One month ago tonight:
this photo taken by Stephanie Bonham :
Sean actually got some good documentation with his fancy camera and made a mini-documentary about it. You can watch it on vimeo. Thanks, Sean!
This one was a fun collaboration back-and-forth between myself + Chad. There should be a good little collection of fliers we’ve made together by now.
Man! And I made the puppet show production one, but you’ll have to look at http://www.r-e-r-t.org/puppets or I will scan again. The promotion for that is still evolving. How do you advertise a PROCESS — something that is perpetually in progress, but that requires community connection? (many answers, flowing)
Oo-oo! By the way, Fernando has decided: every Sunday, 3pm: Fence Paint! Anything goes! All ages. Yes!
Anyway, Chad got this other flier whipped out, too:
And, also from the ALF book…
That’s for the “programming” that I will be providing as part of the E.A.S.T. (East Austin Studio Tour) celebration in November, at CoLab (for she’s a jolly good art space).
So, here’s the run-down of things I am excited about:
Oct. 2nd: Chips’ b-day party and puppet-making soiree!
Oct. 3rd: Night Viking at FREE WATER2
Oct. 6th: |:The Lost art (of):| performs at Beerland with Palit and Liz Burrito & the Bubble Machines!
Oct. 10th: Open Call / Dress Rehearsal for puppet show. Also, benefit for the Lipstick Pages.
Oct. 17th: JUNK-A-THON Opens! Pot-luck and PUPPET SHOW!
Oct. 18th: Junk-a-thon Day #2, w/ Craft Tables!
Oct. 23rd: Emergency Casserole!
Oct. 31st: Halloween and Butthole Surfers at Stubbs!
Nov. 15th: “An Ostrich and a Rainbow”, a movement-based play by Starlight Dance Troupe, at the Carver Theater.
Nov. 17th: E.A.S.T. workshop/performance at Co-Lab.
and more and more! So much to look forward to.
In the spring semester of 2000, I was enrolled at Hampshire College in the first class that REALLY got me excited– It was “Inter-Arts 101: Working Across the Arts” team-taught by Paul Jenkins (poetry), Thom Haxo (sculpture), and Ellen Donkin (theater).
It was the first time that this experimental class was taught, and the professors were all charged up and giddy, bubbling over with anticipation of the creative cross-fertilization that was to occur.
The structure of the class was one week all together just discussing this concept of inter-arts, and then the class split into 3 groups. In our smaller groups, we spent 3 weeks with each different professor in the team, and in the final weeks, we worked on and presented a final project, which could be done individually or in groups.
Our final projects had to try to create a new art form that was a hybrid of the different forms we had used during the semester. The challenge was motivating, and the result was a lot of amazing work.
The piece I produced for my final project has been returning to my mind a lot lately. The only evidence I have is some water-damaged photos.
My inspirations at that time were:
- Working in the school cafeteria on weekends, I got to prepare the brunch buffet, which included fresh fruit. I was pleasantly astonished to discover that the pears came individually wrapped each in a piece of colored tissue paper! Who knew! I saved a bunch of the green and purple wraps.
- The rest of my academic attention was mainly focused around social issues spanning from the local (unionizing work study students, fighting standardized tests in the schools, getting our school to divest from companies that supported private prisons) to global (IMF and World Bank policies, the history of imperialism, etc.). It was getting really heavy, trying to work with various groups who were doing different things for social change, yet inevitably getting tangled and divided by various personal, socio-economic, or ideological differences. A certain phrase that my dad used to say, that I think my mom reminded me of, was: “We’re all looking at the same ballgame through different holes in the fence.” I wanted there to be more understanding between people, and compassion. I thought a literal interpretation of (part of) this adage would make a very interesting structure for a sculpture-poetry-theater hybrid…
[Photos by Ernest Chapman, 2000.]
So, why am I posting about a class project from more than 9 years ago?
Partly, it’s just as I said: it has crossed my mind lately.
And the piece still excites me to think about, in the way that a lot of things excite me now. Excite=inspire. I had a vision, after I finished the performance, of improving it, making a “road” version, and taking it to some traffic median in New York– or Hartford. Just for the hell of it! Boy, that was a romantic idea.
Anyway, I didn’t; I “struck the set” that day, and saved but a single pear wrapper as a memento.
Beyond that, now I’m finding that writing and thinking about that class really gives me some good clues about what kind of teacher I want to be, and what kind of education is alive and vivid.
- The “mini-session” format – 3 weeks per subject (with assignments every day!) in rotation – was wild. And by wild, I mean memorable! Interesting, almost frightening, like a fast horse. (See, I learned that in my 3 weeks of poetry. haha.)
Maybe it worked better for the teachers, too, because they seemed very much more alert and engaged than any of my other teachers! Perhaps because they were experimenting, collaborating, enjoying a challenge?
- Something I’ve been enjoying looking at lately is a textbook from 1978, called Television Studio [written by Judy Lever and published by Macdonald Educational Ltd.]. It details the entire process of making a TV show, featuring “close-up” looks at all the careers that exist in the field, and what their work is like. Set designer! Make-up artist! Producer, director, writer, researcher! The production team. I like this book because even while the process is explained, it still seems magical. It’s like that moment when a quiet looking lump of earth gets disturbed, revealing a massive city of ants who are all working desperately fast.
There was this similar quality in that class that I took, only we were the ants, and there was no hierarchy but the unspoken Edict – -> Create Great Art.
I’m out of words. What do you think?
There is a splendid interview in Paperdolls magazine with CampCamp! counselors Silky Shoemaker and Ray Matthews.
I think I’m going to add a story about Silky and the home that she lives in that I used to live in, I would like going down that memory lane.
But right now I feel like playing guitar and then going to bed.
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