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Cheers to spring growth!
Greetings Kindle fam, Nowruz mubarak. We are excited to share fresh energy and new branches of growth to come in what could be our busiest year yet: fun office shakeups including new team members, a bumping slate of programs, aaaand a new media experiment celebrating the amazing disruptors in our field. Itâs shaping up to be a dynamic year, and weâre grateful to share the journey with you. Office growth! Team shakeup We are happy to welcome two new faces to the team⌠Sharon Lungo, Indigenous Womenâs Flow Fund FacilitatorSharon is a practitioner of facilitation, training, organizing, direct action and leadership development with over 25 years of experience. She is an indigenous, fat mother and propagator of racial and social justice strategies whose family is from Kuskatan (El Salvador). Sara Magaletta, Programs and Grants CoordinatorSara is a passionate feminist, writer, and generalist with over 15 years of experience in communication, management, human resources, and development across various sectors, including non-profit, government, fashion, and tech. Click here to read their full bios. We are excited to work with them! Title shakeup Arianne Shaffer (the heart, backbone, and funny bone of Kindle Project) is taking on still more this year in her new role as Director of Programs: facilitating participatory grantmaking circles, innovating power-sharing work with awesome donors and community-based decision-makers, and generally leading with grace, style, smarts, and warmth. Fiscal sponsor shakeup We wrapped our longtime relationship with Common Counsel Foundation and cozied up to Amalgamated Foundation as our new fiscal sponsor. Amalgamated manages donor advised funds and pooled funds that in 2022 granted more than $160 million to organizations at the frontlines of social change, including 60% to BIPOC-led organizations, and weâre happy to be working with them. Nothing much changes; you can still support us. Please make sure to indicate that your donation is for Kindle Project Fund! (Speaking of⌠instead of burning a hole in your pocket, why not let your spare cash kindle radical change through grassroots funds like these?) Program growth! This year we are running a record number of programs in a variety of areasâall exploring new structures for moving money to frontline groups while simultaneously confronting structural inequalities. Many programs you know from previous years continue to thrive, such as the Indigenous Womenâs Flow Fund. Others are brand spanking new, such as Crossing Divides and Reseed, and weâre psyched to tell you all about how they work, who they supported, and how you can get involved. Stay tuned throughout 2023 for updates in our newsletter, Nexus, and social media! Podcast! Considering how to encourage more people to rethink philanthropy and radicalize their giving, we looked around (in vain) for platforms that educate, illuminate, and uplift our field. Then it hit: we need to make that! So weâre cooking up a podcast that will be inspiring, challenging, and funâwhile uplifting badass changemakers and weirdos who are disrupting philanthropy for good. As we develop this show, we would love to hear from you⌠Use this form to drop a line with ideas for show topics, interview guests, or questions for grantmakers, grantees, or other folks in the field. And⌠Well, thatâs all for now. Phew. Weâve got a lot on our plate, but we are eager to dig into all the deliciousness. So pull up a chair, tuck in your bib and grab a forkâwe are happy to have you at our table, even if this metaphor has gotten insufferably corny. Happy spring! ![]()
Cheers to spring growth!
Greetings Kindle fam, Nowruz mubarak. We are excited to share fresh energy and new branches of growth to come in what ...
Mar 20, 2023
Celebrating Year Two of the Indigenous Women's Flow Fund
Welcome to the second year of a special participatory grantmaking journey, the Indigenous Womenâs Flow Fund (IWFF). Through a process of deep trust and collective sharing, five multi-generational Indigenous womenârepresenting Ho-Chunk, DinĂŠ/TsĂŠtsĂŞhĂŠstâhese, SanteĂŠ Sioux, Raramuri, and Northern Arapahoâshaped this program throughout another year and moved $455,000 to 39 Indigenous grantees! The Womenâs Cohort made Flow Funding decisions by drawing upon their wisdom, depth of connection, and understanding of community change-makers who are often unseen by traditional philanthropy. During this second cycle, two significant themes emerged: Activating rematriation - Honoring womenâs traditional roles as gifters, caregivers and ceremony keepersPushing beyond colonial constructs - âUnlearningâ modern philanthropic processes while uplifting ancestral giving practices to honor Indigenous values and wisdom To learn more about their decision-making processes, and to read reflections about their experiences, check out our Year Two Storytelling Report. The IWFF Donors and Donor Cohort represent a transformational approach to moving resources. The Donor Cohort, which runs in parallel to the Womenâs Cohort, is an integral part of the ecosystem, forming their own learning community. If you are a donor interested in resourcing this program or joining the cohort, please be in touch. Recipients of the funds are Indigenous groups and individuals cultivating their communities through work in food and land sovereignty, language revitalization, nourishment for women, girls, and two-spirit relatives, arts and culture, decolonization, and rematriation. Each of the cohort members who make up the expanding IWFF ecosystem are deeply committed to discovering what is possible by shifting power to Indigenous women decision-makers, and moving resources to Indigenous groups and individuals who are often unseen by mainstream philanthropy. Join us in celebrating the grantees and individuals the Womenâs Cohort have chosen to honor in IWFFâs second year! ![]()
Celebrating Year Two of the Indigenous Women's Flow Fund
Welcome to the second year of a special participatory grantmaking journey, the Indigenous Womenâs Flow Fund (IWFF). Through a process ...
Jul 07, 2022
The ArtLords Virtual Exhibition We are excited to share beautiful work by ArtLords, a Kishti fund grantee Curated by Omaid Sharifi ArtLords was established in 2014. It is a global grassroots movement of artivists motivated by the desire to pave the way for social transformation and behavioral change through employing the soft power of art and culture as a non-intrusive approach. ArtLords realized the opportunity for converting the negative psychological impacts of blast walls on the people of Kabul into a positive visual experience. By placing issues concerning ordinary citizens on blast walls, ArtLords has created a space where social issues can be expressed in a visual manner and discussed in the street, where open art workshops take place. ArtLords provides a platform for dialogue among ordinary people on the streets of Kabul. Giving a visual voice to the voiceless is the motivation behind the movement. ArtLords promotes messages of empathy, kindness, and peace through the expressivity of arts and culture, to portray visual representations of communitiesâ desires to move from war towards peace. Creating a relationship between people and art, by bringing art to the people, allows for a much-needed psychological shift that opens minds to new prospects. The use of art opens space for âemotions without affiliation.â It stimulates critical thought and helps people understand that war is a commonly shared experience and only a common effort from within society can bring about peace in Afghanistan, South Asia and the Middle East. ArtLords pursues an arts-based methodology that is conceptually grounded, coordinated with other civil society stakeholders and representatives, infused with a long-term perspective vis-Ă -vis the nature of social change, and responsible about evaluating effectiveness and impact. ArtLords thereby acts as a platform that allows for the use of the arts for specific tasks that measurably contribute to consent-building on any given subject, and that contributes to the positive transformation of society. ArtLords is a pioneer and the first organization to start mural painting in Afghanistan. The organization has an underground office in Afghanistan, an office in Istanbul, Turkey, and an office in Virginia, United States. ArtLords has 7 employees and 53 artists. www.artlords.gallery www.letstalkpeace.org The ArtLords Virtual Exhibition Selected theme: Social issues Afghanistanâs Broken HeartsThis artwork was created by ArtLords in the aftermath of the United States and NATOâs hasty withdrawal from Afghanistan in August, 2021. Many young Afghans flocked to the Kabul Airport from fear of the Taliban, for a chance to be evacuated by military planes. Some young Afghans desperately held onto US C-17 military airplanes as they were taking off. At least three young Afghans in their 20s fell from planes to their horrible deaths all over Kabul city. ArtLords Street at Torino, Italy ArtLords murals were destroyed by the Taliban when they conquered Kabul... ArtLords participated at the Paratissima in Turin, Italy, in 2021, where photos of some murals were exhibited. Corruption and Waste in Afghanistanâs Security ForcesA street-working kid paints a mural of an armored Land Cruiser vehicle with tires made of Afghan bread in Kabul city in 2019. The message of the mural was that this car costs around $100,000 and is very common among military and police leadership, but most of Afghan soldiers do not have enough to eat, or proper shoes and ammunition to stand up against terrorists. 911This artwork was created in 2011 in response to the war and violence in Afghanistan and Iraq since the incident of 9/11 in New York. Unsafe Immigration This mural was painted in Kabul in 2016, a part of ArtLordsâ public campaign against unsafe immigration and the dangers of young Afghans leaving through dangerous routes to reach Europe. Remember the FlightThis artwork was painted in Bern, Switzerland, 2021, in response to Talibanâs ban on the education of Afghan girls. Seek Education from Cradle to GraveThis mural was painted in Nangarhar, Afghanistan, 2017, to encourage young Afghans to seek educationâto choose a book instead of guns and drugs. I will build you my homelandThis mural was painted with Afghan refugees and students in Turin, Italy, in 2021. It is part of ArtLordsâ ongoing global advocacy for Afghanistanâs artistic and cultural heritage and Afghan peopleâs rights. Ghulam One of the famous games known and played in every household in Afghanistan is playing cards. The (J) is called Ghulam in Dari/Pashto. Ghulam means slave/servant. This artwork was designed with images of Mullah Omar, Talibanâs deceased leader; Hamid Karzai, Afghanistanâs former president; Ashraf Ghani, Afghanistanâs president who escaped in August, 2021; and Abdullah Abdullah, the former chairman of the peace council. This artwork indicates that these so-called leaders are serving foreigners and playing games with the future of Afghanistan. TransformationThis artwork is based on a famous photo, and ArtLords have transformed the Talib soldiersâ guns into crayons and pencils. Mural of Hamida BarmakiHuman rights commissioner Hamida Barmaki and her family were killed in a suicide attack in January 2011, which was claimed by Hizbe Islami of Gulbuddin Hekmatyar. This mural was painted in front of Gulbuddin Hekmatyarâs house in Kabul after he accepted a truce and came to Kabul. The aim was to remind him of his victims. The mural was destroyed by Hekmatyarâs gunmen after a few hours of being there. Buddhas of BamyanThe widely-renowned world-heritage site that is home to the Buddhas of Bamyan was bombed and destroyed by the Taliban in 2001. ArtLords painted a mural in remembrance of the Buddhas in Kabul in 2018. ![]()
The ArtLords Virtual Exhibition
We are excited to share beautiful work by ArtLords, a Kishti fund grantee Curated by Omaid Sharifi ArtLords was established in 2014. ...
Apr 12, 2022
Join Kishti - Kindle Project's Afghanistan Fund
Jaw Aka Faizal Nahman and his daughter Nono from Bamiyan province, now living in an improvised plastic shelter in the ruined gardens of Darulaman Palace. Built in the 1920s to house an Afghan parliament, 'Darul Aman' translates as 'abode of peace.'(Photo courtesy Simon Norfolk) We are pleased to invite you aboard Kishti - Kindle Projectâs Afghanistan Fund - to support and celebrate freedom-of-expression initiatives with artists, musicians, activists, and journalists who are at risk inside Afghanistan or have managed to relocate outside of the country. Kishti, which means boat in Dari, feels like a fitting name for this initiativeâa raft in these turbulent waters, a buoy for the seekers and speakers, for the culture-makers who foster vitality and health through art and expression. We are now seeking donors to join a bold new phase of this fund. Our goal is to raise $300,000 as soon as possible. We are seeking donations of $5,000 or above. With your help, Kishti will support brave initiatives that: provide safety and support for high-risk artists, journalists, and activists using expression as a means for change;empower women, girls, and youth;are likely to be underfunded and overlooked by the mainstream aid agencies For some inspiring examples of initiatives Kishti seeks to support, check out some of the grantees from the first round of funding. When the Taliban took control of Afghanistan last August, Kindle Project launched this emergency grant program. With the generous help of individuals and foundations, we doubled our initial fundraising goal and were able to support 16 organizations whose work is creative, inspiring, and enduring during a critical time. Now, although media attention on Afghanistan has pivoted, it remains an ongoing crisis. The Afghans most at risk are those who have fought hardest to foster cultural diversity and richness, human rights, and accountability. Activists, journalists and media organizations, human rights workers, and women have been especially persecuted. At Kindle Project, an ethos of long-term commitment underlies our programming, relationships, and worldview, and we feel that a continued commitment is especially pertinent to this effort, as the situation for Afghans has not improved and the needs are substantial. Donate to Kishti here. Learn about the program here. Feel free to contact Arianne Shaffer with questions, and please share this invitation with your networks and anyone who may be interested in joining this effort. Thank you for your continued support! ![]()
Join Kishti - Kindle Project's Afghanistan Fund
Jaw Aka Faizal Nahman and his daughter Nono from Bamiyan province, now living in an improvised plastic shelter in the ...
Apr 06, 2022
Afghanistan Fund
Dearest Kindle Community, I am writing to you today at a pivotal moment. Weâve all witnessed the incredible historical events in Afghanistan unfolding over the past week. I know many of you feel anger and shame about Americaâs ongoing role in Afghanistan and its disastrous withdrawal. I also know many of you have felt helpless in the face of the enormous and volatile reality facing the Afghan people. I feel that weight too. As an Afghan-American, this situation is close to my heart It is possible to move that sense of hopelessness into action. That is why I am grateful to announce the launch of the Kindle Project Afghanistan Fund. This fund will provide support to organizations working with artists, artisans, women, and girls who are at risk inside Afghanistan or have managed to relocate outside of the country. Kindle Project has a decade of experience supporting artists and women. The Afghanistan Fund extends our expertise to organizations that work with Afghan women and artists. I am fortunate to work with a team that is poised to move money with on-the-ground experience and a lot of heart. Please join us! We are seeking minimum donations of $5,000 to reach our goal of $250,000 as soon as possible. You can donate online, by check, or by wire. Please visit our website for detailed donation information and to learn more about the specifics of the fund visit here. Thank you to each and every one of you that has reached out to show me love and offer support during this time. You have warmed my heart and inspired me with hope. Sadaf photo by Simon Norfolk ![]()
Afghanistan Fund
Dearest Kindle Community, I am writing to you today at a pivotal moment. Weâve all witnessed the incredible historical events in ...
Aug 19, 2021
Celebrating the Indigenous Women's Flow Fund
In 2020, Kindle Project embarked on a new 3-year participatory grantmaking journey called the Indigenous Womenâs Flow Fund (IWFF). The IWFF was created with the dream of uplifting the wisdom and leadership of Indigenous women, building bridges of trust, sharing power, and nourishing community-sourced initiatives that would offer bright solutions to systems in crisis. To bring forward strong participatory processes, it takes a village. Our unique ecosystem is made up of a cohort of community-based decision-makers, donors, grantees, and Kindle Project all working in concert. The IWFF Cohort is composed of five Indigenous, multi-generational women representing Ho-Chunk, DinĂŠ, Isanti Dakhota Oyate, Raramuri, and Northern Arapaho. They are artists, seed savers, community advocates, poets, organizers, mothers, daughters, and grandmothers. They each bring their own unique vision and experience to our circle. Over the last year, the IWFF women articulated the vision for the fund and 22 Indigenous-led organizations were supported by that vision. They will work together over 3 years to move money with love and grace, intuition and strategy, and in a supportive, exploratory container. IWFF Donors are multi-generational and committed to leading with trust, sharing power, and using creativity in their grantmaking. They bring their curiosity and openness to our collective work. We are always welcoming new donors to join our communityâif you are interested, please be in touch. IWFF Grantees are local grassroots groups serving a vital frontline role in their communities. Each contributes to vibrant Indigenous communities through their work in food and land sovereignty, language revitalization, nourishment for women, girls, and two-spirit relatives, seed sharing, arts and culture, and rematriation. Join us in celebrating them and learning from their inspiring work! To learn more about the intricate processes behind IWFF and the outcomes of our first year together, please read our Year One Storytelling report. ![]()
Celebrating the Indigenous Women's Flow Fund
In 2020, Kindle Project embarked on a new 3-year participatory grantmaking journey called the Indigenous Womenâs Flow Fund (IWFF). The ...
Jul 14, 2021
Makers Muse stealthily supports visionaries
2020 was an exceptional year in every way. For Kindle Project, it was art and expression that got us through lockdown, protest, endless Zoom calls, strategies and frameworks, and the lull of sleepless nights of uncertain isolation. Thatâs why 2020 was an exceptionally exquisite year for us to continue to honor artists and culture-makers for their unparalleled contribution to not only this moment but every moment over time. Our Makers Muse program has been known to pleasantly surprise creative visionaries from around the world with Kindle love. 2020 was no different, as we dug up 12 culture-making treasures. From New Mexico, to New Orleans, Senegal to Colombia, we scoured our backyards and traversed the metaphorical seas and deserts to rally the latest and greatest Makers Muse pack. A word engineer, a sonic magician, an image ninja. A tinkerer of noise, wind, and water. A muser of absurdity, sarcasm, myth, and merriment. Feather collectors and collectors of public imagination. The narrators of forgotten tongue. Political dissenters and graffiti writers. An architect of history. A chemist of light. Women who defy gravity with shiny melodic tools. All of the 2020 Makers Muse artists wowed us with their unique voices, often difficult explorations of place and self, and a tireless dedication to their art as a way to shift culture. Weâre proud to support them, and excited to continue following their brilliant work! ![]()
Makers Muse stealthily supports visionaries
2020 was an exceptional year in every way. For Kindle Project, it was art and expression that got us through ...
Mar 23, 2021
To spread some warmth in cold days, please join us in celebrating SpiderWeave, our participatory grantmaking program that supported more than 47 awardees and cast a wide web of respect and encouragement throughout 3 years. SpiderWeave was born in 2017 with the intention of bringing joy and connection to giving, and to share power with community. SpiderWeave brought a small group of inspiring female and non-binary community organizers into a Flow Funding circle. In this participatory grantmaking experiment, each flow funder was invited to share resources with projects that grabbed their attention, shook them deeply, and left them inspired and hopeful. Within this diverse, cross-race space, a mix of mothers, activists, singers, farmers, artists, and grassroots leaders combined their voices and experiences in a process of collaboration to move money. An impressive and off-the-radar array of individuals and organizations were supported through SpiderWeave. These projects are local and national, urban and rural, fueled by small teams and leaders. Some projects are laser-focused on a single issue while others work at the intersections of many. A majority of them are led by women of color. All share a common thread: they represent and embody the diversity, excellence, and dedication of their Flow Fund nominators. SpiderWeave is a living testament to how sharing decision-making power can resource the unsung and uplift unseen voices. Join us in celebrating the marvelous 2017-2019 SpiderWeave grantees: ![]()
To spread some warmth in cold days, please join us in celebrating SpiderWeave, our participatory grantmaking program that supported more ...
Mar 03, 2021
We believe that music can heal personal, social, and political woundsâand we needed a heckuvalot of that last year. Thatâs why weâre so thrilled that our Kindle Project Music Fund again supported groups on the cutting edge of using music and sound practices to nurture their communities and counter injustice during dark days when the healing power of culture-making has been most needed. In a year of uncertainty and upheaval, we witnessed organizations forced to adapt to rapidly shifting public health, political, and financial environments. These crafty, nimble projects continued to serve their communities and make magic despite it all. We doubled down in our commitment to our Music Fund grantees by inviting them all back and welcoming in one new bombastic grantee (Give a Beat). Across airwaves from the streets of LA to the basements of Philly, tackling issues from criminal justice reform to empowering women and girls, these groups demonstrated perseverance and passion. Put your hands together for these inspiring sonic innovators... ![]()
We believe that music can heal personal, social, and political woundsâand we needed a heckuvalot of that last year. Thatâs ...
Jan 29, 2021
Slow Fuse 2020: Celebrating women powered community grantmaking ![]()
Slow Fuse 2020: Celebrating women powered community grantmaking
Oct 01, 2020
Listen up...
As a universal language, music has a unique power to uplift and compel social progress. It short-circuits entrenched biases, resets and creates new patterns, and rattles rigid ways of thinking. Thatâs why we are over the moon to introduce the Kindle Project Music Fund, a new program we dropped in 2019âand talk up its five incredible grantees who are using music and sound to unite, heal, and activate their communities. For this programâs inaugural year, we sought out inspiring groups doing daring work, demonstrating vision and enthusiasm in offering music as a resource for their community, especially those marginalized by mainstream philanthropy. We looked for groups who use sound as a... change-agent for interpersonal and social transformation,glue to bond the social fabric of their communities,salve to heal personal and communal wounds,tool to mobilize against injustice. And thatâs what these grantees have in common: through sonic practice, they serve as vital hubs for community connection, expression, and action. These grantees together make for a diverse yet interconnected mixtape of sonic innovators doing vital work that deserves to be on your radar. We are thrilled to support them, and excited for you to get to know them... ![]()
Listen up...
As a universal language, music has a unique power to uplift and compel social progress. It short-circuits entrenched biases, resets ...
Jan 05, 2020
10th Year Birthday Bash Flow-Funding Roundup Throughout our tenth year, weâve kept on doing what we do⌠revolutionizing grantmaking by diversifying decision-making, shifting power and backing serious change-makers. BUT beyond the usual, we also spun up our first open call: the Carousel Awards. It was 10 months, 10 questions, 10 $1K prizes. Of course we couldnât just post a regular old open callâit had to fit our participatory ethos. We know that bringing new voices to the table is one of the most potent things we can do to disrupt the status quo. So, we invited ten past grantees to become Anniversary Partners and join in a three-course birthday bash: First, we honored those partners with a Kindle Project grant... Second, we asked them each to pay it forward by nominating a new group for a Kindle Project grant... Third, we had them devise a question for a monthly Carousel Award open call. As responses rolled in, a winner was selected each month by a motley crew of decision-makers from our communities... Woohoo! And phew! That was our 10th year⌠More than 50 decision makers, over 150 applicants. 30 projects awarded. We planted seeds and fanned creative flamesâjust what we wanted for our birthday. Weâre really excited to be entering our second decade, grateful for your support, and glad youâre coming along for the journey. Thanks again to our 10 Year Anniversary Partners, big shout-outs to their Flow Fund grantees, and congrats to the Carousel winners! Breaking It Down... July, 2018: United Roots flowed to YES! and asked: âHow can youth of color create innovative solutions to address displacement of their communities resulting from gentrification?â Winning response: Gameheads August, 2018: Nova Ruth flowed to Art Here Istanbul, and asked: âHow do you propose to harness the wisdom of your ancestors in helping communities survive in the anthropocene?â Winning response: Atava Swiecicki, Ancestral Apothecary September, 2018: Majal flowed to Whose Knowledge? and asked: âWhat can you do to help independent musicians sustain their art?â Winning response: Brownsville Community Justice Center, Sounds of Brownsville October, 2018: The Wildfire Project flowed to Dream Defenders, and asked: âHow are you integrating a climate change lens into your work on immigrant rights, black liberation, housing justice, or queer liberation?â Winning response: Maya Cueva, Being Ale November, 2018: Alas de Agua flowed to Three Sisters Collective, and asked: âHow does your art create spaces for polarized views to intersect and heal?â Winning response: Yara Liceaga-Rojas, Poetry Is Busy February, 2019: Jibz Cameron aka Dynasty Handbag flowed to California Coalition for Women Prisoners, and asked: âHow are you using comedy to deal with the political shitstorm in the United States?â Winning response: Heidi Rider, The Garbage Pile Babies March, 2019: Sins Invalid flowed to Segorea Teâ Land Trust, and asked: âHow do you celebrate and strengthen the collective power of disabled people, especially people of color?â Winning response: Bri Moore, Power Not Pity Podcast April, 2019: ZZK Records flowed to Discos CAIFE, and asked: âHow does your creative work give back to the indigenous communities it is inspired by?â Winning response: Franklin Lopez, Rad Film School May, 2019: Nika Khanjani flowed to: Grassroots Leadership, and asked: âHow does your work support the mental health of your community?â Winning response: Lorenzo P. Lewis, The Confess Project June, 2019: High Mayhem flowed to: Off Lomas, and asked: âHow does your work use improvisation to better our communities in New Mexico?â Winning response: Empowerment Congress of DoĂąa Ana County, Descoloniz-ARTE ![]()
10th Year Birthday Bash Flow-Funding Roundup
Throughout our tenth year, weâve kept on doing what we do⌠revolutionizing grantmaking by diversifying decision-making, shifting power and backing ...
Sep 05, 2019
Podcast!
We are making a podcast! It's going to be inspiring, challenging, and super funâwhile uplifting badass changemakers and weirdos disrupting philanthropy for good. As we enter pre-production of the first season, we would love to hear from you. Drop us a line with your ideas for show topics, interview guests, or questions for grantmakers, grantees, and other experts in the field: https://forms.gle/55SuakmV1YV2RKT49
Podcast!
We are making a podcast! It's going to be inspiring, challenging, and super funâwhile uplifting badass changemakers and weirdos disrupting ...
Feb 24, 2023
Crossing Divides
Report coming soon!
Crossing Divides
Report coming soon!
Feb 22, 2023
Announcing New Kindle Grantees Announcing New Kindle Grantees Whose Work Locally Resonates Universally
It has never been more important to organize locally, and no one does it better than this crop of New Mexico-based organizers and artists who we are proud to present as Kindle Project grantees!
These groups walk different but parallel pathsâthey are all inspiring movers and shakers on the front lines of progress for gender, racial, and economic justice. Their work demonstrates how ground-up community organizing and locally focused arts programming have impacts that resonate across social movements and throughout culture. We are psyched to support their work.
This wonât be the last you hear of their badassery, so take a minute to get to know them... ![]()
Announcing New Kindle Grantees
Announcing New Kindle Grantees Whose Work Locally Resonates Universally It has never been more important to organize locally, and no one ...
Jul 19, 2019
Sundus Abdul Hadi
âCommunities can create powerful shared narratives, which allow all of their members to look in the same direction, to share intentionality, and to experience the belongingness of coherence with other people.â - Dr. Lewis Mehl-Madrona from Healing the Mind Through the Power of Story: The Promise of Narrative Psychiatry
Iâve always loved books. The smell of the pages, the feeling of getting a new book you canât wait to read, sharing books with the people you love, and oh, the stories.
[caption id="attachment_8564" align="alignnone" width="601"] âNew Sumerian: Portrait of the artistâ / digital collage / 2019[/caption] My parents always kept a powerful collection of books. I learnt about my culture and heritage through their library, especially when I felt deprived of knowledge I could relate and connect to while studying in a Eurocentric institution throughout my art studies. Our books on Ancient Mesopotamia and modern Arab art gave me roots, and endless inspiration. Stories gave me life. I devoured any book by an Arab author, searching for a nostalgia I never quite knew, but spiritually felt. They helped to balance out the damaging misrepresentations of my culture in Western media while the Iraq war raged on, and helped me define my own story and experience as an Iraqi artist in the diaspora. For years, I meditated on the dark, heavy cloud of war and displacement, finding in it the stories I shared through my art to bring justice to the unheard and unseen. [caption id="attachment_8573" align="alignnone" width="1440"] âThe Forgottenâ from the Warchestra series / Acrylic on Canvas / 2008[/caption] Then one day, in my ancestral city Baghdad, that dark cloud enveloped me, and my world turned upside down.
I couldnât take in any more stories of war. I stopped reading the news. I couldnât watch or read anything that had to do with Iraq, or with any reference to violence. None of the stories felt responsible to the trauma we carried in our bones. I (we) needed to heal. More than a year later, suddenly and without pretext, the story of âShamsâ spilled out of me. âRegaining lost instinct and healing injured instinct is truly within reach, for it returns when a woman pays close attention through listening, looking, and sensing the world around herself, and then by acting as one sees others act, efficiently, effectively and soulfully.â - Dr. Clarissa Pinkola Estes in Women Who Run With the Wolves [caption id="attachment_8572" align="alignnone" width="1356"] Spread from the book âShamsâ / Shams and Shifaa[/caption] Shams is about a little girl made of glass. One fateful day, Shams breaks into a million pieces. In the story, which I also illustrated, we follow Shamsâ transformation from a fragile little girl into a survivor, with the help of her own imagination and the guidance of Shifaa, the healer. The illustrations blend symbolism from Mesopotamian art, landscapes from the Middle East, Arabic calligraphy by eL Seed, and magical realism to create Shams (Arabic for the word sun), an otherworldly being in her small universe.
My healing process from this particular trauma was long and arduous, and ongoing. I share a lot of the insight from my own coping and self-care in the story, like learning how to breathe, accept and believe, or, on the days I miss the past, to go and sit by the water. I pursued this story because I wished for such a book when I was at my most broken. So I offer it to the youth of our broken world who need to see themselves in a book that they could relate to, and to feel empowered by their survival and resilience despite the trauma of war and displacement.
[caption id="attachment_8571" align="alignnone" width="1600"] Spread from the book âShamsâ / Transformation[/caption] This journey has led me to connect with other communities that are working through their own collective traumas, as a result of white supremacy and colonialism here in North America. That connection culminated in my research-creation project âTake Care of Your Selfâ, an exhibition that brought together twenty-seven powerful artists of colour whose work intersects with struggle, trauma, self-care and empowerment. I am on the eve of publishing âShamsâ in Arabic, as well as a book based on âTake Care of Your Selfâ, two projects that have been so instrumental to my practice of community-care and personal healing, and for that I am grateful.
[caption id="attachment_8570" align="alignnone" width="204"] âTake Care of Your Selfâ exhibition poster, 2017[/caption] To begin a story in Arabic, we say the words âKan Ya Makan fi Qadeem al Zaman...â (Arabic for âOnce Upon a Timeâ). Those words birthed my imagination, sparked my love of books, and have since reaffirmed the power of storytelling, and art, as medicine to heal deep wounds. And so, I will choose to end with them to make space for your story to begin. Thank you for listening to mine.
[caption id="attachment_8565" align="alignnone" width="1182"] Spread from the book âShamsâ / Freedom[/caption] *** Learn more about Take Care of Your Self here. ![]()
Sundus Abdul Hadi
âCommunities can create powerful shared narratives, which allow all of their members to look in the same direction, to share ...
Jul 17, 2019
10 Year Anniversary Partner -- High Mayhem High Mayhem Emerging Arts is inching towards 20 years. Over the years we have had to define and redefine who we are and what we do as our world changes and our lives change. We have been known as improvisational and experimental artists. To most, they think that that ethos and approach is confined to our art. But we have come to realize that the embracing of improvisation is what has allowed us to endure and regenerate. We have had to improvise around evictions, coming up short on rent, technological failures, loss of members through relocation and death, technological advances, planned obsolescence, loss of funding, loss of energy and enthusiasm, and plenty more.
Art is a reflection of life, and most do not realize that our lives and our work is improvisation. Improvisation is truly living in the moment. To take a snapshot of what is going on around us and to make the best decision we can in the face of the current circumstance. And repeat. Repeat. Repeat. Those decisions in music and art should be made without ego, and in consciousness of what best supports the whole. We do this in our homes, in our work, in our relations with friends and family. When we make a mistake, our job is to try and turn that mistake into an opportunity. Iâve come to learn through improvisation, that mistakes can be overcome by what comes next. A missed note that seems like a mistake can turn into a beautiful discovery, depending on how we react and what we do afterwards. It takes confidence and commitment. The mistake only becomes obvious when we hesitate to react to the circumstance.
So when Kindle asked us, what question we wanted to pose for their Carousel Awards. We wanted to see how others were using improvisation in their work. So we ask you âHow does your work use improvisation to support our communities in New Mexico?â We hope that you take this idea and help realize and redefine what you do as improvisation. You are already doing it. Help us discover how and show us how this is making our state of New Mexico a better place.
For more on our current work regarding our On(e) Day project. Please visit the links below and consider subscribing to our newsletter and follow us on social media.
www.highmayhem.org/one-day/
www.highmayhem.bandcamp.com
www.youtube.com/highmayhem
www.facebook.com/highmayhem ![]()
10 Year Anniversary Partner -- High Mayhem
High Mayhem Emerging Arts is inching towards 20 years. Over the years we have had to define and redefine who ...
Jun 21, 2019
10 Year Anniversary Partner - Nika Khanjani After a few months of weekly sessions with the new therapist, he suggested that I was anxious and depressed. âNot clinically, but enough that it impacts your quality of life.â
Iâm curious about depression/anxiety and mental health in general, and not just because it impacts my own life. I think about it in terms of systems, histories, genetics, astrologies, all the research coming out of neurobiology. I think about essays and writing by some of the best thinkers of our time. I think about its descriptions and affects in fiction, in poetry, in the spectrum of self-help, mindfulness, energy-based body work, and what it means to want to find peace in an age of anxiety.
I know people figure out methods of coping and managing their mental health. I recognize the vast industries that thrive on promises of happiness, packaged in some form of rampant capitalism and individuality. I have tried many thingsâmedication, yoga, therapyâbut the issue is obviously complex and there are many entry points. And thereâs the fact that I feel an undermining pride in my conditionâhow could I feel otherwise if Iâm awake to the realities and conditions in the world?
Still, I needed some breathing room. The therapist suggested mindfulness meditation, or any meditation practice. Iâm terrible at joining and keeping up with groups, and getting to a class was enough to create its own host of anxieties. Instead I looked online for free stuff. I discovered dozens of free guided meditation podcasts and settled on a few.
I process nearly everything in conversation with others. I have frequent check-ins with a good friend on the balcony each week, her in Toronto, me in Montreal, often sharing a cigarette while we review the day and ideas. I write to know what Iâm thinkingâin emails, in journals, in essays. And I make videos and short filmsâusing moving image and sound to work out complex and subtle ideas. Iâm drawn to the challenge of the formal questionâgiving shape and form in duration of moving image and soundâto illustrate and reflect internal psychological states. For this very reason I was excited to focus on experimental filmmaking in graduate school.
I was trained in film and video production. Along with writing, itâs the medium I use to work out ideas and hunches. I make plenty that I keep to myself, but some things are meant to be shared, because maybe it will resonate with some and hopefully it will generate more conversation.
Alexandra is one such video exercise. I was commissioned to make something for a research group at McGill University and the parameters were wideâanything to do with mental health. I used the opportunity to play with my current preoccupationâa restless mind that was looking for, and resisting, stillness and guidance.
What came out was this video. For the most part it was fun to make. I found a lot of parallels between the meditation practice and an art practice, including the ways in which making space for ourselves (to make work/to meditate) can bring on a torrent of ideas and distractions, and also calls on us to come back to the original intention/breath. I thought that was wonderful.
Iâm not sure if it will be fun to watch, but Iâve heard a few chuckles and long spells of calm quiet when it screened before. If you watch the whole ten minutes and have an interest in sharing your response, Iâd love to hear it. Itâs really a low-stakes entry point into a larger conversation. We can start anywhere.
Feel free to send me a word at nkhanjani at gmail dot com
https://vimeo.com/299484226 ![]()
10 Year Anniversary Partner - Nika Khanjani
After a few months of weekly sessions with the new therapist, he suggested that I was anxious and depressed. âNot ...
May 23, 2019
Beth Hill and Bett Williams Beth was setting up her new woodshop when she came inside the house feeling dizzy. She had been trying out a new propane heater. I was in the middle of reading about The Oracle of Delphi. I didnât know that the women who spoke prophecy, the Pythias, were under the influence of a gas that seeped up from the flagstone in the floor of the ancient cave-like structure. As Beth got her bearings, she said that we should take advantage of her altered state. Maybe she had oracular powers.
âOracle of Dolphin!,â I blurted by the stove, and it was born.
Finding its home on Instagram, Oracle of Dolphin is both an oracle and a literary exercise. Write in and ask us a question and with dice we will find the page in a chosen book where your answer lies. Beth puts together the collages and graphics. An Alice Notley book instructed a seeker to bury tourmaline in the dirt to relieve them of a haunting. Claudia Rankineâs âDonât Let Me Be Lonelyâ, and a particularly pointed divination, was instrumental in guiding Alicia Fishmeister to an informal residency in our backyard trailer. This is the photograph she took of me the night I finished the last draft of The Wild Kindness, my memoir about seven years of growing psilocybin mushrooms in New Mexico. I am very tired here. The final push took it out of me. I thought it was done a year ago, but feedback from Beth and smart friends guided me through four more passes and itâs now publishing house ready. Â
I spoke at the Horizons Perspectives on Psychedelics Conference in New York in November and will speak about growing mushrooms at home at the Queering Psychedelics Conference in San Francisco in June. But itâs the book that we are really excited about. Basically, Beth and I are collaborating on a psychedelic take-over of heretofore civilian spaces on a scale that surprises us every day. Doors keep opening up.
Our intention has been to demagnetize ourselves from the machinery of the failed project. Exist in interstitial zones. Be available to the intelligence of the mycelium. There are species of fungi mycelium that eats plastic. Others absorb oil and radiation. If thereâs any hope at all for sustaining human civilization on earth beyond what is writ; it will have something to do with the mushrooms, I am sure of that. Thereâs nothing that a mushroom canât fix, said Kai Wingo. Itâs been scientifically proven that psilocybin mushrooms can help cure depression, addiction and ocd, and while Iâm positive the mushrooms have done all these things for me, thatâs not why I have taken them. I eat them to prepare my soul for this world.
No cures, only alchemy.
Excerpt from The Wild Kindness ![]()
Beth Hill and Bett Williams
Beth was setting up her new woodshop when she came inside the house feeling dizzy. She had been trying out ...
May 06, 2019
10 Year Anniversary Partner -- ZZK Records Grant C. Dull
ZZK Records & ZZK Films
I often think to myself what role weâre playing at ZZK Records and ZZK Films when it comes to contributing to the culture, music and story-telling from the region we so dearly love and represent, Latin America.
How are we building and collaborating with these deep traditions steeped in life experiences from a continent full of rich and powerful cultures and peoples? Will our contribution stand the test of time?
Recently I had the opportunity to travel to Bolivia to work with Luzmila Carpio. Luzmila is quite possibly the most renowned indigenous singer of Latin America. From the age of 16 she left her Quecha community in Potosi, one full of strong women according to legend, and started singing, first around her country, then around the world. Traveling with her nearly 50 years later and listening to her life experiences really had quite an impact on our team. Itâs as if we had once again connected to a part of the culture we so passionately love, but on a whole new level. Bolivia was a game changer, once again, as Ecuador was before.
We collaborated with Luzmila back in 2015 to some beautiful results, and now 4 years later weâre directly working with her. The warmth and openness of the people of Bolivia was uplifting. We were welcomed into homes and communities with broad smiles and enthusiasm. I pondered the work we were doing as just that, a modern day contribution to this culture. The fact that we have the power to document these stories, these spaces and places, this culture at this moment in time is truly a gift, not only to us but to those who are on the other end of the screen. We hope to be doing justice to these cultures via the lenses of our cameras and the music we release to the world.
I think Iâve just answered my own question. Not only do I have the opportunity to work with young musicians and artists building on long standing traditions, but weâre also working with artists like Luzmila Carpio, Papa Roncon, Enrique Males, Las Tres Marias, helping them get their music, art and stories out to the world. Iâm pretty sure thatâs our contribution to the history of this continent. Canât wait to tell the next story!
Click through the gallery below to see behind the scenes photos of our journey to Bolivia with Luzmila Carpio. It's a documentary and album we're working on with her.
[gallery size="medium" ids="8468,8469,8470,8471,8472,8474,8475,8476,8477,8478,8479,8480,8481,8482"]
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10 Year Anniversary Partner -- ZZK Records
Grant C. Dull ZZK Records & ZZK Films I often think to myself what role weâre playing at ZZK Records and ZZK ...
Apr 24, 2019
10 Year Anniversary Partner -- Sins Invalid
The following is an excerpt from Skin, Tooth, and Bone, a primer on disability justice written by Sins Invalid. We are excited to share our writing with the Kindle Project community. Although this excerpt, entitled âDisability Justice: A Working Draftâ, was published within the primer in 2016, the issues it addresses remains ever relevant. We observe profound ableism within society most broadly yet also in our activist, organizing, social justice spaces. At the macro level, the current United States administration has proven to be actively hostile, enacting violence towards disabled people. These scenarios evidence the growing necessity of disability justice for our collective liberation.
Disability Justice â a working draft by Patty Berne, Executive Director of Sins Invalid supported by Aurora Levins Morales and David Langstaff
In recent years, on websites and new media locales, on flyers and in informal conversations, Iâve witnessed people add the word âjusticeâ onto virtually everything disability related â from disability rights based services and access audits to disability scholarship â while doing nothing to shift either process or end goal, thinking that the word change alone brings that work into alignment with disability justice.
Not so. What follows is a working draft definition of disability justice, a living document that will grow and change along with our emergent movement. It marks a point of departure rather than a destination, and an invitation for those of us living an engagement in disability justice to continue to support one another to find a language as powerful and expansive as our movementâs visionary praxis.
Iâd like to start off with a quote from Aurora Levins Moralesâ book Kindling:
âThere is no neutral body from which our bodies deviate. Society has written deep into each strand of tissue of every living person on earth. What it writes into the heart muscles of five star generals is distinct from what it writes in the pancreatic tissue and intestinal tracts of Black single mothers in Detroit, of Mexicana migrants in Fresno, but no body stands outside the consequences of injustice and inequality...What our bodies require in order to thrive, is what the world requires. If there is a map to get there, it can be found in the atlas of our skin and bone and blood, in the tracks of neurotransmitters and antibodies.â
There was phenomenal and historic work to develop the disability rights movement in the U.S., and it had many successes in advancing a philosophy of independent living and opening possibilities for people with disabilities through the establishment of civil rights for people with disabilities. Like other movements, the current disability rights movement includes advocacy organizations, service provision agencies, constituency led centers, membership based national organizations, as well as cultural and academic spaces.
And, like many movements, it is contextualized within its era of emergence and left us with âcliff-hangersâ: it is single issue identity based; its leadership has historically centered white experiences; its framework leaves out other forms of oppression and the ways in which
privilege is leveraged at differing times and for various purposes; it centers people with mobility impairments, marginalizing other forms of impairment; and centers people who can achieve rights and access through a legal or rights-based framework. The political strategy of the disability rights movement relied on litigation and the establishment of a disability bureaucratic sector at the expense of developing a broad-based popular movement.
While a concrete and radical move forward toward justice, the disability rights movement simultaneously invisibilized the lives of peoples who lived at intersecting junctures of oppression â disabled people of color, immigrants with disabilities, queers with disabilities, trans and gender non-conforming people with disabilities, people with disabilities who are houseless, people with disabilities who are incarcerated, people with disabilities who have had their ancestral lands stolen, amongst others.
In response to this, in 2005, disabled activists of color, originally queer women of color incubated in progressive and radical movements that did not systematically address ableism â namely, myself, Mia Mingus, and Stacey Milbern, soon to be joined by Leroy Moore, Eli Clare and Sebastian Margaret â began discussing a âsecond waveâ of disability rights and ultimately launched a framework we called Disability Justice.
Given the isolation enforced by ableism and classed boundaries, many of us have often found ourselves as agents of change from within our respective communities and isolated from in- person community with other disabled people of color or queer or gender non-conforming crips, finding âliberated zonesâ instead online. In many ways, Disability Justice is a nascent framework that some call a movement, still identifying the âweâ â sometimes in fluid spaces and sometimes in each othersâ hoped and spoken words, touching each other through the echoes of those we mentor close by.
Given this early historical snapshot, I assert that Disability Justice work is largely done by individuals within their respective settings, with Sins Invalid, the NYC-based Disability Justice Collective, Seattleâs Disability Justice Collective, and Vancouverâs Disability Justice Collective being notable exceptions. Some voices may emphasize a particular component of the framework over another, as can be expected in early movement moments. However, what has been consistent is the leadership of disabled people of color and of queer and gender non-conforming disabled people.
Disability Justice activists, organizers, and cultural workers understand that able-bodied supremacy has been formed in relation to intersecting systems of domination and exploitation. The histories of white supremacy and ableism are inextricably entwined, both forged in the crucible of colonial conquest and capitalist domination. We cannot comprehend ableism without grasping its interrelations with heteropatriarchy, white supremacy, colonialism and capitalism, each system co-creating an ideal bodymind built upon the exclusion and elimination of a subjugated âotherâ from whom profits and status are extracted. 500+ years of violence against black and brown communities includes 500+ years of bodies and minds deemed dangerous by being non-normative â again, not simply within able-bodied normativity, but within the violence of heteronormativity, white supremacy, gender normativity, within which our various bodies and multiple communities have been deemed âdeviantâ, âunproductiveâ, âinvalid.â
A Disability Justice framework understands that all bodies are unique and essential, that all bodies have strengths and needs that must be met. We know that we are powerful not despite the complexities of our bodies, but because of them. We understand that all bodies are caught in these bindings of ability, race, gender, sexuality, class, nation state and imperialism, and that we cannot separate them. These are the positions from where we struggle. We are in a global system that is incompatible with life. There is no way stop a single gear in motion â we must dismantle this machine.
Disability Justice holds a vision born out of collective struggle, drawing upon the legacies of cultural and spiritual resistance within a thousand underground paths, igniting small persistent fires of rebellion in everyday life. Disabled people of the global majority â black and brown people â share common ground confronting and subverting colonial powers in our struggle for life and justice. There has always been resistance to all forms of oppression, as we know through our bones that there have simultaneously been disabled people visioning a world where we flourish, that values and celebrates us in all our myriad beauty.
From my vantage point within Sins Invalid, where we incubate both the framework and practice of Disability Justice, this burgeoning framework has ten (10) principles, each offering new opportunities for movement builders:
The first, a primary principle of Disability Justice, is Intersectionality. We know that each person has multiple community identifications, and that each identity can
be a site of privilege or oppression. The fulcrums of oppression shift depending upon the characteristics of any given institutional or interpersonal interaction; the very understanding of disability experience itself being shaped by race, gender, class, gender expression, historical moment, relationship to colonization and more.
Referenced earlier, the second principle is the Leadership of Those Most Impacted. It reflects our understanding of ableism in the context of other historical systemic oppressions, thus we are led by those who most know these systems.
Like the above principles, Disability Justice shares two additional principles with other justice-based movements â an Anti-Capitalist Politic and a Commitment to Cross Movement Organizing. We are anti-capitalist as the very nature of our mind/bodies resists conforming to a capitalist ânormativeâ productive standard, with the actual construction of âdisabilityâ derived from the exploitation of the body in an economy that sees land and human as components of profit, deriding the integrity of our very real crip labor. Necessarily cross movement, Disability Justice shifts how social justice movements understand disability and contextualize ableism, lending itself toward a united front politic.
The fifth principle of Disability Justice is a newly articulated contribution to justice- based movements, Recognizing Wholeness, meaning that we value our people as they are, for who they are, and that people have inherent worth outside of commodity relations and capitalist notions of productivity
Sixth is the cripped principle of Sustainability, that we value the teachings of our lives and understand that our embodied experience as a critical guide and reference pointing us toward justice and liberation.
Seventh we hold a Commitment to Cross Disability Solidarity, valuing and honoring the insights and participation of all of our community members and therefore are committed to breaking down ableist / patriarchal / racist / classed isolation between people with physical impairments, people who identify as âsickâor are chronically ill, âpsychâ survivors and those who identify as âcrazyâ, neurodiverse people, people with cognitive impairments, people who are a sensory minority, as we understand that isolation ultimately undermines collective liberation.
Eighth we have an awareness of Interdependence, as we were taught before the massive colonial project of Western European expansion. The disability rights call for independence pried disabled people from systems of patronage and being spoken for and about, in companion to the ideas of self-determination and community. From this starting point, we can widen and deepen our analysis, as this state was never set up to serve brown and black people. We can see the liberation of all living systems and the land as integral to the liberation of our own communities, as we are all share one planet. We can attempt to meet each othersâ needs as we build toward liberation, without always reaching for state solutions which inevitably then extends its control further over our lives.
A ninth principle is Collective Access, that as brown and queer crips we bring flexibility and creative nuance to engage with each other, that we value exploring and creating new ways of doing things that go beyond able-bodied/minded normativity. Access needs do not need to be held in shame â we all have various capacities which
function differently in various environments. Access needs can be articulated within a community and met privately or through a collective, depending upon an individualâs needs, desires, and the capacity of the group. We can share responsibility for our access needs without shame, we can ask our needs be met without compromising our integrity, we can balance autonomy while being in community, we can be unafraid of our vulnerabilities knowing our strengths are respected.
Lastly, the tenth principle is the path and goal of Collective Liberation, in which we hold the question âHow do we move togetherâ â as people with mixed abilities, multiracial, multi-gendered, mixed class, across the orientation spectrum â where no body/mind is left behind.
This is Disability Justice, an honoring of the longstanding legacies of resilience and resistance which are the inheritance of all of us whose bodies or minds will not conform. Disability Justice is a vision and practice of a yet-to-be, a map that we create with our ancestors and our great grandchildren onward, in the width and depth of our multiplicities and histories, a movement towards a world in which every body and mind is known as beautiful. ![]()
10 Year Anniversary Partner -- Sins Invalid
The following is an excerpt from Skin, Tooth, and Bone, a primer on disability justice written by Sins Invalid. We are ...
Apr 01, 2019
Participatory Grantmaking on Fire ![]()
Participatory Grantmaking on Fire
Apr 01, 2019
Announcing the 2018 Makers Muse Artist Awardees! Every year, we pleasantly shock a small handful of remarkable individuals with an unsolicited cash gift. We strive to find people who are making an extraordinary creative contribution to the world, but are not âthe usual suspectsâ when it comes to arts funding.
This year we broke the good news to:
An activist, physician, muralist, impresario of public art, and community builder who has been working on Navajo lands to organize collaborative public art works since 1987.
A die-hard photographer who has tenaciously brought images of hope and grief from Afghanistan to the world.
A printmaker and painter who tinkers with rainbows, ancestral magic, and the femme myth.
Two proprietresses of a hedonist survivalist enclave who create story, taxidermy, and ritual about justice, psychedelics, and the wild.
The co-founder of a global multi-disciplinary artist collective whose work poetically and subversively takes a deep dive into Middle East politics and culture.
A multimedia artist, restorer of religious icons, and orchestrator of public spectacle who is co-creating a tradition to mark the transition of the North Star 13,000 years in the future.
We congratulate this year's crew who join the legacy of 57 other Makers Muse Artists from the past decade. The legacy lives on! ![]()
Announcing the 2018 Makers Muse Artist Awardees!
Every year, we pleasantly shock a small handful of remarkable individuals with an unsolicited cash gift. We strive to find ...
Dec 12, 2018
Announcing the New Kindle Project Grantees! Meet the New Kindle Project Grantees
These eleven partners come to us entirely via our #ShiftThePower m.o. from our 2018 participatory grantmaking programs. From our SpiderWeave to Slow Fuse Flow Funding cohorts and our mighty Carousel Awards we are excited to welcome a whole new community to the Kindle Project family. ![]()
Announcing the New Kindle Project Grantees!
Meet the New Kindle Project Grantees These eleven partners come to us entirely via our #ShiftThePower m.o. from our 2018 participatory ...
Nov 20, 2018
10 Year Anniversary Partner -- The Wildfire Project It Always Comes Back to Agency
by Michael George Strom, Program Director at The Wildfire Project Â
Just after the Occupy Wall Street encampment in Zuccotti Park was evicted in 2011, a number of organizers were coming together to assess what might come next in building a broad-based alignment of movements that could reshape our country. We had all kinds of assessments of what was missing in the infrastructure of Left movements, the ways activists can become afraid of their own power, and why Occupy was unable to maintain its momentum. We also felt ready to support the inspirational grassroots work that had emerged around the country, particularly around the foreclosure crisis, Hurricane Sandy, and then Stand Your Ground laws and the murder of Trayvon Martin.
Many of us were movement facilitators and educators, and decided to put our energy into building a new kind of capacity-building group: one that did not just âtrainâ individual activists, but supported whole-organizations to step into their vision, power, and strategy. We called it The Wildfire Project, because we wanted these frameworks to spread. We initially lit a spark by supporting grassroots organizations like Rockaway Wildfire, who were doing peoplesâ hurricane relief; and housing justice organizations like Occupy Homes Minnesota & Atlanta who using direct action to keep people in their houses in the midst of bank seizures. They were all in crisis-mode, much like most of our movements are now, under the Trump administration.
These first workshops helped those groups deepen their analysis of the systems that were driving these crises, get grounded in their collective stakes, and envision the world they were fighting for beyond disaster recovery, winning back homes, and stopping evictions. Woven through all of that was a focus on transforming self-limiting beliefs and barriers. We supported the groups to confront the fears and anxieties holding them back, and to fight for new, more powerful visions of themselves and their work.
This piece of our methodology--transforming self-limiting beliefs and barriers--is the thing that has deepened the most over the course of Wildfireâs life. Since we both facilitate and participate in social movement groups, weâve collected a lot of experience over the last six years about what holds them back. We spent the last few years refining those experiences into assessments of movement culture.
Now, the Wildfire Project helps shift the culture of Left activism towards healthy, resilient, strategic group culture by intervening on some of the ways our movements can become reductive, self-marginalizing, and burnout-oriented.
We work with grassroots groups in Immigrant Rights, Ecological/Climate Justice, Black Liberation, Housing Justice, Queer Liberation, and Economic Justice movements in long-term Partnerships to hold deep transformation. Our 18-person facilitation team is made up of frontline leaders from these movements who have a high skill in holding generative conflict and strong emotion, navigating rank and power, and healing old wounds to step into agency. Itâs a participatory mix of skill-development, political education, and spiritual grounding to support groups to come into tune with the reality of the culture they practice internally and externally, adapt to shifting political terrain, and move past the self-limiting barriers that can emerge from what we now call 'toxic movement culture.'
Weâve had the gift of working with remarkable organizations, facing the most daunting of challenges, and have noticed consistent patterns in the ways we hold ourselves back without even realizing it. One example is aversion to conflict - there are often topics that members of a group feel like they canât talk about because theyâll get hurt or the group will fall apart. This usually isnât a conscious choice; its an invisible pattern of avoidance that the group tacitly agrees to maintain. Those silences often keep the group from accessing its own wisdom, and the resources it embodies. At Wildfire we now believe that conflict and tension are the engines of growth.
It always comes back to agency. One of the things that is special about Wildfire is that weâve taken this assessment that there is a culture in the movement that limits us, and weâve combined the task of transforming that culture with the work of confronting self-limited beliefs and recovering our agency. By recovering our agency, we mean finding our power to make choices that previously felt impossible. When groups in a Wildfire workshop successfully make one choice that felt impossible - such as engaging in a taboo conflict - they feel their ability to make choices like that in other areas of their work and their life. This increases the range of options and possibilities on the table and makes us much more powerful.
Hereâs a little video of our team describing six elements of how we now do our work:
https://www.youtube.com/watch?v=ZIT8G3t1Z5I&feature=youtu.be ![]()
10 Year Anniversary Partner -- The Wildfire Project
It Always Comes Back to Agency by Michael George Strom, Program Director at The Wildfire Project  Just after the Occupy Wall Street ...
Oct 24, 2018
10 Year Anniversary Partner Feature -- Majal MUSIC AS A LANGUAGE IN THE FACE OF CENSORSHIP
Majal.org founder Esra'a Al Shafei talks about her organization's music project, Mideast Tunes.
In the Middle East and North Africa (MENA), music is more than just a creative outlet: it functions as a social tool that amplifies the voices of marginalized communities in a way that transforms established narratives of the region. In climates rife with censorship and state-sponsored propaganda, where written communications are monitored and suppressed, music presents a unique means for expression that is more difficult for the state to control.
I grew up in Bahrain listening to local independent hip hop, folk, and alternative rock which provided a clear window into the happenings in the region. It gave me insight on the experiences of those around me, including those of persecuted minorities who use music as a powerful medium to reclaim their agency in societies that often discount them. From Kurdish artists who perform songs in their criminalized native tongue, to Arab women musicians whose songs promote political equality, socially-conscious artists were telling their own stories on their own terms, and using their voices to empower their movements. Music is a powerful weapon against forces that would seek to co-opt, corrupt, or suppress the messages of minority and underprivileged communities whose very existence is politicized in our region.
As this type of music was increasingly being produced by artists and sought out by fans, I recognized the need for a single platform to effectively curate this content for easy discovery: a place to find artists across different countries and genres that was accessible in as many ways as possible. Existing outlets present in the region excluded political artists at the behest of our governments, leaving no room in the market for the voices of these musicians to be widely heard.
I created and launched Mideast Tunes in 2010 as an experimental online database to catalogue the amazing independent artists throughout our region. Today, Mideast Tunes is the largest platform for underground musicians in the MENA who use music as a tool for social justice advocacy. It showcases artists from a wide range of backgrounds and provides an environment in which they can communicate and network. It facilitates self-expression in our highly-repressive societies, connecting musicians and listeners to share experiences that challenge the status quo.
It is the mission of Mideast Tunes to unite people across social, political, and religious barriers by encouraging constructive discourse through the arts and providing a common space for creative self-expression. One of our central objectives is making the arts accessible to everybody: the platform is free to use for both artists and listeners, and has an âoffline listeningâ mode for users without reliable internet connections, such as fans in Palestine and Iraq where many of our active users reside.
As Mideast Tunes has grown, we have expanded our projects to best reflect and support artists and marginalized communities throughout our region. We have produced original podcasts in multiple languages to provide a platform for artists to speak about what goes into creating their music and the political significance of their work. We have hosted digital media production trainings for regional youths and refugees to equip them with the knowledge and skills to record their own podcasting programs to more effectively share their stories and those of their communities. We have even produced documentary films showcasing underground music scenes across the region. Mideast Tunesâ various initiatives broaden access to music and broadcast media, amplifying the voices of creatives in the region and encouraging them to contribute to a wider social dialogue.
Mideast Tunes and its community harness the power of music as a positive and necessary component in the self-empowerment of MENA populations, with the knowledge that creative expression actively counteracts myriad destructive forces which impact them. Independent music in MENA works to challenge simplistic foreign narratives of the region, and to revitalize local communities struggling against repression on a daily basis. Music from the underground, especially from underrepresented voices, plays a crucial role in social justice movements in the region and presents the MENA as a vibrant cultural landscape. ![]()
10 Year Anniversary Partner Feature -- Majal
MUSIC AS A LANGUAGE IN THE FACE OF CENSORSHIP Majal.org founder Esra'a Al Shafei talks about her organization's music project, Mideast ...
Sep 24, 2018
10 Year Anniversary Partner Feature - Nova Ruth Saat aku remaja, dengan sahabat-sahabatku, kami membuka peta dan mimilih mimpi. Belahan dunia manakah yang ingin kami lihat. Aku menunjuk Jerman. Semata-mata karena Tanteku sedang menekuni bahasa jerman dan berkeinginan untuk hidup di sana. Dari kecil aku tidak pernah berubah pendirian. Keinginanku adalah menjadi seorang penyanyi.
When I was a teenager, together with my dearest best friends, we opened a map and chose our dream. Which part of the world would we want to see? My fingers pointed to Germany just because my aunt studied the language and would one day live there. And, from my childhood, I had never changed my mind. I wanted to be a singer.
Enam tahun di masa SD-ku, kupelajari tarian, nyanyian dan gamelan Jawa, seiring dengan eksplorasiku akan agama. Berpindah, dari agama Kristen ke Islam. Keseluruhan pengalaman tersebut, kesukaanku adalah ketika aku harus menyanyikan bait-bait gatra Jawa, menghadiri sekolah minggu dan menyanyikan lagu pujian, serta melafalkan ayat-ayat Al-Qurâan. Pengalaman ini mengakar, menjadi ingatan dalam aliran darah meskipun lalu, aku mengenal lantunan-lantunan musik barat.
For six elementary school years I learned how to dance, sing and play gamelan from Jawa, along with my exploration of world religions. I converted from Christianity to Islam. My favorite part of my exploration was when I sang, either with Javanese music, in Sunday school, or when I had to recite Al-Qurâan. This experience rooted me and became a memory in my bloodstream even though later, in my next phase of life, I discovered Western music.
Aku lalu menulis sajak rap. Memakai pakaian ala musisi hip hop Amerika, namun tetap kusuarakan keresahanku atas kerusakan alam dan ketimpangan sosial. Terus dan terus, tanpa mengingat pelajaran-pelajaran masa kecilku yang berbudaya Jawa. Hip hop membawaku bergelar âindo female emceeâ. Sejak itupun aku mulai berkenalan dengan musisi-musisi elektronik dari luar Indonesia.
Then I wrote rap lyrics. I wore clothes of American Hip Hop emcees, yet still my lyrics were all about environmental and social justice. I did it so much that I forgot about all of the beautiful Javanese culture and music Iâve learned in my childhood. Being in the Hip Hop scene gave me a title as an âindo female emceeâ. Since then, I have constantly met international electronic musicians.
