering everything in black soot.

Electric Lady Studios (where Jimi Hendrix recorded) was across the street. Manhattan Theatre Source (great little theatre) was also across the street and near the legendary TLA Video Store. There was one laundry mat for the entire block and it was run by a pervy, ruddy-faced Russian guy who would ask me over to his place while I washed my clothes. I would smile and pretend like I couldn't understand what he was saying b/c of his thick accent until he would get embarrassed and drop the matter. I found out later that he would ask many of the students over to his place, so maybe he was just trying to be friendly...or maybe he was going to chop us up into little pieces and make love to the severed parts; I guess we will never know!!

This was NOT NYC in the 1970s or even the 1980s. This was in the 21st century. This was Marlton House 10 yrs ago. The property was sold, gutted, and turned into a luxury hotel. Grey's Papaya is gone and is now a high-end juice bar. TLA Video has been closed for over 10 yrs and nothing is in its place. The entire block smells like french bread and fruitty soap. Oh well.

Sunday, July 23, 2017

A Course in Miracles and Diamond Cutter

I am listening to an audio book of the ACIM-inspired book "The Disappearance of the Universe" while reading Geshe Michael Roach's "The Diamond Cutter." Over the last few years I have returned to both sources again and again. I think they represent part of my trinity: science, spiritual, psychology. Disappearance takes care of the psychology while Diamond handles the spirituality. And then for science I have been interested in "The Physics of Miracles." and some other quantum mechanics texts. It seems like there is a link of pure non-duality between the material science of the West, spirituality of the East, and the point where the East and West meet in the creation of modern psychology and our understanding of the mind.

There are still discrepancies between the three branches in my mind. But the gap between the three is closing as I continue to review the material. ACIM doesn't claim to be a religion, but it's a psychological practice of forgiveness that can be performed by atheists. Christians, Buddhists, anyone. And while "Diamond Cutter" originates from Lord Buddha, the principles of the ultimate wisdom can be practiced by anyone as well.

I feel like I'm getting closer to understanding the mind-body duality of the world and the journey toward pure non-dualism. According to ACIM most religions of the world deal in duality. Buddhism is considered a step above because it is -at least- addressing non-duality. For me, the issue that I have been thinking about for years can be boiled down to a few discrepancies.

1) hypothesis that Buddhism connects us back to the oneness of the mind, but that there is still one more step after that: connection back to God.  Conversely ACIM states that it is seeking a reconnect with God and would rather skip that intermediary step.

2) In Buddhism the issue of God is never fully addressed, probably because it is hard to prove the existence or non-existence of a changeless Being in a world that is changing. Instead Buddhism focuses on interdependency and the indivisibility. Interdependency is the positive or shifting image based upon karma. Indivisibility or suchness or emptiness is the foundation or screen that karma is projected on to every moment. But to be clear that screen doesn't exist from its own side. It only exists with the object and it has no levels of change according to scripture. Emptiness of a pen exists and it is changeless and then when that pen is destroyed the emptiness goes away immediately, as oppose to karma which deteriorates. Of course higher levels of Buddhism says that even karma is destroyed every single moment, even though it appears to grow.

In ACIM they claim that anything entangling with matter isn't real or the ultimate and so the world is a byproduct of my neurotic mind. So even studying the highest form of interdependency doesn't result in the ultimate, because it's still about my mind. Granted, the mind being addressed is the quantum mind that is out of time and space. And according to ACIM this is the mind that Buddha got in touch with and that it's still very powerful, but still one step removed from God. ACIM also claims that once someone has attained a mastery of self to reconnect with that ultimate quantum timeless mind then it's very easy to reconnect with the God that stands outside of time and space as well.

3. Extension vs. Creation. ACIM differentiates between masters and angels. Angels were never born, masters were born. Masters came into the world and corrected themselves. They were created through a mistake of duality, just like all bodies. Angels couldn't be created because God doesn't create. Therefore angels are an extensions of God. This seems like splitting hairs but I do wonder about that difference of extension vs. creation. And if angels are an extension and I have to rejoin with God through forgiveness, is there a part of me that is also that 'God extension' which is buried underneath my worldly mind as well as the quantum mind out of time.

4. Forgiveness = emptiness = quantum wavicles.

If forgiveness is the psychological process and emptiness is the scholastic and meditative quandary to consider, is quantum wave/particle split the physical embodiment in the world. According to science all is energy and it is just waves of energy. And then when my focus is pulled toward something that wave condenses or seems to condense into a particle or point. This becomes matter. In Buddhism there is a Master Kamalashila meditation which posits the questions: if you can't see atoms with the eye, how could you ever see an elephant since it's made out of atoms. Now, of course we can see an elephant but the question is 'how?' Elephant is a mental image or a point, but technically an elephant is just waves of energy that has no form. It's condensed into form when I focus on it and think 'elephant.' So quantum physics claims that there is a wavicle: something that is both a wave and a particle at the exact same time until it's forced into a point by mental awareness. And this creates the separation between 'me' and 'them.'

So I am wondering if there is any way to combine the Master Kamalashila meditation of mental images with the forgiveness practice of ACIM and the study of wavicles?


Saturday, July 22, 2017

Driving into Overtown

We missed our exit off the highway. My mom wanted to use the HOV lane which was blocked off from normal traffic, so when it came time for our Wynwood exit we were trapped. Once the lane ended I got off in downtown Miami. I turned the car around and we found ourselves in Overtown. The buildings were still crammed together along tightly packed streets of fluorescent tropical colors. The main area of Overtown was two blocks of buildings. I saw a fenced-in field where some cocks were feeding.

Driving through the old neighborhood rekindled my mom's memories. She said that in the 1960s you could walk from Overtown to the beach. This was before the highways and walls blocking in the vibrant neighborhood that used to be called the Harlem of the South. The segregated beach was Virginia Key and it was a hidden gem. My mom said white seemed to prefer the stretches of uninterrupted white sands. Blacks ended up with the beaches with palm trees and blue crabs hiding in the grass. She said there was a toy locomotive that would snake along Virginia Key beach. Beachgoers would ride the locomotive in between the bushes and at various points. There was a dance floor, and snack bar.

