https://reworlding.creativetime.org Invitations Toward Re-worlding Tue, 15 Feb 2022 01:58:20 +0000 https://reworlding.creativetime.org en https://reworlding.creativetime.org/MOBILE-NAV Tue, 15 Feb 2022 01:58:20 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/MOBILE-NAV <img width="204" height="77" width_o="204" height_o="77" data-src="https://freight.cargo.site/t/original/i/bdd4491a027f514bb0b142f08d39bc920322eda79e2e30d75eac1f0314a87084/HEADER-LOGO.gif" data-mid="133511597" border="0" data-scale="100" data-no-zoom src="https://freight.cargo.site/w/204/i/bdd4491a027f514bb0b142f08d39bc920322eda79e2e30d75eac1f0314a87084/HEADER-LOGO.gif" />INVITATIONS TOWARD RE-WORLDING scores rESPONSESnotes ABOUT THE TANK ︎︎︎ https://reworlding.creativetime.org/INTRO Mon, 24 Jan 2022 23:55:05 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/INTRO Welcome. Here, you will find a collection of scores, instructions, conjurings, and provocations—offerings that guide you towards enacting transformation in and out of the arts. We lead from the premise that the distinction between artistry and administration is tenuous, if not entirely illusory. Read and Imagine. Consider and Contribute. Rebuild. This is a call to action. The Creative Time Think Tank 2021 cohort: Che Gossett, Emily Johnson, Hentyle Yapp, Kevin Gotkin, La Tanya S. Autry, Namita Wiggers, Prerana Reddy, and Sonia Guiñansaca. SCORES. (Select each score to read more, select and hold to drag scores and create your own sequence.) https://reworlding.creativetime.org/SCORE-SEQUENCE Mon, 24 Jan 2022 23:55:05 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/SCORE-SEQUENCE <img width="1668" height="1667" width_o="1668" height_o="1667" data-src="https://freight.cargo.site/t/original/i/43c3aa53efb3df19026f55dfbb18ad97586f92b29470647a52da5579fbeaa725/Scores_v-copy-28.png" data-mid="131648967" border="0" data-no-zoom="true" data-draggable alt="ABOLITION AESTHETICS" data-caption="ABOLITION AESTHETICS" src="https://freight.cargo.site/w/1000/i/43c3aa53efb3df19026f55dfbb18ad97586f92b29470647a52da5579fbeaa725/Scores_v-copy-28.png" /> <img width="1668" height="1668" width_o="1668" height_o="1668" data-src="https://freight.cargo.site/t/original/i/77ec4bdae37f38cac767c04eaf964f89ef038c99e3f0bbedfa29badfd223b8f9/Scores_v-copy-26.png" data-mid="131648965" border="0" data-no-zoom="true" data-draggable alt="SOLIDARITY?" data-caption="SOLIDARITY?" src="https://freight.cargo.site/w/1000/i/77ec4bdae37f38cac767c04eaf964f89ef038c99e3f0bbedfa29badfd223b8f9/Scores_v-copy-26.png" /> <img width="698" height="801" width_o="698" height_o="801" data-src="https://freight.cargo.site/t/original/i/566080230a2d2e5b68014cd0657263722fa589e7249077da67b9e6aac2c8379d/v-copy-252x.png" data-mid="132087843" border="0" data-draggable alt="COMPOSITIONAL NOTES FOR MAKING WITH/ AGAINST AN INSTITUTIONAL BUDGET" data-caption="COMPOSITIONAL NOTES FOR MAKING WITH/ AGAINST AN INSTITUTIONAL BUDGET" src="https://freight.cargo.site/w/698/i/566080230a2d2e5b68014cd0657263722fa589e7249077da67b9e6aac2c8379d/v-copy-252x.png" /> <img width="801" height="801" width_o="801" height_o="801" data-src="https://freight.cargo.site/t/original/i/b5faac1465684e6028c16470b56456e6c3552296bc5c93882137448ec2571551/v-copy-272x.png" data-mid="132087877" border="0" data-no-zoom="true" data-draggable alt="IT&rsquo;S NEVER BEEN ABOUT YOU&hellip; OR, A SCORE FOR DISCUSSING THE WORLD BEYOND LIBERALISM " data-caption="IT’S NEVER BEEN ABOUT YOU… OR, A SCORE FOR DISCUSSING THE WORLD BEYOND LIBERALISM " src="https://freight.cargo.site/w/801/i/b5faac1465684e6028c16470b56456e6c3552296bc5c93882137448ec2571551/v-copy-272x.png" /> <img width="801" height="801" width_o="801" height_o="801" data-src="https://freight.cargo.site/t/original/i/3f6f50f1cf66f8eec29b11907a0c867e8ed70824a96800b2eccbd69a9dfd74ef/v-copy-292x.png" data-mid="132087845" border="0" data-no-zoom="true" data-draggable alt="DECOLONIZATION RIDER" data-caption="DECOLONIZATION RIDER" src="https://freight.cargo.site/w/801/i/3f6f50f1cf66f8eec29b11907a0c867e8ed70824a96800b2eccbd69a9dfd74ef/v-copy-292x.png" /> <img width="1668" height="1668" width_o="1668" height_o="1668" data-src="https://freight.cargo.site/t/original/i/7f737f9f07fc83cb05845865f4a6e900396a5cf4848cfd2dcd4452ff535e9a0e/Scores_v-copy-30.png" data-mid="131648969" border="0" data-no-zoom="true" data-draggable alt="I WROTE THIS POEM WHEN I COULDN&rsquo;T GET OUT OF BED" data-caption="I WROTE THIS POEM WHEN I COULDN’T GET OUT OF BED" src="https://freight.cargo.site/w/1000/i/7f737f9f07fc83cb05845865f4a6e900396a5cf4848cfd2dcd4452ff535e9a0e/Scores_v-copy-30.png" /> <img width="1101" height="1668" width_o="1101" height_o="1668" data-src="https://freight.cargo.site/t/original/i/e812d21411433b2629351262f9c05bd03f35193973661e818214206d81b2787b/Scores_v-copy-24.png" data-mid="131648963" border="0" data-no-zoom="true" data-draggable alt="A TROUBLE-MAKING CONJURING / LOVE SPELL FOR &ldquo;WE&rdquo; WHO CARE" data-caption="A TROUBLE-MAKING CONJURING / LOVE SPELL FOR “WE” WHO CARE" src="https://freight.cargo.site/w/1000/i/e812d21411433b2629351262f9c05bd03f35193973661e818214206d81b2787b/Scores_v-copy-24.png" /> <img width="801" height="801" width_o="801" height_o="801" data-src="https://freight.cargo.site/t/original/i/90c6e201ad91b9dddba8d2845ee09c1ebdd1c59c26545b8ee00a1fd24e15a86c/v-copy-212x.png" data-mid="132087842" border="0" data-no-zoom="true" data-draggable alt="A SCORE FOR X" data-caption="A SCORE FOR X" src="https://freight.cargo.site/w/801/i/90c6e201ad91b9dddba8d2845ee09c1ebdd1c59c26545b8ee00a1fd24e15a86c/v-copy-212x.png" /> <img width="1668" height="1668" width_o="1668" height_o="1668" data-src="https://freight.cargo.site/t/original/i/992a8d81d5e68a953078a2a24c75b65d80b1c2f7e3424c0a5452609533c42798/Scores_v-copy-23.png" data-mid="131648962" border="0" data-no-zoom="true" data-draggable alt="SCORES ON GATHERING" data-caption="SCORES ON GATHERING" src="https://freight.cargo.site/w/1000/i/992a8d81d5e68a953078a2a24c75b65d80b1c2f7e3424c0a5452609533c42798/Scores_v-copy-23.png" /> <img width="1668" height="1668" width_o="1668" height_o="1668" data-src="https://freight.cargo.site/t/original/i/7f3c97aba91455e37967cbdee7e803f0c6278811cdb65126688ab8df557690b4/Scores_v-copy-22.png" data-mid="131648961" border="0" data-draggable alt="COMMUNITY" data-caption="COMMUNITY" src="https://freight.cargo.site/w/1000/i/7f3c97aba91455e37967cbdee7e803f0c6278811cdb65126688ab8df557690b4/Scores_v-copy-22.png" /> &nbsp; &nbsp; https://reworlding.creativetime.org/GOTKIN Mon, 24 Jan 2022 23:55:13 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/GOTKIN &nbsp; &nbsp; <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/6115b899a6ec993f762647395318ecaf9a85ba5be5c19495e27c45524cf74501/II.png" data-mid="133624846" border="0" data-no-zoom src="https://freight.cargo.site/w/300/i/6115b899a6ec993f762647395318ecaf9a85ba5be5c19495e27c45524cf74501/II.png" /> Score for x Scored by Kevin GOTKIN DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ ask yourself for clarity. for a while i thought i was writing a “score for access integration.” this could be a way to respond to cultural institutions wondering how they should build access practices into their organizations. but then i was like hmm no? because access could better be thought of as an ecology than a discrete set of tools that need to be integrated into some larger thing. actually, the very idea that questions of access are somehow specific to considerations of disability emerges from a legislative tradition that centers compliance and liability in the public notions of the word “accessibility.” but access just is. i don’t think there is any space that doesn’t have access. but there are certainly spaces whose access ecologies severely limit possibilities for engagement. there are spaces, so many spaces, whose access ecologies are designed by ableism. when we think of accessibility, our thoughts snap to certain things, for good reason. the missing ramp, the absent captions, no one reading the chat in zoom. these are experiences of the points of contact between disabled bodyminds and shitty access ecologies. this is disability expertise. so: an ecological sense of access. but still: how do we make specific choices to design these access ecologies? like, where do we start? oof i often struggle to give advice. part of it is that i do kinda think the only person i can reliably change is myself. and that advice just so rarely maintains its shape across lifeworlds. but it’s also the way advice, formally, feels like a checklist, feels like an object whose possession determines some moral truth. who can give that? but the score! it’s like instruction-adjacent! i feel like the magic of the score is that neither the structure nor the performance it invites is really known in advance. let’s find out? release the hypothetical. with compliance-minded-ness often comes a slew of hypotheticals. i imagine them as 3-dimensional stick figures sauntering around pointing