Seorang teman setelah perjalananku ke Australia memperkenalkan aku kepada musik Filastine. Mendengarnya, rasanya aku seperti ditampar keras-keras. Musisi asal Amerika ini membuat versi baru lagu-lagu dangdut dan melayu dari mana aku berada. Bahasanya pun bahasa Indonesia. Hatiku tergerak untuk berkenalan dengan pribadi tersebut. Gayung bersambut, kami akhirnya melewati perjalanan-perjalanan bersama sampai akhirnya kuperkenalkan padanya nada pentatonic Jawa.
A friend that I met on my first international trip to Australia, introduced me to Filastineâs music. I listened to those tracks and felt like I got a slap on my face, really hard. This American musician covered old dangdut and malay songs from where I came from. Even the language that used is Bahasa Indonesian. I had an urge to get to know this person. My intention was welcomed instantly and they brought me to tour together with Filastineâs project. One day I introduced him to Javanese pentatonics pieces. Â
Beberapa kali kami berkarya bersama dan lagu-lagu bernada Jawa mulai terdengar di albumnya. Karya ini membawaku sering memijak tanah Eropa. Tanah yang kutunjuk saat aku melontarkan mimpiku ke angkasa di depan para sahabatku. Negara Jerman kujajaki beberapa kali. Budaya peradaban tua Eropa kuperhatikan dan amati. Kuunduh informasi dan pelajaran hidup, berkaca kepada cermin yang sama sekali berbeda dengan apa yang kulihat biasanya.
We worked together a couple of times and the Javanese tunes started to dominate Filastineâs album. This work brought me to step on the land of Europe. The land that I pointed when I threw my dream into the sky, witnessed by my best friends. I visited my aunt in Germany. I observed the European civilization, downloading information and a lot of lessons about life. I gazed upon a completely different mirror than I usually gaze into.
Kuhabiskan bertahun-tahun berada di Spanyol hingga mempelajari bahasanya. Kerinduan mendalam akan Jawa di antara kehancuran ekologi semakin kurasa. Lalu kuketahui bahwa di dunia barat ada sebuah teori jaman bernama Anthropocene. Jaman di mana manusialah yang mempengaruhi perubahan iklim dan lelehnya glasier di kutub utara serta selatan. Yang bisa membantu manusianya untuk bertahan dan mulai membuat perubahan, adalah kembali kepada kearifan lokal. Kucari lagi Jawaku, mendekati ari-ariku yang ditanam di bumi Malang.
Iâve spent a handful of years living in Spain and have learned the language. The deep longing of Jawa in between the collapsing ecology got much stronger than ever. The word anthropocene started to get introduced into my daily dictionary. The era when human activity is more dominant and influencing the climate and melting the glaciers. What could help humans survive and start to make a change? Going back to local wisdoms. I tried to find my âjawaâ, to get closer to where the placenta that once connected me and my mother, was buried. Javanese believe that the placenta carries our spiritual brothers/sisters that guide us to go through our lives.
Banyak sekali kearifan lokal Jawa yang intinya adalah menggunakan budaya dan kebiasaan demi mempertahankan keseimbangan alam. Contoh kecil adalah âbersih desaâ. Rakyat bersama-sama membersihkan seluruh desa dan membuat âtumpengâ raksasa dari hasil bumi. Memang tidak baik untuk selalu menyalahkan para kolonial yang datang ke negaraku, namun aku juga berasa, bahwa budayaku perlahan dihilangkan sehingga kami lupa dan tak memiliki benteng kebudayaan lagi. Ritual-ritual persembahan dan berterima kasih kepada bumi masih tetap ada di desa-desa. Meskipun belakangan, ritual tersebut mulai sepi karena manusianya terlalu sibuk memikirkan perut.
There are many Javanese local wisdoms that use culture and custom for the sake of the natural balance. For example âbersih desaâ. This is a ritual to clean the village and say thanks to mother earth by making a âtumpengâ, a mountain of offerings full of fruits and veggies from the last harvest season. To place blame on colonials that leave neo-feudalism is not always the answer. Yet, it felt so strong that this ancient culture was being wiped away to weaken the people of my country. Thankfully, these rituals still exist in the villages, although lately, the amount of attendance is shrinking. People are too busy filling their bellies and neglecting the local culture. Â
Keinginanku untuk menemukan Jawaku kembali membuat mimpi acakku ke Eropa tersebut menjadi hal yang sangat mudah. Banyak yang kupelajari di negara yang notabene negara dunia pertama tersebut. Tentang energi terbarukan, tentang sistem perpajakan, tentang jalan khusus untuk sepeda, tentang kontrol jumlah kelahiran. Banyak juga kutemukan hal-hal yang kurang baik seperti kesopanan yang keterlaluan hingga menimbulkan batas antara teman, serta individualitas yang tinggi karena tuntutan standar ekonomi. Yang itu-itu, tak perlu kubawa pulang ke Jawa.
My intention to find my âjawaâ is way harder than realizing my random dream of Europe. There are so many things I have learned from my travels about renewable energy, the healthy tax system, bike lanes, and birth control. I also found many negative things such as an overly polite attitude that created an imaginary border between friends, and an acute sense individuality because of the âtime is moneyâ habit. All of these things, I wouldnât bring to Jawa. Â
Di awal tahun 2017 aku mengatakan keinginanku kepada seorang sahabat, bahwa, aku ingin angin berhembus ke arah timur. Telah selesai penasaranku dengan dunia barat. Harapanku, tidak ada lagi segregasi negara dunia. Yang ketiga dapat menjadi kedua, yang pertamapun turun menjadi kedua. Di jaman anthropocene, keterbukaan dibutuhkan agar setiap negara dapat bekerja sama dan saling mendukung dalam memenuhi kebutuhan. Terdengar seperti utopia, namun jariku yang menunjuk peta tersebut ternyata melontarkan doa kepada semesta, sehingga aku dapat melihat apa yang ingin kusaksikan dengan dukungannya. Maka tak kuragukan lagi apa yang kujalani. Kembali kepada budaya dan kearifan tempat kelahiranku, adalah cara bertahan hidup di jaman ini. Bukan untuk menjadi chauvinis, namun untuk memiliki identitas diri dan berbudaya. Berbudi pekerti dan bertukar ilmu dengan negara-negara lain di dunia.
I mentioned my resolution of 2017 to one of my best friends. I want the wind to blow to the East. I have fulfilled my curiosity of the Western world. My hope is to have unsegregated world. The third world would became the second, the first would also became the second so then we would all be equal. It sounded like utopia, but my finger that once pointed a map, apparently throwing a wish far up to the universe, and with its support, I have seen what I once wanted to see. I wonât doubt my path. I consider going back to the culture and local wisdom from where I was born as a way to survive the anthropocene. I am taking on roles and exchanging good knowledge across countries and borders.Â
Aku akan terus menyanyi. Melantunkan doa agar kita meleburkan batas, sehingga apa yang utopia, dapat menjadi kenyataan, agar bumi dapat melewati era anthroposen.
I will keep on singing. Reciting prayers to blur the borders, to shift the utopia to a reality, to help the mother earth move on from the anthropocene. ![]()
10 Year Anniversary Partner Feature - Nova Ruth
Saat aku remaja, dengan sahabat-sahabatku, kami membuka peta dan mimilih mimpi. Belahan dunia manakah yang ingin kami lihat. Aku menunjuk ...
Aug 31, 2018
Announcing our New Kindle Project Grantees! Since there was snow on the ground, weâve quietly been building new and exciting partnerships with thirteen new groups.
Our love and commitment to community-based decision-making and scouring the earth for some of the most risky, game changing, and under-recognized work is at the core of what we do.
These groups are creating the solutions, communities, and actions that are so deeply needed. Celebrate their great work with us by reading all about these groups below. ![]()
Announcing our New Kindle Project Grantees!
Since there was snow on the ground, weâve quietly been building new and exciting partnerships with thirteen new groups. Our love ...
Aug 15, 2018
10 Year Anniversary Partner Feature - United Roots Youth in Oakland are leading the way towards an equitable, life affirming economy!
At the 2018 People's Pitch Event, 10 teams of youth from the yearlong Youth Hub Fellowship Program presented their own proposals for businesses designed to solve problems in their own communities. A panel if 18 volunteer judges evaluated the team and awarded each team with access to at least $1000 in seed funding.
The Youth Hub Fellowship is not a competition and creates a community of support for young people to manifest their own visions in their own communities. Check out the video below of the event and click here to read blog posts written by the youth about their social enterprises including natural hair care products, sneaker restoration, music education, diversity in the video game industry, 3D printing and more! ![]()
10 Year Anniversary Partner Feature - United Roots
Youth in Oakland are leading the way towards an equitable, life affirming economy! At the 2018 People's Pitch Event, 10 teams ...
Jul 27, 2018
Launching the Carousel Awards!! ![]()
Launching the Carousel Awards!!
Jul 09, 2018
Announcing our 10 Year Anniversary Partners! What do coloring book illustrators, community organizers, performance artists, film mavens, and music geniuses have in common? Theyâre all movers and shakers, culture-makers and Kindle Project grantees and awardees. We are celebrating our 10 Year Anniversary with these old and new friends the Kindle Project way-- with commitment, participation, experimentation, and creativity.
Without further ado, we introduce to you our Kindle Project 10-Year Anniversary PartnersâŚ
Alas De Agua
High Mayhem
Jibz Cameron aka Dynasty Handbag
Majal
Nika Khanjani
Nova Ruth
Sins Invalid
United Roots
The Wildfire Project
ZZK Records You might be asking yourself, what does all this mean? Good thing we have this post to explain how our decennial celebration works.
Commitment
We know that our strongest relationships come from committing for the long haul. And many of these partners are folks that weâve been funding and collaborating with for years. Therefore, each of our 10 Year Anniversary Partners will be receiving grants and gifts to continue to honor their work.
Participation
We know that diversification of decision-making power is one of the most powerful tools we have to disrupt the status quo. So weâre harnessing the wisdom of each of our 10 Year Anniversary Partners by giving them each a Flow Fund (a.k.a a little pot of moolah) that they can recommend be reallocated to an organization of their choice.
Experimentation
Experimentation is at the core of what we do. Not only have our 10 Year Anniversary Partners collaborated on discovering who to support via their Flow Funds but we are taking it to the next level by asking each of them to carefully craft a question to spark new ideas that will be the basis of our new open call: the Carousel Awards.
Getting Creative (a.k.a YOUR chance to win $1000!)
Launching in July, our Carousel Awards will pose one question a month from each of our 10 Year Anniversary Partners. The applications for the Carousel Awards will be open to individuals or group. The winner will receive $1000 to support their idea. Make sure you are on our mailing list and follow us on social media because youâre not going to want to miss the launch of Carousel.
Get to know each of our Flow Funding Partners on social media over the next ten days! Follow along... Instagram, Twitter, FacebookÂ
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Announcing our 10 Year Anniversary Partners!
What do coloring book illustrators, community organizers, performance artists, film mavens, and music geniuses have in common? Theyâre all movers ...
May 29, 2018
Leaders of the Free World Leaders of the Free World (LFW) is an international experience and leadership development program for young Black men. Â LFWâs mission is to develop dynamic leaders who are globally-minded, self-aware, and service-driven.
The LFW curriculum promotes consciousness and self-awareness, while targeting social and psychological barriers to success. LFW Fellows participate in a year-long program with students from several different institutions. Within the program, fellows receive guidance from assigned LFW mentors and complete readings and assignments related to leadership, identity, service, and global engagement. Â Fellows also take part in monthly webinars with industry-leading practitioners in the field of business, tech, education, and social impact etc.
LFWâs goal is to create a network of leaders whose development impacts their own lives and their communities; grooming the next generation of changemakers, entrepreneurs, and mentors.
Karl Golden first connected with Leaders of the Free World as a student at Manchester Community College in Connecticut. Prior to joining the program Karl felt like he was âliving life day-to-day with no bigger purpose;â his life felt stagnant and complacent and he wasnât sure he had the tools to change it.
[caption id="attachment_7825" align="alignnone" width="1124"] 2016 LFW Fellows Quintin Fowlkes III and Karl Golden Jr. flashing their passports.[/caption]
In 2016, Karl joined the LFW program, acquired his first passport, and took his first international trip to Ghana. âLFW changed my perspective.â He credits the program with opening his mind to the truest sense of community and providing tangible skills to empower him and his peers. âGoing into Ghana, Africa, I didn't know what to expect. After getting off the plane, I was in a state of relief that I finally made it. I thought to myself âwow this is really what it's like."
[caption id="attachment_7827" align="alignnone" width="1116"] 2016 LFW Fellow Karl Golden Jr Playing with kids at Ponkrom school.[/caption]
In addition to the international experience, Karl took part in various leadership development activities and assignments leading up to the trip. He also  participated in lectures, service-learning, and intentional reflections during the trip. Upon their return, both Karl and his peers began leadership initiatives of their own in their communities. In Manchester, Connecticut, Karl started a project called The New Movement,  which provides a platform for youth in his community to come together, showcase their talents and build confidence.
As the world becomes increasingly globalized, international experience is one of the most essential components of higher education in the 21st century. (Kinloch, 2016) Â About 64% of employers think that an international experience is important for recruitment.(Eramus Impact Study, 2014) Only 5% of Americans who study abroad are black, according to the Institute of International Education, and less than 1% are black men.
âOur name, Leaders of the Free World, is both a challenge and a reclamation.â Says Ruby Maddox, Co-Founder of the project. âA challenge to the worldview of who gets to hold that title and a reclamation and redefinition of the kind of leadership we want to see in the world.â
Through initiatives like the White Houseâs My Brotherâs Keeper and the Campaign for Black Male Achievement, more people within the United States have come to understand the degree to which African-American men and boys still experience disparities in education, economic mobility, and social and physical well-being. Post-recession Black male unemployment is still high; more than double the white unemployment rate in January 2013 (U.S. Department of Labor, Bureau of Labor Statistics). âBlack males between 25 and 39 years old, arguably in the prime of life, are the most likely to be incarcerated,â (BMAfunders â U.S. Department of Justice, Bureau of Justice Statistics).
[caption id="attachment_7826" align="alignnone" width="1118"] 2016 LFW Fellows and Co-Director Lavar Thomas at YALI meet and greet in Accra.[/caption]
The group feels that, international experience offers a critical lens and new frame of reference. For African-American young men, international experience offers a reprieve from the U.S. historical context of Black racial identity. As an organization, LFW believes that structured international learning experiences can allow for a deeper level of engagement and cross-cultural dialogue. Â Says Lavar Thomas, LFWâs Co-Director, âThrough these dialogues, we can better develop leaders who are not only civically minded, but also culturally competent.â ![]()
Leaders of the Free World
Leaders of the Free World (LFW) is an international experience and leadership development program for young Black men. Â LFWâs mission ...
May 24, 2018
2018 Program Announcement Nowruz Mubarak and happy spring equinox to each of you!
Weâve had a productive start to the year and we are finally ready to share what weâve been cooking up. With new and returning friends, weâre continuing to push the envelope of whatâs possible. But, we didn't want to keep all this goodness to ourselves so, here's what's been inspiring us and we hope it will be just as inspiring for you.
Happy Birthday to Us, All Year Long!
You might remember that in December we told you that 2018 is our 10-year anniversary! As any good party planner knows, it's all in the details. As we are putting the finishing touches of our celebration, hereâs what we can tell you without ruining the surprise:
It's going to be 10 times better than what you expect;
We've got 10 returning Kindle grantees coming in as anniversary Flow Funders;
We've got their 10 Flow Funds that will bring us unexpected and diverse grantees all year long;
Starting in July weâve got a very special way for you to get involved. Sneak peak... Kindle's first open and international call for actionable ways to address interesting and important issues and themes.
It's going to be pretty lit over here. Stay tuned...
P.S. This party planning needs your support. Weâre fundraising and all contributions help!
Announcing SpiderWeave 2018
Remember how we cast our Flow Funding webs out into the world last year with our first SpiderWeave Flow Funding cohort? It was so excellent and successful that we decided to run the program again but, naturally, with a twist!
Our 2017 cohort decided to expand the circle and each nominate one new Flow Funder to join the SpiderWeave mix. Our SpiderWeaving crew has doubled in size and remains a cohort of all women! The conversations and grantmaking that occurred during the 2017 SpiderWeave program were so rich and revelatory we simply canât wait to see what this yearâs expanded cohort will bring.
Announcing the Slow Fuse Flow Fund
Speaking of the magic of a Flow Funding cohortâŚ
Meet the Slow Fuse Flow Fund -- an exciting new program launched in collaboration with our friends The Womadix Fund and inspired by the work of NewMexicoWomen.Org.
The Slow Fuse Flow Fund is launching this May with a new cohort of New Mexico based women who will come together to strengthen the gender justice movement in New Mexico, while addressing power dynamics inherent in traditional philanthropy. Additionally, we will document our progress along the way and creating a Flow Funding guide to share with the philanthropic community.
We are thrilled to take our passions around democratized philanthropy, gender justice, community-building, and feminism into this dynamic new experiment, and right here at home in NM.
Makers Muse Artists Awards
Our Makers Muse Artist Award program is our longest running grantmaking program (10 years!) and remains our legacy work - a nod to our founding passions. Need a little refresh of how Kindle came to be in the first place? Click here.
ICYMI -- Hereâs whatâs been happening right here on The Nexus
Getting to know the Aurora Lights Herbal Medic Chapter
Going deep into the Amazon with Sacha Warmi
Border explorations with Casa Marianella
Dancing with the National Institute of Flamenco
Connecting to the safety and creativity created from the wonderful people at Arthere
A story in a list with Christian Michael Filardo ![]()
2018 Program Announcement
Nowruz Mubarak and happy spring equinox to each of you! Weâve had a productive start to the year and we are ...
Mar 28, 2018
Christian Michael Filardo My name is Christian Michael Filardo. I am an agender Filipino American photographer and composer living and working in Santa Fe, New Mexico. Over the past three years Iâve been making photographs all over the state documenting my everyday existence with various cameras. When I began thinking about my story I decided that it would be best presented as a list. A list of facts about me. The type of list that tells you more than youâd expect.
Last year I wore an all-white denim outfit.
Recently, my favorite photograph is âPortrait of cherriesâ by Shoji Ueda.
My partner is obsessed with cowboys.
Lately, Iâve been eating egg fried rice for breakfast.
I was gifted an air plant for Christmas, I like it, it needs to be soaked often.
I saved a firework given to me on the 4th of July, the packaging says âTHINK PINKâ.
There is a New Mexico State Flag in my window
I borrowed a 15lbs dumbbell from my roommate
I rescued a tumbleweed from the Mormon Battalion Monument on the way to Albuquerque.
Walking is my favorite thing to do.
My favorite color is yellow.
My favorite bird is the Zebra Finch
Luigi Ghirriâs essays have been inspiring me.
My favorite flower was the sunflower but now I like tulips best.
One of my fondest memories is from when I was a child. I was on the beach in the Philippines with my father and we were making a sandcastle of a turtle. I was really scared of sharks as a kid. My favorite fruit is Mango.
I love when my mom makes biscuits and gravy when I visit.
It is 11:03 PM, March 13, 2018 amended at 10:12 PM, March 14, 2018
Below are all images from my sequence "Spritz" which was made during a recent trip to Treviso, Italy.
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Christian Michael Filardo
My name is Christian Michael Filardo. I am an agender Filipino American photographer and composer living and working in Santa ...
Mar 16, 2018
ArthereIstanbul ArthereIstanbul is an art center, art residency and art solidarity community founded by Syrian artists in Istanbul in 2014. We host all types of art such as media art, visual art, music, theatre and performances. Among our activities is organising and managing art festivals, exhibitions, residencies, art fairs and art installations and provide cultural and art management training and support for artists.
ArthereIstanbul aims to provide a creative space for exiled Syrian artists who face difficulties resulting from their forced departure from their home country.
With its activities Arthereistanbul tries to create an alternative culture and art space where Syrians, Arabs, artists from Turkey, and artists of other backgrounds can get to know one another, exchange ideas and work together and to encourage dialogue which involves them and the rest of the world.
Our artists are strong together. Here we get ready for one of the exhibitions we have participated in Istanbul. Preparations are going very well and the spirit is high. Claire Foundain, part of arthere team to the left, and Gulsun Oyku Dogan one of our artists and team member on the right. In the background you see Oyku's paining, the illustration in black and white and in front of it another work of our artists Adnan Jetto. Our Participation in the exhibition "Printemps des artistes / rdv" on April 7th in Saint PulchÊrie / Taksim / Istanbul. Oyku Dogan, Imad Habbab and Adnan Jetto from arthere are present with some selected works in addition to other local artists.
https://www.facebook.com/arthere.com.tr/posts/1819217191672980:0
https://www.facebook.com/arthere.com.tr/posts/1827441477517218
https://www.facebook.com/arthere.com.tr/posts/1829078880686811:0 Homemade Radio show experience with Aline PĂŠnitot (Paris/France) - radio producer, electroacoustic composer with some of ArthereIstanbul artists in Istanbul, away from Damascus.
What is close, what is far. A way to make relationships between people from a little town in France (Guebwiller-Alsace) and a hudge metropolis in Istanbul. Come with your own story, a smell, an object, a sound object, a picture, a poem, a text, an idea, a desire, or a souvenir about what is far, what is close.
https://www.facebook.com/events/453316751693034/
https://www.facebook.com/arthere.com.tr/posts/1892034351057930
Arthere team and some of its artists on the front page of âHurriyetâ newspaper, the headline was âThe art which take refuge in Istanbul â
http://www.hurriyetdailynews.com/syrian-artists-gather-at-istanbul-studio-to-produce-115917 Ferdinand Richard (Chairman of Roberto Cimetta fund ) visit to Arthere with our artists and team gathering outside of Arthere space, "Fil Manfa," a solidarity programme run by the Roberto Cimetta Fund. ArthereIstanbul is the host organization in Turkey, for more details about this program you can visit:Â http://www.arthereistanbul.com/section848310.html Arthere artists and friends during an exhibition in the Contemporary Istanbul Art Fair, 2017. Concerts and plays are constantly organized in the space. And more in our page:
www.arthereistanbul.com
https://www.facebook.com/arthere.com.tr
https://www.instagram.com/arthereistanbul/ ![]()
ArthereIstanbul
ArthereIstanbul is an art center, art residency and art solidarity community founded by Syrian artists in Istanbul in 2014. We ...
Mar 02, 2018
The National Institute of Flamenco Meet our fearless leader! Eva Encinias founded the National Institute of Flamenco (NIF) in 1982. Along with her children, co-directors Joaquin and Marisol, and the Institute's faculty and staff, Eva has cultivated NIF into an 501(c)3 non-profit with an international reach. NIF houses the Conservatory of Flamenco Arts, Festival Flamenco Internacional de Alburquerque, Yjastros: The American Flamenco Repertory Company, and partners with the University of New Mexico's Department of Theatre and Dance (the only university with a flamenco concentration!) and Tierra Adentro of New Mexico charter school.
Our programming and partnerships carry out our mission to preserve and promote flamenco's artistry, history, and culture by presenting the finest flamenco in the world, and by educating the American family in this art form while emphasizing the positive influence of art on families and communities. Photo of Eva Encinias by Alejandrina Padilla At the National Institute of Flamenco, we believe that flamenco has a profound effect on our communities and families. We LOVE to see multiple generations of students, audience members, and flamenco aficionados in our local and global communities! Pictured here are Andrea and Amaranta, mother and daughter, who are both students, volunteers, and big supporters of NIF! Flamenco demands strength, excellence, and rigor as well as the ability to express emotion and communicate deeply within the art form. In a partnership between NIF and the University of New Mexico Department of Theatre and Dance, visiting master artists from Spain come to the university's dance program for residencies. Within these residencies, UNM dance students study under the best flamenco artists in the world. These master artists also set choreographies on Yjastros: The American Flamenco Repertory Company, also the UNM Dance Program's resident flamenco company. Our Conservatory students also benefit from this program, as the guest artists typically teach in both programs and frequently perform at our flamenco tablao.
Pictured here are (l-r) Yjastros soloists Kayla Lyall and Carlos Menchaca, and master artist Valeriano Paùos. Master artists Paùos and Rafael EstÊvez set an epic work, Ciertas Danças, on Yjastros during their 2016 residency. EstÊvez and Paùos also taught workshops at the Conservatory of Flamenco Arts and Tierra Adentro of New Mexico charter school. Photo courtesy of Rafael EstÊvez. In an effort to bring our community together for a fun Saturday last summer, the National Institute of Flamenco hosted a Sevillanas Party at our Conservatory. Sevillanas is a folk dance from Sevilla, and can be danced alone, with a partner, or in groups. It's a lot of fun! Students of all ages and abilities and members of the community were invited to learn, dance, and show off their Sevillanas skills for a free community event. We were very happy to see our students, families, staff, and community members getting in on the Sevillanas! Photo by Alejandrina Padilla. Yjastros: The American Flamenco Repertory Company is both the National Institute of Flamenco's flagship performance company and the resident flamenco company of the University of New Mexico's Dance Program. Pictured here is Yjastros soloist Elena Osuna dancing Cantiùas por Cuatro Mujeres, choreographed by master artist Concha Jareùo during her residency in the university's Dance Program. Elena Osuna is a native of New Mexico, a longtime member of Yjastros, and a teacher at both Tierra Adentro Charter School and the Institute's Conservatory of Flamenco Arts. This image of Elena embodies the incredible power and grace demanded of flamenco dancers, and conveys the strength and beauty she brings to her dancing. Photo of Elena Osuna by Morgan Smith. ![]()
The National Institute of Flamenco
Meet our fearless leader! Eva Encinias founded the National Institute of Flamenco (NIF) in 1982. Along with her children, co-directors ...
Feb 16, 2018
Casa Marianella Casa Marianella Staff Take a Trip to the Border
Originally published on the Casa Marianella blog in November 2017 by Kate Poor After fleeing violence and persecution in their home country, thousands of refugees find themselves detained in immigration centers. Due to an array of challengesâincluding treacherous journeys, language barriers, lack of access to legal services, limited financial resources, and ongoing trauma and health issuesâmost folks confront incredible obstacles as they attempt to be released from detention, win their asylum claims, and build stable lives in the U.S. as refugees.
Thankfully, there are many radical groups working directly on the border to help refugees. On a crisp and clear Wednesday, the new staff members of Casa Marianella and Posada Esperanza shuttled south down I-35 to visit some of our partner organizations in South Texas, to learn about the issues that refugees confront directly on the U.S./Mexico border, and to gain deeper understanding of how our shelters fit into a broader humanitarian response.
The first organization that we visited, the South Texas Human Rights Center (STHRC), drops jugs of water in remote locations near the border where migrants on foot may lose their way and become dehydrated. A network of community volunteers replenishes barrels of water jugs placed strategically throughout the county. Inside the barrels, the STHRC writes local numbers to call in case of emergency, as well as the geographic coordinates, in hopes that people can find their way. Their work also involves identifying bodies of folks who perish on their wayâa solemn reminder of the urgency of providing water and safe passage for migrants. Casa and Posada staff visited STHRC on All Saintâs Day, so we held a vigil to celebrate the lives, courage, and strength of the 42 refugees who had perished on their journey in the county this year. The sisters of La Posada Providenciaâan emergency shelter for people fleeing political oppression, natural disaster, persecution, and povertyâhosted us for dinner with their residents. On La Posadaâs expansive, sunlit yard, we met many resilient individuals overcoming immense loss and trauma, while adjusting to life in a new country. At Casa Marianella and Posada Esperanza, we work closely with the community at La Posada to find beds for recently arrived people in need of shelter.
We stopped by other shelters, observed the bleak trappings of the border wall, and met with a radical community group called Arise, which offers social, educational, and legal resources for immigrant families in communities around the state.
Before leaving the Valley, we also met with two of our other partner organizations that specifically work on behalf of undocumented children in detention. ProBARâs Children Project and the Young Center offer legal representation and advocacy for children in immigration detention. Casa and Posada collaborate with these groups to prevent children from being moved to an adult detention facility when they turn 18âwith the help of ProBAR and the Young Center, we advocate for those children to be released from detention and obtain shelter with us at Casa Marianella instead.
On the dusty drive home, we contemplated the stories that stirred usâthe refugees who advocate for recognition of their humanity, the organizations that fight on their behalf, and the communities that support both endeavors. We are immensely grateful for these allies; their profound resilience and commitment enables our work in Austin.
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About the Author: Kate Poor is originally from Boston, MA, Kate studied in Ithaca, NY for four years, where she received a B.A. in American Studies and Feminism, Gender, and Sexuality Studies from Cornell University. After graduation, she moved to Mumbai where she worked for an artistsâ co-op and an aftercare community run by and for survivors of human trafficking in India. Her interest in immigration issues stems from her parentsâ human rights activism and prompted her move to Austin to work with Casa Marianella. As a new Encargada, Kate has been inspired and humbled by the radical care, resilience, and love that uphold the community at Casa.
Photo Credit:Â Rachael Hellman ![]()
Casa Marianella
Casa Marianella Staff Take a Trip to the Border Originally published on the Casa Marianella blog in November 2017 by Kate ...
Feb 09, 2018
Sacha Warmi Health and life in the Amazon
by Didier Lacaze of Sacha Warmi
This post was originally written in Spanish by Didier. Si desea leer este artĂculo en espaĂąol, descargue aqui: SALUD Y VIDA EN LA AMAZONIA - Sacha Warmi for Kindle Project In the world of projects, other than what is done in the field, what often ends up being most interesting is what happens behind the scenes. We do things, and other things happen, which then creates more things, and so on and so forth. Eventually, our projects merge with other projects, personal or collective ones, in a continuous process of re-appropriation and recreation.
The project for me, started with an encounter in the rainforest of Ucayali, in Peru in 1982. It was with an indigenous shaman, who introduced me to the world of medicinal plants. âThe knowledge of my people is being lostâ, he told me.
[caption id="attachment_7700" align="alignleft" width="567"] Don Benito ArĂŠvalo (1929-2005)[/caption]
One year later, I was working in the region of Madre de Dios, in the southeastern Amazon of Peru. The words of the shaman were still reverberating inside me. I was asking myself what can be done to stop the course of this biocultural erosion? Two more years went by, until a first answer to the question manifested itself. This is how in 1985 the AMETRAÂ (AplicaciĂłn de la Medicinal Tradicional) project began with the indigenous peoples organization (Fenamad, FederaciĂłn de Comunidades Nativas de Madre de Dios) of the Madre de Dios river basin, so that people would regain trust in their own medicine, which was being lost.
Back in those days we were pioneers. Not so long ago, the World Health Organization had officially recognized the importance of traditional medicine and launched its goal of âHealth for All by the Year 2000.â We were young then and the year 2000 still seemed far away.
Today, 30 years later, with the Sacha Warmi project, we still search for the answers to the same questions, but now in the Ecuadorian Amazon. What can be done, so that amongst so much changes and turmoil, the nature and culture of indigenous people, do not completely disappear? So that we understand the responsibility we have to look after the forest, so that the forest can look after us? How can the younger generations carry on their parents traditions, so that the thread that unites them in a common destiny is not broken? And for the government to recognize the true existence and work of those men and women, that still convey the knowledge and wisdom to look after the health and life of their people and territories?
[caption id="attachment_7699" align="alignleft" width="770"] Sacha Warmi's team: (left / right) Diana, Luis, Rosa, Didier, Eleonore, Sandra.[/caption]
Recently we decided that it was time for us to officially constitute ourselves as an âorganizationâ that is legally recognized by the Ministry of Culture and Heritage of Ecuador, so that our work can have greater visibility, reach and funding. Our organization, Sacha Warmi, is made up of women and men alike, half indigenous and half westerners. We work with groups of ceramist women, with traditional midwives, and with young people, to encourage the transmission of traditional knowledge amongst them. We support the the revitalization of ancestral medicine with the indigenous organization Alianza Ceibo, in the northern Amazon region of Ecuador. We seek ways in which we can assure that indigenous people reap the benefits of the use of the biodiversity of their forest.
This is, amongst other activities, what we do, putting our experience and know-how at the service of those people and communities interested in sharing their vision with ours.
Thirty-five years have passed since my encounter with the indigenous shaman from Ucayali. Today, the state of indigenous traditional medicine in the Amazon is difficult to know. Some people think, ânow that we have western medicine, we donât need traditional medicine.â The issue for them is that they are losing their own medicine, and this loss is not being compensated by western medical services. Just as you would not put a shaman in the operating room, you would not have a surgeon remove a bad spirit from an indigenous patient.
Projects come and go. Nobody can say for certain whether what we are doing will turn out to be helpful or not. There are always winds blowing, which influence and sway things. But despite all these uncertainties, we continue to motivate and support the people of the communities, so that they donât lose the wisdom, which has always been the main source of health and life in the Amazon. It is evident that indigenous people can also benefit from western medicine. But, we remind western medicine of its commitment to also recognize, value, and support traditional indigenous medicine; and encourage them to consider the possibility of the existence of the invisible, for the benefit of indigenous people and the rest of humanity.
[caption id="attachment_7698" align="alignleft" width="582"] Didier Lacaze and his wife, Rosa Canelos[/caption]
Didier Lacaze, is a consultant specializing in Amazonian traditional medicine, shamanism and medicinal plants. He has over thirty years of experience working with regional and national indigenous people and organizations in Amazonian Peru and Ecuador on indigenous health care programs.
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Sacha Warmi
Health and life in the Amazon by Didier Lacaze of Sacha Warmi This post was originally written in Spanish by Didier. Si desea ...
Feb 02, 2018
Aurora Lights Herbal Medic Chapter
The Aurora Lights Herbal Medic Chapter, with the help of herbalists from the Commonwealth Center for Holistic Herbalism, were able to provide 5 days of herbal clinics to the communities of Naoma and Whitesville, two small towns located in the heart of Coal River Valley in West Virginia. Aurora Lights, a non-profit organization based in West Virginia, supports locally-based projects that strengthen the connections within and between human communities and their natural environment by promoting environmental and social action. Ultimately, we hope to restore a sense of the sacred balance between the Earth and the human community that will promote sustainable and thoughtful land stewardship. Through our mission to build solidarity for a healthy Appalachia, we created the Aurora Lights Herbal Medic Chapter through Herbal Medics University and are currently their only chapter within Appalachia. We practice herbal medicine as a sustainable part of Appalachian Heritage. This knowledge can be passed on so others may learn, do, and then teach. You donât have to have a college degree to practice herbal medicine for your familyâs health. These hills and hollers gift us with many medicinal plants, all to be used with love and good intentions. It is crucial to provide the alternative of herbal medicine to these communities; it is a system that is centered around local, independent action regarding personal health. This independence connects with Appalachiaâs deep roots of nurturing the relationship between self and the land. Herbal medicine is empowering in the sense that it allows people to better understand their bodies and become proactive in establishing a healthier lifestyle. Coal River Valley is nestled within the Clear and Marsh Forks of the Big Coal River in Raleigh and Boone counties of West Virginia. The Valley (as it is referred to) is lush and wild, with forests that are bursting with biodiversity. Coal River Valley is also heavily impacted by coal mining; both underground mines and surface mines (including Mountaintop Removal) are prevalent in the region. Aurora Lights co-created a participatory website entitled JourneyUpCoalRiver with in depth information about the history and current issues of the area. Ground water near mountaintop removal mines has been tested to show elevated levels of sulfates, iron, aluminum, lead, selenium, and arsenic. Airborne particulate matter commonly found in mountaintop removal communities include ammonium nitrate, silica, benzene, hydrocarbons, and nitrogen dioxide. Because of groundwater contamination from MTR, many communities in the area are left without a clean source of drinking water. During our September 2016 clinic week, team members installed filtered rain catchment systems at the UMWA Union hall in Prenter and at the Stanley Heirs Park on Kayford Mountain. These catchment systems serve as an alternative water source in times of emergency need for water.
Our herbal clinics were held from July 25-28, 2017. Two days were spent in Naoma at the Judy Bonds Center and two days were spent in Whitesville at the Salamy Community Center. Community members participated in a consultation with our team members where we asked questions pertaining to general health, acute complaints, current medications, allergies, and how they hope to help with their bodies heal through herbal medicine. They also received advice on their lifestyle choices, usually including both diet and exercise. After the consultation, our team of herbalists blended together medicines based on clientsâ ailments.
Our apothecary consists of dried plants, tinctures, infused oils, honey, and vinegars, and salves. From these bases, we were able to make tincture formulas, tea and infusion blends, smoking blends, liniments, honey pastes, and bitters. Most of the medicine bases were created by herbal medic chapter members prior to the clinic week. Our herbal preparations began more than six months prior to the clinic week. Once spring arrived and plants began to grow in the region, our members started to harvest and prepare the plants. Many plants were either wildcrafted or harvested from our established medicine gardens. Moving forward, we anticipate another clinic week in 2018 where we will do follow-ups with past clients and invite new clients to join. We will continue to work closely with RAMPS (Radical Action for Mountainsâ and Peopleâs Survival) and Coal River Mountain Watch to increase herbal medicine knowledge and programming in the area. Herbal medicine is part of the deep roots of Appalachian Heritage, part of the history of a rural and self-reliant people, for whom the struggle for health and well being is nothing new. Although it is less commonplace these days, there has been a resurgence of excitement and interest regarding plant medicine. The Aurora Lights Herbal Medic Chapter has only been in operation for a year and a half, but our alliances are both deeply rooted and newly growing, and together our impact has been great. We would like to thank Kindle Project for their generous grant. The financial support of Kindle made possible an amazing collaboration of work, time, medicine, herbs, alliances, health, and community. ![]()
Aurora Lights Herbal Medic Chapter
The Aurora Lights Herbal Medic Chapter, with the help of herbalists from the Commonwealth Center for Holistic Herbalism, were able ...
Jan 19, 2018
Announcing our End of Year Grantees and Awardees! Who is ready for a bit of celebration?! We sure are.
As we mentioned a couple weeks ago, weâre coming up on our 10 year anniversary! But, before we dive into the new year ready to get our party on we want to reflect on this past year and introduce you to our final list of grantees and awardees for 2017.
Even though the past year has been a particularly tough one with, you know⌠#45 and all, there is still a lot to celebrate in Kindle-land. What is shining most brightly for us, as it always does, is the impressive work of our grantees that are making the needed shifts in the world right now. Just like us, our grantees are cross-pollinators, making connections and effective collaborations across fields and sectors. They are unwavering in their commitment to advancing bright solutions and, as a group, they exemplify the kinds of unifying work we all need right now.
Weâve given out over 50 grants, awards, and gifts this year! This round-up of latest partners shows what can happen when you activate collaborative grantmaking and outside-the-box strategies that are built on trust and deep relationships.
Welcome to our 18 partners coming from our Steering Committee Flow Fund, the SpiderWeave Flow Fund, our Collaborative Donor Flow Fund, and our very own Kindle Project Fund. Need a little refresh on what all this Flow Funding is about? Click here.Â
To get to know more about each of these groups keep on reading.
If youâre as sparked by these groups as we are, please consider an end of year donation to Kindle Project so that we can continue to resource incredible work like this! ![]()
Announcing our End of Year Grantees and Awardees!
Who is ready for a bit of celebration?! We sure are. As we mentioned a couple weeks ago, weâre coming up ...
Dec 20, 2017
Mahwish Chishty I am grateful for all the amazing experiences I have had while living in Saudi Arabia, Pakistan and the U.S. My move to Lahore, Pakistan in 1999 marked the beginning of my long art training. At National College of Arts, Lahore, I learned the core skills of painting, drawing, drafting, sculpture, printmaking among many others but my academic concentration was in traditional Mughal and Persian style of Miniature painting. During my training, I learned to make my own paint, wasli (paper) and brush from squirrel tail hair. Truly unique experience!
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Materials used in miniature painting
When I moved to US, I learned contemporary art trends and was able to utilize my traditional training to address contemporary issues. I am not so particular about using only one medium or style which allows me to address subjects of concern in various difference ways. (Click on each image to read the title of the piece.)Â
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Currently I am working on four new projects. An audio piece âNaming the Deadâ; Kite project, for which I had received Guggenheim fellowship for; Wagah/Atari border series and a collaborative piece with an Indian artist to address personal family history of migration and finding a new home. It is always exciting to see these projects come to life when they are displayed in museums, art gallery, institutes or even theatre. [caption id="attachment_7600" align="alignnone" width="720"] Installation shot, Chicago Cultural Center, 2015[/caption]
[caption id="attachment_7601" align="alignnone" width="911"] UTS Gallery, University of Technology Sydney, Australia, 2013[/caption]
[caption id="attachment_7602" align="alignnone" width="442"] âHellfire IIâ, 406 cast foam painted with Black 2.0 2017 Waubonsee Community College, IL[/caption]
[caption id="attachment_7603" align="alignnone" width="890"] âKill Box IIâ, Charcoal on vinyl, 2017 Waubonsee Community College[/caption]
[caption id="attachment_7604" align="alignnone" width="890"] Stage design for the play âGroundedâ by George Brant, Hailey, ID, 2017[/caption]
Thank you Kindle Project for giving me this platform to share my story!
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Mahwish Chishty
I am grateful for all the amazing experiences I have had while living in Saudi Arabia, Pakistan and the U.S. ...
Dec 13, 2017
Mateo Kingman
El tambor es la tierra y al mismo tiempo es la tormenta. El tambor resuena en las pieles, en los corazones y en los sentires de todo ser humano.Â
En nuestro directo yo uso un bombo especial que es mitad andino, mitad esmeraldeùo. Un tesoro que construyó Zambaje para mà y que de ahora en adelante me acompaùarå en todos los paseos musicales.
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The drum is both the earth and the storm at the same time. The drum resounds in the skin, the heart, and the feelings of every human being.
In our live show I use a special drum that is half "Andino", half "EsmeradeĂąo". A treasure that Zambaje made for me and that from now on will accompany me in all of my musical journeys. Los seres humanos hemos construido un sinnĂşmero de maravillosas ciudades con toda la variedad de majestuosos elementos que en ellas habitan. Pero no hay NADA como la edificaciĂłn del Gran Proyecto🌷 La naturaleza es el Ăşnico y verdadero espacio de paz en el cual puedo ser libre al ciento por ciento. Cuidemos el Gran Proyecto, pues, somos parte de ĂŠl 🌵
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Human beings have built countless wonderful cities with all the variety of majestic elements that inhabit them. But there is NOTHING like the creation of the Great Project 🌷 Nature is the only true space of peace in which I can be 100% free. Let's take care of the Great Project, remember, we are part of it 🌵
Â
El escenario es un buen espacio para estar presente. La concentraciĂłn y el trance te permiten dejar los pensamientos atrĂĄs, para asĂ, poder entrar en el mundo del aquĂ y ahora.Â
Personalmente, tengo algunos elementos que me ayudan a navegar en este mundo: los tambores y el movimiento espontĂĄneo del cuerpo. Cuando tenĂa 11 aĂąos empecĂŠ a tocar tambores. PractiquĂŠ unos 8 aĂąos y lo dejĂŠ. En este proyecto y en EVHA volvĂ a explorar el mundo percutivo a travĂŠs de los ritmos ecuatorianos, andinos y esmeraldeĂąos pero el bagaje de aprendizaje autodidacta fue clave para, ahora, poder prenderme fuego con un tambor.Â
AsĂ tambiĂŠn, a los 11 aĂąos empecĂŠ a entrenar atletismo en Morona Santiago. HacĂa una prueba que se llama 110 metros con vallas y le dediquĂŠ a esa disciplina toda mi energĂa. Esos aĂąos de sacarme la madre ahora me permiten volverme loco en el escenario. La maquina funciona bien y me lleva al trance del movimiento. Uno nunca sabe en quĂŠ van a transformarse los aprendizajes de la vida. En quĂŠ nuevo espacio se van a canalizar. Todo se conecta, todo se entrelaza como un tejido de sueĂąos.Â
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The stage is a good space to be present. Concentration and a trance state allow you to leave your thoughts behind in order to enter the world of the here and now.
The drums and spontaneous bodily movement of the body help me navigate this world. When I was 11 years old I started playing drums. I practiced about 8 years before stopping. In this current project and in EVHA I went back to explore the world of percussion through the Ecuadorian, Andean and EsmeraldeĂąo rhythms, and the process of teaching myself was key to now being able to reconnect with the drum.
Also, when I was 11 I started athletic training in Morona Santiago. I was training for the 110 meters hurdle race and I devoted all my energy to that discipline. All those years of training now allow me to go crazy on stage. The training experience helps me enter a trance state of both mood and movement. You never know in what way learning will change and transform your life, or in what new path you will take. Everything connects, everything intertwines like the fabric of dreams. 🌄 Yo no creo en el sistema de educaciĂłn formal, tal y como se lo concibe en este mundo occidentalizado. Gracias a la coherencia de mis taitas, no pasĂŠ ni por la guarderĂa, ni por la escuela, ni por el colegio; tuve un espacio en mi casa para aprender y aprehender sobre lo que realmente me interesaba. AsĂ tambiĂŠn, tuve la suerte de vivir en el campo y conocer a profundidad el ritmo y las bondades que te brinda la naturaleza para estar bien plantado en la tierra. Creo que la educaciĂłn formal en todos sus niveles (y en esto soy bastante radical, especialmente en la niĂąez y adolescencia) es un limitante para el desarrollo del potencial del ser humano que cuando sucede se convierte en realizaciĂłn. Estas son palabras basadas en estudios de varios aĂąos, de personas muy comprometidas con su bĂşsqueda personal y para con los otros, en este caso, en el tema de educaciĂłn. Pero me atrevo a reflexionar sobre lo que significan para mĂ ya que en la selva ecuatoriana pude vivir en paz: sin pupitres, sin deberes, sin castigos, sin engaĂąos, sin manipulaciĂłn, sin interferencias... eso sĂ, con amor y respeto. Como dice VĂctor Jara, "Si hay niĂąos como LuchĂn, que comen tierra y gusanos, abramos todas las jaulas pa que vuelen como pĂĄjaros"
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I do not believe in the formal education system, as it is conceived in the Westernized world. Thanks to my parents, I did not go to kindergarden, elementary school, or high school; I had a space in my house to learn about what really interested me. Also, I was lucky to live in the countryside and to know in depth the rhythm and the kindness that nature offers so that I could be well planted on earth. I think that formal education at all levels (and Iâm quite radical about this, especially in childhood and adolescence) is limiting to the potential development of the human being, that when it happens it becomes a realization. My beliefs are based on several years of studies made by people very committed to personal and external research on education. But I dare to reflect on what they mean to me, because in the Ecuadorian jungle I could live in peace: without desks, without duties, without punishment, without manipulation, without interference ... but, yes, with love and respect.
As VĂctor Jara says, "If there are children like LuchĂn, who eat earth and worms, let's open all the cages so they can fly like birds" Tanta energĂa fluyendo. Tantos cuerpos vibrando. Tantas mentes conectĂĄndose. Tantas personas volviĂŠndose pĂĄjaros!
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So much energy flowing. So many bodies vibrating. So many minds connecting. So many people becoming birds!
Â
Creo que la creaciĂłn, en varios casos, se da para poder bregar con los dolores, angustias y cuestionamientos, pero tambiĂŠn se da cuando hay un entorno propicio en donde nos sentimos cĂłmodos internamente para poder HACER, en presencia total y asĂ, sentirnos realizados.Â
Por ahora, esos entornos encuentro en el Ecuador; en la selva, en la montaĂąa y en el mar. En sus mĂşsicas y en su gente; en sus aguaceros y en sus cangahuas.
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I believe that creation, in various cases, lends itself to the process of dealing with pain, anguish and questioning, but it also occurs in the appropriate environment where we feel comfortable internally to be able to DO IT, in total conciousness and thus, feel fulfilled.
Right now, I find these environments in Ecuador; in the jungle, in the mountains and in the sea. In their music and in their people; in its downpours and in its plateaus. Es difĂcil sostener y darle trĂĄmite a un proyecto independiente. Siento que es como ser agricultor en los Andes: cangahua dura y difĂcil de trabajar, condiciones climĂĄticas impredecibles, plagas y vientos fuertes que pueden perjudicar los cultivos en cuestiĂłn de semanas.Â
Para poder cultivar la tierra es necesario hacerlo en grupo, en comunidad, todos trabajando dĂa a dĂa, en los pasitos necesarios para ir mejorando el suelo e ir cosechando las bondades del mundo.Â
Hoy quiero agradecer a todas las personas que han sido parte de este camino durante este aĂąo. Gente que ha sumado con todo su talento, su experiencia y ademĂĄs con entrega y energĂa.
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It is difficult to sustain and process an independent project. I feel like being a farmer in the Andes: itâs hard and difficult to work, with unpredictable weather conditions, pests and strong winds that can harm crops in a matter of weeks.
In order to cultivate the land, it is necessary to work in a group, in a community, where everyone works day by day, taking the necessary steps to improve the soil and develop a bond with the world.
Today I want to thank all the people who have been part of this path during this year, people who have contributed with all their talent, experience, dedication, and energy.
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Mateo Kingman
El tambor es la tierra y al mismo tiempo es la tormenta. El tambor resuena en las pieles, en los ...
Dec 08, 2017
Happy 10th Anniversary to Us! Kindle Project is celebrating our 10th anniversary and we are inviting you to join us!
10 years ago, Kindle Project was founded as a response to what felt like the end of the world. The economy was collapsing, the planet was either burning to the ground or drowning, and it seemed like the same old men were running the show. The times called for drastic measures or at the very least - something uniquely different.
A small circle of women who were artists, musicians, and institutional outcasts assembled and began cooking up a plan to start a renegade grantmaking organization. We had a pile of cash to give away and wanted to do it in ways that were unconventional and responsive. We wanted to challenge the status quo of philanthropy by changing up who received funding and how giving happened. We needed to be nimble and flexible to meet our ever-changing world. We were outsiders in the philanthropic field and quickly learned that was an asset. Quirky. Gutsy. Sometimes cheeky. Kindle Project was by most standards - weird!
10 years later much of Kindleâs founding spirit remains the same, except our circle of friends has expanded. We work with unusual donors, grantees, and partners that are collectively eager to bring their unique resources to the table to seize the opportunities emerging from systems in crisis.
Coming up on a decade is a huge deal for any tiny organization. Weâre celebrating the Kindle way: collaborative, creative, and experimental. To celebrate our 10 years, weâre giving $10,000 Flow Funds to 10 Kindle Project grantees. 10 * 10 * 10!
Whatâs Flow Funding again? Flow Funding is when a funder, like Kindle Project, invites inspirational allies to make decisions about where money should go (that almost never happens in philanthropy). Weâve done it for 10 years and itâs become a cornerstone of what we do.
Why is Flow Funding so important right now? Because addressing systemic crises canât be done without addressing power imbalances and redefining who the âexpertâ is. Flow Funding empowers diverse leadership, democratizes decision-making, breaks out of the gated community of philanthropy, and often frees up resources to seed new and exciting initiatives.
Who will be the Kindle Project 10 Year Flow Funders? Weâre partnering up with our culture-maker grantees who weâve built trusting relationships with over the last 10 years. Why? It turns out that artists and makers are uniquely positioned to resource extraordinary and necessary work. Unconventional, relational, provoking. Isnât that what we need right now more than ever?
Even though a decade later the world still feels like thereâs an apocalyptic shadow looming overhead, weâre inviting you to confront the apocalypse with us and support creative action thatâs outside the mainstream. This is your opportunity to support the wisdom of culture-makers and show Kindle how much you love us. Together, we can give Kindle Project another amazing 10 years.
Want to get involved? Weâre starting by raising $100,000 for 10 Flow Funds. The first way you can get involved is by donating here.
Your donation to our 10-year Anniversary campaign will uplift an artist to recommend an organization of their choice for a Kindle Project grant. We will work closely with both the Flow Funder and the recipient in our Kindle way. Itâs kinda like sponsoring an artist. Your donation uplifts their leadership, gets a grant to an under-recognized organization, and celebrates Kindleâs living legacy in the world. Ready to get involved? Letâs chat: 505-983-7463 or sadaf@kindleproject.org
P.S. Stay tuned for our list of our 10 * 10 * 10 Culture-Making Flow Funders! ![]()
Happy 10th Anniversary to Us!
Kindle Project is celebrating our 10th anniversary and we are inviting you to join us! 10 years ago, Kindle Project was ...
Nov 29, 2017
Candy Chang Five Things That Improve My Mental Health Among the many aspects that determine our overall health, mental health is often neglected. Iâm always curious about the wide range of things people do to take care of their emotional well-being, so I thought Iâd share a few things that help me. 01
Schvitzing Ever since living in Finland, motherland of the sauna, I go out of my way to be naked in hot rooms. It puts my worries in perspective and itâs where I do some of my best thinking. It also makes me present for my body and tend to the tensions I usually ignore. I miss the Finnish lifestyle where itâs a regular way to hang out with friends. Let's revive the Golden Age of Bathing and center our cities around saunas and steam rooms, thermal pools and civic hot tubs. 02
Dream analysis Whether dreams are the trash can of the mind or a window to the subconscious, theyâre a compelling and entertaining entry to simmer on my current confusions. Making collages of my dreams has been good medicine for my psychological well-being. They become ongoing personal fables that encourage me in constructive ways. So has dream group, where a bunch of us get together with a Jungian analyst to discuss our dreams together. 03
Museums I'm always restored and inspired when I meander museums with the people I love. It helps me feel connected to greater history and simmer on some of the most profound parts of being human. When we go from room to room, we like to guess which artwork/artifact is the other personâs favorite or resonates most at the moment. It usually leads to insight, or at least a good laugh. 04
Journaling After feeling weighed down by stuff, I scanned and threw away years of notebooks and went digital. I like using the app Day One to keep a daily journal and be rigorous about reflection. Itâs well-designed and you can easily see your entries âon this dayâ from previous years, which connects me to my personal history in an illuminating way Iâve never experienced before. I also keep a dream journal here, where I can tag entries to see recurring symbols emerge, like tigers, stairs, and death. 05
The I Ching The I Ching is one of the oldest books in the world and offers poetic guidance that can be applied to any situation. I use it as an engaging framework to examine my anxieties with new perspective and consider the role I play in any relationship. Translations are widely different so I use a few. Itâs been so helpful, I reinterpreted it into an interactive mural called The Atlas of Tomorrow, and Iâm now working on an extended book version that will be a dark and surreal toolkit for the modern mind. â
And when I feel utter cosmic despair, I like to eat my Lonely God. ![]()
Candy Chang
Five Things That Improve My Mental Health Among the many aspects that determine our overall health, mental health is often neglected. ...
Nov 15, 2017
Announcing 2017 Boomerang Grantees We love experiments.
We love them when they are both measured and dreamy. We love them when they are lofty and seemingly too big. We love âem small and secret. Without experimentation how can we stumble into something great? And, sometimes experiments just go really wellâŚ
In 2016 we launched another experimental program called Boomerang. We made two huge discoveries. Well, they were more like affirmations of what we always knew to be true. But now we had evidence. First, artists make tremendous decision-makers. Second, thereâs so much under-the-radar work waiting to be discovered. Bonus discovery - when you pair these two things together, magic happens. Boomerang!
A little reminder of what Boomerang is:
Itâs where we flip philanthropic power to artists who are eager to jump into the Kindle pay-it-forward practice. We invite our Makers Muse Artists Awardees to become Flow Funders and recommend organizations for Kindle Project support.
Building on the success of Boomerangâs inauguration, this year we decided to add a twist. We asked our Boomerang Flow Funders to recommend projects in the field they know best: the arts. Tapping into community wisdom. Making a powerful collection of small grants to one focused area. Discovering new audacious creative projects. Boomerang 2.0 did not disappoint.
For a full picture of these new grantees and the beautiful reasons why the Makers Muse artists chose them, read on. Jules Buck Jones + Casa MarianellaWhy Jules Buck Jones is inspired by Casa Marianella:Â "Casa Marianella has been supporting refugees and immigrants for the past 29 years in East Austin. In this political climate, with so many things that need support, I think Casa Marianella can use this grant. I live in the same neighborhood, around the block, and I want my neighbors to be successful."
About Casa Marianella:Â Casa Marianella is the only immigrant specific homeless shelter in Austin. We provide housing and full supportive services for over 325 adults and children a year in shelters and supportive housing programs. Our residents come from over 30 countries; many come to use from immigration detention. The majority, including children are seeking asylum; most are escaping violence and oppression. Over 80% leave Casa for self-sufficiency.
Mahwish Chishty + Explore Their Stories
Why Mahwish is inspired by Explore Their Stories:Â Explore Their Stories is a unique initiative that is all about preserving the hidden heritage of the world through video documentation. Sadia's vision and urgency to proceed with these findings and particularly display the positive image of Pakistan has moved me. Their recent project, Bapsi, an internationally acclaimed author Bapsi Sidhwa is the subject of a new documentary who have lived in my hometown, Lahore and not every Pakistani knows of her contributions. Projects like these can change that.
About Explore Their Stories:Â Explore Their Stories is dedicated to filming inspirational stories of achievement and perseverance. We intend to discover, document, preserve and share on film, the extraordinary lives and to develop robust educational curricula for the most vulnerable in our societies. The films will celebrate world cultures and will be the embodiment of our finest characteristics to shape and link our futures and be the refuge of our collective memory.
Candy Chang + Music Box Village
Why Candy is inspired by Music Box Village: In New Orleans itâs easy to keep dreaming when youâre awake, and now the houses play bass lines thanks to the sonorous architecture of the Music Box Village. When I visited the first Music Box installation in my neighborhood in 2011, I fell in love with this little makeshift lot of ramshackle buildings that rumbled, chimed, whistled, and blared. Crowds of all ages groped these structures to make them come alive, and then we watched musicians play the buildings together like an orchestra.
About Music Box Village:Â The Music Box Village: where play, imagination, collaboration, and community come together as artist-made, interactive âmusical houses.â Begun in 2011, the Music Box has grown mightily through the idiosyncratic vision of hundreds of collaborators, in national and international locations. It has attracted tens of thousands of visitors, and featured Wilco, Solange Knowles, Gogol Bordello, Norah Jones, Preservation Hall, Lost Bayou Ramblers, Tank & the Bangas among others, to create new experimental performance together across the worlds of dance, storytelling, theater and more. We offer Education field trips and classes, and hands-on Public Hours.
Zahra Marwan + National Institute of Flamenco
Why Zahra is inspired by the National Institute of Flamenco:Â Flamenco history tells us that it developed from an oppressed people who constantly had to flee persecution in the countries they settled in. To hear something which has elements of Middle Eastern music be so highly appreciated in my home is validating, as most things portrayed on the media as being associated with my identity are negative. They gave me a welcoming place to focus, and in times of adversity, have pushed me to grow.
About the National Institute of Flamenco:Â Founded by the Encinias family in 1982, the National Institute of Flamenco is a New Mexican non-profit dedicated to the preservation and promotion of flamenco education, training, and presentation. With a proven methodology, qualified faculty, and best practices developed over generations, the Institute serves local, national, and international audiences with innovative curricula, programs, and collaborations rooted in flamenco culture.
Raul de Nieves +Â Otion Front Studio
Why Raul is inspired by Otion Front Studio:Â The Otion Front collective opened their space with pure passion to a community. I've had the chance to collaborate on several projects with these artists, and just seeing the pure joy they get when other artists realize their projects at Otion Front really brings a sense of community into the realization of a DIY art practice.
About Otion Front Studio:Â Otion Front Studio is a community and a physical platform for the exploration of movement through a poetic means of processing information. Organized by artists working together to provide space and time, Otion Front aims to invoke experimental ontologies in dance, performance and sound. We offer workshops and events as well as a monthly residency program dedicated to exploring performative arts.
Mateo Kingman + Sacha Warmi MuskuyÂ
Why Mateo is inspired by Sacha Warmi Muskuy:Â My work with the plants, have been the greatest inspiration to make music, write lyrics and put all this on stage. At the Sacha Warmi Center, they are seriously engaged in the processes of human detoxification, and community health. Didier once told me: "Use fear in your favor, fear gives you wings."
About Sacha Warmi Muskuy:Â The mission of Sacha Warmi Muskuy is to be an intermediary space in the Ecuadorian Amazon that helps build bridges between cultures, and supports intercultural dialogue between the Ecuadorian government's biomedical health system and indigenous people and their traditional health-care delivery system. Sacha Warmi Muskuy is committed to supporting the indigenous people of the region in living independent, healthy lives in a multicultural world by maintaining connection to the plants, animals and landscape of the region.
