Sunday, January 29, 2017

The US Immigration System and Mass Detention

In 2003 I met a Russian national who had been imprisoned in NYC for 2 yrs. He was a legal and documented person who wasn't doing anything wrong. Even if we're just talking about justified racial profiling, it didn't make sense b/c he wasn't Arab or aligned with any radical thoughts. His profile was as far from potential terrorist at the time: white-looking, Russian, young, gay, engineer, cosmopolitan. Christian. He came to this country to work and in a Kafka-esque turn of events his name or region of origin got him snagged in the post-9/111 immigration mass detention dragnet.

On his first day in prison, he said his case worker looked at his file and said 'you shouldn't be here.' And then for the next 2 yrs, gov workers would visit him, quizzically look at his file and say 'hmm, this is strange' or 'how the hell did you end up here?' And yet he wasn't released b/c well..immigration bureaucracy. Everyone said someone else will take care of it and over 24 months passed. And yes, the Russian guy got a monetary settlement for being wrongfully imprisoned for years for absolutely no reason. But money doesn't equal time lost, psychological damage, or your family not knowing where you are for two years, and thinking you're dead.

Imagine waking up one day and being arrested, sent to prison, having no ability to call someone, and no official can tell you a) why you're here b) when you're getting out c) who you can see to have your case heard. And imagine months turning into years and still not knowing anything, and finally getting spat out onto the street with just your belongings. Every time we do one of these mass sweeps there are hundreds (possibly thousands) who face this surreal horror. And it happened under Bush. It happened under Obama. And now it's happening again. 

Saturday, January 28, 2017

OJ: Made in America

I am watching "OJ: Made in America." I'm surprised at how much my opinion hasn't changed since I was a teenager. It was always crystal clear in my mind:  he probably did it and there was no way he was going to get convicted. And it sucked, and there were no winners, and only highlighted what I experienced as a teenage blk back then and what millions of blk people experience and it's an heinous existence that white people don't care about but then turn around and expect everyone else to leave their own experience behind and be objectively fair. (which, by the way, everyone should be able to do but few accomplish in their daily lives). Pretty much the pre-existing paradigm walking into the case was that black ppl (specifically in LA from which the jury pool was selected) were systemically abused, murdered, kept in poverty by a comprehensively  evil system of apartheid for generations.

Despite video evidence, time and time again police got away with murdering black people, the government allowed riots to rip apart the city, and -as a result- blacks were shoved deeper into apartheid. And of the most famous and idolized black people is arrested for murdering 2 white ppl and the key evidence is found by a competent but well-documented racist detective who wanted to be put on medical leave for how much he hated 'niggers and Mexicans' (in his own words) and happens to look like an evil Nazi. Prosecutors said 'sure he looks and acts like a Nazi and you have all these awful experiences as blk ppl but...I mean, come on...the guy is under a lot of stress as a police officer.' And you have a jury of mostly middle-aged black women sitting there -probably boiling with hundreds of yrs of rage- and white faces standing there saying 'let's murder this handsome black hero' and -surprise- jurors were like 'FUCK THAT SHIT. FUCK YOU, FUCK THIS COUNTRY.'

And no, it wasn't a victory of black people.  It was a middle finger to a white system and YES it's not fair that it was at the expense of two innocent white victims. And even in high school after football practice when someone jokingly shouted 'free OJ' another black teen shouted back just as quickly 'fuck that nigga! He ain't do shit for me and doesn't care about us.' And it's all true. And no one won. And a murderer got away with it b/c of a murderous unjust system kills millions of blacks and oppresses just as many on a daily basis, but this same system has a tiny loophole for 'token celebrity heroes.' And it encapsulates this nation even today as we have elected a 'racist celebrity rapist' as president on the backs of angry white voters. And the cherry on top of it all that the documentary highlights is a picture of OJ and Trump smiling together...and OJ is a villain in prison and the other guy is in the White House.

Friday, January 27, 2017

Bodhichitta on the Street

A few days ago I was walking around in West Hollywood and ran into someone I was so happy to see that it was like a gift. My heart was open, there was an effortless connection, and it inspired me to reach out to other people that night. And that interaction made me think about two other people I had randomly met earlier in the week that made me tense as I anticipated every 'typically stupid thing' they were going to say, mocked their LA speech patterns in my head ('oooh, that's so magical.'), and tried to figure out a way to end contact as soon as possible. It's funny b/c I wasn't even aware of how many negative feelings were pre-built into that interaction until I stumbled into a random pleasant meeting. And it made me think about the actual difference between that gift person and that garbage person, which was almost nothing. A long time ago we had a very small but pleasant exchange and I decided that this person was a mensch. And years ago I had a very small exchange with these other people I had labeled as condescending. And those moments were re-enforced by me acting and creating new moments that confirmed my suspicions. And the gift person did some not-so good things but I ignored them b/c they were overall great. And that garbage person actually did some nice things for me, but I discounted those moments b/c...well, they're a shitty person so that must have been an accident.  And now I see all the intricate emotional latticework my mind had woven together which was giving me two viscerally strong and diametrically opposed reactions to chance encounters, that was then causing me to act in wildly different ways. And that's how I live most of my life, treading on these seemingly solid paths that were built from tiny moments. And I just realized that when I came home, saw Je Tsongkapa patiently staring at me from the book cover of "The Principal Teachings of Buddhism," and decided to pick up the dog-eared copy and read about bodhichitta. It would be nice to wish everyone well.

Thursday, January 26, 2017

Political Samsara

In 1999 I remember so many conservative friends talking about how awful Bill Clinton was for the country. Then around the summer of 2000 that line of GOP reasoning stopped, but it was strangely picked up by left-wing Dems who began using the same talking pts against a sitting Dem president, weakening the enthusiasm for Al Gore as both 'more of the same' and 'not as good as Clinton." And by October 2000, GOP politicians were talking about how much they were going to miss Bill Clinton...the guy they had impeached. A year ago so many of my conservative friends on FB loved posting about how awful Obama was: Iran Peace Treaty, how much he 'hated' Israel (with that record-setting aid package to them), how weak he was. Then about six months ago after RNC and DNC convention that line of reasoning stopped. Then around Sept and Oct, conservative pundits started talking about how they'll miss Obama and how dignified he was...but Hillary Clinton was both 'more of the same' and 'not as good.' And a murderer. And demented with Parkinson. But also a diabolical mastermind. And a secret lesbian. And, least we forget...her emails. Her heinous treasonous emails. And here we are again: in a devolving cycle of lies, rage, historical omission, amnesia, post-election regret/mourning, nostalgia for 'the other Dem,' rationalizing that the 'it' won't get that bad despite all the evidence, 'it' actually getting worse despite all our wishes. It's the same Orwellian recipe with a few added dashes of overt racism, xenophobia, and misogyny that always existed within neoconservatism as an implied subtext but has now become the highlighted in all CAPS.

We all get amnesia, wander off, dissipate. Conservative friends start claiming they were never that much into politics, delete tweets and online banners, and post inspirational cat videos while their man sets the world on fire. Samsara. The cycle keeps happening. Only one way to get out. 