to literally anything and being like “...that?” and then everyone is like omg yeah wait…that. we should change that. how do we change that? silence. i notice that for many organizations, it’s easier to move in endless circles of abstraction about access design than to begin to know more precisely who is involved in a thing. this is how ASL interpreters end up signing to packed zoom meetings of all hearing people. maybe need is always speculative. when people ask me if my access needs are being met, i’m usually like mmm, perhaps? how am i to know that? it depends! but the speculative nature draws us to specificity. when we ask each other what forms of care we might need for a gathering, i think the point is not so much the actual provisioning of those forms. what matters is whether we can share detail of what is already known and intended so that we can contemplate and discuss forms of care. how are we supposed to know which “accommodations” we need to request by a certain date when all we have is an event title? requests for “accommodation” indicate that a form has been set. but then why don’t we get any information about that form in advance? some cultural anthropologists do this thing when they write up ethnographic data where they create composite characters of the people in their research. this protects individuals’ privacy. it brings focus to salient features, true features, through a rearrangement of specificity. it feels like the composite could be a good form for access design. composites are not just invented. but they also don’t rely on the individuation of experience. you know what that kinda feels like? a score! there’s this pattern laid out here. but you have to do something, a doing in a moment, to accept the invitation. plan to find the plan. access planning is like: ok, we want to make space for arrivals to a zoom meeting instead of just flying into things with no attention to the vastly different access ecologies we’re zooming in from. but then if we leave 15 minutes of unstructured time for people to get into the space, that’s also awkward. so let’s offer invitations for what to do with those 15 minutes and all choices are good choices. access planning is saying: please disrespect whatever etiquette is operative right now in the service of your engagement. access planning is like: hello, unexpected guest. you bring fab energy. lemme invite you to dm our access doula over here if you need to get oriented to what we’re doing. hi, welcome. access planning is like: we spent the whole meeting figuring out how to manage this one technical aspect and you know what? it didn’t get in the way of anything. that was the agenda. x. having been in community with other disabled and chronically ill people for over a decade now, i have learned a lot about friends’ personal, political transformations with the history and culture of disability. but lately i find myself looking for all the small, small moments where “disability” lives whether or not we give it that language. i learn about friends’ years-long search for a diagnosis they finally found. i study the grimace of a television character in pain. i notice the way people i love simply cannot bear to have the intensity or pace of their professional lives let up even for a second. i don’t want to rush to call this anything. i don’t want to escape it. i don’t want to figure it out and diminish it. what we do with all this - how we try and fail to form trust through all this - is a gloriously unknown variable. it’s an x in the broad equation, with calculations of risk and joy and temporality that we can feel rapidly shifting in our catalytic moment. how do you score for that? <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/4a62c44ad1342ed1b53da498ca966e4a9d05689a8f5e694a35ddcc44bcc0eaeb/Kevin-Gotkin-by-Mengwen-Cao.jpg" data-mid="133711033" border="0" alt="Image description: Kevin Gotkin faces away from the camera and smiles over their shoulder. They wear glasses, a gray beanie, and a sheer black long-sleeve with a white vest over it. The white vest has an iridescent design on the back that shines in the sunlight." data-caption="Image description: Kevin Gotkin faces away from the camera and smiles over their shoulder. They wear glasses, a gray beanie, and a sheer black long-sleeve with a white vest over it. The white vest has an iridescent design on the back that shines in the sunlight." src="https://freight.cargo.site/w/1000/i/4a62c44ad1342ed1b53da498ca966e4a9d05689a8f5e694a35ddcc44bcc0eaeb/Kevin-Gotkin-by-Mengwen-Cao.jpg" /> Image description:&nbsp; Kevin Gotkin faces away from the camera and smiles over their shoulder. They wear glasses, a gray beanie, and a sheer black long-sleeve with a white vest over it. The white vest has an iridescent design on the back that shines in the sunlight. Kevin GotkinThey/Them/He/Him/HisLenapehoking, Brooklyn, NY Kevin Gotkin is a Visiting Assistant Professor of Media, Culture, &amp; Communication at NYU. Gotkin completed their Ph.D. at the University of Pennsylvania in 2018. Gotkin teaches and writes about disability, media, and public culture. In 2016, they co-founded an organization called Disability/Arts/NYC that works with the NYC Department of Cultural Affairs with the goal of getting disability arts represented in cultural policy—successfully lobbying for a $640,000 fund specifically for disability arts initiatives. Through Disability/Arts/NYC, they also trained two cohorts of activists and artists to disperse disability expertise around NYC, in addition to running programming around the city at the Whitney Museum, Brooklyn Museum, and more. Kevin Gotkin is also a DJ, party girl, and lover of nightlife artistry. They lead the REMOTE ACCESS party series, which is a disability-centric initiative developed with members of the Critical Design Lab that they help organize with Aimi Hamraie of Vanderbilt University. https://reworlding.creativetime.org/AUTRY Mon, 24 Jan 2022 23:55:14 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/AUTRY <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/14b884ddb029d563bf7ff0e984640001648d041e92dbc913b57bbeb3155ff93f/III.png" data-mid="133624948" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/300/i/14b884ddb029d563bf7ff0e984640001648d041e92dbc913b57bbeb3155ff93f/III.png" /> A Trouble- making Conjuring/ Love Spell for “we” who care&nbsp;[1] Scored by La Tanya S. Autry DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ How do you deal with things you believe, live them not as theory, not even as emotion, but right on the line of action and effect and change? – Audre Lorde [2] This meditation is one of the questions I’ve been living with for years. Well, what’s your answer? I often put questions into the world and no one responds. To be fair, my questions often are loaded. I purposely give them weight because life is heavy and intricate. How do “we” change desire? How are “we” going to stand up for one another? No answer is a response. Every silence and turning away has meaning. These questions are troubling. They are difficult to answer; require self-examination; suggest relationships where things may be murky: undefined, unsaid, undesired, feared. Lack is a multitude. It is difficult and impossible to comprehend at times. But my questions are really wishes, you see.[3] Wishes for otherwise. This is conjure work. Some of you understand, will strive to understand. The questions are still here waiting for us. Are you ready? I’m stirring up energy for changing conditions, creating more of a true sense of “us, leaning more into “good trouble,” to borrow that expression of the late civil rights activist John Lewis. Yet, unlike before, I’m going slower, focusing on planting ideas more carefully, in places prepared for growth. Consider needs. Because I work in the arts, I do these incantations over here. But they could/should be recast in other spaces too. We need love spells in all areas of society. Oh, and about this art thing—I believe the arts are vital. But I don’t romanticize artists or this so-called “Art world.” I know that some of the arts express freedom. Art can also do uncaring, cruel things. Fascists make and fund art too. Some of us worry about that violent association and some of us are fine with it. It’s important to acknowledge the conditions. When we talk about art saving the world, we need to be clear and specific. That’s one way toward building a genuine “we,” a group grounded, working with difference for shared goals, caring about one another. Knowing who “we” are and how “we” are in dialogue matters. “Because we share a common language which is not of our own making and which does not reflect our deeper knowledge as women, our words frequently sound the same. But it is an error to believe that we mean the same experience, the same commitment, the same future, unless we agree to examine the history and particular passions that lie beneath each other’s words.” - Audre Lorde[4] That’s the