2Fik + The Invisible Dog Art Center
Why 2Fik is inspired by The Invisible Dog Art Center: The Invisible Dog Art Center is a second home to me. A sense of community like this is something Iâve never seen or encountered before. One situation says it all. In 2012, I was starting a series of residencies to create my series â2FikâsMuseum.â The first day of the first residency, Lucien Zayan greeted me with a âAh! 2Fik, welcome to I.D.! Here are the keys of the building. Itâs all yours to create whatever you want, have fun!" The Invisible Dog Art Center can be compared to the âRoom of Requirementâ in Harry Potter. It is a room that appears only when someone is in need of it and it will appear, outfitted with whatever is required. As childish as it may sounds, The Invisible Dog opens up the possibilities to each and every one of the artist connected directly or indirectly to them. In brief, this place manages to offer something we lack more and more: surprise, dreams and magic.
About The Invisible Dog Art Center:Â The Invisible Dog Art Centerâs main goal is to provide meaningful support, first and foremost, for early-career artists to create and exhibit work. We are primarily focused on site- and installation-based work, and we strive to free artists from the financial burden of needing to sell their work, enabling them to experiment with technique, media, and our spaces.
Saul Williams + Voices: Poetry for the People Project
Why Saul Williams is inspired by Voices: Poetry for the People Project: The Dream Defenders have made impact on a new generation of thinkers and activists. The P4P project is dear to me as I feel young voices should be heard and nurtured. I had the opportunity to visit the smoke signal artspace in Miami and was very impressed with the poets and organizers. They are committed members of the little Haiti community and have been a safe-space for many artists.
About Voices: Poetry for the People: Voices: Poetry for the People via Community Justice Program Inc. uses poetry to give participants an outlet to tell the story of now, an opportunity to chronicle events central to their lives as they happen, and a space to take shelter in even as traumatic, unjust or disruptive events happen in their outside lives. Led by poet Aja Monet, workshops will bring together arts and organizing centered in local Miami neighborhoods, including Spanish- and Creole-speaking communities. ![]()
Announcing 2017 Boomerang Grantees
We love experiments. We love them when they are both measured and dreamy. We love them when they are lofty ...
Nov 06, 2017
Zahra Marwan Always leaving.
1). I left Kuwait when I was a child with my family. I was born without nationality, and my parents wanted to make sure me and my brothers had a chance to live fulfilling lives. I was so young, but I could feel the pain of leaving. When we came to New Mexico, my identity card had written on it :
âPlace of birth: Kuwait. Nationality: Undefined.â
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Here I am, the smaller of the two, before immigrating. [gallery columns="1" link="none" size="full" ids="7459"] 2.) The first time I saw Jesus bleeding on cross at my friends house in New Mexico, I was afraid I was at the home of violent people, and thought I should leave. I learned to understand that we speak Arabic at home, and English in public. I didn't understand why my friend was speaking English at home.
My first American friend. [gallery link="none" columns="1" size="full" ids="7460"] 3.) Kuwait had issued us papers to leave and not return. We used those papers to return. My mom is a Kuwaiti Citizen, but me and my dad weren't. We had our papers retracted at the airport, and my mom tried to defend us. She was so strong, yelling at the officials at the airport. I stayed in Kuwait for a year in Middle School. Here I am in Middle School, petting this herder's baby goat during a winter sandstorm.
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4.) At 15, I became a citizen. Finally, recognition from a sovereign nation. When people talk about sending immigrants back to where they came from, I think âJoke's on you! I have nowhere to go back to.â
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5.) When I landed in Kuwait this last May, border control asked if I'd ever resided in Kuwait. I should've asked him the same thing.
[gallery columns="1" size="full" ids="7463"]
6.) I love the sea in Kuwait. It reminds me of my dad. It reminds me of when my family was together. I remember stories. I think of my uncle's passion for the sea before being killed in the war, my ancestors, my cousins, the colors, the history, and my mortality. Every time I leave Kuwait, my heart breaks into a million pieces.
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Â
Whenever I return to New Mexico, people say, âhey, you're back home.â I found a lot of beautiful places to grow. From the Flamenco community, the University, and the people from here.
[gallery columns="1" size="full" ids="7466"]
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Zahra Marwan
Always leaving. 1). I left Kuwait when I was a child with my family. I was born without nationality, and my ...
Nov 01, 2017
2Fik My name is â2Fikâ.
My passport name says âToufikâ.
My close friends call me âTouffeâ [Bush].
My family calls me âFikâ [Fik].
But none of these are the names that I use when Iâm on dating or cruising apps. I usually find something funny and referential such as âHe Who Must Not Be Namedâ, âEx Hallal Meatâ or â!â. Yes, whether we want to accept it or not, we all play a role when we get on a dating or cruising app.
The world of dating apps has been fascinating me since 2011, when I started imagining how people were performing themselves in order to please, attract and satisfy others online. Indeed, each and every one of us take a conscious or unconscious decision to show themselves a certain way. The process behind it passionated me. Why do we choose this photo to look attractive? Why do we use these words to look intelligent or charming?
It all started with some fake profiles that I imagined and was keen to see their impact if they were real. I posted several fake profiles on my Facebook Page and people laughed and reacted to them in a way that was interesting to me.
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I was then interested in pushing the envelope. Instead of playing a catfish and lying about who I was, what I was doing and what I was looking for, I took upon me to change the way I present myself visually and keeping a clear profile stating who I was and what I was doing (visual art).
Instead of being alone in the photos (in a selfie or a photo taken by someone else), I was portraying twin brothers. They are for me an extreme representation of narcissism. Sometimes (if not often), couples tend to look the same, dress the same, talk the same way. Couples can look like brothers and sisters!
With that embraced and outrageous generalization in mind, I decided to start a #2FikTwinsSeries: Every time I updated the photo of my twins on my dating profile, Iâll be posting it on Instagram. The reactions were radically different regarding the platform in which you discovered the photo:
On the app, men were aroused, excited, wished for an incestuous threesome and even offered money to see me and my (non-existent) twin have sex. I received a scandalous amount of genitalia photos as a first message.
On social media, people were laughing, enjoying the scenes and debating about how hot my twins looked and how kinky it was to have one of them using a pregnancy test (that detail sparked a discussion about the representation of barebacking and the fetish of âbreedingâ).
The effect of this photo series was particularly enjoyable when it came to an abrupt stop with my suspension from the App I was on, in 2016 after 9 months of playing this game. Many men flagged my profile as being fake. Maybe they did not get the sarcasm and all of them believed that they were talking to real twin brothers looking for fun. Side note, the first sentence of the profile was âTwin bros looking 4 other twin bros for Hallal fun. No sex on Fridayâ. The second sentence was something like âDonât believe everything that you see.â
After being suspended from this app, I realized that men lack a sense of humor when it comes to getting the D. Yes, ladies, gentlemen and all other magnificent people, you cannot joke about sex because it is sacred, intimate, touchy and sensitive.
That was a turning point for me and that was the moment when I decided that my fourth photo series will be focused on a dating app. I will be creating a real app containing a 100 unique profiles. Each and every one of them will allow me to question the way we perform ourselves in the virtual world to get a real connection with other humans. And because we usually have several photos in our profile, I plan to create 300 different photos within the next year. That gives an average of 3 per profile, although some wonât have any because they are âdiscreetâ or âon the Down Lowâ while some will have a dozen of them.
Because I believe in being open and sharing my creative process, hereâs a step by step of how I work for this new series. Keep in mind that each photoshoot requires the same process. That means I should be doing this hundreds of times:
1 â Scouting a location for a character
The aim here is to imagine who would be evolving in this space, how will they portray themselves in it and what would be a good representation to seduce the others. Here, we have a man in a construction site. He obviously wants to highlight his virility, masculinity and strength.
https://vimeo.com/239834470
2 â Finding accessories and props to make the scene realistic
The creation of a fake reality requires detailed research and knowledge. Below, Iâm playing this Master who has a full dungeon in order to enjoy his and his partnerâs deep and dirty sexual fantasies.
https://vimeo.com/239840024
3 â Playing the character in front of my camera and taking photos of it
Hereâs where the performance happens. I dress up as my character and play him/her/them in front of my camera and capture the moment with my remote. I try to catch a position, a look in the eyes, a non-verbal communication that will make the photo a success. And I define success by seeing the photo and believing the person you see in it is real and decided to use that image in their dating app profile.
https://vimeo.com/239844283
After this whole process, I get something like the images below. These are not the final photos (because I want to keep a minimum of mystery he he)
[caption id="attachment_7436" align="alignnone" width="1067"] Marco is my closeted gay character. He defines himself as Str8 but only have sex with men. As he says, if you donât have a bathroom selfie, youâre not playing the dating app game well.[/caption]
[caption id="attachment_7437" align="alignnone" width="1067"] Alice, my Franco-Lebanese fashionista, runs a Fashion Trend Agency. Because sheâs ahead of her time, sheâs already working on the 2022âs trends.[/caption]
[caption id="attachment_7438" align="alignnone" width="1067"] FĂŠlix is your cheerful, chatty and chill dude who like yoga, eats healthy and is still a virgin. Yeah, that still exists in 2017.[/caption]
[caption id="attachment_7443" align="alignnone" width="1067"] _________ is a straight man that people tend to refer to as a âdouchebagâ. Fortunately, he is more than that and youâll have to read his profile to get that.[/caption]
[caption id="attachment_7439" align="alignnone" width="1067"] ________ is non-binary bubbly person who plays the upright bass, smokes like a chimney and is the life of the party. They may hit you up for a hook up in an alley or to go see an opera.[/caption]
[caption id="attachment_7440" align="alignnone" width="1067"] ___________ is a farmer who never expects to be attractive. He stinks, heâs dirty most of the time, but thatâs what makes him the #1 fantasy to most of human beings. Heâs very good with his hands too.[/caption]
After all the things I told you, I realize that I still have 224 artworks to create. So, wish me luck !
2Fik
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2Fik
My name is â2Fikâ. My passport name says âToufikâ. My close friends call me âTouffeâ [Bush]. My family calls me âFikâ [Fik]. But none ...
Oct 25, 2017
Jules Buck Jones How to Hang with Friends and Make Art
A Tribute to Collaboration
by Jules Buck Jones
How to hang with friends and make noise:
Form a band! -- Castle Danger
In college, there was only one thing as important to me as studying, and that was hanging with friends. Best way to do that in my opinion is to start a band! After Safety Hawk fell apart because we invited everybody in the neighborhood to join, and the band could no longer function, my best buds and 3 founding members, B-Dogg, Jonny Z, and myself, broke off to start Castle Danger. Even though the neighborhood was no longer invited to play in the band, we did need their help making these killer videos.
https://youtu.be/gIVYBGihRN0
AWESOME Ever listen some music and wished it ripped a little harder? Maybe was just a little weirder? Ever wonder why no mainstream bands are referencing âT2 Judgement Day?â Well, we did too. Then we formed AWESOME. Scott Eastwood, shredder of the the bass guitar, and I couldnât find a drummer for so long, till we bumped into Jeremy LeClaire in Kittery, Maine while working on a project, âThe Face that Tastes the Place,â at Buoy Gallery.
[caption id="attachment_7339" align="alignnone" width="900"] Boozefox Light, The Face that Tastes the Place, Buoy Gallery, Kittery Maine, 2011[/caption] High Wasted
When your good friend dresses up like David Lee Roth for Halloween one year, then realizes he needs to sing in a band, you have no choice but to start a band. Max Juren and I teamed up with drummer Carolyn Cunningham. We played this Halloween gig to woo a bass player from the crowd. It worked! Chadwick Wood saw the show and took the bait! Hooked em good!
[caption id="attachment_7393" align="alignnone" width="900"] Iâm High, heâs Wasted. We are High Wasted! Monofonus, Austin TX, 2015[/caption] How to Hang with Friends and Make Art: Artist collective Boozefox
With talented friends, big ideas, and nothing to lose, you can do anything. After moving to Austin in 2005 for graduate school, I was making art everyday and hanging with some great new friends at the UT Art Department. But how could I make art and hang with my old friends who I new from VA who werenât in school? Start a collective! Best Buds: Mike Phalan, Drew Liverman, Scott Eastwood, and myself formed Boozefox! Named after our first monster, The Nefarious Boozefox, for our first show âStalemate of the Boozefox,â in 2006, the four of us went on to make large scale sculptures and installations, that were fun, bizarre, and never made any money or got us any real attention. What a dream!
(Hot tip: Click on the images below to see the who's who and what's what for each gallery!)
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How to hang with friends on a 5 day cruise: Build a Boat! Boozefox Part 2
The boat pictured below is Battleberg Ice. In 2011 we got a small grant from the Idea Fund and some extra funds from a Kickstarter campaign and built this hybrid Ice berg / battleship. We got the City of Austin to allow us to cruise up and down the Colorado River for 5 days during ACL weekend. We slept on the boat, and had a few parties. The boat had an escape pod (canoe) we used to get back and forth to the main land to re-up on tacos and beverages. Stevie Wonder performed at ACL that year. We ferried up to the concert, packed the boat full of friends and listened to the performance. It was a real treat.
www.boozefox.com
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How to hang with friends and make Art Part 2: Collaborative Collage!
Apophis
Sometimes making art next to your friends just isnât enough. You want that full week of hang time from wake up to bed time. My good friend Matt Rebholz and I have crossover interests in Xerox, collage, Sci-fi, and mythology. In grad school we started collaborating on large-scale collages. Weâve made 3 installations over the years, with our crown jewel being Apophis. We created Apophis is 2010 and have shown him in New Orleans, Austin, and San Marcos. Check out some progress pics and stop motion video of the mighty Apophis! We made a real mess of the gallery while creating him, swimming in piles and piles of Xerox walrus skin, lizard scales, and the cosmos.
[caption id="attachment_7344" align="alignnone" width="900"] Apophis, The Front Gallery, New Orleans, 2010[/caption]
[caption id="attachment_7345" align="alignnone" width="899"] Matt and I spending too much time with the installation. Need oxygen![/caption] How to hang with friends and hang art: Collective Run Gallery Space
MASS Gallery
MASS Gallery was started by a group of grad students at UT Austin in 2006 when we were offered a free space next to the old Blue Theater. Since 2006, MASS has lost and gained numerous members who helped it chug along through the years. Eventually we lost the free space, and after a not-so-brief nomadic period, we landed a new spot in East Austin in 2013 where we operate now. MASS is run by a diverse group of artists, writers, educators, and musicians. We are now officially a 501c3 non profit, putting on 7 shows annually including a summer residency program and a small store selling artist made goods. We operate as a platform for Austin artists to show work, and a venue that brings in out of town artists to share with our community. When we are lucky we get to collaborate in other ways too. In 2015 we traded shows with another artist run space in New Orleans. Check out these pictures of our installation that we did at The Front Gallery called âClub Sandwich.â And check the MASS Gallery link below to see some of the things we do Austin!
http://www.massgallery.org/
https://nolafront.org/
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How to hang with friends 24/7: Artist Compound
Monofonus
My good friend Morgan Coy started something beautiful called Monofonus. Donât let the name fool you, there is nothing mono about it. Monofonus is a record label, small book press, studio space, band practice space, all night fire pit space, washers tournament space, and collaboration station when you need it. I had a studio and lived here for 5 years. I lived in a 28â silver stream trailer smack in the middle of the compound. There were friends in the yard all day every day. There are so many great memories living and working here, haunted houses, hammer choirs, 4th of July, crawfish boils, numerous art installations, small concerts, The Bride of Pinbot, and on and on. Also this was home to and the last place I saw my pet tortoise Anchovy. He ran away one day after I let him out to eat these yellow flowers I knew he loved. I knew the flowers wouldnât last forever. Nothing does.
http://monofonuspress.com/
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[caption id="attachment_7363" align="alignnone" width="898"] Ed and Max, ready to hang, Monofonus.[/caption] How to hang with your friends and make a little scratch: Make it a double â Snowâm Sayin?Â
It started with wishing a snow cone was a margarita. Or did it start with the matching outfits? Either way, itâs all in the name. âLooking for something thatâll fuck you up AND cool you down? Snowâm Sayin Snow Cones! Snowâm Sayin?â We ran Snowâm Sayin for a couple years. We made alcoholic snow cones and gave them away for free at art openings. We never made any money, but money never really motivated us anyways. Just another excuse to spend time with the ones you love. Thereâs snow business like snow business.
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How to Hang with Friends and Make Art Part 4: Start a Club! Animal Facts Club
Animal Facts Club started like any other club, as a cool excuse to spend time with people you like, and share things. Our thing was animal facts. The first meeting was in 2004 in Richmond, VA, after we realized the internet could get us facts on just about any animal we could think of. Weâd each research an animal and share our findings with our friends. When we found something extra amazing, we dubbed it a Power Fact. Example: 9-banded armadillos always give birth to identical quadruplets = Power Fact! Flamingos have to eat with their head upside down = Power Fact! Horned lizards shoot blood out of their eye as a defense mechanism = Power Fact.
Fast forward to Austin TX, new friends, new facts. We met somewhat regularly for years sharing facts and creating collaborative calendars every winter. Then in 2015, my bright and beautiful girlfriend, Audrey Stewart and I decided to kick it up a notch. We wanted to share these cool facts with the public and decided to create a large-scale performance. We dreamed up âAFC Performs The Biodiversity of TX,â a one-hour show that navigates through 6 ecosystems of Texas, highlighting the different animals that call these places home. We highlight endangered species and species of concern, promoting conservation and discussing ways our audience can help. We got the crew together to help build the stage and puppets and got funding from the City of Austinâs Cultural Arts Division, to fund it. Now we are in our 4th year of funding paying ourselves to make art with our friends and share it with the community! Super fun!
http://www.animalfactsclub.com/
http://www.animalfactsclub.com/the-biodiversity-of-texas/2016/7/21/afc
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[caption id="attachment_7376" align="alignnone" width="900"] Blissed out w my new Peregrine Falcon puppet.[/caption]
[gallery columns="2" ids="7378,7422"] Summary:
For me, collaboration is integral to my creative process. I make plenty of work by myself, but I thirst for side projects with friends. The people I work with and hang with inspire me everyday. I love the community, comradery, cross-pollination, and alliteration collaboration offers. Being awarded this Kindle Project Makers Muse award is such an honor. I wanted to use this opportunity to give a shout out to all those who I love to work with and hang with. Big shout out to Jonny Z, Gentleman Jay, Josh White, my pops Charlie Jones all those we lost along the way.
[caption id="attachment_7395" align="alignnone" width="802"] Miles, Jay, Nate (Gull), and Scott, inside Grundleâs mouth.[/caption] ![]()
Jules Buck Jones
How to Hang with Friends and Make Art A Tribute to Collaboration by Jules Buck Jones How to hang with friends and make ...
Oct 16, 2017
Raul de Nieves I make art because it makes my connection to others clearerâwhether through the work itself or in my collaboration with other artists, which is a large part of my practice. I strive to create a shared experience where undervalued objects are allowed to flourish in new and renewable contexts. In much of my practice, I use materials that are easily obtainable or incidentally on hand. This has allowed me to give life to a variety of mundane objects, something that might not have much inherent value or no longer serves any purpose, and offer a new beginning through labor and contemplation. As an artist, I am inspired by the traditional craftsmanship of my native country of Mexico, and are conceptually derived from icons of history, spirituality, fashion, and subculture.
In my work, I seek to question disposability in contemporary culture and the interchangeable identities of mass-produced objects, from textiles and garments to beads and other decorative material, by transmuting those materials through my artistic labor into new objects with new meaning. The rhythm of such labor induces a state whereby the object takes on an internal drive of its own. For me, care and attention infused with emotional interest form objects of beauty. ![]()
Raul de Nieves
I make art because it makes my connection to others clearerâwhether through the work itself or in my collaboration with ...
Oct 11, 2017
Announcing 2017 Makers Muse Artists! Hey hey, itâs that time of year again: Makers Muse! Weâre thrilled to welcome eight artists into the Kindle Project crew.
They are globetrotting creators making their work in New Mexico, Paris, Austin, Montreal, Philadelphia, New Orleans, the Amazon, Rome, Mexico, Senegal, Haiti, Pakistan⌠to name a small handful of spots. They are a diverse group in every sense of the word. From their backgrounds to their mediums, this is one of the most eclectic and international group of artists weâve ever had.
They are painters, illustrators, multimedia mavens, musicians, poets, and sculptors. They are anything but ordinary. They use paint in a way that gives tough subjects a beautiful voice. They ask us pleasantly confronting questions in public spaces. They make music that transforms and poetry to keep in your pocket. They make works that quite literally glitter and they mash metaphors and break free from tradition.
To top it all off, each of these artists are participating in round deux of our Boomerang program! Mic drop.
Until then, get to know these brilliant creatures below and stay tuned, here on our Nexus and Instagram pages where, starting next week, weâll be featuring each of these artists one at a time. Youâll get their behind the scenes, inner workings, secret images, and surprising stories. ![]()
Announcing 2017 Makers Muse Artists!
Hey hey, itâs that time of year again: Makers Muse! Weâre thrilled to welcome eight artists into the Kindle Project ...
Oct 04, 2017
MuckRock When we started MuckRock in 2010, we had a sense that journalism was at a crisis point: Declining revenues and collapsing reader trust meant shrinking newsrooms at a time when they were needed more than ever, but we felt that there werenât enough truly radical approaches to rethinking how communities could keep track of and âwatchdogâ local and national institutions.
While we believe skilled reporters are critical to accountability, what if there were ways to invite more people into the process, to make journalism less about broadcasting knowledge to the people, but allowing communities â and individuals â to explore the questions that mattered to them and share the results with the world?
We became intrigued by the idea of an open platform where anyone could register and file a records request with any government agency â and then share the results with the world. Because it was a legal process, agencies were required to reply to these requests, and unlike leaks that are challenging to verify and pose a number of security challenges, using software to help people file public records requests was something we thought could scale out to everywhere and open to everyone.
Since then, we havenât solved the crisis of ensuring an informed democracy. Things are more challenging now than ever before, with âfake newsâ being used as a slur against the press while people struggle to make sense of a deluge of information where fiction often looks more credible than fact.
But we have helped people open up their government and push for positive change. Almost 10,000 registered users have filed over 35,000 public records requests and helped release over 1.5 million pages of previously secret documents â and that does not include over 13 million pages we recently helped release from the CIA.
The site is now used by local and national journalists all over the country and even all over the world to uncover important stories. Reporters can then share their process with readers, letting them see exactly how they got the documents, while also teaching the public that this is a right everyone has.
And sometimes the best requests are filed by ordinary citizens asking important questions. Weâve had users request â and get! â documents ranging from use of force policies with their local police department to documents detailing illegal spying in their city. Weâve also helped people find more fun data points, such as the most popular dog name in their city.
The result is a thriving community where the sum is greater than the parts â the collection of tens of thousands of requests makes it easier for everyone to stay informed about what government is doing in their name.
Weâve also started helping groups collect similar requests with our Project feature. And thatâs where Kindle Project came in.
Thanks to Kindle Projectâs grant, weâre excited to expand two projects in particular.
The first is the Private Prison Project, which for three years has helped dig into how prison privatization often brings a host of dangers, hidden expenses, and inhumane treatment, while often saving less than proposals promise â or even nothing at all.
With the grant, weâll be able to build out our database of contracts, outcomes, and news articles to make it easier for activists, researchers, and the general public to understand the impact that private prisons have on the incarcerated, local communities, and Americaâs justice system.
The second is a project focused squarely on the Trump Administration. Weâve seen worrying signs of disappearing transparency and attacks on the first amendment since the new administration, and by building a collection of Trump related requests we can learn together while also documenting hard facts in an era where they seem perilously hard to come by.
Weâre so honored by this grant, and are excited to empower our community of transparency nerds to do amazing things with it! ![]()
MuckRock
When we started MuckRock in 2010, we had a sense that journalism was at a crisis point: Declining revenues and ...
Sep 27, 2017
Matchmaking with Kindle Project What do artists,
seed savers,Â
punk-rockers,Â
activists,Â
and entrepreneurs
have in common?
They're all Kindle Project grantees and...
Kindle Donors! Weâre inviting new donors to join Kindle Project and we want to be connected to your world.
Friends make the best matchmakers and we need your help to hook us up. Here's our wish-list of ways you can help:
Preach!
First, check out our new Donor Offering. Then share this with 5 of your most inspired friends. You know the ones...
Swarm the Hive!
Share this news on your social media with these snazzed up Tweets ready to roll out onto your feeds. 140 characters of matchmaking mojo.
Be our Champion!
Do you love Kindle Project and want to be more involved? You may be the right person to be a Kindle Project Ambassador. Let us know!
 ![]()
Matchmaking with Kindle Project
What do artists, seed savers, punk-rockers, activists, and entrepreneurs have in common? They're all Kindle Project grantees and... Kindle Donors! Weâre inviting new ...
Sep 21, 2017
Introducing Kindle's 2017 Summer Grantees Intersectional. The buzzword of the moment, donât you think? We keep hearing it, reading it, saying it, dreaming it. This word is getting used and amplified more and more these days. And, with good reason. The problems weâre facing cannot be solved in silos. Kindle has never been big on silos. Our lens of the world focuses more on holistic crossovers between people and organizations rather than focusing on issue areas. Just as we are not isolated from one another, we also have little distance from the challenges weâre facing. The great news about this is that weâre seeing groups of all kinds working in their unique ways to address global problems in a naturally intersectional way.
So, howâd we meet these amazing groups? Through our special blend of collaborations with grantees, donors, friends, and allies as well as through a handful of our Flow Fund programs. Sourcing great work takes great collaborators and we are so happy to introduce you to the latest members of the Kindle family. Get to know them and their work below.
Are you sparked by these groups and interested in supporting Kindle's collaborative grantmaking? Click on our donate button to get involved. ![]()
Introducing Kindle's 2017 Summer Grantees
Intersectional. The buzzword of the moment, donât you think? We keep hearing it, reading it, saying it, dreaming it. This ...
Aug 14, 2017
Prosigue Historia atrĂĄs de la creaciĂłn del Mural: âOFRENDAâ
Los niĂąos, niĂąas y jĂłvenes de la AsociaciĂłn Civil "PROSIGUE-Programa NiĂąos de la Calle A.C.", junto con alumnos del Colegio AlemĂĄn Alexander von Humboldt de la Ciudad de MĂŠxico, con la guĂa del artista Libre GutiĂŠrrez, dieron color a muros en un espacio pĂşblico. A travĂŠs de la creaciĂłn de un mural se generĂł un encuentro entre distintos mundos, que de otra forma quizĂĄ jamĂĄs se hubiera dado, y se le otorga una voz a aquellos que a menudo no tienen la posibilidad de expresarse.
De este modo, el arte se convirtiĂł para los niĂąos, niĂąas y jĂłvenes en grave exclusiĂłn social, en un medio para manifestarse con fuerza y atraer la atenciĂłn sobre su situaciĂłn particular. A travĂŠs de esta actividad artĂstica conjunta los participantes no solamente ampliaron su perspectiva, sino que eliminaron prejuicios y se sensibilizaron sobre las necesidades y la realidad de sus compaĂąeros.
Paco PeĂąa. Director y Fundador de la OrganizaciĂłn Civil Prosigue:
Lo que buscamos en Prosigue, es que los niĂąos y niĂąas tengan otra visiĂłn de la vida. Que superen las condiciones de pobreza y violencia; que desarrollen habilidades con tareas como la que acaban de culminar. El Mural plasmado por los niĂąos y niĂąas significa no solo la transformaciĂłn de un espacio fĂsico, antes pintarrajeado (foto), que ahora luce colorido y alegre como lo podemos constatar, sino significa tambiĂŠn una OFRENDA. Porque estas Manos, reproducciones reales en foto y dibujo de las manos de los niĂąos y niĂąas que asisten a este Centro de Apoyo, representan las manos de todos los niĂąos y niĂąas de esta comunidad marginalizada, que se unen en el Centro, se levantan al Cielo para buscar fuerza y aliento y luego se abren lentamente y bajan otra vez a este plano, llenos de fuerza y energĂa vital, para asir y abrazar un nuevo proyecto de vida, para alejarse de los riesgos del entorno, para encontrar y recrear un nuevo camino que les permite superar las desventajas, las vulnerabilidades. Pero tambiĂŠn significa la amistad, la uniĂłn, la cooperaciĂłn.
Libre GutiĂŠrrez. Artista que guio la elaboraciĂłn del Mural:
La elaboraciĂłn del Mural comenzĂł con una plĂĄtica con los niĂąos y niĂąas de la colonia. Una lluvia de ideas. Elementos que les gustarĂan, cosas con las que se identificaran. Y ya de ahĂ, el muro en general son unas manos que en la esquina se unen. Dos manos que es un sĂmbolo que usan muchas culturas para identificarse con la paz, con la armonĂa, con la tranquilidad. El Mural tiene movimiento. Las manos se van abriendo y al final es como un abrazoâŚ.Que es lo que yo siento que esta casa le da a la gente, a la comunidad. Un abrazo, una bienvenida! Gabriel (niĂąos de 10 aĂąos de PROSIGUE):
Trabajar con Libre fue muy padre, porque nos ayudĂł mucho. Estuvo con nosotros y nos explicĂł cĂłmo hacer las cosas, cuando nosotros no sabĂamos.
Jacob (niĂąo de 11 aĂąos del Colegio AlemĂĄn):
Nos quedĂł muy bonito. Me gustĂł mucho las formas que pusimos y el color.
Leo (niĂąos de 11 aĂąos del Colegio AlemĂĄn):
Yo creo que la gente va a pasar y va a decirâŚWOW! ![]()
Prosigue
Historia atrĂĄs de la creaciĂłn del Mural: âOFRENDAâ Los niĂąos, niĂąas y jĂłvenes de la AsociaciĂłn Civil "PROSIGUE-Programa NiĂąos de la ...
May 31, 2017
20 Q's with Sacred Fire Foundation's Sofia Arroyo 1. Who are your real-life heroes in your field?
Indigenous elders from all over the world who are keeping the fires of tradition burning and passing on their ancestral knowledge onto the younger generations.
2. What did you want to be when you grew up?
An actress and a diplomat with United Nations.
3. What is one thing you wish the general public knew about your work?
How absolutely important and relevant Indigenous knowledge is to all humans.
4. If funding were no object, what would you do?
Many films on Indigenous Wisdom from around the world and would increase our support of Indigenous communities in more countries.
5. How do you get through a tough day?
One word: Bacon.
6. What do you see as the greatest challenge your community is facing?
Annihilation... Indigenous Peoples everywhere are being targeted because governments and corporations want what is left of their lands and territories and because they are defending the environment.
7. What is the strongest asset of your community?
Their millennial-proven wisdom that manifests in a more balanced and respectful way of relating to the world and to each other.
8. If you werenât doing this kind of work, what would you be doing?
Acting and directing.
9. Favourite film?
Bleu from the Kieslowski trilogy.
10. Favourite song right now?
Anything Bjork or Peter Gabriel.
11. Activist you most admire?
My husband.
12. If you could tell the field of philanthropy one thing what would it be?
We need to review our priorities! Systems change, that is what we need.
13. What do you think is the greatest social issue of our time?
Inequality.
14. What do you think is the greatest environmental issue of our time?
Water and our lack of relationship to land and the natural world.
15. How do you think we can change the world?
Through the values and practices of Indigenous wisdom and worldview.
16. What book are you reading right now?
Cinco esquinas by Mario Vargas Llosa.
17. Whatâs your personal motto?
Flojita y cooperando.
18. What makes you the most angry?
Injustice and bullshitters.
19.When do you feel the most hopeful?
When I see normal random people being kind and considerate with others.
20.What makes you the most happy?
My children... and bacon. To read more about Sofia check out her bio alongside our other stellar Steering Committee members here.Â
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20 Q's with Sacred Fire Foundation's Sofia Arroyo
1. Who are your real-life heroes in your field? Indigenous elders from all over the world who are keeping the fires ...
Apr 05, 2017
20 Q's with Rockaway Waterfront Alliance's Jeanne DuPont 1. Who are your real-life heroes?
My hero growing up was always Jane Goodall.
2. What did you want to be when you grew up?
I wanted to be an animal behaviorist when I was growing up.
3. If you could tell Trump one thing, what would it be?
I believe he is totally disconnected from the experiences of real people. He needs to try his best and understand their struggles. I would tell him to spend some time and just listen.
4. What is one thing you wish the general public knew about your work?
I wish they knew that our work is really focused on giving young people and the Rockaway community a voice.
5. If funding were no object, what would you do?
I would create job opportunities and employment for everyone in the Rockaway community.
6. What do you see as the greatest challenge your community is facing?
We are out of sight and out of mind for the rest of New York City.
7. What is the strongest asset of your community?
The amazing, but often overlooked, people of Rockaway.
8. Who do you call when something wonderful happens?
My husband John.
9. If you werenât doing this kind of work, what would you be doing?
I think I would be doing international relief work, something focused on health or womenâs care.
10. Favorite film?
I love Sophieâs Choice and Braveheart, but my all time favorite movie is Rain Man.
11. Activist you most admire?
I really admire President Obama; Iâm so fond of him.
12. What did you eat for dinner last night?
I had pizza and a salad; my husband was traveling.
13. If you could give $10,000 to any organization besides your own, which would it be?
I would give my donation to Doctors without Borders.
14. If you could tell the field of philanthropy one thing what would it be?
They should spend time to get to really know their fundees and ensure the money is really going to a good cause.
15. What do you think is the greatest social issue of our time?
Racism is still the greatest social issue of our time.
16. What do you think is the greatest environmental issue of our time?
Climate change, if we are talking broadly.
17. What is the guilty pleasure show that you watch?
Right now Iâm addicted to Homeland. Itâs really well written, but also trashy.
18. When do you feel the most hopeful?
I was most hopeful when President Obama was elected.
19. Favorite song?
Katy Perry Chained to the Rhythm (I have to listen to my kidsâ music). ![]()
20 Q's with Rockaway Waterfront Alliance's Jeanne DuPont
1. Who are your real-life heroes? My hero growing up was always Jane Goodall. 2. What did you want to be when ...
Mar 24, 2017
20 Q's with Aaolkam's Bharathi Penneswaran and Jyotsna Kalyansundar 1. Who are your real-life heroes in your field?
Our teacher, Justin McCarthy, is a huge inspiration. He grew up in Michigan, saw a Bharatanatyam performance in California, and was so inspired that he decided to learn this dance form. He left the U.S., traveled halfway around the world to India, found himself a teacher and immersed himself in not only the dance form, but the entire Indian experience. Despite not being taken seriously in the beginning, he has persevered to become one of the premier Bharatnatyam dancers in India. We are immensely proud to have learnt from him.
2. What did you want to be when you grew up?
No idea, but we never thought we would be dancers.
3. If you could tell Trump one thing, what would it be?
Grow up and stop the hate.
4. What is one thing you wish the general public knew about your work?
Bollywood dance is not the only dance form in India. There are several other classical dance forms, including Bharatnatyam which have existed since 2nd century BC.
5. If funding were no object, what would you do?
We would try and collaborate with wide a diaspora of artists and work on a cross pollination of art forms.
6. What do you see as the greatest challenge your community is facing?
Breaking into wider audiences and positioning a traditional art form in an constantly dynamic changing modern society.
7. What is the strongest asset of your community?
Rich culture and tradition combined with a group of creative performers.
8. Whatâs your favourite way to procrastinate at work?
Discussing a creative idea over" a glass of wine."
9. If you werenât doing this kind of work, what would you be doing?
It would have been rescuing animals.
10. Favourite song right now?
Samramina by TM Krishna and Bob Moses'Â Tearing Me Up.
11. Activist you most admire?
We don't believe in any individual activist but anyone who is compassionate who is bold enough to stand for what is right.
12. Favourite historical figure?
Bharathiyar, an Indian poet.
13. If you could give $10,000 to any organization besides your own, which would it be?
Humane Society for Animals
14. What do you think is the greatest social issue of our time?
Nationalist sentiment throughout the world which is leading to all hate among mankind.
15. What do you think is the greatest environmental issue of our time?
Global warming and negligence of recycling waste.
16. How have you changed the world?
One of Aalokamâs core activities is education. We offer on-going classes in Indian classical music and dance in the New York City area and the highlight of our school is the emphasis we place on an open culture within our classrooms . We have an inclusive learning environment, a safe space to challenge oneself, increase awareness of body, space, rhythm and expression and through that foster creative freedom to convey oneâs story through Indian dance and music. Changing the world by using education and art to liberate oneself by challenging themselves, increase awareness of mind, body and space and reinforce creative freedom to think outside of the box.
17. What book are you reading right now?
Game of Thrones and Midnight Children.
18. What is the guilty pleasure show that you watch?
Frasier.
19. What makes you the most happy?
Ice cream and sense of accomplishment.
20. Whatâs the best gift youâve ever received?
Freedom.
Learn more about Bharati and Jyotsna here. ![]()
20 Q's with Aaolkam's Bharathi Penneswaran and Jyotsna Kalyansundar
1. Who are your real-life heroes in your field? Our teacher, Justin McCarthy, is a huge inspiration. He grew up in ...
Mar 15, 2017
20 Q's with Fadi J. Khoury of FJK Dance Inc. 1. Who are your real-life heroes in your field?
My biggest Hero in the dance world is William Forsyth.
2. What did you want to be when you grew up?
I always wanted to be a dancer but also wanted to be a musician, a painter, and/or an architect.
3. If you could tell Trump one thing, what would it be?
STOP.
4. What is one thing you wish the general public knew about your work?
My work is for everyone, creating through dance a medium where differences can connect, live together, and create harmony.
5. If funding were no object, what would you do?
My dream is to have a venue - the FJK Dance Center - with facilities like, theatre, studios, and an art exhibition space all in one interconnected  space. It would provides an open view and welcoming experience to get closer to the art and it would be big enough for public daily presence!
6. How do you get through a tough day?
The moment I listen to music I dream and dance and create no matter what and that's the best reason for me to live.
7. What is the strongest asset of your community?
Diversity.
8. Who do you call when something wonderful happens?
My Mother :)
9. If you werenât doing this kind of work, what would you be doing?
I would be dead.
https://vimeo.com/160228960
10. What did you eat for dinner last night?
Grilled Chicken wrap.
11. If you could give $10,000 to any organization besides your own, which would it be?
Lebmash.
12. What do you think is the greatest social issue of our time?
Injustice.
13. What do you think is the greatest environmental issue of our time?
Climate change.
14. How have you changed the world?
By taking the risk to create a unique fusion in cultures through dance and open up the public's eye on Middle Eastern heritage and culture in a new and peaceful way that helps inspire more connection and conversation.
15. Whatâs your personal motto?
Never give up.
16. What makes you the most angry?
Injustice.
17. When do you feel the most hopeful?
After a new creation.
18. What makes you the most happy?
DANCE.
19. What was the last gift you gave someone?
DANCE.
20. Whatâs the best gift youâve ever received?
DANCE.
To learn about Fadi's incredible career and journey click here. ![]()
20 Q's with Fadi J. Khoury of FJK Dance Inc.
1. Who are your real-life heroes in your field? My biggest Hero in the dance world is William Forsyth. 2. What did ...
Mar 01, 2017
Announcing the SpiderWeave Flow Fund You all know about Kindle Projectâs love of Flow Funding right? With nearly a decade of experience, we think itâs kind of obvious by now. But, for those of you that are new to Kindle Project and our quirky ways, our Flow Funding programs catalyze unseen opportunities by widening who influences philanthropic resources. We know this method works AND that thereâs a whole lot of room to play. And thatâs just what weâre doing through the launch of (get ready for it...) the SpiderWeave Flow Fund.
Ok, so hereâs how SpiderWeave works:
Build a Cohort: Partner up with a group of women (1 visionary donor + 3 excited Flow Funders). Marvel at the all-female circle of diverse decision-makers and welcome them into the SpiderWeave realm of curious giving. What kinds of magic will ensue in bringing this group together?Â
Flow Fund it out: With support from the Kindle team, Flow Funders make decisions on where the funds will go. What unexpected projects, creators, and ideas will be supported by these diverse new friends of Kindle?
Conversations about and beyond the money: Facilitate a creative learning journey for this cohort through the exploration and sharing of our experiences with trust-based giving. What questions and challenges will this cohort uncover about this practice and how can we take these learnings back to the field of philanthropy?
Storytelling: Work with each Flow Funder and all of their recipients to share their unique stories on our Nexus page throughout the year. What untold stories will be shared through the Kindle megaphone?
Celebrate our SpiderWeave: Kick off an â80s themed spandex dance party and reflect on lessons learned at the punch bowl. What webs were woven? What unlikely alliances formed? And, where will this all lead for Flow Funding in the future? This kind of experimental and experiential grantmaking are the basics of what makes Kindle Project who we are. Weâre thrilled to be entering 2017 with this cohort and canât wait to see what weâll uncover together. ![]()
Announcing the SpiderWeave Flow Fund
You all know about Kindle Projectâs love of Flow Funding right? With nearly a decade of experience, we think itâs ...
Feb 23, 2017
19 Q's with Santa Fe Dreamers Project's Allegra Love 1. What did you want to be when you grew up?
A forest ranger-- but a cranky one like Edward Abbey. I even went to college in Environmental Studies to do that very thing and then did a 180 when it was time to choose a job.
2. Who are your real-life heroes in your field?
Stephen Manning--Total genius. His Ted Talk is thrilling to people like me.
3. If you could tell Trump one thing, what would it be?
I would tell him that I know he that he knows he is a coward and that I know he knows he has an empty heart. He can pretend all he wants but you can't run from that forever and that is something he has to live with and something he will have to face before he leaves this earth.
4. What is one thing you wish the general public knew about your work?
I wish that they knew how the work that we do affects their own well being. I think too often our work is seen as good charity or work that is done because it is correct from a human right perspective. All that is true but I don't think people understand that we are doing this for the good of all of us. We want our town, our state, our country to be the kind of place where immigrants are thriving because that makes us all wealthier, healthier, stronger.
5. If funding were no object, what would you do?
I would create fellowships for young lawyers interested in creative community based projects helping people living in poverty. I would sponsor them for two years to just go forth and let their imaginations run wild.
6. How do you get through a tough day?
Coffee, country music, imagining a cold beer at the end.
7. What do you see as the greatest challenge your community is facing?
A racist, nationalist, merciless administration in the White House.
8. What is the strongest asset of your community?
The ability to do hard work with great humor.
9. Who do you call when something wonderful happens?
My twin sister.
10. If you werenât doing this kind of work, what would you be doing?
Working at the dump. My job is really demanding and I am really burnt out right now so the idea of weighing people's trucks and taking their tickets sounds very calming. I would even take up smoking just for the smoke breaks I see the dump workers taking when I go there.
11. Favorite film?
Warrior. It's a movie about two brothers who are MMA fighters. It is fucking fantastic. I watched it twice in one sitting the first time I saw it and cried really hard both times.
12. Favorite song right now?
Runnin' Just In Case by Miranda Lambert. I love Nashville Country music and it's easy to write off all those bros who are writing about chicks and trucks and stuff but the ladies of Nashville are throwing down these days.
13. If you could tell the field of philanthropy one thing what would it be?
I would tell them that we can get results from your grants! If you want really good data collected from your grant then money needs to be included for the resources to collect that data. Data collection is work.
14. How do you think we can change the world?
More love! Approaching all people as individuals who are worthy of love before approaching them as a criminal or someone who needs to be punished or someone who needs to be judged.
15. What book are you reading right now?
I keep a stack of books around for show to make my visitors think I am cultured but I rarely have the energy to read. I read the New Yorker because I am a snob deep down but even then I mostly read the restaurant and movie reviews.
16. Whatâs your personal motto?
Its a quote from Zelda Fitzgerald: No one has ever measured, even poets, how much a heart can hold.
17. What makes you the most happy?
A day with my nephews, Woody and Clint, or camping with people that I love. Sometimes that is the same thing!
18. What was the last gift you gave someone?
I gave someone a bunch of Tannerite. It is a kit of two chemical compounds that you mix together and it becomes highly unstable and then when you shoot it with a high velocity projectile (i.e. a rifle) it makes a most satisfying explosion.
19. Whatâs the best gift youâve ever received?
A custom belt buckle with my name on it for my 21st birthday. ![]()
19 Q's with Santa Fe Dreamers Project's Allegra Love
1. What did you want to be when you grew up? A forest ranger-- but a cranky one like Edward Abbey. ...
Feb 15, 2017
Israel Haros Lopez Iâm writing this just days before Donald Trump becomes president of the United States. I, like many people in the United States, have hit some walls of depression. Sometimes I experience great inspiration, great anger, frustration, and some great reminders that we are in a place of needing a lot of healing and change on both a community level and on a national level.
For folks of color like myself, this notion is nothing new. But, the day when it looked like he was going to be elected I, like a lot of people, was feeling the panic, sorrow and pain of such a possibility. I also felt a tremendous sigh of relief. Finally, I don't have to explain this any more. Finally, this reality that we have been speaking to about the who is in what positions, from the reality of artists in art school, artists of all kinds, writers, painters, community social artivists, teachers, musicians, video makers, entrepenuers, political positions, positions in non-profits, all social aspects of this nation, etc. having both the financial opportunities or just plain opportunities in the United States. Now more than ever there are mirrors for this whole nation to stare at.
For so long, people would come up to me and tell me how easy it was for me as a person of color to get a job because of Affirmative Action. This type of story was coming from older white females and males and I was really struck by this perspective that they had. In my profession as a writer, teacher, painter, muralist, I was really, really confused because of the grim statistics that I knew of. For example, looking at the field of children's publishing where Latinos make up two percent of books published in the last couple of years. Or when over 90% of tenure positions in universities are going to white males. Or the guerrilla girls who had put out dismal numbers of women artists and people of color in galleries and museums in the United States - numbers they had put out twenty plus years ago - and these numbers are staring us in the face. This was a new reality. In this day and age those numbers had not improved.
Yet, despite these numbers, there are very clear and straightforward people still under the impression that things were different. But for many of us these statistical realities along with so many other statistical realities, in publishing, in gallery opportunities, in jobs, in grants available etc. point back to a very racist, sexist, classist and every other -ism reality that we have been facing for decades. We are passed a civil rights era that tried to rectify these things for many Native Americans, African Americans, Mexican Americans, every type of American that was not white American.
White liberals were in shock that this man was about to become President. They were sad, angry, ashamed, full of guilt, full of so many things, including denials of what we had been saying over and over and over and over. Things haven't changed in a lot of ways. Now we are stuck with a mirror of a nation, a mirror of shadows, a mirror of fears and most importantly a mirror of opportunities. The reality of Mr. T is that he is the 44th white male President, not the first. And the reality of the people that he's affiliated with, that are affiliated with KKK, or so-called alt-right groups, white supremacy groups, big money interest groups, oil groups, is a reality that has been going on for a long, long, long, long time. Some might argue that this has been going on for 500 years on Turtle Island. Some might argue that itâs the last 100 years. Some might say the last 20. But any way this pie is cut, its pretty clear who has been devouring this American pie.
The day that he was elected into office, I woke up early to check up on immigrant students at the high school I work with. I wanted to make sure they were safe and understood that no matter what this man was saying about America, and who belonged and who didn't belong, I wanted to show support and try to create a safety net for our students. Of course, that morning some of the students I work with were already facing threats by other students. Some students were putting Trump brochures on other studentâs desks telling them "get ready to go back to Mexico". The days that followed the nation saw some different forms of hate crimes, like swastikas on walls and statements like "hail Trump.â Middle school students made a physical wall with their bodies not allowing other students of color to go into the school as they chanted "Build that wall! Build that wall.â
This is the place I call home right now. I'm devastated, appalled, hurt, angry, depressed and inspired.
I was born in East Los Angeles. My father is Mexican. My mother is Mexican.
Their fathers and their mothers were Mexican and indigenous. Growing up, some days we had more money than others. Sometimes there was enough food. Sometimes there was a tortilla that you could put butter on. Sometimes there was cereal. We prayed that the rats or cockroaches hadn't gotten to the food because that meant they got to eat and we didn't. From after the age of seven we lived with other families because my mother couldn't afford to pay rent on her own. My father had left since before I could remember. He would visit about once a month staggering drunk. I donât remember when the American dream swallowed my father into that sickness. He was, and still is, a fast food cook hustling to work and has been getting paid way below his worth like the bulk of immigrant workers. As was the reality with my mother as well. She was a seamstress for a large bulk of her life working in all American sweat shops with immigrant workers. The United States is littered with them despite wanting to vilify other nations on their labor practices. We managed to bounce around a lot of places in barrios in Los Angeles. Despite all that, still somehow we managed to have enough room for other family members who were crossing the border. There was a time there when we lived with my aunt in a studio apartment that was about 20x20 feet or so. In that room there was my aunt, my two cousins, my mom, myself and my uncle sometimes slept in the kitchen. Yet, we still made room for others and created space for a cousin to sleep as they tried to put together their American dream.
Inside of this poverty, my father became an intense alcoholic and I didn't see him much. My mother became and alcoholic but because she compared it to my fathers alcoholism, she figured he was the drunk and she wasn't. Playing basketball in high school became my healthy addiction to escape the poverty. I graduated high school with a 1.59 G.P.A. I think I only graduated because of basketball. And I only went to college because there was the possibility of playing basketball. I was a five foot nothing Mexican who could jump and loved to hustle on the court and I was good enough to get a seat on the bench of the San Francisco University team. This was a reasonable goal for me. But the reality of playing basketball during college ended abruptly when I become very sick during try-outs and they wanted to put a pacemaker in me. Nineteen years old and the possibility of a pacemaker was definitely a life changing moment. In the heartbreak of this reality I realized if I couldn't play basketball and doctors didn't know what was wrong with my heart, what did I want for my life? What did I want to do?
I turned to writing and art.
Here is a list of moments that led to my survival as a human being.
Writing and drawing and drawing and writing and eventually painting. A list of moments that were a part of me dealing with an awakening consciousness about what the layered realities of systemic poverty are. Systems that are very much still in place despite so many contrary stories that would argue differently. Systems that made it so that I survived a predominately Chicano, Mexican American, Central American, and immigrant population with a high school graduation rate of 50%. I saw the documentary "Waiting for Superman" that listed my high school, Roosevelt High School, as a key example in this country of a âDrop Out Factoryâ. This was a school that was not educating its students sufficiently to survive after they graduated. I went from there to UC Berkeley with a degree in Chicano Studies and English. English after failing almost every English class in high school. I went on to go to get my M.F.A. from California College of the Arts.
I received a phone call right when I was accepted from the college discouraging from attending because I could not afford the school. They asked me, "How do you expect to pay for this school when your finances are one third below Oakland's poverty level?" To which I responded, "I am one third below Oakland's poverty level. How come you are not giving me more financial aid?" They explained to me that it was about âmerit." I asked them what this word meant to them. âMeritâ to them was directly related to G.P.A. and academic success. For me âmeritâ was about how it was that I got from East Los Angeles, with a poor high school G.P.A. to U.C. Berkeley with my momâs income of $6,000 a year. Each semester at U.C. Berkeley my financial aid check was always delayed because I had to provide extra income proof that we were that poor.
If you are too (so-called) poor, people don't believe you. Merit to me was after I graduated U.C. Berkeley and returned to East Los Angeles ready to teach at my old high school. I was not able to find a job and ended up in the projects in government housing. I heard the same drive-by shooting sounds that I had heard all my life growing up and managing to fight that depression of ending up in a worse income situation than before I left high school. And, I pushed through all that and got into a graduate program. Inside of all that, I managed plenty of college debt that, surprisingly to me, over the last ten years has surmounted with back interested to about $100,000. Yet, despite that, I've have not been caught up in that overwhelming debt stress that has led some students to leaving the country and for some a myriad of extremes including suicide. Instead, I returned to community work and created opportunities for others to further themselves artistically, socially, academically, and poetically. Merit to me was despite all that, always creating ways to help my community, to inspire them to go to college, to further their education, to further their artistic sensibilities by any means necessary.
I most recently decided to make 1,000 creations at $100 each to embark on repaying massive loan debt. But the project is more about personal true freedom than it is about a tremendous amount of loans. I don't really see it as an obstacle anymore, just another fun game to play in this lifetime - to go past the illusion of poverty and into the reality of abundance.
We are writers, artists, teachers, creators and inspirers who live inside a racist, classist, sexist, homophobic, fear of anything non-white and Christian system. We are social justice artists, poets, muralists. We are weapons of mass creation. We love to laugh despite the craziness handed to us. We are muse makers. I was finally seen and it came at an important turn in my life by Kindle Project.
I was banned from a school for stating the fact that immigrant students were not being informed about their college opportunities. After this I was deemed a rebel-rouser, trouble maker, not really fitting in with the system in place. My words were dismissed, while an older white maleâs truths was accepted as the truth in the matter. This took place at a school that I had been working at for over four years, working with predominantly Chicano, Mexican American, immigrant youth and families on the side of town considered the poorer side. Even after several teachers and administrators spoke on my behalf, even after I had offered a pamphlet that I had made with a lawyer explaining the complexity of immigration status and what was and wasnât available to immigrant youth going to college. Even after I came back to try to find resolution and brought different admin into the conversation, it didnât matter. This is the world weâve been living in, but I think now the rest of society is baring witness to this type of behavior, as one manâs truth with twittering thumbs is silencing all other truths that surround him. But, I've learned inside all these walls.
This also comes after I was called into several non-profit organizations who had asked me to make art projects for them despite the fact that they were not going to pay me, even though initially they told me there was plenty of resources for me to use. Those roadblocks and frustration took me back to some basic principals that I've always known about the abundance that surrounds us.
There is always enough. There is always more than enough. There is always abundance despite what perceptions we might have in our immediate vicinity. I began to do mural projects with predominately my own money and time and eventually saw resources and donations come my way. I began to do workshops and poetry readings again without any "backing.â Itâs because we have other movements behind us, other types of backings that are always surrounding us whether we see them or not. Itâs part of the sacred motion of life. Objects in motion tend to stay in motion. Itâs a part of becoming part of the universal wave of positivity, creativity, healing and change that is in constant flux.
These particular times are really exciting despite the horrors we are facing. Deep seeded horrors that we are already barring witness to. Hate crimes and other forms of systematic reinforcement of already problematic systems: budget cuts, continued wars waged on our mother through the pillaging of her waters and her resources, continued war against indigenous nations of the Americas, continued onslaught on our young and old women, continued onslaught and hatred towards Muslims, immigrants, LGBTQ, the poor, etc. etc. etc. So, now more than ever.
There are all these manmade border politics that play out in all kinds of âisms. Poetics, art, music and video-making provide the political satire, the crucial gaze, the creativity to go around, inside, outside, in-between, reimagining, revisioning, repurposing, using the every type of tool found in the barrio to create, dismantle, recreate our surroundings. Because, this is not about survival. This, for me, is about moving beyond survival and into thriving spiritually, mentally and physically. Itâs about seeing the abundance the despite systems in place. We are the first mirror. Before anything else. We are the movement. Without art there is no movement. Itâs the signs - the beauty giving through the arts that lifts the people. That breaks the people open to revisit what has been not seen. That has been ignored. That has been dismissed. Itâs the politica that awakens all of our senses and sensibilities.
I try sometimes these days to create things in 1,000 series, like when I created 1,000 nonsensical poems in a month, or currently working on a 1,000 page codex, some of which I've self published as a coloring books, 1,000 mural walls, 1,000 hip hop, punk, cumbia songs, 1,000 comic book page sketches, 1,000 little canvases painted. All of which are seed songs. All of which are prayers. All of which are sparks of inspiration. All of which are abundance. All of which usually require me beginning with limited resources and expanding, like the books that I am self publishingâmany are made with just a sharpie and regular blank computer paper. I want to remind people that as my ancestors said, âEn Lah Ketch, Eres Mi Otro Yo,â You are my other me.
So now more than ever I feel urgency. Despite the parts of me that want to say, âStop, this machine, this system is so big.â I'm reminded that we are bigger. That our spirits are louder, clearer, bigger in mass, fierce, gentle, compassionate, loving, inspiring. So now more than ever I feel the need to say brown, Chicano, artista, artivist, community bridge, politico, spiritual, loving, abundant, at service para la gente, for the people. And we know that our ability to create, envision, do without âso-calledâ resources is needed. We need the street arte, street theatre, barrio visions, barrio murals, hip hop, song, laughter, tears, rebel rousing, tenacity, clown logic, sacred geometry. These are all the weapons of mass creation we can muster, with a pencil, a pen, no paper, no pen, no wall, off the cuff, off the dome, improvised community creations embodying the future we want manifested. We have to become big mirrors, like the warriors that came before us. Like the grandmothers and grandfathers that sacrificed despite all the historical genocide, historical tyrannies.
So what kind of mirror are you going to hold up? Now more than ever. I keep imagining that our Mayan ancestors were giving us a four-year head start with 2012, not an end of worlds, but a beginning of a new one. And the infinite possibilities of what we can create when we decide to honor all the layered histories and herstories of all our ancestors, all of them. So this story of 1,000, is the story not about me but the story of us, the story of all our thriving despite everything. All the ways in which we have thrived not just simply survived. ![]()
Israel Haros Lopez
Iâm writing this just days before Donald Trump becomes president of the United States. I, like many people in the ...
Feb 01, 2017
Jaimie Warren When I was asked to produce a Nexus Post for the Kindle Project, I was excited about creating a new work of video art for this platform, or to experiment with new ways of talking about my work, or to make something that might inspire a new collaborative art project. But throughout the months leading up to my deadline, which coincided perfectly with the recent election, there had been such an immense amount of unexpected worry and sadness and anger throughout my community, which really changed my priorities in terms of thinking about or writing about my work during that time.
Itâs not to say that my projects and goals will change drastically or that these issues havenât always been important, but it just felt so strange, maybe self-absorbed or selfish (?) to create something all about me, during a time when so many were hurting. Especially throughout the months of November and December, trying to create something bubbly and fun and humorous and only talking about myself, when all around you, you see such pain, sadness, worry and anger.
So I scrapped the initial projects and experiments and tried to think about something that might possibly bring joy both to myself and anyone who might read this, and it felt like the perfect idea to use this as an opportunity to highlight and thank the artists and projects that have inspired me over the past fifteen or so years to make collaborative art projects.
To give you a bit of background, my name is Jaimie Warren and I am both a solo artist, making photography, video and performance projects (dontyoufeelbetter.com), and I am also the Co-Director/Creator of the fake public access television show and community arts initiative âWhoop Dee Dooâ (whoopdeedoo.tv).
My personal photography work began as self-portraits that were re-creations of found photo-shopped collages made by anonymous web users, where I would attempt to re-create them without using photoshop, using myself as the main subject. They are always referencing pop culture figures, and I choose images to recreate that ideally represent my personal sense of humor, and also are highlighting celebrities that I have some sort of connection to or affinity for.
[caption id="attachment_6987" align="alignnone" width="720"] Self-portrait as Lasagna Del Rey by thestrutny, 2013[/caption]
[caption id="attachment_6988" align="alignnone" width="720"] Self-portrait as Pretzel Rod Stewart by breadpeople, 2013[/caption] Inspired by years of working collaboratively on Whoop Dee Doo, which you will read more about below, my work has more recently grown substantially in scale, and the projects have frequently been large-scale residency projects, where I am working with up to 80 participants to create a final tableaux vivant and music video. These projects invite participants to contribute ideas, help create sets and props, and perform in the final piece with me.
[caption id="attachment_6992" align="alignnone" width="864"] Jaimie Warren in collaboration with Daria Mateescu, Kim Corona and Genesis Monegro Somebody to Love: Self-portrait as Freddie Mercury in re-creation of Saints Cosmas and Damian by Matteo di Pacino (1350-75), Part 1 of 3, 2015[/caption]
[caption id="attachment_6991" align="alignnone" width="900"] You Are Not Alone: Self-Portrait as Michael Jackson in a recreation of the Genealogical Trees of the Dominican Order, Part 1 of 3, 2014 Art History Series[/caption]
https://vimeo.com/111763594
Whoop Dee Doo spawned from a need to fill a void of entertainment in a smaller city, as it began in Kansas City, Missouri back in 2006. The combination of free, huge amounts of space, an amazing and supportive community, and very little to do, aided greatly in the creation of this fake public access television show, where we worked with artists, seniors, kids, drag queens, punk bands, high school choirs, zookeepers and more, to create a bizarre, uniquely Kansas City project for many years.
The project began to travel, working with festivals, museums, universities and the like to create unique installations and live shows featuring their communities. We always bring a core group of 8-12 artists, and most often collaborate with an under-served youth group to help create the sets and come up with the installation designs, collaboration styles and performance ideas.
Whoop Dee Doo has been located in Brooklyn, NY since 2013, and we have two recent Art21 videos that give a great behind-the-scenes glimpse at our processes. Check it out here.
