Friday, February 16, 2018

Gun Massacres in America

At the end of 2016, I put $5k into a T.Rowe Price Global Tech Fund (PRGTX). It's now worth $9k, and it's on track to double its initial value by the end of the year. And I'd still would have rather had Hillary Clinton as president, clean energy, and gun control...OR....I guess I should say I still could have had those profits AND gun control AND clean energy AND SANITY. Somewhere along the way, this country bought into the 'either/or' belief of conservatism: either you get fucked or I get fucked, but someone has to get fucked. There is still a deeply held concept that to do good for all results in the powerful getting screwed, to share profits from a booming economy robs from the rich, to say blacklivesmatter means you're implying that white lives do not, or to be a good person means that we are denying ourselves some joy in debasing others. The issue of gun violence is not only coming out of a deep-seeded fear and anger, but also a misunderstanding of the world: we think we have to choose between allowing these massacres to go on to keep the second amendment or getting rid of everything. NRA and GOP has this figured out.

When faced with the choice between money/power and anything else, Americans will always choose money. We worship money, whether it comes from the NRA or Exxon or trial lawyers. We worship it over the bodies of our dead children, over the broken bones of ancestors, over history, we even worship money/power over God. But it's the greedy and savvy minds who got us to buy into choosing between ‘money' or the 'other thing.' And that's how they win because they know the vast majority of Americans fear the loss of money/power more than their own life or their neighbor's child. After a few days, the anger and shock at this massacre will fade away, and the old thinking will set in again: either I get fucked or you get fucked? Either I get to protect myself by buying as many guns as I want (therefore everyone should be allowed to do this) or I won't be allowed to have anything because the 'mythical vegan liberal gynocracy' will take away everyone's guns.

As long as we continue to believe in 'either/or' scenarios we will never have gun control, sensible immigration policies, civil rights for black people, gender equality. Our stinginess and fear plays into the hands of those who will divide us. In fact, they are counting on it.

Monday, February 12, 2018

72 Hours of Dharma


Friday
- on set for a particularly difficult fight scene in new episode.
-Talked with director and actors.
- start writing next episode scenes in empty dressing room.
- volunteer at "Dreams and Lightning" lecture at Lincoln Center.
- post-event clean-up.

Saturday
- Buddhist holiday prayers in the morning.
- set-up for Buddhist brunch/fundraiser.
- raised $10,000.
- arrange travel for speaker.
- go home and write more scenes for episode.
- set-up for 2nd day of lecture at Lincoln Center.
- post-event clean-up.
- celebratory holiday feast in the late late evening.
- go back home and write scenes until 2am.
- dailies come out. Fight scene looks great.

Sunday
- revise and send new scenes to script coordinator.
- yoga class.
- meditation class.
- meeting with prospective writer.
- play.
- finish outline for another project.
-get ready for work on Monday.

*relaxing weekend*

"See anything 
brought about by causes
As like a star,
an obstruction of the eye,
a lamp, an illusion,
The dew, or a bubble;
A dream or lightning,
Or else a cloud."
- Last verse of Lord Buddha's "Diamond Cutter Sutra"

Dreams & Lightning


I started crying this evening when I thought about it. Four old friends attended the weekend talk. To me, that's huge! I wasn't crying because I'm trying to sign them up for a pyramid scheme or was getting money out of them or trying to convert. Dharma lectures were and are 100% free. I honestly don't care about what's in your wallet or on your altar. I guess I started crying because it feels like a light is getting passed on in the darkness.

I get asked for help a lot. For the most part, I love it. Speak at a class? Sure. Give a donation? Why not! Help with my career? Let's do it. But despite all of this, I also know one thing about the everyday world: 'normal help' doesn't ultimately help. It's very hit or miss, b/c that's the nature of reality. Normal worldview is like betting at a casino: no matter how good a gambler one is, or how hot the streak is, the house will always win. There is no plan smart enough, or advice wise enough to overcome it. The only thing which can do that is wisdom. Not neat aphorism or witty anecdotes or being kind, but practical, applicable wisdom.

There are very few talks happening right now that cut through self-help, new-agey goo, and go right to the source of how things work. To me this is the power of wisdom. Love without wisdom is farce. And wisdom without love is tragedy. But if the two are combined, a light goes on in the dark. This weekend it felt like four friends became an arrow of light. Now other people can chart their course by four friendly stars. To me that's the sign of true wisdom: it can guide other people like a constellation. All people have to do is stop and look up. I am looking up with tears in my eyes.