beginning of any authentic relationship. Often in the arts I see many people talking, but not communicating. Are we really understanding one another? Applicants to this Think Tank submitted questions that they were/are considering. In our initial meetings as a cohort, we reviewed each other’s questions. But we didn’t really discuss them. For months we generated a plethora of ideas. We started and stopped, and changed directions. We searched for something to build together. During this pandemic the loss of loved ones, employment, care, contact, and other basic life needs has increased suffering, uncertainty, grieving, precarity, exhaustion. The fight against the ongoing racism of the state and cultural institutions increased last year for some of us. And of course, there have been many other battles. It has been difficult to press on with general questions about the arts and society without knowing material changes will occur, without a deep feeling of kinship. Yet I also know that these times have convinced many of us that we need to get together to build mutual aid networks, labor unions, and community spaces. Organizing can happen. Go slow. I remind myself again and again. Relationships require time, recognition, trust, vulnerability, commitment. Everything that has torn at the possibilities of thinking together is what has made our Think Tank cohort a “we” in one way. The thing I am interested in—liberation work—only happens when individuals understand each other’s meaning, when we understand our needs, when we realize our fight is a shared fight. Coalitions are hard to form. The moment has to vibe. Every now and then a “we” who can build something together develops. Here, I remember my colleagues, organizers in the North Carolina Black Artists for Liberation (NCBAFL).[5] This group of artists and arts workers formed in July 2020. In addition to denouncing the anti-Blackness of the region’s cultural centers, their open letter for economic justice, “A Rendering of Reversal,” called for equitable pay, paid internships, contracting Black vendors, providing free admission for Black, Indigenous, and people of color, and supporting the collective’s fundraising efforts, NC Black Artists for Liberation Project. More than this, they indicated that they would implement a divestment campaign for failure to devise plans and enact outlined changes by the conclusion of 6 months. Yesssssss! Their action plan had a true “good trouble” vibe going on. NCBAFL is now developing a scholarship fund in partnership with local entities. Recognizing ourselves, our needs, getting organized, making plans, contacting people, issuing consequences: conjure. So I’m speaking our initial Think Tank responses/questions into the world here as a breathing with which to bring forth some things at Creative Time and beyond. Re-imagine. Build Anew. Together THINK TANK 2021: COHORT RESPONSESEmily JohnsonCentering love’s forces, wielding justice as we gather beyond the digital to include our more-than-human kin in consensual acts of change, what are the shared atmospherics that formulate the shapes of our gatherings? And what is the sharable thing? How are the shapes of our collective changing? Working within a thought process, Architecture of the Overflow, how do we develop a new model of future-focused community-determined creative action that moves forward from a performed moment, into our collective futures? Hentyle Yapp What needs seem most urgent for your immediate communities? What institutions are you most invested in engaging/shifting/changing/abolishing? Namita G. Wiggers The systems within which we operate in arts organizations, academia, and museums, just to name a few, are structured for slow, incremental change. Even agendas, for example, leave "new business" or Q+A for the shortest times at the end of a meeting —in this way discussion, disagreement, new things are deferred and held at bay. They are also structured in a representative model, not unlike the government, in which a few people with money and power are decision makers.What leadership models and systems can we learn from (most likely from outside of the arts) to effect institutional and systemic change and actually leave room for difference, new ideas, and ways of working?Caitlin Cherry Is there a collective solution that can reduce the costs of tuition across the board by introducing microsolutions instead of big ideas and new models? What are all the ways we can share education in post-Covid times and then ensure it's accessible beneath the Ivory tower?Prerana Reddy Power as strength creates a set of “losers” who have to give up something to achieve greater equality, as if power was a finite resource. How can art challenge Western ideas of power, not just representationally, but through creating an experience in which power is felt and negotiated differently and more actively?Transformational Justice is inherently creative and connective work; it involves people taking responsibility for community safety, for seeing harm as something that everyone does...and that everyone also experiences. How can cultural organizing efforts reframe justice as a response to structural and historical inequities rather than individual blame and revenge?Kevin Gotkin What do we need to design a system of accountability for this group? What's an example of a transformative process we have witnessed or participated in? Sonia Guiñansaca How do we mend the importance of artists and cultural workers as cultural "producers" and this larger global time we are in that leans on slowing down and resting/healing? What may be our ethical commitments in gathering "virtually"?Che Gossett How might museums shift and divest from prisons, war, etc? How might curation as a field/landscape (from art history programs to museum hiring) shift given the institutional anti-Blackness that Black curators are working against?La Tanya S. Autry How do we challenge and refuse social justice frameworks that are grounded in anti-Blackness (often through assimilationist strategies, practices centering whiteness)?*How do we seize resources that are funneled into oppressive art organizations and redirect them to those with foundations and active liberatory practices?These questions are wishes too, you see. Wishes for otherwise. This is conjure work.Some of you understand, will strive to understand. The questions are still there waiting for a “we” who care. Good trouble and new worlds are calling. Are you ready? Peace and power,La TanyafootNOTES My use of the expression ”those who care” thinks with Christina Sharpe’s formulations.&nbsp;See Sharpe, Christina, In the Wake: On Blackness and Being, Durham, NC: Duke University, 2016. Lorde, Audre, “An Interview: Audre Lorde and Adrienne Rich,” in Sister Outsider: Essays &amp; Speeches by Audre Lorde, Berkeley: Crossing Press, 2007, 107.My thoughts on wishes and conjuring are inspired by Jared Sexton’s discussion of Cedric Kyles’ identification of “the wish factor.” Sexton describes wishing as an antagonistic mode, a refusal of consensus. Despite the odds, wishing determines to create an otherwise. See Sexton, Jared, “Afro-Pessimism: The Unclear Word,” Rhizomes: Cultural Studies in Emerging Knowledge, 29: 2016, http://www.rhizomes.net/issue29/sexton.html.&nbsp;Lorde, Audre, A Burst of Light and Other Essays, Mineola, New York: Ixia, 2017, 63-64.Howe, Brian, “White-Dominated Arts Institutions Are Keen To Diversity. But Are They Willing To Give Up Power,” IndyWeek, February 24, 2021, https://indyweek.com/culture/art/the-NCBAL-petition-six-months-later/.&nbsp;Question inspired by Activity 4: (in)Justices in the Academy” of the essay “Pedagogical Applications of Toward What Justice?.” See Del Vecchio, Deanna, Sam Spady, and Nisha Toomey, “Pedagogical Applications of Toward What Justice?,” in Toward What Justice: Describing Diverse Dreams of Justice in Education, New York: Routledge, 2018, 130. <img width="800" height="799" width_o="800" height_o="799" data-src="https://freight.cargo.site/t/original/i/e2eb645e0ba193e7ccb2f1410257dfe3bdbecbdf812fd0ec2c35afbb59e5b422/Autry.LaTanya-UPDATED.jpg" data-mid="133713086" border="0" src="https://freight.cargo.site/w/800/i/e2eb645e0ba193e7ccb2f1410257dfe3bdbecbdf812fd0ec2c35afbb59e5b422/Autry.LaTanya-UPDATED.jpg" /> Image description: La Tanya S. Autry smiles wearing a raspberry long sleeve and a yellow and brown beaded necklace. La Tanya S. AutryShe/Her/HersShawnee Lands, Cleveland, OH As a cultural organizer in the visual arts, La Tanya S. Autry centers collective care in her liberatory curatorial praxis. In addition to co-creating The Art of Black Dissent and the Social Justice &amp; Museums Resource List, she co-produced #MuseumsAreNotNeutral, a global initiative that exposes the fallacies of the neutrality claim and calls for an equity-based transformation of museums. Her latest project, the Black Liberation Center, an experimental series of exhibitions, workshops, and