Ian Garrett

Mo`olelo Receives $30,000 Grant from The James Irvine Foundation

Funds will commission playwright Chantal Bilodeau to write a play on race, poverty and environment

Thursday, June 18, 2009 – San Diego, CA – Mo`olelo Performing Arts Company, San Diego’s community-focused, socially-conscious, Equity theater company, today announced The James Irvine Foundation has awarded the Company a $30,000 grant over two years to commission a new play by Chantal Bilodeau. This grant is made as part of the Irvine Foundation’s Creative Connections Fund, which was designed to reach small and midsize arts organizations pursuing a diversity of projects and ideas.

The funds will support the commissioning, work-shopping and development of an original script by Ms. Bilodeau that focuses on the contemporary debate over the Northwest Passage and the intersection of climate change, commercial opportunity and the survival of Inuit peoples native to the region. Through the play development process, Mo`olelo will engage San Diego’s Native American populations and environmental organizations to contribute to the evolution of the script through public readings and discussions.

Mo`olelo launched a greening initiative in 2007 to identify how theater can be created without damaging the long-term health of our communities and the environment. In addition, central to Mo`olelo’s mission is to select plays that focus on diverse communities and allow the Company to engage local, nontraditional theater audiences.

“Commissioning this play will provide an opportunity for Mo`olelo to draw the connection between issues of race, class and the environment,” said Seema Sueko, Co-Founder and Artistic Director of Mo`olelo. “This will allow us to support on stage, through content, the greening work we are doing backstage.”

The commission will launch in July 2009, with a first workshop and public reading of the script tentatively scheduled for June 2010. Revisions and adjustments will be made and a second workshop and public reading is scheduled for May 2011. The script is expected to be completed by June 2011.

Chantal Bilodeau is a playwright and translator originally from Montreal, Canada. Her plays include Pleasure & Pain (Magic Theatre; Foro La Gruta and Teatro La Capilla, Mexico City), The Motherline (Ohio University; University of Miami), Tagged (Ohio University; Alleyway Theatre), as well as several shorts that have been presented by Brass Tacks Theatre, City Theatre Company, The Met Theater, Philadelphia Dramatists, Raw Impressions, and Women’s Project. She has been a fellow in the Women’s Project Playwrights’ Lab, the Lark Playwrights Workshop and at the Dramatists Guild and has received grants from NYSCA, the Canada Council for the Arts, Stichting LIRA Fonds (The Netherlands), the Quebec Government House, Étant Donnés: The French-American Fund for the Performing Arts and Association Beaumarchais (France). Her translations include plays by Quebec playwrights Larry Tremblay and Catherine Léger, French-African playwright Koffi Kwahulé and Jean Cocteau. Current projects include the book for the musical The Quantum Fairies in collaboration with composer Lisa DeSpain and lyricist Mindi Dickstein and the translation of four more plays by Koffi Kwahulé.

The James Irvine Foundation is a private, nonprofit grantmaking foundation dedicated to expanding opportunity for the people of California to participate in a vibrant, successful and inclusive society. The Foundation’s grantmaking focuses on three program areas: Arts, California Democracy and Youth. Since 1937 the Foundation has provided over $1 billion in grants to more than 3,000 nonprofit organizations throughout California. With $1.4 billion in assets, the Foundation made grants of $78 million in 2008 for the people of California.

About Mo`olelo – Mo`olelo means story in Hawaiian. Selected as the inaugural Resident Theatre Company at La Jolla Playhouse, Mo`olelo Performing Arts Company is a socially-conscious theatre organization dedicated to broadening the scope of San Diego’s cultural environment by telling powerful stories that are as diverse as the islands of Hawaii, by paying Equity wages to local actors and developing environmentally-friendly theatre practices. A recipient of the Patté, San Diego Theatre Critics Circle, McDonald Playwriting and the Anti-Discrimination Awards, its mission is to create new works based on research within various communities, produce lesser-known works by master and contemporary playwrights, and educate youth. To learn more, visit www.moolelo.net or call 619-342-7395.

grant from The James Irvine Foundation « Mo`olelo Blog.

APInews: MIT Donates Its Armadillo to Side Street Projects

MIT’s Visual Arts Program donates its Armadillo trailer to Pasadena’s Side Street Projects in an upcoming ceremony at Rose Kennedy Greenway in Boston. The handover event is June 18. The Armadillo trailer is the result of a year-long collaborative art project, the MIT FEMA Trailer Project, in which faculty and students transformed a surplus FEMA trailer into a “green” mobile composting center with vertical gardens, rainwater catchment system, permaculture library and indoor multipurpose space. The trailer has been dubbed the “Armadillo” for its ribbed retractable shell. It was originally one of thousands of trailers purchased by FEMA for temporary housing in the wake of Hurricanes Katrina and Rita in 2005. Side Street Projects will take the Armadillo on a tour to the National Mall in Washington, D.C., and the Louisiana State Museum. (Slide show at http//www.sidestreet.org/armadillo.)

 via APInews: MIT Donates Its Armadillo to Side Street Projects .