"See anything 
brought about by causes
As like a star,
an obstruction of the eye,
a lamp, an illusion,
The dew, or a bubble;
A dream or lightning,
Or else a cloud."
- Last verse of Lord Buddha's "Diamond Cutter Sutra"


Sunday, February 4, 2018

Super Bowl Sunday

 In 2012 I saw Patrick Links' sports concussion drama "Headstrong." The play was running at EST and it was about an aging NFL athlete's slow descent into madness. I started thinking about all of the athletes I cheered on as a child. I wrote a pretty glowing review of the play, but also wondered if Americans would keep watching football, regardless of the risks? I got a very angry email from the doctor-consultant of the play accusing me of something I don't quite remember, but I think he was implying that I didn't know the science or was being irresponsible by saying Americans would never give up football. I think he misread my review because I was more asking a question to myself and other football fans. Growing up, I was obsessed with the sport. I knew all the teams, followed the playoffs meticulously. Would anything break that strong emotional link?

It's now 2018 and I have no idea about the stars in the Super Bowl. My football viewing has dropped to almost nothing. My hometown team - Miami Dolphins- suck so I don't watch them. Years of #BlackLivesMatter protests have revealed the rich greedy NFL owners are just as racist and uncompromising as the Republican party. The league blackballed Colin Kaepernick because he simply wanted to see unarmed blacks not get killed by the police. And the issue of death/brain damage still hovers around the NFL. All these things and more have eroded my passion for football. For the past several years I usually spend Super Bowl Sunday watching a play or a movie.

Today I'm writing, doing an artist gathering, and then going to see a play. My new indifference to the Super Bowl and the NFL doesn't feel triumphant. I feel like I lost an old friend, but I also cant' go back to the way things used to be. Maybe it's the bittersweet feeling of growing up? 

Thursday, February 1, 2018

Get What You Want: February 2018

1.
HERE Artist Residency Program (HARP)
Deadline: Feb. 2nd
Website: http://here.org/programs/harp/

One of the most robust residency programs of this nature in the country and serving as a national model, HARP provides a commission, development support, career planning, and a full production to hybrid artists, all within a collaborative environment of peers working across disparate art forms – including theatre, dance, music, puppetry, visual art, and new media.

HARP provides significant long-term support, as well as $50,000 in cash and $50,000 in space, equipment and services over 2-3 years to tailor each residency to each artist’s individual needs.

HARP nurtures the development of 9 –11 hybrid artists and their audiences, through a cross-disciplinary exchange, monthly meetings, peer-driven workshops, and panel discussions. Created nearly 20 years ago to address a compelling need in the field—the void of artistic, administrative, and financial support for artists with certain professional accomplishments, but without breakthrough recognition—HARP assists artists who are developing distinct artistic voices and experimenting with new approaches that expand the parameters of performance work. HARP is unique in that it offers a meeting ground where artists from varied disciplines share diverse perspectives, and where works developed represent a hybrid performance aesthetic.

As the works being developed are complex hybrid projects, each residency lasts 2-to-3 years. Each artist in the program receives the following:

• A commissioning fee of $5,400 and a minimum of $4,000 creator fee for production phase

• $2,000 for work-in-progress showings

• $3,000-4,000 for workshops in two CULTUREMART festivals

• Time, technical support, & equipment for developmental works-in-progress in our spaces

• Rehearsal Space at HERE, Governors’ Island and with partner organizations

• Food, lodging and space at our annual out-of-town week-long HARP artists retreat

• In-depth one-on-one guidance and support from entire HERE staff throughout their residency

• A world premiere produced by HERE in one of our the two theatre spaces,  including a minimum commitment of $30,000 in HERE funding in addition to show-specific fundraising and significant in-kind resources (average production costs are $100,000)

Over a 3-year residency, HERE invests over $50,000 in cash in each project and an additional $50,000 in space, equipment and staff resources.

Three to five projects that are in development are selected for production each year. Each selected artist participates in all development activities and collaborates with HERE to raise funds and develop appropriate resources and support for their production. Projects are produced at the scale appropriate to the work – there is no set formula for producing in the season – chamber or mainstage, four performances or 20, one performer or 25. It is our expectation that the works being developed in the program are being scaled to fit and will be produced in one of our spaces. Most works developed through HARP are fully produced by HERE.