Tuesday, January 24, 2017

Oscar Foreign Movies and Mergers

Congrats to the Oscar nominees and some more diversity this yr...BUT...when I was a teenager I could usually see 3 or 4 of the foreign film nominees a year. They weren't super wide-released but I could find them at mid-sized venues and they would occasionally pop up for a weekend at an AMC.

I remember watching "Y Tu Mama Tambien," "Amores Perros," and "The Lives of Others" in packed major theaters filled with people doing some 'grown folks" movie watching (aka no 'crying babies" or "gossiping teens," hire a babysitter and let's go see something with subtitles). Even back in 2007 -when I was living between Miami and Albuquerque for a year- I could find a quite a few foreign movies in the local spots b/c a cinephile angel somewhere along the lines in acquisition and distribution thought 'yeah, the yokels in ABQ should see this weird ass movie.' And we all know that Miami and ABQ are not NYC or LA in terms of indie and foreign movies.

This year and the past several, I'm lucky if I get to even catch one or two of the foreign movies. It feels like US distributors just aren't that interested in finding the next  "City of God" or "Central Station" or "Goodbye Lenin" which SUCKS because these were movies that transformed my understanding of not only cinema but the world. And it was kind of special to see these films in packed houses with other Americans (as oppose to netflixing it at home) because the public screenings confirmed our suspicions that there were millions of us out there in smaller cities who would go out of their way to try something new if it was just on the menu.

We aren't as stupid and close-minded and provincial as our media overlords would have you believe. Indie media matters! And the quiet death of indie movies, movie distributors, radio, and print has been one of the saddest things that has happened within the short span of my adulthood. Yes, even in the age of Trump I still believe that we are not as narrow-minded as our options, and the dumbing down of America is happening from the top-down, not the bottom-up. The merger of 90% of our media into a handful of companies has been devastating for independent artists, thinkers, politicians, and citizens. Foreign movies are just another canary in the mine of monster mergers and mega-conglomerates. 

Friday, January 20, 2017

It's Still About Hope

I was on the football, wrestling, and debate team when I was in high school. Whenever I had a big tournament or game at night I would get really sleepy in the afternoon and go into like a deep, long nap right after school. While other kids were bouncing around and listening to their Walkmans, I was usually passed out somewhere. And then I would wake up in a fever: red eyes and sweating... but also ready to fight. This afternoon I came back home and was thinking about Trump and the next four years: the attempts to loot the public coffers, eliminate art, spread guns and violence into every public area, foster mistrust, cut the safety net for the poor. I immediately knocked myself into a 4 hr nap. I woke up, blinked my eyes, exhaled into the cool rain-soaked night, and sighed 'I'm still here' to no one in particular. I ate dinner, went to the gym, committed to a plan of action tonight, over the weekend, and then for the long-term. I felt an enormous sense of peace and an unshakeable will of resolve. Self-care is the most important thing for an athlete, fighter, warrior, revolutionary, or a concerned citizen. It allows us to act with steady and sustained force. I am getting focused, I am putting on my armor, I am quoting "Scarface" (Miami thing), I am reading dharma. I'm still here. And I'm ready. #hope

Wednesday, January 18, 2017

Simple Citizen in the sheets, Corporate Sex Toy on Wall Street.

Once upon a time I was a NYC mystery shopper (yep, I just blew my cover). I did this on and off for several yrs after grad school. I monitored movie theaters, recorded music in certain clubs to make sure no DJ was stealing from BMI musicians, and stopped in places of business to see about customer service. For one of my 'deep cover assignments' I was given a character profile and sent into certain banks and NY stock firms to invest my fake savings into something. I discovered that there's an entire world of 'weird money investments' if a firm thinks they can use you. It's like 'alternative financial medicine' and they sell it just like some special herbal acupuncture green tea cleanse...for your wallet.

One of these alt investments advertised at the time was state tobacco funds based on the settlements big tobacco gave out, particularly in Michigan and Pennsylvania. They were high-yield bonds guaranteed to give you 7-10% return every year. Holy cow! Even though I was acting I thought this was the greatest thing ever. The security of a bond with the return of a stock. This doesn't sound shady at all (hahaha). This morning I was talking to a broker and I mentioned these tobacco funds and he said 'oh yeah, you mean junk bonds.' He went on about them being 'junk' and not just in the technical financial term, but also in the moral sense.  I googled these tobacco funds and sure enough...Wall Street found a way to not only rip off state governments but the victims of big tobacco who were expecting to use those funds for cancer treatment and to live.

Investment firms made about $500 million off of creating these toxic bonds that are now crashing in states across the country. Just another reminder of what's going to happen to your healthcare, education, and retirement funds as the GOP starts to privatize everything and force citizens to become corporate sex toys.

Friday, January 6, 2017

Scrota Age

I support the overall achievements of the ACA and acknowledge getting rid of it would cause havoc for the entire health industry. The logical and compassionate pt of my mind is 100% with the ACA. But I also have another pt of my mind. A visceral and reactive part of me that is my 'libertarian.' It's located somewhere beneath my waist. I don't like this pt of my mind b/c it is primitive, selfish, violent and 'doesn't give a fuck, just wants my freedom.' And when the ACA was passed in 2010 this 'libertarian unit' was howling: you mean I HAVE to pay for insurance. I was born with a body and now I HAVE to get it insured and pay money toward a big corporation b/c big gov is telling me. Or get taxed by government' and I could feel a growing heat inside of me just at the thought. My liberal friends said 'yeah it's like car insurance.' And I thought 'but purchasing a car is an option. Having a body is not. So I have to give my money to a big insurance company or get taxed by big gov.' My logical angels assuaged my libertarian by pointing out how healthcare works, how many ppl it would benefit, and there is no better alt without single payer system. My libertarian grumbled, put its gun back in the holster, kicked a chair over, and sat down. It would would have its day...and I hated that pt of myself for not only reacting like that, but knowing all it had to do was wait b/c so much of this country thinks below the belt. And now we are in a scrotal era: unholstered, howling, and mean. And a lot of ppl are going to get hurt.

I know the logic of forcing people to eat their vegetables, but it's also logical to expect them to rebel. I actually think if ppl are told to eat their vegetables they naturally resist or if you forbid ppl from 'being' without going to a big corporation for insurance that that instinctively makes some ppl really pissed off. If you give ppl a 'thou shall not' there's always a pushback...even if the 'thou shall not' is something really smart and helpful. "The other thing is that YOU DO NOT NEED INSURANCE. It is an artificial thing, it does not actually give you medicine, these ppl are not doctors. The sole purpose of insurance companies is to get between patients and doctors...for profit. There is something kind of evil about it b/c we need health and we need doctors, but you DO NOT NEED INSURANCE FOR HEALTH. Insurance companies have convinced us of this for their own benefit. What if you cut out the middle man and paid to doctor collectives where the money went directly to a core group of could save a lot of money from bureaucrats. What if there was a single payer system or socialized medicine?