[gallery columns="1" size="full" ids="7003,6990,7004,7005"]
Both of these projects are heavily reliant on the on the participation, artistic contribution and creative input of a large swath of contributors of all ages and skill levels. I have been working with various communities for over a decade, but the collaborative and energetic spirit of these projects is only possible due to the incredible artists and projects that have inspired myself and countless others over the years. I would love to use this as an opportunity to pay tribute to these people.
Since there is no real order from least to most or best to worst, I thought I would do this chronologically.
Thank you thank you thank you to the hundreds of people who made these artworks, ideas, performances, characters, puppets and productions come to life!
My earliest and most influential moment I feel may have defined my entire life and interests is this clip of the Cookie Monster on Sesame Street. I was obsessed with this clip, the combination of Cookie Monstersâ voice being equally joyous and terrifying, and the shock factor of this dark and goopy mess completely covering a perfect white baby gown â it is al too wonderful and it still shocks me to this day.
https://www.youtube.com/watch?v=JBK4bQ36wyg
I think that an easy follow-up that represents something similar to me is this INCREDIBLE scene with Joan Rivers and Miss Piggy from the film The Muppets Take Manhattan. Miss Piggyâs squeals and her anger in general has always been thrilling to watch and hugely inspirational â not to mention making a giant mess!
https://www.youtube.com/watch?v=a4zqHr5S0lg
And since we I am on this kick, I canât leave out the Swedish Chef.
https://www.youtube.com/watch?v=9OfsABOGw3c
The opposite side, but still as important, is the straight-up terrifying moments of kids shows. These confusing, wonderful clips are still inspiring me, and I reference them often in my work. This clip of Ernie and Bert coming across a frozen statue of Bertâs Egyptian doppelganger is truly terrifying.
https://www.youtube.com/watch?v=8yiqGtZXCmQ
And this orange singing Habanera from Carmen⌠(chills). I believe this is one of the only animations in Sesame Street that Jim Henson worked on.
https://www.youtube.com/watch?v=Z8TqOTe3ODc
The Muppets in general and Jim Henson â how could I ever express my gratitude. I am confident that this person changed thousands of lives and created so many unique artists. I cannot believe what Mr. Henson accomplished in his lifetime. From the Dark Crystal to the Muppet Show â the characters and clips that inspired me are endless. Thank you, Thank you, Thank you Jim Henson. There are many incredible moments, but one I have been enthralled with for so many years is this Muppet Show skit with Alice Cooper- itâs just such a perfect pairing.
https://www.youtube.com/watch?v=iz0lXNNkqac
And if you have never watched Jim Hensonâs funeral, itâs absolutely beautiful. 2:11:20 is the pinnacle moment, besides of course, Big Birdâs tear-jerking rendition of âItâ Not Easy Being Greenâ.
https://www.youtube.com/watch?v=mEArJXD8YFY
Musicals from the 1980s were a personal obsession when I was a kid â from Annie (Tim Curry!!) and Oliver to the Sound of Music to my absolute favorite â Little Shop of Horrors. Rick Moranis and Steve Martin (wow), even Bill Murray makes an amazing cameo! And the layered complexity of Ellen Greeneâs voice, paired with the unbelievable singing and voice acting of Levi Stubbs of the Four Tops, and that PLANT PUPPET!!!!!!!!!!! Itâs in my dreams as much as itâs in my nightmares, to this day.
https://www.youtube.com/watch?v=5ea5jKFGgUw
Michael Jackson. Michael Jackson. Michael Jackson. Michael Jackson. Michael Jackson.
Iâll never be ashamed to express my adoration for this absolute angel of a human being. I have made multiple tributes to this person and have read every book about him I can get my hands on. He never ceases to amaze me. This is someone the world turned into a monster, and it is such an examination of what the world as an audience is capable of, and itâs a truly heartbreaking story. All of this paired with the fact that he is simply the absolute greatest entertainer that the world will ever see, whose audience is the most inclusive â all ages, races, backgrounds â that there has ever been for a musician, whose music is still the absolute life of every party â I cannot say enough. I have been obsessed for different reasons throughout various periods of my life, and my passion for who he is and how he became who he is inspires, confuses, and intrigues me more now than ever. I love you, Michael.
https://www.youtube.com/watch?v=wysNR6md3Og
Pee-wee Herman was always controversial for so many reasons, but he is a brilliant comedian, and the sets and puppets on Pee-weeâs Playhouse made him into the Jim Henson of the 90s. A book on the difficulties of this process â making such an incredibly complex show when in competition with shows that cost a fraction of the price by using cartoons and simple sitcom structures â is highlighted in an incredible book: Inside Pee-Wee's Playhouse: The Untold, Unauthorized, and Unpredictable Story of a Pop Phenomenon. It takes a very in-depth look at his climb to the top, and the wonderful actors, puppeteers and designers he worked with. There are of course hundreds of clips of Pee-weeâs Playhouse to choose from, but I would rather show a rarer clip of Paulâs early days of Pee-wee on the David Letterman show. He has been a genius for quite some time.
https://www.youtube.com/watch?v=y8dHJrEig5k
Roseanne Barr was always an idol to me growing up, due to my Motherâs uncanny similarity in attitude and jokes, and the fact that the sitcom âRoseanneâ in general could not have been more similar to my family dynamic. Even when the show went completely bonkers in the last couple of seasons, it just made into more of a cult phenomenon. But the most inspiring clip â maybe one of my absolute favorite things in existence â was something I did not discover until years later. This 1990 clip of Roseanne singing the National Anthem at the San Diego Padreâs game clearly exhibits that Roseanne is not only the ultimate feminist, but the ultimate punk. She is fearless and I love her.
https://www.youtube.com/watch?v=ls1YVhcLD2c
What better role model could you have as a teenager than Courtney Love? This is super early Courtney, but Hole was an amazing show to see live in those wonderful teen years.
https://www.youtube.com/watch?v=YTm0oIAszdQ
Bonus: Courtney Love & Kim Gordon on MTV 120 Minutes here.
The âPope of Trashâ John Waters has decades worth of inspirational material, and the documentary on his life â âThis Filthy Worldâ is was pretty much life-changing for me. The sets and color palate in Female Trouble and Desperate Living are particularly mind-blowing. While youâre at it, watch the documentary on Robert Crumb as well â âCrumb."
https://www.youtube.com/watch?v=lQYcducyi40
Charlie Whiteâs photography blew me away when I saw it as a student. It was one of the first times I had seen the potential of creating costumes and characters as part of being a âfine art photographer". These provocative images were presented to me at the perfect time and changed my worked profoundly. Nagi Noda is a video and performance artist whose work I was lucky enough to come across at the Museum of the Moving Image in Queens, NY, at an exhibition titled âSpectacle: The Music Videoâ. The payoff in this unique, 5-minute video is well worth your time. Very sadly, Noda passed away at a young age, but she left us with some incredible work.
https://www.youtube.com/watch?v=iy7YkF5kvKM
Following close behind Pee-wee, Thu Tranâs explosive cooking show âFood Partyâ inspired me with her amazing sense of humor, energy and color, and really creating something catered towards adults that kids also go nuts for. Thu is a working artist in Brooklyn and continues to make interesting work for herself and others. I was lucky enough to meet her and hear her wonderful stories about creating this show in her living room with friends, and the hardships of selling your soul to a TV network.
https://www.youtube.com/watch?v=OBPySxWxlcE&t=1s
Bronx Flavor Baron Ambrosia is a show I am OBSESSED with, but no one seems to have ever heard of it. Itâs a public access show from the Bronx that had a stint on the Cooking Channel (even an appearance from John Waters!!). The acting is awful, but that is almost always what makes it so amazing. The Baron, who writes, directs, and stars in the show, causes mischief and fights local folklore, while pairing up with actual restaurant owners, wait staff, and customers of local mom and pop shops, restaurants and bodegas, asking them to be actors in his show while simultaneously cooking, thoroughly describing, and/or eating their ethnic cuisine. It is the awkwardness in the cast that makes the show equally bizarre and heart-warming.
https://www.youtube.com/watch?v=Dz1tLSYGXBI
Philip Kwame Apagya is an artist from Ghana who makes brilliant studio portraits. The colors he uses, his one-of-a-kind painting style, and the sweetness of these images make him one of my favorite artists of all time. Guy Ben-Ner is an artist from Tel Aviv who uses public spaces to create video work. He is mostly known for his video series recreating scenes from soap operas in IKEA bedroom sets with hidden cameras. In these videos, the actors lipsynch and use all available props in ingenious ways while shoppers continue browsing or are stopped in confusion. My favorite component of his work, however, is the fact that he often uses his family, including small children, as his main actors. Itâs adorable and truly wonderful to watch.
https://www.youtube.com/watch?v=Uvj8_rlv6gI
Mega Mashups!!
Nothing is exciting as when two opposite worlds collide. I think this is why I am so obsessed with puppets and people coexisting. These two phenomenal pairings are so gorgeous to watch, and represent the best of all worlds.
https://www.youtube.com/watch?v=7vMOiVsAVZk
https://www.youtube.com/watch?v=8CjUvbSjyPY
RuPaul Charles is a drag mother for hundreds. The show RuPaulâs Drag Race has changed drag forever. We all know that drag had strong roots well before the show, but this project put drag in the mainstream in a way that is creative, cut-throat, heart-warming and tear-jerking. Every season has an amalgamation of talent that never ceases to impress. They never stop one-upping each other and it is as viscous as it is beautiful. Thank you RuPaul for your genuine program that keeps getting better and better. And your autobiography is brilliant as well. AND AND â always be on the lookout for RuPaul interviews â TV, radio, etc. They are always impressive. Jean Paul Goude is a French photographer, graphic designer, illustrator and filmmaker. Goudeâs creations bridge the gap between fine art and commercial work in a way that I have never seen. Most known for his collaborations with the inimitable Grace Jones, Goudeâs 30-minute portfolio âSo Far So Goudeâ is something I have watched literally hundreds of times. It is jam-packed with brilliance, most specifically the documentation of his most ambitious curated performance, when in 1989 he was asked by the French government to create a show that would celebrate the Bicentennial Anniversary of the French Revolution, seen here in this video at 14:20. Absolutely unreal.
https://www.youtube.com/watch?v=FQ_oMMmZtXE
That just about does it. These are the works that have impacted who I am and what I do throughout my life. All of these are things I revisit often and continue to be inspired by. But beyond all of these amazing people and works of art, I want to thank all of the people who have helped me with projects and with Whoop Dee Doo over the years, and of course to the Kindle Project and their absolutely phenomenal, caring, and ever encouraging staff. This sort of genuine support by people who truly care about what you do and why you do it is so rare to find. I am so honored that they have found me and that they have welcomed me under their umbrella of artists and organizations that they care about. It is moments like this that are what allow you to be truly inspired, and I thank them for it dearly.
Thank you to the Kindle Project, and thank you to Matt Roche, Sofia Dixon, Calder Zwicky, Michael OâMalley, Megan Nelson, Sarah Dahlinger, Danny Crump, Anna Platt, Erin Sheehy, Rebecca Fayemi, Xiaoyang Jin, Mya Edwards, Monika Uchiyama, Eileen Emond, Andrew Mandinach, Matthew Leifheit, Megan Goddard, Joseph Keckler, Erin Zona, Lee Heinemann, Jessy Abid, Justin Oswald, Michael Boles, Tim Barber, Josh Pavlick, Peter Fankhauser, Tara Perkins, Garrett Fuselier, Daniel Goggin, Stuart Scott Smith, Natalie Myers, Chris Beer, Rachel Helm, Lindsey Griffith, Elizabeth Allen-Cannon, Roger Link, Madeline Gallucci, Brandon Nemeth, Molly Ryan, Ryan Comiskey, Kate Hackman, Raechell Smith, Colin Self, Erica Peterson, Peggy Noland, Andrea Peterson and Katie Vaughters for their help in the creation of this work.
[caption id="attachment_7009" align="alignnone" width="964"] Whoop Dee Doo crew, September 2016, The High Line, NYC[/caption] ![]()
Jaimie Warren
When I was asked to produce a Nexus Post for the Kindle Project, I was excited about creating a new ...
Jan 11, 2017
Announcing Fall 2016 Boomerang Grantees This year we embarked on another Kindle Project experiment: Boomerang. Remember that program? The one where we conspired to have culture-makers paint the streets paisley, part the seas, and eventually take over the world? Well, we came pretty close! Which is especially impressive considering the election happened, Prince passed, and we learned that two-thirds of wildlife could be extinct in the next four years. In reality, Boomerang was the experiment in which we invited the 2016 Kindle Project Makers Muse artists into the wilds of philanthropy as Flow Funders.
We had no idea where our little adventure would lead us. What unusual groups would we learn about? And most importantly, what the heck would we learn as funders, artists, and activists ourselves? Well, it turns out, some of the assumptions we made were affirmed AND we learned a lot.
Creative makers are rooted in community. If we want to connect with grassroots initiatives, culture-makers are key connectors to those communities. Artists are connected to underground and underdog projects. Oftentimes these seemingly âhiddenâ projects are making the most profound impacts. Weâve got to keep looking under rocks and artists help us do that. Giving with trust and expanding the horizon on who to trust is critical to systems change. Partnering with unconventional leadership, such as artists, diversifies solutions to systems in crisis.
Obviously we could gush about this work till the end of the year. But alas, time is precious. So without further ado, drumroll please, it is time to introduce to you the seven groups recommended by our seven very unconventional and clever Makers Muse artists. Why Aalokam inspires Jaimie: When I first met Bharathi, Director of Aalokam, I thought that she was one of the most open-minded and prolific performers I had ever met. Bharathi is running a wonderful organization that takes creative risks, is open to unique challenges, is community-minded, and is incredibly generous. I was so enamored with this company, and so excited to have the opportunity to recommend Aalokam for this award.
About Aalokam: Aalokam strives to provide the South Asian diaspora in the New York tristate area continued access to their cultural roots and to introduce South Asian performing arts to the western world. Read more here. Why Prosigue inspires LIBRE: When I was first told about the Flow Fund and its purpose, PROSIGUE came straight to mind. I fell in love with the spirit and energy of PROSIGUE, having witnessed it first-hand facilitating art workshops with kids. The dedicated staff work tirelessly in developing the capacity of young people to respond to the difficult circumstances in which they find themselves. Workshops on issues of mental, physical and reproductive health build essential life skills, with a view to social reinsertion of young people from marginalized communities. Staff support and guide youth in key life decisions, acting as both role model and friend to talk to. The work of PROSIGUE is incredibly valuable and much needed in Mexico. The way the kids react when they arrive in the centers, that happiness and glow in their eyes in spite of their day-to-day reality, is a testament to the inherent strength and resilience of these young people who deserve the most support that we can give.
About Prosigue: Prosigue is an organization with a mission to improve the living conditions of boys, girls, and adolescents living on the streets or are at risk of doing so. We have 25 years of experience in working with the street population â children and adolescents â as well as over 15 years in working on prevention addiction, violence, and delinquency. We have helped over 10,000 children throughout this time. Read more here. Why the PrSYM inspires the Downtown Boys: Providence Youth Student Movement is an incredible force in Providence that organizes at the intersections of race, class, gender, and sexual orientation by centering youth, female, queer, and people of color leadership in their campaigns, their organization, and their communities. They represent love and justice in every possible way and fight for love and justice in all that they do. They are leaders in the community in confronting issues of police brutality and institutional racism by the police through their work on passing a municipal city ordinance called the Community Safety Act. Additionally, they house the Community Defense Project, which aims to offer, free to low cost legal services, training and support for CopWatch, investigating and intel on problem police, community education and outreach, and healing ourselves from police abuse.
About PrSYM: The story of the Southeast Asian community in Providence, RI is one of struggle and hope. Providence Youth Student Movement (PrYSM) began in 2001 by local students and youth in response to escalating gang fights and violent deaths in Providenceâs Cambodian community. We saw an urgent need for a youth led response to the oppression and violence facing the Southeast Asian community. Read more here. Why the Rockaway Waterfront Alliance inspires BLR: We recommended the Rockaway Waterfront Alliance (RWA) because they are a community organization in the Rockaways doing amazing work. We collaborated with RWA in September to bring our interactive artwork The Bureau of Linguistical Reality to the Rockaways. As artists we would like to change the dynamics of community collaboration. If we collaborate with a community, we would like to give something back to the community, not what we think a community needs, but rather what they determine they need. The Rockaway Waterfront Alliance had noted that it's tough to receive funding for their arts and environment program and so it seemed natural to nominate them for the Flow Fund.
About RWA: Rockaway Waterfront Alliance is a community-based organization dedicated to empowering residents of underserved communities in the Rockaways to play a role in the determination of their neighborhoods. We provide enriching education and community programming, which instill both individual and civic respect for nature, and contribute to advancing the physical, economic and social sustainability in the Rockaway Peninsula. Read more here. Why the Sacred Fire Foundation inspires Paula: I recommended the Sacred Fire Foundation, because its purpose of preserving and transmitting the ancestral wisdom to new generations is important. I identify with the original peopleâs worldview that we are intimately and integrally linked to the Earth we inhabit, that the Earth is a living being that deserves respect and gratitude from us, its inhabitants.
About the Sacred Fire Foundation: Sacred Fire Foundation works to support the continuance of indigenous traditional knowledge worldwide and to promote the values of indigenous perspective in order to create dialogue and societal change. Read more here. Why SF Dreamers Project inspires Israel: Santa Fe Dreamers Project has not been around a long time as an organization in Santa Fe, but the impact they have had on our immigrant community has proved immense. The have not only helped undocumented students and families obtain DACA and eligibility to work in the U.S. but also provided tremendous awareness building around immigrant rights and issues. They have provided so much legal counsel to community members that could not afford it otherwise. While others are profiting from the recent changes in immigration law, Santa Fe Dreamers Project is finding ways to provide legal counsel at extremely affordable costs. They are a precious example of people before profit and our constant reminder that immigrants make our community stronger by providing for their legal needs.
About the SF Dreamers Project: The Santa Fe Dreamers Project is a non-profit organization that provides free legal representation to immigrant youth and their family members, with a focus on economic & community development. Santa Fe Dreamers Project is committed to representing every qualified immigrant who walks through our doors. We make every effort to understand the barriers that normally prevent immigrant families in our community from accessing legal representation and design our services with those barriers in mind. The Dreamers Project has a 100% bilingual staff, including three attorneys, a legal intern, and a legal fellow. Read more here. About FJK Dance, Inc.: FJK Dance is a contemporary dance company founded in 2014 by Fadi J. Khoury and Sevin Ceviker. Dedicated to presenting a unique fusion of dance genres, it fills a void in the current dance scene, fusing the vocabularies of various genres â modern, jazz, classical ballet, ballroom, and traditional folkloric â into a language that expresses a fundamental, shared capacity to create.  Through our performances, FJK supports cross-cultural dialogue, infusing its works with positive images from many dance traditions. Read more here. ![]()
Announcing Fall 2016 Boomerang Grantees
This year we embarked on another Kindle Project experiment: Boomerang. Remember that program? The one where we conspired to have ...
Dec 16, 2016
The Bureau of Linguistical Reality A few weeks ago the Oxford Dictionary released its 2016 International word of the year, which fittingly is Post Truth. This timely neologism reminds us that language is dynamic and that many of the words weâve inherited in the English language often fail to adequately express what many of us are experiencing as our world rapidly changes.
We created The Bureau of Linguistical Reality in late 2014 with the vision to create a new lexicon to express what we and others are feeling as our world changes due to climate change and other Anthropogenic events. We sought to provide a forum where feelings, experiences and phenomena that werenât being discussed, could be openly shared, investigated and ultimately named. As the project has progressed, the scope of the collective loss for words that it seeks to address has since expanded.
For example, during one of our Field Study Salons (in which we bring together 8 individuals from diverse disciplines who may have never met before, but who are united by a common interest), Artist Rodney Ewing shared his desire for a new word to express that as an African American male living in todayâs United States, he does not feel safe walking down the street and that until his own personal âclimateâ feels safe, he simply doesnât have the bandwidth to consider greater climates.
Rodney felt relieved to share this emotion with a greater group. Somehow Rodney sharing his burden was a catalyst for conversations that desperately needed to happen. Rodney has asked The Bureau and others to coin a neologism for the sensation he shared and so weâve added to it our ever-growing list of emotions and experiences for which we are seeking new words. Over the course of the last two years, weâve found the void weâre filling is not just words but spaces: safe spaces, new spaces, spaces for sharing feelings and experiences that many of us thought only were experiencing in isolation â until we learn others are experiencing them as well.
A key element of social change is when people shift from feeling isolated and alone in their thoughts to viewing themselves as part of a greater collective consciousness. The Bureau provides a space where people can share the feelings and experiences that arise from these rapidly changing times as well as collaborate with others to ultimately name them. The words become points of connectivity amongst strangers and inspire even greater conversations around topics that are often difficult to discuss or even conceptualize. For us, facilitating these conversations has always been as equally important as the neologisms generated through the project.
Through both The Bureauâs Field Study Salons and Mobile Field Offices we have been facilitating these novel spaces. To date weâve held over 14 Field Study Salons on themes including Inequality and the Anthropocene, Reconceiving the Term Nature, Using Science Fiction to Reimagine our Present and Future, Urbanization, Water, The 6th extinction, Expanding the Definition of What it Means to be Maternal in Todayâs World, and more. . .
Weâve brought the Mobile Field Office to diverse public venues in Paris during the International Climate Change Talks, Los Angeles, Rockaways, Queens (a community hit hard by Hurricane Sandy), as well as the Greater San Francisco Bay Area and beyond.
Everywhere we travel someone invariably points out that âThere is no official Bureau for creating words!â
We agree.
We created The Bureau of Linguistical Reality as a Faux Bureau to highlight that people have the agency to create neologisms to give voice to their feelings and experiences. People create new words. People create culture. Not governmental agencies. By revealing this through art, we are simply reminding people of their power and providing a space to express it.
In the wake of the election we followed up with a friend who had told us something in confidence a few months ago. We had asked Jane Kim, an artist dealing with the 6th great species extinction and communicating about it to the public, regarding her feelings navigating the emotional work she is doing. We asked her if she planned to have children knowing what she does about the fate of so many species. She told us, quietly, that she draws her strength to confront these issues from a deep feeling of acceptance of scope of the forces that are already in place, and that through this acceptance she has also lost her fear.
At first she was reluctant to share this feeling, worried that we would think it was weird, because in a way it is almost an acceptance of lossâ but it gives her a deep strength to keep moving ahead. We did not think this was contradictory. Again thatâs one of the great things about this project; by naming something you realize that so many of us are carrying around feelings that we think we are strange and that we carry them alone. But, really many of us are experiencing these feelings collectively, we just are not talking about them. Janeâs feeling, we named Surbrace: a powerful sense of conviction to do the right thing that arises after one has already let go of the outcome, because they see the situation as larger than themselvesâ almost as though they are already dead looking back at history. This is not at all to be confused with a feeling of fatalism, or with giving up, what she describes is something very far from that. It is a well of inspiration, that one's every action has consequence and power, and that to be on the right side of historyâregardless of the outcomeâ is greater than the pain of facing these realities.
âPost truthâ may have been the Oxford Dictionary international word of 2016, but other words were also generated by real world phenomena and cultural shifts, including âwoke.â Both of these neologisms name the real world challenges we are currently facing. We need so many more to help us define where we are as well as navigate our way forward individually and as a society. And while as an artwork, we arenât waiting for the Oxford Dictionary to approve the words we use, this year's selections illustrate the greater need for people to name what is real to ultimately spark greater cultural shifts. This is the sort of space The Bureau seeks to create. We thank the Kindle Project for helping us continue to introduce these new spaces where diverse peoples realities are brought to light and shared with others.
Here are some of the neologisms the bureau has generated to date through our process. ![]()
The Bureau of Linguistical Reality
A few weeks ago the Oxford Dictionary released its 2016 International word of the year, which fittingly is Post Truth. ...
Dec 07, 2016
Downtown Boys Downtown Boys: The Need for a Diversity of Tactics
The role of platform for an artist, political figure, or really any athlete is an opportunity. Since our inception, Downtown Boys has always elected to use whatever platform we can in order to connect with people using culture as a weapon. We know that any time you bring a group of people into a room, there's gonna be the same power dynamics that are happening outside of that room. And by no means do we have an expectation for it not to be. We want to play to a cross section of what reality is rather than to some hyper-curated group. Because we're a traveling bandâwhich not all bands areâwe've traveled the country a couple of times. We play so many cities, and weâve seen in one or two cities like McAllen, Texas or Oakland, California where we are playing and actually looking at people who look like us, and it's so rare. Even in New York, people of color fight to come out to our shows, and fight for the front, but New York is so big and it's also so gentrified. So the few shows where we see people who look like us, it's so incredible, and weâre like, 'this is reality for a lot of people.' But ultimately, we know that that's not how it is in a lot of the scenes that we're playing in, and a lot of the cities that we're in. So it's an amazing thing when you're playing to 200 black and brown people, but by no means is that an expectation, because we know that's not a reality of the DIY scene. We absolutely try to confront the same power dynamics that are happening outside of the show inside of the show. One of the ways we do that is through using our platform to demand change, since our platform and our shows are our means and we will use our means as we think is most necessary.
We would love to take this chance to highlight three very distinct and different platforms that we have played in the Fall 2016 leading up to the Presidential Elections and some quotes from interviews about the shows.
People might now know this, but we are often driving for hours on end, getting to a venue or show location, setting up to play and then we use the time between to talk to people. We try to engage people coming to shows, figure out the political and social climate of where we are performing to the best of our ability, to not give anyone a canned show. One of the ways we do this is taking advantage of interview opportunities and working with show goers, writers, and other participants in the music scene who believe that culture is a mechanism for pushing the limits of the status quo.
One of the shows we playing in August of 2016 was AFROPUNK. They asked us about what it meant to be playing political music. The festival featured so many artists, mostly artists of color and was based in Brooklyn.
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This is an excerpt from our interview with AFROPUNK.
AFROPUNK: âWhat about the intersection of art and activism? To what extent do you think those are inherent allies in the struggle for justice, or are you using that intersection in your own ways?"
Norlan Olivo (Drums): Everyone is political. Art is political; how you choose to go about it, or if you choose to use it in a political way. And we always have discussions about how because we're a band that outwardly says political things in our art that happens to be a punk rock style band, we get asked a lot of these questions or we get put on the spot a lot. But you don't hear anyone asking the Mumford Sons or these bands of all white men about political issues. It's interesting that when you speak out, that you're supposed to be a spokesperson for political action, but no-one's holding these other bands accountable for not being political at all, when they should be political in a time when so many people of color are being killed by cops in the streets and so many injustices are happening in the streets. I think we use it in the way that we use it, but the question that should be asked more is why isn't anyone else speaking up? And why aren't these other bands or other people being held accountable in the same way that we're being held accountable. Because I feel a lot of pressure as a male of colorâwhen I went to art school, or when I walk into a space full of all white people, or whatever it may beâI feel a lot of pressure to be political or this speaking voice. And it's an interesting dynamic.â
We also played a rowdy and beer filled festival in Raleigh, North Carolina called Hopscotch. It is a very special festival because it often brings together people from various independent music scenes for a festival that really does have a lot of bands who believe in an alternative music community. We closed out the festival, playing at a grungy and loud punk dive bar. There was a lot of intersectionality between different ages, music scenes, and social circles. We were so happy because there was a group of Latinx activists that came as a group and stood in the front and took the mic to sing âSheâs Brown, Sheâs Smart,â at the end our song Monstro. Even at a weekend music festival in Raleigh, North Carolina, we were interviewed by an incredible Feminist Independent Mag called, âHooligan Magazine.â They did an awesome âWomen of Hopscotchâ feature. This is what came out of that interview. Hooligan Mag is a
Chicago/Milwaukee based webzine that celebrates art.
[caption id="attachment_6918" align="alignleft" width="760"] Photo Credit: Hooligan Mag[/caption]
Hooligan Magazine: âWhat is the earliest memory you have of creating something you were proud of?"
Victoria: In first grade I won a speech contest and it was throughout the whole district. My grandma came and she missed bingo, and after I won she was holding my hand and she was like, âStay right here.â So we stayed in the middle of the doorway and all the people had to walk around us and she was like, âI want people to know you are my granddaughter.â
Mary: When I was in third grade I wrote a poem and it got an award. I remember working really hard on it and showing it to my family who didnât speak English, and they didnât really understand it, but it was about monsters. I donât have the poem anymore, but I still have the award.â
Unique from Hopscotch and Afropunk are a set of shows we played called, âRock Against the TPP.â Labor and community groups spearheaded by Fight for the Future came together to fight against the Trans Pacific Partnership. It was very exciting because we got to play with amazing people a rapper name Son of Nun and Tom Morello of Rage Against the Machine! More than anything, we were able to stand up against a trade deal that would be socially and economically terrifying.
[caption id="attachment_6919" align="alignleft" width="595"] Photo Credit: Jam the Control, Travis Wiggens[/caption]
This is a quote about the TPP from Melisma Magazine:
Melisma: âI read in old interviews that you guys have a lot of discussions on tour together about current events and political issues, and I was wondering if there was anything recent you wanted to bring attention to?"
Joey: This van ride over here we were talking about the TPP. The Trans-Pacific Partnership which is supposedly a free trade deal thatâs being negotiated to the United States along with other countries. Something like 6 out of 30 articles donât actually have anything to do with trade; a lot of it is giving power to corporate interests to regulate regulations in countries. So a corporation can come in if they donât like an environmental regulation a particular state or country is imposing and sue that government for, supposedly, fringing upon their business interests. Thereâs that, and thereâs many other things wrong. Itâs this extra government judicial system that is essentially going to be run by corporations through this âfree-trade agreementâ. And this is something that has already been ratified at a certain level, but congress still needs to pass this agreement. So thereâs a big fight right now to try and get congress to not pass this agreement. And I donât know, thatâs just one thing.â
Seeing the country and meeting so many people throughout the history of this band has afforded us tremendous opportunity. With the advent of a Trump Presidency and a huge increase in risk for so many immigrants, Muslims, People of Color, people with criminal records, poor people, and LGBTQ people, we will continue to tour and play shows and take space for messages of justice. We are close to finishing a new album. All the songs are relevant to confronting the injustice that the white supremacist president-elect represents, but to be honest, they would also be relevant to confronting the injustice Hillary would have represented as president. I think thatâs because the music is not meant for the dictator, the boss, the creator of neoliberalism, the deporter-in-chief â the music is meant for everyone else. I think our music will continue to play an offensive game with culture rather than a defensive one. We donât have to defend white culture and we donât have to defend fear about being brown; we have to take space, we have to connect, and we have to change the game, not get held down by the players.
Subcomandante Marcos of the Zaptaistas in Mexico, has a quote that I think will drive our new music in a new way, though the music and the way will always be connected to our history as well: âThe world we want to transform has already been worked on by history and is largely hollow. We must nevertheless be inventive enough to change it and build a new world. Take care and do not forget ideas are also weapons.â ![]()
Downtown Boys
Downtown Boys: The Need for a Diversity of Tactics The role of platform for an artist, political figure, or really any ...
Nov 30, 2016
Announcing Kindle Project #NoDAPL Grantees Solidarity can look a lot of different ways. While the Kindle team is all over the world and far away from North Dakota we have been standing in solidarity with the thousands of water protectors, pipeline resistance supporters and over 300 Native American Tribes that have gathered at Standing Rock to fight against the construction of the Dakota Access Pipeline. We are lucky and humbled to provide urgent action funding to five brave groups and individuals at Standing Rock.
These grantees and awardees are courageous and do critical work. They have demonstrated the power that people and communities have when they come together to expose truths, exchange resources, and act on shared values of respect for the earth. This tremendous force for good is comprised of healers, activists, lawyers, media mavens, comics, truth tellers, and allies.
Get to know them below and please support them in any way you can. ![]()
Announcing Kindle Project #NoDAPL Grantees
Solidarity can look a lot of different ways. While the Kindle team is all over the world and far away ...
Nov 23, 2016
LIBRE Alfredo LIBRE Gutierrez is both an artist and an architect combining traditional techniques with alternate ones to create body of works where order and chaos are palpable. He was born in Tijuana Mexico and started his artistic career in street art and exhibiting in galleries in his local Tijuana as well as San Diego, CA. He then went on to paint in places like Los Angeles, San Francisco, Chicago, Cuba, Colombia, Paris, Frankfurt, Croatia, Hungary, Austria, Switzerland, London and Peru.
Since 2003, he has facilitated community art workshops using creativity as a tool for social change and adaptation, community cohesion as well as an educational instrument. Libre has carried out this community work both individually and in partnership with organizations like the Institute of Culture In Baja California (ICBC), Mamutt Creatividad, Infonavit, Fundacion Hogares (support for people experiencing housing issues), Fundacion ORB (youth development programs), the German embassy in Mexico City, PROSIGUE (activity centre for young people at risk of homelessness), Reclusorio Oriente (adult male prison in Mexico city), and Casa TOCHAN (shelter for Central American migrants in Mexico city).
https://vimeo.com/100271742
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https://vimeo.com/97152745
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LIBRE
Alfredo LIBRE Gutierrez is both an artist and an architect combining traditional techniques with alternate ones to create body of ...
Nov 02, 2016
Paula DurĂł Bien, en principio, comenzar a escribir este texto, es todo un ejercicio en si, ya que de alguna manera mi inclinaciĂłn natural hacia la pintura se debe mĂĄs a una preferencia por lo simbĂłlico que por lo literal.
En mi vida, la pintura se ha presentado como un viaje, e hilando mĂĄs fino como un viaje de IniciaciĂłn. SignificĂł una gran metamorfosis y una gran herramienta para indagar en todas las cosas que parecĂan tener muchas aristas e implicaban observar cosas y situaciones desde diversos puntos de vista. Y por supuesto, claro, es la gran embarcaciĂłn que permite adentrarse en las profundidades de lo propio y siempre volver a tierra firme.
De mis primeras pinturas recibĂa las siguientes impresiones:
Has estado en PerĂş?
Has compartido ceremonias de plantas sagradas en el interior de la selva?
A lo que respondĂa que no. Apenas habĂa recorrido algunos lugares de mi propio paĂs.
Lo que pasĂł aĂąos mas tarde, es que al viajar en primera persona, a esos lugares remotos, descubrĂa las similitudes, descubrĂa que los paisajes, la vegetaciĂłn, los animales y la gente se parecĂan muchĂsimo a lo que habĂa pintado en mis primeros aĂąos.
Es allĂ donde el viaje se abriĂł para siempre como una dimensiĂłn a la desconocido y a la vez a lo similar, a lo universal, a lo compartido y comĂşn.
A que siempre, estando en cualquier punto del planeta, de alguna manera nos podremos comunicar.
Creo que es por esta capacidad conectiva que estoy tan interesada en las pintura y los sĂmbolos.
ImĂĄgenes arquetĂpicas que se repiten en culturas a miles de kilĂłmetros de distancia.
Esas similitudes innegables que encontramos, solo por citar uno de tantos ejemplos, entre pobladores del altiplano boliviano y pobladores hmong en China son del tipo de cuestiones que me recuerdan la maravilla y la complejidad de este planeta en el que vivimos.
TambiĂŠn me recuerda la necesidad de que todas esas diferentes y particulares formas de ser y estar en el mundo sean respetadas, de una vez por todas.
Cada cultura de este mundo es información valiosa que nos habla ademas, de algo muy dentro nuestro y de algo ahà afuera, en la inmensidad del cosmos. English Translation of Paula's Writing:
Writing this has proved to be a challenge, since my natural inclination towards painting is a reflection on my preference for the symbolic rather than the literal.
In my life, painting has presented itself as a journey, an initiation journey to be precise. It has meant a considerable metamorphosis and proved to be great tool to question everything that seemed to have many angles and implied careful observation. And obviously, it has been a great vehicle to embark into the depths of oneâs own, always returning to solid ground.
These are questions I was asked about my first paintings:
Have you been to PerĂş?
Have you participated in sacred plant ceremonies in the heart of the jungle?
To which I answered no. I had barely visited a few places within my own country.
What happened in the following years was that, as I did travel, I found that the people, landscapes, and vegetation I saw were very similar to those I had envisioned during my first years of painting.
It was at that point that the journey opened up, as if in a dimension to the unknown and at the same time to the familiar, universal, and everything we share in common.
A realization of the fact that no matter where in this planet we are, we can somehow communicate.
I believe connectivity to be the reason of my interest in painting and symbols; archetypical images that repeat themselves over and over in different cultures, thousands of kilometers apart from each other.
The undeniable similarities that we find, just to name one, between residents of the Bolivian highland and the Hmong people in China are the type of similarities that reminds us of the marvelous cultural complexity in our planet.
It is also a reminder of the need of all cultures to be recognized and respected. Each of them provides valuable information both from deep inside us and from out there in the cosmos.
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Paula DurĂł
Bien, en principio, comenzar a escribir este texto, es todo un ejercicio en si, ya que de alguna manera mi ...
Oct 26, 2016
The Inland Empire Immigrant Youth Coalition What were the initial sparks that got IEIYC started?
The Inland Empire Immigrant Youth Coalition was founded in 2010 by two queer Latino undocumented immigrant youth and one queer documented Latina immigrant ally, all college students living in the Inland Empire. Having directly experienced discrimination and limited access to resources, they saw the need to create a safe space for undocumented youth to share resources, organize other youth to educate and mobilize their peers, and work to challenge those policies limiting their right to go to school, work, and live freely in this country. They also prioritized the creation of leadership opportunities for queer and women identified individuals within our organization. At the time, these two identities were not present in many of the immigrant rights spaces either locally or statewide. A huge turning point for our organization was the failure of federal legislation named the âDREAM Actâ in the winter of 2010, which would of allowed undocumented youth a path to legalization. From 2011 forward, our organization re-drew its original purpose and expanded on our initial goals. We saw the need then to focus on not just access to higher education but on federal and local policies that encouraged deportations, detention and separation of our families and communities. All of this helped shape and create the organization as it is today.
Did you have a favourite moment at work?
One of our favorite moments at work was organizing our first ever Coming Out of the Shadows Event. The Coming Out of the Shadows or COOTS for short, is an event held every March where undocumented youth and communities publicly announce their immigration status as a way of reclaiming their identity and their power as immigrants. When we first decided to put this together in 2012, many of our members were new to organizing and the organization. However, in the process of putting together a community event many of us made closer bonds with each other and got to know the struggles of one another on a much deeper level.
What was your experience of receiving a Flow Fund from Julio Salgado?
It was a great experience having access to Flow Funds to do our work. We have an existing campaign titled â#ShutDownAdelantoâ which seeks to bring to light the injustices occurring at the Adelanto Detention Center, one of the largest for profit detention centers in the United States. One of the tactics for this campaign is to be able to use the arts and storytelling to help convey our message and humanize the issue. The collaboration with our nominating artist has been extremely helpful in providing our organization with ideas, context and concrete next steps on how to link activism and art.
What are you going to do with your Flow Fund grant?
We plan to use it to create videos, posters and art installations for our vigils and events we hold outside of the facility.
If you could nominate one person to become a Flow Funder who would it be and why?
We would nominate the Inland Coalition for Immigrant Justice (ICIJ.) Weâve partnered with them on the campaign to #shutdownadelanto and theyâve been an instrumental part of gathering support in the Inland Region. Theyâre a Coalition of Immigrant Rights organization that has been active in the region for 10 years and have long since been a great ![]()
The Inland Empire Immigrant Youth Coalition
What were the initial sparks that got IEIYC started? The Inland Empire Immigrant Youth Coalition was founded in 2010 by two ...
Oct 05, 2016
ANIMALS - Interview with Director, Benjamin Simmons What were the initial sparks that got you started on the path to make this film?
I had always wanted to make a doc film but I knew it would have to be something I was really passionate about. It dawned on me one day that young, inner city culture/fashion of NOLA [New Orleans] in the 90âs has never been documented. Iâve never seen anything about our fashions, which is a story unto itself. NOLA is growing into a different place right now. However, in the 90âs NOLA was really a bubble in and of itself, an island in the middle of the United States. We grabbed ideas from different coasts in terms of music and culture but we did our own thing with it. There was this one particular shoe made by a company called Bally, which was a big fashion in New York at the time. When this particular shoe, the Bally Animal, arrived in NOLA the city really commandeered it. At some point in time the Bally store in NOLA started requesting this shoe from all the other Bally stores in the United States. It was a fashion we only wore down here. That was a reflection of how we lived. We didnât know that the way we wore our clothes was different.
Another reason why I wanted to make this film is because anytime I bring up the topic of this shoe to people in this city it brings up so many emotions and excited memories. Iâm trying to paint a picture of NOLA in the 90sâ when i was growing up from the perspective of the people that lived there, wore those shoes, itâs all about the culture. They stopped selling this shoe in 1995. I feel like whenever you see young black people especially on TV itâs about entertainment or sports or on the negative side of representation itâs about violence or drugs. Thatâs not painting the full picture of people in this world. People in the film are talking about their emotions, good times, class, status, and what made them happy. We all want to be portrayed in a real light.
https://www.youtube.com/watch?v=O-FqdVPnx-o&feature=youtu.be
Did you have a favourite moment while working on ANIMALS?
Iâve had a lot. All my conversations have been great. The most interesting part of this is that I went to Switzerland I got an interview with a woman who works at the Bally museum. To sit down and talk to her about the phenomenon of this Bally shoe in NOLA was incredible. They had never heard of anything like this in their lives. And, to find out why the shoe was made was also very exciting. Bally originally made this shoe for a very particular reason, it was different from any other shoe they had designed in the past. It was created to commemorate the 700 year anniversary of the Swiss Federation. To celebrate this in 1991 they made the Animal shoe, which was distributed across the United States, but ended funneling into New Orleans. On a personal level I always wanted a pair, but in 1991 these shoes sold for $300 a pair! Thereâs an interesting passion around this shoe and this woman from the museum and I were both looking at each other in awe. What was your experience of receiving a Flow Fund from Taslim?
Honestly, I was speechless. Iâve been funding this all myself because I felt strongly enough about it. If money comes in for it, fine. If it comes outta my pocket, fine. I was in Europe when she told me that she had nominated me for this grant. It was still in my head that it was something that might happen but I didnât know for sure. I was just so happy to be nominated. Honestly, it made me feel so warm. How can I put it in words? It felt good that something I am passionate about generated enough love from someone that they wanted to include me in something like this. It was very unexpected. Iâm really grateful for it. It was totally a blessing.
What are you going to do with your Flow Fund grant?
Iâm going to use it for post-production for the film and for marketing of the film. Here's what artist Flow Funder, Taslim van Hattum, had to say about nominating Benjamin. (Click on each image to read the text.)
[gallery size="large" ids="6822,6818,6819,6820,6821"] A little more about Benjamin:
I was born by the river, kinda.
Actually I was born in New Orleans East, laid my head downtown, and ran through the streets uptown which is where I reside today. I attended McMain High School as well as Xavier University, and have been filming here since 2010 after moving back from a 7 year stay in Los Angeles.
I wanted to do this film because 20 years after production of the shoe stopped, it is still a strong echo in the culture of New Orleans. To this day, it conjures memories of good times and puts a smile on the faces of those that remember it. ![]()
ANIMALS - Interview with Director, Benjamin Simmons
What were the initial sparks that got you started on the path to make this film? I had always wanted to ...
Sep 28, 2016
Axle - Interview with Co-Founders Matthew and Jerry What were the initial sparks that got Axle started?
Matthew: A little over 6 years ago there was a beautiful old International Harvester flatbed truck for sale on the side of the highway by my house. I thought it was incredible and I wanted it. But, I had no use for it and Iâm not a gearhead so I didnât know how to fix it. One idea I had was to park it at my house as a sculpture because it was so great looking. Soon after that, I was working on series of photo portraits of artists in their studios and I was shooting photos of Jerry working. While I took his portrait I began telling him about the truck. Jerry then told me about his mobile camper that he was thinking about using as a space to show art. It wasnât planful. We werenât think about opening a gallery. It all just grew organically out of those ideas. To me, thereâs a beauty in coming up with strange and crazy ideas that make no sense and then choose to do them once all the the reasonable ideas have already been done.
Jerry: When this idea took off, it took off fast! I went to look at the truck that Matthew had seen and it was beautiful! It was totally cool. But, a 25 foot flatbed dragged behind it was nuts. How were we going to drive that around? The truck was too daunting. We thought it would be good to create a really experimental gallery. A place where you bring the art of people to the people. When you create something that has limitations built in it forces you to work within those limitations and create something really interesting. We looked on Craigslist at airport shuttle buses, old Winnebagoâs, old school buses...etc. None of these really worked for our ultimate mission. We saw someone in Colorado Springs who had an old Wonder Bread truck that he had turned into a construction truck. (It just so happens that this same guy was also the number one Elvis impersonator in the 80âs.) This is the history of our truck. And this Wonder Bread truck is the one we went with. It was inviting for people to come in. When we saw this shiny, beautiful, big old step van, we fell in love. It was perfect!
Matthew: Jerry and I have been working together for six years now as curators and business partners. Weâre so happy at how well we work together. Itâs non-hierarchical. I havenât had that ongoing relationship in any work situation. Itâs really gratifying and we have a lot of luck. So much of our work as artists is solitary work, and thereâs something great about that. But working with Axle is a work of social practice art. Itâs also a collaborative thing between us and the hundreds of artists that have contributed and people that visit. We are bringing solo practices into open and collaborative spaces where all are welcome. Thereâs something really wonderful about that. Did you have a favourite story from your work with the mobile gallery?Â
Jerry: We did a photo project where people would bring an object that resonated with them to the gallery. We were in Albuquerque near a place that was serving homeless people and we would take a photo of a person with their object and give a copy of the photo to them. We gave one man his picture and he went outside and stared at that photo of himself for five minutes, Â minimum. It was such a powerful moment for me to see that.
Matthew: Working with art on the streets where so many of these people had never had a formal portrait of themselves taken, or hadnât in decades, the engagement of that day was beautiful. Thereâs so many moments like that and they are so unexpected. Yesterday, a guy came in to the gallery who lives in France and I used to live there so I got to spend 30 minutes talking to him in French. There are all sorts of opportunities which are deep and meaningful and some which are light and easy. Itâs the combination of this that excites me.
What was your experience of receiving a Flow Fund from Erika Wanenmacher?
Matthew: It felt like such an honour coming from her. We respect her work and weâve shown her work many times. Weâve known and loved her work for years, even long before Axle started. Her sense of art is something more than a pretty object, her witch practice - the physical meaning and objects of power has so much meaning to it.
Jerry: We love her work. Her honouring us by nominating us was sweet and incredible. The honour is as meaningful as the money. Sheâs one of my favourite artists and to be nominated by someone I respect that much makes me feel good. She also understands the way we operate our gallery, that our decisions arenât made on commercial concerns. This can be a real struggle for us and looking for funding can be a challenge. She sees that what we do serves the community.
What are you going to do with your Flow Fund grant?
The money from the Flow Fund makes a huge difference. It will go into our general operating funds: to pay for gas, oil, etc. as we go out to the Navajo nation. It will also help us buy ink and  paper, and some of it goes to each of us to remunerate us a little bit so we can keep going this.
If you could nominate one person to become a Flow Funder who would it be and why?
Rose Eason from GallupArts. Rose has recently taken the role of executive director of GallupArts, the local non-profit organization promoting the arts in Gallup, New Mexico. The organization is grassroots and like Axle, runs on a shoestring budget. We recently travelled to Gallup and surrounding areas for our E Pluribus Unum: DinĂŠtah photo project. From our first introduction, Rose has shown unusual enthusiasm, intelligence and sensitivity and proved invaluable to helping us reach into a community where we had no contacts. Because of her knowledge of the community of Gallup, we experienced, over the course of a week, a remarkable amount of enthusiasm and appreciation for our presence. We also have deepened our understanding of Gallupâs incredible history and hopes for its future. We believe that Rose has vision and abilities for creating vital arts programming to strengthen her community. Any funding directed by her will surely enrich and vitalize those around her. Her initiative could serve as a beacon to small communities throughout the US, and frankly we would like to see that happen.
Matthew Chase-Daniel (nÊ Chase) was born in Cambridge Massachusetts in 1965 and lived in New York City in the1960s. He later raised tadpoles, minnows, and a raccoon, learned to fall off a horse, and hunt morels, wild violets, and rainbow trout in the Berkshire Mountains. In the mid and late 1980s, Chase-Daniel spent three years at Sarah Lawrence College in Bronxville, New York (B.A.), and three years in Paris, France, where he studied cultural anthropology, photography, and ethnographic film production (Ecole Pratique des Hautes Etudes & Sorbonne). Since 1989, he has lived in Santa Fe, New Mexico, renovating old houses, growing green chard, and making family and art. His photography and sculpture have been exhibited across the U.S. and in Europe. He is represented in Santa Monica, California by Craig Krull Gallery. He is the co-founder, co-owner, and co-curator of Axle Contemporary.
Jerry Wellmanâs paintings and drawings have been exhibited at the Brooklyn Museum of Art, Holly Solomon Gallery in New York City, Pierogi Gallery in Brooklyn, The Downey Museum, and The Orange County Center of Contemporary Art in California, The El Paso Museum of Art, and The Revolving Museum in Boston. His drawings were selected for a traveling show sponsored by the Smithsonian. Wellman has taught at the Pasadena College of Art and Design, CalArts, and New Mexico State University. He was formerly the head curator at Los Angeles Institute of Contemporary Art. He is the co-founder, co-director and co-curator of Axle Contemporary. ![]()
Axle - Interview with Co-Founders Matthew and Jerry
What were the initial sparks that got Axle started? Matthew: A little over 6 years ago there was a beautiful old ...
Sep 21, 2016
Announcing our 2016 Makers Muse Awardees It's our favorite time of year: Makers Muse Artist Award season! Each year we flex our project discovery muscle, scouring the periphery of culture-making in search of work that wows the senses and stimulates the mind.
Our collaborative treasure hunt leads us around the world, to Syria, Argentina, Mexico, and back to the United States. We found a social justice punk band, a bold political muralist, linguists for the environmental apocalypse, a Syrian master musician and doctor, a techno folk telepathic painter, a barrio pen wizard, and last but not least a pop-culture photographic/performance satirist.
As if all of this werenât exciting enough, each of these Makers Muse Awardees has been invited to participate in our Boomerang experiment. Whatâs Boomerang you ask? Boomerang is our latest program which combines artists and Flow Funds in an adventure that breaks open traditional forms of philanthropy.
Get inspired by this group of seven right here on our Nexus space this autumn as they each share personal stories about their work and process. ![]()
Announcing our 2016 Makers Muse Awardees
It's our favorite time of year: Makers Muse Artist Award season! Each year we flex our project discovery muscle, scouring ...
Sep 07, 2016
Santa Fe Dreamers Project - Interview with Director, Allegra Love What were the initial sparks that got Santa Fe Dreamers started?
I was living in Santa Fe and teaching at an elementary school. It was a frustrating time. I was working with immigrant students and I saw how my studentâs families were struggling. I decided to go to law school because I wanted to have a sophisticated toolbox of advocacy for those families. When I got out of law school I wanted to address the inequities for these families. Out of love for my students I wanted to take a creative approach and look at the inequities theyâre facing to help them solve their problems. I wanted them to succeed in school. So, I went back to teaching for year and reconnected with all the families and got re-inspired to do this work. I then received a grant from Adelante to start exploring this project around Deffered Action, which gave me an opportunity to start shifting the status of the kids in the community. In Santa Fe thereâs a 60 percent graduation rate and the dreamers I worked with had a 90 percent graduation rate. Maybe these kids arenât âat-riskâ at all. Maybe they just didnât have the right tools.
When I was working as a social worker in the schools I would cruise the hallways to talk to kids who would qualify for the Deferred Action papers. We decided to open up a weekly free legal clinic in Santa Fe and people would come from all over the state to get advice and this is how things exploded. Last year we filed 400 applications for dreamers on a tiny budget. Weâre not constrained by what traditional lawyering has to look like. We can do awesome things because we choose how this looks and feels. Did you have a favourite work moment?Â
I had this couple come in a couple weeks ago. I had helped them with their deferred action a couple years ago, helping them change their status. They have two small kids. They came in and they were talking to me, sharing some updated. The woman just got promoted at the bank sheâs working at. And, the man got promoted and they are closing on their first home. This is the kind of transition that will change their children's lives! Itâs a ladder out of poverty and especially in New Mexico this means so much. The admin to help them was so simple. Simple, legal work helped this family so much. I see examples of this all the time. This work with individuals can have actual impact on local and state economy and the health of the kids that live here. What was it like to receive this Flow Funded grant from Erika Wanenmacher?Â
You donât imagine that the art community is looking at this work and especially in Santa Fe where itâs hard to compete with the arts. Itâs helpful and encouraging to have someone from that community look at what weâre doing and validate as important and meaningful. The donation is saying is that you believe that these kids matter and believe in what they are capable of. Investing in these changes is saying to these kids that they matter. Thatâs what the work does for these young folks.
What are you going to do with your grant?
We have this RV called Dreams on Wheels. We have a pilot project where weâre trying to bring our legal services to very rural areas in New Mexico--to the most underserved communities. Â The grant is helping to retrofit the RV so we can bring these services to these communities and have some fun.
If you could nominate one person to become a Flow Funder who would it be and why?
Cara Pro Bono Project - They crowdsource legal aid projects for refugee children detained at the border.
Allegra Love is the attorney and director of SF Dreamers. She began her career at Santa Fe Public Schools in 2005 as a bilingual elementary school teacher and followed her passion for working with immigrants to law school. After graduating from the University of New Mexico School of Law, she came to work for the Adelante program of Santa Fe Public Schools, where she founded this project. She volunteers extensively, both in her community and elsewhere, for organizations like the Santa Fe Youth Commission, No More Deaths, and New Mexico Dreamers in Action (NM-DIA). Most recently, she has worked to defend Central American women and children detained on the US border. She is a member of the American Immigration Lawyers Association (AILA). She has a BA from Dartmouth College, a JD from the University of New Mexico School of Law, and is a licensed teacher in the state of New Mexico. She loves country music and riding around in trucks. ![]()
Santa Fe Dreamers Project - Interview with Director, Allegra Love
What were the initial sparks that got Santa Fe Dreamers started? I was living in Santa Fe and teaching at an ...
Aug 31, 2016
20 Q's with Southwest of Salem Director, Deborah S. Esquenazi 1. When and where did you feel most fulfilled in your work?
Those moments of intense creative flow, usually for me this place emerges during the research or the editing.
2. What is one thing you wish the general public knew about your work?
The more intersectional and complex, the more I want to tackle it, yet the more I am scared that I wonât be able to pull it off. BUT, if I can get it right, thatâs where great cinema & art lie for me.
3. If funding were no object, what would you do?
Iâd create a massive televisual or film series on Crime Myth & Mythology using only animation, stop-motion, and really go on the hunt for fantastic archival footage. It would start from the Victorian era and span til the 1980âs and be inspired by German Expressionism.
4. What do you see as the greatest challenge your community is facing?
I live in a heavily gentrifying city, Austin, where I see people of color displaced at astonishing rates.
5. What is the strongest asset of your community?
Its relatively slow pace and âlaid-backnessâ make it a pleasant place to live and raise a family---that matters to me as a queer mom raising two boys.
6. Whatâs your favourite way to procrastinate at work?
Read Gawker.
7. If you werenât doing this kind of work, what would you be doing?
A screenwriter.
8. Favourite film?
Murder on Sunday Morning
9. Favourite song?
Lullaby by The Cure---anything by The Cure.
10. Favourite activist?
Hard to choose! Adrienne Rich and bell hooks at this moment.
https://vimeo.com/157645152
11. Favourite historical figure?
Ann Richards
12. What did you eat for dinner last night?
My wife, Karen, made my son and I grilled peanut butter sandwiches! So decadent.
13. If you could give $10,000 to any organization besides your own, which would it be?
Innocence Projects---any of them, as they are all doing great work.
14. On what occasion do you lie?
Sometimes to my mother when I say Iâm in a meeting and canât talk.
15. What do you think is the greatest social issue of our time?
Oooof, good question: I think all aspects of Criminal Justice / Policing in America are pretty high up there.
16. What do you think needs to be changed the most in our world?
People need to be taught how to listen and sit still more.
17. What book are you reading right now?
Bruce Jacksonâs The Story is True and Hitchcock by Truffaut.
18. What is the guilty pleasure television show that you watch?
Game of Thrones. And The Real Housewives of New York, but PLEASE donât tell anyone.
19. Whatâs your favourite online resource for news and for fun?
Iâm pretty addicted to Twitter.
20. Where would you like to live?
Anywhere my wife & children live and for the near future thatâs Austin.
Bonus Question â What is your personal motto?
#dontletlifescareyou
Deborah S. Esquenazi is a documentary filmmaker, radio producer, curator, journalist. Her work explores the intersections of mythology & justice, identity & power. She is a Rockwood JustFilms Ford Foundation Fellow, 2016; Firelight Media Lab Fellow, 2016; Artist-in-Residence at the Mexican-American Cultural Center in Austin, 2016-18; Sundance Creative Producing Fellow, 2015; Sundance Documentary Film Fellow, 2014. Her projects have received support from Humanities Texas, Sundance Institute in association with JustFilms Ford Foundation and Open Society Foundation, Chicken & Egg Pictures, IFP, Arcus Fund, Paul Robeson Fund, and many others. Her debut feature documentary, Southwest of Salem, premiered at the 2016 Tribeca Film Festival to critical acclaim, and is a reinvestigation into the bizarre allegations waged against the âSan Antonio Fourâ during the âSatanic Panicâ of the 1980-90âs. It will have its theatrical debut in September 2016. Esquenazi is also one of the founding members of the All Y'all Southern Documentary Collective, founded by Elaine McMillion Sheldon and Darcy McKinnon in 2016. ![]()
20 Q's with Southwest of Salem Director, Deborah S. Esquenazi
1. When and where did you feel most fulfilled in your work? Those moments of intense creative flow, usually for me ...
Aug 24, 2016
Announcing Boomerang What would it look like if artists could help to shape the distribution of philanthropic dollars?Â
Announcing, Boomerang, our latest adventure in breaking open traditional forms of philanthropy through experimental grantmaking.
As you may recall, this year is the Year of the Flow Fund at Kindle Project and our latest program is an extension of this obsession. Boomerang seeks to shed light upon and creatively catalyze unseen opportunities by widening who influences philanthropic resources.
With Boomerang we are asking and beginning to answer some important questions:
What unusual projects, creators and ideas would be supported if our grantees and awardees had input and leadership with funding decisions?
How could being involved in grantmaking processes help to embolden the artists themselves?
What ripple effect might all of this have?
Hereâs how Boomerang works:
Step One: Scour the earth for new talent. Choose this yearâs seven Makers Muse Artist Awardees (stay tuned for September when weâll be announcing this yearâs stellar group).
Step Two: Flow Funds. Offer each of our seven outrageous and courageous artists a Flow Fund to recommend be reallocated to an organization or project of their choosing.
Step Three: Conversations beyond money. Work with each artist to support them in the decision of who they will recommend. Our conversations will explore decision-making, power dynamics, project discovery and alignment in preparation for their Flow Fund recommendation.
Step Four: Storytelling. Work with each artist to get their unique stories up on our Nexus page. Stories from the voices of the artists themselves about who they are, what their work means to them, and maybe even some creative curve balls thrown in for good measure.
Step Five: See where all the ripples lead to. Who will our artists choose to recommend their Flow Funds to? What will the experience be like for the artists themselves and the new grantees that come from them? What can we bring back to the field of philanthropy after this experiment?
Echoing the fluid and somewhat unpredictable movement of a boomerang, this program releases an opportunity, allowing unlikely and unusual partners and projects to return with unexpected, vibrant and tenacious outcomes for everyone involved. Itâs an experiment that weâve crafted with the care and engineering of a boomerang which weâre now tossing to the winds to chart a new course in grantmaking.
Join us in the experiment and stay tuned for our artist announcement and their stories coming this fall. ![]()
Announcing Boomerang
What would it look like if artists could help to shape the distribution of philanthropic dollars? Announcing, Boomerang, our latest adventure ...
Aug 10, 2016
20 Q's with Shiraz Ksaiba 1. When and where did you feel most fulfilled in your work?
I have created and opened up a surf hostel in South of Morocco - every day is a challenge and different. I feel fulfilled when we have finished one little project and are in planning stages for the next part. It's an ongoing, fluid, evolving process. I think my partner has realized this and that my craving for something new to work on its slightly manic. I have a need to find something to do most days. I am selling time and I am realizing that I can never ever get that time back. This in itself a philosophical and personal crisis.