The artists themselves shall retain ownership of all work initiated, developed, or workshopped during their residency. For the works that go to full production, HERE and the artists will negotiate a separate ownership and rights agreement. However, in all public materials about the artist or team the following must appear: "(Name of Artist or Team) was/is a member of HERE’s Artist Residency Program (HARP), 20 __ - 20__, NYC", and in all public materials relating to the work’s development, the following line shall appear: “Development of (Name of Work) was made possible through the HERE’s Artist Residency Program (HARP), 20_ - 20_, NYC." For works that go to full production the following line shall appear: “(Name of Work) was commissioned, developed, and produced through the HERE Artist Residency Program (HARP), 20_ - 20_, NYC.”


2.
BAU at Camargo Fellowship
Deadline: February 4th
website: http://www.bauinstitute.org/index.php?page=cassis-france

The fellowship provides artists with live-work apartments at no cost. The Camargo Foundation campus is located directly on the Mediterranean Sea with breathtaking views of the harbor and Cap Canaille, the highest maritime cliff in Europe. It is a short walk to the village of Cassis with regional open markets, restaurants and stores where necessities may be found. There is abundant food shopping. A short walk along the coast brings you to the National Park of the Calanques with spectacular limestone cliffs. The lively city of Marseille is 30 minutes away by train, bus or car. From Marseille it is an easy transfer to either the airport or the express train system for travel within France and other European cities. The Camargo Foundation is a seven-minute drive to the train station in Cassis.

All Fellows will receive a private bedroom in either a one or two bedroom apartment. The apartments are all furnished and have fully equipped kitchens. Linens and towels are provided. A washer and dryer are available for personal laundry. There are no telephones in the apartments, but there is WiFi throughout most of the campus. There is on-campus parking however, a car is not necessary. Driving within Cassis pedestrian center and harbor is restricted. The grounds of the Camargo Foundation contain a large reference library, an outdoor Greek Theater, gardens and large terraces with sea views for the use of the residents. There is a private music studio with a Steinway piano for a composer. Visual artists work in their apartments or in additional spaces on the property.

The language of the residency is English. There is no French language requirement for the fellowship. Transportation and meals are the responsibility of the residents. BAU Institute will host a Welcome and a Farewell Dinner. Fellows are encouraged to organize potlucks and picnics. There is a no overnight guest policy and no children or pets may visit the Foundation. A refundable $250.00 USD security deposit is due upon acceptance.

Please email questions to: info@bauinstitute.org

APPLICATION: https://bauinstitute.submittable.com/submit

NEW TRAVEL SUBSIDIES 2018

BAU Institute will offer travel subsidies of $1,500 USD to each of two chosen mid-career applicants who require financial assistance in order to attend the residency. A mid-career artist is one who has been working independently for over ten years. Applications are accepted in all disciplines. Mid-career artists may apply for one or both awards, depending on eligibility.

IF APPLYING FOR A TRAVEL SUBSIDY YOU MUST STATE IN YOUR LETTER OF INTENT THAT YOU WILL NOT BE ABLE TO ATTEND THE RESIDENCY UNLESS OFFERED ONE.


3.
Neon Museum National Artist Residency 2018
Deadline: February 9th
Website: neonmuseum.org/community/education/youth-family-programs/artist-in-residence

The Neon Museum invites qualified artists and groups of artists to submit proposals for participation in the annual National Artist residency (U.S. artists only). This residency calls for an artist or group of artists working in the fields of visual or performing arts to reside in Las Vegas, NV for eight weeks during the summer of 2018 engaging with both the Neon Museum and the extraordinary city in which it resides.

PROJECT SUMMARY: One (1) artist or group of artists working in the fields of visual arts, performance, sculpture or sound will be chosen to create a project inspired by the Neon Museum collection, sponsored and supported by the Neon Museum. The residency project will span eight weeks with some flexibility between June 1 and August 31, 2018.

The residency incorporates public programming that should include a workshop component or similar engagement project. An artist talk is scheduled at the beginning of the residency to introduce the artist’s work to the community and a studio open house at the residency conclusion.

ELIGIBILITY: This project is open to artists based in the United States working in the fields of visual arts, performance, sculpture or sound over the age of 18.

RESIDENCY PROVISIONS:

• The studio space provided comprises approximately 1,000 square feet within a 12,000 square foot downtown Las Vegas warehouse space with ceiling height of 19 feet and equipped with an evaporative cooling system. ADA accessible. The accommodation provided is in a furnished and air-conditioned downtown studio apartment with parking included. ADA accessible.

• The Neon Museum also provides access to onsite collection and archives where appropriate, marketing and publicity, photographic documentation and staffing support to assist with administering the public programming component.