The groceries stores were owned by the Chinese, although my mom couldn't remember whether they were Jamaican Chinese or Chinese. Each grocery store had a ledger and you would buy things and it would be put in your ledger and subtracted from the paid amount. When a customer's ledger reached 'zero' they had to put more money down.

There was a restaurant called Nasty Man's, that had flies in the window (this I actually know because I've used this detail in one of my plays). She said the whole vibe befitted the establishment's name so she stayed away. 

Wednesday, July 12, 2017

Fire in the Sky

it seemed like there were hundreds of different fireworks going off in the Miami sky on the 4th of July. Some of the explosions were a part of an 'official' display, but most were individuals setting off rockets, flares, and other explosions. I know that it's dangerous and ethically questionable for everyone to have their own fireworks but I was in awe of this rambunctious archaic un-zoned, communal celebration that turned the night into pyrotechnical anarchy. As I drove back across the bridge and up I-95 I was surrounded by rockets, roman candles, flares, shooters, and the deafening boom of cherry bombs and whistlers being set off on both sides of road. Each neighborhood was lit up with these dangerous (and possibly illegal) displays of reckless expression. From Miami Beach, to people on the bridge and then across the bridge, to Overtown and Liberty City, up through Little Haiti and North Miami, in Opa Locka, Carol City, and Miami Gardens there was halos of smoke and fire. When I got back to my parent's place were kids crowded in the street with an arsenal of rockets. They were setting off bombs and glowing neon green and red missiles. I watched them from the porch before I got scared that I would be shot or catch a rocket fragment. America: you are terrifying, reckless, homicidal, beautiful, irresponsible, free, and always living on the edge of chaos.

GET WHAT YOU WANT: 7 yrs of lists!!

Get What You Want started seven years ago. It was a list of grant opportunities that I sent out to Freedom Train Production's 4 Black LGBTQ playwrights. I had about 6 contests listed and it was no bigger than half a page. I figured someone might benefit from having a list of opportunities. I was always told that information is power, and sharing information gives people agency. After FTP dissolved in 2011 I kept sending out the GWYW list to about a dozen black playwrights in NYC and storing it on my wordpress blog (now defunct). And then I added a few more writers to the monthly emails and then a few more. When the monthly list hit a hundred subscribers I remember thinking that this far exceeded what I had envisioned. And then it hit 200, 300, 400 people. And then New School started using the list to send to its student, and then Pace, and then a few other institutions picked up the list. I started to keep this list on my very low-tech blog (sixperfections.blogspot.com). I can see how many hits it gets. A few thousand people connect to it every month, which ends up being tens of thousands of links every year. Over the years I have gotten emails from people telling me that GWYW helped them win them a commission or grant. It is surreal. Seven years ago this summer, Get What You Want was a half a page of content sent out to 4 people. We were the outsiders and the artists overlooked in theatre. We were tired of complaining about being mistreated. We wanted to take action. And this small step was the beginning of a strange journey. Happy summer bday GET WHAT YOU WANT.

Sunday, July 2, 2017

Get What You Want: July 2017

**NEW DRAMATISTS RESIDENCY** (new addition to the list)
Deadline: July 31st
website: http://newdramatists.org/how/apply-residency

New Dramatists pursues a singular mission: To provide playwrights time, space, and resources to create work, realize their artistic potential, and make lasting contributions to the theatre. We offer our playwrights an artistic home and self-guided laboratory for seven years, free of charge, in the company of their most gifted peers. Our playwright company consists of emerging and mid-career writers collectively embodying an artistic, cultural, ethnic, and geographic diversity rarely found in the American theatre.

What do we offer?
 Playwright led, and authority over, seven-year residency.
 A company of playwrights and a vibrant extended artistic community.
 An organization where playwrights are the host artist.
 Support for the individual and collective interests of the resident playwrights.
 Flexible playwright-driven artistic development opportunities through 1-2 day readings and extended working
sessions as part of The Playwrights’ Laboratory.
 Flexible working spaces in our studio, theatre, and classroom.
 Flexible writing spaces in classroom and library.
 Private writing studio (the Russell Room).
 Meeting space in the classroom and library.
 Temporary residence rooms in 7
th Heaven, which can also be booked as writing space.
 Casting, director, and other collaborator assistance.
 Dramaturgical, career, and artistic advisement.
 National playwright and new play advocacy.
 Supervision over what unpublished plays are kept in New Dramatists’ Library.
 Grants, Awards, and In the Works Bulletin of Playwright Opportunities.
 Retreats.
 Web-based resources, including your own profile page on ND’s website and the opportunity to host podcasts.
 Complimentary script photocopying.
 Complimentary theatre tickets.
 A one-year free membership to the Dramatists Guild during the first year of residency.
 Wi-Fi.
 Bottomless coffee, tea, and water.
 Washer and dryer.
 Childcare reimbursement for playwrights through the Howard Gilman Foundation and the Lilly-Ruhl Fund.
All these services are provided free of charge.
____________________________________________

____________________
1.
BMI Musical Workshop 
Deadline: August 1st (for composer/lyricists)
Website: https://www.bmi.com/theatre_workshop

The Workshop runs September through May in New York City. Prospective members must make their own living arrangements in the city or be able to commute weekly.

During the first year, composers and lyricists are paired off and are asked to create appropriate songs based on scenes from various sources. The writers perform their assignments, which are then discussed by the other writers and the moderators. There are analyses and discussions of current and past musicals, with an eye to understanding form and structure. Every effort is made to insure that each writer retains his or her individual style.

In the Workshop’s final phase (Second Year), teams work on a musical. The Workshop functions as a forum and a sounding board for works in progress, as music and lyrics are critically evaluated and open dialogue is encouraged.

At the end of each Second Year, the Workshop Committee determines which writers from the group are invited to join the Advanced Workshop. Not everyone is asked. This Workshop is intended for writers of professional caliber who are expected to contribute to the vitality of the musical theatre scene.

The Librettist Workshop reads and critiques its members’ work in a moderated roundtable discussion format, with material going through various drafts from on-one synopses to fully scripted scenes. There are occasional cold readings of an entire project.

Application Materials:
Composer: Three contrasting compositions - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.

Lyricist: Three contrasting lyrics in PDF format - uptempo, comedy song, ballad.
Composer/Lyricist: Three contrasting songs - uptempo, comedy song, ballad. Please include copy of score which includes lyrics.