2. What is one thing you wish the general public knew about your work?
How much washing I did. I am also dyslexic so I actually find the calendar/ bookings systems hard to deal with but I think that now I am used to it. And, it's very stressful at times dealing with the bureaucratic stuff.
3. If funding were no object, what would you do?
I would take a holiday with my partner and we could see some of the world. Being Moroccan, travel is restricted. And then, I would be building an eco riad with a badass swimming pool and just chill and drink wine. But in case that doesn't happen, we are going to change the hostel by adding two rooms on the terrace and a terrace for the sunset and a new bathroom. Oh, also I would get a licence to sell alcohol.
4. What do you see as the greatest challenge your community is facing?
I feel that the environmental issues are the biggest challenge but also this is for the greater community. The seas are being destroyed and this impacts in both ways from the fisherman who fish here to the surfers who surf.
5. What is the strongest asset of your community?
They will pull together and have a strong sense of family.
6. Whatâs your favourite way to procrastinate at work
Having a beer on my terrace ......
7. If you werenât doing this kind of work, what would you be doing?
I would be working in Film and TV in London.
8. Favourite film?
Messerine
9. Favourite song?
Atm I am listening to Grease, Frankie Vallie & Under Pressure David Bowie.
10. Favourite activist?
God this is hard.
11. Favourite historical figure?
I really, really do not know.
12. What did you eat for dinner last night?
Chicken tagine. It was a really, really good one - Mhand cooked it.
13. If you could give $10,000 to any organization besides your own, which would it be?
I would give it to a friend here who wants to start an artist's residency program with local and international artists.
14. On what occasion do you lie?
When I am filling out surveys. 15. What do you think is the greatest social issue of our time?
Climate change and the upcoming armageddon of WW3.
16. What book are you reading right now?
Lol
17. What is the guilty pleasure television show that you watch?
I have recently watched New Blood and Thirteen but it's the only TV I have watched in 10 months. I love cop dramas.
18. Whatâs your favourite online resource for news and for fun?
I tend to read the Guardian and then Buzzfeed for lols.
19. Where would you like to live?
I pretty much like where I live right now, but I wouldn't mind a stint in Portugal or Bali but I am hoping in the future this lifestyle that I have chosen will give us more freedom. I like the UK but it's cold. I really don't know where we will live as I doubt will stay here when my daughters get a bit bigger.
20. What is your personal motto?
I tend not to look back or try not to go backwards. ![]()
20 Q's with Shiraz Ksaiba
1. When and where did you feel most fulfilled in your work? I have created and opened up a surf hostel ...
Aug 03, 2016
Nanbel's Moe Shreif
First, I really don't like talking about myself nor know how to, to be honest.
Nanbel started as a need, or a window from which Semaan Khawam (co-writer) and I could give free expression to our discontent, and hold up a mirror to a society that is sentimentally and unapologetically criminal. Nanbel - Lebnan (Lebanon) spelt backwards - is a fictitious village inhabited by characters from real life, but who are naturally absurd. This village, however, can be anywhere in the world at anytime. Absurdity is universal. This absurdity is a necessity that comes from within the human condition and is also formulated by us. In my research on Julius Caesar, I discovered that I was still dealing with Nanbel. The new characters; objects, lights, selfies, sounds... all come from that place. -Â Moe Shreif
Shakespeareâs Julius Caesar: Research characters
I have been researching Shakespeareâs Julius Caesar in the aim of using different media to produce this play in a fresh and approachable way that would also offer new interpretations and approaches to performance and production.
My hope is that a new audience would emerge that would embrace rather than fear â take on board rather than be put off by â this writerâs text, which has been unintentionally harmed by the idolization of the bard and the misinterpretation and haphazard quoting of his words.
I have â playfully â used objects, lights, and selfies as research characters. This is evident in this research video shared here, in which, following Julius Caesarâs assassination, his friend Antony speaks in his âfuneralâ to the Roman masses after obtaining the permission of his killers, particularly the ânoble Brutus.â
https://vimeo.com/176232841
In the second example, Iâm using one of Shakespeareâs famous poems as research into new interpretations: sonnet 18 (Shall I Compare Thee to a Summerâs Day). The common interpretation that you would find in CliffsNotes for example, is that this is a love poem and that Shakespeare is speaking about a young man he loved, or youthâs beauty transcending that of nature and bla bla. I really donât share this interpretation at all. In fact, I (along with a few other people) believe this is a poem Shakespeare wrote for his only son Hamnet, who died age 11. Shakespeare wanted to immortalize him, and uses the only way he can to do so; words.
[audio m4a="https://kindleproject.org/wp-content/uploads/2016/07/On-Sonnet-18.m4a"][/audio]
He is not boasting that his poetry is eternal. On the contrary, he is in a state of despair. He seems helpless, or vulnerable, as he looks for a way to bring his son back to life... somehow.I can hear him write these words while sobbing: âSo long as men can breathe or eyes can see / So long lives this and this gives life to thee.â
https://vimeo.com/176480697 ![]()
Nanbel's Moe Shreif
First, I really don't like talking about myself nor know how to, to be honest. Nanbel started as a need, or ...
Jul 27, 2016
The Shore Break What happens when documentary filmmakers make a documentary â the story of The Shore Break and Graham Edwards by Ryley Grunenwald â director, DOP and co-producer of the award-winning The Shore Break
A petulant feeling about a lost holiday spot, resulted in a documentary film about the conflicting views of two cousins on development, led to an international campaign uncovering the primary shareholder in an Australian mining company. Such is the charmed power of documentary filmmaking.
When I started working on The Shore Break, I soon realized that the potential impact of an Australian mining companyâs intentness on mining titanium on South Africaâs magnificent Wild Coast would go way beyond the loss of future family vacations. MRCâs efforts to mine would not only threaten an endemic hotspot, but would also throw into stark relief the binaries of development: all/nothing; maximum profit/sustainability; mining operations/eco tourism; good/bad; etc.
What I did not know then, was that when the responses started coming in from the first audiences in different countries, I would feel compelled to step away from the camera and engage in direct action. I did the first thing that could be done without money, and thatâs a petition (with the Centre for Civil Society at the University of Kwazulu-Natal, Durban). The petition was simple: it asked shareholders in MRC if it knew what its company was up to in this remote part of South Africa.
Now I know that a successful petition needs time and money. Once Kindle came on board, its grant bought some time to push the petition. What happened after that, I did not expect at all. I found myself as the instigator and coordinator of a global campaign to get the petition to MRCâs shareholders in Perth, Australia at its AGM. The catch was: MRC was keeping the date confidential or unpublished. Working against an unknown deadline, also sadly coincided with the unexpected cold-blooded assassination of the leader of the anti-mining group, Sikhosiphi Bazooka Rhadebe. His murder did much to focus the eyes of activists on the identity of MRC and the people who drive it.
To get the petition to the right people I worked with a researcher in Texas and environmental activists in Australia. They in turn worked with others. And we all took our mandate from the Amadiba Crisis Committee, the anti-mining group.
It was like a global drama story, only itâs real. MRC denied any involvement in the late Rhadebeâs assassination, but this denial made activists even keener to find out who controls MRC. Some material unearthed by one source, led to bits of information uncovered elsewhere. Digging for evidence led to a surprise find - MRCâs major shareholder is a British multi-millionaire, Graham Edwards, who flies under the radar. Edwards is also the CEO of one of the UKâs largest property companies, a board member of several prominent charities, and highly sensitive to his public image. His name does not appear on any of MRCâs public records.
The petition had a target! A march to South Africaâs Parliament in Cape Town linked with the concerned citizens who picketed outside Edwardsâ offices in London. On 23 May 2016 the activities culminated in a demonstration at MRCâs AGM in Perth. Edwards decided not to attend, but a minority shareholder, armed with the petition and some challenging questions, did. Unsurprisingly he was forcibly evicted from the meeting. However, the knowledge was public and it was picked up by Andy Higginbottom, Kingston University associate professor, who published a string of articles, populated with further research.
My first unintended participation in a global campaign was exhilarating, exhausting but definitely worthwhile. MRC claims the proposed titanium mine will result in much-needed jobs and better infrastructure, but the community itself wants sustainable development, not a short-term project that will destroy their homes, farms, and water supply. Even after the death of Sikhosiphi Rhadebe, they are standing resolute -- as one woman put it: âMy tears wonât fall on the ground for nothing. You can bring your machine guns. I am prepared to die for my land, I am not going anywhere.â
Ryley Grunenwald is the director, DOP and co-producer of the multi-awardwinning documentary film, The Shore Break, a recipient of a Kindle Project grant. At the time of making the documentary Ryley lived in Johannesburg, South Africa, and currently lives in France.
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The Shore Break
What happens when documentary filmmakers make a documentary â the story of The Shore Break and Graham Edwards by Ryley Grunenwald ...
Jul 13, 2016
Some Kindle Light in the Dark Due to the darkness of the events that took place in Orlando, we wanted to share some of the light filled projects, artists and beautiful grantees whose work is essential for our troubled times. They make work that is needed. That matters. That heals. That dismantles and inspires. Take note and maybe find a moment of solace with them. We sure have. [gallery columns="5" size="large" ids="6593,3341,6040,6072,5420,6169,6038,5052,6289,6535"] Carlos Motta
Carlos Motta is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize suppressed histories, communities, and identities. His work is known for its engagement with histories of queer culture and activism and for its insistence that the politics of sex and gender represent an opportunity to articulate definite positions against social and political injustice.
Carlos will be posting a weeklong series of responses to the Orlando shooting by LGBTQI artists in Bomb Magazine starting on June 15th.
Read Carlos' Nexus post from 2012. Movement GenerationÂ
Movement Generation Justice & Ecology Project inspires and engages in transformative action towards the liberation and restoration of land, labor, and culture. They have been Kindle grantees and friends for years that their work has always inspired towards collective action.
Movement Generation shared a beautiful piece of writing on June 15th about our need to come together in these scary times.
"As we seek avenues to channel our grief and outrage, we must not let the fight against homophobia and transphobia support and legitimize Islamophobia....Dealing with the burden of this violence should not only rest with queer and trans folks.Those of us who are straight need to step up our love and fight for our queer families and communities. We only get free when all of us are free."
Julio Salgado
Julio Salgado is a visual artist based in Berkeley, CA. His status as an undocumented and queer immigrant and the bravery of civil disobedience actions by undocumented youth has fueled the content of his activist artwork.
On June 15th, Julio shares a very personal and sobering reflection on what happened in Orlando in the East Bay Express.
"A Latin night at a gay club is not just a place to dance cumbia and salsa. It's a place for Brown and Black bodies to come together and dance the night away, to try and forget, at least for one evening, about the bullshit that we deal with every single day. Every time we go out and be our full queer selves, there's a fear in the back of our heads that someone will harm us."
Southwest of Salem
Southwest of Salem: The Story of the San Antonio Four excavates the nightmarish persecution of Elizabeth Ramirez, Cassandra Rivera, Kristie Mayhugh, and Anna Vasquez â four Latina lesbians wrongfully convicted of gang-raping two little girls in San Antonio, Texas. This bizarre case is the first to be adjudicated under momentous new legislation: for the first time in U.S. history, wrongfully convicted innocents can challenge convictions based on debunked scientific evidence called âJunk Scienceâ. The film also unravels the sinister interplay of mythology, homophobia, and prosecutorial fervor which led to this modern day witch hunt during the âSatanic sexual abuse hysteriaâ from the late-80âs and early-90âs in the United States.
Read an interview with the film's Director, Deborah S. Esquenazi.Â
Kent Monkman
Kent Monkman is well known for his provocative reinterpretations of romantic North American landscapes. Themes of colonization, sexuality, loss, and resilience â the complexities of historic and contemporary Native American experience â are explored in a variety of mediums, including painting, film/video, performance, and installation. His glamorous diva alter-ego Miss Chief appears in much of his work as an agent provocateur, trickster, and supernatural being, who reverses the colonial gaze, upending received notions of history and indigenous people.
Read Kent Monkman's 2015 Nexus post.
Meriem Bennani
Meriem is a New York based artist currently working on videos and photographs documenting the life of Fardaous Funjab, the avant-garde Moroccan Hijab designer. The project explores the encounter of fashion and religion with a focus on the aesthetics of sexuality/sexiness in a contemporary Muslim context. Bennani is interested in dissolving tropes and questioning systems of representation through a strategy of magical realism and humor as an unreliable pacifier.
Read Meriem's Nexus post from 2015. Taslim van Hattum
Taslim van Hattum is a multi-disciplinary artist raised in Northern New Mexico to the sounds of the Turkish saz in a woodshop in the village of Abiquiu. Her work focuses on how contemporary society intersects with religious and sociopolitical identities, representations and womenâchallenging and exposing the way in which space, personhood, belief and popular culture are connected and imagined by the viewer. Her work disrupts notions of Muslim womanhood, Muslim femininity and identity without resorting to easier tropes of aniqabi in a bikini or other more simplistic juxtapositions that donât always delve deeper into the subtlety of what it means to vacillate between cultures, religions, identities and loyalties. Her work is at once indigenous to her experience as a Muslim woman, deeply critical of her own cultural and religious frameworks, and irreverent, silly, and crafted with purpose.
Read Taslim's Nexus post from 2015. Â Jibz Cameron a.k.a Dynasty Handbag
Jibz Cameron/Dynasty Handbag is an exorcism of deranged characters and failures born from a patriarchal, consumer-driven society, performed on stage using pre-recorded voice overs and video interaction. A recent work of her, Soggy Glasses, A Homoâs Odyssey is a feminist, comedic, fanny-packed, monomythic hero-journey. Using Homerâs Odyssey as both dramaturgical framework and toilet paper, Dynasty Handbag recasts the masculine allegory of returning home in a feminist context, on a voyage though her extremities, heart, mind, bowels and artist colon-y. Using voiceovers, video interaction, and a giant plush âheroâ sandwich, Dynasty Handbag employs female physical and spiritual bodies as the terrain for her journey home, in an ultimate Homeric search for her true nature, and she will most likely fail.
Dynasty Handbag regularly hosts an event in LA and coming up on June 30th in NYC called Weirdo Night. A safe, experimental, artist/comedy smorgasbord. Sins Invalid
Sins Invalid is a disability justice based performance project that celebrates artists with disabilities, centralizing artists of color and queer and gender-variant artists as communities who have been historically marginalized. Their performance work explores the themes of sexuality, embodiment and the disabled body. Led by disabled people of color, they develop and present cutting-edge work where paradigms of ânormalâ and âsexyâ are challenged, offering instead a vision of beauty and sexuality inclusive of all individuals and communities. "Sins Invalid recognizes that we will be liberated as whole beings â as disabled/as queer/as brown/as black/as genderqueer/as female- or male-bodied â as we are far greater whole than partitioned. We are committed to social and economic justice for all people with disabilities, moving beyond individual legal rights to collective human rights. Our stories, embedded in analysis, lay the foundation for a collective claim of liberation and beauty."
Read Sins Invalid's Nexus post from 2014. Cohdi Harrell
Cohdi Harrell is a New Mexico born acrobatic performance artist. A primarily self-taught trapeze artist and an un-trained dancer, his unique approach to acrobatics and performance-making comes from over 12 years of research through improvisation and studying with select coaches internationally. His work has been hailed as âvital to the evolution of contemporary circus in America.â
Cohdi was our first ever Makers Muse recipient whose main medium is movement. His acrobatics, dance, and performances are impressive expressions of mailability, skill, and passion. His work makes the unseen seen and therefore helps to answer some of these challenging questions about the places each of us occupy and identify with. He holds us in rapturous attention with his work.
Read Cohdi's Nexus post from 2013. ![]()
Some Kindle Light in the Dark
Due to the darkness of the events that took place in Orlando, we wanted to share some of the light ...
Jun 16, 2016
Announcing our Spring 2016 Grantees and the Year of the Flow Fund! Hello Kindlers,
Welcome to the year of the Flow Fund at Kindle Project! Whatâs a Flow Fund you ask? Flow funding is a grantmaking approach which empowers innovators, individuals, activists, visionaries and organizations outside of typical philanthropic institutions with funds that they can recommend be reallocated to the communities and organizations of their choice. Isnât it true that all too often the same philanthropic players make funding decisions and, all too often, the money goes to similar, or even the very same recipients? Flow Funding seeks to break open the often predictable patterns of decision-making in funding to allow for the democratization of power and for resources to reach to unlikely and unusual places. The unlikely and the unusual are, after all, Kindleâs jam.
While weâre dubbing 2016 as the year of the Flow Fund, weâve actually been using this method since we began nearly a decade ago in a variety of different ways that have reached some incredible groups. But, this year, weâre kicking things up a whole big notch.
For this spring grant cycle we introduced five of our outrageous and courageous Makers Muse Artist Awardees to the Flow Fund model. We invited these artists to recommend up to two organizations or projects of their choice to receive a grant. We are excited to ask the broad questions, together with these artists, the groups they recommended, and with you: What would it look like if artists had influence over philanthropic dollars? What unusual projects, creators and ideas would be supported if our grantees and awardees were at the wheel? This grant cycle is a small part of answering these questions and weâll continue to ask and answer how Flow Funding can help break open unseen spaces in philanthropy throughout the rest of this year.
We are so proud to announce this grant docket, entirely nominated by our Makers Muse artists! See below to read about who are new grantees are and the reasons these five artists were psyched to nominate them. Here's what Taslim has to say about Animals: Everytime I meet someone and tell them about Benjamin's film subject--Bally Animals--I see their faces light up and their mind start reminiscing in a way that can only be described as watching the joyful way community holds collective memory. I love when filmmakers find these stories--the simple tales of objects & community that have made so much meaning in our lives. That, and the feeling you have when you put on a new pair of those perfect fly shoes, you feel a certain way as you step out into these streets.
ANIMALS is the story of the intersection of local culture and international fashion. In the early 1990s, Swiss luxury accessories brand Bally introduced a series of sneakers with farm animals imprinted on the side and sole. These suede and canvas shoes, at $300 / pair, represented a luxury class obsession with the pastoral, but for some reason took off as a status symbol in New Orleans hip-hop culture, where they consistently sold out far beyond levels in other markets. Sold in the bespoke suiting store Rubensteinâs on Canal Street, the local obsession for these shoes created a culture collision, with young rappers and hustlers walking into hushed retail interiors previously reserved for the white upper class in New Orleans, dropping bankrolls of cash to purchase the Animals for status and style. ANIMALS explores this local obsession as a part of New Orleansâ history of urban dandyism, as well as investigates how luxury brands respond to street style appropriation, while painting a portrait of NOLA hip hop culture in its nascent form. Here's what Julio has to say about IEIYC: I was excited to recommend IEIYC because I really love the work they do in the Inland Empire in California because they dedicate themselves to making the lives of day laborers and migrant workers better through organizing on the grund. They have a project at the Coalition which focuses on creating community spaces that uses artwork as a way to empower communities affected by detention centers.
The mission and vision of the Inland Empire Immigrant Youth Coalition (IEIYC) is an undocumented youth-led grassroots organization in the Inland Empire. We are committed to creating a safe space for immigrant youth regardless of legal status, race, gender, sexuality, educational background or other intersections that are crucial to the undocumented identity. We aim to achieve equal access to higher education and justice for our immigrant community by empowering those who are most affected. Here's what Erika has to say about her two recommendations - The Santa Fe Dreamers Project and Axle Contemporary: I was excited to recommend the Santa Fe Dreamerâs Project because they provide legal support to immigrant youth and their families. In addition, Allegra Love, the founder is a spectacular force of nature, who also volunteers time defending women and children detained at the US border.
I recommended Axle because they bring awareness to our diverse artistic community through exhibitions, workshops, publications and other less-expected formats, open to the public. Santa Fe Dreamers Project is a community development organization that brings free legal services to immigrant youth and families in NM. We offer free representation for Deferred Action, a benefit that provides a previously undocumented immigrant with a reprieve from deportation, authorization to work in the US, and a valid social security number, essentially legalizing his or her status in the US and opening up a world of educational and economic opportunities. As much our work focuses on bringing high quality legal representation to underserved populations, we also focus on the incredible transformations that a young immigrant can make with access to these life changing benefits.
We know that there are immigrants all over NM who are missing out on these life changing benefits because they cannot find effective and affordable counsel. We are planning a pilot project to bring mobile legal services to some of NMâs most rural regions. We have purchased a 34 foot RV, now known as Dreams on Wheels, which we will use to bring education, organizing, and legal services to NMâs these remote communities. We will use our gift from Kindle Project towards the custom design and retrofitting of Dreams on Wheels.
Axle:Â Housed in a retrofitted aluminum step van, the Axle Contemporary mobile gallery brings contemporary art from New Mexico artists to appreciative audiences throughout Santa Fe, Northern New Mexico, and beyond. Axleâs innovative outreach program intersects disciplines and encourages and promotes experimental and creative approaches to art-making and presentation. Access to art creation and experience brings a sense of inclusiveness, self-worth, possibility, community, curiosity, creativity and wonder to our audience-participants. Axle brings exhibitions and participatory projects to a diverse community in the places where they live and work: City streets, grocery stores parking lots, schools, restaurants, city parks, and more.
Occasional projects are created outside of the gallery, in partnersâ venues or in public spaces. Since 2010, Axle has produced 92 exhibitions including the work of over 250 New Mexico artists. More than 5,000 people visit the gallery each year, both local residents and visitors to our community. Axle Contemporary Press has published 13 books that celebrate, promote and sustain interest and innovation in the arts. Here's what Franklin has to say about Reclaim Turtle Island: Back in 2013 when I moved to Montreal I was looking for an indigenous organizer to co-produce a video against tar sands pipelines with. Enter Amanda Lickers, the founder of Reclaim Turtle Island, a force to be reckoned with. Within a few weeks she had found funding and contacts and in less than two months we had a solid informational tool to help build an anti-pipeline movement in eastern âCanada.â Reclaim Turtle Island is veritable indigenous news and solidarity resource.
Reclaim Turtle Island is an all Indigenous direct action & media collective that focuses on combating extractive industry at its root all across Turtle Island. This includes active ongoing campaigns against tar sands, pipelines, fracking, uranium, coal mining, and more. Our diverse collective is made up of 2 Spirit, queer, undocumented, anti-Âauthoritarian, femme and migrant Indigenous people. We facilitate culturally safe direct action training by and for Indigenous people, including media trainings for narrative building in MSM (mainstream media) as well as independent media production skills. RTI is a budding media platform that curates Indigenous produced projects allowing for control of our own narratives and representation. Our praxis is based in relationship building and the work we are doing is engaging in direct support with impacted communities. We are in the midst of launching a new website including important analytic pieces which use antiÂ-colonial frameworks to unpack relationships around land trauma, rape culture & terra nullius, harm reduction & survivorship, antiÂBlack racism & settler colonialism and connecting with other antiÂ-colonial resistance movements globally including Palestine, Australian Aboriginals and more. Here's what Louise has to say about the New York School for the Deaf: I felt so strongly that the money should go to deaf children and their families as they strengthen their ways forward in life, often from a start that was completely without communication or understanding of the world. Like Kindle, the New York School for the Deaf at Fanwood is a remarkably close-knit organisation with imagination that truly cares for each child and will put this donation to such valuable use for children with needs or dreams that cannot be directly supported by the school, especially given unjust cuts in funding from the State of New York.
From its inception, New York School for the Deaf has embraced innovative teaching techniques for deaf children. Today, the latest educational technologies are integrated into all aspects of the student experience, both inside and outside of the classroom.
New York School for the Deaf has produced generations of successful adults. We are committed to preparing all students for their future. Many students from NYSD have graduated and pursued higher education from some of the best universities in the country. Other students have used their newly developed career readiness skills, to achieve success in the workforce. ![]()
Announcing our Spring 2016 Grantees and the Year of the Flow Fund!
Hello Kindlers, Welcome to the year of the Flow Fund at Kindle Project! Whatâs a Flow Fund you ask? Flow funding ...
Jun 08, 2016
20 Q's with Movement Generation's Josh Healey 1. When and where did you feel most fulfilled in your work?
When we did a comedic film project (see a clip below) on the frontlines of fracking in the Central Valley of California, and the local leaders and farmworkers felt like movie stars for a day â and their stories soon spread across the state.
2. What is one thing you wish the general public knew about your work?
We believe that climate justice and Black Lives Matter and migrant rights are all the same fight. Which is why we fight on all those fronts.
3. If funding were no object, what would you do?
Grant climate justice reparations to the people of the Lower Ninth Ward of New Orleans to rebuild their homes, their neighborhoods, their levees, and the bayous of Louisiana.
4. What do you see as the greatest challenge your community is facing?
The Bay Area has the most millionaires per capita in the country. We also have the most homeless people. Itâs called inequality. And itâs destroying our poor, black, and immigrant communities.
5. What is the strongest asset of your community?
The Bay is full of beautiful resistance. Not just activism, but creative and artistic working-class activism that is loud, proud, and gorgeous.
6. Whatâs your favourite way to procrastinate at work?
Watching clips from last nightâs Warriors game.
7. If you werenât doing this kind of work, what would you be doing?
Be a radio host on my hometown station WPFW back in DC.
8. Favourite film?
Oooh, itâs a toss-up between âDo the Right Thingâ and âThe Princess Bride.â
9. Favourite song?
âWear Clean Drawsâ by The Coup. Of all Boots Rileyâs radical verses, my favorite is this simple and still politically-minded advice to his newborn daughter. Maybe this one hits because I just had a baby, and clean underwear sounds like socialist utopia to me.
10. Favourite activist?
Right now, itâs the #Frisco5, who just led a 17-day hunger strike outside the San Francisco police headquarters to fire the police chief because of rampant police murders. They totally changed the game in town, and the chief will be gone any day now.
11. Favourite historical figure?
Emma Goldman. Feminist, anarchist, Jewish immigrant rebel, and inspiration for my sonâs name.
12. What did you eat for dinner last night?
Pepperoni pizza and organic kale. That basically sums up my my life.
13. If you could give $10,000 to any organization besides your own, which would it be?
Voces de la Frontera. Based out of Milwaukee, they are the rockstar immigrant rights organizers folks on the coasts donât know about.
14. On what occasion do you lie?
When I watch the news and tell myself everythingâs going to be alright.
15. What do you think is the greatest social issue of our time?
The combination of hyper-capitalism, white supremacy, and environmental degradation that globally we call climate change and locally we call gentrification.
16. What do you think needs to be changed the most in our world?
Besides #15? Letâs see, we need to change the fact that corporations can cross borders, Pepsi can cross borders, internet porn can cross borders â but flesh and blood people are arrested, deported, incarcerated, and sometimes killed for trying to find a safe home for themselves and their families.
17. What book are you reading right now?
âClick, Clack, Moo: Cows That Type.â Itâs a kids book about a group of cows that unionize their farm for better conditions. My son loves it, although Iâm worried he might now try to rise up against his mom and me.
18. What is the guilty pleasure television show that you watch?
Game of Thrones, what else? But I donât feel guilty about it. Itâs a metaphor for climate change. (Google it.) Plus, it has dragons.
19. Whatâs your favourite online resource for news and for fun?
For news: New York Times, ColorLines, Twitter. For fun: The Onion, Boondocks reruns, SnapChat.
20. Where would you like to live?
Iâd be down to spend some time in Puerto Rico. Also Guam, the Virgin Islands, and basically every U.S. colony that deserves freedom and has nice beaches.
21. Bonus Question â What is your personal motto? âPoliticians use the truth to tell lies. Artists use lies to tell the truth.â
https://www.youtube.com/watch?v=iY7H5mvxULM&feature=youtu.be&list=PLgfdVMERG3OORKFlWeyQx1-radBrD2krv
About Josh Healey
Josh Healey is an award-winning writer, performer, and Cultural Shift Director with Movement Generation. Joining his distinct storytelling style with a subversive humor and love for justice, Healey fuses art and activism to amplify the climate and social justice movements in the Bay Area and beyond. A regular performer on NPRâs Snap Judgment, Healey lives in Oakland, CA. He plays a mean game of spades. ![]()
20 Q's with Movement Generation's Josh Healey
1. When and where did you feel most fulfilled in your work? When we did a comedic film project (see a ...
May 25, 2016
Nika Khanjani Identification : let me tell you where iâve been* in five short stories
âI, alive and glimmering like the instants, spark and go out, alight and go out, spark and go out. Itâs just that whatever I capture in me has, when itâs now being transposed into writing, the despair that words take up more instants than the flash of a glance. More  than the instant, I want its flow.â â Clarice Lispector, Ăgua Viva
I make films and videos and they are all short. Theyâre all short and theyâre all personal, based on stories that are my own or about relationships Iâve had or am having. My last film was about my incarcerated brother and it was incredibly hard to make, for reasons both logistical and pyschologistical. For my next project, Iâm moving back into fiction. Itâs a short film about strangers in paradise.
Iâm never actually present in my own work. By that I mean that while the work is almost always particular to me and usually involves a lot of voiceover, I rarely put myself in front of the camera. When the generous and patient friends at Kindle asked me to write something for the Nexus page, I thought three things: keep it short; keep practicing your thing; donât overthink it.
*Referencing the extraordinary collection Let Me Tell You Where I've Been: New Writing by Women of the Iranian Diaspora, edited by Persis Karim.Â
--- [caption id="attachment_6505" align="alignleft" width="236"] Photo by Montgomery Knott[/caption]
Brooklyn 1999. It was a warm Halloween and I was working the hostess shift at the diner. Everyone working that night showed up in costumeâall very considered, all very cleverâ but mine was the only one that really made you gasp. I think the secret was that the costume, in fact, was wearing me. All those gritty, too-warm Halloweens in Brooklyn I wore the same thing: a perfect-fitting vintage 70s wedding dress. After so many sweaty dance parties, so many blocks schlepping over dirty sidewalks, it was pretty disgusting. But that just made it awesome. I had mascara stains down my face, a crusty gauze wrapped tightly around my left wrist, and a bouquet of shitty dead flowers. We could smoke inside back then so I likely had a cigarette. A singed veil. The costume took people off guard. They stared. They laughed nervously. Weeks later a couple came up to me on the street and said that they had walked into the diner that night, but after they saw me they turned around and left. My jilted bride was unnerving. Her wounds and open grief and no fucks left to give had really spooked them. Tehran, 2002. I was supposed to be on set for makeup and costume an hour ago. Instead, Iâm standing by the roadside with dozens of strangers, watching cars skid through a snowstorm. All the taxis are packed with bewildered passengers. One car is spinning its wheels, stuck. An old mullah holds the steering wheel while his driver, the scrawniest guy Iâve ever seen, tries to push the car off a sheet of ice a few feet in front of us. I walk over to help him. I motion to a man in a suit and briefcase to help me. We unstuck the car and, predictably, the mullah offers us both a ride. I accept on behalf of myself and the businessman. I am wearing a bright pink scarf as my hijab. Nuts and dried fruit are shared while we barely move through traffic. The men made small talk. The man with the briefcase worked in computers. What a coincidenceâthe mullah was finishing his certification in DOS! and what about me? what did I do? I was raised in the US? I have a sweet accent. was I married? did I know that mullahs are actually really great husbandsârelaxed and generous? the man next to me clutches his briefcase, the driver glances at the mullah with open surprise. Mr. mullah alludes to a marriage proposal and assurances that his wife would be very nice to me.
Montreal, 2004. I sat on the examination table in my bra and underwear in an old manâs basement. He was the closest doctor on the list provided by the immigration program. I walked down a heavy street of slouching buildings through lovely, faded Outremont to get here. His wife answered the door, a large Greek woman, but sheâs gone now. He seemed like a harmless old manâheavy bifocals, slouching, a wool sweater vest. Probably lots of grandchildren. He shuffled a little. He cleaned his bifocals to look at the photos I handed him for my file. âThis isnât you,â he mumbled. He told me with cold authority to take off my underwear for the general examination. I knew that was crazy. He told me that he could put on the form that I had HIV. This is not my country and I donât want to be here anyway. Fuck you, all of you.
Houston, 2006. The night before my brotherâs trial, we shared an inflatable mattress in the living room of our godmotherâs apartment in Houston. He was 21 and beautiful. Still a mess but getting things together. I donât remember sleeping that night. I do remember thinking carefully about what it would mean if he didnât walk into the courtroom the next day, if he had gone south to Mexico and beyond. I thought about how just a year before, he and I were singing a duet of Princeâs Kiss at my ex-brother-in-lawâs wedding for him and his new bride. My ex-mother-in-law, during her toast, kept calling the bride by my name.
Montreal, 2007. The younger-than-me assistant professor explained three-point lighting and how to adjust the focal length when you want better depth of field. I think thatâs what he was talking about. I honestly donât remember anything from cinematography classâI was too busy crying and only half-aware of him glancing over at me. I knew I was making him uncomfortable, and I felt bad for it. It had already been three weeks of this. Did he know that public crying was an involuntary thing?
* * *
---
Nika's latest film is called Free World Pens. Watch the teaser below:
https://vimeo.com/143214438 ![]()
Nika Khanjani
Identification : let me tell you where iâve been* in five short stories âI, alive and glimmering like the instants, spark ...
May 04, 2016
Doc Next Network Radical Democracy: Reclaiming the Commons
Five years have passed since the protest wave of 2011 captivated Europe. Far from subsiding, the tremors are spreading beyond the southern european countries. From the peripheral neighbourhoods of Istanbul to the housing estates in London, and the formerly industrial districts of Warsaw, ordinary citizens are coming together, as communities, to defend common goods and counter the inertia of their increasingly distant local governments.
Feeling the rumbling beneath their feet, the establishment entrenches itself in its control towers, spewing messages, images and a discourse that reproduces a single, forceful idea: that History cannot be changed. Despite the efforts of a complicit mainstream media, counter narratives emerge. Rumours spread and become contagious, gripping and activating muscles and minds. This is how the possibility of the 99% begins to take form, to organise itself, leaving the plazas to look over the city as a whole and ask: How will we care for the public spaces abandoned by these same institutions that are so worried with preserving their power? How can we turn our villages and cities into places where we live and breathe wellbeing?
Today, in post-2011 Europe communities are using all the tools at their disposal to challenge the establishment by forming their own democratic institutions, creating networks for decentralised production, cultivating civil disobedience and the construction of autonomous imagery that is critical of the system itself. This restructuring relies on the social recognition of our bodies as vulnerable in order to guarantee that the life we are rewriting is not a bare one, without attributes, history, culture or politics. The time has come to reclaim the commons so that we can guarantee that our cities and villages are cared for. To dare to ask that most subversive and political of questions: Who decides how our lives must be?
This question was the starting point of âRadical Democracy: Reclaiming the Commonsâ, a two-years project developed by the Doc Next Network and funded by the European Cultural Foundation, the Open Society Initiative for Europe and the Kindle Project. The project had two phases developed between 2014 and 2015 devoted to produce and share different views of what media makers, social movements and different agents are thinking and creating throughout Europe in order to battle the deep disenchantment, the darkness Europe is living nowadays. It was a project implemented in four different countries (England, Turkey, Poland and Spain) by local and temporary teams called âhubsâ and formed by mediamakers, activists and hackers.
Democracy runs on screens
Every hub worked together to share ideas about how to engage audiences in the local context, as well as to share resources and contacts during the implementation of the project. Down below are some of the main outputs produced on the four different hubs the project took place:
Spain
ZEMOS98 was the team coordinating the spanish hub. They developed a campaign titled âMunicipal Recipes." It was focused on documenting and providing our social agents (Barcelona en comuĚ and Ahora Madrid, popular local candidacies in the two main cities of Spain) an unhurried narration far from the demands of the runÂup to the elections. It reflected on on how social movements such as 15ÂM (also known as the spanish revolution) or the Tides tried to occupy the official institutions and local governments.
With a working hypothesis based on uncertainty, this campaign avoided an excessive focus on current events, preferring instead to decode the thousands of messages that were being transmitted every day, in order to recode them through a media creation that was more detained and reflexive and less time sensitive. As the municipal movement rushed towards the May elections, this campaign proposed a narrative that would help view things in the long term and understand the so Âcalled ânew politicsâ of the municipal candidacies in less immediate terms.
The media production of the campaign included these main dishes:
A teaser of the campaign: âTemblorâ.
A half-hour documentary: âMunicipal Recipesâ which you can watch below.
15 long video Interviews: InÂ-depth interview with people who are working in the front line of the municipal movement, people with a lot of previous experience in activism.
Map of events: a graphic responding to the question of âHow did we get here?â created by the artist MarĂa CastellĂł, which highlights the important events that took place during the last four years that, in one way or another, brought us to where we are.
https://vimeo.com/126352895
Poland
The hub was coordinated by the Association of the Creative Initiatives "Ä". In the campaign City - A Common Cause, the short term aim was help to achieve goals of two social agents that would allow them to turn into the next phases of their struggles were reached. The project Ursus managed to gather signatures under the petition of saving the Ursus collection what resulted in long expected statement by the President of Warsaw. Achieving this, now is a place for organising social museum in collaboration with authorities, citizens, and private sector in Ursus. Open JazdoĚw finally won the battle of saving the houses and respecting the great process of commoning that took place there. Now a  a process has begun of creating an institution of the commons that will care and govern the area in collaboration with district authorities.
The media production carried out by the Polish medialab was:
The campaign website.
Open Jazdow video.
Friendship video.
Turkey
This hub was coordinated by Mode Istanbul. The overall theme of Turkish campaign  âImagine it into Beingâ was making the cities liveable by reclaiming common spaces. We aimed to define, highlight and promote âplacemakingâ in the context of Turkey as a transformative, grassÂroots movement with a tangible, participatory and community Âbased methodology for creating, protecting and revitalizing public spaces. We sought to develop a campaign with a holistic, cooperative, sustainable approach by focusing on two main deciding attributes, âscalabilityâ and âcreating long Âterm benefits."
One of the short term objectives for this phase of the project was creating, sharing and incentivizing tools to promote placemaking. They accomplished this by creating a âCrowdsourced Placemaking Platformâ, which includes a âPlacemaking Idea Mapâ to collect citizenâs demands in regards to their living spaces, a âplacemaking guideâ to help them conceive of the steps to follow, and a âresourceâ section to provide good (local and international) examples, a lexicon to stir thought and discussions, and a media room to share media works to motivate action.
The production carried out by the Turkish hub included, among other things:
A Campaign web and a blog.
Radical Democracy Urban Encounter Compilation video.
Be Part of the City video.
Imagine it into Being video.
United Kingdom
This hub was coordinated by the Future Film team of the British Film Institute. The aim the campaign titled âPack Up Move Out Noâ was to use media and documentary film to raise awareness of the housing crisis in London and to support our social agent Rosie Walker of Renters Rights London. UK Hub campaignâs long term outcomes were to equip activists and campaigners with the media materials and research to help them with their own housing campaigns. A blog on campaignâs website homepage documented the process of making the films on the homepage of the campaign website: Pack Up Move Out No. Short term outcomes were to raise awareness of the housing crisis. Research and statistics, along with the âRentspeakâ definitions, were made and printed into a newspaper that was handed out at the final encounter.
The impact the campaign has had on the country was successful in bringing networks of campaigners together for the final encounter and empowering the audience of activists and campaigners with information and contact with each other.
The main productions made by the United Kingdom hub were:
Remix video exploring the context of the London Housing Crisis, Aylesbury Estate
Short film on the context and rights of private renters, Londonville
Short film exploring the issues of Guardianship schemes, Who Guards the Guardian?
Teaser of the campaign, Who has the right to live in London?
These are just 4 examples on how media and activism can work together in order to foster social change. However, there is still a lot to. And the refugee crisis Europe is facing is just one example on how urgent it is to build critical narratives and independent stories trying to explore new ways of living together instead of hating âthe otherâ. ![]()
Doc Next Network
Radical Democracy: Reclaiming the Commons Five years have passed since the protest wave of 2011 captivated Europe. Far from subsiding, the ...
Apr 07, 2016
The Future of Kindle Project and Indie Philanthropy Greetings Kindle Project and Indie Philanthropy communities,
Happy New Year. As many of you have been waiting to hear about the future of Kindle Project, I write you today with exciting news.
2015 was a year of embracing unknowns and potentials. For the last couple of years, Kindle Project has been working towards diversifying our donor pool to continue our creative, outside-the-box grantmaking programming. Today, I am giddy with excitement to announce that Kindle Project remains alive and kickinâ in 2016! From the bottom of my heart, thank you to our donors, our grantees, and our incomparable team for your unwavering support. I couldnât be more smitten.
With an eye to our future, we are focusing on refinement and experimentation in our work. Our search for new donor partners continues while we put bodacious grantmaking programming into practice. Our small and mighty team has been cooking up some mildly ludicrous ideas and we canât wait to share them with you.
But first, as many of you may know, the Indie Philanthropy Initiative was created, funded and incubated by Kindle Project. Since our launch, itâs been incredible to see the Initiative expand and be of service to the field of philanthropy. At the end of last year we decided it was time for the Indie Philanthropy Initiative to spin-off and become its own independent organization. We made this decision for both Kindle Project and Indie Philanthropy to be able to fully flourish in our distinct missions. Kindle Project will continue to be a collaborator, friend and Core Partner in the mission of Indie Philanthropy and weâre psyched to see how the Initiative will grow from here.
I am pleased to announce that our very own Arianne Shaffer is stepping into a new leadership role as the Director of the Indie Philanthropy Initiative. In addition, Kindle Project is lucky to have her continue on in her role as our Communications Director. So many hats! But, our crew has always been known to look good in hats.
And well, you know, change looks better with bling. Both organizations are actively fundraising and looking for donor partners to support our awesome missions. To learn more about supporting Kindle Project click here and to learn more about supporting Indie Philanthropy click here.
With love, as always, cheers, salaams, fist-bumps, whut whutttttâŚ!
Sadaf
P.S. Here's our core team. In hats. From left to right: 1) Sadaf Cameron, Director of Kindle Project, a.k.a Nomadic Farmer. 2) Arianne Shaffer, Comms Director at Kindle Project and Director of Indie Philanthropy, a.k.a Fly Girl Wannabe. 3) Fatima van Hattum, Program Manager at Kindle Project, a.k.a Hijabi Cowgirl.Â
[gallery size="large" ids="6319,6317,6321"] ![]()
The Future of Kindle Project and Indie Philanthropy
Greetings Kindle Project and Indie Philanthropy communities, Happy New Year. As many of you have been waiting to hear about the ...
Feb 02, 2016
Meet the Kindle Project Fall 2015 Film Fund Grantees and Awardees Cry You One ⢠The Black Dutchman
Movement Generation ⢠Nanbel
Ntare Guma Mbaho Mwine
Southwest of Salem: The Story of the San Antonio Four
The Shore Break ⢠Shiraz Ksaiba ⢠Yansa Dark comedy sketches set in the fictitious town of Nanbel, invoking the absurd and grotesque elements of the war on terror and beyond.
A feature doc about the unbelievable mistreatment and wrongful conviction of four Latina lesbians in Texas.
A female cinematographer out to explore the wilds of the Moroccan south.
A feature doc highlighting the tensions in one South African family as they are pulled between the desire to maintain traditional lifestyles in the prevalence of extractive industries.
Video chronicles of socially transformative performances highlighting the disappearance of the wetlands in southern Louisiana.
A multimedia sketch series that highlights the interconnectedness of climate change, race and economics.
A feature documentary that explores an old and racist ritual in the Netherlands.
An actor/filmmaker/writer whose work opens a window into the personal and public struggles of LGBT communities in Uganda and Nigeria.
A video project documenting sustainable energy and community innovation in Oaxaca and Kenya.
Meet our latest grantees and awardees. This group of ten is the epitome of what is happening in the wide world of documentary and experimental media. Farce, fierce realism, and experimentation - each project and person in this group of creators shapes and works their craft to tell the most important stories from their very unique vantage points.
Itâs been a tough year on this strange planet of ours. With the increasing complexities of conflict, migration and record breaking global temperatures, there is a need to unpack the multitude of unfolding crises, create solutions, engage in critique, and, of course, instigate serious laughter. These ten filmmakers and projects are doing just that.
All grants are made possible through the Kindle Project Fund of the Common Counsel Foundation and all awards are made possible through the Kindle Project LLC. ![]()
Meet the Kindle Project Fall 2015 Film Fund Grantees and Awardees
Cry You One ⢠The Black Dutchman Movement Generation ⢠Nanbel Ntare Guma Mbaho Mwine Southwest of Salem: The Story of the San Antonio ...
Dec 08, 2015
Juice Rap News Dear netizens, this is Giordano and Hugo from Juice Rap News
For those of you who don't know us already, we produce a satirical online news show where everything is delivered in rap and rhyme in a head-bopping blend of political analysis and irreverent comedy. Weâve been broadcasting our bulletins via thejuicemedia youtube channel since 2009, so weâve been doing this now for about 6 years. During that time, we've produced over 35 episodes of the show, earning over 14 millions views and 100,000 subscribers spanning right across the world.
Juice Rap News owes its existence to the Internet. It was inspired by a need to document and critically engage with some of the most defining events of our time in a deeper way than what we see in the nightly news. We wondered: what would it be like if the Evening News could provide a more radical and historically-grounded analysis of world event and issues? What if it addressed the deeper questions of our human condition - 'The Juice', as we call it - rather than the same old usual disconnected stuff? Rap and music are of course two highly effective channels for delivering information in an engaging way. So the show came about by combining these three key elements - News, Rap and 'Juice'. Juice Rap News. Although we've come a long way since we started out with our very first video in 2009, the project is still very much a home-based DIY project. Our whole set up is in a suburban house in Melbourne; the home of the recording studio, the green screen and the prop shed, which we raid every time we need to assemble a new character. Juice Rap News started out as a sort of garage-band project and it has remained true to its roots to this day.
We feel absolutely blessed to have garnered an amazingly diverse and dedicated audience, and to have played a part in raising consciousness about some of the most pressing issues of our times. And we could not have done it without the help of the Kindle Project. We've been partners in crhyme with the brilliant Kindle Project for the past three years, and their support has been not only a source of financial stability but also a massive encouragement boost.
Unfortunately, this update happens to comes at a time of transition for Juice Rap News. After 6 years of making the show, we decided that it was time to put the project on hold, indefinitely. We recently produced a video announcement to inform all our viewers out there and you can watch that video here.
When we uploaded that video, on November 1st, we did not anticipate there would be such an outpouring of Internet <3 in response. So many beautiful personal comments have been coming in, on YouTube and on Facebook, Twitter & email, offering an insight into just how much this show has meant to so many people out there. Many wrote to us about how Juice Rap News has played a major influence in shaping the way they saw and thought about the world. Some wrote pure and pithy expressions of existential loss ("NoooOOOooooooOOOoooo"). While others rightly pointed out rightly that the episodes will live on, online, as an enduring record of the years 2009-15. Here are a few examples of the kinds of responses people sent us:
"Guys, your work, your message, and your talent, of taking important global issues, seeing & telling them for what they are, in a creative light that makes it not only entertaining, but ultimately unforgettable and eye & mind opening, will be very hard to match. You have not only etched your names & work into the halls of internet history, but also in the minds of people through millions of views, and subsequently, left a snap-shot of humanity for generations to come. Thank you both, as well as those who helped you work & create so much." "The internet is a little less thought-provoking after this loss..." "...there's a whole culture of internet children (ages 11-14) listening to you. I'm in the US, and I've overheard my newly 12 year old's friends in Japan, Korea, England, and Australia trying to understand history via discussion about the latest Rap News." " I am really saddened at the loss of this frustration relief you have supplied me for years. You made everything make sense. You helped open my eyes to more. I really want you to know that I truly care for the Rap News" "Thank you so fucking much, the whole world is a better place because of your work <3" " Giordano and Hugo. You two have been an inspiration for me and I loved your show and the two of you to bits. You two are amazing people and you two played a huge part in shaping the kind of person I am today (in the best possible way :) )" "I feel a big hole has opened in my chest. I feel tremendous sadness, and gratitude, for every moment you have captured my attention, has been a moment free of the burden of pressing weight, weight of all the information about our species made so available by this internet." "Your impact on global consciousness has been of the highest order." "You will be forever missed, Robert Foster."
As you can probably imagine, it has been incredibly moving for us to read all this beautiful feedback. It has helped us realize just how much people out there have valued the work we did. And we want to share this sense of achievement with all those who have helped to make this show possible.
We are grateful to everyone who supported us over the past 6 years; everyone who liked and shared our videos; to everyone who donated funds along the way; to all our translators from around the world who volunteered their time; and all the people who contributed their craft, skills, talents and time to Rap News over the years. And of course, we want to express a special thanks to the Kindle Project, which has supported us for three consecutive years. If we have been able to do some very valuable work, that is in great part thanks to you. And on behalf of our audience, we want to express our deepest and sincere thanks. We hope Kindle Project will continue to support and nurture many more important projects in the future. Heaven knows how much we need it.
Regards & respect
your friends on the Internet,
Giordano & Hugo
P.S. This is NOT the end of the Juice Media: after a bit of a hiatus, there will be some new content coming on the channel. The format will change, but when the time comes, you can be sure itâs going to have many of the qualities which people enjoyed about the content, satire and philosophies of Juice Rap News. Until then, we hope people will continue to enjoy our 35 episodes of Juice Rap News for years to come! ![]()
Juice Rap News
Dear netizens, this is Giordano and Hugo from Juice Rap News For those of you who don't know us already, we ...
Nov 12, 2015
Taslim van Hattum THE ONLY DIFFERENCE
SETTING- Five Star Burger, Santa Fe, NM. Devargas Mall parking lot. It is 9 oâclock.
FORECAST- Light snow.
TIME- 9pm, close to closing.
[Taslim exits to side patio.]
ENTER- Two men [kitchen staff] enter the rear of the patio from a side entrance. They light cigarettes. Â Whispered pieces of their conversation can be heard. They put out their cigarettes.
Man 1:
[ As he returns through side kitchen door]
â You know, the ONLY difference between American girls and Muslim girls isâŚâ [Kitchen door closes.]
Begin Mad Libs.
Below is a nine month random sampling of what his responses might have been.
[gallery columns="2" ids="6263,6258,6262,6259,6261,6260,6256,6257,6252,6250,6253,6249,6230,6254,6251,6255,6248,6244,6245,6228,6246,6247,6243,6240,6242,6241,6239,6236,6234,6232,6237,6238,6235,6231,6233,6229"] ![]()
Taslim van Hattum
THE ONLY DIFFERENCE SETTING- Five Star Burger, Santa Fe, NM. Devargas Mall parking lot. It is 9 oâclock. FORECAST- Light snow. TIME- 9pm, ...
Oct 29, 2015
Grey Filastine (Trailer) The Miner is the first installment of four new audiovisual pieces by Filastine on the refusal to lend our bodies to degrading work. Filmed in the coal mines of Borneo and sulphur mines of East Java, The Miner chronicles one workers dance of revolt.
https://vimeo.com/139626596 ![]()
Grey Filastine
(Trailer) The Miner is the first installment of four new audiovisual pieces by Filastine on the refusal to lend our bodies to degrading work. Filmed ...
Sep 17, 2015
Grant C. Dull of ZZK Records A Letter from from ZZKâs 12 Year LatAm Expat Director
by Grant C. Dull
Iâm currently writing this as I listen to a new artist Iâm getting really excited about. This moment is a very magical moment for a label head (or an A&R if your label has more than 2 people working at it like mine) and I imagine for the artist too. The conversation starts, typically through emails and file trading, after some music is heard or even better, after seeing the artist live. This is what happened here. I had the pleasure of seeing this artist play in an intimate setting and was mesmerized. Itâs really a crazy process, signing an artist to your label. You never know how itâs gonna happen, each one has a different story. The inexplicable power of music.
The last artist I signed, Nicola Cruz, a 25 year old producer from Quito, Ecuador who used to collaborate with Nicolas Jaar and is producing some gorgeous Latin American electronic music, sent me an email in late 2013. It was short and sweet and to the point and had some tracks attached. From the moment I listened to the music I knew I wanted to work with this guy. Nicola is the first artist Iâve signed from an email. Every other artist we either had play at our club night or heard them online and the conversation was started. In 10 days, thanks to the Kindle Project and our recent crowdfunding campaign, Iâm headed to Quito to do some video production work with him for his upcoming album. His debut album is coming out in October. And just like that, here we go again.
I once had an artist tell me in Amsterdam that he preferred to be signed to a small, struggling label. I suppose he said that because of how we work, us small independent struggling labels. We do it for the love of the music, first and foremost. If not, quite frankly, we wouldnât be doing it. Thereâs not a lot of money going around in music these days. Less in niche music. Even less in niche music from Latin America. But you know what, I love what I do, and if I wasnât doing this, who would be? Iâm certain that the work we do at ZZK is a way to introduce some very special, very talented, very magical producers and musicians to the world, years before anybody else would have taken a personal, professional, emotional, etc risk on them.  Lately, companies from LA, Paris, NYC, Brussels have all come and signed some of my artists, which makes me happy. But it takes somebody early on and on the ground to say screw it, this is magical. I donât care if nobody has heard of this artist, I donât care how many followers they have on social media, don't care if their music is gonna sell or not, donât care if their name is difficult to pronounce or they sing in a foreign language, this is great music, this is great art, letâs go for it. Letâs introduce this artist to the world.
When I proposed to my 2 Argentine partners to start a record label in 2008 they said I was crazy. I didnât exactly disagree. But it didnât necessarily stop me either. Actually, it kinda fueled the fire.
Diego, the deductive reasoner of the 3, immediately started working on his thesis aka the introductory text to the label. âWhy start a record label in a dying industryâ was the first thought out of his head and onto our first press release. I didnât fully grasp his question at the time, heâs over thinking it I told myself, but after 7 years I must say, damn he was right.
But so was I. Because ZZK, although it struggles to make ends meet, is providing a very important service to both contemporary music and contemporary Latin American culture.
He was right in so much as the industry is in tatters. The digital revolution hit the music industry hard, sales plummeted, formats changed, technology advanced faster than the old gatekeepers of the drying up fortunes and antiquated techniques could tread water. A vast majority music consumers realized that getting music free was hey, getting something free in a world where nothing is free. Trust me, I get it.
But we were onto something special, I could feel it in my bones. We winged it with the reckless abandon of a crew on a mission. Everybody rallied around the energy. Egos and paychecks were checked at the door, this was stuff that dreams are made of, and for the most part, everybody involved also got it and jumped on for the ride.
[gallery size="medium" ids="6185,6182,6180,6179,6178,6177"]
Fast forward seven years. Nearly the whole world has gotten a taste of our music, on stage or online or even during prime time TV (this is currently running across America).
I couldnât be more happy with how itâs gone, as hard and trying as itâs been. We literally ask ourselves every year if we should keep it going another year. Then we come up with a crazy plan and more or less make it another year.
Have I done it all perfect? Heck no. Did I fake it till I made it? Absolutely, I still am today. Have I managed not to become a royal industry a-hole during the process. Yes, Iâve managed to keep my soul. Has ZZK made a dent at the history of music. Iâd like to think so. Are we done yet? Absolutely not.
Thank you for believing. ![]()
Grant C. Dull of ZZK Records
A Letter from from ZZKâs 12 Year LatAm Expat Director by Grant C. Dull Iâm currently writing this as I listen to ...
Jul 24, 2015
Kent Monkman In âMiss Americaâ, Monkman has chosen as his inspiration Giovanni Battista Tiepolo.
His reworking of Tiepoloâs ceiling cycle The Four Continents (1754), specifically America at Treppenhaus, Residenz at WĂźrzburg, Germany, challenges the euro- western âAge of Reasonâ through a re-casting of allegory and classism into a Canadian Indigenous context. Tiepoloâs cycle, epitomized, not only the lush allegorical language of Renaissance and Baroque conceptualizations of the world, but also the humanist philosophies that characterize the Enlightenment â the aesthetics of Classical Antiquity coupled with the search for imperial truth through reason to bring order from chaos.  Likewise, Monkman, in appropriating these compositional, syntactic and iconographical tools, piles luscious fully-fleshed Indigenous and Non-Indigenous bodies into a climax of the Americas that simultaneously assert and undermine the ârationalismâ of the Age.
As in all Monkmanâs work, we are drawn in and seduced by his ribald sexuality, his critique of historical narrative and further rewarded by the workâs elegance and rich corporality. Monkman neither satirizes, nor demeans his subject works. He evaluates and re-supposes them in meaningful, profound and wondrous ways. By monumentalizing the indigenous experience in the Americas, he posits a differing historical trajectory, skewering the apocryphal fantasies of colonial supremacy and  manifest destiny
By Indigenizing the Euro-western canon he creates a tragic-comedy of  multiple entendre, played out in a  realm of mythic illusions, conscious and unconscious desires, myriad reflections on socio-cultural violenceâŚ..and acts of pure magic. He creates masterworks of subversion and sensuality, responding to and engaging an anti-colonial discourse steeped in the enduring of rationalism and imperialism within contemporary and historical imagination. These are constructions of presence that disentangle existing paradigms, bringing attention to the exclusiveness of popularly prescribed history.
Monkmanâs figures posit a profound Indigenization of the landscape in a way unimaginable to art historical dogmatists. His is an âAmericasâ peopled  by robust bodies grappling within colonial imperial knowledge â no one is exempt.
Their exuberant romp over the canvas is simultaneously a celebration and condemnation of cultural specificity undermined by the nation state. The complex imagery demands the viewer to look and orient themselves in what can only be an intensely political discourse of violent confluence and difference.  It is a point, and site, of resistance and sovereignty for Indigenous people. And rising above it allâŚamid the tumult and the chaos is Monkmanâs alter ego Miss Chief Eagle Testickle; dazzling, unflappable, supple and yesâŚregal, in all her sumptuous glory.
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Kent Monkman
In âMiss Americaâ, Monkman has chosen as his inspiration Giovanni Battista Tiepolo. His reworking of Tiepoloâs ceiling cycle The Four Continents (1754), specifically America at ...
Jul 16, 2015
Voice Monet I don't know what it's like to not approach a situation creatively. Self expression is a delicate balance of honesty, intention and problem solving. I have been making art all of my life and oftentimes, with the limited resources available to me so I know there are no excuses!
Â
I also believe that reaching out and connecting first with my community, and then the greater world at large has the most potential for impact. This has been the foundation of my mission the last 14 years commercially releasing music. This year I'm truly thankful to be able to integrate my work as a filmmaker into the mission.
 A huge THANK YOU to The Kindle Project's Maker's Muse Award 2015 for awarding me the support needed to carry out my mission!
https://www.youtube.com/watch?v=IJIRDgfuwQc&feature=youtu.be -voice monet
http://www.VOICEisHEAR.com/
http://www.twitter.com/Voicey_Uno
http://www.soundcloud.com/VoiceMonet
http://VoiceMonet.bandcamp.com/
http://www.facebook.com/VoiceMonet
Â
Pre Order "Black Maria, EP":Â
https://voicemonet.bandcamp.com/album/black-maria ![]()
Voice Monet
I don't know what it's like to not approach a situation creatively. Self expression is a delicate balance of honesty, ...
Jun 25, 2015
Meriem Bennani Meriem Bennani writes an e-mail to a friend about one night in Morocco
2015-06-18 10:06 GMT-04:00 Meriem Bennani <mmeriembennani@gmail.com> wrote:
Dear A,
I hope you are doing great.How is editing?
Morocco has been good so far. Everyone is talking about the live-streamed performances of international pop stars at the Mawazine festival in Rabat.
I remember this conversation we had about what has been inspiring me in writing the character of Fardaous and other stories. We had talked about the Kardashians and California in relation to Morocco. Something about the Spanish influence of the architecture and a love for modern villas got me really thinking about filming reality tv in a Moroccan house. There is more though. I realize I never really got to tell you about La Nezha, my motherâs cousin. I was at her house yesterday for her yearly Gnawa night. One day you will come here and I will take you. I have been writing about her, drawing her and thinking about her house since I was a teenager. Iâm not sure she has any idea what I do and how much I have borrowed from her.
[caption id="attachment_6154" align="alignleft" width="944"] My mother as Fardaous Funjab[/caption]
I want to tell you more about that night- and as usual- - I apologize for my ESL.
I arrived at her house with my older sister and mom in the afternoon. Distracted by a painted portrait of her at the entrance of the house, I lose my party friends.
In the middle of the thick musk smoke and rows of sugar-dipped legs of aunts and aunt cousins, I look for the chubby and pale ankles of my grandmother. Her feet usually hang right over the floor, pulled down by the weight of a heavy heel, straightening the trunk-like shapelessness of her white ankles. Once I see them I will look up and find her small and hard eyes. Some women are commenting on each otherâs dancing, something about J.Loâs performance in Rabat the week before and speculations on how many centimeters of fabric were covering her expensive body. I walk past them and hit the chipped bottom of a golden dog sculpture. Two skinny men are holding hands. A perfect blow dry stretches their long hair and an impeccable pluck job defines their dark eyebrows. No one seems to care about their handhold or the rings around their fingers or the transparent polish over their nails. I cut through a small crowd of hard bodies and get to the central living room. My grandma must be there, in the middle of the dancing, by the Gnawa Mâalem.