Thursday, January 5, 2017

Battery Evening

After staying until the evening to watch a fantastic new episode in the editing bay I walked through the Paramount Lot. The leaves were rustling and guards were languidly biking down the empty fake 'NYC streets' with a soundless and unhurried serenity. Something quietly shifted in the air. When I got to my car, it wouldn't start. Hmm, different. I was not stressed or aggravated in the least... perhaps because of the premonition I had been waiting for something out the norm. I thought 'okay, this is interesting. I wonder what's going to happen?' I called the rental car place they said I probably left something on in the car, but I assured them I didn't. The security guards didn't have jumper cables so I called AAA (first time ever). The moment after my call ended my phone -which had half a battery charged- died. Kaput. So first a seemingly fine car and now a phone. Okay, sure. What do you have for me next? The AAA tow truck guy didn't have a battery he could sell me because he had run out. It was a busy day of battery replacement. He jumpstarted the car and told me I should drive it around for at least 45 minutes so that the battery can recharge. This seemed completely counterintuitive to me, which seemed to fit this day. It only takes me 10 minutes to get home so I drove around. On Melrose the traffic was being held up by 3 women dressed in bachelorette party attire (tiara and feather boa..or angel attire) who were standing in the street. They were protecting a dog that had parked themselves in the midst of traffic due to injury or being stunned, or perhaps their battery had suddenly failed them too. On Sunset Blvd there was a massive car crash, which I had never seen before. My eyes noticed a man carefully sweeping up the glass on the road. I pulled into a McDonald's drive through to use some more of my battery recharge time and got a late-night egg mcmuffin b/c it seemed fitting with the mood of things. I got home and the car is running fine. The phone is working again. I wonder if this was some sort of silent initiation, showing me symbols and moments to be meditated on for later.

Monday, January 2, 2017

GET WHAT YOU WANT: January 2017

Deadline: January 3rd

The Open Fist Theatre company, based in Los Angeles, is seeking submissions of short plays themed around the nation’s various responses to this election and its aftermath. The plays will be performed by company members at a pop-up event, scheduled to be produced around the end of January/early February. If you have any original material that you think might fit, or are inspired to create something new, please email the piece to by January 1st. It does not need to be a literal interpretation by any means

Deadline: January 6th

INKtank is Rising Circle Theater Collective's play development intensive for playwrights of color. INKtank has a two-fold mission of providing emerging playwrights of color an artistic home and support system while assisting them in the creation of a more developed draft of a full-length script. The final drafts of the INKtank plays will be presented at PlayRISE, a culminating festival event where the selected works receive a public reading.
The INKtank Lab seeks to select 3-4 writers of color who are invested in the revision process of their own work as well of their peers in an artistic community environment with a shared intention of honest feedback and rigorous pursuit of excellence.  The lab cycle will be facilitated by INKtank alums, Raquel Almazan (La Esperanza, or The Hopefulness) and Monet Hurst-Mendoza (Lilia, Veil'd). INKtank is a collaborative process where Rising Circle will provide structure and resources, while playwrights create what happens week-to-week based on the needs of each writer.
Applicants must submit the following by January 6, 2017:
• One full-length script that you would like to work on during the lab. The play must be in line with Rising Circle’s mission statement to expand the scope of storytelling on the American stage by giving voice to unheard stories of people of color. We are especially interested in plays that have an urgency to address the current social, political and cultural times.  Please note: we are not accepting one-character plays or musicals at this time.
• Resume
• A one-page Artistic Statement explaining your personal rewrite goals, what you feel are the strengths of the script, and what you would like to focus on for the piece during the developmental process. Please include any developmental history of this piece, if it has had readings in the past, or if there are any upcoming readings of your work.

*Please read all lab requirements and guidelines prior to applying.
*Applicants MUST live in the tri-state area to be considered.
*Finalist interviews will take place in early February.

Deadline: February 1st

New America’s Fellows Program invests in thinkers—academics, journalists, independent scholars, and public policy analysts—who offer fresh and often unconventional perspectives on the major challenges facing our society.
Fellows advance big ideas through research, reporting, analysis, and/or storytelling. The big idea can be a sweeping reframing of a familiar subject through new research or a new combination of existing research; a masterful presentation of a case study that advances our understanding of a timeless American theme or stress fracture; an innovative new media or academic project to disseminate knowledge about a shared challenge; or a bold policy prescription for moving domestic and international issues forward. Our goal in the Fellows Program is to find bold, iconoclastic thinkers and to fund them for a year, long enough so that they can make progress in writing a book, develop a series of articles, work on a documentary, or work on another project that would be accessible to a broad audience and long enough to be able to build a real community among the fellows.
Fellows benefit from a financial stipend, engagement with each other and with New America’s various policy programs, and the expanded audience and exposure from New America and its media partners. Precise terms and stipend levels of fellowships vary widely, as some fellows work full-time at New America in pursuit of their research, while many others have other professional commitments during the term of their fellowship.

BRICLab Residency
Deadline: January 17th

BRIClab is a commissioning and residency development program for Brooklyn and New York City-based artists to explore and expand the possibilities of their work in music, dance, theater and multi-disciplinary performance.  Free and open exploration and intentional commitment to process – with the support of the staff and resources that BRIC offers – are at the heart of the BRIClab program. Artists receive stipends and an intensive residency in BRIC’s Artist Studio with development time, opportunities for artistic mentoring, and work-in-process performances.
Tuesday, January 17, 2017 (11:59pm)
Artist’s receive:
Exclusive use of the BRIC House Artist Studio for 10-12 days (8am – 10pm)
Artist stipend of $1750
Additional $200 for Creative Advisor honorarium
Up to 30 hours of technical support
Two work-in-progress showings on Thursday and Friday of the 2nd week at 7:30pm, followed by moderated artist/audience dialogues
Photographic and video documentation of showings
BRIClab is for Brooklyn or New York City based artists who:
Are developing new work that is relevant to diverse Brooklyn audiences
Are exploring their interests and questions with thoughtful processes and can articulate a context for their work
Are excited by the opportunity to share their work with the public and who embrace dialogue with audiences as a meaningful part of their process
Can articulate (for multi-disciplinary work) an understanding or purposeful examination of how the various disciplines will interact and serve the whole
Across the season of BRIClab residencies we look for diversity and/or resonance in:
racial and cultural perspective
discipline (dance, theater, music, multi-discipline)
method/practice (collaboratively developed, solo work, heavily researched, more or less embodied, etc.)

Deadline: January 12th

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 emphasizes 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.

A complete submission is composed of two parts:

1)    A completed application form.
2) A full-length script, with your name or any identifying information removed as we are committed to an anonymous initial review.

Email Deadline
January 12, 2017 (11:59pm EST)

Please EMAIL your script and completed application as two separate attachments in the same email to: Application available online:

Deadline: January 15th

Random Access Theatre Company is accepting scripts for consideration for their 2017-2018 reading series RAWR (Random Access Workshop Readings).
RAWR develops new theatrical work from emerging New York City-based writers in a three-stage process over six months. (Please note that writers based outside the five boroughs are not eligible for this program.)
Random Access Theatre will provide direction, space, actors and mentorship through a series of progressively larger events beginning with a small table read, continuing with an invited audience read and finally a larger public staged reading. After the staged reading, Random Access Theatre Company may consider producing the work as a part of the following mainstage season.
Scripts will be accepted after an in-person interview with the playwright. The deadline for submissions is January 15th 2017. RAWR is highly interested in theatre that imagines and reclaims work and themes of the past as a way to engage in modern issues.
Work that adapts or enters into conversation with preexisting theatre, text, mythology, folklore etc. is very appropriate. Due to the heavy focus on script development, early-stage work is most appropriate for this series. Women, people with disabilities and people of color are strongly encouraged to apply.
To apply send your script with short synopsis, and your resume (as PDF attachments please) and a short letter explaining why you think your work would be a good fit for RAWR (in the body of the email is fine) to
Any questions you may have can also be addressed to the above email address.