Librettist: A script sample of at least ten consecutive pages. Material written for the stage is preferred, but screenplays or teleplays are acceptable. Material need not include songs. Please include a sample of comedy writing.

Note that if you apply as a composer and a lyricist, you will be accepted as one or the other (that is, as either a composer or a lyricist) and you will be assigned different collaborators over the course of the year. If you apply as both a composer/lyricist and a librettist and are accepted as both, you will spend your first year as a composer/lyricist only, as the two groups meet at the same time.

Auditions
Select applicants will be invited to audition in early September. Librettist are accepted on the basis of their written materials and are not required to audition.

At the auditions, composers and composer/lyricists will be asked to perform at least two contrasting theatrical compositions; lyricists will be asked to recite samples of their theatrical lyrics. All auditions must be done live, using a piano.

Schedule & Fees
The First Year Workshop meets Monday at 6:15 p.m. The Second Year Workshop meets Tuesday at 5:30 p.m. The Advanced Workshop meets Monday at 4:00 p.m.

There is no fee to apply for or participate in the BMI Lehman Engel Musical Theatre Workshop.

2.
EWG Public Theatre
deadline: August 31st
Website: ewgapplication.publictheater.org/Programs--Events/Emerging-Writers-Group/

The Emerging Writers Group is a component of The Public Writers Initiative, a long-term program that provides key support and resources for writers at every stage of their careers. It creates a fertile community and fosters a web of supportive artistic relationships across generations. Time Warner is the Founding Sponsor of the Emerging Writers Group, and provides continued program support through the Time Warner Foundation.

Writers are selected bi-annually and receive a two-year fellowship at The Public which includes a stipend. Staged readings of works by Emerging Writers Group members are presented in the Spotlight Series at The Public. The playwrights also participate in a bi-weekly writers group led by The Public’s literary department and master classes led by established playwrights. Additionally, they have a chance to observe rehearsals for productions at The Public, receive career development advice from mid-career and established writers, and receive artistic and professional support from the literary department and Public artistic staff. Members of the group also receive complimentary tickets to Public Theater shows, invited dress rehearsals, and other special events, as well as a supplemental stipend for tickets to productions at other theaters.


3.
YALE DRAMA SERIES COMPETITION RULES
 Deadline: August 15th
Website: https://yup.submittable.com/submit/20322/yale-drama-series

The Yale Drama Series is seeking submissions for its 2018 playwriting competition. The winning play will be selected by the series' current judge, Ayad Akhtar. The winner of this annual competition will be awarded the David Charles Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, and a staged reading at Lincoln Center’s Claire Tow Theater. The prize and publication are contingent on the playwright's agreeing to the terms of the publishing agreement.

There is no entry fee. Please follow these guidelines in preparing your manuscript:

1. This contest is restricted to plays written in the English language. Worldwide submissions are accepted.

2. Submissions must be original, unpublished full-length plays written in English. Translations, musicals, and children's plays are not accepted. The Yale Drama Series is intended to support emerging playwrights. Playwrights may win the competition only once.

3. Playwrights may submit only one manuscript per year.

4. Plays that have been professionally produced or published are not eligible. Plays that have had a workshop, reading, or non-professional production or that have been published as an actor’s edition will be considered.

5. Plays may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.

6. Plays must be typed/word-processed, page-numbered, and in Yale Drama Series play format.

7. The Yale Drama Series reserves the right to reject any manuscript for any reason.

8. The Yale Drama Series reserves the right of the judge to not choose a winner for any given year of the competition and reserves the right to determine the ineligibility of a winner, in keeping with the spirit of the competition, and based upon the accomplishments of the author.

ELECTRONIC SUBMISSIONS:
The Yale Drama Series Competition strongly urges electronic submission. By electronically submitting your script, you will receive immediate confirmation of your successful submission and the ability to check the status of your entry.

Electronic submissions for the 2018 competition must be submitted no earlier than June 1, 2017 and no later than August 15, 2017. The submission window closes at midnight EST.

If you are submitting your play electronically, please omit your name and contact information from your manuscript. The manuscript must begin with a title page that shows the play's title, a 2-3 sentence keynote description of the play, a list of characters, and a list of acts and scenes. Please enter the title of your play, your name and contact information (including address, phone number, and email address), and a brief biography where indicated in the electronic submission form.

If you would like to submit an electronic copy of your manuscript please go to: https://yup.submittable.com/submit.

HARDCOPY SUBMISSIONS:
The Yale Drama Series Competition strongly urges applicants to submit their scripts electronically, but if that is impossible, we will accept hardcopies.

Submissions for the 2018 competition must be postmarked no earlier than June 1, 2017 and no later than August 15, 2017.


4. 
Crystal Ruth Bell Residency (Beijing)
Deadline: July 17th
Website: http://www.chinaresidencies.com/news/156

For the fourth edition of the Crystal Ruth Bell Residency, Red Gate & China Residencies are inviting people to apply for a funded residency in Beijing for the months of November and December 2017. We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in Beijing this winter around the principle of"care" - in any way the term makes sense to you.

We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in Beijing this winter around the principle of"care" - in any way the term makes sense to you.

Performers, filmmakers, poets, writers, researchers, photographers, choreographers, chefs, designers, developers, activists, scientists, architects, and all kinds of visual artists are encouraged to apply with a project proposal that reflects some of Crystal's interests and driving forces: generosity, loyalty, friendship, justice, and bikes.

The Crystal Ruth Bell Residency covers:

- Live/work space in Beijing
- Funding for travel and visa expenses
- Airport pickups, welcome dinner and orientation upon arrival
- Project support and coordination
- Artist talk & studio visits (optional)
- USD $1,000 research stipend (enough to cover meals and daily living expenses in Beijing)
- Materials & production stipend (variable based on proposed project)
- Open studio exhibition


5.
The Pier Commission – £8,000 artist commission (London)
Deadline: July 14th
Website: https://www.theexchangeerith.com/the-pier-commission/

The exchange invite proposals from practitioners to transform London’s longest pier into a piece of art for the period of Totally Thames. We are looking for artists, designers, architects, performers, curators, and other creatives to propose an ambitious contemporary arts installation that will shine a spotlight on one of Erith’s greatest assets.