My sister has found her long before me and has already sat in the only available velvet square between my grandmother and skeptical mom. I will take you there but donât expect me to stay past sunset. Lost, I seat across their familiar faces, sliding my body next to a voluptuous woman in her 40âs, bleached blonde curls, light blue eye shadow and heavy breathing through her massive glittery breasts. She pinches my cheek and punches a kiss onto it then wraps her thick arm around my shoulders. Locked between her intrusive embrace and the faces of my grandmother, mother and sister across the living room, I feel strangely grounded and ready for the night.
My mother has been taking us to her cousin La Nezhaâs Gnawa nights for years, but this is our first attendance as consenting adults. Through the night the Mâalem sings songs dedicated to specific Jnoun and calls upon them. La Nezha, her two sisters and other guests open their bodies to the dry bass line of the Guembri and let the Jnoun take over. They are now singing for El Bouhali, a male spirit who is characterized by silliness and the absurd. La Nezhaâs first sister, La Fatema, mimics an old man walking and dancing with a cane. Her anemia and hollow cheeks have always scared me as a child. Her gray teeth are constantly visible, completely uncovered. She is wearing a patchwork of different color fabrics for El Bouhali. She moves her cane vertically like a rotated blind walker and slides her tight heels forward, leaving embedded strokes behind on the tortured rug. She is headed to the center of the rug where a man in an oversized suit has placed a monumental plate of couscous. A slow flock of barefoot women ( the Jnoun enter the body from underneath, wearing shoes prevents them from coming in) is diving towards the meal, dipping their hands in the white and grainy mount, extracting greasy pieces of meat and candy, passing them to the guests seating around. Made in honor of El Bouhali, the âsilly couscousâ mixes lamb and wrapped candy of all sorts. Terrified that someone would hand me a small plate of lamb wrapped Tofita that I wouldnât be able to refuse, I curl backwards like a turtle inside the curly bleached blonde shell of my improvised friend.
A few hours go by and a few more Jnoun have been celebrated, called upon, sang, danced, and dressed up for. Each Jnoun has a dedicated song, color and set of characteristics. Some Moroccan psychotherapists have compared their features to specific neuroses and Gnawa nights to group therapy. The trance has spread and most guests are now operating on a level I seem to have no access to. People have given up their notoriously unbreakable Moroccan souab (etiquette) with their shoes once they entered the arena of endless possibility defined by the edge of the gigantic rug. The complicated woven patterns are stomped over like the re-designed map of a catastrophic war aftermath. Once inside, anything is allowed: every curse word, every scream, obscene dance move, shaky hair pull and frantic jump is attributed to the Jnoun in control.
The Mâalem is now singing for Lalla Malika. From what I gathered she is the spirit of beauty and fabulousness, a lover of purple and pink tones, and a very good French speaker. I heard people sometimes say of gay men that they have Lalla Malika in them. As I am wondering whether the explanatory aspect of this popular assumption is a sign of tolerance or the opposite, the heavy arm of my new friend starts shaking over my shoulder. I look at her face from under her massive chin. Her pale blue eyelids are trembling over white eyes and her mouth is half open, letting out an irregular series of broken sighs. It was not before she threw herself face first down on the rug and proceeded to humping it that I was able to identify the nature of her sighs. Embarrassed by my friendâs sudden chemistry with the floor, a woman tries to stop her. La Nezha yells: Leave her alone. Itâs bad to interrupt. Sweet Jamila had a lot to let go of Iâm glad she came tonight. They have been coming in and out of me all night. This Mâalem is really good, isnât he? Whereâs the waiter? Iâm thirsty; Iâve been thirsty all night. She speaks like a queen, constantly flicking off the ceiling with her golden tiara. She looks down at the humping blonde with the tenderness of a lioness (a lioness with a perfect hairdo). Her tattoed chubby soles must be the softest gateway for the Jnoun. She turns around and calmly wanders through the guests' occupied bodies, satisfied and proud, ready for a cigarette. She seats down behind the Mâalem where golden embroideries separate the rest of the sofa from a central throne area.
A., I wish I could show you a photo of her. The atmosphere felt too thick for iPhones or any other technology.
I think she looks like an American pop star. Can you imagine if she had her own show? I have been thinking about her and why I find her so fascinating. Her life is structured around the spirits, celebrating them, visiting marabous and helping people in their daily lives. Customers come to her with a problem, she consults the Jnoun at night and provides answers and life tips in the morning. Although the mystery of her heavily spiritual life could explain my obsession with her, it is not what I am most interested in. Something about the beautiful thickness of her body and her extreme aesthetics seem to protect her from judgment. It's like any misogynistic comment or rule that is usually thrown at Moroccan women would implode if it approached her. A different set of rules applies to her. Even Jennifer Lopez didnât benefit from this special treatment. She shows me a Morocco which popular culture encourages self expression and recognizes sex as a natural aspect of social interactions outside of marriage. There is so much freedom in the space she opens up in her house once a year. Every time I borrow from La Nezha in my work, it is that beautiful space of possibility that I open up once again.
Will you give a kiss to your doggy for me?
With Love,
Meriem.
ps----Oh, I also have this video from a couple years ago, on her birthday :
https://vimeo.com/14467448 ![]()
Meriem Bennani
Meriem Bennani writes an e-mail to a friend about one night in Morocco 2015-06-18 10:06 GMT-04:00 Meriem Bennani <mmeriembennani@gmail.com> wrote: Dear A, I hope you ...
Jun 18, 2015
Faig Ahmed I explore ancient traditions, cults and cultures, I make my own research and as I communicate with it, I create art. My carpets, installations and embroideries are the result of this interplay. It is fascinating to observe the process of such an easy transformation of such ancient and stable objects.
I am in love with textile. Because fabrics are objects that humanity is using from the beginning of times, till nowadays. Another thing that interests me is pattern. Patterns and ornaments can be found in all cultures, sometimes similar, sometimes very different. I consider them words and phrases that can be read and translated to a language we understand.
My art is an experiment. I want to examine the subject matter to see how deep can we go inside something accomplished and holistic and to observe the influence this kind of a change can have on people.
What influences and inspires me the most are all kinds of travel. By saying travel I mean either physical travelling to other countries where I can find and explore traditions and cults spread on this certain territory; or travelling in my subconsciousness, different practices and meditations.
And there is something I believe: If you want to change the world, start with yourself.
Images from the studio, my workshop, and my brave and creative team
[gallery ids="6125,6126,6128,6127,6138,6139,6140,6141,6133,6132,6131,6130"]
The story of one Carpet
Recycled Tradition The idea of this artwork was born from the depth of the âtransformed carpetsâ concept. Initially I have written a deep theory of recycled culture analysis. It was a typical cold analysis of the theme that I was working on. But the story I have lived through has made a great impact on me and I felt that this is the true and honest concept of the artwork. I started to work 4 month before production to find a right carpet. What I needed was 150-200 year old carpet to be cut in the form of ârecycledâ symbol. I have a carpet sales guy who is helping me with production and I asked him to help me with finding a right old carpet in a good condition. He showed me different options while we were having tea in his workshop and Iâve liked one of them. I wanted to start cutting it immediately after leaving the workshop. And with my heart cold Iâve asked him where did he get the carpet. And he told me the story.
Actually there are gypsy guys who buy and resell old carpets. They suggested visiting an old woman who had a beautiful old carpet in a perfect condition. She is living in Southern Azerbaijan. But this woman has rejected selling it because she had this carpet from her grandmother and it was the only thing she could take with her from her fatherâs house when she got married. It was a tradition in old days Azerbaijan. This woman couldnât take anything from her home because her parents were against her marriage and only her grandmother had supported her, gave her this carpet and helped running away with her lover.
After several visits and after she knew the carpet will be sold to an artist she agreed to sell it. Having another glass of tea Iâve found this carpet in a historical book. I read that this was the Garabakh carpet which is another part of Azerbaijan. This lady canât go there anymore! Because this territory is occupied by Armenia. And there is war footing at the moment. So, when I took a cutting knife to cut the carpet I couldnât do it. Suddenly, I realized that Iâm also a hostage of the tradition! This storyâs impact on me was so huge that I couldnât destroy this carpet with my own hands. Iâve passed it to an art production company to prepare it for me and didnât tell them how old it was.
I always thought that my mind is cold and Iâm totally impersonal and that the tradition is only a part of history. But when you touch it directly it changes. Iâve felt the responsibility for everything I do and now this artwork is a part of the recycled tradition and it carries not only this story but also my own.
Last time when I was in our workshop I was fascinated by the surrounding sounds. The carpet has its own spirit and this is how it speaks to you.
https://vimeo.com/129813025
Faig Ahmed graduated from the Sculpture faculty at the Azerbaijan State Academy of Fine Art in Baku in 2004. Since 2003, he has been working with various media, including painting, video and installation. Currently, he is studying the artistic qualities of Azerbaijani traditional rugs â he disassembles their conventional structure and randomly rearranges the resulting components of the traditional composition then combines these fragments with contemporary sculptural forms. Born Baku, 1982 Lives and works Baku. ![]()
Faig Ahmed
I explore ancient traditions, cults and cultures, I make my own research and as I communicate with it, I create ...
Jun 11, 2015
Announcement of our First Doc Film Grantee and Awardee Docket! What stories are the ones being told that donât get heard? Which are the stories whose narratives propel us into imagination and action? Who are the storytellers whose messages are so powerful and thought of as too risky to have a warranted spotlight on them? What perspectives do they have that we donât always get the chance to see?
This year at Kindle these are the questions weâre seeking to answer as we focus our giving entirely within the broad field of documentary. Weâve always been passionate and committed to documentary and have supported several groundbreaking feature films over the years. This year weâre looking at this medium of doc film in all its creative and possible permutations and all our grantmaking will go towards this wide field in 2015.
For us itâs always been important to support those people and projects that are making beautiful and even controversial dents in public conversation and policy. Documentary makers of all kinds have a specific insight into the stories that need telling and we are psyched to present our first docket that exemplifies the true breadth and power that documentary has to offer.
Ranging from feature length documentary films to fantastical music videos. From slicing up current events with rap and humour to experimental and even esoteric short-form films. From the change-making power of first person narratives and the grassroots to the creation of new doc media to support social change. This group of storytellers bursts open the doors for discovery, reflection and radical action.
All grants are made possible through the Kindle Project Fund of the Common Counsel Foundation and all awards are made possible through the Kindle Project LLC. ![]()
Announcement of our First Doc Film Grantee and Awardee Docket!
What stories are the ones being told that donât get heard? Which are the stories whose narratives propel us into ...
May 28, 2015
Franklin LĂłpez Hi my name is Franklin LĂłpez and Iâm the founder of subMedia.tv which launched in the year 2000. More than a website, subMedia.tv is an independent video production ensemble that aims to crank out anarchist, anti-capitalist, anti-colonial films and agit-prop. The films are not your run of the mill activist videos, but snarky music driven productions that emphasize humor and creativity and are unabashedly radical. We also make short documentaries, feature length films, hold free video production workshops and film screenings.
In 2004 we released our first anarchist film âJoin The Resistance: Fall in Love!â, a poetic ode to living life in freedom without societal constraints. Much to our surprise, it was viewed by over 30,000 people at the time. This gave us a glimpse of what we could achieve via online distribution, even at a time when online video was in its infancy. Indeed there was an audience for radical videos out there, and we did not have to compromise our anarchist values in order to reach people.
In 2005 our post hurricane Katrina video mash-up âGeorge Bush Donât Like Black Peopleâ got over 1 million views, and our website crashed repeatedly due to the heavy traffic it was receiving. The following year, the influential technology magazine, Wired, named subMedia.tv one of the top online video websites alongside newcomer YouTube.
That same year we launched what is now our flagship project. A comedy news-vlog called âItâs the End of the World as We Know it and I Feel Fine!â. also known as âThe Fuckin Showâ. In it, the host named âThe Stimulatorâ, reads the news with a smug sarcastic tone and his vocabulary includes more expletives than George Carlin it his prime. âThe Fuckin Showâ also features new underground music and interviews with people engaged in projects of active resistance. From time to time we would go to hotspots of revolt to report from where the action was happening. These include the 2008 Democrat and Republican convention protests, the anti-olympic convergence in Vancouver, the G20 riots in Toronto and the student strike in Quebec this year. âThe Fuckin Showâ enjoys a hard-core audience of tens of thousands and it comes out every other week to this day.
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In late 2010 we released our first feature film entitled âEND:CIVâ, a critical look at the construct of civilization, pacifism, industrial capitalism, environmental NGOâs, techno fetishism and the failure of the North American left. That year we took the film on tour, circling the planet for the next two years. We screened âEND:CIVâ in over 170 venues in sixteen countries, in alleys, movie theaters, community centers, occupations, squats and universities.
Since completing âEND:CIVâ we made films about indigenous groups resisting tar sands oil pipelines and fracking, anarchism in Greece, the anti-nuke movement in Japan and a documentary about the 2012 Quebec student strike.
Last year we celebrated a decade since our anarchist filmmaking practice began, and to celebrate, we released a two hour DVD of our best work entitled âsubMedia.tv: A Decade of Subversionâ which can be downloaded for free on our website. In January of this year we published âTo Change Everythingâ, a video and print project collaboration with CrimethInc, an anarchist writing collective in the US. âTo Change Everythingâ is an accessible introduction to anarchism that includes a short video, and a pamphlet, both of which are free to download. Both the video and the pamphlet are available in over a dozen languages.
This year we are organizing the Anarchist Film Festival in Montreal and are continuing to crank out âThe Fuckin Showâ. Our future projects include short videos that teach tactical skills for radicals and a feature length film about anarchism around the world with the working titled of âÂĄLibertad!â
We have been crowdfunding subMedia.tv since 2007. We make a modest living through small donations and are mostly able to cover our operating expenses. Not having to serve ads, or ask foundations or governments for cash has given us the flexibility to say whatever we want without compromising our politics. A lot of our work has actually focused, on criticizing how foundation and government funding demobilize and pacify radical projects. This is why it was to our great surprise, that the Kindle Project gave us a one time grant with no questions asked and no expectations from us. It seemed too good to be true, but alas, what they promised is what they delivered.
Ironically the money went to pay for back taxes and debt incurred while running subMedia.tv. But it has given us a bit of mental space to not have tax and debt collectors breathing down our necks. A mental space that is invaluable when plotting to make media that aims to dismantle those same institutions, and for this we are grateful. [caption id="attachment_6091" align="alignnone" width="1600"] Photo credit: Dawn Paley[/caption]
Franklin LĂłpez is an anarchist filmmaker from occupied BorikĂŠn (Puerto Rico.) He has produced hundreds of videos and short films under the subMedia.tv banner, a website he has been curating since 2000. He currently resides in Montreal. ![]()
Franklin LĂłpez
Hi my name is Franklin LĂłpez and Iâm the founder of subMedia.tv which launched in the year 2000. More than ...
May 14, 2015
Julio Salgado My name is Julio Salgado and I gratefully received the Makers Muse Award this year. One doesnât really do this type of work to be recognized. My visual artwork comes out of the need to tell my own story and collaborate with badass folks who fight for others who, like myself, are people of color, undocumented, and queer. I am also very thankful for organizations like the Kindle Project that go beyond recognizing the work of culture makers by asking what resources we need to continue this work.
This award will go toward the creation of Liberty For All: The Graphic Novel. I created Liberty For All, a comic strip about a queer, undocumented woman named Liberty Martinez, because I wanted to see stories that reflected our experiences as undocumented and queer immigrants of color living in the U.S. Liberty For All first found its home on my Facebook page, but has since branched out to become a weekly comic on CultureStrike, a national pro-migrants arts organization that is trying to change the anti-migrant narrative through culture. When the comic made the move, I invited my best friend, independent journalist Tina Vasquez, to be the head writer. With the help of other brilliant co-writers, also queer, also of color, Tina and I have been able to bring Libertyâs big, beautiful world to life, filled with characters who are amazing queer and trans people of color.
We always had the dream of turning Liberty For All into a graphic novel, but we didnât think weâd ever have the means to â until now. Tina and I couldnât think of a more weirdly appropriate way to tell you about our project than to interview ourselves about it, so here we go!
Why a graphic novel?Â
Julio Salgado: As a kid, I remember reading the comics sections in newspapers and wondering how they came up with them. After I moved to the U.S., The Simpsons and Daria became my English teachers. Eventually, they had a huge impact on my own cartoony drawing style. It wasnât until I got recruited as a political cartoonist at Long Beach City Collegeâs Viking Newspaper, where Tina and I met, that I figured out that this could be a great way to tell stories. Then I discovered Love & Rockets from the Hernandez Brothers and The Boondocks from Aaron McGruder and I knew I wanted to do this for the rest of my life.
Tina Vasquez: Besides it just making sense because youâre a visual artist, Iâve come to really embrace the possibilities of graphic novels. I didnât read comics or graphic novels growing up. What I did see was mostly superhero-related and none of it resonated with me. Iâd been writing Liberty for about six months when I attended a graphic novel workshop with Mat Johnson through Voices of Our Nation Arts Foundation and it changed everything I thought I knew about comics. Getting to see the work of my classmates and read graphic novels like Alison Bechdelâs Fun Home and Marjane Satrapiâs Persepolis really helped me to understand what a powerful medium this is for storytelling. A graphic novel is the perfect format for Liberty For All.
JS: When I read Persepolis, I just knew I had to create something similar that told our stories as queer and undocumented migrants in this country and bang! Liberty was born! Marjane Satrapi actually got this same award in 2012, so thatâs got to be a good sign.
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What is the story youâre hoping to tell? Â
TV: Where Liberty For All goes is really up to you, Julio. For me, the most important thing is representation. Already, Liberty For All is representative of the communities we inhabit. Iâm excited we will be responsible for a graphic novel where the stories of queer and trans people of color are at the forefront. Not only that, but that those stories are being told by queer and trans people of color. That kind of representation is powerful and Iâd argue very badly needed.
JS:Â I agree. And I also want to make sure that we keep our approach. When we have characters who are either Black or Trans, we cannot tell those stories ourselves because weâre neither Black or Trans. Weâre constantly criticizing the way that white writers take freedoms to create characters that are POC or Trans, for example. We canât replicate what we criticize. Our co-writers create characters that are not perfect and thatâs my favorite part. Liberty is far from being the perfect immigrant. On the contrary, sheâs messy. Sheâs problematic. Sheâs got flaws. And thatâs okay. We all do. I want to tell these problematic and messy stories.
What is your dream for Liberty For All?Â
TV:Â I hope itâs a graphic novel that gets into the hands of the right kid at the right time so they feel a little less alone.
JS:Â I couldnât have said it better myself. ![]()
Julio Salgado
My name is Julio Salgado and I gratefully received the Makers Muse Award this year. One doesnât really do this ...
Apr 30, 2015
Announcement of 2015 Makers Muse Recipients Faig Ahmed ⢠Franklin López
Kent Monkman ⢠Julio Salgado
Meriem Bennani ⢠Taslim van Hattum
Voice Monet ⢠Winona LaDuke
Spanning geographically from Baku, Azerbaijan to White Earth reservation in northern Minnesota the work of this yearâs Makers Muse awardees is captivating, thought-provoking, and pushes the arts well beyond expected boundaries.
Using mediums as broad as sculpture, video, the written word, hand-crafted jewelry, illustration, painting, sound, comedy and fashion--this yearâs artists are melting the molds of their genres to create fresh perspectives on some of the most complex issues of our time. Some are tackling issues as dense as renewable energy, gender and colonization, and the perceptions of Muslim womanhood. While others are using their own unique lens to assemble traditional mediums anew. They are snarky, serious, inquiring, and, above all else, they are wildly talented individuals who we are thrilled to introduce you to.
At this pivotal moment in Kindleâs story we feel especially honored and wonderfully inspired by our 2015 Makers Muse recipients.
Announcement of 2015 Makers Muse Recipients
Faig Ahmed ⢠Franklin López Kent Monkman ⢠Julio Salgado Meriem Bennani ⢠Taslim van Hattum Voice Monet ⢠Winona ...
Apr 02, 2015
A Letter from our Director Hello Kindle Project community,
As many of you may know, in 2008 I co-founded Kindle Project as a response to the radical shift in the scale of the problems faced by communities around the world. From the very beginning, we have supported people and projects exploring alternatives and solutions to systems that have proven unsustainable. We believe that the greatest challenges of our times must be met with outside-the-box strategies. As such, we have responded by partnering with the unconventional, funding across sectors, and stretching ourselves into dynamic philanthropy.
Today, we are at a pivotal moment in our story. Currently, Kindle Project only has enough funds to continue our work until the end of 2015. I am writing to invite you to help support the future of Kindle Project as we look for our next generation of donors. With six solid years behind us, we are honored to have given over $3.5 million to some 170 groundbreaking initiatives.
Our work has involved a continuous process of reflection, inquiry, and response â assessing the needs of our partners, our field, and the planet. With agility, we have evolved our work to address these needs in our unique Kindle style. Along the way, we have had transformative relationships with our grantees, awardees and partners.
With the recent launch and development of our Indie Philanthropy Initiative we have seen how pushing the boundaries of convention and catalyzing movement-building within our field can turn our volatile future into one filled with positive possibilities.
And now, we are entering a new chapter at Kindle Project. We are seeking our next generation of donors and giving partners to continue to sustain our work and the work of our grantees. As we carry on this search for the right partners who are interested in collaborating with us there are ways you can help out:
⢠If you know a major donor who you think might be interested in Kindle Project please be in touch with us so we can share our Donor Booklet with you.
⢠Help spread the word that Kindle Project is looking for major donors by sharing this news with your networks, listservs, and colleagues.
⢠Our online donate now option is up and running. You can share this page and this letter as far and wide as youâd like.
I am so looking forward to seeing how Kindle Projectâs future will unfold and am thankful for the continued support of our community. I am optimistic that Kindle Project will find our next generation of donor partners and will continue on well past 2015.
Cheers!
Sadaf Cameron ![]()
A Letter from our Director
Hello Kindle Project community, As many of you may know, in 2008 I co-founded Kindle Project as a response to the ...
Mar 10, 2015
CoClimate CoClimate is a research & design studio whose mission is to provoke, stimulate, and inspire new connections between people, technology, and the environment. We work with organizations to re-engage exhausted audiences around climate change, undertake social science-base research, clarify strategy, intent, and vision, and we design imagery, experiences, and objects that are beautiful, compelling, imaginative, and legible for people from different worldviews and frames of reference. CoClimate is fiscally-sponsored project of Fractured Atlas.
The first large project that CoClimate took on was researching, curating and designing the exhibition âStrange Weather: Forecasts from the Future.â We began dreaming about creating a climate change exhibition back in 2011, but it wasnât until the summer of 2014 that the exhibition was launched.
Our team was interested in seeing if there were ways to more directly connect climate to culture. We wanted to design an exhibition about this challenging topic, but one that was engaging, delightful and beautiful, not the adjectives often associated with Climate Change messaging. We knew that many visitors to our exhibition might be exhausted or overwhelmed at even the mention of Climate Change, so it was important to create exhibits and invite artists who would change their perspective. This is as serious a topic as can be imagined, but we do our best work when we are curious, laughing and open to new possibilities. In the autumn of 2013, we were asked to say a few words about what we thought the Strange Weather exhibition might be. The off-the-cuff video below shows our unscripted thoughts before we began our research phase, but many of these instinctual comments ended up showing through in the final exhibition. [embed]https://www.youtube.com/watch?v=BVpFwG9hZeQ#t=72[/embed] 9 Months later we had completed the research and production of the exhibition. The video below is a compilation of the opening weekend, which shows some of the many artworks in the show. We were fortunate to have worked with the excellent team at Science Gallery and had many amazing participating artists. [embed]https://www.youtube.com/watch?v=v-DOryiV1s0&list=UUoDimMxzIgWqr4jsNN4g7lg#t=26[/embed] One of the legacies of the exhibition is the many hours of YouTube videos where members of the public read weather forecasts from the future. In addition to watching the playback of these videos, audience members shared these clips with their friends and the general public through social media.
For the Strange Weather exhibition there was a selection of 8 videos visitors could choose from. CoClimate produced 4 of the videos, and other videos were produced by other artists that participated in the exhibition. The feedback we received was that people really enjoyed reading the weather report, a well known trope, but with content that was from the far future. Building on this experience we are currently working on a refined version of this artwork. Strange Weather continues to be one of our major research programs, and we are looking for other methods for connecting culture and climate, and imaging alternative atmospheric futures. [embed]https://www.youtube.com/watch?v=Ai5os1_q3C8Â [/embed]
Superclime is a new program from CoClimate. The Superclime program and tools are designed for communicators, designers, journalists, researchers, and leaders who want to help their organizations do some of the heavy lifting that comes with strategic planning and setting communications goals around climate change.
Â
Getting âall the right piecesâ on the table can be complicatedâespecially when starting from scratch. Finding clarity in informal interactions, structured meetings, and planning sessions can be a challenge without frameworks to guide discussions and orient outcomes. Moreover, internalizing how engagement with climate change fits with an organizationâs mission and culture is critical.[gallery ids="5993,5994,5995"] We are using our Superclime program to compile some of the best frameworks to help support the goals, audiences, constraints, and objectives communicators might have. Our first map and card sets are pieces of that puzzle. We have plans for more.
Understanding complicated human dynamics is difficult enough, and we wanted practical tools to help individuals and organizations make sense of their own experiences, unleash their creativity, and transform those insights into strategic planning. We think that âhelping people be better than they think they areâ is a strong first step. CoClimateâs Gabriel Harp recently conducted a workshop with the Mono Lake Committee and shared his insights about the climate change communications landscape in the United States. The Eastern Sierra region is experiencing massive change brought on by climate change and intensified by Californiaâs four-year drought. Visit our site to read about the session and how the group was able use these tools to build a better climate change plan.  ![]()
CoClimate
CoClimate is a research & design studio whose mission is to provoke, stimulate, and inspire new connections between people, technology, ...
Feb 26, 2015
Pruitt-Igoe Bee Sanctuary Pruitt-Igoe Bee Sanctuary
by Juan William Chåvez
As an artist, I use the studio as a space to contemplate, explore, develop and discover new ideas. I create an environment where I can approach projects with a beginnerâs mind by opening myself up to the possibilities with eagerness and a lack of preconceived notions. Beginnerâs mind has many possibilities, is free of influences, and is open to unknown potential that can lead to transformation. Transforming ideas, objects, and the environment is the foundation of the art experience which often leads to innovation and problem solving issues that are complexed or abstract. I developed a collective practice when I began focusing on socially engaged art projects in North Saint Louis in 2010 through a non-profit organization named Northside Workshop (NSW). NSW is a nonprofit art space dedicated to addressing cultural and community issues in North Saint Louis through experiential workshops that promote engagement among residents. These projects allowed me to begin expanding my own notion of the studio and brought me to ask myself challenging questions about what can be deemed a studio.
In 2010, Northside Workshop began to develop the Pruitt-Igoe Bee Sanctuary, a public proposal aiming to transform the urban forest where the Pruitt-Igoe housing development once stood into a public space that preserves the remaining 33 acres of green space to cultivate community through beekeeping and urban agriculture. The 33 acres of green space began to appear to me as a studio and tool for community building. Without having direct access to the site itself, we developed a pilot program to present the Pruitt-Igoe Bee Sanctuary proposal on a smaller scale at the Northside Workshopâs home location.
NSW is located in a neighborhood adjacent to the Pruitt-Igoe site and consists of a two-story building, as well as green spaces that surround three sides of the building. In 2012, we built an apiary and raised garden beds, filled the workshop with art supplies, and began to host pilot programming called the Young Hony Crew. A studio practice began to take shape in the form of beekeeping and gardening. NSW was not only becoming a space for me to contemplate ideas for community-based projects, but also a platform for educational and social programming.
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The Young Honey Crew was especially meaningful following the death of Mike Brown this summer and the protests happening in Ferguson and around the city. There was an overall feeling of distress during this time. Some students in the program particularly sought space to think and create, while others needed a place for dialogue. NSW was able to function as a sanctuary for contemplation. The workshops began to slowly evolve to become more about community and collective thinking. I replaced the concept of teaching as an expert with encouraging students to explore ideas together with me during workshop time.
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Over the past few months, the world has witnessed a huge collective spirit arise from a diverse group of people in Ferguson from all walks of life, artists, activists, educators, students and citizens, coming together in innovative ways to demand change. This local response to injustice here in Saint Louis sparked other neighborhoods to take action, which spread to other US cities and countries around the world calling for transformative change simultaneously. While the pursuit for justice continues, this movement has brought a new community together and been a living example of local action and the power of the human collective.
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âThese are the times to grow our souls. Each of us is called upon to embrace the conviction that despite the powers and principalities bent on commodifying all our human relationships, we have the power within us to create the world anew. We can begin by doing small things at the local level, like planting community gardens or looking out for our neighbors. That is how change takes place in living systems, not from above but from within, from many local actions occurring simultaneously â - Grace Lee Boggs
Juan William ChĂĄvez is an artist and cultural activist who explores the potential of space through creative initiatives that address community and cultural issues. His studio practice incorporates unconventional forms of beekeeping, agriculture, and architectural interventions that utilize art as a way of researching, developing and implementing socially-engaged and creative placemaking projects. He founded the Northside Workhsop in 2010, a nonprofit art space dedicated to addressing cultural and community issues in North Saint Louis. He has received awards and grants from Creative Capital, the John Simon Guggenheim Memorial Foundation, the Graham Foundation for Advanced Studies in the Fine Arts, Art Matters and the Gateway Foundation. ChĂĄvez holds a BFA from the Kansas City Art Institute and a MFA from the School of the Art Institute of Chicago. ![]()
Pruitt-Igoe Bee Sanctuary
Pruitt-Igoe Bee Sanctuary by Juan William Chåvez As an artist, I use the studio as a space to contemplate, explore, develop and discover ...
Jan 23, 2015
Announcement of Fall 2014 Grantees 2014 is coming to a close and weâre all exhaling in inspired confusion at the fascinating planet we live on. Have you all had a very full year, too? Itâs been a year of reaching new apexes of struggle for all those working tirelessly for justice, conversation, and human rights. In the face of the grandness of our challenges, how can we stay hopeful and continue on in inspired action? For us, hope lies in the innumerable groups, artists, thinkers and individuals who are actively making the change our world needs.
Our fall grantees this year have been a part of the Kindle family for quite some time and our commitment to them is because of the hope and impact they create through their work.
Weâve shared many of their stories with you over the past year, and itâs been an incredible learning experience to see just how deeply these organizations dig to reveal the roots of the systemic problems weâre facing. We would like to take a moment to shine some light on the work of our grantees.
Amazon Watch has acknowledged women in the Amazon for their high level contribution to climate change.
Wildfire Project has used experimental education to make the movements they support sustainable and connected.
May First/People Link empowers us to protect and develop the Internet in ways that serve the common good.
Sins Invalid demonstrates creativity bringing disability justice to the forefront of public discourse.
New Mexico Environmental Law Center perseveres with their unceasingly vibrant, tireless and creative practice of law, making massive change for our New Mexico communities.
Generation Food inspires us with their groundbreaking food justice media work.
The Center for PostNatural History expands their  impressive archive of living things altered by genetic modification.
Yansa reminds us about the power of innovation and collaboration.
New Economy Coalition grounds us in what kind of transformation is truly possible.
Movement Generation mobilizes communities of color across the country.
CoClimate, our newest grantee partner, imagines new ways for us to re-engage with the most challenging issues in a positive way.
Following the work of grantee partners has lifted our spirits and energized our work to carry us through 2014 and begin 2015 with gusto. We truly feel privileged to work with a such an amazing team of radical, world changing super heroes. Happy New Year, Kindle community!
Announcement of Fall 2014 Grantees
2014 is coming to a close and weâre all exhaling in inspired confusion at the fascinating planet we live on. ...
Dec 18, 2014
Sandy Storyline The power of stories in the ongoing recovery from Hurricane Sandy
by Michael Premo
Originally published on wagingviolence.org on November 11, 2014
Two years after Hurricane Sandy crashed into the U.S. East Coast, many people are still searching for relief. Months of spiraling through the recovery process have turned some residents into organic experts on aspects of disaster response. But itâs unclear if anyone is listening to them, especially among the network of institutions responsible for recovery and preparing us for the future.
James Keady, a New Jersey resident and dedicated Sandy volunteer made headlines at the end of October when he tried to get the attention of Gov. Chris Christie at a press conference. With his typical brashness Gov. Christie told him to âsit down and shut up.â That single moment of rebuke, seemed to sum up the dismissive attitude hindering the stateâs response.
Contrary to the perception fanned by celebrity benefits and political boasting, the recovery is far from over. It never is a quick process to begin with. While some have been able to repair or return to a level of normalcy, there remain many who havenât. For residents, the process of rebuilding has been slow at best and in the worse cases, painfully stagnant.
âIâm sure many people are still trying to recover from Sandy,â writes Donna Battaglia of Toms River, N. J., in her contribution to Sandy Storyline on the second anniversary of Hurricane Sandy. âFor myself, and many other renters, it has been a battle that seems too hard to win. My landlord did nothing to renovate the home I had lived in for over a year and my children and I were forced to stay with family for months. FEMA only helped so much. The insurance company refused to pay any money for my lost belongings claiming they werenât necessities ⌠We will never get back to normal. This is just the new normal.â
A recent poll of 600 severely-impacted New Jersey residents by Monmouth University, found that one in five respondents still suffer from serious psychological stress, and âthat little has changed in these survivorsâ mental health picture over the past year.â
In New York City, more than 90 percent of the 14,000 homeowners who applied for rebuilding assistance from the cityâs Build It Back initiative have yet to receive it. Even the number 14,000 might not be representative of the scale of the need because, as the city itself acknowledged, it had âa multi-layered and confusing application process,â âpoor communications with applicantsâ and âinefficient processing of applications.â
The impact of any disaster is complex. Itâs effects are as densely nuanced as the physical and social landscape where it occurs. And the response required for any acute or systemic disaster must be as dynamic, with meaningful participation and leadership by the people affected. Traditional, top down, aid models are not as agile as the communities they serve and too frequently ineffectual.
The Federal Emergency Management Agency is asking some Sandy aid recipients to return a total of $5.8 million in relief money. Not as a result of any fraud, but because of the agencyâs own mismanagement.
And in a revelation that came as little surprise to some impacted residents, a joint investigation by ProPublica and NPR into the American Red Cross suggests they were more concerned âabout the appearance of aid, not actually delivering it.â For their appearance the Red Cross netted $1 billion in donations.
In the hours after Sandy made landfall in the United States on October 29, 2012, the notion of meaningful participation was forward on my mind. As the scope of the impact became clear, one of the interrelated responses I participated in was working with Rachel Falcone and Waging Nonviolence editor Laura Gottesdiener to start Sandy Storyline.
[caption id="attachment_36356" align="alignnone" width="287"] Sandy Storylineâs latest exhibit at the New York Public Library. (Sandy Storyline/Michael Premo)[/caption]
Launched in the week after the storm, Sandy Storyline is a participatory documentary that invites anyone impacted by the storm and its aftermath to contribute and share their story in photos, words, audio or video. Stories are shared through the website, syndication with media partners and interactive exhibitions. Our latest exhibition is currently touring local branches of the New York Public Library. Next year we will launch an immersive web-based documentary.
By engaging people in sharing their own experiences and visions, Sandy Storyline is collaborating with contributors, and partners, to build a community-generated narrative of the storm and its aftermath. Hurricane Sandy was a devastating event that affected millions across the Caribbean and eastern United States. The multi-year rebuilding process will have direct implications on national policy and development practices in the era of a changing climate and increasing economic inequality.
Hurricane Sandy, nicknamed âSuperstormâ by the media, was a massive weather system that is a harbinger of things to come. As the storm moved north through the Atlantic Ocean, along the coast, it collided with an Arctic jet stream. The abnormally warm temperature of the oceanâs surface water had already intensified the strength of the storm. Typically, prevailing westerly winds blow Atlantic hurricanes out to sea where they dissipate. But the Arctic front pushed it into the coast. The unusual shape and atmospheric pressure of the jet stream and Arctic front was caused by the melting of Arctic ice because of climate change.
The storm surge and subsequent flooding was exacerbated by a full moon high tide, reaching heights of almost 14 feet. And although Hurricane Sandy is an extreme example, a new study by the Union of Concerned Scientists found that âFlooding during high tides â something that rarely occurred in the past â is now common in some places and is projected to grow to the point that sections of coastal cities may flood so often they would become unusable in the near future.â
With Hurricane Sandy we have an opportunity to see the complex impacts of one of the more âworst case scenarios,â in this new era of climate change-induced volatility. As Donna Battaglia demonstrated, Sandy Storyline offers moving portraits that broadcast what this ânew normalâ already looks and feels like. The challenge for communities, business interests and government is to interrogate these impacts in a way to ensure that both the analysis and outcome is shaped by the meaningful participation of the communities on the frontlines of impact.
This is why we started Sandy Storyline. But weâre just one project. Some local and national newspapers have solicited stories and reader feedback. But disasters on this scale need many more projects like this, produced by independent and mainstream media outlets alike.
We also need to strengthen the democratic mechanisms of our civic institutions so organic experts like Keady, and thousands like him, can meaningfully contribute without being told to âsit down and shut up.â And where these mechanisms donât exist, we need to build new ones.
The participation and leadership of affected communities wonât save us from future moments of crisis. But it is our best hope at making sure every segment of society is as resilient as it needs to be, to weather an uncertain future. ![]()
Sandy Storyline
The power of stories in the ongoing recovery from Hurricane Sandy by Michael Premo Originally published on wagingviolence.org on November 11, ...
Dec 04, 2014
Amazon Women on the Frontlines of Climate Change Amazon Women on the Frontlines of Climate Change
Words & Pictures by Caroline Bennett/Amazon Watch
âWhen women decide to do something, when we are firm and radical, we will be successful and make it happen!â Patricia Gualinga addressed yet another packed crowd in the very spirit of her words, moving the room to a standing ovation. âEverywhere on the planet, we have such a powerful impact.â
Paty was again bringing her voice and the voices of thousands of Amazonian women to the global climate conversation, this time as one of seven noble women who had traveled to the United Nations climate summit and âClimate Weekâ events in New York City from various pockets of the planet to ramp up the fight for it. There at the UN Church Center we were talking about the root causes of environmental destruction and social injustice led by a fierce panel of âWomen Leading Solutions on the Frontlines of Climate Change.â Paty and an even larger group of fearless women will soon unite in Lima for the UN COP20 negotiations to speak out against activities and policies that threaten the earth, their communities, and our shared future while presenting alternative solutions to the climate crisis as world leaders enter into negotiations on the road to COP21 Paris and beyond.
As in other developing countries, women in the Amazon bear a disproportional burden as climate change impacts their traditional territories and environment. It is in the daily lives of these womenâwho are highly dependent on local natural resources for their livelihoodâthat the battle to save the family, traditional ways of life and the future of their children is played out. In order to further preserve biodiversity and limit its degradation, indigenous peopleâparticularly womenâcan and should play a leading role in the global response to climate change. Amazonian women hold a wealth of knowledge and expertise that can be used in climate change mitigation, disaster reduction and adaptation strategies. These brave women are rising to become effective agents of change, and have taken the lead in a rapidly growing movement to protect their rainforest homelands across Ecuador. As female givers of life, the women of the Amazon have felt a great responsibility to lead the fight against impending oil drilling and the destruction of Pachamama, our "life giving mother earth," and are calling on the world to keep oil under ground in their ancestral lands.
[caption id="attachment_5892" align="alignnone" width="1200"] âMy name is Ena Santi. Iâm from the community of Sarayaku. Iâm a woman who has fought against oil exploitation. In 2002 an oil company came into Sarayaku territory to destroy the Amazon jungle. The women in this community worked side by side with our children, youth, adults, and elders to resist. Even our schools shut down during our struggle against the oil company. We formed groups and divided the tasks to be able to hold out in our struggle. The women of Sarayaku have the dream of continuing to fight to preserve our territory, our jungle, our river, and our air free of pollution. We also fight against violence against women in the community. Letâs stand up. Itâs time to open our eyes. Itâs time to come together in one heart, pure and strong. Itâs time we rise again.â - Portrait with symbols. Image ŠFelipe Jacome[/caption]
âOur indigenous communities, in which we are caretakers of the forests, are already feeling the impacts of climate change,â Paty and her relatives back in Sarayaku on the winding Bobonaza River have told me in various words time and again. âOur elder wisdom-keepers have been warning us for many years, they knew about this but werenât listened to. They said there would be problems if we continued preying on Mother Nature, causing impacts so great they wonât only affect nature but also humankind. We are out of time, now is the moment for us to be responsible and bet on life as the continuity of our existence on this planet depends on it.â A selection of photographs brought by Amazon Watch from Amazon Women on the Frontlines of Climate Change continues to travel with the womenâs delegations and will be on display in Lima around COP20 events, taking audiences to Sarayaku and beyond for a glimpse of life, struggles and solutions from the Amazon. These women and girls are true forces of nature, rising against great odds to lead the charge in the Amazon in unprecedented ways. Amazon Women on the Frontlines of Climate Change seeks to tell their stories through a representative selection of "speaking" images combining portraiture with written testimonies, along with a series of images documenting their perspectives and life in their traditional rainforest communities. The project was created in collaborative workshops with Kichwa, Shiwiar, SĂĄpara and Waorani women; Ecuadorian photographer Felipe Jacome; Amazon Watch Editorial Director & Chief Storyteller Caroline Bennett; and in partnership with WECAN and AcciĂłn EcolĂłgica.
âIâm honored that you can meet some of the other women who are fighting for our future at home, see our sisters and families who couldnât be here through these photographs and their stories,â Paty told the New York crowd proudly, pointing to a portrait of indigenous leader Ena Santi, also from Sarayku. The series is now touring with a delegation of women leaders to spaces around the UN COP20 events in Lima on the road to the 2015 COP21 in Paris. ![]()
Amazon Women on the Frontlines of Climate Change
Amazon Women on the Frontlines of Climate Change Words & Pictures by Caroline Bennett/Amazon Watch âWhen women decide to do something, when ...
Nov 21, 2014
High Mayhem: Times of Change Times of Change
by Carlos Santistevan
As artists we create art because we need to. Itâs a calling of sorts. An intrinsic need to create. I find my own art to be my medicine, my antidote for the struggles and often times, the expression of the happiness and fulfillment I get in life. When art doesnât happen or life eliminates a space for it, I begin to feel toxic.  Things just donât feel right.
But itâs tough being an artist today. Art that is meaningful is rarely supported by mainstream media. Our education system has done a disservice where no longer is art given a space so it can be taken in, contemplated, and understood. People grow up without a way to ingest the unfamiliar without immediate judgment.
We are finding that the relevant art of our time becomes more and more distant from the publicâs reach, awareness, and ability to interpret. And this makes me wonderâŚ.if the lack of my own art in my own life has such a negative effect, how does this affect the greater consciousness of us as a species, as humans when we are deprived of meaningful art? Are many of societyâs ills the result of people not being given an opportunity to create and express themselves? Is our lack of empathy the result that we donât often enough see the human side of fellow citizens expressing themselves though art and music? Is our humanity dwindling due to the lack of expression and understanding of each other?
Hereâs the issue: We as artists are dependent upon consumers for our livelihood. For the musician, it means that we need a medium which people can be given the opportunity to digest our art and take it in. The current state of the recording industry and consumer habits are making this more and more difficult. Our niche becomes smaller and smaller as people generally lack the ability to discern and interpret art for themselves.
For a visual artist, they must be able to sell their work, which generally requires a higher price tag to be financially viable. And who can generally afford such luxuries? Often times itâs the wealthy, the rich. Visual artists often become dependent on the upper class, which is often contradictory to the art itself, and is reliant on a small population of consumers. Unfortunately our ability to make and distribute art often depends upon having the financial means to do so.
For 14 years, High Mayhem Emerging Arts has been able to sustain itself primarily from the intense drive we, as artists, feel the need to create and give opportunities for the public to experience emerging and progressive arts. Financially we have remained viable by contributions of members, community support, and for the last 6 years, the support of the Kindle Project. However, our window of being financially able to support a venue is waning. As of the end of this year High Mayhem will be closing its venue for the foreseeable future. We understand that this is the reality and have shifted our focus to acceptance and in many ways an opportunity for reinvention.
As artists it is our obligation to continually adapt to our surroundings. Our art is a reflection of our life and circumstance, so in no way do we perceive this as an ending. This is a new circumstance in which we adapt, evolve, and which will serve as an inspiration in further creations.
We feel that now is a time when art and music are more relevant than they have been in some time. Now is the time in which we must create, heighten awareness, and connect with each otherâs humanity. High Mayhem has and will continue to do just do what weâve always done albeit in a different circumstance. While we may no longer have a physical permanent home, we have learned so much in the past 14 years that will only carry us farther forward.  We will be more modular and more adaptive. Expect pop up performances and pirate video broadcasts as we pursue, seek out, and exploit new forms of art presentation. We are in the midst of designing a new recording studio, which we hope to begin building in the next year to serve as home to our recording studio, record label and pirate video broadcasts.
Currently we are in the midst of our annual Fall Series. A final kick off to our 2nd performance space. This yearâs lineup is a true representation of what weâve
been, who we are, and where weâre heading. Feel free to tune in to one of pirate video broadcast at highmayhem.org/livestream on November 8th, 15th, and 22nd starting at 7:30 pm MTN time.
Check out this video promo from our first night of the series.
https://www.youtube.com/watch?v=tbKQACAqFro
Stay tuned and letâs do what we can to keep art and music vibrant and viable for ourselves as well as the greater good of society. ![]()
High Mayhem: Times of Change
Times of Change by Carlos Santistevan As artists we create art because we need to. Itâs a calling of sorts. An ...
Nov 07, 2014
Amazon Watch â Protectors of the Rainforest and Prime Indie Funders One of our grantees that continues to stand out in the in their incredible efforts with their dedication, longevity and groundbreaking service to the Amazon is holding an event that takes you up close and personal with their wild and adventurous work! Working with indigenous communities and environmental groups, Amazon Watchâs work is rooted in the richness and diversity of creatures, cultures, and habitats of the rainforest. Their campaigns tackle human rights, rainforest deforestation, corporate accountability and the overall protection of the Amazon. Their annual fundraising luncheon (happening today) is a perfect example of how their essential work inspires and ignites.
The 2014 annual Amazon Watch luncheon starts today at 12:00pm Pacific Time, and you can watch it from the convenience of your computer screen. We encourage you to join Amazon Watch and friends to celebrate and acknowledge the work of individuals in the indigenous communities they support, and the movement connected to their efforts.
The annual luncheon will feature Patricia Gualinga â an inspiring indigenous leader from the Kichwa community of Sarayaku in the heart of the Ecuadorian Amazon. Patricia was an official delegate to Climate Week in New York last month bringing with her the cinematic and powerful video, Keep the Oil in the Ground.
https://www.youtube.com/watch?v=_sRDxXWkCnM
This is a unique opportunity to learn about the real life experience of the people our funding supports. Amazon Watch is a group close to our hearts, not only because of their tireless work in the Amazon, but also because our friends and colleagues are a part of this stellar group. Branden Barber, is Amazon Watchâs Director of Engagement sits on the Kindle Project Steering Committee. And the imitable Atossa Soltani is the Founder of Amazon Watch and is about to transition from her position as Executive Director to President of the Board is a close ally and friend of Kindle and of the Indie Philanthropy Initiative.
Last week at the Environmental Grantmakers Association Annual Retreat Atossa spoke with Kindle Project and Quixote Foundation on a panel about Indie Philanthropy. Amazon Watchâs unique use of Micro Granting acts as a phenomenal example of how a little can go an extremely long way. Amazon Watchâs Micro Granting story will be live online next week when we launch our Indie Philanthropy Initiative website on October 15th.
We hope youâll join us as we tune in live for the web broadcast of the Amazon Watch luncheon.
All proceeds of this event go directly to Amazon Watch. If you feel inclined to contribute as a result of participating in the event or otherwise, you can donate to them directly here.
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Amazon Watch â Protectors of the Rainforest and Prime Indie Funders
One of our grantees that continues to stand out in the in their incredible efforts with their dedication, longevity and ...
Oct 08, 2014
Ghana Think Tank The Ghana ThinkTank (GTT) is known for its unconventional approach to negotiating social conflicts. Using a blend of public art and community organizing, we have been âDeveloping the First World" since 2006. We collect problems in the âdevelopedâ world, and send them to be solved by think tanks we established in Cuba, Ghana, Palestine, Iran, Mexico and a group of incarcerated teenage girls in the U.S.. Then we work with the communities where the problems originated to implement those solutions - whether they seem impractical or brilliant.
The impetus for the project came from our own experiences in international development, and frustration with US interventionism. By exchanging problems and looking for help in unexpected places, we undermine assumptions about the roles of helper vs helped so that those accustomed to imparting wisdom are put in the position of asking for help, and vice-versa. This creates unlikely networks that cross-divides of ethnic and social conflict.
In addition to cities in the U.S., the Ghana ThinkTank has been commissioned in Germany, Israel, China, England, Morocco and Kosovo.
We are currently in the middle of two domestic projects that Kindle is supporting, along with start up funds and support from Creative Capital.
Ghana ThinkTank at the Mexican Border â A Creative Capital Project
Our success at bringing conflicting groups together at an international level has encouraged us to address immigration in our own country. In Ghana ThinkTank at the Mexico Border we are addressing the divides (and shared issues) between US born and foreignâborn residents. We have been applying our process to spark collaborations between right-wing border vigilantes and undocumented immigrants in neighboring communities. Our work so far has focused on Tijuana and San Diego but we are expanding our scope to include small towns in the American heartland where similar conflicts over immigration are taking place.
[gallery columns="4" ids="5786,5788,5789,5790,5791,5792,5793,5796,5798,5800,5801,5794"]
Ghana ThinkTank, Detroit
Our other domestic project evolved out of a commission by the US State Department to work as cultural ambassadors in Morocco. In Morocco we built a solar powered multi-media donkey cart in order to collect solutions to US problems from rural villagers and ad-hoc think tanks outside of Marrakech. One of the problems the think tanks were most interested in was the problem of US individualism and personal isolation, âmany Americans donât know or relate to their neighborsâŚâ
"Itâs your architectureâ they responded, âif you lived in housing like ours it would help solve the problemâ.
They explained that by having a central courtyard with windows facing in and one common entrance, it created social environments where neighbors shared more and were more likely to trust each other. This approach stands in stark contrast to the single family house with yard and picket fence that is common throughout the U.S.
In addition to these two projects, we are currently developing work in Sweden, the Netherlands, Texas, and continuing to implement some of the long-standing Think Tank solutions, including the Call to Action featured below.
Day Labor Employment Agreement - Referenced for Call to Action Below
This AGREEMENT, entered into this ____day of _________________, 20___, between _____________________, the ("Employer"), and ___________________________________ (the "Employee"),
WITNESSETH THAT:
WHEREAS, the parties hereto desire to enter into this Agreement to define and set forth the terms and conditions of the employment of the Employee by the Employer;
NOW, THEREFORE, in consideration of the mutual covenants and agreements set forth below, it is hereby covenanted and agreed by the Employer and the Employee as follows:
1. Position; Employment Period The Employer hereby employs the Employee as agent of cultural diversity, and the Employee hereby agrees to serve in such capacity, for the period beginning this ____day of ______________, 20___, at _____ and ending on this ____ day of, ______________, 20___, at _____, the "Employment Period."
2. Performance of Duties The Employee agrees that during the Employment Period s/he shall devote his or her full employment period to the business affairs of the Employer and shall perform his or her duties faithfully and efficiently subject to the direction of the Employer and as stipulated below:
1. Engage white event attendees in conversation about subjects of your choice
2. Partake of food and drink liberally
3. Observe environment and comment at will
3. Compensation
(a) Subject to the following provisions of this Agreement, during the Employment Period the Employee shall be compensated for his services as follows:
(b) S/he shall receive an hourly salary, payable on this _____ day of, ___________, 20___, at _____ in a single installment, in an amount which shall be [$ ________].
The Employee shall not be assigned duties and responsibilities that are not generally within the scope and character associated or required of other employees of similar rank and position.
IN WITNESS WHEREOF, the Employee has hereunto set his/her hand, and the Employer has caused these presents to be executed in its name and on its behalf, all as of the day and year first above written. Signature Date _______________ Please Print ________________________________________ ![]()
Ghana Think Tank
The Ghana ThinkTank (GTT) is known for its unconventional approach to negotiating social conflicts. Using a blend of public art ...
Sep 26, 2014
Antena Listening As A Form Of Speaking: A Brief Guide To Antena
Antena is a collaborative co-founded by Jen Hofer and John Pluecker in 2010. Antena does language justice and language experimentation.
[caption id="attachment_5768" align="alignnone" width="1024"] John Pluecker (wearing the red vest) interpreting at a rally in El Paso as part of the Caravan for Peace with Justice and Dignity, August 2012[/caption]
What is language justice? Read this interview Nancy Wozny of arts + culture tx did with Antena to see how we answered that question.
[caption id="attachment_5769" align="alignnone" width="1600"] Antena performing live interpretation/improvisation at the opening of the Antena @ Blaffer Installation at University of Houston, January 2014; Photo: David Leftwich[/caption]
What is language experimentation? We wrote A Manifesto for Discomfortable Writing to remind ourselves to use language as a spark for radicalizing our own thinking, and then we devised a discomfortable writing and performance practice as an experiment in discomfortable art-making.
[caption id="attachment_5770" align="alignnone" width="1068"] Mexican artist Nuria Montiel turned the AntenaMĂłvil into a mobile printing press as part of the encuentro Antena hosted in conjunction with Antena @ Blaffer; Photo: Pablo GimĂŠnez Zapiola[/caption]
[caption id="attachment_5771" align="alignnone" width="1600"] Antena @ Blaffer installation at University of Houston, January â May 2014; Photo: Pablo GimĂŠnez Zapiola[/caption]
How does our work manifest? In the past year we have facilitated workshops, co-taught classes, created writings, made translations, enacted performances, interpreted a range of bilingual events, and fabricated bilingual books, some of which were photographed in this interview with Alex Barber for âMeet Your Maker Mondayâ on the Houston Makerspace Blog. From January to May of this year we were in residence at Blaffer Art Museum at the University of Houston, with an installation that featured over 2000 books made by more than 100 small independent presses in the U.S. and Latin America. The books were primarily innovative texts by writers of color as well as queer, genderqueer and feminist writers; writing from all over the world in translation into English; and experimental writing in Spanish from Latin America. The books shared space with works by 11 artists who make text-based visual workâ5 local Houston artists and 6 artists from elsewhere: Chile, Guatemala, Mexico, and the U.S. You can take a brief video tour of our installation as part of this interview Caleb Beckwith did with Jen for The Conversant.
[caption id="attachment_5772" align="alignnone" width="1195"] The AntenaMĂłvil at the El Dorado Ballroom at Project Row Houses in Houston, January 2014; Photo: Jen Hofer[/caption]
Kindle Project support is making it possible for Antena to expand our language justice work in Los Angeles, where we just formed a satellite collective called Antena Los Ăngeles to do multilingual organizing locallyâAntena Los Ăngeles collective members are Ana Paula Noguez Mercado, Jen Hofer and Miguel Morales Cruz. Jen will bring the AntenaMĂłvil from Houston to Los Angeles, where sheâll retrofit it to be a bit more hill-worthy than it currently is, and use it as a tool for raising awareness about language justice and as a resource for other artists and activists.
Stay tuned for news of the Antena Los Ăngeles page on Antenaâs website, a new video of Antenaâs installation at Blaffer Art Museum in Houston TX, and news of the travels of the AntenaMĂłvil! ![]()
Antena
Listening As A Form Of Speaking: A Brief Guide To Antena Antena is a collaborative co-founded by Jen Hofer and John ...
Sep 12, 2014
The Wildfire Project Our generation is coming of age amidst deep economic, political, and ecological crisis â and rising to the challenge. But itâs going to take a movement to address these crises at their roots, to win the world we actually deserve.
This new political generation needs what every successful movement throughout history has had: institutions that strengthen the new formations emerging from struggle, processes that organize new constituencies, training that deepens politics, sharpens skills, and builds groups. Even more, it needs infrastructure that helps groups and individuals connect across issue lines, to prepare for the crises ahead, to cultivate the ability to go on the offensive to turn those coming crises into opportunities for collective liberation. We need our own Freedom Schools, a dozen more Highlander Centers, infrastructure that speaks our language â the language of a new movement being born.
We need a Wildfire.
The Wildfire Project
The Wildfire Project uses experiential education to fuse deep political education, serious organizing training, and meaningful personal and group transformation into long-term processes for groups in action, toward actually connecting them to one another. The groups we work with are emerging from the major movement moments of our time (like Occupy and Trayvon), confronting our greatest challenges (from housing to mass incarceration and climate), and are of the communities they serve. We prioritize groups early in their stages of formation, and that truly need the support we can offer in order to meet their enormous potential, and we make our programming free so that those most marginalized can benefit from them.
The first conversations about Wildfire took place as Occupy was winding down. We knew there would be more moments like that on our horizon, and we understood that the movement needed more infrastructure to be able to push those moments to their real potential. In the midst of our own process of listening and learning from other trainers, elders, mentors, and community members, Superstorm Sandy hit New York. We sprang into action as part of Occupy Sandy, ultimately finding ourselves in hard-hit areas of New York like Far Rockaway just as people were beginning to make the transition from relief work to long-term grassroots organizing. Residents of the Rockaways in particular began to express needs - political education connecting the hurricane to the climate crisis and capitalism, organizing training to support their ongoing base-building, group development to build strong collective infrastructure that would outlast the storm; it started to sound like Wildfire. In consultation with residents from the Rockaways, local activists, Occupy Sandy organizers, and others, we built our first Wildfire program.
In the year and a half since, Wildfire has run training programs with seven powerful front-line groups around the country, built an incredible training team of folks from different movement backgrounds, and assembled a humbling advisory board of mentors and allies. We raised the money needed to make all of our programs free, so that the most marginalized people and the groups theyâve built can benefit from them, and weâve created a curriculum that adapts to the needs of the communities we work with.
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Training toward Movement-Building
On one hand, Wildfire provides vital training to groups who need it most - sophisticated long-term processes fusing political education and skills training, all carried out using experiential, democratic educational methods, and with the explicit aim of fostering deep personal transformations and building strong groups that can take care of themselves.
But Wildfire is more than training;Â it is movement-building.
In August, we launched our Wildfire Fellowship Program, bringing together 20 organizers from the groups we've trained to sharpen their facilitation and leadership skills, build relationships across groups, and start dreaming about the powerful movement we are building together. Now these Fellows have gone back to run trainings inside their organizations with consistent mentorship and ongoing long-distance training from the Wildfire Team.
In November, they'll help us lift Fired Up: The Wildfire National Convening, where we'll bring together a serous showing of the groups to continue building across issues, geographies, and identities. Together, we'll ask the big questions: How will we rise to the challenge of the coming movement moments? How will we step up to turn crisis into opportunity for fundamental social change?
The real point is a movement - to connect those groups to one another â to break issue silos, share experience, find common goals and targets, and lay the foundation of a network of front-line groups ready to rise to the challenge of the future movement moments on the horizon, and to turn crisis into opportunity for meaningful political, social, and economic change.
Investing in Wildfire
Because of the types of groups we work with, our programs are free for participants. We partner with the groupâs organizers to raise the money needed to run the programs. We do our best to keep costs low, we work hard to get things like food and space in-kind whenever possible, and we raise the rest from individual donors, small movement-oriented foundations, and activist organizations in ways that never jeopardize or shape our programming or our politics. We are committed to doing what we can to bring new resources into the movement and work collaboratively with other movement groups to share the networks we have.
The groups we work with have something in common: They want to be powerful. They are multiracial, multi-generational, and working poor - at the frontlines of the economic crisis that threatens their basic survival whether by drowning them in hurricane waters or debt â and they are fighting back. They are all products of movement moments, are shaped by the desire to use their local work to propel a national and global movement, and have the type of agility needed to spring into action as a fundamental part of their DNA. They are working toward winning real gains for their people, whie also building for the big struggles ahead â struggles around climate, the economy, and democracy. They want to be part of a powerful movement that can win.