Yale Institute for Music Theatre
Deadline: Jan. 2nd

 Established in 2009, the YALE INSTITUTE FOR MUSIC THEATRE is a program of Yale’s Binger Center for New Theatre that bridges the gap between training and the professional world for emerging composers, book writers, and lyricists. The Institute seeks distinctive and original music theatre works to be developed in an intensive two-week summer lab at Yale School of Drama. The Institute matches the authors of the selected works with collaborators, including professional directors and music directors, as well as a company of actors and singers that includes professionals and current Yale students. The lab culminates with open rehearsal readings of each project, presented as part of New Haven’s International Festival of Arts & Ideas.
Under the leadership of Artistic Director Mark Brokaw, two original music theatre works will be selected for the 2016 Institute, which will take place June 13–28 in New Haven. Online applications are being accepted now through January 2, 2017, 11:59PM (EST).

Helene Wurlitzer Foundation Residency
Deadline: January 18th

The Helene Wurlitzer Foundation of New Mexico, established in 1954, is one of the oldest artist residence programs in the country. The Foundation’s mission is to “Support the artist and the creative process” and serves as a haven for visual artists, literary artists and music composers. We are located on fifteen acres in the heart of Taos, New Mexico, a four-hundred-year-old multicultural community renowned for its popularity with artists.

The Foundation offers three months of rent-free and utility-paid housing to grantees. Our eleven guest houses, or casitas, are fully furnished and provide residents with a peaceful setting in which to pursue their creative endeavors.

The Helene Wurlitzer Foundation of New Mexico provides residency grants to people who specialize in the creative arts. The foundation accepts applications from and offers residency grants to painters, poets, sculptors, writers, playwrights, screenwriters, composers, photographers and filmmakers, of national and international origin.
The Foundation, with support from The Caruso Family Foundation, also provides academic scholarships to Taos High School seniors pursuing degrees in the creative arts.
Online applications received between now and 11:59PM MST, Jan. 18 2017 will be considered for residency grants in 2018. Supplemental work samples sent via mail must be postmarked by January 21st!

Leah Ryan Fund for Emerging Women Writers
Deadline: January 9th

 All women who consider themselves emerging playwrights (as distinct from fledgling or mid-career playwrights) are eligible to apply for the FEWW Prize. Playwrights from all over the world are encouraged to apply, but the play must be written in English. Eligibility does not require that a submitted work adhere to the traditional three-act structure. One-acts, two-acts (even four-, five-, six- acts), monologues, adaptations, and any other wild (or deceptively tame) format will be considered with equal seriousness. The only absolute requirement is that the submitted text be a completed full-length work for theater.

The 2017 winner will be chosen by a committee selected by the board members of Leah Ryan's FEWW, and will be presented her award as part of the 2017 Lily Awards, which honors the work of women in American theater.

 The winner will also receive a cash award of $2,500 as well as a staged reading of her play hosted by FEWW at a theater in New York City. In addition, a stipend of up to $700 for travel and accommodation may be provided by FEWW if necessary.

 We will begin accepting applications for this year’s prize on November 15th.
The deadline for submissions for the 2016 FEWW Prize is Monday, January 9th, 2017 at 5pm EST.

 Applications must include the following:
1. Ten pages excerpted from a fully developed, completed script. Please note: finalists will be required to submit the complete script to the FEWW;
2. A cover letter of no more than 300 words describing yourself and your work.
3. Your resume or a bio;
4. The name, address, email and phone number of one reference. This person should know you well and be able to speak about your work if called to do so.
Finalists will be contacted in early March and will have one week within which to submit their full play.

Deadline: January 15th

Bogliasco Fellowships are awarded to gifted individuals working in all the disciplines of the Arts and Humanities without regard to nationality, age, race, religion or gender.

To be eligible for the award of a Fellowship, applicants should demonstrate significant achievement in their disciplines, commensurate with their age and experience. Please note that Bogliasco Fellowships are not awarded to students currently in a degree-granting program. The Foundation gives preference to those whose applications suggest that they would be comfortable working in an intimate, international, multilingual community of scholars and artists.

The Foundation only accepts applications submitted through the online application system. To access the system, you must first register for an account here, where you will also find a list of requirements that we strongly encourage you to read before beginning your application. Once registered, you may login as needed to work on your application by clicking on the "login" button indicated to the left.

Bogliasco Fellowships include full room and board, plus the use of a private studio. The cost of transportation to and from the Bogliasco Study Center is the responsibility of Fellows and their accompanying spouses/partners. So also are all project materials and equipment, and any personal expenses incurred during the fellowship period, including medical expenses. Spouses/partners will be charged a daily fee of $25 to help defray the cost of meals and housing.


Deadlines for the submission of applications are as follows:

January 15th for residencies during the subsequent fall semester, and April 15th for residences during the subsequent spring semester.

Notification dates for the award of Fellowships are as follows:

April 1st for Fall Fellowships; July 1st for Spring Fellowships.

Headwaters New Play Festival
Deadline: February 16

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.


To be considered for the Headwaters New Play Festival, a play must never have had a professional production and the playwright must be available to attend the workshop week (August 21-26, 2017 - Creede Colorado). Since 2015’s festival, our goal has been to more accurately reflect the diversity of human experience by reserving one of our two slots for a female playwright. We will continue this at this season’s festival.

We are seeking full-length plays, one submission per playwright.

2017 Submission Deadline is February 16, 2017.
Any plays submitted after this date, will go into consideration for our 2018 Festival. Responses will be sent out by May 1, 2017. CRT provides travel, food stipend, and cozy accommodations for the playwright. The scenic mountain beauty of this 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 2018 season. For more information or to submit a pay, please visit

LAMBDA Writers' Retreat
Deadline: January 30th

LAMBDA Writers Retreat for Emerging LGBTQ Voices is the first program of its kind ever offered to LGBTQ writers: a one-week intensive workshop immersion in fiction, genre fiction, nonfiction, playwriting or poetry. An unparalleled opportunity to learn from the very best writers in the LGBT community, Lambda’s Writers Retreat is open to emerging LGBTQ writers of any age and from any country.


Lambda Literary believes Lesbian, Gay, Bisexual, Transgender and Queer literature is fundamental to the preservation of our culture, and that LGBTQ lives are affirmed when our stories are written, published and read.

The Writers Retreat for Emerging LGBTQ Voices is the first program of its kind ever offered to LGBTQ writers: a one-week intensive workshop immersion in fiction, genre fiction, nonfiction, playwriting or poetry. An unparalleled opportunity to learn from the very best writers in the LGBT community, Lambda’s Writers Retreat is open to emerging LGBTQ writers of any age and from any country.

To insure the quality of Lambda Literary’s Writers Retreat, applicants will be screened. Space is limited to 12 students per workshop. Some publication history is desirable but not required. Ability to pay fees will in no way be part of the selection process. Scholarships are available.