PROJECT BUDGET:

• The artist or group of artists selected will be paid a stipend of a total of $2,000 plus a modest negotiable budget for materials if required.

• The selected artist/s will be provided with a small travel stipend, studio space and lodging for eight weeks.


4.
Featured Artist of the 2018 Chattanooga Film Festival
Deadline: February 11th
Website:  https://www.arcresidency.org/cff2018

The selected artist will live and work 2-4 weeks in Chattanooga leading up to the festival April 5-8, which the artist will attend for free as a VIP badge holder. We provide a studio for the artist to create a new installation or exhibition of work that will be displayed around the festival venue and be exposed to over 10,000 local & national festival attendees. There is potential for networking, press, and other opportunities.

For five years, the Chattanooga Film Festival has continued its mission to fill four days in early April with as much incredible film, music, comedy and art as humanly possible, including films, parties, workshops, and good times. For its 5th year, we're partnering for the first Featured Exhibiting Artist in what is hopefully a new festival tradition.

Open to creatives living outside the greater Chattanooga area working in any medium. Artists who are or will be enrolled in a college or university art degree-granting program during the time of the residency are not eligible to apply.


5.
Dora Maar House
Deadline: February 15th (for fellowships beginning in July 2018)
Website: mfah.org/fellowships/doramaarhouse/dora-maar-how-to-apply/

The Brown Foundation Fellows Program at the Dora Maar House is located in one of the most beautiful regions of Southern France, about 40 km southeast of Avignon, the Dora Maar House in Ménerbes is an 18th-century residence. In 1944 Pablo Picasso purchased the four-story mansion for Dora Maar, an artist and surrealist photographer who was his companion and muse in the late 1930s and early 1940s. Dora Maar owned the house until her death in 1997.

In 1997, a friend of the Museum of Fine Arts, Houston purchased the former residence of Dora Maar. In a five-year effort, the owner rehabilitated and updated this spacious eighteenth-century, four-story stone residence in the village of Ménerbes. Her goal was to make it a retreat for scholars, artists, and writers, where they could work undisturbed on their research, art, or writing, for one to three months.

The Brown Foundation Fellowship provides

• one to three months in residence at the Dora Maar House

• a private bedroom and bath and a study or studio in which to work

• expenses paid for round-trip travel from a fellow’s home to the

Dora Maar House

• a grant based upon the length of stay at the Dora Maar House

In 2006 the Museum of Fine Arts, Houston was asked to direct this project, which is now known as The Brown Foundation Fellows Program at the Dora Maar House. Here outstanding mid-career professionals are offered fellowships that enable them to reside in the Dora Maar House and focus on the creative aspects of their work.

http://www.mfah.org/fellowships/doramaarhouse/fellowship/


6.
Greenhouse New Play Development Project
Deadline: Feb. 16th
Website: https://www.strangesuntheater.com/the-greenhouse

Strange Sun Theater is now accepting submissions for the 2018 Greenhouse New Play Development Project.

 This year, Strange Sun Theater will select two plays as part of its Greenhouse Project, and we are proud to announce that each of the two playwrights will receive a $500 award, and be a part of our ‘ON BOOK’ series, which explores and develops the plays through a rehearsal process culminating in a public staged reading of the plays in New York City.*

This year Strange Sun Theater invites playwrights to submit their COMIC PLAYS to our Greenhouse Project.  In today’s fraught world, we look to the power of laughter for release, for the off-beat way it allows us to interrogate our society, and for it’s ability to shine a light on human behavior with all its complexities, absurdities, and joys.  Submit your comedies - Satirical, Topical, Farcical, Situational, Dark, Absurd, Odd - anything that makes us laugh!   The submission deadline is February 16th, 2018.

*The $500 award will be awarded only if the playwright agrees to participate in our ON BOOK development process.  Although face-to-face involvement in the process is not strictly necessary, we are hoping the $500 award may help to defray some of the costs of participating in the ON BOOK process.

To further guidelines and to submit: https://www.strangesuntheater.com/the-greenhouse


7.
Headwaters New Play Festival
Deadline: February 18th
Website: http://creederep.org/headwaters-submissions/

The Headwaters program is the source of new plays of the West: plays set in the current, historic, or mystic western United States; plays by playwrights originally from or living in the West; plays that deal with themes connected to the real or mythic West; and plays that re-imagine what “West” means.