programming, spotlights arts and culture that envision and strategize paths toward the freedom of all Black people, and thus, all people. Also, she has organized institutional exhibitions and programming at moCa Cleveland, Yale University Art Gallery, Artspace New Haven, and elsewhere. Autry, who is completing her Ph.D. in art history at University of Delaware, is examining the interplay of race, representation, memory, and public space in her dissertation The Crossroads of Commemoration: Lynching Landscapes in America. https://reworlding.creativetime.org/SOLIDARITY Mon, 24 Jan 2022 23:55:15 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/SOLIDARITY <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/44b73e262cdac292c818b9691866e30f6a0237038a792b5da04a77d290136ee6/IV.png" data-mid="133625134" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/300/i/44b73e262cdac292c818b9691866e30f6a0237038a792b5da04a77d290136ee6/IV.png" /> Solidarity?emphasized by La Tanya S. Autry DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ “... the compulsory solidarity that is demanded of Black people without any expectation that this solidarity will be reciprocated.” —Mariame Kaba with Tamara K. Nopper, “Itemizing Atrocity,” Jacobin, August 2014&nbsp;(in We Do This ‘Till We Free Us: Abolitionist Organizing and Transforming Justice) https://reworlding.creativetime.org/JOHNSON Mon, 24 Jan 2022 23:55:16 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/JOHNSON <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/0dc50772b337e86e8013e19054ac1fa1eda2e093f002f11ced1ca5fa8b680cef/V.png" data-mid="133625585" border="0" data-no-zoom="true" src="https://freight.cargo.site/w/300/i/0dc50772b337e86e8013e19054ac1fa1eda2e093f002f11ced1ca5fa8b680cef/V.png" /> Scores on Gathering Scored by Emily Johnson DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ Transcript Rising Stomp 2021 This is us! This is the rising stomp! You’ve gotta feel the ground lift underneath your feet! This is Lenapehoking! [Cheers] What is your commitment to this land? [Cheers] This is the rising stomp.&nbsp;Think: feet wide, knees bent, a lift. Think of the ground lifting up with you, beneath your feet …. this vibratory lift. The stomp is after the sound, the impact, the land. The spaces in-between: possibility, otherwise. An unworlding. A reworlding. An invitation. A gathering. Listen. The rising stomp comes out of this year, of moving through grief, through rage, through possibility; of thinking forward into speculative architectures, of refusing imperialism, imposed geographies of domination, of living wholly sovereign, wholly abolitionist, wholly artist, wholly neighbour, wholly lover, wholly fire keeper, wholly delivery labour force, wholly mask-maker, wholly land defender, wholly holy holy.&nbsp;Sacred, our sonic processions of breath, of care, toward and with our human and more-than-human kin. A more-than-year of multiple pandemics—COVID and the ongoing murder of Black people by police and government, the ongoing fight for abolition and justice that is in and with our breath, our blood, our hearts, the streets. Our ongoing fight against the settler colonial project, our insistence on the return of our Lands. The rising stomp. This rising stomp.An invitation to a reorientation. ____ This is Lenapehoking. This is Dena’ina Ethnina. This is nunat. This is Palestine. This is homeland.This is where we come into being.This land. These stars.This is my body. ____ I perceive change and future as coming from inside body. Inward. Within. As in, it is something we make, meet, determine. Is the collective inside, a place we can gather to create an outward, together? An invitation:How do our cells become oriented to justice? ____ Marsha. Sylvia. Alexandra. Aliyah. Marione. Vivian Sula. Bella Marie. Yvonne. Jade. Tabitha. Mariella. Anna. Breonna. Tony. Muhlaysia. Beelove. Ashanti. Bailey. Nina. Monika. Layleen. Missing and murdered Indigenous Women, Girls, Trans, Two-Spirits, Black women, Black trans women, all women who have been killed in the ongoing genocide and extraction of women and femmes from Indigenous land, on Indigenous land. This settler colonial project doing exactly what it intends. And how do I even say the names of all the young ones? Thousands. Taken. Found in unmarked graves. How old were you in 1996? When the last residential school closed? ____ This is the United States of America.This is Canada.Killing our children to bear itself. Whose land do you occupy? ____ The refusal of the city where I live, where you live, the occupying governments, institutions, and many individuals across all land from wherever you are presently and back again, to decolonize and defund, is an act of ongoing genocide threaded through our everyday. At the same time we are overwhelmingly urged to simplify, separate, get over, and reduce our “several urgent political concerns” into pockets of information tolerated by the state, the institution, the curator, the whiteness... Right now, the city where I live, New York City, wants to run a pipeline of fracked gas through neighbourhoods in Brooklyn, they want to build a wholesale BJ’s on the Graniteville Wetlands of Staten Island, they want to bulldoze fifty-eight acres, kill 1000 trees and every living thing in East River Park, they want to build more jails, upzone, and build luxury towers in the neighbourhoods of Gowanus, on Governor’s Island, the Seaport, Soho, Noho, and more. All land and water protective efforts are related. Don’t you see? We are intertwined, unconsumable. Fuck the silos, the separations, the reductions, the removals, the thirst. We disrupt your power, jostle your notion of “world.” We ensure you are no longer the centre. We ensure us. We are all of the frontlines.Every one of us, every fight.Gather here. Rise and stomp. Name the missing and murdered and ongoing extraction as vile processes ensuring current power. Name the struggles, all of them, the resistance, the fight. Name the warriors, the leaders, the taken. Defend our land. Protect our kin.Feel the air fill your lungs.Feel your feet, or your hands, or your head on the ground, where you are. I am mother, daughter, sister, cousin, auntie, lover. From a million great-great-great grandmas, and whale too, and walrus, and seal, and tree, and this place where stars come to land. I hold a fire on the Lower East Side every month, you are welcome to come. This is my presidency: No presidency, no art, all art, all heart.Gather here and give me this, We.Are the intermediaries between breath. Between air space. Between those who can breathe and move, and those who cannot anymore. We are not conjuring them. But we are conjuring joy of them. Offering it again and again and again, in respectful remembrance and protection. Until no more are taken from us. This is my land.These are my stars.Not mine, but—you know what I mean. The civil rights and sovereignty of Indigenous peoples will be recognized in relation to land. Power imbalance and extraction will not be the default relationship in our working lives. Theft of, and abuses on, and lack of recognition of Indigenous land, and water, and life will not be tolerated. Feel the air fill your lungs.Feel your feet or your hands, or your head, on the ground, where you are.Feel your cells—each cell, orient to justice.Announce care as your labour.Protection as your everyday.Non-extraction as your ethic. Refuse racist and extractive institutions, and governments, and projects; your time, knowledge, money. Return all our belongings. Gather here Give our land back.Give our land back. __________ LOVE TO KARYN RECOLLET, EVER COLLABORATOR; ZACH CRUMRINE, SOUND ENGINEER AND SUPPORT; AND EILEEN MYLES WHO OFFERED FEEDBACK. THANK YOU ALSO, TO THE PROJECT ORGANIZERS.EMILY JOHNSON, RISING STOMP 2021, FROM ARTISTS-IN-PRESIDENTS: TRANSMISSIONS TO POWER, A PROJECT BY CONSTANCE HOCKADAY, COMMISSIONED BY THE BLACKWOOD AT THE UNIVERSITY OF TORONTO. More on Emily Johnson <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/77d347351690dd30cdd72fa57747cb0d31935aa8738b31dc9d4c77e4daf30a53/IMG_1453.jpeg" data-mid="131681624" border="0" src="https://freight.cargo.site/w/1000/i/77d347351690dd30cdd72fa57747cb0d31935aa8738b31dc9d4c77e4daf30a53/IMG_1453.jpeg" /> Image description: The words “GATHER HERE” are written in black marker backwards and forwards on a gray background. GATHER HERE by Emily Johnon2020, commissioned by the Center for the Art of Performance at UCLA in collaboration with National YoungArts Foundation for the Choreographer's Scores (2020) print portfolio. <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/9e6d5f513b58bbcafb40859254e4ccd3b0305d45a3c54d083a47196987435dc3/Emily-Johnson.-Photo-by-Tracy-Rector-and-Melissa-Ponder.jpg" data-mid="133719008" border="0" data-no-zoom src="https://freight.cargo.site/w/960/i/9e6d5f513b58bbcafb40859254e4ccd3b0305d45a3c54d083a47196987435dc3/Emily-Johnson.