January 30 Applications in Fiction, Nonfiction, Young Adult Fiction, Poetry and Playwriting due by or before January 30, 2017.
March 15 Acceptances will be emailed on or before this date. Scholarship recipients are notified. Acceptance package includes full details on housing, transportation, and schedule.
April 17 A nonrefundable deposit of $350 is due to reserve your spot in the Writers Retreat.
May 22 Second installment of $350 is due (or balance on fees).
July 21 Final payment due.
August 5 Travel day: Writers Retreat begins.
August 12 Travel day: Writers Retreat ends.


Scholarships are available.  Lambda Literary provides personalized fundraising pages to all incoming students to help you raise your fees.

*Please note that all students are required to stay on campus.  Commuting is not allowed.

TUITION ($850): Covers workshops with faculty, all readings, lectures, and presentations by guest faculty.

ROOM & BOARD ($800): Housing and meals begin with dinner on Saturday, August 5 and conclude after breakfast on Saturday, August 12th, 2017. Prices include three meals per day. We will make every effort to accommodate dietary restrictions. Standard dorm rooms are shared by four (4) students: two semi-private connected rooms with two single beds in each room, air-conditioned, with private bath.

PRIVATE ROOM (additional expense): Semi-private single bedrooms in shared dorm (of 2 people) are available. Please note, because of limited space, private rooms are subject to availability. In addition, private rooms are subject to additional expense.


THE CAMPUS: Otis College of Art and Design in Los Angeles, California.

TRANSPORTATION: Otis is nearest Los Angeles International Airport (LAX)


The application to attend the Writers Retreat for Emerging LGBTQ Voices is online below. Before you begin, please prepare the answers to the longer questions in another place so you can copy and paste them into the application (and so you won’t accidentally lose them).  You cannot save an application in process.  Here is a list of what you should prepare:

For All Workshop Applications:

List of publications: Please list any publications of your work during the past two years, including anthologies, literary journals, magazines, websites, and books. Publications are not required for acceptance. (Max: 1,000 words)
Artistic/Biographical Statement: Please tell us about yourself, what project you’re working on, and why and how the Writers Retreat would be helpful to you. (Max: 1,000 words)
Writing Sample: Attach a writing sample in DOC, RTF, or PDF format. For Fiction, Nonfiction, or Genre: 25 pages maximum (standard manuscript format preferred). For Playwriting, a 10-page excerpt/2,000 words from a full-length work, short play or piece of theatre. For Poetry: 10 pages maximum. The sample should match the workshop to which you are applying, meaning please send a fiction sample for the Fiction Workshop, a Nonfiction sample for the Nonfiction workshop, etc.

For Scholarship Applications:

Scholarship Statement: Please tell us how a scholarship will enable you to attend the program. (Max: 1,000 words)

Personal Budget: Please list your monthly income and expenses.
Financial Documents: Please attach proof of income materials, such as a pay stub or tax return. These materials should be scanned as a PDF. If you cannot scan the materials, you can take hi-res photos of the documents with your camera phone. The full document must be legible. Max file size is 2MB. If photos are not an option, please mail hard copies to: LAMBDA LITERARY, 5482 Wilshire Boulevard #1595 Los Angeles, CA 90036.

Palm Beach Dramaworks
Deadline:January 31st

Palm Beach Dramaworks has revised its submission criteria for out-of-state (Florida) residents by welcoming plawrights without represenation to submit a brief synopsis of their play along with their bio to The Dramaworkshop Manager for consideration.

In addition, the Dramaworkshop has expanded its reach to include graduating MFA Playwriting candidates.

The Dramaworkshop submission period for new, unproduced plays for its developmental lab is open now through January 31, 2017.

The selected plays may receive any or all of the following: workshops, staged readings, and developmental productions. Interested playwrights can find guidelines and submission links on PBD's website,

PBD has been delighted by the quantity and quality of submissions since The Dramaworkshop was launched in 2014. Scripts are read by a company of resident artists, who choose a select few for development and remain involved throughout the process. Last year, four plays went on to various phases of development including Jennifer Fawcett's Buried Cities, which received a full developmental production.

The ultimate goal of The Dramaworkshop is to produce new work for PBD and stages all over the country.

Palm Beach Dramaworks is a non-profit, professional theatre and is a member of the Theatre Communications Group, the South Florida Theatre League, Florida Professional Theatres Association, and the Cultural Council of Palm Beach County.

HERE Arts Residency Program (HARP)
Deadline: February 1st

HARP is designed to support collaboration across disparate art forms by nurturing hybrid artists in the development of dynamic live performances. HARP provides significant long-term artistic, financial, and administrative support, tailored to each artist's individual needs.

Please note: This year's artist selection is focused specifically on dance and puppetry-led works - meaning these genres are primary drivers of the proposed project. Music or theatrical works which integrate these genres will also be considered, but only if one or more of the lead artists have a history of working in these specific genres.

“In these times, it's become increasingly hard for artists to find a place to take risks, a safe haven where they can develop daring new work. One theater has regularly bucked the trend, making its mission to ensure that artists have a home for their R&D, and that theatergoers can sample the exciting results.” - OBIE Committee, on the Ross Wetzsteon Award to HERE


Artists or collaborative teams chosen for HARP are expected to participate in the program by developing the work as outlined in their application and by actively participating in the member and public activities associated with the program. Since HARP is designed to respond to the ideas and needs of its members, the members themselves must be proactive in bringing those ideas and needs to HARP and to each other. We expect our members to be both good citizens of the HERE community as well as ambassadors to the public.

During the residency, HARP Artists participate in monthly artistic meetings, bi-monthly work groups focused on both artistic and business topics, regular individual meetings on budgeting, production, and fundraising issues, and formal and informal work-in-progress showings.

At the monthly meetings, artists show work, give feedback to other artist projects, engage in and contribute to artistic skill sharing. At the bi-monthly work groups, artists share career skills and learn from others, as well as from HERE staff and outside experts on topics ranging from grant writing to touring to budgeting to work samples.

Artists are also encouraged to show work in each stage of development. A number of work-in-progress showings, both public and private, allow members of HARP to contribute to the growth of their peers. Through this component, we create a balance of practical and theoretical work that exposes the whole group to a comprehensive experience. Each season, we present 8-10 public showings of HARP works-in-progress and provide HARP artists with a more formal opportunity to present stages of their work in CULTUREMART, our annual winter festival of workshop productions, before a public paying audience.

Each year, HARP artists participate in a one-week retreat at an artist colony where they are able to dedicate all of their energy to the creative process without the distractions of daily life. At times, when possible, we offer one- and two-week project-specific intensive retreats for second- and third-year HARP artists.

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.”