#dusa, #tcgcon, #emos and other modern conference paradigms

I think the most stand out thing at the arts service conferences is the buzz around twitter. I allowed for an hour of twitter twitter in my class back in March and I find it all pretty funny. As the target of most contemporary advertising and inventive marketing, and typically an early adopter, I find the fervor more entertaining than anything else. It’s like when I tried to explain the answering machine to my grandmother. 

The feeling I’ve been getting is that the twittachment is somewhat caused by a messianic appeal of a way to reach youth. Somewhere though, the phrase “content is king” got left out. It’s all about the medium and nothing about the message, so that when the medium is the message all you’re saying by using twitter is that you know about twitter. Whether you say something in 140 characters sent out into the ether for all of your casual followers, or you send them a postcard, it doesn’t mean anything unless it means something. 

That is to say, I’m missing the discussion about modeling and alternative revenue streams. It all just sounds like new ways to market the same old thing… like gillette adding a blade to its vibrating razor. The revolutionary thought would be, and I think even going backwards to my idea of “ancient technology” is revolutionary at times, would be to sell an old school straight razor. Between the retro and hardcore cachés and durability in light of disposable disdain, it would be meaningful if not successful. And, when it seems the arts are about losing money for culture, at least as long as we’re attached to our 501(c)3 stati, that might be successful. 

So Theater, Dance, non-profit arts presenters, I ask you: what is your message? Is it that you know how to use a computer and have internet access that you can stick interns on to try and build youthful cache? Or, is it something worth twittering about?

APInews: Vertical Gardens Extended at Exit Art

 Exit Art in New York City has extended the run of an interesting show: “Vertical Gardens,” a project of Papo Colo’s SEA (Social-Environmental Aesthetics). Extended through June 6, 2009, “Vertical Gardens” is an exhibition of architectural models, renderings, drawings, photographs and ephemera that depict or imagine a vertical farm, urban garden or green roof. It features over 20 projects, both imaginary and real, by artists and architects that envision solutions for building greener urban environments. Special events have included talks by public-health scientist Dickson D. Despommier, founding director of the Vertical Farm Project; and SITE Founder James Wines on ways to meet the demands of economic crisis, energy efficiency and sustainable design without a loss of aesthetic quality; plus poetry readings and composting workshops. SEA is an endeavor that presents a diverse multimedia exhibition program and permanent archive of artworks that address social and environmental concerns. [LINK]

via APInews: Vertical Gardens Extended at Exit Art .

ECO ART: Plastic Bottle Installation in NYC

ECO ART: Plastic Bottle Installation in NYC

by Olivia Chen

Sometimes it is hard to truly grasp how much waste we create as a society. That’s why NYC-based graphic design agency, MSLK is creating an installation that is an in-your-face visual of the amount of water bottles consumed in the United States. The installation uses 1,500 water bottles, the number of bottles consumed every 1 second — that’s 90,000 bottles per minute Entitled “Watershed,” the piece is meant to inspire its viewers to consider the collective environmental repercussions of drinking bottled water over tap. The installation is showing at the Figment Art Festival, open from June 12-14 on Governor’s Island in New York City. Click through to see a video of the installation’s assembly

Watershed Assembly at MSLK 5/24/09 from MSLK on Vimeo.

Environmental conscious-ness has certainly strengthened in the past few years, but plastic, whether in the form of a bottle, bag or other types of packaging, are still everyday objects in most people’s lives. Furthermore, most people aren’t disposing of plastic responsibly: according to MSLK, 80% of water bottles still end up in the landfill. Not to mention the toxins that exist in plastic. Bad for the earth and bad for your body, there is no excuse Especially in New York City, where the quality of tap water is superior, DRINK TAP

via Inhabitat » ECO ART: Plastic Bottle Installation in NYC.

Rachel Rosenthal Teaches The DbD Experience Workshop

The DbD Experience is a 32-hour intensive weekend created and taught by interdisciplinary artist Rachel Rosenthal.  Ms. Rosenthal developed the method applied to the DbDX during the 12 years of training people for her Instant Theatre Company active between the 50’s and 70’s in Los Angeles.  “Doing by Doing” is the underlying philosophy of the workshop, providing participants with a thorough hands-on experience covering all aspects of theatrical performance (body, voice, sound, music, movement, lights, sets and costumes), approached through exercises, processes and improvisations of solos, duets and group work.  The nuts and bolts aspect of the work is technical and professional. All levels of experience welcome.
 
Beginning Friday July 10th 6 pm to Midnight 
Saturday and Sunday July 11th and 12th from 10 am to  Midnight
 
Enrollment is limited to 14 participants.
 
Fee: $500.00
 
For more information call 310.839.0661
 

Mammut Reading – Ari Kletzky

 [display_podcast]

FROM ISSUE #2 SPRING 2009: LIVING WITH THE CITY
As the world’s population is increasingly concentrated in urban centers, how we choose to interact, develop and live in these cities will only become more important. With a variety of perspectives but by no means comprehensive, we hope this issue offers new ideas, directions and ways of understanding urban life.