-Photo-by-Tracy-Rector-and-Melissa-Ponder.jpg" /> Image description: Emily Johnson pictured in front of a black background. She wears silver earrings. Emily JohnsonShe/Her/HersLenapehoking/Manahatta, New York, NY Emily Johnson is an artist who makes body-based work. She is a land and water protector and an activist for justice, sovereignty, and well-being. A Bessie Award-winning choreographer, Guggenheim Fellow, and recipient of the Doris Duke Artist Award, she is based in Lenapehoking / New York City. Johnson is of the Yup’ik Nation, and since 1998, has created work that considers the experience of sensing and seeing performance. Her dances function as portals and care processions. They engage audienceship within and through space, time, and environment—interacting with a place’s architecture, peoples, history, and role in building futures. Johnson is trying to make a world where performance is part of life; where performance is an integral part of our connection to each other, our environment, our stories, our past, present, and future. https://reworlding.creativetime.org/RIDER Mon, 24 Jan 2022 23:55:17 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/RIDER <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/24133e178fd03df98c0c28424eb3c596eb6d22dcccf06ad53d2c8c425af2d110/VI.png" data-mid="133626151" border="0" src="https://freight.cargo.site/w/300/i/24133e178fd03df98c0c28424eb3c596eb6d22dcccf06ad53d2c8c425af2d110/VI.png" /> Decolonization Rider Scored by Emily Johnson x creative time DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ December 6, 2021 Emily Johnson / Catalyst Artist Dear Emily, We are writing to provide a letter of intent from Creative Time (“CT”) in response to your Decolonization Rider. We welcome the opportunity to evolve our practices in order to take actionable steps towards decolonization. We understand that this will be an ongoing and iterative process for CT, and we are committed to long-term organizational change. Based on the terms of your Decolonization Rider, we acknowledge:On Decolonization “Decolonization suggests a withdrawal or refusal of the colonialist entity, and is the means by which peoples work to (re)establish their independence and sovereignty. It is a project and a process that includes deconstructing and dismantling (colonialist) systems and structures at the same time that it works to revitalize Indigenous ways of being and knowing. As a path toward remediating the theft of land and relations disrupted by all those forces that enact violence against land and intergenerational relations, collectivity, and communality, there is an urgent need to recognize what is at stake. Institutions can make deliberate and intentional steps toward greater accountability and action, by displacing their authority and moving to center and privilege Indigenous decision making and leadership. Indigenous leadership must be resourced to develop structural initiatives that move the project of decolonization forward. These initiatives will fundamentally challenge, transform and, in some instances, replace existing cultural institutions and practices. With sharp attention to ongoing and embedded systemic and structural Indigenous erasure, racism and colonial and anti-Black representation within institutions, we must transform and change institutional systems and governance.”—Excerpted from Creating New Futures: Phase 2 – Notes for Equitable Funding from Arts Workers CT is able to immediately (1-3 years) commit to: Undergoing the Decolonial Action Coalition’s institutional decolonial assessment (currently in development);Comply with Indigenous Protocol and acknowledgement (i.e. Land Acknowledgment or Embodied Land Acknowledgment) of its host Nation in all public programs and public signage;Ongoing cultural competency trainings for staff, collaborators, and board members;Review the following article on evolving Indigenous style-guides, and adhere to recommendations offered therein: https://thetyee.ca/News/2020/01/17/Copy-Editor-Indigenous-Style;Discussions / workshops with Indigenous and accomplice leaders;Continue to grant full intellectual property and copyright of any ideas, artworks, and work product by Indigenous and BIPOC artists we work; andFurther our goal for ongoing, continued inclusion of Indigenous and BIPOC artists in programming.Continue to prioritize community led safety and de-escalation services to interface with CT artists and communities in place of the police. However, given that our work often takes place in public space, we are beholden to working within the structure of City governance, permitting, and regulations.Because our work often takes place in public space, we are beholden to working within the structure of City governance, permitting, and regulations. We will continue to prioritize community-led safety and de-escalation services to interface with CT artists and communities, and use our position to detail a commitment to abolition and alternatives to current policies.Design an ongoing land-use fee or land tax plan that is calculated based on land-occupancy&nbsp; Within the next 2-4 years, CT will work to implement: Land-use fee or a land tax to local Indigenous and/or Black-led rematriation and reparation efforts, up to 5% of each program budget;A strategy to add First Nations / Indigenous representation to board, advisory councils, and staff; and An organizational protocol for the periodic review and assessment of CT’s decolonization efforts. An organizational protocol for the periodic review and assessment of CT’s decolonization efforts.We look forward to embarking on this important work and are grateful to you and your collaborators for generously creating a path for us to do so. Sincerely, Creative Time DECOLONIZATION RIDER Emily Johnson / Catalyst This rider is updated frequently. Click here to view the latest version. ︎︎︎ Emily Johnson / Catalyst requires all Presenters and all Presenting Partners collaborating on the presentation and development of [TITLE OF WORK] to comply with Indigenous Protocol and acknowledgement (i.e. Land Acknowledgment or Embodied Land Acknowledgment) of its host Nation in all announcements and press that includes [TITLE OF WORK] or reference thereof. Land Acknowledgement / Embodied Land Acknowledgment is one step in a process toward decolonization. It includes relational actions and is a living process inclusive of deep learning and unlearning. ON DECOLONIZATION “Decolonization suggests a withdrawal or refusal of the colonialist entity, and is the means by which peoples work to (re)establish their independence and sovereignty. It is a project and a process that includes deconstructing and dismantling (colonialist) systems and structures at the same time that it works to revitalize Indigenous ways of being and knowing. As a path toward remediating the theft of land and relations disrupted by all those forces that enact violence against land and intergenerational relations, collectivity, and communality, there is an urgent need to recognize what is at stake. Institutions can make deliberate and intentional steps toward greater accountability and action, by displacing their authority and moving to center and privilege Indigenous decision making and leadership. Indigenous leadership must be resourced to develop structural initiatives that move the project of decolonization forward. These initiatives will fundamentally challenge, transform and, in some instances, replace existing cultural institutions and practices. With sharp attention to ongoing and embedded systemic and structural Indigenous erasure, racism and colonial and anti-Black representation within institutions, we must transform and change institutional systems and governance.