Any plays submitted after this date will go into consideration for our 2019 Festival. Plays must be submitted digitally in PDF format. Hard copies will not be considered. Responses will be sent out by May 2018. CRT provides travel, a food stipend, and cozy accommodations for the two finalist playwrights. The scenic mountain beauty of this remote and quaint arts town will provide endless inspiration as you develop your work. Plays read at the festival will be considered for full production in CRT’s 2019 season.


8.
Lotus Lee Foundation: New Play Initiative 
Deadline: February 18th
Website: https://www.lotus-lee.foundation/submission/

The New Work Initiative is an open submission competition whose primary goal is to bring new voices from the United States to China, and vice versa. We're particularly interested in new works from playwrights who are hungry to be heard and are willing to discover new technology to bring their work to the stage.

SUBMISSION RULES:

The piece must be an original work.

The piece must have had no previous productions nor publications, all around the world.

The author must never have granted and will not grant other individuals or entities the rights to use the piece in any way before the competition's final selection.

The piece must be full-length, with a running time of at least one hour.

Submissions must be in English. (The selected show will be translated into Mandarin for the Chinese Tour in 2019.)

There are no restrictions on plot, content, or theme. The piece can be a play, children's play, performance art, movement piece, physical theatre, dance, musical, etc. The Lotus Lee Foundation is open to making use of new technology, including projections, holograms, media technology, virtual reality, etc.

HOW TO SUBMIT:

Submit the following materials online, before 1/1/2019, through the following online form: https://www.lotus-lee.foundation/submission/

1.) Full script in PDF format (Please do not include your name on the script.)

2.) A separate PDF with following information:

-- Playwright’s bio

-- Summary of the play

-- Character breakdown

-- Production history, if applicable

-- Creative team and cast breakdown, if applicable

3.) A short explanation, in PDF, of why you think your piece is a good fit for Lotus Lee Foundation.

4.) Other info: professional website link, production photos or videos, inspirations, etc.


SELECTION PROCESS:

The best works are selected by a board of five judges who read the submitted scripts and ultimately decide on the winning work. The play that gets chosen will be produced in 2019 with a significant budget and for a year-long tour in China with a potential remount in the States. Other winners will also be selected. The five judges consist of a mix of industry individuals and individuals from Performing Arts schools.


9.
EMERGENYC
Deadline: February 19th
Website: hemisphericinstitute.org/hemi/images/Emergenyc_2018_application_guidelines.pdf

The Hemispheric Institute of Performance and Politics at New York University is now accepting applications for its tenth year of EMERGENYC, the Hemispheric New York Emerging Performers Program focused on political performance. EMERGENYC aims to support the development of “hemispheric” emerging artists through a program of workshops and events between April 8 and July 8th (see “The Program” section below for details).

We seek talented, committed and highly motivated young performers/activists/artists whose work functions as a vehicle for political expression and social change, and who examine the broad range of identities, practices and histories of the Americas (the western hemisphere, thus “hemispheric”) through genres such as spoken word, street performance, satire, political cabaret, performance art, video performance, movement, and others.

Selected participants will take part in weekly workshops led by George Emilio Sánchez as well as by established artists who are leaders in the field of performance and politics. (Workshop leaders for 2017 will be announced soon—check emergenyc.org for updates and a list of previous instructors). We ask applicants to define social issues that are important to them and explore how creative practices can harness their political voice. Past participants have explored themes of racism, racial stereotypes, and racial violence; LGBTQ rights; gender and sexuality; war and human rights; environmental justice; religion; and gentrification, among others. These engagements have resulted in the creation of workshops in community programs (such as GLOBE/Make the Road New York), interviews with members of various communities, and the creation of performance art pieces, multimedia installations, theatrical explorations, urban interventions, video art, and more.


10.
California Institute of the Arts Summer Residency
Deadline: March 1st
Website: https://extendedstudies.calarts.edu/art-residency

California Institute of the Arts welcomes applications to its Summer Art Residency, located on campus in Valencia, California. Led by the CalArts School of Art, this five-week residency offers an opportunity for emerging and/or mid-career artists working in all disciplines to advance their work in an immersive studio environment.

The Summer Art Residency enables you to construct your own experience by selecting from a dynamic program of events, field trips, workshops, seminars and independent studio time, supported by access to diverse creative practitioners.

With an explorative philosophy that allows you to concentrate on your work in an innovative and focused environment, this residency facilitates self-directed inquiry, enabling you to shape a unique residency experience that challenges and develops your practice in new ways.