Robert Chelsey/Victor Bumbalo Playwriting Award
Deadline: January 14th

The Robert Chesley/Victor Bumbalo Playwriting Award is an annual competition for playwrights of LGBTQ theatre. The award seeks to encourage LGBTQ themed work that makes a substantial contribution to the theatrical repertoire and community.
The Foundation underwrites a three-month residency at the Helene Wurlitzer Foundation in Taos, New Mexico. In addition, awardees receive a $1,500 stipend for personal expenses. The Wurlitzer Foundation is located on eighteen acres in the heart of Taos. Past recipients include Maria Irene Fornes, Lisa Kron, Robert Patrick, Christopher Shinn, Paula Vogel and Doric Wilson.
Submissions for the 2017 competition must be postmarked no later than January 14, 2017. There is no entry fee. Submissions must consist of the full manuscript and be clearly marked “Chesley/Bumbalo Competition” on the application form and script.  Playwrights may submit only one manuscript per year. Awards will be announced by June 1, 2017.
To apply for the award:
Playwrights are asked to go to There they can download and submit a fully executed application form along with their script to the following address:
The Helene Wurlitzer Foundation of NM
Atten: Chesley/Bumbalo Playwriting Competition
P.O. Box 1891
Taos, NM 87571
Manuscripts cannot be returned after the competition. No bound or stapled scripts please. For additional information, you can find us at or If you have further questions, please contact the foundation’s president Victor Bumbalo at

Artists U at Gibney:
Deadline: January 6th

Gibney has just opened up an application for a FREE program for artists facilitated by Artists U (Andrew Simonet).

Artists will meet monthly for five months to do the core practices of sustainability: planning, financial clarity, time management, and writing about their work.

This workshop is designed for professional choreographers, emerging through mid-career. We are looking for artists with a range of artistic backgrounds and experiences, all of whom share a devotion to practice and a seriousness about making a life in dance.

Source Festival 10-Min Play Festival
Deadline: January 6th

Source Festival seeks 10-Minute Plays of any genre (comedy, magical realism, drama, etc.) that relate to the theme listed below. This theme is inspired by the festival's Full-Length Play; please read the summary below for more information about the Full Length Play.

We encourage innovative/humorous/surprising scripts that address the following themes:


Inspired by Topher Payne’s Perfect Arrangement. We are looking for plays that examine a instant of revolution (on a macro or micro level) in an unexpected way. We encourage the playwrights to find a surprising method or action in which to invoke change. Expose and explore tension in a subterranean, surprising, humorous or clever way. Enjoy!

In a 1950s Georgetown duplex, Bob and Millie live next door to Norma and Jim, in what appears in all manners to be a perfect arrangement. The twist is that all four are gay and have cultivated fake identities outside of their homes in order to live truthfully inside. The cultural shift of the 1950s brings about a moment of change when this carefully crafted falsehood is thrown into chaos. Topher Payne’s play (based on historical events) explores this shifting landscape with humor, energy, farce and surprising honesty.

Eligibility Requirements:

- Playwrights may submit only one 10-Minute Play to the the festival and the play may only be submitted under one theme.

- Plays may be no longer than 10 pages, exclusive of your title page.

- Plays must be submitted in PDF format.*

- Plays must not have been previously produced or published.**

To submit your 10-Minute Play to the Source Festival, please complete the form upload your script as a .pdf file.

Please complete this form and submit the documents requested below.

Due: January 6th, 2017 at 5:00pm EST. No late entries. No exceptions.
Playwrights whose scripts have been selected for Source Festival 2017 will be notified in the spring of 2017.

Bill Broyles Award from the Marine Corps Heritage Foundation
Deadline: January 7th

The Marine Corps Heritage Foundation awards program will be accepting submissions for 2017 awards starting October 7. Each year, the Foundation presents a series of awards to both Marines and civilians, to recognize their exemplary work in advancing and preserving Marine Corps history. Individuals will be honored at the Foundation’s annual Awards Ceremony on April 29, 2017.
All winners receive a $1,000 cash prize, a medallion and a commemorative brick along the Semper Fidelis Memorial Park pathway at the Marine Corps Heritage Center.

Applicants may self-nominate or nominate another individual for his/her work. If the piece is selected for an award, the awards committee will contact the applicant for any additional information needed to get in touch with the author/creator of the original work.

Applicants who are nominating someone else´s work must indicate this in the overview that is part of each submission detailed below. Submissions must be submitted electronically in PDF form, by website URL (in the case of blogs/dispatch reporting) or mailed on a DVD. All video submissions should include four copies on DVD format, mailed in a case, along with the category for the submission and the applicant´s name and contact number. All parts of the submission including overview must be sent electronically or by mail together, rather than in multiple parts. Electronic submissions are preferred but the Foundation understands that not all submissions can be sent in electronic format.

The deadline for this year´s awards submissions is January 7, 2017. Be sure to fill out the Awards Program Submission Form and include it with all submissions.

All award submissions must include the Awards Program Submission Form and should be sent to the Marine Corps Heritage Foundation. Please note:
Only one submission per category per person
No submissions accepted which have previously received an award in another category

Entries from previous years are not eligible

Please send one submission per email message - subject line must contain applicant's name and the award category

Each photo submitted must be labeled with the title of the photo, the photographer's name, and the award category

Submission must include a brief synopsis of the work, as well as a copy of the play or screenplay.
Mail to: Marine Corps Heritage Foundation
c/o Awards Program
3800 Fettler Park Drive, #104
Dumfries, VA 22025

Proscenium Journal
Deadline: February 24th

Proscenium is now accepting submissions for the sixth issue of Proscenium Journal and the third annual Proscenium Live Festival of New Work.

Proscenium accepts plays of any length and any style. There is no submission fee. Unless otherwise noted, all plays will be considered for both Proscenium Live and Proscenium Journal.

Submission Procedures:

We accept all submissions via email. Please email your original play to Include the title of the play and your name in the subject heading. Please submit your play in PDF format along with a brief author bio. If your play has been produced, please send us information about production history.

The deadline to be considered for the sixth issue of Proscenium and the Proscenium Live is February 24, 2017. However, we accept submissions year-round and will consider submissions after the deadline for future issues and festivals.

Due to the large number of submissions we receive, we regret that we cannot acknowledge all submissions. Proscenium reserves the right to reject any submission for any reason.

If you have any questions about our submission process, please contact

To learn more about this submission call, go to:

MacDowell Colony
Deadline: Jan. 15th

As one of the nation’s most prestigious artists retreats,  MacDowell Colony facilitates a balance between focused work and interdisciplinary interaction, among composers, writers, architects, film and video artists, playwrights, interdisciplinary artists, and visual artists.

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. Application fee of $30.

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. Applicants who are in a degree program as of the date of application are ineligible for a residency and therefore cannot 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, physical ability or disability. The Colony offers barrier-free access in all main buildings and some studios. Applicants should be aware that there are no medical facilities or medical personnel on site. MacDowell is situated in a rural area with limited access to medical care facilities. Applicants with special medical needs should contact the Resident Director before applying.

Application Periods and Deadlines
Artists may apply only once every 24 months. MacDowell will only accept applications for the next deadline. Please refer to the applications dates in the column on the left for open application time periods.

Application Process
Before starting the application process, we encourage applicants to scroll through our extensive list of Application FAQs. All applicants apply through the online application process. To apply, click on the Apply icon. Applicants are not required to mail in hard copies of the application forms.

Work Samples
Work samples supporting the proposed project and completed within the past four years are requested. All work samples are uploaded and submitted through the online application. Applicants unable to submit new work for the panel to review should include a note of explanation. Those applicants whose proposed project does not fall clearly within an artistic discipline should contact the Admissions office to discuss which discipline would best fit the proposed work. For detailed work sample requirements for each artistic discipline, click here.