Featuring contributions by Nicholas Bauch, Maya Brym, Ian Garrett, Charlie Grosso, Teira Johnson, Ari Kletzsky, Gerard Olson, Camilo Ontiveros, Nick Romaniak, David Snyder, Ashwani Vasishth, and Sue Yank. Cover design by Teira Johnson.

To Purchase a Print Copy or Download a PDF for Free visit:

http://www.mammutmagazine.org/

Mammut Readings – Sue Yank

 [display_podcast]

FROM ISSUE #2 SPRING 2009: LIVING WITH THE CITY
As the world’s population is increasingly concentrated in urban centers, how we choose to interact, develop and live in these cities will only become more important. With a variety of perspectives but by no means comprehensive, we hope this issue offers new ideas, directions and ways of understanding urban life.

Featuring contributions by Nicholas Bauch, Maya Brym, Ian Garrett, Charlie Grosso, Teira Johnson, Ari Kletzsky, Gerard Olson, Camilo Ontiveros, Nick Romaniak, David Snyder, Ashwani Vasishth, and Sue Yank. Cover design by Teira Johnson.

To Purchase a Print Copy or Download a PDF for Free visit:

http://www.mammutmagazine.org/

Earth Matters on Stage: Ashden Directory Session


Friday morning at Earth Matters on Stage a small group of us piled into the video conferencing room in the Knight Library at University of Oregon to have a conversation with our interested counterparts in the UK. Our second, but certainly more ambitious, video conference of the day, it harkens back to the discussion surrounding travel, the arts and conferences that has been come up at the RSA here (also to be seen in our archives as part of our feed syndication).

From the Ashden Directory Blog:

Our DVD contribution to Earth Matters On Stage is now online. The interviewees address the question: ‘What Can Be Asked? What Can Be Shown? British Theatre in the Time of Climate Instability.’ (The interviews can also be watched individually.)

Quoting Rilke, Dan Gretton considers the value of quickening the pace of artistic response and cautions against the narcissism of frenzy.

On her allotment, Clare Patey explains how a year-long project changed the quality of the conversation amongst its participants.

In Brazil, João André da Rocha draws attention to the movement and shapes of rural life, especially popular dance, as a way of getting closer to Brazilian culture. (Transcript here.) 

From his office in the East End, Paul Heritage raises the question ofthose who are talked about rather than those who are talking.

With the Lake District as her backdrop, Wallace Heim asks how climate change differs from other political situations and how this might alter the ways in which theatre can be made.

Finally, Mojisola Adebayo performs the first moments of her play Moj of the Antarctic and wonders if some people in theatre think they’re above climate change.

You also can watch each person’s contribution as a separate sequence:
 

dan gretton
Dan Gretton

Dan Gretton, co-founder of PLATFORM 
responds to Mojisola Adebayo’s question, 
‘How far is art worth the damage?’ 
watch here
 

clare patey
Clare Patey

Clare Patey, artist and curator 
responds to Dan Gretton’s question, 
‘Can you talk about the role that slowing down and reflectivity plays, both in your creative process and your interaction with your audiences?’ 
watch here 

João André da Rocha
João André da Rocha

João André da Rocha, performer, producer, People’s Palace Projects and Nós do Morro, Rio de Janeiro, Brazil
responds to Clare Patey’s question, 
‘How can we reunite culture and agriculture through performance?’ 
A transcript is here 
watch here 

paul heritage
Paul Heritage

Paul Heritage, producer, director People’s Palace Projects and Queen Mary’s University 
responds to João André da Rocha’s question, 
‘What steps are you taking to descrease the impact of your life in the world?’
watch here 

wallace heim
Wallace Heim

Wallace Heim, co-editor Ashden Directory, academic 
responds to Paul Heritage’s question, 
‘How can we listen to, see, feel and learn from those who are talked about rather than those who are talking in the great climate change debate?’
watch here 
 

mojisola
Mojisola Adebayo

Mojisola Adebayo, artist, theatre-maker 
responds to Wallace Heim’s question, 
‘What would you keep from theatre and performance practice and what needs to change in response to climate instability?’ 
watch here 

The film is edited by Adam Clarke and directed by Wallace Heim.

‘What can be asked? What can be shown? British theatre and performance in the age of climate instabilit

Mammut Readings – David Snyder

 [display_podcast]

FROM ISSUE #2 SPRING 2009: LIVING WITH THE CITY
As the world’s population is increasingly concentrated in urban centers, how we choose to interact, develop and live in these cities will only become more important. With a variety of perspectives but by no means comprehensive, we hope this issue offers new ideas, directions and ways of understanding urban life.

Featuring contributions by Nicholas Bauch, Maya Brym, Ian Garrett, Charlie Grosso, Teira Johnson, Ari Kletzsky, Gerard Olson, Camilo Ontiveros, Nick Romaniak, David Snyder, Ashwani Vasishth, and Sue Yank. Cover design by Teira Johnson.