—Excerpted from Creating New Futures: Phase 2 – Notes for Equitable Funding from Arts Workers COMMITMENT Working with Emily Johnson / Catalyst requires all Presenters and all Presenting Partners collaborating on the presentation and development of [TITLE OF WORK] to be committed to the process of decolonization/Indigenization. The process of decolonisation/Indigenization is ongoing and includes communication with, commission of, and permission sought from local Indigenous Nations, Elders, appropriate consortia, etc. All presenters and presenting partners must be committed to and prepared to engage directly with Indigenous community, leadership and agencies. Decolonization processes can include, but are not limited to staff cultural competency trainings, discussions / workshops with Indigenous and accomplice leaders; plans toward adding to board, advisory councils, and staff First Nations / Indigenous representation; plans for ongoing, continued inclusion of Indigenous and BIPOC artists in programming; Land Acknowledgement processes in place; equitable relationships with local Indigenous community and in Lenapehoking, specific pathways that address and make reparations for the current and forced displacement of Lenape peoples. DISCLOSURES In advance of contracting work, Presenter will engage with the Decolonial Action Coalition’s institutional decolonial assessment (currently in development), which includes metrics for Access, Representation, Education, Indigenous Acknowledgement, Land Presence and Return. Catalyst will be informed as to whether or not the Presenter and/or its parent institution hold any Indigenous belongings/Ancestors; the status the land on which it is situated in relationship to any broken, unrecognized, or unlawful Treaties with the US government; benefits from current or historical forced labor of enslaved people; profits from investments in military industries, weapons, or extractive industries; holds contracts with the police or military; and has been, or is currently engaged in, investigations or lawsuits for alleged sexual misconduct, sexual assault, racial violence, discrimination or hostile work envirnoment due to the actions of any of its employees. POLICING All activities that are part of the research, development, creation and presentation of any Catalyst project will be undertaken without the presence of armed officers or officers in uniform. INDIGENOUS KNOWLEDGE PROTECTION Catalyst works with a variety of Indigenous Elders, artists, scholars and culture-bearers, and respect for and protection of Indigenous Knowledges is essential in all of our partnerships. Intellectual and cultural property issues are critical to address in any context where Indigenous knowledge is being shared. Histories of settler-colonialism have created multiple contexts where Indigenous cultural knowledge is not properly recognized, valued and protected. This has ongoing consequences for how people are willing to share their knowledge, under what circumstances and with whom. The current international system for protecting intellectual property was fashioned during the age of industrialization in the West, and it therefore privileges individuals and makes knowledge into property for exclusive possession. Further, copyright law has historically functioned as a mechanism for the dispossession of Indigenous knowledge from Indigenous peoples. In response to these histories, all knowledge shared during this work remains the intellectual property of Emily Johnson / Catalyst and/or remains collectively held by the collaborating community/ies. This includes any recordings – audio descriptions of stories, language, contexts of creation. Any material created during the development of a work, including audio or photography, remains under the ownership of Emily Johnson / Catalyst and/or remains collectively held by the community/ies also involved in the work. PROCESS Emily Johnson / Catalyst has developed a specific process for creating her works that relies on community relationships that center Indigenous voice through collaboration and engagement to vision collective desires for a present and future being and belonging. While this process is being shared through this work, Emily Johnson/Catalyst retains full ownership of the process that she has uniquely developed. When this process is reused in other contexts outside of the involvement of Emily Johnson / Catalyst, appropriate permissions, attribution and resource contributions will be made. BUILDING &amp; DEEPENING COMMUNITY RELATIONSHIPS Within the scope of a contracted performance / creation of [TITLE OF WORK], Catalyst will direct our own efforts and processes to build relationships with local Indigenous Elders, artists, scholars and culture-bearers and other artists and communities of color. These relationships are not in the stead of the presenter / partner doing their own work in respectful relation. COMMUNICATIONS Presenting and Presenting Partners and their communications staff will review the following article on evolving Indigenous style-guides, and adhere to recommendations offered therein: https://thetyee.ca/News/2020/01/17/Copy-Editor-Indigenous-Style. Continued research and reflection should further inform and advance these evolving practices. FONTS The majority of fonts and typefaces used by institutions and organizations cannot accommodate the way Indigenous languages are written. This is an ongoing process of colonial erasure. In any and all instances in the development of advertising and promotional materials, the BC Sans font will be used. BC Sans is an Open Source font that ensures Indigenous languages can properly be represented. See BC Sans Typeface. LAND-USE FEE We encourage all Presenters and Partners directly support local and/or national land rematriation efforts by paying a land tax or land-use fee to local or national Indigenous led LandBack efforts. Institutions are responsible for a contribution equal to 10% of our agreed upon commission. However, institutional contributions for ongoing land-use should be calculated in response to the land occupied:Land-Grant institutions should calculate land-use fee based on the amount of benefits accumulated through the Morrill Act Any land-use fee should be increased in direct response to local current/emergency land protective efforts, a current example: Stop Line 3, In addition, a land-use fee should be added to all individual ticket sales and contributed to the same efforts. Communications with the audience regarding the land-use fee should educate and direct audiences to continue “real rent.” Land-use fees offer material support while building awareness for direct ways institutions and individuals can support and work toward reparative justice. Some examples: Real Rent Duwamish Land / U of M Theater Arts and Dance Land Use Fee / Resource Generation GOING FURTHER Presenters seeking training and support in the process of Land Acknowledgment / Embodied Land Acknowledgment, decolonization and Indigenization in preparation for working directly with local and regional Indigenous communities can contract with Emily Johnson / Catalyst or other Indigenous led consortia or individuals for training and workshops, separate from the performance contract.… I agree to abide by the clauses of this Decolonization Rider and to undertake material efforts toward the ongoing decolonization of my programming and of the institution I work with/for. Natasha L. Logan and Justine Ludwig On behalf of Creative Time RECOMMENDED ADVISORS and AGENCIES Felicia Garcia, Samala Chumash ︎ landacknowledgement@gmail.com ︎ feliciarenee00@gmail.com Melissa Shaginoff, Ahtna/Paiute; Udzisyu (caribou) and Cui Ui Ticutta (fish-eater) clans from Nay’dini’aa Na Kayax (Chickaloon Village). ︎︎︎ Melissashaginoff.com ︎ mshaginoff@gmail.com Emily Johnson / Catalyst, Yup’ik ︎︎︎&nbsp;Catalystdance.com ︎ emily@catalystdance.com Indigenous Direction ︎︎︎ Indigenousdirection.com ︎ indigenousdirection@gmail.com IllumiNative ︎︎︎ Illuminative.org RECOMMENDED READINGS and RESOURCESA guide and call to acknowledgment https://usdac.us/nativeland Guide to Indigenous Land and Territorial Acknowledgments for Cultural Institutions http://landacknowledgements.org/ Tuck, Eve and K.W Yang. 2012. Decolonization is not a Metaphor&nbsp;https://www.latrobe.edu.au/staff-profiles/data/docs/fjcollins.pdfChanging the Narrative about Native Americans, a Guide for Allies&nbsp;https://www.firstnations.org/wp-content/uploads/2018/12/•MessageGuide-Allies-screen-spreads_1.pdfReclaiming Native Truth Research Findings&nbsp;https://www.firstnations.org/wp-content/uploads/2018/12/FullFindingsReport-screen.pdfVowel, C. (2016, September 23). Beyond Territorial Acknowledgments. Apihtawikosisan.&nbsp;http://apihtawikosisan.com/2016/09/beyond-territorial-acknowledgments/ Research on colonial structures in language https://www.ictinc.ca/blog/indigenous-peoples-terminology-guidelines-for-usage https://www.monash.edu/about/editorialstyle/writing/inclusive-language https://thetyee.ca/News/2020/01/17/Copy-Editor-Indigenous-Style QUYANA - Jane Anderson, ENRICH, New York University, Lenapehoking. -Chris Bell, Department of Theatre Arts and Dance, University of Minnesota, Mni Sota Makoce <img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/7dd3b63fe81ecc736d5d7ee3368f9d20f41f6a47efe57b040ea8c7fc25b2e17b/Emily-Johnson.-Photo-by-Tracy-Rector-and-Melissa-Ponder.jpg" data-mid="133721140" border="0" src="https://freight.cargo.site/w/960/i/7dd3b63fe81ecc736d5d7ee3368f9d20f41f6a47efe57b040ea8c7fc25b2e17b/Emily-Johnson.