This opportunity is sponsored by Orbit and Wates.

£8,000 commission available to develop a site-specific work based on Erith Pier throughout a three-week period in September 2017 coinciding with Totally Thames. This is a unique opportunity for practitioners to present work as part of this world-renowned festival.
Deadline for submissions: Friday 14 July 2017
Private View: Tuesday 5 September 2017


6. 
Blueproject Foundation (Barcelona, Spain)
Deadline: July 24th
Website: www.blueprojectfoundation.org/en/residences/call-for-artists

Blueproject Foundation opens yearly a call for artists-in-residence, a public programme open to all types of formats, ideas, artistic and cultural proposals.

The residency programme at Blueproject Foundation is one of the main focuses of the foundation, its objective being to offer support in the production of new projects and give visibility to emerging artists.

SELECTED PROJECTS FOR THE RESIDENCY

The artists will be judged according to the quality and professionalism of their projects by an external international jury along with the foundation’s team. The artists or collectives that were selected will enjoy a one-month residency in El Taller followed by the exhibition of their work in Sala Project.

HOW TO PARTICIPATE IN THE OPEN CALL FOR RESIDENCIES

The opening period for the open call varies annually, usually oscillating between May and July, while the development of the winning projects takes place during the following year. The exact dates of the Open Call will be announced on the web, together with the requirements and registration/application form.


7.
Nashville Ingram New Works Lab
deadline: July 24th
website: https://nashvillerep.org/ingram-new-works/

The Ingram New Works Project was launched by Nashville Repertory Theatre in 2009 thanks to the generous support of Martha Ingram. With the mission to support the creation of new works for the theatre, Nashville Rep created a project that includes the New Works Lab.

The Ingram New Works Lab is intended to be an artistic home for early career playwrights to share and develop new work, hone craft, receive support, and springboard themselves into the next phase of their writing career.

Applications are open for the 2017/18 Ingram New Works Lab residency. Selected playwrights meet monthly in Nashville to develop a new play during the course of the residency. It's a year of dynamic developmental support for your new play, radical hospitality, and a great excuse to come play with us in Nashville. Travel and Housing provided. Submission deadline is July 24, 2017. Submission guidelines and more info at the link


8.
EST Youngblood
Deadline: July 17th
Website: http://www.ensemblestudiotheatre.org/est-youngblood/apply/

EST/Youngblood is currently accepting applications for membership beginning in the 2017-2018 season. Applications are open to New York City resident playwrights under 30 years old. Membership includes attendance at all weekly meetings, monthly (or more frequent) performances, readings and retreats. There is no set term of membership, and members often stay through the season that includes their 30th birthday. If you have any questions, please contact youngblood@ensemblestudiotheatre.org

Application Requirements:

WRITING SAMPLE - up to 25 pages. This can be part of a longer piece or a one-act. Send whatever you think best represents where you are as a playwright right now.
LETTER - The "why Youngblood" letter. Tell us about yourself and why you are interested in membership in the group.
RESUME - Your current playwriting resume.
FULL-LENGTH PLAY - A completed full-length play in its entirety. Note: this can be the full play from which the initial 25 pages was excerpted, or an entirely different piece. In most cases, this additional material will only be read if you are selected as a finalist.
-ONLINE APPLICATION: http://www.ensemblestudiotheatre.org/est-youngblood/apply/


9.
Blue Ink Submission (American Blues Theatre)
Deadline: August 31st
Website: http://americanbluestheater.com/blue-ink-submission-guidelines/

Submissions will be accepted July 1, 2017 through August 31, 2017 @ 11:59pm. The winning play will be selected by Producing Artistic Director Gwendolyn Whiteside and the Ensemble. The playwright receives a monetary prize of $1,000 and a developmental workshop or staged reading at American Blues Theater in Chicago. Cash prizes are awarded for finalists, and semi-finalists too.

There is a $5 administrative fee. All proceeds of the fee are distributed for playwrights’ cash prizes.


10.
David Calicchio Emerging American Playwright Prize
Deadline: July 30th
Website: https://marintheatre.wufoo.com/forms/w3p21z80pe6jqg/

Norton J. “Sky” Cooper established the Emerging American Playwright Prize award at Marin Theatre Company in 2007 in honor of David Calicchio’s lifelong career as a playwright and in support of Marin Theatre Company’s commitment to the discovery and development of new and emerging American playwrights. The Calicchio Prize will be awarded annually to a professionally unproduced playwright for a new work that shows outstanding promise and a distinctive new voice for the American theatre. The play selected as the Calicchio Prize winner will receive 2 public staged readings at Marin Theatre Company as part of the theatre’s annual New Play Reading Series. The playwright will receive a $2,500 award, as well as travel and accommodations for the MTC rehearsal period (25 hours).


11.
Ars Nova Play Group
Deadline: July 23rd
Website: http://arsnovanyc.com/playgroup

This vibrant and eclectic group of emerging playwrights gathers twice a month at Ars Nova to share new work and get feedback. The group offers members the chance to develop their plays with peer support, form collaborative relationships and build a strong sense of community within Ars Nova. In addition, members receive dramaturgical support and artistic matchmaking advice from the Ars Nova artistic staff and development opportunities through public readings and workshops.

Play Group is a two year residency in which members become a part of the Ars Nova Resident Artist community. In addition to biweekly meetings where members share new work and receive feedback from their Play Group peers, members also receive dramaturgical support and artistic match-making advice from the Ars Nova artistic staff; invitations to Ars Nova shows, Resident Artists mixers, and to see the work of Play Group alums around the city; two Play Group writing retreats; and the opportunity to further develop and showcase one of their plays in a weeklong workshop that can culminate in a public reading.

Criteria
All playwrights who identify as emerging are eligible to apply. In selecting new members, we will take into account the strength of the submitted play, what the writer stands to gain from membership at this point in her/his career and the overall balance of voices and styles within the group. Writers of all genders, races and abilities are strongly encouraged to apply.