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The Wildfire Project
Our generation is coming of age amidst deep economic, political, and ecological crisis â and rising to the challenge. But ...
Aug 29, 2014
Center for Court Innovation From the Navajo Nation to Red Hook, Brooklyn, Peacemaking forges long-lasting connections
By Erika Sasson
I remember meeting our first peacemaking participants, in February of 2013. It was just after we opened the doors to our program in Brooklyn, NY, and I still wasnât sure what we were in for. Even though we had enough community volunteers who had been trained by peacemakers from the Navajo Nation, it was a pretty small group. And, at the time, we were sharing an office with the Housing Resource Center because our space in the Red Hook Community Justice Center had just been flooded by Superstorm Sandy. All in all, I felt nervous.
The participants were two female neighbors from an apartment building who had gotten into a physical fight and had been arrested for assault. We spoke to them separately and told them about peacemaking, and that we were a brand new program. Peacemaking, we explained, is a Native American tradition that emphasizes healing and restoration. Simply put, itâs about talking something out. We explained that they would sit in a circle with the opposing party, members of their families to support them, and a few community peacemakers. The peacemakers were trained to listen, but also to share their own stories. Unlike some other types of alternative dispute resolution, we wouldnât only focus on the incident that had brought them to the room, but we would talk about underlying issues and how to move forward in a positive way. We asked them to trust us. They said they would participate.
Our peacemakers on that case were as diverse as our beloved New York City. One was a gay African-American male, another was a Catholic nun from Italy, and a third was a Hispanic community activist and grandmother from Red Hook, Brooklyn. Each peacemaker brought with them stories from their own lives, times when theyâve fought with neighbors, experiences theyâve had living in close quarters, ways theyâve dealt with tension and frustration. They spoke about the impact this fight was having on the participantsâ children.
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But mostly our peacemakers listened. Each person in the room was allowed to speak for as long as they wanted, and order was maintained through use of a talking piece. Slowly, we found out about some of the underlying issues in each personâs life. We heard grief and trauma. And we cleared the air from some misunderstandings and assumptions our participants had been carrying with them during the many interactions that had led to their confrontation.
Although each case is different, for this case we held three peacemaking sessions. At the outset of each peacemaking session, we serve a hot meal to break the ice.[1] During the third meal, our peacemakers noticed that the neighbors had come in and sat down next to each other to eat and were chatting nonchalantly. That was the first sign that peacemaking was on its way to completion. At the end of the session, the participants apologized to each other and signed a paper that contained their âresolution by consensusâ, in which they stated that they had resolved their differences. We said our goodbyes and one of the women left the building to wait for the bus to go home. The second participant was being picked up by her husband in a car, and when she realized that her counterpart was waiting outside in the cold, she rushed out to the bus stop and drove her home. We were relieved.
Since that first successful outcome, weâve grown as a program and as peacemakers. We have worked with over fifty cases, and we now have over 25 trained peacemakers. Both our participants and our peacemakers come from very diverse ethnic, socio-economic, religious and cultural backgrounds. Weâve had remarkable successesâpeople have resolved disputes, attained employment, enrolled in college, completed GED programs, and healed relationships.
Our Navajo mentors taught us about kinship and connectedness as the basis of peacemaking. They have also said that sometimes peacemaking is just the beginning of long-term healing. We saw that play out in a case involving an assault between two sisters. By the end of the case, which took six sessions over many months, our participant had apologized and made amends with her sister, and had improved her own life by creating a resume and then getting a job. She also gave back to the community by doing community service. The court case was resolved and everyone moved on. Over two months later, one of the peacemakers received a call from our former participant. She was angry at a co-worker who was yelling racist slurs and baiting her to fight, but she said that she didnât want to go down that road again. She stopped the altercation to go make the call to her peacemaker. She asked the peacemaker to help her regain her self-control, something they had talked about at length during her sessions. She said she wanted to walk away, and then she did.
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Erika Sasson is the peacemaking program director for the Center of Court Innovation, responsible for the planning, implementation and management of the peacemaking program. Ms. Sasson also serves as senior associate on the Tribal Justice Exchange, providing planning and technical assistance to tribal communities across the United States. Originally from Montreal, Ms. Sasson received her Bachelor's degree in Peace and Conflict Studies from the University of Toronto and her civil and common law degrees from McGill University. Prior to joining the Center, she worked in Toronto as a federal prosecutor, where she handled drug, gun, and gang cases. Ms. Sasson completed fellowships on monitoring and preventing torture for the National Human Rights Commission of Sri Lanka, on criminal justice and civil rights for the Association for Civil Rights in Israel, and on the penal system of the indigenous AwĂĄ nation for an NGO in Ecuador. Ms. Sasson moved to New York in 2009 to attend New York University, where she received an L.L.M. degree in criminal justice.
[1] Our program is generously funded by The Bureau of Justice Assistance. The food is funded separately by a generous grant from the Kindle Project. We are grateful to all of our funders. ![]()
Center for Court Innovation
From the Navajo Nation to Red Hook, Brooklyn, Peacemaking forges long-lasting connections By Erika Sasson I remember meeting our first peacemaking participants, ...
Aug 14, 2014
Zane Fischer Answers the Kindle Questionnaire Who are your real-life heroes in your field?
I hope the most important field I'm working in is the diligent research and discovery of a good life. Some of my heroes are Kurt Vonnegut, Jonathan Richman, Sarah Silverman. Ugh.
When and where did you feel most fulfilled in your work?
When it dovetails with the goal of a good life. When creativity and collaboration open up new ways of seeing and ways of being.
What is the trait you most deplore of your field?
The tendency for tasks that should be creative and fruitful collaborations to devolve into insecurity, nitpicking, fear and mistrust.
If funding were no object, what would you do?
I would work on quality of life issues in and around small, liveable cities that have the capacity to be profoundly productive communities if they can attract and retain creative, dedicated, soulful people.
Whatâs your favourite way to procrastinate at work?
I like to read posts on Medium.
Favourite moment at work?
Brainstorming. Idea creation. You know what I'm talking about.
Favourite visual artist?
My favorite visual artist is probably Joseph Beuys. He rode a line between contemporary, critical investigation and raw, animalistic magical totemism that is almost impossibly difficult to achieve without seeming contrived.
Favourite song?
Eye of the Tiger?
Favourite activist?
How about Emile Zola
Favourite historical figure?
I'm kind of a Nikolai Tesla fan. I mean, who isn't?
What did you eat for dinner last night?
Breakfast. Beautifully poached eggs on top of toast from fresh, home baked bread with a side of thick, indulgent bacon.
What do you think is the greatest social issue of our time?
Income inequality or, put another way, the inevitable and intractable stupidity of money. Money breaks the rhythm of life and it really, really sucks.
What do you think is the greatest environmental issue of our time?
Money. Get rid of money and you very likely get rid of environmental issues. But it's probably water that's going to destroy us one way or another. Possibly by blasting into the atmosphere after an asteroid impact and raining back down on us in the form of razor-sharp frozen knives of death. I mean, maybe.
How do you think we can change the world?
By getting serious about living better individual lives and choosing to stop being distracted the false requisites we have assembled around survival and prosperity.
What book are you reading right now?
The Painter, by Peter Heller. Fictional accounts of artists that attempt to portray the artist mind are typically either overwrought or just tremendously off-base. Even though Heller's âpainterâ doesn't seem like an artist I would be interested in, I find his portrayal to ring remarkably true.
Whatâs your favourite online resource for fun?
Right now I think it's The Oatmeal.
Whatâs your favourite blog?
Does Medium count?
Whatâs your personal motto?
Agitate * Contemplate
What makes you the most angry?
Willful ignoranceâpeople who deny evidence, truth and the potential for positive change because of fear, hate, laziness and prejudice.
What makes you the most happy?
Rain, shade, tall grass, solving puzzles, traveling through unknown territory, food, companionship, a good pocket knife, surprises, trees, narrow roads, reading, thunder, the horizon.
Zane Fischer Answers the Kindle Questionnaire
Who are your real-life heroes in your field? I hope the most important field I'm working in is the diligent research ...
Jul 31, 2014
Seed Broadcast Technology and seeds have long been intertwined in a complex field of relations. Throughout history plants have cycled from seed to seed and humans have interjected their desire to be a part of this process, selecting, storing, and growing out these plants year after year for millennia. This encoded technology of relations was fed with an intention towards care and resiliency to nurture not only people, but also a polyculture community of the familiar. Relatively recently this intention has shifted towards engineering botanical processes to build mono-agricultural empires, create populations of dependent passivity, and dominate the more than human.
Since 2011, SeedBroadcast has been examining these territories through performative engagements as artists, farmers, gardeners, teachers, and collective operatives, while rethinking the term agri-Culture. Project concepts and methodologies are founded in a space of the grassroots, where culture, creativity, collaboration, and agency are coupled with open source technology, seeds, agro-ecology, rhizomatic networks, and most importantly the stories that bring these all together.
Over the last year SeedBroadcast has implemented several new projects while continuing to mobilize the Mobile Seed Story Broadcasting Station (MSSBS). New projects include SWAP, Seed Story Workshops, and the agri-Culture Journal.
[caption id="attachment_5699" align="alignnone" width="1200"] Mobile Seed Story Broadcasting Station en route via the Rocky Mountain Tour[/caption]
The Mobile Seed Story Broadcasting Station spent another year in partnership with regional seed libraries, farmers, gardeners, schools, and at public events recording and broadcasting seed stories, sharing resources, and pollinating open-source seed networks.
You can read more about these events at the Mobile Seed Story Broadcasting Station blog: http://seedbroadcast.blogspot.com/
[caption id="attachment_5700" align="alignnone" width="1200"] Santa Fe Public Schools Special Planting Day at New Mexico Land Office where students are gathering seeds in the Mobile Seed Story Broadcasting Station[/caption]
The 2014 regional MSSBS tour took us vertically into the high and dry Rocky Mountains with events at MountainFilm Telluride and many visits to high-altitude food producers and seed savers in Mancos, Dolores, Ridgeway, and Westcliffe, Colorado. The mantra in this beautiful and yet harsh environment is to develop adaptability through encouraging creative resiliency in plant life, seed saving, and through finding passive energy systems for extending the growing season and protecting crop failure from the weathering mood of climate change. [caption id="attachment_5701" align="alignnone" width="1200"] SWAP grow kit, pops up and seed swaps around Iowa[/caption]
Finding ways to build collaborative partnerships beyond our region has led us to a new experimental platform called SWAP. The kick-off for this project occurred in the heart of corn country, in Iowa. Partnering with an organization called Exuberant Politics and directed by a local farmer and artist, SWAP shared the technological SeedBroadcast structure as an experimental âgrow-kitâ to be used locally to interrogate agri-Culture and local issues. Local community members used it to collect seed stories, bring awareness to issues of GMO, pesticide drift, and seed saving, and help inspire local open-source networks. This year we have been expanding our processes to deepen the impact and implementation of our radical seed work. One of the ways has been to offer seed story workshops to encourage people not only to develop the practice of saving seeds but to also save the cultural heritage of that seed. As we have heard many times over âIf we lose our seeds we lose our culture.â And as we are witnessing, in many parts of our world, if we lose connection to our culture we lose our land-based un-tampered-with seeds. The stories held in each seed and the stories that each of these seeds share with us are as important to save and share as the seeds themselves. They are intertwined and inseparable.
We have held onsite seed story workshops as part of Seed School at Native Seed Search in Tucson and at various New Mexican schools. We also have been seeding seed story practices through on line conversations and exchanges with the Hummingbird Project in Cleveland, Ohio. We are hoping to expand our online action workshop presence in the future and are in the planning stages for a series of workshops at the Institute for American Indian Arts in Santa Fe, New Mexico and at Santa Fe Art Institute as part of the Food Justice artist residency year. One of SeedBroadcastâs various dispersal, broadcasting and collaborative tactics is our biannual SeedBroadcast agri-Culture Journal. The intention of this journal is to activate a forum of exchange and intensify the discourse about the necessity for a critical shift in mainstream food growing and seed manipulation practices.
For the spring 2014 edition we received many intriguing contributions from an international call out to our curious seed story network. Among these contributions were a poem and drawing called âRadish Beetsâ from Whitney Richardson of Pueblo Semilla in Chicago, an article about the âSeed Diaries Project, The Art of Storytellingâ from Danielle Johnson and Belle Starr in Tucson, information about the film âOpen Sesame: The Story of Seedsâ by Sean Kaminsky of New York, a traditional New Mexican recipe for cooking quelites from 87 year old Delvina âVinaâ Armijo of Las Vegas, even the words of a contemporary seed hymn and many offerings of local wisdom from our New Mexican community.
[caption id="attachment_5703" align="alignnone" width="1025"] Bobbe Besoldâs, Wests Melons, The Food Series, in Spring 2014 SeedBroadcast agri-Culture Journal[/caption]
This yearâs spring edition was published in March, just in time for the beginning of our busiest time of the year. The time of seed exchanges, the time of sowing and honoring our seeds for the year and so the appropriate time to spread collective seed wisdom. We printed over 4,000 copies that are distributed nationally and internationally to all of our contributors, (the furthest was to New Zealand), bundles are also placed in various local sites, such as farmers markets, local libraries, added to CSA shares and available at the Mobile Seed Story Broadcasting Station. There is a web version and agri-Culture Journal archive on our web site:Â http://seedbroadcast.org/SeedBroadcast/SeedBroadcast_agriCulture_Journal.html
Our autumn 2014 edition will be published at the beginning of October in time for the harvest blessings. The deadline for submissions is August 31st 2014. We encourage you to think about sending us a proposal or contribution and if you have any questions contact us at: seedbroadcast@gmail.com
You can listen to more Seed Stories at:Â https://soundcloud.com/seedbroadcast
Stay updated on our events and projects at:
http://www.seedbroadcast.org
http://seedbroadcast.blogspot.com/
https://www.facebook.com/seedshare
âSeeds are the memory of life. They have their own stories and those stories have to be told every year so they do not get forgotten.â - Isaura Andaluz. [caption id="attachment_5704" align="alignnone" width="1200"] Drawing and listening to Seed Stories inside the Mobile Seed Story Broadcasting Station[/caption]
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Seed Broadcast
Technology and seeds have long been intertwined in a complex field of relations. Throughout history plants have cycled from seed ...
Jul 17, 2014
Virunga When we launched Virunga at Tribeca Film Festival we did so in the knowledge that our contributor and colleague, Emmanuel de Merode, Director of Virunga National Park in eastern Congo was lying in a hospital bed in Goma â having been shot twice in the abdomen two days prior - www.bbc.co.uk/news/world-africa. We had managed to speak to him, and his message was clear.
âCarry on as planned - go and tell the world about Virungaâ.
We had been working quietly on the film and its related campaign for over two years with the parks team in a bid to protect this stunning world heritage site, Africaâs oldest national park from, amongst other things, the work of a British oil company, SOCO International.
Oil exploration in a world heritage site is illegal in Congolese law as well as international law but this wasnât stopping SOCO from pushing ahead with its studies and surveys in eastern Congo, working right in the heart of the park around Lake Edward, an area home to around 70,000 people in the fishing community.
Together with many brave members of these communities, the parkâs own rangers and a French journalist named Melanie Gouby we had conducted an undercover investigation which had thrown up allegations of wrongdoing by SOCOâs employees, subcontractors and supporters in relation to bribery and corruption, human rights abuses by SOCO supporters, illegal entry into the park and worrying links with armed groups. As well as this, we had documented the beauty of the park, the bravery and commitment of its rangers as well the real hope it represents for the future of eastern Congo â a potential source of both peace and prosperity in a region plagued by war.
https://www.youtube.com/watch?v=iZlz_4iUKBs
Tribeca would be the first time the world had seen the film and we needed it to go well in spite of our worry for Emmanuel and our fear for the rising danger to any opponents of oil on the ground. In fact, it had to go well because of this.
That was 10 weeks ago, and since then we have screened the film in parliaments, at foreign ministries, to NGOs, stakeholders, the business community, royalty and celebrities bringing Virungaâs story to anyone of influence. The noise was growing to a clamour of outrage and we were starting to get phone calls from anxious SOCO International investors. Human Rights Watch put out a shocking report on allegations of serious human rights violations in relation to SOCOagainst oil critics, adding to the mounting list of issues to address.
And then something strange happened.
Two days before the SOCO International AGM they made a statement that they had made a deal with WWF. In return for WWF dropping the OECD case they had opened against them, SOCO would leave Virunga.
It seemed too good to be true. Too easy. It may be just what it was. Was it just a clever PR move by the company (and they have the well-known Bell Pottinger on their books) to distract from the real issues facing them?
Almost immediately the reality seemed clear â deputy CEO Roger Cagle said to the Times:
âIf the DRC wanted to benefit from its oil, it could even apply to Unesco to remove Virunga from the list of World Heritage Sites. It forces DRC and Unesco to come to some kind of accommodation, as has been demonstrated in many other places where they have accommodated things in world heritage sites by redrawing boundaries and by agreeing to certain activities being conducted in certain ways.â
The day after a letter from the head of SOCO DRC to the DRC Prime Minister stated:
"Following the announcements made this morning on several national and international radio stations, stating our withdrawal from oil exploration activities in Virunga National Park, we would like to inform your authority that this information is inaccurate and does not exactly reflect the spirit of the joint declaration SOCO-WWF secured through the mediation of the OECD following the WWF 's complaint against SOCO"
"We wish to clarify that as soon as Phase 1 of this exploration is completed, that is to say the seismic and geological surveys, SOCO will process and interpret the dataset and we will be able to determine mid-2015 if there are areas to be drilled so that the DRC Government can take all appropriate steps to continue or not this exploration."
[gallery columns="2" ids="5691,5690,5689,5688,5687,5686"]
Â
This letter was quoted in an article written by Melanie Gouby in Le Figaro. This was followed up by a public announcement in Congo along the same lines.
It seemed Virunga was ever more vulnerable â exactly the same dangers facing them but now with the world thinking the opposite. A well timed diffusion by SOCO and a small step towards the parkâs borders or status as a world heritage site being challenged altogether.
So our work remains unchanged and the film team and our many partners and allies see this as crucial period for the park. We must safeguard its future properly not only from SOCO but from all oil exploration without changing its borders or moving towards a declassification of the park.
The park is not just deserving of environmental protection, it symbolises our greater struggle to manage sustainable resources in a way that will bring real, equitable and sustainable prosperity to impoverished communities in harmony with the natural world. Virunga represents the most spectacular example of good governance working hand in hand with environmental protection in a way that is genuinely bringing investment and economic stability to eastern Congo. The rangers have some of the securest jobs in the region where the average wage for most is less than a $1 a day. The parks other development programmes are raising revenue in sustainable fishing, aiming to bring an existing $38 million dollar industry to a target of $64 million within five years. And for the first time, small scale hydroelectric plants built by the park are bringing electricity to rural areas that have never had it before â a process hailed by all relevant institutions as the biggest tool to ameliorate poverty known to date.
SOCO claim to be a potential source of revenue for this region and for Congo but without outlining clear and measurable potential or explaining how this oil would benefit local communities when there are so many examples of this kind of resource extraction being solely beneficial to the few elites. Without this, it seems unfathomable that we should even consider destroying the best potential the region has to come out of poverty, and one that with the right kind of business investment will only get stronger and stronger. If that seems unlikely in eastern Congo, we need only to look at neighbouring Rwanda to see the leaps and bounds a country touched by war can make in a few short years.
This is an issue that defines our future as a species and we cannot fail to secure the right decision for Virunga and so we continue to work with Emmanuel's words in our ears, to tell Virunga's story to the world. ![]()
Virunga
When we launched Virunga at Tribeca Film Festival we did so in the knowledge that our contributor and colleague, Emmanuel ...
Jul 03, 2014
Generation Food Project Steve James and Raj Patel talk about Generation Food Steve James: So, Raj, letâs start with this â how did you come to this project?
Raj Patel: I have often been asked to be a talking head in films about the food system. Those films have tended focus on the disaster that is the current way we eat, but spend less time looking at how people are fighting to change the way we eat. Also films about the food system have tended to be fairly US-centric rather than global, and that is frustrating. Americaâs food system is not an island, and films really ought to reflect that. The desire to see a film about the global food system that shows people fighting back is what brought me to your door Steve, but I am still baffled about why you wanted to work with someone like me.
Steve: Well in addition to being loquacious and learned, you have a good sense of humor, a compatible astrological signâŚ
Raj: We also both like long walks on the beach.
Steve: Yes, and even though I donât make what tend to be called advocacy films, working together presents an opportunity to make a film that I havenât seen, and want to see. We get to pull back the curtain on an economic system that goes largely unseen, a system that makes a profound difference about what we eat, what gets grown and who gets to make a living around the world. Along the way, in developing this story, we also got excited about including the stories of people who are pushing back against that system, and breaking its rules.
https://www.youtube.com/watch?v=evoFFHsB3pU
Raj: What I like about this is that this isnât where we started. The original pitch was to celebrate resistance around the world but by working together we found ourselves building on the storytelling technique and the importance of characters and drama, ending up in a place where resistance isnât certain to succeed but is much more open-ended. This moves us both out of our comfort zones a little. For your part Steve, do you think there is a conflict between an advocacy film and a veritĂŠ film?
Steve: There can be. Itâs unusual for an advocacy film to follow people and situations where the outcome is uncertain and success is uncertain. At Kartemquin Films, a lot of our films have been used for advocacy, but thatâs not the same thing as making an advocacy film. Iâm a director, not a social media outreach person, and although there are now all kinds of people involved in outreach, thatâs not what I do.
Now, I want to ask you a question. When we started out, you thought that at most you might be the narrator of the film, but now we have evolved so that one of the storytelling devices we use is to have you engage with people around the world, including worthy adversaries who donât necessarily see the world the way you do. In some cases, they donât even think the world food system needs fixing. How do you feel about that change, Raj?
Raj: Well, I still squirm whenever I see myself on the screen and itâs not pleasant for anyone. But itâs honest, which is how I reconcile myself to it. First, we have a complex story, and it follows that someone is telling it. You didnât hide yourself in Hoop Dreams, and I think it makes sense for me not to hide either. Second, it fits the way weâre working together â where Iâm not hiding my views on the kind of world Iâd like to see and what should be in it, but that thereâs nothing guaranteed about those things happening or about my being right. To be honest about that is important, and it means we can do something that we canât do apart â a veritĂŠ film thatâs about advocacy. Iâm with you in thinking that advocacy films can sometimes trample the truth about how hard it is to change the world, and that does no one any favours, whether youâre looking to engage in social change, or just be provocatively and thoughtfully entertained. But itâs important for me to be upfront about the fact that I donât think capitalism is particularly terrific.
Steve: What?
Raj: I probably ought to have mentioned that before.
Steve: Despite that â I think you said it â weâre trying to marry together two things that you donât often see in documentaries, and weâre trying to do it in a way thatâs truthful, organic and enlightening, and if we do our jobs right, people will feel like, right, that made sense to me. If it works, itâll seem easy.
[gallery columns="2" ids="5651,5650"] Raj Patel (on left) is an award-winning author and activist. He has been featured in a range of publications, from the New Yorker to Time magazine, and his work hailed as indispensable by Michael Pollan, with whom he co-teaches at Berkeley. Raj has worked at the World Bank and the World Trade Organization and has protested against them on four continents. He is also an Utne Reader Visionary and has testified to the US Congress on the causes of the global food crisis. He is the author of the international bestseller The Value of Nothing: How to Reshape Market Society and Redefine Democracy, and the critically acclaimed guide to the food system Stuffed and Starved, which have both been translated into over a dozen languages. Steve James (on right) produced and directed Hoop Dreams, winner of every major critics prize including a Peabody and Robert F. Kennedy Award. Other films include Stevie, which won IDFAâs grand jury prize; the acclaimed miniseries The New Americans; Tribeca Grand Prize winner The War Tapes, which James produced and edited; At the Death House Door, which won numerous festival awards; No Crossover: The Trial of Allen Iverson for ESPNâs Peabody winning â30 for 30â series; and The Interrupters, which won the Independent Spirit Award and the duPont Journalism Award among numerous others, and was the top documentary in the end of the year national criticsâ polls for both IndieWire and the Village Voice. James most recent documentary on the life and career of critic Roger Ebert, Life Itself, premiered to critical acclaim at the 2014 Sundance Film Festival.
Generation Food Project
Steve James and Raj Patel talk about Generation Food Steve James: So, Raj, letâs start with this â how did you ...
Jun 19, 2014
Sadaf Rassoul Cameron's Revolution of Imagination My son graduated from Desert Academy International Baccalaureate high school yesterday. Nineteen years ago, around this time, I was fifteen and pregnant. I was living on the streets and had no idea where I was going to get my next mealâŚliterally. I couldnât even begin to imagine how our lives would unfold and how much hard work and grace would be required to arrive where I am today.
I have been blessed with guardian angels in my life. Those times, as a pregnant teenager living on the streets, were no exception. There was a woman who brought me a bag of groceries every couple of weeks on the corner, no questions asked. Week after week, her eyes brimmed with tears and sheâd give me a solid hug. There was also our town police officer, Cecil. Once every few months he would bring me a garbage bag full of his sonâs hand-me-downs and laugh as I picked through jumpers and toys. And finally, there was Juan Antonio, our cityâs homeless drunk. He spent his days panhandling in his lucky jeans, talking to Jesus, and for whatever reason, he just adored me. At the end of each day, he would find me under a tree, worn with worry, but with a shit-eating grin on my face and give me his entire dayâs earnings. I would beg him to keep it for himself and he would just look at me and say, "no, jita, itâs for you and the kid," and walk away giggling.
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While the majority of the world chalked me up to be just another statistical fuck up -- against all odds, as the outcast black sheep, in light of great adversity -- I experienced unparalleled kindness and compassion from the most unlikely places.
Iâve been reflecting on how graced my life has been over the last 18 years and simultaneously thinking about this topic that we are speaking to today --Â Innovation and Evolution in Philanthropy. Itâs been an interesting process to have both happening rattling in my mind at the same time. What does innovation in philanthropy mean in light of Jose Antonio and his coin offerings and Cecil and his hand-me-down clothes?
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What is philanthropy anyway? Philanthropy literally translates to âlove of humanity." If left for me to define, I would shift âlove of humanityâ to a âlove of the wildâ. Rather than the innate separation that a love of humanity creates with the natural world, a love of the wild would honor the visceral, inextricable symbiosis between humanity and nature. When we explore evolution and innovation in the field of philanthropy, I feel that that our evolution is rooted in a return to the rememberance of that symbiotic dance and how to bring humanity and humility to our relationships with life.
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Iâve been personally challenged with the notion of âinnovationâ itself lately. Innovation is sexy because we are in desperate need of alternatives and creativity. However, innovation loses much of its sex appeal when it assumes that creativity and solutions rely solely on ânewness." Newness can be blind to where tradition and deep wisdom are not only legitimate, but an absolute necessity to moving our planet into the direction of vibrancy. For instance, the deep wisdom of the indigenous worldview and practice is an essential piece to moving towards becoming more humane to one another and to nature. Or, just good, wholesome kindness and generosity, like that of my town drunk. Never underestimate the power of kindness, the power of the creative, the power of simply being humane. Innovation must broaden its scope to include the gems of the past, our present, and future.
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When I asked what points I should touch on today, our facilitator told me to speak about what I am most passionate about. Iâm passionate about many things at the moment, but what I want to bring to this table is my passion for imagination.
I believe there is a war being waged on imagination. Systemic structures as they stand, in a post September 11th world, where a belligerent war on terror continues to be wielded in the name of security and grants permission for the government to surveil itâs citizens, has cultivated a deeply disturbing culture of fear which endangers even imagining that another world is possible. As it has been said: Transition is inevitable; Justice is not. I ask myself, how can justice be considered if we cannot even imagine what an equitable world looks like? How can we possibly thrive, if we canât even imagine what thriving would feel like? We are in need of a revolution of imagination.
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So how does this pertain to the field of philanthropy? Well, my answer is twofold. First off, I believe as grantmakers, we have a critical duty to foster imagination at any cost. We must be willing to âtake a riskâ (whatever that means) to support those that are fighting to keep imagination alive -- at every front. Chilean Robin-Hood artist/activist, Francisco Tapia (Papas Fritas), just liberated $500 million worth of student loan debt by breaking into Universidad La Mar and setting blaze to actual loan contracts. Movement Generation, out of Oakland, cultivates the imagination of a healthy world through careful consideration and actual on-the-ground alternatives; offering us a window into what a truly marvellous world looks like. I believe this is the radical innovation that our times call for and that we as philanthropists must foster and encourage.
Second, I believe that there is a crisis of imagination within the field of philanthropy. This may partially due to the fact that we are operating from a place of assumed security. No matter how you cut it, there is very little security in this very fragile structure. I believe that we are at the apex of the most daunting of human circumstances -- relentless war, the institutionalizing of police and military states, the crushing of freedom of expression, and the ultimate crisis -- climate chaos. We have tipped over the tipping point. Now is not the time to play it safe. We simply do not have the time. Bold, courageous action is imperative. It is time to think outside the box -- move way outside our comfort zone.
Nabakov said: Curiosity is insubordination in its purest form. Now is the time to be valiantly curious!
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http://www.nmag.org/
http://sadafcameron.com/ ![]()
Sadaf Rassoul Cameron's Revolution of Imagination
My son graduated from Desert Academy International Baccalaureate high school yesterday. Nineteen years ago, around this time, I was fifteen ...
Jun 05, 2014
Announcement of Spring 2014 Grantees Storytelling has been at the forefront of our minds this year. With our Solutions Lab crew collaborating with the Santa Fe SpeakEasy, and the upcoming launch of our Indie Philanthropy Initiative, weâre noticing that storytelling connects the dots between what challenges us, what motivates us, and what pushes great ideas out into the world.
One of the greatest assets of Kindle has always been the collection of field stories from our collaborators in our partner community. Day in and day out, we have the privilege of hearing the riveting plots of partner projects; their challenges, inspirations, and the remarkable players that make all their work possible. Sharing these stories with you is all done in the spirit of sparking the extraordinary change we all want to see in the world.
This spring, we have another remarkable roster of torchbearers to introduce. Ranging from the artistically adventurous to the scientifically steadfastâour growing community is filled with endlessly motivating organizations and individuals. To achieve their formidable goals, our partners are breaking boundaries in ways that are at once surprising, thought-provoking, and essential, paving the way for thinking and doing outside the box.
We hope youâll celebrate the incredible work of these groups with us by taking a moment to learn more about all of them below. We canât wait to share more details of their work with you over the coming years. Donât forget to check back on our site to see how the narratives of these groups continue to unfold.
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Announcement of Spring 2014 Grantees
Storytelling has been at the forefront of our minds this year. With our Solutions Lab crew collaborating with the Santa Fe SpeakEasy, and ...
May 27, 2014
Branden Barber Answers the Kindle Questionnaire What do you see as the greatest challenge your community is facing?
Wealth inequity and the challenges that brings. With increasing disparity between the super rich and everyone else, resources are seen as more precious â funding good works is more challenging than Iâve ever known it to be.
What is the strongest asset of your community?
Our commitment to all life.
Who are your real-life heroes in your field?
The indigenous communities and their leaders who hold the line against development from without, and those who support them.
When and where did you feel most fulfilled in your work?
When I take supporters into the field with partners â with people like Larry Gibson and Maria Gunnoe in West Virginiaâs mountain top removal battle or with our partners in the Amazon; people like Esperanza Martinez, Natalia Green, Donald Moncoya and Don Sabino Gualinga, engaging supporters to add spirit and resources to these important arenas of environmental and social justice. There is magic that occurs when people and issues are brought together with open hearts.
What is one thing you wish the general public knew about your work?
That it feels good to serve and to support others â that generosity itself creates abundance and joy in the giver. Supporting others through oneâs financial power is a wonderful, empowering and loving act. Give more!
If funding were no object, what would you do?
Iâd pay off everyoneâs debts, buy as much natural land as possible and put it into a conservation trust, double the salaries of the non-profit sector, keep the oil and the coal in the soil and move us to a renewable, sustainable grid, end slavery, end politics of influence, make corporations corporations, not people, ride my mountain bike moreâŚ
Whatâs your favourite way to procrastinate at work?
Promote our work through social media. Followed by break.comâŚ
If you werenât doing this kind of work, what would you be doing?
I would be a philanthropist.
Favourite moment at work?
Creating truly holy moments at fundraisers â when the clouds part and the celestial choir singsâŚand everyone doubles their commitment and surprises themselves. This happened at a house party in Boulder â I will never forget it.
Favourite visual artist?
Pablo Amaringo â or Alex Grey â you choose.
Favourite song?
Wish You Were Here â Sandstorm â Freedom of Choice â No One Like You
Favourite activist?
Mike Roselle â Mike Brune â Annie Leonard â Randy Hayes â Scott Parkin â Larry Gibson â Maria Gunnoe â Judy Bonds
Favourite historical figure?
John Muir
If you could give $10,000 to any organization besides your own, which would it be and why?
The Ethnobotanical Stewardship Council â because they are a new organization whose mission is to protect the integrity of the plants and people who work in harmony in the Amazon.
What do you think is the greatest social issue of our time?
Wealth inequity
What do you think is the greatest environmental issue of our time?
Climate change
How do you think we can change the world?
By practicing compassion in every moment
What book are you reading right now?
The Serpent and the Rainbow by Wade Davis
Whatâs your favourite online resource for fun?
Break.com
What makes you the most happy?
Love
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Branden Barber Answers the Kindle Questionnaire
What do you see as the greatest challenge your community is facing? Wealth inequity and the challenges that brings. With increasing ...
May 22, 2014
Center for Land Use Interpretation Solar Boom: A Look at a Possible Energy Future
Some people have calculated that it would take 10,000 square miles of solar panels to produce enough electricity to meet the demands of the USA - an area the size of Massachusetts. In the desert southwest, where some military reservations are as large as some New England states, and the sun shines more than 300 days a year, the process seems to be under way.
Depicted here are six plants in the six different regions in the southwest where most of this solar boom is happening. The images were taken over a two week period in late February, 2014, for an exhibit and online resource produced by the Center for Land Use Interpretation, in Los Angeles.
Centinela Solar Energy Project, Imperial Valley, California. CLUI Photo.
Centinela is one of a few large photovoltaic power plants in the Imperial Valley, built in agricultural land, near the Mexican border, over the last three years. By the end of 2014, the Imperial Valley will produce around 1,000 megawatts of power, similar to what a large gas or coal-fired power plant produces, and what around 350,000 homes consume. This amount is produced only at peak output, of course, and when the sun is shining. Desert Sunlight Solar Plant, Desert Center, California. CLUI Photo.
Desert Sunlight will be tied as the largest solar power plant in the world if it is built out to its expected 550 megawatts. Construction started in 2011, north of the remote Mojave town of Desert Center, and it is expected to be complete in 2015. Built by First Solar, Nextera, GE, and Sumitomo, the plant is likely to cost more than $2 billion, cover 3,800 acres, and use 8,800,000 photovoltaic panels. It is one of two large plants nearly completed along the Interstate 10 corridor, between Joshua Tree National Park and the Colorado River. Other large plants have been permitted for this area as well. Agua Caliente Solar Project, Gila River Valley, Arizona. CLUI Photo.
Agua Caliente produces more than 250 megawatts, and is expected to produce as much as 397 megawatts when it is complete, sometime in 2014. It will have 5,200,000 photovoltaic panels, covering close to four square miles (2,400 acres). It is the westernmost of a chain of several utility-scale solar plants following the Gila River Valley, west of Phoenix, that collectively produce close to 1,000 megawatts. With expansions and new plants proposed for the region, this amount could double in a few years. Antelope Valley Solar Ranch, Antelope Valley, California. CLUI Photo.
The first phase of the Antelope Valley Solar Ranch went online with 150 megawatts in 2013, and is expected to produce more than 230 megawatts when it is complete, sometime in 2014. The Antelope Valley, north of Los Angeles, has a dozen utility-scale solar plants fully online or soon to be, capable of supplying more than 1,100 megawatts by the end of 2014. At the eastern end of the valley are three solar thermal plants, built in the late 1980s, which until ten years ago, were the only large utility-scale solar plants in the USA. Copper Mountain 3 Solar Plant, El Dorado Valley, Nevada. CLUI Photo.
Construction started on this 250 megawatt photovoltaic power plant in 2013, and is expected to be completed in 2015. It is located in the El Dorado Valley, south of Las Vegas, near some other, smaller solar plants that are already online. This area, south of Las Vegas, has a half dozen utility-scale solar plants under construction or online, together capable of providing close to 800 megawatts. This includes the 392 megawatt Ivanpah Solar Plant, built by BrightSource, Bechtel, NRG, and Google, which opened in 2014, just over the state line in California. At least another 1,000 megawatts of solar is planned for the area. Topaz Solar Plant, Carrizo Plain, California. CLUI Photo.
Topaz is the larger of two major solar power plants in the remote Carrizo Plain of California, in the Temblor Range, west of Bakersfield. Construction started in 2011, and by early 2014 it was producing 360 megawatts, more than any other solar plant in the country. It is expected to be complete by the end of 2014, with over 9 million photovoltaic panels, producing 550 megawatts, likely making it the largest solar power plant in the world. The nearby California Solar Ranch produces 250 megawatts, and was completed in 2013. Together the scattered clusters of solar panels at these plants cover close to ten square miles.
Center for Land Use Interpretation
Solar Boom: A Look at a Possible Energy Future Some people have calculated that it would take 10,000 square miles of ...
May 08, 2014
Center for PostNatural History It's been two years since we first opened the doors of the Center for PostNatural History, the only museum dedicated to living things that have been shaped by human culture. When the Kindle Project contacted us nearly 4 years ago, the museum existed only as an idea and a collection. Thanks to the Kindle Project, we were able to secure a lease on a storefront space and begin the somewhat insane process of building a museum from scratch.
The idea is deceptively simple: Traditional natural history museums have largely ignored organisms domesticated by humans. These life forms, such as dogs, cattle, garden vegetables, and lab animals, have all been shaped by their relationship to human culture. Therefore, they are often left out of "natural history". As a result, traditional natural history museums have also missed out on the explosion of altered life forms emerging from public and private research facilities during the last century. The Center for PostNatural History was created to address this issue, and to pick-up where natural history leaves off.
In the 2 years since we opened our permanent space, we have collected hundreds of artifacts, greeted thousands of visitors and produced a number of exhibitions, several of which continue to travel the world. Visitors to the Center for PostNatural History in Pittsburgh enter a salon-style gallery of photographs and assorted artifacts of the postnatural. Above the entrance labeled "Hall of PostNatural History" is a life-size model of the AquaBounty⢠Salmon, a genetically modified fast growing Salmon that has been awaiting FDA approval for a decade. If approved, it will be the first genetically modified animal in the human food supply.
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After passing through the curtain, the sounds of the city street fade away behind you as you enter a dimly lit gallery of small windows. The exhibits utilize diorama, taxidermy and media to tell stories about common and obscure postnatural organisms. The current exhibit in our rear gallery features our latest acquisition: an authentic taxidermied BioSteel⢠Goat. This goat, named Freckles, was a part of herd of goats that were genetically altered such that they produce spider silk proteins in their milk. The milk is then refined and the spider silk extracted and wound onto spools. Spider silk is extremely strong and researchers hope that they will be able to produce much larger quantities of spider silk in this manner. Our exhibits provide an opportunity to view organisms like Freckles up close and to consider their meaning.
Since opening our permanent space, we have also produced two traveling exhibitions that are currently on tour in Europe. These exhibits examine postnatural history using specimens from our collection such as the Transgenic American Chestnut Tree, an alcoholic rat, the oddly shaped skulls of pure bred dogs, obese laboratory mice, and many more. The traveling exhibits have found homes in art galleries, conferences on issues in biotechnology, a 15th century surgical amphitheater and yes, even a natural history museum. The postnatural is a moving target and more organisms are created than we can possibly keep up with. However, as the postnatural grows, we continue to expand our collection and exhibition opportunities. In the coming year we will be producing new publications and increasing our online presence in effort to reach more people. It is thanks to Kindle that this is even possible. ![]()
Center for PostNatural History
It's been two years since we first opened the doors of the Center for PostNatural History, the only museum dedicated ...
May 01, 2014
NMELC's Eric Jantz Answers the Kindle Questionnaire Eric Jantz is a Staff Attorney with the non-profit New Mexico Environmental Law Center, which focuses on environmental justice advocacy. Ericâs worked at the Law Center since 2001; prior to joining its staff, he worked for the Navajo Nation Department of Justice and DNA-Peopleâs Legal Services in the Navajo community of Crownpoint. He is lead counsel on the organizationâs uranium mining and oil/gas cases.
⢠What do you see as the greatest challenge your community is facing?
When I talk about âour community,â Iâm really talking about our clientsâ communities. Theyâre on the front lines of environmental racism and social injustice. The biggest challenge is a really bad system of power inequity. It makes addressing issues of a clean and healthy environment difficult when decision-makers are bought and sold while the people they represent often have to struggle to feed their families.
⢠What is the strongest asset of your community?
Unflagging will.
⢠Who are your real-life heroes in your field?
I have to say, our clients and their communities. Theyâre the ones who have everything to lose â and often they do lose. The environmental and economic issues theyâre working on can destroy families. Sometimes they become pariahs in their communities... yet they keep going, year after year after weary year.
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â˘When and where did you feel most fulfilled in your work?
I donât think that I can point to one time or place. Working within the system that we work in, my clients appreciate even small accomplishments and little steps. Thatâs fulfilling.
⢠What is the trait you most deplore of your field?
Well, I'm a lawyer, and Iâm going to say that many in my profession are assholes. I donât know a kinder way to say it.
⢠What is one thing you wish the general public knew about your work?
I wish the general public knew that these struggles were going on, because often they donât.
⢠Whatâs your favourite way to procrastinate at work?
Interviews like this. And playing with the office dogs.
⢠If you werenât doing this kind of work, what would you be doing?
I canât even imagine not doing this kind of work.
⢠Favourite moment at work?
The minute after a hearingâs done.
⢠Favourite visual artist?
Kyle Baker, maybe. Heâs a graphic novelist from the 1980s.
⢠If funding were no object, what would you do?
Iâd fund a peopleâs non-violent liberation army, and scrap the whole system. Build a new one from scratch.
⢠Favourite song?
Sinatraâs Fly Me to the Moon.
⢠Favourite activist?
I hate to pick just one, because these are collective efforts.
⢠If you could give $10,000 to any organization besides your own, which would it be and why?
To the Multicultural Alliance for a Safe Environment in northwestern New Mexico. Theyâve done a really good job in a short amount of time of combining social justice and environmental justice activism around uranium mining and cleanup. Theyâve done a lot with not many resources.
⢠What do you think is the greatest social issue of our time? Income disparities. Unequal economic and social power. ⢠Favourite historical figure?
This question covers too much ground. Iâll have to get back to you.
⢠What did you eat for dinner last night?
Whole wheat fusili with homemade marinara sauce.
⢠On what occasion do you lie?
I donât lie very regularly, I guess.
⢠What do you think is the greatest environmental issue of our time?
Depends on where you live. Environmental issues are mostly local, except for climate change, which could sterilize the entire planet.
⢠Whatâs your personal motto?
âEvil never sleeps.â
⢠What makes you the most angry?
That evil never sleeps.
⢠What book are you reading right now?
For All the People, a history of cooperatives in the U.S.
⢠Whatâs your favourite online resource for news?
Commondreams.org, guardian.uk and truthout.org are my three go-to sites.
⢠Whatâs your favourite online resource for fun?
Mountainbikereview.com. Itâs fairly subjective, but itâs a great resource if youâre buying gear, or if you just want to see some badass videos.
⢠Whatâs your favourite blog?
Karatebyjesse.com It has a very interesting take on traditional martial arts that you donât get in other places.
⢠What makes you the most happy?
Getting on my bike and going for a good, long mountain bike ride in the East Mountains outside of Albuquerque.
⢠How do you think we can change the world?
The only way to change it, aside from letting climate change unfold as it is likely to do â which will force the change on us â is through collective action.
www.nmelc.org www.facebook.com/NMELC Twitter: @NMELC
NMELC's Eric Jantz Answers the Kindle Questionnaire
Eric Jantz is a Staff Attorney with the non-profit New Mexico Environmental Law Center, which focuses on environmental justice advocacy. ...
Apr 24, 2014
Institute for Energy and Environmental Research Life near nuclear reactors, âReference Manâ, and the Healthy from the Start Project
by Arjun Makhijani, President of IEER
It is little appreciated that enforcement of radiation protection rules is tuned to âReference Man" who is officially âbetween 20-30 years of age, weighing 70 kg [154 pounds], is 170 cm in height [5 feet 7 inches],âŚ.is a Caucasian and is a Western European or North American in habitat and custom.â [(International Commission on Radiological Protection, 1975]. And it is well established that females and children are at higher risk from radiation exposure..
Joe and Cindy Sauer lived in Illinois near two nuclear reactors (Braidwood and Dresden) from 1998-2004 with their three daughters when Sarah, their middle daughter, was diagnosed with brain cancer at seven. Her physician said it was most likely environmentally induced. They were shocked to find out about the role of Reference Man in radiation protection and became deeply involved in studying cancers in the area after learning that there had been tritium leaks at the plants and an out of court settlement made by the Illinois Attorney Generalâs office with the nuclear power plants for violations of the safe drinking water act. Tritium is a form of radioactive hydrogen that can bond with oxygen to create Tritiated water, which behaves as regular water once inside the body.
In their quest for answers, the Sauer family contacted the Nuclear Regulatory Commission (NRC), among other agencies. The NRC told them very specifically that âReference Manâ determines permissible levels - they never said safe levels â and has not yet answered their question whether these levels are âpermissibleâ for a seven-year-old, forty-pound girl. In fact, the NRC and EPA do not define the term âmember of the public,â which is used in their regulations. The EPA has refused IEERâs request to specifically include children and women in their definition of this term. All this despite a Presidential Executive Order (E.O. 13045) explicitly calling on government agencies to pay special attention to protecting children from environmental harm because they are more sensitive.
Determined to find out what was going on, Joe Sauer, a physician, requested and finally gained access to the Illinois Department of Public Health cancer data, overcoming many hurdles. The Department had even refuse to release the data when requested by then-Senator Obamaâs office on the Sauerâs behalf. Dr. Sauerâs analysis is startling, indicating that cancer incidence increased around near these two reactors after the leaks began. The family has presented its story and findings to an IEER workshop; IEER has published some of their work in Science for Democratic Action, from which this summary is taken. You can learn more about Dr. Sauerâs research on IEERâs website.
Sarah has graduated from high school and written a book. Here is what she wrote for IEER:
âWhen I was seven years old I was diagnosed with brain cancer. The surgery, chemo and radiation treatment were horrible. I lived in Illinois in the vicinity of the Dresden and Braidwood nuclear power plants. I along with other children became sick with cancer. My parents moved me away from the area after many people including officials in Washington DC told my parents it was not safe to live there. My parents and I have been to Washington DC to speak to various government officials and fight for the right for kids to live in a healthy environment and not to have to be exposed to low levels of radiation on a daily basis. I spoke to the National Academy of Sciences twice to remind them of who they are doing the health study for and that me and all the other kids who live(d) near nuclear power plants and got cancer are not just a statistic. Cancer may have taken many things from me but it did not take away my love for life. All of life is very precious and we need to make sure that everyone, especially the children have a safe and healthy world to grow up in.â
The Illinois Department of Public Health has yet to respond with a position on this data, initially calling it statistically insignificant, and denying a public meeting to discuss the findings. But the Sauer family has persisted and been very influential in getting the NRC to fund the National Academies to do a study on nuclear power and cancer. A feasibility report was published in 2012 and IEERâs review of that study is online. The work has now progressed to the next stage, which includes a study of cancer near several nuclear facilities.
The Sauerâs and other families with stories like theirs are why we continue to advocate for changes in how radiation protection regulations are implemented through our Healthy from the Start project.
You can watch Sarah give a presentation at the Nuclear and Radiation Studies Board here. Her talk begins at 34:30. ![]()
Institute for Energy and Environmental Research
Life near nuclear reactors, âReference Manâ, and the Healthy from the Start Project by Arjun Makhijani, President of IEER It is little ...
Apr 11, 2014
Solutions Lab + Santa Fe SpeakEasy Event We've been longtime fans of the Santa Fe SpeakEasy and we are so excited about this new collaboration.
We can't wait to hear all the solutions stories from this year's cohort.
If you're in Santa Fe join us for this fantastic evening. All event details are also available here.
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Solutions Lab + Santa Fe SpeakEasy Event
We've been longtime fans of the Santa Fe SpeakEasy and we are so excited about this new collaboration. We can't wait ...
Apr 11, 2014
Solutions Lab Dispatch: Railyard Stewards We asked the Railyard Stewards to imagine it's the year 2050. We wanted to know how their work contributed to positive change on the planet 36 years from now.
Many Hands Restore What Was Lost: The Urban Forestry Project of the 21st Century
by the Railyard Stewards, 2014 Solutions Lab Cohort MemberÂ
Thirty-six years ago, the City of Santa Fe was in a terrible drought. The escalation of Climate Change in the region dried up water resources significantly, which in turn plagued the city and surrounding farm land with no irrigation. The southwest region of the United States was on the verge of being uninhabited, though the symbol of grassroots democracy in Santa Fe prevailed.
The Railyard Stewards (Stewards), a non-profit organization based in Santa Fe, took the lead and inspired the community. All corners of Santa Fe emerged, gardeners, plant nursery owners, local businesses, city personnel, state officials, and youth to elevate their environmental consciousness and encompass a connection to an urban forest. The Stewards built the visionary urban forest model using the Railyard Park + Plaza as their tool to motivate, encourage, and inspire the citizens of Santa Fe. Led by young people, the city of Santa Fe began to take back its natural landscape, and create a sustainable urban forest composed of drought tolerant and fruit baring trees thrat were cared for by the community.
Partnering with the Stewards, the plant nurseries served as hubs for Santa Fe citizens to purchase trees that would grow well in a high desert environment and that did not use much water. The youth, activists, gardeners, local business owners, and concerned citizens carried out a successful guerilla gardening campaign to take out invasive species such as the Siberian elm tree and replace them with native Cottonwoods, Burr Oak and Crabapple trees. Santa Fe's urban forest slowly grew and created new habitat for birds and critters, increased shaded areas and reduced water use. City personnel assisted community member to better understand which trees were best for removal and the best choices for replacements. State officials leveraged their influence to increase city budgets and tax breaks for businesses that took an active position on the urban forest development in Santa Fe and across the state. Plant nurseries and garden centers filled their inventory with species of plants and trees that would help Santa Fe conserve water. Master gardeners, local horticulturalists, public school and college environmental groups, everyday people, and children replanted the tree population which still stands today. The coalition is a testament of true grassroots democratic power shifting society to act for the benefit of everyone.
From Santa Fe, the urban forest initiative spread resembling a wildfire across the state. In Northern New Mexico, Francis Castillo y Mulert, a young leader, partnered with the Stewards during the Kindle Solutions Lab to work on eradicating Siberian elm trees from the landscape. With his energy, drive, and the skills he learned from the Stewards, Francis ignited a grassroots movement to free the water ways from the clutches of Siberian elms led by the youth of small towns in Northern New Mexico from Truchas to EspaĂąola and down to Santa Fe. Today, the creeks and rivers that stretch along the rural landscape of New Mexico, are no longer encumbered with the drain of non-native plants, sucking them dry. Natural vegetation grows without competing with invasive species.
Along the Rio Grande River, which flows through New Mexico from Colorado and down through Texas, communities heard about Santa Fe's initiative to build an urban forest and joined the movement to support urban forestry and eradicate invasive, water intensive species. Community groups formed and cut down salt cedar in riparian areas and replaced with willows which thrive along the river today! The Rio Grande River has returned to its historic flows and reaches the Gulf of Mexico, as it did two centuries ago. The drought that once plagued one of the largest rivers in the United States ceases to exist.
The Urban Forest Initiative became a model for community action against environmental degradation. In the years to come, cities and communities across the United States, Mexico, Canada, Central and South America began to initiate urban forestry programs as a means to support the over burdened ecosystems across the globe.Water levels rose, natural vegetation grew back; ecological restoration inspired two continents to act in the interests of future generations.
An early member of the Urban Forest Initiative and former Program Director for the Railyard Stewards, Marc Grignon, looks into the past and has an insightful perspective.
"When I was twenty-four years old, I started to work for the Railyard Stewards at the time when the Urban Forest Initiative began," Grignon said as he sits in his rocking chair with grey hair. "If it wasn't for the Kindle Solutions Lab sponsored by the Kindle Project, the initiative would have never possessed the energy and drive to make it what it is today; an international model for the world to learn from."
Asked if anyone in particular made the initiative more impactful, Mr. Grignon states," If it was not for Francis Castillo y Mulert and the coalition comprised of community groups, individuals, business owners, the city of Santa Fe, plant nurseries, garden centers, and the local educational institutions that came together to act against an impending drought, we wouldn't be talking about a successful effort to change the natural landscape of the southwest."
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Solutions Lab Dispatch: Railyard Stewards
We asked the Railyard Stewards to imagine it's the year 2050. We wanted to know how their work contributed to ...
Apr 04, 2014
Center for Genomic Gastronomy Center for Genomic Gastronomy - RECENT WORK
It has been a little less than a year since our last blog post for the Kindle Project Nexus and a lot has happened. This is a visual report of some of our most recent work, and an update on research mentioned in our last transmission.
COBALT-60 SAUCE
In last year's blog post we described the Cobalt-60 Barbecue Sauce that we were in the process of making. This project dives deeper into the untold history of mutation bred crops. Here are some images of the bottles of sauce that we produced, an image from the part that helped pull it all together, and the final installation of the work at the San Jose Museum of Art's "Around the Table" exhibition.
Our research into the history and future of mutation bred crops continues, and we are exploring the possibility of working with a research scientist to put one or more mutation-bred crops that are currently in our food system through the same rigorous screening process that new transgenic crops undergo.
Based on our literature review on the subject thus far, no one has returned to these somewhat unusual crops and used contemporary scientific tools to get a clearer understanding of how their genotypes were transformed by radiation.
We believe this research into mutation breeding research is important in order to better understand how scientific and political decisions made in the recent past (1950s - today) are effecting our current food system, and the contemporary choices we make.
As wider range of techniques are employed for transforming the genomes of food crops (selective breeding, mutation breeding, transgenic breeding, CRISPR techniques), and seed cultivars are increasingly swapped in and out of the food system at a faster rate, humanity would benefit from a more thorough and nuanced understanding of what has happened in the past.
FOOD PHREAKING
After much collaborative effort, we finally rereleased Food Phreaking issue #00 in July of 2013. Since then it was named one of Gizmodoâs and Edible Geographyâs 2013 books of the year. This has meant that we are almost completely sold out of the first print edition!
A free .PDF of the book is available here, and for those people that want to hold and flip though hard copy, a few are still available for purchase here: foodphreaking.com.
As we work on Issue #1 of Food Phreaking (due out in April 2014) we continue to strike a balance between free information and beautiful book design. Both the printed books and digital copies are creative commons licensed, and we ourselves are drawing on the commons significantly in the creation of these publications. Visit www.foodphreaking.com in late April to take a look at Issue #1 âA Culinary Atlas of a Few Curious Botanical Fruitsâ.
PSSC LISBON In 2013 we were commissioned to design a pop-up restaurant in the dining room of a historical palace as part of the Lisbon Architectural Triennale. After many months of planning and collaborations with Turismo de Portugal, we finally launched the restaurant with a series of 3 meals. Culinary students from three local food colleges ran the restaurant for 3 months, and we were able to make connections with interesting producers and food thinkers throughout Portugal during the run of the restaurant.
THE CENTER TURNS 3
Finally, a video that summarizes our first 3 years of activity (2010 - 2013). The video gives a comprehensive overview of all of our activities for the last three years: This video was used to apply for the VIDA 15.0: Art & Artificial Life awards. The Center was selected as the Peopleâs Choice awardee. This meant that we were able to travel to Madrid, Spain in March of this year, and install a new archival library of all of our work to date. The library was conceived as a shipping container that can be sent and pop up any where in the world, and it is currently looking for itâs next home. The container was fabricated in collaboration with Matthew Williams, a craftsperson in Portland, Oregon. ![]()
Center for Genomic Gastronomy
Center for Genomic Gastronomy - RECENT WORK It has been a little less than a year since our last blog post ...
Mar 27, 2014
Other Worlds: Harvesting Justice We know you care about what you eat, how it was produced, and who was harmed or who benefited in the process. Everywhere, people like you are reclaiming the food system from multinational agribusiness and putting it back in the hands of small farmers, low-income families, farmworkers, guardians of Native culture, and health-conscious communities. Many of these stories are documented in our new 140-page book, Harvesting Justice: Transforming Food, Land, and Agricultural Systems in the Americas. The result of five years of research and interviews from throughout the hemisphere, the book describes strategies to achieve food justice and food sovereignty. An appendix and popular education curriculum offer hundreds of concrete ways to learn more and get involved.
Winona LaDuke, Anishinaabe environmentalist, said, âIf our people want to eat twenty years from now, we will need food justice. The stories and the vision shared in Harvesting Justice inspire and inform that work. Iâm grateful for the storytellers and those whose hands are on the earth.â
You can download a free pdf of Harvesting Justice here and read more about it here.
The book is a part of Other Worldsâ Harvesting Justice project, which promotes and defends land, water, small-scale agriculture, food sovereignty, and land-based and indigenous peoples. We work with groups in the global South that are at the cutting edge of the food sovereignty movement, and carry their stories to the US. We help make their models and strategies available to groups engaged in food systems change work. And we work to educate the general public in the US, especially through inspiring stories, to catalyze activism.
[gallery ids="5455,5462,5463"] Crowdfunding Campaign
We want to send our book for free to CSAs, schools, community centers, libraries, and activists across the country. Providing this resource to those at the frontlines, and inspiring and educating others who are just joining in, are ways to honor and grow the just food and agriculture movement. Donations from $10 up receive great perks, including copies of Harvesting Justice for yourself, our newest book Fault Lines: Views Across Haitiâs Divide, heirloom seed packets, and shout-outs on our social media sites! View our Harvesting Justice video and support our crowdfunding campaign here: http://www.indiegogo.com/projects/harvesting-justice.
https://www.youtube.com/watch?v=NrPP3dRRFGg
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Other Worlds: Harvesting Justice
We know you care about what you eat, how it was produced, and who was harmed or who benefited in ...
Mar 20, 2014
High Mayhem Webcasting as a Means to Expand Community
by Carlos Santistevan
As a working musician and fan I have seen countless musical legends play to rooms that number fewer than 20 audience members. No, this was not in Santa Fe, home of High Mayhem Emerging Arts, but in cities such as New York, Chicago, and San Francisco. If artists in these musical cities with huge populations are unable to fill rooms, how are artists in a city the size of Santa Fe supposed to? It is indeed a challenging dilemma.
Since our inception, High Mayhem has attempted to use the Internet as a means to gain broader exposure of our art and curations. In the past we have broadcast live audio of musical performances from both our studio and festivals. We have used our site to sell CDâs and merchandise. In addition, we have utilized services such as CD Baby, Soundcloud, and bandcamp to digitally distribute our recorded music to the broader Internet community. While these are nice resources they are often difficult to sift through to find relevant art and music when there is such an over-representation of canned and contrived music.
We realize that much of the most significant music that a musician can create is in front of a live, breathing audience, where experiences are shared and true moments of human connection and understanding can occur. Beginning two years ago, we began to ask ourselves if it was possible to broaden the audience of a musical performance through live audio and video broadcast of live performances. Due to the importance of âthe momentâ of the art we create, we felt it imperative that our broadcasts be live and not pre-recorded. Being that we are a recording studio and strive to create the best quality of production for both artists and audience alike, we knew that we would not be satisfied if we were not delivering professional audio and video in order to make people truly feel they were connected with the artistsâ performance.
We proposed the idea to Kindle Project that we would like to develop a system to do live webcasts of events from our studio on the Internet. Kindle Project enthusiastically embraced the idea and funded us to develop said system. At the time of funding, we knew very little about video. We figured, âHell, we know audio up and down, video is just cameras instead of microphones.â Boy, were we surprised. You see, audio is nice because really there are just a couple formats and types of connections. Everyone records audio in .wav or .aiff and the resolutions and bit rates and pretty standard and easily interchangeable. Cables only number a few types and are generally easy to change with adaptors. This is not the case with video. There are so many formats, standards, file types, resolutions, frame rates, and connections each with their own advantages and disadvantages. In short we were a little over our head.