-Photo-by-Tracy-Rector-and-Melissa-Ponder.jpg" /> Image description: Emily Johnson pictured in front of a black background. She wears silver earrings. Emily JohnsonShe/Her/HersLenapehoking/Manahatta, New York, NY Emily Johnson is an artist who makes body-based work. She is a land and water protector and an activist for justice, sovereignty, and well-being. A Bessie Award-winning choreographer, Guggenheim Fellow, and recipient of the Doris Duke Artist Award, she is based in Lenapehoking / New York City. Johnson is of the Yup’ik Nation, and since 1998, has created work that considers the experience of sensing and seeing performance. Her dances function as portals and care processions. They engage audienceship within and through space, time, and environment—interacting with a place’s architecture, peoples, history, and role in building futures. Johnson is trying to make a world where performance is part of life; where performance is an integral part of our connection to each other, our environment, our stories, our past, present, and future. https://reworlding.creativetime.org/REDDY Mon, 24 Jan 2022 23:55:18 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/REDDY <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/e88bebb7ac4f22bec0497ce150fdd4c1a9cf445817a8f932a650fca2d6d7667c/VII.png" data-mid="133626262" border="0" src="https://freight.cargo.site/w/300/i/e88bebb7ac4f22bec0497ce150fdd4c1a9cf445817a8f932a650fca2d6d7667c/VII.png" /> Compositional Notes for Making a With / Against Institutional Budget Scored by Prerana Reddy DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ Near the beginning of the Think Tank process, one of the members, Emily Johnson, wrote an Open Letter published in Medium on January 22, 2021 entitled, A Letter I Hope in the Future, Doesn't Need to Be Written, detailing her experience as a Yup’ik womxn and artist dealing with abusive behavior by Jedediah Wheeler, Executive Director of Arts and Cultural Programming at Montclair State University (MSU) and its Peak Performances series, when confronted with a performance production process committed to decolonization. In solidarity, the creative firm Sozo Artists offered to produce an event that developed into What if? A Conversation on Institutional Fear, Cultural Safety &amp; Collective Healing for which Emily Johnson, Marc Bamuthi Joseph, Joseph M. Pierce, and Daniel Bernard Roumain each recorded short videos imagining “a landscape where current practices are held accountable to the past and dramatic change is employed toward creating honest, brave spaces of transformation where true healing is the revolution.” The Think Tank discussed these cultural changemakers’ provocations, and this budget programming score was inspired by the values and questions put forth by Joseph M. Pierce’s contribution (which I’m paraphrasing): What if arts institutions considered being in right relations as part of their primary mission?What if they stopped being complicit in enacting or covering up violence against BIPOC communities?What if institutions saw themselves as caretakers and stewards not only of art objects but of people, land, and our more-than human kin?What if kinship were at the center of budget making processes and decisions?What if art itself is an extended enactment of making kin? Questions, in 15 parts, to shape the movements that make your institutional budget: Does your budget take into account the time, flexibility, and resources needed to support the artist as a person you are in relationship with, rather than just a producer of a project you are commissioning? How would you develop a needs/wants assessment for the artist with whom you are entering into a relationship? Can you acknowledge that your staff need time and space to be accountable to the agreements that come out of that assessment? And that these agreements might and should transform the organization’s usual way of doing things?What would it take to create a circle of support for the artist based on institutional networks? This is more than just for “networking,” but for emotional support, navigational advice, mediation (if needed), inspiration, and reflection.If you can’t provide healthcare, childcare, and/or housing, then what can you do to support the artists’ basic needs, including both visible and invisible access needs? Can you include an artist’s living needs contingency fund? How can you help them to show up feeling whole and with as much capacity as possible? How can you support artists/culture workers to understand their own budget/personal finances and prevent them from underestimating the true cost of thriving in their life and work? Does your budget provide for staff and artist time to decompress, reconvene, assess, and incorporate learnings AFTER the project is done?Does your budget include a line item for being in better relationship to the land/water/ecosystem in which the institution has settled or where it does work?&nbsp; How can you consider everything from sourcing and recycling/repurposing materials to understanding and helping to mitigate the ecological stresses in your local communities?Does your budget support and respect those who provide access/accommodation services to you, including but not limited to language interpreters, captioners, web designers, facilities, visitors services managers, and communications teams?Does your budget take into account your institution’s complicity with historical violence and dispossession? Does this budget allocation lead to mechanisms for acknowledgement, repair, reparations, and eventually new relationships with impacted communities? Does the budget include a land use fee or tax to support local Indigenous landback or land preservation efforts, as suggested in Emily Johnson/Catalyst Dance’s Decolonization Rider?Can everyone be paid the same, or at least more evenly? Does this reflect an understanding that formal education/training/licensure is also a privilege and not just preparation work or expertise? How are rates of pay based not only on merit, hierarchy, and the market, but rather based on historic under-/devaluing of particular communities, the amount of stress/pain the tasks entail, or the amount of risk/exposure someone takes on? If all of this looks too time-consuming and expensive, how do you get more okay with doing less but with more care, with the same money?Can you use your budget notes in grant applications not only to explain your math, but to explain to your funders why your budget needs to look this way? Can you suggest to funders that their budget forms should change if they are committed to decolonization (or at least to Diversity, Equity, and Inclusion, as many often claim)? Have you been able to not automatically say no to all of the above? Have you thought about who hasn’t been in the room when you were thinking about all of the above? Have you thought about how much courage it takes for an arts worker to challenge how a budget is made to consider any of the above? Have you taken a deep breath after thinking and doing any of the above? Have you thought about with whom you might share these budget questions and drafts, even if they are messy and imperfect? Without inviting other institutions and funders to perform this score, these will just be movements in a score you play for yourself, that will never build a movement in the art world. And that will never re-ground the art-world firmly in the world-world that is being unmade and remade. <img width="810" height="1215" width_o="810" height_o="1215" data-src="https://freight.cargo.site/t/original/i/0fe096013c984dbabdb35c2e659d7db208fb7e35b7137c648b03c6163a0614aa/Prerana2web.jpg" data-mid="133719521" border="0" data-no-zoom src="https://freight.cargo.site/w/810/i/0fe096013c984dbabdb35c2e659d7db208fb7e35b7137c648b03c6163a0614aa/Prerana2web.jpg" /> Image description: Prerana Reddy stands outdoors with red earrings, a red beaded necklace, and a colorful diamond-printed shirt. Prerana ReddyShe/Her/HersRockaway Lands, New York, NY Prerana Reddy is the inaugural Artist &amp; Community Fellow at Recess, leading a two-year process of inquiry and creative design with Recess' community of staff, artists, partners, and youth with the goal of advancing racial justice both internally and in society. She was most recently the Director of Programs at A Blade of Grass, a nonprofit that advances the field of socially engaged art through financial support for artists, public programming, research, and content creation. Previously, she was the Director of Public Programs &amp; Community Engagement for the Queens Museum from 2005-2018 where she organized both exhibition-related and community-based programs with such renowned artists as Damon Rich, Mierle Laderman Ukeles, Mel Chin, and Pedro Reyes. In addition, she hired the first full-time community organizers based at an art museum to develop long-term cultural organizing initiatives. These resulted in the creation and ongoing programming of a public plaza and a bilingual popular education center in collaboration with Tania Bruguera and Creative Time. She was also a film programmer and administrator for the 3rd NY South Asian Film Collective, Alwan for the Arts, and the African Film Festival. She earned her M.A. in Cinema Studies and Anthropology from New York University and was a fellow of the Asian Pacific Leadership program at the East-West Center/ University of Hawaii-Manoa. https://reworlding.creativetime.org/YAPP Mon, 24 Jan 2022 23:55:19 +0000 Invitations Toward Re-worlding https://reworlding.creativetime.org/YAPP <img width="300" height="300" width_o="300" height_o="300" data-src="https://freight.cargo.site/t/original/i/1d8dddcaeb8cc363711acd6e59f7e59a5a48434ba1bfcd54201c816b64cbdb40/VIII.png" data-mid="133626461" border="0" data-no-zoom