12. 
Great Smoky Mountain Artist in Residence (National Park Service)
Deadline: mid-November 2017
Website: https://www.nps.gov/grsm/getinvolved/air-application.htm

Each artist donates a mutually agreed upon piece of original work, representative of their stay in Great Smoky Mountains National Park (GSMNP) within one year of completion of the residency. The artwork is donated to park partner, Friends of The Smokies (FOTS), a non-profit organization that supports the park by raising funds and awareness. FOTS may offer the piece for consideration in the park's permanent museum collection, or sell it to raise funds supporting the Artist-in-Residence Program or other park needs.

Artists agree to share all copyrights for artwork donated to Friends of Great Smoky Mountains National Park, giving FOTS shared ownership and rights to reproduce it. The artist retains a non-exclusive use license and may make use of the artwork for personal and professional promotion using the language, "Produced under Artist-in-Residence Program at Great Smoky Mountains National Park".

Artist Participation as Volunteer-in-Park
Selected artists work with the Parkwide Volunteer Coordinator to develop a residency theme that makes it possible for the park to generate visitor awareness and enrichment opportunities. Artists are scheduled to facilitate three public programs tailored to their individual medium, experience and interests. These may be in the form of participatory workshops, hands-on learning, demonstration, performances, exploratory walks, outreach in classrooms and community, or another means of engagement that aligns with park protocol. Artists provide equipment and supplies needed to lead the programs.

When and How To Apply
Submit application materials and samples as indicated below. Insufficient or excess materials, may be cause for application rejection, as is proposed use of work already in progress through a residency.

A panel of professionals from diverse disciplines will choose up to 6 finalists. Selection is based on artistic merit, statement of purpose and appropriateness to residency at this national park.
Panel jurors give thoughtful consideration to each applicant's statement of purpose (proposal) regarding how their creative insight and offerings may be made accessible for park visitors, volunteers, staff and local community. Great Smoky Mountains National Park seeks to inspire people of all ages, backgrounds and cultures to connect and discover the meaning of national parks in their lives. Through our vibrant Artist-in-Residence program the park invites exploration, experience, innovation, education and stewardship.

Spring/Summer/Fall Residency mid-May through November 2017
All applicants must submit:
1. A Resume and Summary of Creative Works
2. Statement of Purpose: What do you hope to gain through time spent at Great Smoky Mountains National Park? How might you share your insight, experience and creative contribution with park visitors and people of the local community?
3. Three choices of beginning / ending dates for your stay. Residencies are a usually a minimum of 4 weeks, maximum of 6 weeks. Offer dates from mid-May 15 through November 2017.
Visual Artists: Submit six digital images at 300 dpi (jpg or tif) on labeled CD. Include a list of images with title, medium and image size (height and width). Images should show only the actual work - Backgrounds, frames or mats should not be included.

Writers: Submit no more than ten double-spaced, typewritten pages of manuscript or electronic file in either Microsoft Word or PDF format.

Musicians / Performing Artists: Submit CD or DVD indexed to identify a 5 - 7 minute segment for jury review. If submitting MP3 files, include CD or DVD as back-up in case there are compatibility issues.

Composers: Submit CD or DVD (sound collage, track or orchestral work) indexed to identify a 5 - 7 minute segment for review. If submitting MP3 files, include CD or DVD as back up in case there are compatibility issues.

Mail Application Packet / Notification of Selection: The Artist-in-Residence Program, Attention: Parkwide Volunteer Coordinator, Great Smoky Mountains National Park, 107 Park Headquarters Road, Gatlinburg, TN 37738 -- Due to the number of submissions, applicants do not receive confirmation that their submission has been received by the park. Artists selected for a Residency will be notified on or before April 14, 2017.

The Artist-in-Residence Program is supported by Great Smoky Mountains National Park, in partnership with the Friends of Great Smoky Mountains National Park and Arrowmont School of Arts and Crafts. Funding for the AiR Program is provided by Friends of Great Smoky Mountains National Park.


13.
Jerome New York Fellowship
Deadline: July 31st
Website: larktheatre.org/get-involved/submit-play/larks-jerome-new-york-fellowship-2018-19/

The Lark’s Jerome New York Fellowship provides substantial artistic and financial support to an emerging writer of extraordinary promise and vision through an intensive two-year residency that provides resources and guidance to generate and develop a significant body of work.

Must be a New York City or Minnesota state resident (though the Fellow must commit to maintaining residency in New York City throughout the fellowship period); Must be a citizen or permanent resident of, and eligible to work in, the United States; Must self-identify as an "emerging" playwright; Must not have had more than two different works professionally produced at the time of application.

Activities:
The Fellowship Period is January 1, 2018 to December 31, 2019.
In the first year, the Fellow will receive a stipend of $25,000, paid in monthly increments. In addition, the Fellow will have access to an “Opportunity Fund” of $5,000 for the purposes of travel, research, autonomous workshops, and so forth, for the duration of their fellowship and for up to one year after its completion. (The Fellow will request these funds in writing to the Artistic Director and no reasonable request will be refused).

In the second year, the Fellow will receive a stipend of $15,000, paid in monthly increments. In addition, the Fellow will continue to have access to any remaining balance in the Opportunity Fund.

Because the Lark's programs are philosophically designed to put artists at the center of their own process, all residency activities will be based on an initial Fellowship goal-setting meeting at the start of the term in January 2018.  The Fellow will be expected to work with Lark staff to design a regular schedule of program activities, including participation in several of Lark’s new play development programs, such as Roundtables, Playground, Monthly Meeting of the Minds, Winter Writers’ Retreat, New York Stage and Film Vassar Retreat, Project Residencies or Studio Retreats.  The exact structure is flexible based on the specific needs of the selected Fellow, who will participate in a range of these or similar programs throughout the course of the residency.


14. 
Lanseboro Jerome Artist Residency
Deadline: July 31st
Website: https://lanesboroarts.org/artist-residency-program/residency-program-application/

The Lanesboro Jerome Artist Residency Program, located in Lanesboro, MN (pop. 754), aims to provide an immersive, meaningful experience for emerging artists from Minnesota and the five boroughs of New York City. The program is unique in that it provides an entire rural community and its myriad assets as a catalytic vehicle for engagement and artistic experimentation, with staff working with each resident to create a fully-customized residency experience. Lanesboro Arts’ goal is to be flexible and accommodating to the artists, allowing them access to local resources needed for conceptualizing and realizing their place-based work. Lanesboro Arts recognizes “place-based work” as work that is specifically inspired by and designed for the place in which the work takes place; it can be a new project, or an interpretation of the artist’s current work tailored to engage the community of Lanesboro. The emerging artist residency program was designed to align with and amplify Lanesboro Arts’ vision for communities–especially rural communities–to embrace artists as economic drivers, culture bearers, community builders, and problem solvers.