Applicants are required to have one reference form on file completed by an authority in their field who is familiar with them and their work. Applications that do not have a completed reference form on file will be considered incomplete and will not be reviewed. Reference letters are confidential and will be kept on file for five years.
Applicants:   The reference process is initiated by you, the applicant, from within the online application.  You will add the name and contact information for your recommender in the Reference step of the application and a secure link will be sent to your recommender.  This can be done in advance of submitting your application.  It is your responsibility to ensure the request is fulfilled.  The deadline for all references is one week after the application deadline.
Recommenders:  As a recommender, you will receive an automated email from SlideRoom once the applicant has entered your contact information. This email will contain a link specifically tied to the applicant, which should be used to complete the recommendation. The deadline for all references is one week after the application deadline.
If a recommender cannot submit a reference online, please contact the Admissions Department at or 603-924-3886 x 113.
Processing Fee
A nonrefundable processing fee of $30 (U.S.) is required with each application. Applicants pay the processing fee by debit or credit card through a secure site on the online application.
Applicants will be notified of admission status approximately 8 weeks after the applicable deadline, on or near the dates listed below:
Summer residency notification: March 15th
Fall residency notification: June 15th
Winter/Spring residency notification: November 15th
Artists collaborating on a project must submit individual application forms and appropriate work samples, along with a joint description of the work they intend to do at the Colony. Work space needs should be clearly specified (i.e. whether or not separate studios are required), and an example of a previous collaborative work (either completed or in progress) may also be submitted. Admission status is determined by averaging the individual application scores of all collaborators.

Wildacres Residency Program (North Carolina)
Deadline: Jan. 15th

The Wildacres Residency Program began in 1999 and over the past sixteen years has hosted nearly 500 writers, artists, musicians and others. Participants stay in one of three comfortable cabins located 1/4 mile from the conference center. Past residents have found the setting conducive to their work and have had a great "Wildacres experience."

With the use of three cabins, the program will have about 70 one- and two-week residencies available from April through October. Sessions begin each Monday afternoon and conclude on Sunday or early Monday morning. The program allows individuals the solitude and inspiration needed to begin or continue work on a project in their particular field.

Residents may eat in the dining room, which allows for interaction with other residents, guests, and staff. Or residents may prepare their own meals in the cabins.

In 2017, we will again include several two week residencies. Those people who wish to apply for a two week residency should fill out the application specifically for that program. Those that apply for two week residencies will not be considered for the one week program.

We are now accepting applications for the 2017 residency program and the deadline is January 15, 2017. Those selected will be notified in early March and the scheduling of the residencies will be done at that time. Those not selected will be notified by e-mail later in March. Please submit the one or two week application along with the $20 application fee.

Applications for the 2017 program can be submitted using the links below. The $20 application fee is submitted when applying and is payable using PayPal Checkout.

Dora Maar House
Deadline: February 15th (for fellowships beginning in July 2017)

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 midcareer professionals are offered fellowships that enable them to reside in the Dora Maar House and focus on the creative aspects of their work.

The Arctic Circle Residency Program
Deadline: Jan. 15th

Artist and scientist led, The Arctic Circle is an annual expeditionary residency program. The Arctic Circle brings together international artists of all disciplines, scientists, architects, and educators who collectively explore remote and fascinating destinations aboard a sailing vessel.

The Arctic Circle takes place in the international territory of Svalbard, a mountainous Arctic archipelago just 10 degrees from the North Pole. Our vessel, a traditionally rigged Tall Ship, is equipped with work space, common areas and ample room for privacy and creativity.

The program provides the opportunity for artists and innovators to pursue their personal projects on board while exploring collaborations with the expedition’s fellow participants.

The Arctic Circle provides a shared experience for its participants to engage in a myriad of issues relevant to our time and to develop professionally through interdisciplinary collaborations, exhibit opportunities, and public and classroom engagement.

Upcoming Expeditions:
-The Arctic Circle 2017, Summer Solstice Expedition:
June 10th– June 28th, 2017 International Territory of Svalbard

-The Arctic Circle 2017, Autumn Art & Science Expedition: Sept 30th- Oct 18th
International Territory of Svalbard

In 2017, The Arctic Circle program embarks on two high Arctic expeditions aboard an
ice-class expedition sailing vessel. International artists of all disciplines, architects,
scientists and educators alike are invited to apply.

*there is a sizable participation fee if you are selected to be a part of the residency program. Check the website for more details.

Deadline: February 1st

Dare. Risk. Dream. Share. Ruminate.

Clockhouse accepts works of poetry, fiction, memoir, creative nonfiction, and dramatic works for stage or screen. We encourage submissions from both established and emerging writers. (Current students of Goddard College are ineligible to submit to Clockhouse, but we look forward to reading your work after you graduate.)

All submissions must:

Be original, unpublished work written by the author
Follow the industry-standard formatting guidelines appropriate for the genre as well as the applicable guidelines below:

Fiction: Short stories and self-contained novel excerpts in a literary style. Genre fiction will be considered only if it sustains literary merit (Up to 5,000 words)

Poetry: All poetry in traditional and experimental styles including prose poetry (Up to 250 lines of poetry, total. Only one poem per submission. Poets may submit up to three times per reading period.)

Memoir and Creative Nonfiction: All memoir and creative nonfiction in traditional and experimental literary styles. No academic or scientific essays (Up to 5,000 words)

Dramatic Work for Stage or Screen: Short dramatic works in traditional and experimental styles, either a standalone piece or an excerpt from a one-act or full length play or screenplay (Up to 15 pages)

Include a short bio of approximately 100 words or less

Include a brief artist statement: a few sentences about your work as an artist (i.e., not a “pitch” for this submission, but rather a statement about what you’re interested in writing about now, what drives your writing, or how your writing is reflecting or influencing the world at large, etc.)

Be submitted only through our online submission manager (see link at bottom of page). No email submissions will be accepted

Submissions that do not follow these guidelines will be discarded unread.

Submission period for the Summer 2017 issue has been extended to 11:59 p.m. on February 1, 2017.

LUMINOUS BODIES Programmed Art Residency (Toronto Island, Canada)
Deadline: January 16th
Program Dates: July 4 – 17, 2017

Luminous Bodies is a two-week residency to create artworks that shed new light on the human body. Its objective is to challenge “normativity” and Otherness. Its goal is to reinvent and re-present the body in most inclusive and diverse ways. Resident artist talks, gallery tours, visual and textual references, guest artist talks, and regular critiques (individual with Facilitator and group critiques) help uncover how our bodies are culturally and aesthetically constructed, displayed and controlled. Residents work individually or collaboratively to create artworks that reinvent the body through media of their choice, such as photography, video, installation, drawing, painting, performance, installation, sound art, media art, etc. There will be a closing exhibition of artworks created during the residency (if preferred, artists may show in open studio fashion). The essence of Luminous Bodies is about bringing to light heterogeneous bodies. It welcomes people in all walks of life into a creative journey of critical innovation and self-discovery. People with disabilities, people of colour and diverse gender identifications are encouraged to apply.

AGP (Artscape Gibraltar Point) is an artist retreat nestled against the magnificent natural backdrop of Toronto Island. It offers a distraction-free environment to focus on art creation, and a rich potential for the creation of corporeal artworks amongst its blue-flag beaches (one of them being clothing optional) and natural surroundings of Lake Ontario, forests and gardens filled with flowers, fruit and vegetables. On the island, there are tiny quaint homes, a historic lighthouse, a hobby farm and antique carnival grounds. Cozy up in a furnished studio and bedroom, and enjoy amenities such as a fully equipped common kitchen, shared bathrooms, laundry facilities and wireless Internet. AGP is a barrier free and inclusive environment. The Toronto city core is just a 15-minute ferry ride away.