The residency is ideal for those seeking the time and resources to investigate new ideas and deepen existing inquiries into the conception, production and reception of work, providing concentrated time to develop a project with structured support, feedback and conversation. The CalArts campus offers a diversity of resources for artists providing access to production studios as well as a renowned library of special collections and rare artist books, a comprehensive film and video archive, and a variety of on-site campus facilities.

The school’s proximity to Los Angeles provides easy access to a vibrant community of world-class museums, a robust arts scene, and varied geological sites such as beaches, mountains and desert.


11.
Baltic Writers Program
Deadline: March 1st
Website: https://balticwritingresidency.submittable.com/submit

Traditionally held in Latvia, this year's Baltic Writing Residency will be held in a week-long residency at a historic croft cottage in Brora, Scotland; and another writer is offered one to three months at Blackacre State Nature Preserve & Historic Homestead, respectively. Though the residencies offer privacy and seclusion, residents are encouraged, if not urged, to take full advantage the vibrant locations in which they find themselves.

The residency in Scotland comes with a free cottage stay, and the residency in Bernheim comes with a free cabin stay and $500

All residency periods are dependent on the overall schedule of the host location. Applications are chosen by an anonymous committee of judges (one member of the English Department of Harvard University, one poet of recognized standing, and one fiction writer of recognized standing). The submission fee varies depending on residency location.

Candidates must submit files as one PDF or Microsoft Word document

Playwrights should submit one play or ten pages of playwriting (double spaced) and a CV- including a publication list, full contact information, and contact information for two references

Residency submissions for Scotland close August 25th, 2017; Blackare closes March 1st, 2018;


12.
MISE-EN_PLACE
Deadline: March 15th
Website: http://place.mise-en.org

MISE-EN_PLACE Bushwick was established in 2014 as a home for ensemble mise-en (http://ensemble.mise-en.org), led by composer, conductor, and current Artistic Director Moon Young Ha (http://moon.mise-en.org). Since its founding, MISE-EN_PLACE Bushwick has provided rehearsal, performance, and studio space in the heart of Brooklyn, New York to a growing body of musicians, composers, and multimedia artists from New York City and across the world. MISE-EN_PLACE Bushwick aims to bring a repertoire of challenging new sounds to diverse audiences and impart an experience that is simultaneously multi-cultural, intellectually stimulating, and aesthetically pleasing. As a collective, its multi-national personnel has coalesced around a real aesthetic agenda, crystallized in the name mise-en: “mee”, in Korean, means “beauty”, and “zahn”, “to decorate.”

The residency at MISE-EN_PLACE Bushwick invites artists to live, work, and create in a focused and supportive environment. This residency is designed to support artists interested in exploring the boundaries of the space through music/sound art, performance, video, and audio/visual installations. Private studios and rehearsal spaces are provided for developing works-in-progress, and artists will have the opportunity to connect with the community through presenting lectures, workshops, masterclasses, exhibitions, concerts, or live performances. Projects may also be documented with provided audio and video recording equipment. This residency hopes to not only support the development of artists’ current works but also inspire future projects and possibilities for exchange.

Residencies may be for two nights to three weeks. Living-in is optional but welcomed (note: living accommodations can support up to two individual artists at any given time). A public presentation of work is also optional, as artists may request an internal presentation or portfolio review. Artists interested in working with musicians may propose to collaborate with ensemble mise-en, and musicians’ exact availability will be determined pending proposal approval.

EQUIPMENT

-Pianos (baby grand & upright)

-Percussion (Vibraphone, Marimba, Gongs, Glockenspiel, Crotales, Drums, etc.)

-Electronics (7.1 Speakers, Video/Audio Recording Devices, HD Projector, DMX lightings, Guitar Amp, etc.)

-Recording equipment (mics, audio interface, cables, DSLRs, etc.)

–More details (https://goo.gl/RNUuGN)

ACCOMMODATIONS

-Private live/work studio (professional-grade sound mixers, speakers, headphones and outboard gears)

-Shared living room, kitchen, and bath

-High-Speed Wi-Fi


13.
Asian Woman Giving Circle
Deadline: March 16
Website: https://forwomen.org/grants-2/awgc-2018-rfp/ 

We are an all-volunteer group of Asian American women in New York City who are passionate about amplifying the transformative power of arts and culture to advance an equitable and just society. We pool our resources to fund projects led by Asian American women artists and community groups. We take risks by investing in emerging and cutting-edge change makers. We stay rooted in the community, learning and innovating together. We believe funding can be a form of activism.