The application deadline for residencies taking place in 2018 is July 31st, 2017 at noon. Jury review will take place in August and applicants will be notified by September 15, 2017 at the latest as to the status of their application. Selected artists residents and runners-up for 2018 will be notified by September 29, 2017.

Artists must be residents of Minnesota or the five boroughs of New York City to be eligible to apply. To be considered, eligible artists must submit their application through an online webform on Lanesboro Arts website. Complete program details are below. Please contact Adam Wiltgen at 507-467-2446 or adam@lanesboroarts.org with any questions.

LANESBORO ARTS SEEKS ARTISTS WHOSE WORK:
is inherently innovative and visionary
has a track record of success, and shows significant potential for growth
is informed by place and community
centers on public engagement; that is, the public’s interaction with the work is part of the process and the product
is accessible to people with diverse backgrounds

DEFINITION OF EMERGING ARTIST
Lanesboro Arts defines “emerging artist” as an individual who has great potential in their artistic practice but has not yet received major recognition for their work. Each applicant’s resume will be thoughtfully reviewed by the panelists, who will consider the significance, scope, geography, and timing of artists’ previous exhibitions, critical reviews, commissions, performances, grant awards, residencies, fellowships, publications, and productions. (Generally, the best candidates are those who have no more than three of the major professional accomplishments noted above.) Current degree-seeking students are not eligible for the residency. Age is not a factor in determining an emerging artist.

ELIGIBILITY AND PROGRAM DETAILS
Artists of all disciplines are eligible to apply.
Artists must be residents of Minnesota or the five boroughs of New York City.
Artists are paid $1,000/week and are provided studio and lodging space.
Artists are eligible to apply for 2 or 4 week residencies, and residency dates can be flexible (and split between two visits if that best suits your practice). Lanesboro Arts Residencies can be scheduled any time in 2018 except for May, June, or July. Residencies scheduled in March or August are preferred and would be most optimal, however Lanesboro Arts staff is interested in considering proposals with flexible and dynamic artists for the months of January, February, September, October, November, and December. Residencies begin on the 1st or 16th of each month and end on the 15th or last day of each month for periods of 2 or 4 weeks.
Lanesboro Arts does not cover material or transportation costs; these expenses should be factored into the $1,000/week stipend.
Artist groups are eligible to apply, but the weekly stipend is the same and must then be split amongst the collective.
Artists are required to list their top three choices of dates for their residency, but finalists will work with Lanesboro Arts to determine the best dates for all parties.
Lanesboro Arts will work with each individual artist to customize their residency, aligning resources and connections to make their time in Lanesboro as fruitful as possible.
Artists must submit their application through the online webform on Lanesboro Arts website.


15.
Beijing Playhouse
Deadline: August 30th
Website: http://www.beijingplayhouse.com/

Beijing Playhouse is looking to identify writers who have previously produced comedy stage plays who would be interested in having their works adapted for the Chinese market. Seeking modern comedies and farces with 6-12 cast size with a strong production track record.

For Beijing Playhouse’s 2019/2020 season we may be looking for modern comedies that are specifically about China and targeted to the Chinese market. We are also looking for playwrights who are interested in having their produced comedies localized for a Chinese audience.

We’ve localized other plays to great success by introducing Chinese characters and settings and jokes into these shows. Taking a tried and tested story, like Snow White or A Christmas Carol, and localizing it for the Chinese audience has proven very popular.

While these traditional shows have been successful, there appears to be stronger interest in localizing a very modern comedy. So we’re looking for authors who are interested in the Chinese market. Our goal is in keeping the gist of a playwright's story and tightly written script, but resetting it in a Chinese location, changing jokes to Chinese jokes, changing some characters to Chinese characters, and adding Chinese language.

Beijing Playhouse is the English theatre in Beijing; for the last 12 years the largest locally produced-in-English theatre in the country. We produce standard US theatre chestnuts like Guys and Dolls, Oklahoma!, Romeo and Juliet and Wizard of Oz. Last December we did an audience interactive pantomime version of A Christmas Carol. So theatre producers here are looking to us to bring and adapt good shows from the US.
The particulars around rights/royalties would be worked out with the playwright.
Send inquiry to broadway@beijingplayhouse.com



Friday, June 30, 2017

Left-Wing Christianity

Another immigrant friend who hated Clinton during the campaign and touted Trump's 'blow everything up' stance as a good thing, has fallen into a state of depression. Reason? He's facing an expired VISA and a merciless ICE. He though the GOP xenophobic talk just referred to the 'bad hombres.' Not him. Even though me and other people told him directly 'this is about you' he simply didn't include himself in the oppressed group under attack. Now he's depressed. Whenever I want to make him feel better I tell him that 'Clinton wasn't a very good candidate' and he perks up at that statement. With that cue, he's reminded of his hated target. He transforms and seems to relax because he has someone to despise...even at the expense of his immediate danger, Clinton hatred is a soothing drug. I am reminded of the Semantic Scale of Polling which states there are 3 dimensions ppl rate concepts on: a) good or bad? b) strong or weak? c) active or passive? Many ppl will choose a bad policy if it's strong and active over a weak policy that's good. Example? Open borders. Open border immigration policy really really works. Statistically it has made America wealthy. But it's seen as weak and passive: our borders are penetrated. The thought makes ppl angry, even if you try to explain all the stats. Many ppl -even immigrants- will support a destructive policy if it's framed as strong and active. Clinton's hatred was a strong and active thing...even if it was idiotic to one's self interests, it was favored over my kind of mild 'like' of Clinton based upon stats. My Clinton emotional 'like' wasn't strong...but it was consistent. But it's no match for strong and active hatred. So I wonder to myself 'how do we make love a strong and active thing to...well mostly men?'