src="https://freight.cargo.site/w/300/i/1d8dddcaeb8cc363711acd6e59f7e59a5a48434ba1bfcd54201c816b64cbdb40/VIII.png" /> It’s never been about you…or, a score for discussing the world beyond liberalism&nbsp; Scored by Hentyle Yapp DOWNLOAD LARGE FONT PDF OF SCORE︎︎︎ From my vantage point as a teacher, I find that liberalism dominates and limits how we discuss art, the political, and the social. For example, many rely on humanizing and recognizing dehumanized populations; increasing the representation of those who have historically not been part of institutions; romanticizing the subject’s resistance for working against power; and finding an outside from our moment, our conditions. None of these approaches is wrong per se. However, these frameworks primarily reaffirm liberal goals like increasing representation without substantive institutional changes. I hope that we can supplement the above moves with structural change. In other words, what other vocabulary, discourse, and frames might be available for discussing the world? I won’t go into how these calls for recognition, humanization, and representation are tied to a liberal genealogy, but for those interested, here are a few texts (and certainly, there are many more): Cedric J. Robinson, The Terms of Order: Political Science and the Myth of Leadership (University of North Carolina Press, 2016)Kandice Chuh, The Difference Aesthetics Makes: On the Humanities ‘After Man’ (Duke University Press, 2019)Audra Simpson, Mohawk Interruptus: Political Life Across the Borders of Settler States (Duke University Press, 2014).Sylvia Wynter, Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation—An Argument, CR: The New Centennial Review 3(3), Fall 2003.María Josefina Saldaña-Portillo, The Revolutionary Imagination in the Americans and the Age of Development (Duke University Press, 2003)Denise Ferreira da Silva, Toward a Global Idea of Race (University of Minnesota Press, 2007)Denise Ferreira da Silva, Toward a Black Feminist Poethics, The Black Scholar 44 (2) (2014)Robin D.G. Kelley, Freedom Dreams: The Black Radical Imagination (Beacon Press, 2003)Miranda Joseph, Against the Romance of Community (University of Minnesota Press, 2002)Petrus Liu, Queer Marxism in Two Chinas (Duke University Press, 2015)Stefano Harney and Fred Moten, The Undercommons: Fugitive Planning &amp; Black Study (Minor Compositions, 2013). I, instead, want to gesture toward other possibilities for discussing the world. How might we develop illiberal and Marxist (as imagined from the ground up within the terms of racial capitalism) genealogies, terms, and ideas used to discuss art, the political, and the social? And how do these frameworks translate beyond the logic of liberalism? One key area where we might place pressure to reveal the difference between liberal and illiberal approaches is the idea of subjects, their agency and representation. Under the logic of liberalism, the subject becomes the possibility for resistance and change. Liberalism’s ideal subjects are those who come to represent themselves–those subjects who show their human worth to be recognized by others and especially by institutions that have historically excluded them. These forms of recognition often arise through legible means and narratives that fetishize the display of victimization. In other words, institutions tend to ask that minoritarian others legibly display their historical victimhood in order to be worthy of recognition and investment. And even when these historic others produce in illegible ways, liberalism always has a way of entrapping them into legible, proper narratives. These subjects then come to be participants in and further an economic system that is based off of the historical racism, misogyny, ableism, colonialisms, and environmental extraction that ravaged those bodies and lands that are now being recognized by institutions. In other words, institutions continue to operate as is and are rarely restructured, even though a few more minoritarian bodies come to enter their halls of recognition and knowledge. But what might an illiberal idea of the subject be? Perhaps there is no subject? Perhaps we need to let go of the exceptionality of the self/subject? Perhaps this is not about you or me? Comrades, racialized hordes and masses, dehumanized populations, the populations and lands extracted and not archived or remembered… These might be where we begin to produce a genealogy for an idea of the in/dividual that can fuel how we talk about the world. Rather than becoming legible as proper liberal subjects worthy of recognition and participation, how might we embody an ethics of the illiberal that is not fully invested in reproducing the very institutions and logics that allow liberal capitalism to thrive? There are varied approaches to this answer from anarchistic practices to redistributive approaches, ideas very worthy of debate. I lean towards a practice of restructuration that seizes our means of existence and current institutions to further illiberal, Marxist projects (as informed by racial capitalism, just to be clear). The exact means by which to reimagine the world is certainly up for the debate. Regardless of where you fall on this question, most of these approaches are about the broad work of changing institutional structures. I find it critical to explore what this means and how to do this. I’m committed to such approaches because I care less about my own exceptionality and recognition and more about the end of the world as we know it, or what Denise Ferreira da Silva astutely calls, the enactment of a Black Feminist Poethics. As a starting point, here are some brief suggestions: Before relying on calls to humanize, represent, and recognize or before turning to discuss the value of art by romanticizing individual subjects or producing somewhere “outside” from the here and now, take a pause and hesitate.(a)&nbsp; Are we primarily furthering the interests of the institutions we are working under by increasing representation without calls to change how these institutions are functioning and operating?(b)&nbsp; Remember this isn’t about you or about showing the worth of you or other individuals. Instead, remember this is about shifting how things currently operate.And as we shift how things work, we can do so in the direction of redistribution, remediation, and reparations, toward other visions so it’s about all of us, the environment, and for those beyond us… (a)&nbsp; Can you privilege the interests of those you are working for over the interests of the institution? (b)&nbsp; What changes and shifts can we demand of the institution to amend its structure and protocols in ways that expand how we exist, relate, work, and consume? Can these institutional shifts instead be geared towards the interests of historically-disenfranchised communities? i. How are institutions funded and by whom? ii. What is the environmental impact of funders and supporters? iii. What land is the institution occupying? Are there plans to renegotiate and redress this history beyond land acknowledgements? iv. How have institutions historically funded projects and artists? Who is presumed to be able to accept these funding structures? Who cannot? v. What communities have historically accessed the institution? What can the institution do to restructure, not only at the levels of programming, but also within the board and leadership, to further access? vi. Can we let go of merit? There’s no right or perfect single answer. This requires that we all struggle to imagine otherwise and to steer structures with and through a non-liberal ethical orientation.(a) So hold onto the utopic, impossible, and illogical. These only seem impractical and nonsensical now because of the liberal order of things. But remember, they won’t always remain illiberal as we collectively conspire beyond ourselves toward a different sense of the world.&nbsp; Hentyle Yapp is an Assistant Professor at New York University in the Department of Art and Public Policy and affiliated faculty with the Departments of Performance Studies and Comparative Literature, Center for Disability Studies, and Asian/Pacific/American Institute. He is the author of Minor China: Method, Materialisms, and the Aesthetic (Duke University Press). He is also co-editor of Saturation: Race, Art, and the Circulation of Value (with C. Riley Snorton, MIT Press), which is on race and the art world. His essays have appeared in American Quarterly, GLQ, Verge, Women and Performance, and Journal of Visual Culture. He received his B.A. from Brown University in French Literature; J.D. from UCLA Law, specializing in Critical Race Theory and Public Interest Law; and Ph.D. from UC Berkeley in Performance Studies with a designated emphasis in Women, Gender, and Sexuality. Yapp is also a former professional dancer for companies in Taipei and NYC.