In this grants cycle, we anticipate that 5-8 project grants will be awarded, contingent on available funding. The maximum grant amount is $15,000. For a description of past project grants, please visit our website: www.asianwomengivingcircle.org

Asian Women Giving Circle (AWGC) believes culture is an essential part of any strategy for social change. We support Asian American women-led organizations and individual artists in NYC who are using arts and culture to:

-bring about progressive social transformation,

-raise awareness and catalyze action around critical issues that affect Asian American women, girls and families, and highlight and promote women’s central role as leaders, creators, developers and managers of these projects.

For a history of past projects check www.asianwomengivingcircle.org.


14.
Woodward/Newman Drama Award
deadline: March 1st
website: http://www.newplays.org/node/55?subnid=15&left_node=55

The BPP is accepting submissions for the 2018-19 Woodward/Newman Drama Award. Submissions are due by March 1st.

Full-length plays will have a complete running time of between 1 hour 15 minutes (75 minutes) to 2 hours 15 minutes (135 minutes). Plays submitted must be unpublished at the time of submission. Plays that have received developmental readings, workshop productions, or productions at small theatre companies are acceptable. No scripts with previous productions at major regional theaters will be accepted. Once entered, the subsequent activity does not change the acceptability of the script.

Each submission must include a synopsis (1 page or less) including the cast size. A separate page should include a brief bio of the playwright, and production/development history if applicable.

Each submission must include a cover letter with contact information and a $10.00 reader fee. Agent submissions require no fee. The fee will be waived for Dramatist Guild members with an enclosed photocopy of a membership card. The BPP only accepts U.S. checks or money orders (Make check payable to "BPP"). No international checks or money orders will be accepted.

Make sure to note with your submission that you have paid the reader fee online.

It is preferable for musicals to include a demo CD. The complete score is not necessary but may be included. All plays are read by BPP's literary personnel led by and including the Literary Manager and Artistic Director.

We do not accept email submissions. Scripts will not be returned. Blind submissions are not necessary. Please include all contact information. Plays submitted in previous years will be accepted.

The BPP reserves the right not to name a winner and/or name a winner but not commit to a reading or production.


15.
Djerassi Residency
Deadline: March 15th
Website: http://www.djerassi.org/artistresidencies.html

Residencies are awarded competitively, at no cost, to national and international artists in the disciplines of choreography, literature, music composition, visual arts, media arts, and science.There are 6 residency sessions; 5 are 29 days long and 1(the Open House Session) is 36 days long. There are 11 - 12 residents with varied disciplines in each session.

We seek applications from emerging and mid-career artists, for whom appointments as resident artists may make a significant difference to their careers, as well as from established artists with national and/or international reputations. Applicants are evaluated by panels of arts professionals in each category.

The Residency Program is designed as a retreat experience to pursue personal creative work and share in collegial interaction within a small community of artists. It is unpaid with no practical training or educational components involved. In this spirit, residents are expected to commit themselves for the entire residency session awarded to them.

HOUSING, STUDIO SPACE & MEALS

Residents accommodations on the ranch are determined according to artistic discipline and creative project. Living quarters and studio space consist of a four-bedroom house a unique, remodeled twelve-sided barn and the Diane Middlebrook Studios.

The rooms in the Artists' House are set up to accommodate writers, each with a large desk, workspace, and outdoor deck. The Artists' House also contains the main kitchen, living and dining area, a library, laundry facilities, shared bathrooms, and a large deck.

The Artists' Barn contains three visual art studios, a large dance studio, a darkroom, and a music composition studio with a baby grand and electric piano. The studios are rustic with wood burning stoves and modest sleeping lofts. There is also a kitchen, a large common area, shared bathrooms, and laundry facilities in the Barn.

The Diane Middlebrook Studios consist of four private live/work studios for writers, media artists and other artists with clean/non-messy projects. The studios each have private bathrooms and outdoor space.

The Program employs a chef who prepares communal dinners Monday through Friday, and provisions both kitchens. Residents are expected to prepare their own breakfasts, lunches, and weekend dinners using ingredients supplied by the Program. We offer vegetarian and gluten-free meals, although we cannot guarantee a gluten-free environment.


16.
LARK PLAYWRIGHTS' WEEK
Deadline: March 30th
website: https://www.larktheatre.org/get-involved/submit-play/

The Lark’s Open Access Program seeks to provide development opportunities for new and diverse voices for the theater by identifying and advancing promising plays that reveal unheard and vital perspectives.  This submissions program allows The Lark to serve a wide range of playwrights through an extensive multistage selection process with an emphasis on inclusion and advocacy.