I think it's difficult to combine the typically liberal education with religious faith and political activism, but it's not impossible. A new 3-dimensional paradigm must be formed on the left so that religion is not laughed out of the room: gov policy + religious org + activism. The GOP uses and cons the religious right in the most craven way in combining these 3 things. I've read reports of Karl Rove herding religious figures into rooms and coming up with anti-gay policy. And then GOP advisors laughing at the same Christian leaders as 'idiots' after they leave the room and giving their marching orders of hate to activate their congregation. The Koch Bros organize pastors to speak out against environmentalists and to discount global warming (it's God's will..so just let it happen). So the right has effectively figured out a way to rewire some christians into an Orwellian doublethink: praise Jesus and Christian values while simultaneously espousing hateful policies which are in direct contradiction to Jesus. Doublethink is very effective b/c in requires a sort of self-brainwashing that becomes air-tight in its illogic: whenever confronted by something difficult, the brainwashed individual shuts down critical thinking and pivots toward emotional rage at a perceived 'enemy.' If you show a contradiction to an alt-right they will rage and threaten to destroy and at the same time claim to be the victim being destroyed. A well-trained conservative Christian will both claim to represent the might and will of God and say 'they are under attack' or Christmas is under attack or they are being oppressed or there is a 'gay agenda' or patch together any number of deranged conspiracies to avoid confronting their own hypocrisy. They will engage in 'whataboutism' and false equivalency to return to attack mode. Can leftists create an effective way to engage in right-wing doublethink without creating a left-wing version of brainwashing? Is there a facile, smart, constructive, religious activism movement that can counteract the hate activism that's disguised as white christianity?

In this country's history there were two very strong Christian movements: Protestants in the North and the Baptists in the South. Northern Christians were the foundation of the abolitionists and the suffragists: these were passionate ppl who believed that God put them on the earth to be a good keeper of faith and justice. They went after anything seen as a grossly unjust like slavery or women's rights. In the South, Baptism tends to operate more like a Hindu caste system: explaining the wrongs of the world as the will of a higher power, and thus pacifying poor white people...and when that failed, finding a scapegoat in black people. This is where fanatic hatred is so effective when you can blame a weaker and smaller group for societal ailments and get poor white people to buy into that concept then they have a passionate and active choice of wrong-headed hatred rather than the slow deliberate process of progressive change.. The clash between white New Engalnders and Southerners reached its peak during the Civil Rights Movement. Southern Black Baptists were working with White Northerners to not only seek racial equality but to stop the Vietnam War, start unions, and pass a litany of progressive issues. And then in the early 1970s the Northern Protestants movement just died. Either they were satisfied with the end of Vietnam and the Civil Rights Act, or rife with drug use and decadence, or they were bought off by careerism and/or they splintered into a hundred tiny factions. But the New England churches that used to be so full of protestors were empty. Meanwhile the Southern churches surged and this idea of 'right-wing Christianity' was backed and supported by big money interests. There was no George Soros for left-wing progressive Christians. Marilynne Robinson writes about this in her book of essays 'The Death of Adam.' So history has shown us that it is possible to have left-wing progressivism, but it's just harder to maintain without strong leaders, organizing principle of what to fight for, and financial backing.

Thursday, June 29, 2017

Do They Really Need a Wheelchair?

Fox News Commentator speculated that a lot of the excessive healthcare costs comes from unnecessary costs. The commentator then said about some patients 'do they really need a wheelchair?' Speaking as the son of someone whose wheelchair collapsed after two yrs, and was then denied coverage for a new wheelchair b/c it was an excessive and unnecessary cost, I think our healthcare system has gone from Kafka's 'Metamorphosis' to 'Mad Max: Thunderdome.' Trumpcare will take us into "Human Centipede" territory so that the Koch Brothers can watch the livefeed of poor ppl dying on the ER waiting room floor surrounded by medical bills and bankruptcy notices. Despite this horror, i think that over half of these dying, bankrupted, diseased patriots would continue to vote Republican b/c they don't want Mexicans to get free vaccines or are worried about black women having access to pap smears. Fox and the alt-right media train people in how to de-empathize. One of the most successful ways of getting people to de-empathize is to rile them up into a constant state of rage against an 'other.' That rage disconnects the wiring of the human conscience: the link between other people's suffering and our own. It's the reason why there are so many Trump voters who are surprised to find out that they would be harmed by immigration deportation, Trumpcare, allowing the EPA to loosen regulations. These are people incapable of seeing a society unless it involves their direct and immediate interests. They think 'fuck ppl in wheelchairs' until they themselves are in a wheelchair. They think 'fuck clean air' until they are inhaling dirty coal. This media, this party, and this movement is a bootcamp for sociopaths. If I react with my own rage then I am disconnecting my own wiring to empathy and -ultimately- the foundation to my conscience. Responding with clear and concise arguments grounded in compassion is the only way. And that is -despite their many flaws- I appreciate people like Hillary Clinton, Barack Obama, Joe Biden for their empathy...and humanity. They would never ask the question 'do they really need a wheelchair?' Instead I think they would ask 'how can I help?'

Friday, June 23, 2017

Dems Need New Blood

I think the Democratic Party needs new leadership. I'm not saying this b/c their candidates have lost recently. All four of these off-cycle elections took place in staunchly GOP districts and the Dems outperformed on a statistical level that bodes well for them retaking the House next year. The reason I think the Dems need new leadership is b/c of what happened during Occupy Wall Street. And Black Lives Matter. And several other waves of grassroots, youth-inspired activism that was met with the blowtorch of so-called centrism, which is really just Dems pivoting to the right while ignoring their most passionate base. We are facing a chaos candidate and party. Their main tactic involves sucking up all the media oxygen by finding enemies, riling up their base, and keeping them in a constant state of delirious rage that shuts down all coherent and constructive debate. I think you beat rage-a-holic snowflakes in 3 parts: 1) vivid bold messaging 2) grassroots fundraising and activism, 3) and political moralizing. Chuck Schumer and Nancy Pelosi are very smart but they do not have the skill for any of these things: they are keen legislators who speak like wise lawyers. They fundraise through major corporations, display a skittish reluctance on working with young activists, and staunchly refuse to moralize. I don't blame their line of thinking. It makes sense b/c the older generation of Dems grew up in a time when hippies where condemned as immoral, the white backlash agains the civil rights movement was well-funded and in full effect. But these are new times and the panic party of delirious rage can't be contained by sensible language from DC old-timers. Furthermore not only did Bernie Sanders campaign prove that small donations, moralizing msg, and socialism can get out young voters, but Obama employed the same tactic. In 2008, Hillary Clinton was the clear favorite and hired the most experienced Dem advisors. Obama's team out-hustled, out-muscled, out-msg'ed the Clinton campaign. Obama stole the momentum through caucuses, kept the spotlight, framed the news cycles around their issues, and won by having a smaller more passionate group of believers whose tenacity wore down the larger but softer group of Clinton supporters. Passion wins over numbers in a long-term battle. And youth is the way for bolder messaging, connecting to activist, grassroots fundraising, and keeping the fire burning during these dark and cold times.  