For details and to apply visit:

More Info:

Case of the Nomad Artists Residency (Joshua Tree, CA)
Deadline: January 25th
Website: http://

Spend 7 days off the grid with Nomadic Artist Casey Sheppard in Southern California at Joshua Tree National Park. Casey has lived the nomad life since July 2015 in her converted van, spending much time away from society which has greatly influenced her as a maker, artist and person.

The purpose of this residencies is to allow artists the opportunity to explore limitations as creative outlets, learn how to use less, to connect with nature and to become exposed to the minimalist lifestyle. Resident will stay in a tent at a primitive campsite with Casey and India. We will bring in/out all necessities along with trash.

Time will be spent in the back country hiking, exploring, spending time getting lost (figuratively) in nature and creating. Tent (Big Agnes), sleeping bag, pillow, lights, camp stove (BioLite), water, sunscreen and transportation to campsite are provided. Resident may only bring a small bag NO LARGER than a carry on : 10" D x 16" W x 24" L and must pay for their own travel to Joshua Tree or Palm Springs, California, food for a week and provide any materials wanted/needed. Please be minimal, the point of this residency is to push yourself as an artist and human with using less.

Cell phones may or may not work and charging of devices will be limited. Prepare yourself for separation from your phone, social media and FaceBook. Don't worry, you can post all you want when you get home! Casey is also CPR/First Aide certified. And be prepared for a fun, exciting and new adventure!!!

Eligibility: 18 or over, Camping experience recommended not required, physically/mentally fit for outdoor adventures

Support: Camping Fees

Costs: $30 application fee, transportation to/from Joshua Tree or Palm Springs CA, Food for week (bout $100), Materials (minimal)

URL: http://

Program Description:

"Get Lost, Do Art"

7 Day Residency in Joshua Tree National Park

March 29th-April 4th 2017


-Current Bio/CV
-Artist Statement (500 words MAX)
-Short paragraph on why you want to go off the grid (500 words MAX)
-5 Photos Current Work : label each photo with last name and title of work : ex. LastnameTitle.jpg Image size : 72 dpi, 10 inches longest side
-5 Writing Samples (5 pages MAX) Writers/Poets ONLY

Dropbox to :

Apply Here :

More Info: http://

FB Residency
Deadline: January 28th

FB Residency’s 2017 Open Call is now open! This years residents will be a mix of invited artists and successful chosen applicants. If you are an artist or artistic collective and wish to submit an application to FB Residency, please send a single page PDF in a private message to one of the FB Residency moderators. This document should detail the project you wish to undertake and provide links to previous works. Applicants should consider a project that is best suited to the social media platform, either aesthetically or conceptually.


FB Residency offers artists a month to take up residence on the FB Residency Facebook page. We promote artists working in any medium, and especially those who are interested in the presentation and viewing of art online, and particularly in social media. During their allotted month the artist or artists are able to post content and edit the page as much or as little as they want, although they must agree to not remove any previous residents posts and they must always comply with the Facebook community standards; At the end of their allotted month, the artist in residence must relinquish control of the page to allow the next resident to begin their residency.

More Info:

Last Places in March Residency at Casa Na IIha (BRAZIL)
Deadline: February 15th

Casa na Ilha is a creative retreat in Ilhabela Island, Brazil, an ecological paradise and preservation area at 200 km from Sao Pablo.

The program runs in a colonial house emplaced in the middle of the rainforest surrounded with nature, just in front of the ocean a few meters away from the beach.

Casa na Ilha is a space where to develop, improve and curate personal and group projects in an interdisciplinary ambience, nurturing for different views opinions and expertise.
The main goal is that artists are able to focus on their ideas and projects, enhancing creativity and inspiration and connect, between them, the local community, art organizations and nature .

CURATION AND EXHIBITION:It will be optional to give a talk, exhibition or workshop as well as working with local organizations. We will help artist make the necessary contacts, approaches and arrangements with different parties the project requires.
Casa na Ilha works with a curator from an art center as well as art galleries and organizations.
Depending on the nature of the project and the willing of the artist, projects can be submitted to analysis to the center to receive not only a curation process but also to be exhibit.
Lectures, exhibitions an open studios are also going to be held subject to the work project, as well as being part of an online platform. This is an opportunity to show and exhibit the artist work developed during the residency.

Casa na Ilha gathers individuals with different expertise, sensibilities, skills and backgrounds committed to contribute to the enrichment of intellectual and artistic circles with their professional collaborations and public interactions, also carrying a strong belief in the importance of building a community that shares and grows.

Activities such as working with local organization such as schools, educational organization, the preservation area Parque Estadual Ilhabela and the Caicaras communities are being held with the purpose of becoming a space that promotes not only cultural diversity but also generates collaborative and respectful ties with the environment and local organizations. These activities are completely optional for the artists, but it could be of interest of for those who have special interest in socially engaged art, community projects, indigenous cultures, historical themes, environment (in particular tropical flora and fauna, marine life), climate change, sustainable living and science. However it is not a requirement, we are open to all kinds of projects such as art, music, performance, travel, writing and other creative forms of expression. You will be able to work with other people in tune with the nature of this project.

To apply, send us an e mail to:

INFO@CASANAILHA.ORG and you will recieve and application form.

Let us know if you have any questions or doubts! We will be happy to help you.

deadline: January 29th

Every June, Ars Nova throws open our doors to the next wave of pioneering, hybrid theater-makers and fills our stage with their most dynamic ideas. We’re on the prowl for artists with diverse viewpoints and impressive skills, who see the future of live entertainment and want the chance to try out their ideas on stage. As an artist-driven festival, ANT Fest brings together an eclectic network of creators who feed our artistic community all year long.

We’re interested in unique, innovative projects that span traditional genre boxes (theater, comedy, music, burlesque, drag, variety arts or anything else you can think of) in an exciting way to tell a story, make us laugh or showcase musicians with a vibrant new sound. This is the place to pitch that crazy show you’ve been dying for an excuse to make! We’re waiting for you.

To apply:
Please fill out the online application form and submit it along with:

A short description of your evening (one page max)
An Artist Statement that describes what makes your Lead Artist(s) tick and why you want to make this show (one page max)
Note: We define a “Lead Artist” as a core creator who is generating the original material for a show. The “Lead Artist” can also be a company name or band name! This is who will be billed as the show’s creator(s) in all of our web and marketing materials.
Samples of your Lead Artist(s) work
Bios or resumes for Lead Artist(s)
A range of unique submissions will each be given a night to perform in Ars Nova’s intimate Off Broadway theater and the opportunity to be a part of artist-driven events throughout the festival. Women, artists of color and theater-makers with wide-ranging viewpoints are strongly encouraged to apply.

Applications must be submitted by 11:59pm on January 29. Artists chosen for the festival will be notified by March 21. We ask that all Lead Artists of shows applying hold the morning and afternoon of Saturday, April 1st for a photo shoot. Please download the ANT Fest Logistics page here for more important logistics and details.

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