Our support criteria emphasize ambitious, fresh, playful, engaging, energizing, provocative, powerful and theatrical work by writers with clear statements of purpose who are open to a collaborative development process.

Writers selected for Playwrights’ Week are provided with ten hours of rehearsal and a public staged reading, towards addressing self-defined developmental goals for their plays, as well as opportunities to engage with other Playwrights’ Week participants in a peer-based community of support and conversation.

17. 
Fade to Black Festival
Deadline: April 1st
Email your submission in pdf format to submissions@wmgellc.com

We are seeking 10-minute plays for our upcoming season. Submission indicates you have read, understand and consent to the rules and guidelines. Failure to comply will result in disqualification.

-Submitting author must be an African-American/Black playwright and the sole owner of the copyrighted work.
-Submission form must be completed before emailing your play.
-Play must not be previously produced.
-“Produced” - Your play was marketed for production date(s) by either you (its playwright) or a theatre company and was performed before an audience who purchased tickets to see the event.
-*Staged readings are not considered productions. If your play has only had public or private readings but has not been produced as a full-scale stage performance, you are permitted to submit the play.
-Play must not be published.
-“Published” - Your play is an officially published work and commands royalties from the producing theater each time it is performed.
-Play must not exceed 8-10 minutes.
-Plays that exceed this time frame will be disqualified.
-Play must be submitted in pdf format.
-Play should accommodate a “bare-stage” set requiring only minor accommodations of removable stage props and require basic lighting and sound cues.
-No more than three (3) submissions per playwright are accepted.
-The playwright may choose any theme or subject matter they desire.
-Play must not be a musical.
-Play must not be written for children or youth.
-Play must not be a re-submission from previous Fade To Black festival seasons.
-Play must not be considered a translation or adaptation.
-You must be at least 18 years of age to submit.

REMEMBER!
There is no submission fee.
Selected playwrights will receive an honorarium of $100.00.
Selected playwrights will have their play produced in front of a live audience.
Submissions open February 1.
Submission deadline is April 1.
Playwrights will be announced no later than May 1.

Email your submission in pdf format. Email address: submissions@wmgellc.com
Email header should read: Submission: Fade to Black. Your name. Title of play.
Your play should include cover pages including your name, contact information, title of play as well as any character descriptions or pertinent details you have regarding the play.
For more information, please contact Denise O'Neal at sdoneal12@yahoo.com 

Tuesday, January 30, 2018

SOTU Simple

The state is simple:

- the America that hated him before, hates him afterward.
- the America that loved him before, loves him afterward.
- any drinking fact checker is probably dead after this speech.
- NYC had two 'invisible and silent' terrorist attacks last week.
- Trump still has a denture problem.
- America's 'freedom dick' grows every time we measure it.
- have we told you about how great we are in bed?
- America's freedom is veiny, gorgeous, iron-clad, never premature.
- America killed all the dinosaurs because we are awesome.
- America shows love by kicking ass and building nukes.
- America invented applause by slapping British bottoms.
- America has 10 Bills of Rights and they're all the 2nd one.
- America turns a rich man's piss into a poor man's sunshine.
- America's original sin is still on track to destroy this country.
- American whites are still down with the original plan.
- America's #1 export: bragging about America's stiff freedom dick.
- America's #1 import: skilled labor, which we need to deport.
- America's #1 prop: tragic POC
- America's #1 energy source: nostalgia that never existed.

Wednesday, January 24, 2018

The Future of MAGA

One day MAGA hats and BlueLivesMatter slogans will sit alongside the political paraphernalia of George Wallace posters, Confederate flag plates, Dixiecrat bumper stickers, Willie Horton ads, and swastikas. And no one will remember wearing these hats, few will admit to voting in 2016, photos will be destroyed, posters will be rolled up and left in the attics.

If you doubt the cunning and baffling nature of 'shame amnesia,' remember that there are countless sweet old grandmothers that used to collect lynching postcards that commemorated the wholesome Americana of dismembering, disembowelling, black boys and girls. We are not talking about ghoulish-looking cretins in KKK robes, but quiet, pie-baking, grey-haired ladies with rolled stockings, as well as avuncular old men who love their grandkids.

Former debutantes and high school quarterbacks, library clerks, and the banal masses of men who would never curse in front of their mother, but might date rape a girl who 'was asking for it.' It's important to remember that repressive systems aren't propped up by monsters, but in the petty minds of small men who slither behind the props of patriotism and God.