Saturday, June 17, 2017

Philando Castille Verdict

# ppl shot and killed by cops in 2015: 991
# cops convicted = 0
# reasons cops will shoot a blk person: infinite

Philando Castile's death sentence was not an accident. The system did not make a mistake in freeing another cop who murdered an unarmed and innocent Black man. Our system was designed to work this way. It was designed to create a cognitive dissonance between what is written on paper and what is done in court. When faced with irrefutable and uncomfortable evidence it is easier for a jury of your peers to feign blindness than to demand change. The system encourages this inertia, helplessness, rationalization, blindness, silence, surrender, and death. Orwell called it Doublethink, Greek logicians named it paraconsistent logic, and Americans made it into the 13th amendment in the Constitution. Where some see the sword and scales of justice, others see barbed wire and caskets.
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Friday, June 16, 2017

The Art of Hate

I was having a philosophical discussion with a friend about the instinctive goodness of human beings that lurched toward the example of lynching. He thought it was just virulent racism and if you removed the racists things like that wouldn't happen. I said that while, yes, lynching in America was often about black people getting killed by a large group of white people, the idea of mob murder didn't start in America. The idea behind lynching is simple:it starts with a group of people who are 1) bored 2) angry but feel helpless and 3) want to focus their rage on something that is different from them (which often means race, religion, nationality, or ethnicity) 4) want something to rally behind. In Medieval Europe a group of people might be getting drunk and looking for something to do and they start doing what people do when they gather: gossip. And the most more outrageous, salacious, horrific gossip floats to the top of the cesspool, especially when it's about others in the community who are different. So a drunk might accuse a Jewish merchant of being behind the disappearance of kids. And then someone else might chime in that, speculate, elaborate into a horror scenario. The crowd gets lathered up and excited. They have someone to hate and possibly something to do. Over a series of nights the conversation may circle back to this one merchant as people get angrier and angrier. Finally someone makes the move: let's go throw stuff at this guy's house, break down his door, maybe drag him away. It becomes an event. Pitch forks, torches, a march from the pub to this poor guy's house picks up steam and followers along the route. People are swearing they saw this guy kill kids, drink their blood, do unspeakable horrors. Everyone is looking for an excuse to vent, rage, and be apart of something... even if they suspect the accusations aren't true. In America we just turned this kind of violence into an art form: picnic, carnival games, people traveling from miles around to enjoy a pleasant afternoon that will culminate in a black person being tortured and cut into pieces. People would take home souvenirs from that day: pictures in front of the desecrated body, a finger in a jar, or an ear. An event happened. That is what human beings are capable of, and we're not even talking villains or Hitler. Just 90% of humanity of a hot day or after too many drinks or just when they're desperate to be a part of something. 

Wednesday, June 14, 2017

The Holden Caulfield Syndrome

On a day when there were 3 mass shootings in America I sat in a theatre and watched "Six Degrees of Separation." One of the more remarkable parts of the play was Peter's thesis on why such a mild book as "Catcher in the Rye" became a manifesto for so many violent white men in the 20th century. Holden Caulfield's repeated mantra of labeling successful or ambitious people as 'phonies,' his sexual impotence as well as paralyzing fear around women, and his homicidal fantasies against anyone who threatened his masculinity reflects a boy's emotional understanding of the world. And yet this is NOT a manifesto used by men of color. It is a text linked specifically to white male killers who -regardless of political affiliation- represent the overwhelming majority of lone wolf terrorist attacks in this country. Today and many other tragic days feel like they are inexorably linked to all the Caulfield's of the world who bruise too easily, lash out too quickly, and seek to terrorize the world to compensate for their inadequacies. And yet they are still the most privileged demo in America who play the schizophrenic game of demanding the power of a master and the pity of a victim. To maintain such a fragile delusion requires a sociopathic level of narcissism. Those who win short-term gains through inequality end up rotting internally and raging externally. It is a unique disease: Affluenza. It has killed more people than cancer. No one is looking for a cure.

Monday, June 12, 2017

Trump: a Self-Incriminating, Self Immolating, Tornado of Subpoenas

Trump threatened an FBI Director with secret tapes of their conversation. The Secret Service is now saying that no such evidence exists and they're in charge of all White House recording (they were the ones who kept Nixon's tapes). Special Counselor Robert Mueller can subpoena Trump to turn over his imaginary tapes b/c they now count as evidence. If the evidence doesn't exist, Mueller or any Attorney General with a related case  can now go about serving subpoenas to every single person in the White House in regard to evidence, thus making their lives living hell by forcing people to hire lawyers, who will then advise their clients to protect their own interests and rat out any relevant info to save themselves. And then -after all that- if there are still no tapes, Trump is on line for witness intimidation by lying about tapes to bully a witness before their testimony. He has done this before so he has a legal track record of lying about tapes. That is how Trump's tweets are self-incriminating e-immolation. The lies since his inauguration have gotten worse and more egregious. He went from lying about crowd size (small stupid lie), to lying about Obama wiretapping Trump Tower (really stupid lie that burned all good will between him and the intelligence community), to now repeatedly lying about significant issues in the middle of an investigation that now is in the zone of perjury, obstruction of justice, collusion, and treason. If the GOP can not see the ever expanding legal tsunami he is creating then they deserve to go down with him. Oh and the ADs in Maryland and DC are now suing Trump for violating the Constitution and taking money from foreign investors so I suspect they will be looking around for evidence and handing out their own subpoenas. And this isn't even including NY AG Eric Schneiderman and what's going to happen once he starts handing out stacks of subpoenas for his RICO case.

#MAGA