As we continued to research, we found that every system we developed either had inherent flaws, or would prove too costly to afford. We consulted with countless IT and video experts and none of them really had a firm grip on how to do what we were hoping to achieve. Through systematic and sustained effort we were eventually able to design a system that worked for our budget and us. We continued to run into numerous issues of audio sync with video, how to broadcast and host the service, and how to pay for an endeavor whose costs began to exceed allotted funds. We broadcast privately as we tweaked out the system, as we didnât want to officially broadcast until we knew it was up to our standards.
After over a year of trial and error, we officially broadcast our first show with quality video, exceptional audio, and a nice smooth uninterrupted stream. It was amazing! We were elated by the newfound capabilities and means to deliver art across the state, country, and even the world using the Internet. Since we have begun broadcasting our digital audience has continued to grow. Right now we are more than doubling our live audience size through webcasting. We are able to bring live music to friends and supporters in distant lands. Itâs an amazing feeling to step off stage and have a friend or relative in far off lands send an immediate text after you walked off the stage complimenting you on your performance. Ironically, the largest digital audience we have gotten so far was on a night of a snowstorm in Santa Fe. We were excited to find that when weather is bad and audiences are generally smaller, that we actually increased our digital audience. We were snowed in at our studio broadcasting incredible music while a large audience was at home in their warm jammies by the fire.
We have found a means to broaden our community and audience beyond Santa Fe using live webcasting. Recently, we have been in discussion with SOMA-FM an Internet radio station based out of San Francisco, CA about having them simulcast our shows to their well-established audience. Other organizations such as the Santa Fe University of Art and Design and OTR Studios run by Cookie Marenco have watched our webcasts and been amazed at the way we have expanded our audience. We are currently serving as consultants to these organizations as they work towards designing their own webcasting systems. We very much see this as the future of live performance and are excited at the opportunity we have developed to share our art worldwide and in real time. Thanks Kindle Project for your support! You help sparks of imagination reach fruition. Live streams and schedules can be found at www.highmayhem.org/livestream. And while you are there, donât hesitate to click on the donate button to help us help bring you some great art!
Carlos Santistevan is the Director/co-founder and audio engineer at High Mayhem Emerging Arts. For the past 20 years he has presented countless artistic events to the New Mexico arts communities. His philosophies of art have been equally influenced by both the punk rock Do-It-Yourself approach and the improvisational jazz aesthetic. He has served as a bassist for some of NMâs most important creative music ensembles including The Late Severa Wires, iNK oN pAPER, Out of Context, A. Barnhouse and Taiji Pole. As an educator he has taught classes, workshops, and lecture demonstrations to a broad range to artists and students.
https://soundcloud.com/highmayhem/sets/high-mayhem-sampler
High Mayhem
Webcasting as a Means to Expand Community by Carlos Santistevan As a working musician and fan I have seen countless musical legends ...
Mar 06, 2014
Sins Invalid David Langstaff, intern at the Catalyst Project, interviews Leroy Moore and Patty Berne, co-founders of Sins Invalid, a disability justice based performance project focusing on the intersections of embodiment, disability and sexuality.
Q: How does Sins Invalid's emphasis on "disability justice" differ from a more mainstream organization that advocates for "disability rights"?
PB: I want to say on the front end that the work of disability justice builds on the work that the disability rights movement has done, we wouldnât be at a place where we could be discussing disability justice were it not for the gains of the disability rights movement in codifying rights for people with disabilities. At the same time, that movement left us with cliffhangers â (laughs) thatâs the way I like to think about it. Disability justice contextualizes disability in multiple peopleâs lived experiences, in that disability is not a phenomenon that happens to âothersâ who then become âpeople with âdisabilitiesâ. People with disabilities are often thought about as a distinct âsector,â as though there arenât people of color with disabilities, as though there arenât queer people with disabilities, as though economic justice were not a disability issue, for example. We understand disability experience to cut across every way of being, and necessarily needs to be integrated into all social justice work â in the same way that you canât organize workers without acknowledging the ways in which immigrant workers are particularly impacted by capitalism or by nationalism.
Disability justice takes the dominant understanding of disability as both a medical issue and as a social marker, and shifts âdisablementâ into something that generates from the broader social bodyâs understanding of people who fall into a ânon-normativeâ framework, and then contextualizes that shift within a social justice analysis.
Q: Sins Invalid's cultural work has been especially focused on challenging the normative paradigms of sexuality created by an ableist society, offering a vision of sexuality which honors the beautiful multiplicity of bodies and desires which ableism tries to erase. Why this emphasis on sexuality?
LM: For one reason, sexuality is a really huge part of the human experience â itâs a part of all of our experiences â and because of the history of ableism in this country, sexuality isnât really seen when you talk about people with disabilities, and thatâs a totally sad situation. Sins Invalid really builds our performance art and our political education around sexuality, because many people with disabilities are prevented from expressing our sexuality in our daily lives, and it shouldnât be that way.
[gallery ids="5423,5422,5421"]
PB: Yeah, I agree. I think that one of the ways that people are âotheredâ, one of the primary mechanisms, is by dehumanizing a community, and one of the things thatâs most painful about disability oppression is the neutering of people with disabilities. We arenât seeing ourselves reflected anywhere in positive lights, and we see this in relationships â weâre not seen as people who are good partners, as people who are good parents, as people who are living our lives as robust peopleâŚ
I think that by reclaiming our bodies, our sexualities and our joys, including our sexuality, we give a huge pushback against an ableist frameworkâŚ
You know, thereâs a huge amount of sexual violence against people with disabilities, the statistics are as high as 70% of people with disabilities are sexually assaulted before the age of 18 â so when weâre objectified and âotheredâ, when our bodies have been used against us, itâs a huge reclamation of ourselves to fully inhabit our bodies, including our sexualities. Self-determination over our sexualities is a cornerstone of self-determination over our bodies.
http://www.youtube.com/watch?v=7gjP0Wtlrpg
Q: Can you tell us more about the recently released documentary, "Sins Invalid: An Unshamed Claim to Beauty in the Face of Invisibilityâ?
LM: Oh my god, the film is really cool, so hot, so moving, so political â the film talks about our performance work, but also talks about how our bodies have been looked upon, talks about our sexualities and how the public views them. It centers the beautiful Sins Invalid performances that really flip the popular viewpoint around sexuality and disability. So the film, for me, gives a window into what sexuality and disability can look like when people with disabilities have control of our own media â a film that really talks about our politics and talks about our wantsâŚ
Q: Most people know Sins Invalid through your cultural work, but you've also been engaged in leadership development, political education, and organizing for disability justice. Could you tell us a bit more about these areas of work?
PB: We have a cultural work program â the film, the artists-in-residence program, the performance workshops, and the semi-annual performances â but we also have a movement-building component, where we work with different organizations to help build capacity around both understanding disability justice as a framework and also to develop practices of disability justice that are appropriate for them organizationallyâŚto increase their capacity to deconstruct disability as a fixed concept, but also to have a deeper understanding of how a disability justice lens can open up aspects of their work that they may not have thought of before â in terms of their constituencies, in terms of their practices, in terms of their framing.
Q: Looking back on your experiences, what advice might you give to a young, disabled artist or activist who is passionate about working towards disability justice?
LM: I would say try to get grounded in who you are. I think, speaking for myself, thatâs what led me to getting politically involved â strong self-knowledge, knowing that my body, my human rights, my culture, my history, my art, my writing, can have a voice and impact people beyond me, can create communityâŚSo be grounded in yourself, and be grounded in people that can push you. I think thatâs another lack I see within the disability rights movement â that they want to feel comfortable, and comfortable, for me, doesnât equal challenging yourself, really being open to what you donât know, what you need to know. So, yeah, being comfortable in your own shoes lets you be grounded in people that can push you to where you couldnât go alone.
Leroy Moore Jr. is a Co-founder and Community Relations Director of Sins Invalid and the creator of Krip-Hop Nation, a network of Hip-Hop artists with disabilities and other disabled musicians from around the world. He shares his perspective on identity, race & disability for international audiences.
Patty Berne is a Co-Founder and Director of Sins Invalid. Her background includes community organizing within the Haitian diaspora and advocating for LGBTQI community and disability rights perspectives within the field of reproductive and genetic technologies and offering mental health support to survivors of violence.
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Sins Invalid
David Langstaff, intern at the Catalyst Project, interviews Leroy Moore and Patty Berne, co-founders of Sins Invalid, a disability justice ...
Feb 27, 2014
Cry You One One of the first steps in creating Cry You One, a digital media platform and immersive outdoor performance set at the edge of Louisianaâs disappearing wetlands, was choosing the location from which we would generate, grow and present our project.
We determined early on that we wanted to work in St. Bernard Parish. Though one member of our team has deep familial roots in St. Bernard and another of us works at Nunez Community College, most of us live and work inside New Orleans.
St. Bernard Parish is at the front lines of coastal land loss, and it has also been one of the areas hardest hit by hurricanes in recent years. During Hurricane Katrina, it was the site of one of the largest on-land oil spills in U.S. history, and it was the only Parish to be 100 percent destroyed by that storm.
We chose to research and build our performance in this area to embed our efforts more deeply into the work being done by the people most directly impacted by subsidence and coastal erosion. Working in St. Bernard also helps us call the attention of New Orleanians to the parish next door, a place which often bares the brunt of environmental trauma that New Orleans has been comparatively protected from.
Our journey led us to the 40 Arpent Canal near the E.J. Gore Pumping station, with the imperiled Central Wetlands as the backdrop for our work. The location of our performance also abuts the Los Islenos Culture and Heritage Society, who quickly became one of our first and deepest community partners, offering us great generosity in the use of their space and invitations to their gatherings, as well as a deep history of the land and the people who have known it. The Islenos are descendants of Spanish Canary Islanders who immigrated to Louisiana in the late 18th century. Many Islenos settled on Delacroix Island, an area of St. Bernard parish that has all but disappeared over the last 70 years.
Through our connection with the Islenos Society, we met Celie Robin, who moved from New Orleans to St. Bernard as a young woman, and has worked as a shrimper and traiteur (a traditional healer). Mrs. Robin is one of the folks featured in the digital media component of the Cry You One project.
Beyond sharing information about the performance, our website serves as a platform where the wisdom of peopleâs stories can help educate and inspire people to get involved in the movement to save coastal Louisiana. In this clip, Mrs. Robin talks about her own environmental activism and what needs to be done to save the state's coastline.
https://vimeo.com/76176694 ![]()
Cry You One
One of the first steps in creating Cry You One, a digital media platform and immersive outdoor performance set at ...
Feb 21, 2014
Solutions Lab Dispatch: Reunity Resources Reunity Resources and Kindle Project's Solutions Lab
by Juliana Ciano
Reunity Resources is a Santa Fe-based non-profit with a mission to reunite our waste streams with value for our community.
For three years, we have been recycling used cooking oil from more than 60 local restaurants and converting it into biodieselâthe lowest carbon impact fuel. We then re-distribute local biodiesel throughout Northern New Mexico, creating a closed loop system.
After a year of advocacy, we have partnered with The City of Santa Fe Environmental Services Division to make a big impact with this program. We will be collecting and sharing data with the City to show the value of food scraps collection to our community and environment.
For many of you, composting is common: itâs a link between cooking, gardening, nourishing yourself and supporting the health of our planet. Itâs a sensible ancient practice that is as necessary and inspiring now as it ever has been.
As individuals, we create an average ž of a pound food scraps daily, depending on what and how we eat. This may yield several wheelbarrows of compost in our summer season.
As the City of Santa Fe, we generate about 50,000 pounds of food scraps DAILY which could yield thousands of cubic yards of compost for our farms, gardens, parks and highway medians.
https://www.youtube.com/watch?v=XEmIIJ_e6e0
40% of food in the U.S. goes UNEATEN. It is lost between farm and forkâŚtrimmed off in processing facilities, spoiled during storage, damaged during distribution, and picked over in retail. Then it is trimmed, picked over and discarded again according to professional food service industry standards.
Most of this food ends up buried in landfills, where it creates high quantities of planet-warming methane (methane traps 21 times more heat than CO2). Uneaten food is the single largest component of municipal solid waste!
If FoodScrapsInLandfills was a country of its own, it would the worldâs 3rd highest emitter of greenhouse gases!
We can make a big impact by uniting with businesses and government to increase efficiency in our food systems and compost the waste that does occur.
Here in Santa Fe, local non-profit Reunity Resources has advocated with the City to be permitted to launch a commercial composting program to collect food scraps from local businesses. However, there is no City funding for the program.
Reunity Resources will begin picking up the non-repurposable food scraps from a pilot size of 30 commercial clients at the end of March. Reunity will build program logistics and collect data for expanding composting endeavors in Northern New Mexico. Reunity will also be working with local food banks to ensure the maximum amount of edible food is used to feed people.
At its pilot size, the program will divert up to 2,000,000 pounds of food scraps from the landfill in its first year of operation. That is enough organic material to create a pile of apple cores, red chiles, moldy bread and rotten lettuce leaves as high as Mount Everest!
We are taking the steps toward large scale zero waste reality. Less than 30% of what ends up in our landfills actually belongs there. Of the 70% that does NOT belong there, at least a quarter is COMPOSTABLE.
U.S. soil is currently eroding at 17 times the rate at which it forms: We need nutrient-rich compost to rejuvenate our exhausted soils and grow healthier food! Compost replaces the need for chemical fertilizers, retains moisture, and provides nutrients for healthy plant growth.
Now is the time---first collections are slated for the end of Marchâmere weeks away! Want to join us? We need your help! We are raising seed funds, spreading the word, designing educational materials, creating logistical systems and contracting with clients. Please contact us at (505) 629-0836 or online at www.reunityresources.com.
Itâs all really cool, and itâs all really happening.
The Solutions Lab is an exciting experience for us, and it arrived at such an interesting time in our organizationâs growth. We are pedal-to-the-metal with our commercial composting pilot program launch---itâs in the phase of logistics, nuts and bolts, and practicalities. Yet, we are communing with others to begin carving away the dross of a Raw Idea (SoLab stipulation: brand new endeavor, not yet underwayâŚ) We are dancing between the world of lists and tasks, and the world of ideas and dreams.
Itâs exciting for us, because the compost program was an idea and dream 3 years ago. 2 years ago. And even 1 year ago when we first heard the City Environmental Services Department say âGreat idea. But, NO, you canât do it.â
Weâre living the trajectory of Raw Idea to RealityâŚwhich makes it all the more exciting to be in the process of developing a new idea while making a past ânewâ idea a reality! Steadfastness!
Iâm procrastinating talking about what the Raw Idea is. Itâs true. You caught me!
I utterly failed (whatever that means...) at articulating the idea our session a couple weeks ago, as it is, you know, a Raw Idea. I barely know what it is, much less how to articulate it.
Thatâs what the Lab is for, thatâs what the next year or three of twists and turns are for, to forge the idea into its articulate-able form.
An effort, risking failure again (why do we have to keep risking that again and again??) Reunityâs focus is creating local energy sovereignty and food security by building closed-loop systems that turn local waste into fuel, soil, heat, and electricity. Our focus has been commercial-scale work, because the impact can be so big so quickly. Weâd like to harness the power and excitement of individuals by creating a cooperative-model program wherein neighborhood-based groups have a fun, inspiring framework to share sustainable practices and data to track their overall impact.
On a municipal level, we would also create infrastructure such as an anaerobic digestion facility and off-site solar panels for residents who could not put them on their properties. Members would choose a level of participation on the front end for a community energy exchange credit later. ![]()
Solutions Lab Dispatch: Reunity Resources
Reunity Resources and Kindle Project's Solutions Lab by Juliana Ciano Reunity Resources is a Santa Fe-based non-profit with a mission to reunite ...
Feb 13, 2014
Movement Generation Movement Generation is bridging the gap between our current social movement strategies and the scale of the unfolding ecological crisis. Our mission is to help build a vibrant and pro-active movement for ecological justice in the U.S. MGâs leadership and support is sparking transformative actions and campaigns in urban communities of color across the country.
If politics is the art of what's possible, let's use art to expand those possibilitiesâŚ
Conservative proponents of the Keystone XL oil pipeline say that it would create thousands of jobs. But in a project fueling so many environmental and community concerns, what types of jobs would it really create? Combining the grassroots movements of Richmond, CA with hilarious satire straight out of the Daily Show, "Keystone XL has a Job for You!" is a comedic twist on one of the most serious issues of our time.
http://youtu.be/g4YUVmYBYlA
[caption id="attachment_5380" align="alignright" width="214"] Josh Healey â Movement Generation Culture Shift Fellow â Creator of the Keystone XL video above.[/caption]
Josh is an award-winning writer, performer, and creative activist. Fusing his distinct storytelling style with a subversive humor and fiery love for justice, Healey is a regular performer on NPRâs Snap Judgment. He has performed and led workshops at UC-Berkeley, Harvard, and over 200 colleges, high schools, and conferences across the country. He is the former program director for Youth Speaks, and a recent recipient of the Mario Savio Young Activist Award. Healey also helped coordinate two national projects that combined creative storytelling and environmental activism: Life is Living, and Brave New Voices: Speak Green.
www.ourpowercampaign.org
www.movementgeneration.org
Movement Generation
Movement Generation is bridging the gap between our current social movement strategies and the scale of the unfolding ecological crisis. ...
Feb 07, 2014
New Economy Coalition
Our dream is to help catalyze a just transition to a new economy that is grounded in racial and economic justice and that enables both thriving communities and ecological health. The New Economy Coalition team has filled out the Kindle Questionnaire together. To learn more about Mike, Eli, Esteban, Emma, Emily, Nicholas, and Rene click here.
⢠What do you see as the greatest challenge your community is facing?
All of us come from communities that are struggling, in different ways, with the problems of trying to live well in the context of a deeply unequal, unfair, and unsustainable economy. That said, weâre also part of a community of organizers, innovators, and cooperators who are trying to figure out smarter, more compassionate, more fulfilling ways to organize economic life. (Mike)
⢠What is the strongest asset of your community?
While we still have work to do to be fully representative of the communities on the frontlines of this movement, I think our strongest asset is the growing diversity of perspectives, strategies, and focus areas represented in the Coalition. (Eli)
⢠Who are your real-life heroes in your field?
Grace Lee Boggs, the Coalition of Immokalee Workers, and Jessica Gordon-Nembhard (Esteban)
⢠When and where did you feel most fulfilled in your work?
In Boone, NC, during a student-led summit supported by our Campus Network Program, a participant told me that he and his peers were leaving âhungry to relearn how to care about one another, and to relearn how to be a community.â Itâs incredibly beautiful to see people enter the new economy space and find a home for the things they care about most. (Emma)
⢠What is one thing you wish the general public knew about your work?
A lot of the practices that we label as ânew economyâ work arenât ânewâ at all. (Emma)
Economic democracy takes a lot of engaged-effort and integrity but itâs so rewarding and it builds community in unanticipated ways. (Esteban)
⢠If funding were no object, what would you do?
Boost economic development and community land-trusts, while re-granting money to establish revolving loan funds administered democratically in communities around North America. (Esteban)
⢠If you werenât doing this kind of work, what would you be doing?
Organizer-priest in a multi-racial congregation. (Nicholas)
Tuning pianos. (Rene)
⢠Favourite moment at work?
Listening to stories from the first year Campus Network projects at the reRoute conference (Nicholas)
⢠Favourite visual artist?
James Turrell (Rene)
Kehinde Wiley (Esteban)
⢠Favourite song?
âTotal Eclipse of the Heartâ. It only took one recent listen for me to realize that it wasnât my joke favorite song, but that it was in fact my actual favorite song. (Emma)
âConcerto No. 1 in D minor for Harpsichordâ J.S. Bach⌠does that count? If not, current favorite song âSoca Del Eclipseâ El Guincho (Rene)
â26 is Dancier than 4â its written in a crazy time-signature and it really is dancy! (Esteban)
⢠Favourite activist?
Nina Wilson, Sheelah Mclean, Sylvia McAdam, and Jessica Gordon, founders of the Idle No More movement in Canada fighting for Indigenous sovereignty, democracy, environmental protection and more. (Emily)
Aaron Swartz. Even after his death, his work continues on in his brilliant unfinished projects. (Rene)
⢠Favourite historical figure?
Emma Goldman and the Black Jacobins of France and HaĂŻti then Saint Domingue (Esteban)
Harriet Tubman (Eli)
Lydia Mendoza (Rene)
⢠What did you eat for dinner last night?
Huevos rancheros and beer. It was a weird day⌠(Mike)
Leftovers from a huge Chinese New Year meal we had over the weekend (celebrating one week early). (Emily)
⢠If you could give $10,000 to any organization besides your own, which would it be and why?
PICO--their faith-based organizing work is blazing all kinds of trails, within congregations and the larger world. (Nicholas)
I think a $10,000 donation to Strike Debtâs Rolling Jubilee would have a meaningful impact - immediately affecting peopleâs lives, and I love the powerful, system-critiquing premise of it. (Emily)
City Life/Vida Urbana. They fight home evictions. (Rene)
The Worcester Roots Project. They are a worker co-op incubator for teenagers in a post-industrial working class city. (Esteban)
⢠What do you think is the greatest environmental issue of our time?
I think itâs hard to separate out the major ecological crises of our time -- ocean acidification, soil erosion and degradation, biodiversity loss, climate change -- they are all interconnected and also connected to the social crises of inequality and racism. (Emily)
Our global economic system depends on endless growth and extraction -- both of ecological resources and social ones -- exploiting people, communities, and the ecosystems we depend on. The climate crisis is one of its many symptoms. (Eli)
⢠How do you think we can change the world?
The change is happening- brave, committed, creative people are resisting an unjust and unsustainable economy, and building and maintaining new economic systems that serve their communities far better than the mainstream economy has. The change will accelerate as these projects continue to work in coalition- amplifying each othersâ voices, rallying around shared values, and pushing, united, for better systems on a much larger scale. (Emma)
⢠What book are you reading right now?
Oppose and Propose by Andrew Cornell (Mike)
EcoMind by Frances Moore Lappe (Emily)
Occupied America: A History of Chicanos by Rodolfo AcuĂąa (Rene)
The Mars Trilogy by Kim Stanley Robinson (Esteban)
⢠Whatâs your personal motto?
Pete Seeger once said âThe key to the future of the world is finding optimistic stories and letting them be known.â I only heard that today but I think it sums up what we try and do quite well. (Mike)
âNi modoâ. It sort of means âstuff happens.â Accept and internalize what has happened and work from there. (Rene)
⢠What makes you the most angry?
The disempowerment of youth and young adults, particularly when weâre the ones inheriting the huge (economic, ecological) mess weâve been left with. The cynical way in which the âAmerican Dreamâ is marshalled to conceal this fact. (Nicholas)
Movements with unchecked racism, sexism, classism, etc.. (Rene)
⢠What makes you the most happy?
Speculative Fiction, imagining possibilities, music, roller coasters, and lunch specials. (Esteban)
Happiness comes from within⌠and a good beer. (Rene)
New Economy Coalition
Our dream is to help catalyze a just transition to a new economy that is grounded in racial and economic ...
Jan 30, 2014
Arianne Shaffer Answers the Kindle Questionnaire ⢠What do you see as the greatest challenge your community is facing?
I live in Canada. I see two challenges: apathy and distractions. And right now, -50 degrees Celsius.
⢠What is the strongest asset of your community?
Collaboration. People in Toronto are wildly collaborative and creative. Sometime I misconstrue flirting as networking in this active start-up city. Itâs a problem.
⢠Who are your real-life heroes in your field?
I know it may sound cheesy, but Sadaf and Cate (Kindleâs co-founders) are some of the most intelligent and incredibly creative women I have ever met. They guided me into this field of Indie Philanthropy and showed me how taking risks on people and projects is one small but important way of changing the world.
⢠When and where did you feel most fulfilled in your work?
As Communications Director, I curate our Nexus page, which features the stories and projects of our grantees. I am most fulfilled when I see how sharing grantee stories sparks inspiration, ideas, collaborations and excitement in the broad Kindle community. I also love it when my mom reads a grantee story and says things like, âWow, itâs so cool that Kindle supports whistleblowers like John Bolenbaugh! I didnât know about him and I just sent along his feature to my friends.â Highly satisfying.
⢠What is the trait you most deplore of your field?
Fear. Fear of scarcity, which is an understandable fear that I share with many. Fear of taking risks. Fear of change. And, fear of not having 'measurable results'.
⢠What is one thing you wish the general public knew about your work?
Kindle Project has no association whatsoever to the Kindle eReader and that we do not provide those to the public. I also wish for the general public to know about all of our grantees and how incredibly important their work is. Explore them all here!
⢠If funding were no object, what would you do?
I would fly all of our grantees from all over the world to a massive treehouse in the jungle for a few days of cooking, scheming, art-making, collaboration and laughter.
⢠Whatâs your favourite way to procrastinate at work?
Sadaf and I sometimes get into a YouTube hole that often involves videos of very cute or bizarre animals. Thereâs a lot of laugher. And this past year, the mayor of my city, the champ Rob Ford himself, provided us with countess hours of procrastinating laughter. Thanks buddy.
⢠If you werenât doing this kind of work, what would you be doing?
I would be learning how to grow my own food. Iâd be writing one-woman shows and storytelling performances. Iâd like to live out my dream of being in a Lebanese music video. Iâd like to win backgammon every time I play. I would also love to return one day to my work as a hospital chaplain, and doing leadership work with teenage girls. Perhaps more likely, and most satisfyingly, I'd be scheming and shaking things up with Sadaf in whatever ways we could.
⢠Favourite moment at work?
Announcing our Makers Muse recipients and grantee every year. Itâs the most exiting moment for me, each time.
⢠Favourite visual artist?
Right now, Iâm digging our Makers Muse recipients a lot! I also just discovered that thereâs someone in Paris who is making tiny ceramic mice and placing them around the city. I donât know who that is, but Iâm charmed. One more, the just launched photography site by our very own Sadaf. Click here and take the rest of the day off to enjoy...
⢠Favourite song?
Confession - this is the most played song on my computer. Now you know.
⢠Favourite historical figure?
Right now, M.F.K. Fisher.
⢠What did you eat for dinner last night?
Beets, arugula, brussel sprouts, bread, cheese, olives and walnuts. Oh, and one piece of chocolate and a couple tangerines.
⢠If you could give $10,000 to any organization besides your own, which would it be and why?
Iâm thinking so much about the cold right now due to the climate crisis wreaking itâs havoc in the Northeast, so I think I would give it to Covenant House Toronto. Itâs a homeless shelter for youth that I used to work with when I was teenager.
⢠On what occasion do you lie?
Sometimes I say Iâm going to the gym, but just end up going to brunch instead. I walk to brunch in gym clothes so it feels like less of a lie.
⢠What do you think is the greatest social issue of our time?
Too many screens, not enough talking in person. The continued enormous issue of womenâs right and lack thereof in almost every part of the world.
⢠What do you think is the greatest environmental issue of our time?
Climate changeâand more importantly those that deny it.
⢠How do you think we can change the world?
Kindness. Bold, in-your-face kindness.
⢠What book are you reading right now?
Provence 1970. Telling you this is sharing a secret. Iâm a huge dork when it comes to food literature. It tells the story of M.F.K Fisher, Julia Child, James Beard and a handful of other great American food icons who met in Provence in December 1970. Reading their letters to each other, the details of their shared meals and what it was like to travel by boat has me enchanted.
⢠Whatâs your favourite online resource for news?
Media Co-op
⢠Whatâs your favourite online resource for fun?
themoth.org
⢠Whatâs your favourite blog?
I like Sam Mullins writing a lot. And, while I'm not really into sports except for during hockey play-offs season, I do love reading The Barnstormer - an incredible literary sports journal that makes me think about sports in a whole new way.
⢠Whatâs your personal motto?
Do. Or do not. There is no try - Yoda
⢠What makes you the most angry?
Homophobia, bottled water, and those ridiculous coffee pods.
⢠What makes you the most happy?
Making people laugh really hard, the tiny sections of a tangerine, and sharing a pomegranate with a family of chickens.
Arianne Shaffer has been working with Kindle Project for over three years. You can read all about her professional world here. And to read about her work outside of Kindle in the world of storytelling and love letters click away... ![]()
Arianne Shaffer Answers the Kindle Questionnaire
⢠What do you see as the greatest challenge your community is facing? I live in Canada. I see two challenges: ...
Jan 23, 2014
May First/People Link
May First/People-Link is a membership organization that redefines the concept of âInternet Hosting Serviceâ in a collective, progressive and collaborative way. It is the largest membership Internet organization in the Americas and one of the few that is organized in both the United States and Mexico. Itâs a fully bi-lingual organization and fully democratic â the major decisions about the organization are made by its members and carried out by a Leadership Committee that is member-elected. Besides membersâ sharing of Internet resources like web-hosting and email, MF/PL participates in many coalitions in the U.S. and world-wide (including the U.S. Social Forum where it has long played a leading role). In this video, MF/PL founder and current LC member Alfredo Lopez explains what the organization is all about and why people should join it. The greatest dream of May First/People link:
That the left of the Americas develop and mobilize around a program that effectively uses the Internet, protects its independence and freedom, and allows the technology to bring us together more effectively and powerfully.
May First/People Link
May First/People-Link is a membership organization that redefines the concept of âInternet Hosting Serviceâ in a collective, progressive and collaborative ...
Jan 17, 2014
Lorna Simpson The past year has been really interesting with shows and projects and books (listed just below) coming to fruition.
Lorna Simpson
By Joan Simon
With contributions by Naomi Beckwith, Marta Gili, Thomas Lax and Elvan
Lorna Simpson: Works on Paper
By Heidi Zuckerman
With contributions by Hilton Als, Connie Butler and Franklyn Sirmans
The studio has been in a chaotic whirlwind state that I am only now clearing and organizing the studio to begin to think about and map out upcoming work.
There is a large survey exhibition of my work currently on view at the Haus der Kunst will be traveling to the Baltic this coming Spring 2014.
Being in this moment of thinking about new work the best thing for me is that I donât make check lists or attach myself to any specific thing and allow myself to intuitively begin to engage ideas.
Recently, so much of the time I am either in production for videos or projects or making things that require an organizational framework to fulfill ideas and bring things to fruition. Right now I am taking the time to shift away from a structured task oriented way of thinking to just thinking about new and different directions.
The two must have books on my nightstand that I have just started reading are:
WHITE GIRLS, by Hilton Als
FURIOUS COOLÂ Richard Pryor and the World That Made Him, by David Henry and Joe Henry
http://vimeo.com/83861442
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Lorna Simpson
The past year has been really interesting with shows and projects and books (listed just below) coming to fruition. Lorna Simpson By ...
Jan 10, 2014
Nao Bustamante My upcoming project will time-travel the role of women in combat, by means of performance, wearable sculpture, and video, bringing history into a contemporary context by creating a revisionist reenactment, embedded in an installation. I am currently researching Zapatistas or soldaderas, the women soldiers of the Mexican Revolution. My illustration of women soldiers (fighting as women, not gendered as men) in historical wartime provides a framework to consider our current psychological framing of war and the various challenges that contemporary women soldiers confront.
Test footage for upcoming project, Tierra y Libertad can be viewed below.
www.naobustamante.com
www.facebook.com/naobustamante https://vimeo.com/54191803
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Nao Bustamante
My upcoming project will time-travel the role of women in combat, by means of performance, wearable sculpture, and video, bringing ...
Jan 02, 2014
Trevor Paglen Have you ever thought about sending art into space to attach itself to a satellite to last for billions of years?
Have you ever thought about creating a technology that allows you to photograph the most remote areas in the United States, invisible to the human eye, and also housing classified military bases?
Have you ever thought about what the signature of a âmissing personâ sent to a CIA operated prison looks like?
Well, Trevor Paglen has.
Heâs not only thought about all of these things, (and much more, of course), but he has made incredible works of art from these ideas. He is a mastermind whose works blur lines between haunting and beautiful, perplexing and journalistic. Below is a sampling of some of his work. Enjoy and read more about him and his projects here.
http://vimeo.com/53655801
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Trevor Paglen
Have you ever thought about sending art into space to attach itself to a satellite to last for billions of ...
Dec 17, 2013
Announcement of Fall 2013 Grantees This year has been a big one for us at Kindle Project. We shared our roots with the world, started new programs and continued to scour our networks for incredible, new, bizarre and inspiring projects. With the new grantees that came into our horizon, there are new relationships that weâre eager to explore. Furthermore, the ties with our existing grantees in this cycle have deepened this past year as weâve been blown away by the work they created and the movements theyâve shifted in just twelve short months.
Some are working radically towards changing the systems around us that are fraying and maybe even in collapse. Others are supporting those systems that do work, ensuring integrity and respect for the planet and its creatures. Weâre supporting artists pushing the boundaries of what we might expect to see from performance, installation, and media. We sought out and supported those making films to expose truths and bring about hope, resilience and replicable ideas. This group of grantees is exploding with the rumblings of inspiration and booty-kicking motivation to think, do, and create with fervor.
It is a privilege and an honor to introduce you to our Fall grantees. Read about them and their projects below. There is a lot to look forward to in 2014 as we hear more from these impressive groups.
Announcement of Fall 2013 Grantees
This year has been a big one for us at Kindle Project. We shared our roots with the world, started ...
Dec 11, 2013
Announcement of 2014 Solutions Lab Cohort Earlier this year we put out our first ever open Request for Proposals for the Solutions Laboratory program. We asked Northern New Mexicans to take creative action in the face of climate change, and we were overwhelmed with the quality of submissions and the audacious innovations proposed to us.
With 39 applications and a limited number of spots in the cohort, decision-making was very tough. We wanted to honor the diversity of Northern New Mexico and as such we were thrilled to discover that people and organizations ranging in age, background, interest and perspective presented themselves to us.
With our stellar Selection Committee we were able to make our final decisions for the cohort, compiling a motley crew of locals whose ideas are at once tenacious and inventive. This group will be working together intensively together with two great facilitators over the next four months. Weâll be tracking some of their ideas, collaborations, and experiences here on the site and we canât wait to see what this group will come up with.
Below, you can read about each cohort member, the organizations some of them are representing, and the initial spark of their ideas, which came from their original applications to the program.
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Announcement of 2014 Solutions Lab Cohort
Earlier this year we put out our first ever open Request for Proposals for the Solutions Laboratory program. We asked ...
Dec 10, 2013
Kindle Project + Yes Lab || Match Grant Campaign Alright, so hereâs the deal. A couple weeks ago our friends over at the Yes Lab launched an awesome campaign that involves yours truly (Kindle Project that is).
They are looking to raise money to further their essential work and spur their highly effective offbeat and game-changing antics. We were thinking⌠what can we do to help this group keep moving forward?
Our answer is this: Kindle Project is matching every dollar raised up to $75,000 before December 31, 2013.
We know how effective, unique and important their work is, but we also know that they need more funds than we can provide to do this work. By us committing to this match grant we are effectively bringing all Yes Lab and Yes Men supporters into the funding relationship with us. We are committing together.
Sounds a little too relationship-y maybe? A touch too hands holding hands for a funder? Well, it is, and thatâs how we like it. At Kindle we believe strongly in giving beyond the money and as an organization we believe in moving beyond a transactional funder/grantee relationship. It is a commitment, and since the Yes Lab became a grantee of ours five years ago, at a time when Kindle was still relatively new and the Yes Lab had no major funders to date, we took risks on each other and have been learning and growing ever since.
Because of this relationship we know that now is the right time to help this organization push their fundraising further, and we are inviting you to do that with us. Knowing that generosity often begets more generosity we encourage you to give what you can, (remember dollar for dollar--which means every dollar counts).
Share this campaign with your friends and networks. Hands holding hands - and proud of it.
![]()
Kindle Project + Yes Lab || Match Grant Campaign
Alright, so hereâs the deal. A couple weeks ago our friends over at the Yes Lab launched an awesome campaign ...
Dec 05, 2013
Dread Scott I am currently working on an epic project and I want to share with you a behind the scenes look as it is in the early stages of development.
Slave Rebellion Reenactment will restage and reinterpret Louisianaâs German Coast Uprising of 1811. This uprising was the largest rebellion of enslaved people in American history. The reenactment will animate a hidden history of people with an audacious plan to take up arms to fight for their emancipation. The performance will draw on the tradition of Civil War reenactment and reenactment societies. It will involve hundreds of re-enactors (men and women), period specific uniforms of the enslaved rebels as well as clothing of the slave owners, horses and armaments. It will be reenacted on the outskirts of New Orleans where the 1811 revolt happenedâthe chemical refineries and trailer parks that have replaced the sugar plantations will be part of the backdrop. Slave rebellions were clandestinely organized by small groups of individuals. Mirroring this structure, an integral part of the artwork will be organizing meetings of multiple small groupings of participants and potential participants. Videos of the meetings will be part of the artworkâs archive.
Charles Deslondes, Kook and Quamana, the leaders of the 1811 uprising, and the many enslaved people who were part of the revolt are heroes whose vision and audacity should inspire people today, as it did in the past. Their rebellion is a profound âwhat if?â story. It had a real chance of succeedingâwhat would that have meant for US and world history? Having an understanding that the past was not predetermined opens the ability for people to dream âwhat if?â for the future. I hope that this project helps people of all races broaden their vision of what is possible.
From the beginning of September 2013, I was a Knight Artist-in-Residence at the McColl Center in Charlotte, NC. From there I worked on beginning to raise a slave army and traveled to New Orleans to conduct research and meet people who are the caretakers of this history and others who might participate. While there I took pictures of the some of the refineries, small towns and levies that will be the route for the reenactmentsâ ghost slave army. Some are shown on this Nexus page.
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I have a lot of work to do to continue to raise this army and raise the money needed to outfit 700+ re-enactors and undertake the full scope of the project. And Iâll need permits granted, costumes sewn, film crews filming, logistical support, a website dedicated to the project, etc. I invite you to come on this journey with me. Sign up for info at http://www.dreadscott.net/rebellion-mailing
In addition to meeting and talking with many interesting people, a large part of Slave Rebellion Reenactment involves research/reading. My reading list includes:
- American Uprising: The Untold Story of Americaâs Largest Slave Revolt, Daniel Rasmussen (a bestselling account of the 1811 revolt.)
- On to New Orleans, Herbert Thrasher (who told the âuntold storyâ years before American Uprising)
- Soul By Soul: Life Inside the Antebellum Slave Market, Walter Johnson
- Communism and Jeffersonian Democracy, Bob Avakian
- Confession of Nat Turner
- American Negro Slave Revolts, Herbert Aptheker
- Slave Country: American Expansion and the Origins of the Deep South, Adam Rothman
- Slavery by Another Name: The Re-enslavement of Black Americans from the Civil War to WWII, Douglas Blackmon
- Fire on the Mountain, Terry Bisson (a cool sci-fi âwhat-ifâ set in the future if John Brown and Harriet Tubman launched a successful war to end slavery)
- Race and Reunion, The Civil War in American Memory, David W. Blight
And Iâve been looking at how great artists have approached slave and peasant uprising. In particular:
- Hale Woodruff (Amistad murals)
- Kathe Kolwitz (Peasant War series) ![]()
Dread Scott
I am currently working on an epic project and I want to share with you a behind the scenes look ...
Nov 22, 2013
Cohdi Harrell These images and short trailer are from my newest piece of work "theOTHER".
I have spent the better part of my life in foreign countries and places that aren't quite "home". Having been raised partly in the the Middle East with my family, my skills to adapt and integrate(?) myself into unknown environments have been being honed since a young queer kid on the streets of Cairo.
As I get older, and this nomadic "outsider" continues to thrive, I realize that these spaces of not quite belonging (both physical and energetic environments) are a place that I thrive and potentially feel the most at home. "theOTHER" examines these states of experience.
www.cohdiharrell.com
www.ricochet.name
facebook.com/Cohdiharrell
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http://youtu.be/k6WWGoh5G0c ![]()
Cohdi Harrell
These images and short trailer are from my newest piece of work "theOTHER". I have spent the better part of my ...
Nov 14, 2013
Erika Wanenmacher I am an unrepentant maker of things. I believe objects that are made with intent carry resonance that can shift energy, power, and beliefs. Clear intent focused by will and imagination are the components of a spell. I make spells in the form of objects.
Maya Deren, the pioneer surrealist film-maker, wrote âThe artist is the magician who, by his perception of the powers and laws of the non-apparent, exercises them upon the apparent. In the dimensions of the real he creates the manifestations of the apparently non-real which is always astonishing to those who do not admit to the existence of laws apart from the limits of their own intelligence. The more concealed the law which he activates in the perceptible universe, the more astounding seems the miracle of his creation. But the phases of magic are two: he must not only discover the hidden, the obscure laws; he must be able to summon them into the realm of the real, he must be able to activate them in the real, and to make them manifest.
I strive to manifest resonant objects.
All photos by Michael Lujan
www.erikawanenmacher.com
www.laurastewardprojects.com
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Erika Wanenmacher
I am an unrepentant maker of things. I believe objects that are made with intent carry resonance that can shift ...
Nov 07, 2013
Juice Rap News Hey, everyone, This is Hugo and Giordano from Juice Rap News. We were honoured, and a little flabbergasted, to receive the Makers Muse Award this year. It was truly amazing to have someone reach out across the ether and say, 'hey, you! yeah, you! that crazy project you've been working on for the last few years⌠we love it! We want to gift you some money for it!'
If you don't know the show, it's a satirical online news show where everything is delivered in rap rhyme, and all the characters are played by a very small cast, with home-made props, makeshift lighting and anarchic costuming. Weâve been broadcasting our bulletins via thejuicemedia youtube channel since 2009, so weâve been doing this now for about 4 years. During that time, weâre absolutely blessed to have garnered an amazingly diverse and dedicated audience which spans across the world, from north America to Australia, Russia, South Africa and Brazil. Our shows have been translated into more than 20 languages, thanks to volunteer translators who help us out with each episode. And we have the support an amazing team of helpers who assist us with producing the show.
We see the popularity of the show as a reflection of the common will of an increasingly vocal segment of the cyber-population that yearns to change the direction on which humanity is headed; to take control of this ship through the power of information and education. The project was born out of a deep desire to participate in the growing conversation now taking place worldwide thanks to the advent of the internet, and to use it to radicalise our generation towards heightened awareness. This period in which we live offers a unique window of opportunity for humanity as a whole: for the first time we have an alternative channel for bypassing the monopoly on the flow of information that has so helped to shape ârealityâ for many of us. However, this window wonât stay open for much longer. The internet clearly poses an immediate threat to incumbent power structures. Its native openness and transparency is coming under attack and if we donât put up a fight we will be left in the dark once again.
In the light of this, our aim is to use this medium, the internet â while we still have it; to stimulate constructive, enlightening discourse, whilst also delivering a powerful mix of headnod beats, rhymes and comedy. We play dress-up, and there's plenty of jokes in our take on âthe newsâ and current affairs, but there's always also a solid undercurrent of philosophy and historic analysis which aims to deconstruct, demystify and generally explain what the hell is going on our planet â from the environment and politics to Indigenous resistance movements. At the same time, we try to ensure that the rap is of the highest quality we can manage within the constrictions of time and content.
A typical production schedule will last for a few weeks all up. We'll start by getting really fired up about some event that's happening. We might notice that something important is being ignored by the media, or that the conversation around a certain topic or occurrence is missing a certain element that we feel we could contribute. This is the kind of thing that we like to focus our energy on, rather than just commenting on the latest dominant story - although we sometimes do that too.
Once we've done a heap of research and gathered as much information on the topic as we can manage, we then often like to go for a long walk by a river. It's a great way to get away from the monitor screen, and clear the head. While we're walking we brainstorm ideas. How could the episode play out? What characters should be involved, what points should they make and in what order?
As mentioned, we have a team of people around the world who help us out, and so once we've got an idea of what the episode is going to contain, we have a pretty good idea what we're going to need, and from whom. Thus begins a round of email alerts shooting across the globe to various mountain-top monasteries, secret underground government prisons and mist-enshrouded kung-fu dojos; one by one nudging out of deep meditation our elite team of music composers, beat-makers, animators, designers, make-up artists and costume sources, who steal away into the night and begin to prepare the awesomeness we have come to enjoy and depend on for the show.
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We then go into writing mode. It's a pretty intense period, normally lasting at least 3-4 days, preferably longer, in which the script is first blocked out, then 'rhymified', then edited, then 'rhymified' again, and then, continually edited and tweaked to get as best a compromise between comedy, content and rap rhyming that we can concoct. This continues right up until vocal recording, which takes place at Rap News HQ â AKA Giordano's house â and is quite gruelling: it takes hours to get the nuances and character voices right, as well as trying to preserve as much rapping 'flow' as possible.
Then it's time for filming, which, with all the costumes, and make-up, and general horse-play in front of the camera, is often the most fun part of the process. Once we've got the all-important takes, it's time for the editing process. All up, we try to produce the whole video within the space of 7-9 days, in order to get it out while the story is still fresh!
Without a doubt, the most exciting part for any YouTube creatorâs life is the moment of uploading the finished video. We thoroughly enjoy kicking back with a few beers, reading comments â whether complimentary, or arguing points that we've made in the video â checking the response on Facebook and Twitter, and re-watching the episode a number of times together. We never rest for long, however, as the next episode is always just around the corner.
It feels great to play a part, however small, in helping to spark conversations and a few laughs about important matters. And we are immensely grateful to the Kindle Project for helping us to keep going, through the support of the Makers Muse award. This support has helped to inspire us to take the show to the next level and we plan to kick off 2014 with a whole new season of regular monthly shows. Stay tuned!
Hugo Farrant is Juice Rap Newsâs lyricist and fills the role of the amiable Juice Rap News anchorman, Robert Foster â as well as many of the guests who appear on the show. Hailing from Branksome in the UK, Hugo is a prolific rhymer and orator, MC and spoken-word poet who regularly graces the stages and festivals of Melbourne. Having spent 8+ years rhyming and rapping, he now co-rhymes/writes Juice Rap News.
Giordano Nanni is Juice Rap Newsâs writer & editor (occasionally, supporting actor), and is responsible for the critiques and philosophies explored by Robert Foster, and many of the other characters on the show. With a background in history, music and media, Giordano is the instigator of a number of projects spanning theatre, print and the internets â including ~TheJuiceMedia, which he established in 2008.
The collaboration of mind and body between Hugo and Giordano is embodied in the character of Robert Foster, Juice Rap Newsâs affable anchorman, whose retro outfits and biting critiques of current affairs have earned him respect in the whimsical world of news satire. Since their first broadcast in October 2009, Giordano and Hugoâs collaboration has given Juice Rap News its unique flavour, bringing together their passions for rap, history, satire, journalism⌠and scrambled eggs.
Website: www.thejuicemedia.com
YouTube: http://www.youtube.com/thejuicemedia
Facebook: https://www.facebook.com/juicerapnews
Twitter: @JuiceRapNews ![]()
Juice Rap News
Hey, everyone, This is Hugo and Giordano from Juice Rap News. We were honoured, and a little flabbergasted, to receive the Makers ...
Nov 01, 2013
Community Midwifery Fund Community Midwifery is a Reproductive Justice Issue
The Community Midwifery Fund (CMF) partners with individuals, organizations, and communities that embrace the process of birth as a path towards increased interconnection and empowerment for mother, child, family, and community. Our goal is to increase marginalized womenâs access to midwifery care and services, as well as to support the development of community midwifery projects that are led by low income women and women of color and that seek to create a holistic paradigm for birthing, reproductive health, girlsâ leadership development, and community empowerment. CMF is housed at the Groundswell Fund, which mobilizes new funding and capacity-building resources to reproductive justice efforts led by low income women and women of color. Groundswell considers birthing rights to be a core component of the reproductive justice framework and believes that access to quality midwifery care is a basic human right that should be available to all, regardless of race, age or economic status.
In October 2013, Groundswell hosted a two day convening in Petaluma, CA, for practitioners and leaders within the midwifery and reproductive justice communities to build relationship with each other, laying the groundwork for increased trust and shared work. Although an unlikely goal for a funder, we believe relationship-building is at the core of impactful, transformative workâjust as it is at the core of a midwifery-facilitated birth process. It had been years since members of these two communities had come together intentionally, and participants emerged with renewed commitment to their work and strong desires to collaborate with each other. The group generated some exciting new ways to be in relationship to each other, and we were honored to host such a generative and authentic conversation.
In these videos, representatives from three Groundswell grantees share stories of their work, their experience of this convening, and their vision for a world in which reproductive justice is achieved and all people have access to empowering birth and parenting experiences. We hope their stories inspire you as much as they do us.
http://vimeo.com/album/2577132/video/77246798
http://vimeo.com/album/2577132/video/77246797
http://vimeo.com/album/2577132/video/77261437
Learn more about the Community Midwifery Fund.
Interviewed:
Pia Long, Board Member, West Virginia FREE
Farah Diaz-Tello, National Advocates for Pregnant Women
Shafia Monroe, International Center for Traditional Childbearing
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Community Midwifery Fund
Community Midwifery is a Reproductive Justice Issue The Community Midwifery Fund (CMF) partners with individuals, organizations, and communities that embrace the ...
Oct 24, 2013
Indie Philanthropy on Philanthrogeek At Kindle, weâve been practitioners of Indie Philanthropy since we began in 2008, before we even knew it had a name. Last year at our strategic planning retreat with our Steering Committee, the idea to launch the Indie Philanthropy Toolkit was born. Excited to collect stories, styles, resources and networks of interested parties, weâve been getting our hands dirty with research, writing, conversation and exploration to launch this project in October 2014.
We were thrilled when Philanthrogeek founder, Nathaniel James invited Kindle consultant, and longtime friend and advisor, Laura Loescher to write about Indie Philanthropy on his website. The article below, (originally published here), is a wonderful introduction to Indie Philanthropy and the kinds of subjects and themes we will be exploring with this new project.
A big thank you to Laura for planting the seeds of this Toolkit with this article. Her wise words and apt insights are making sure that this project will serve those who need it mostâIndie Philanthropist practitioners and those interested in out-of-the-box giving. We canât wait to share the Toolkit with you next year. Until then, learn more by reading Lauraâs article below.
A big thank you to Philanthrogeek as wellâa great site and resource for those interested in great articles, research and information on social giving.
Are you an Indie Philanthropist?
Originally posted on October 10, 2013 by Laura Loescher on Philanthrogeek
Through my twenty-year career in philanthropy and social impact investing, Iâve had some amazing sandboxes to play in with my colleagues and co-creatorsâcontinually experimenting and innovating at the outer edges (and sometimes jumping out of the box entirely!). Over the years, in various roles, Iâve collaborated with others to promote community-based philanthropy, engage with Flow Funding, design giving circles, fund start-ups, back crowdfunding campaigns, and participate in micro-granting programs. Itâs only very recently that I discovered a term that captures the spirit of what my playmates and I have been up to all these years: Indie Philanthropy.
The term Indie Philanthropy came out of a dynamic strategic planning process that I was a part of with Kindle Project, an unconventional philanthropic organization that Iâve been advising since it began in 2008. Kindle Project was looking to define the spirit and action of what they were doing, and what they saw others in the field experimenting with as well.
When Kindle Project first began, the founders saw the importance of funding both individuals and organizations working in creative ways. By operating with an LLC, a nonprofit fiscal sponsor AND a donor advised fund, they established a structure that allowed the organization to make awards to individuals, offer flow funding opportunities (allowing others to make small grants directly within their community), fund start-up projects, support informal groups, as well as making more traditional grants to 501c3 organizations. Basically, theyâve been utilizing whatever methods would best meet the needs of its grantees and have the biggest impact. Now we have a name for this style of funding: Indie Philanthropy
Similar to how Indie Films are produced outside of the major film studio system and often have unique style and content, Indie Philanthropy operates outside of traditional philanthropic models. It encompasses a range of practices, structures and attitudes rising from rapidly changing economic, cultural and collaborative contexts. Indie Philanthropy can be identified by HOW funding is done, by WHAT is being funded, and by HOW impact is measured.
Since the games played in this field are so varied, it is a challenge to encapsulate the underlying principles of Indie Philanthropy. However, it seems as though various forms of Indie Philanthropy operate with one ore more of the following themes:
1)Â Â Â Â Experimentation and Innovation: risk-taking is respected and âfailureâ is part of learning, evolving and becoming more effective.
2)Â Â Â Â Trust and Balance in Relationships: the quality of relationship and communication between donors and grantees is emphasized and cultivated, and power imbalances are diminished.
3)Â Â Â Â Collaboration: partnership and sharing on many levels is valued and integrated into the funding process.
4)Â Â Â Â Empowerment and Responsiveness: grantees are encouraged to set their own priorities, define success for themselves, and shift course if useful to adapt to changing circumstances or information.
Anyone involved in mainstream philanthropy â whether on the funder or grantee side â knows that these themes contrast pretty dramatically with some of the more conventional philanthropic structures, systems and practices.
Why is Indie Philanthropy important? In these times of rapid change and global crisis, the health of our planet, communities and systems depends on creative, collaborative solutions from the ground up. Many of these solutions are emerging from individuals and communities that are not part of formal nonprofit organizations or who donât have access to mainstream foundation dollars.
Traditional philanthropy is often not reaching leading edge thinkers, activists and change-makers. Indie Philanthropy represents a positive disruption to this status quoâits practices are complementary to mainstream philanthropy, providing much-needed diversity, creativity and risk-taking to the broad field of philanthropy. Through crowdfunding, micro-granting, giving circles, flow funding, individual awards, community partnerships (among other Indie styles) Indie Philanthropy creates opportunities for diverse and innovative impacts by directing resources to people and projects that wouldnât otherwise have access to philanthropic dollars. Some styles of Indie Philanthropy are also way more accessible to would-be donors â someone with $25 to give can participate as fully as someone with $25,000 to give.
Indie Philanthropy is dynamic and continually evolvingâresponsive to the rapidly shifting landscape of change-making activities and offering resources in ways that can best serve the needs of cutting edge work. Many Indie Philanthropy practices help build trust and create healthy, collaborative relationships between donors and grantees. While this can be more fulfilling for everyone involved, itâs also strategicâtrust is essential for effective rapid response funding, for developing long-term partnerships, and for appropriate course corrections when circumstances change.Â
Just last month, Kindle Project launched its latest venture: The Kindle Project Solutions Laboratory which is âaimed at nurturing early stages of creativity, bringing people and organizations together to catalyze existing potential and inspire community-rooted solutions to complex issues.â For this first cycle, the focus is on solutions to the challenges faced by New Mexico communities due to an unpredictable changing climate. Applicants will vie for a spot in a four-month cohort, accompanied by a cash award, and will be selected based on their response to the following question: âWhat would you do to inspire and lead your community to bring about a vibrant future in the face of shifting reality?â (The deadline to apply is October 20, 2013 â check it out if you are interested!)
This is just one example among many experimental Indie Philanthropy approaches seeking to support and nurture truly important (but perhaps overlooked) ideas and actions that could make a real difference (in this case at the local level) in changing the direction of the alarmingly destructive course we are on with regards to environmental degradation, economic inequality and human rights disasters.
Iâm also collaborating with Kindle Project and others to create on online resource for people interested in learning about and implementing Indie Philanthropy. This Indie Philanthropy Toolkit will include examples of a wide range of Indie Philanthropy approaches, complete with definitions, descriptions, stories and instructions. We would love to hear from you if you know about, or are involved with, an Indie Philanthropy project that you think should be featured in the Toolkit. Please email us at indiephilanthropy@kindleproject.org. We plan to launch the Toolkit in the Summer of 2014.
Indie Philanthropy provides an opportunity for many people across the social and economic spectrum to contribute to emerging alternatives for personal, collective and planetary wellbeing. If youâre not already playing this game, I invite you to join the fun!
Indie Philanthropy postcard design by Luke Dorman. Laura Loescher is a leadership coach, philanthropic advisor and a guide to individuals and organizations who are devoting their lives and resources to inner and outer healing and transformation. A renowned philanthropic leader and innovator, Laura previously co-founded and directed Aepoch Fund, a foundation supporting artists, healers, activists and movements engaged in transforming ecological, cultural, economic, and social conditions so that all people and the planet can thrive. Prior to that, she co-founded and directed Changemakers, a foundation practicing and promoting community-based philanthropy and organizing donors to direct their giving to social change. She has designed and facilitated trainings, workshops, and curricula related to personal development, philanthropy and social change for audiences around the country. After nearly two decades living and working in San Francisco, she recently moved to tranquil Ashland, Oregon with her partner Saleem Berryman. ![]()
Indie Philanthropy on Philanthrogeek
At Kindle, weâve been practitioners of Indie Philanthropy since we began in 2008, before we even knew it had a ...
Oct 15, 2013
Kindle Project and the Yes Men: A Day in the Life at EGA A couple weeks ago Kindle Project and our longtime grantee, the Yes Lab, had the good fortune to attend the Environmental Grantmakers Association (EGA) Annual Retreat in New Orleans. Kindle sponsored a concurrent session for retreat goers entitled Media Action Smackdown with the Yes Men. Mike Bonanno, Andy Bichlbaum (the Yes Men themselves) and Tal Beery (the wildly talented Yes Men Development Director), shared their success stories and strategic media tactics with a room packed full of fascinated grantmakers.
Mike and Andy held the room in rapt attention as they explained past campaigns that used media and PR tactics to accomplish their goals of getting much needed attention to often neglected important issues. They shared their highly successful endeavor of when Andy posed as a Dow Chemical representative live on BBC, promising compensation for the thousands of victims of the Bhopal disaster in India. They talked about the Yes Lab successful campaign collaboration with Coal is Killing Kids which forced the public to look at the health damages caused by the fossil fuel industry. Amidst other examples of past campaigns, they talked about their upcoming project called the Action Switchboard; a soon-to-be launched platform that will allow thousands of people to tap into and share movement-building projects around pressing issues. We were encouraged to see how many grantmakers were excited to learn about the Yes Men strategy of craftily circumventing traditional coverage of issues to bring truth into the spotlight.
Everyone who attends EGA makes grants that serve the broad field environmental philanthropy. We heard stories from subjects as varied as divestment strategies to wildlife conservation. With such diversity, mixed with a delegation from China and a few Canadian groups as well, we were more than proud to facilitate the sharing of the Yes Menâs unique viewpoint.
Some highlights of what we experienced throughout the week:
- Learning that there are currently 32 places in New Orleans that have been erased from the map because they are now under water.
- Hearing former President of Ireland, Mary Robinson, speak inspiringly about her work and activism. A favorite quote from her talk: â[We need to] amplify the voices of the owners of the work.â A very important message and reminder to grantmakers.
- Meeting Raj Patel and hearing him speak truth and wisdom on a panel. Favorite quote: âThereâs nothing as compelling as a good example.â This is what Kindle is hoping to accomplish with our Solutions Laboratory! Glad weâre on the same page RajâŚ
- Having a great sit down with Annie Leonard as the latest film in her Story of Stuff series went live.
- Having frank conversations about how environmental justice cannot be considered without having conversations about a much needed New Economy.
- Hearing the success stories from the Transition Network founder Rob Hopkins and Chair, Peter Lipman.
- Impromptu meeting of Skylar Fein and getting the chance to see his Lincoln Bedroom installation before it hits the road to NYC next month.
- Sharing conversation and New Orleans style snacks with Kindle grantee Other Worlds Program Director, Beverly Bell and their Education and Outreach Coordinator Deepa Panchang. They gave us a crash course in the complex beauty of New Orleans and talked us through some of their new and exciting programs.
A special thank you to our friend and fellow EGA member, Farhad Ebrahimi for doing so much to make all of this come to fruition!
Below is a scrapbook of photos from our time together. With a backdrop of the incredible city with much to offer and teach, we were happy to be with new friends and old and even cut a rug with the familiar faces of other Kindle grantees. Our time was filled with story-sharing, strategizing, bridge-building, friendship-making, and, of course in true Yes Men and Kindle fashionâa lot of very loud laughter.
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Kindle Project and the Yes Men: A Day in the Life at EGA
A couple weeks ago Kindle Project and our longtime grantee, the Yes Lab, had the good fortune to attend the ...
Oct 11, 2013
Interference Archive: An Update by Molly Fair In 2011, Interference Archive opened itâs doors to the public in Brooklyn, NY. Â It evolved from artists/activists Josh MacPhee and Dara Greenwald's personal collection of materials created by and for social movements into a grassroots, volunteer-run, public archive. The collection consists of many kinds of objects that are created as part of social movements by activists themselvesâ Â posters, flyers, publications, photographs, books, T-shirts and buttons, moving images, audio recordings, and more. Around 30 volunteers are engaged in the work we doâ Â creating exhibitions, building a database, hosting visiting classes, assisting researchers, and organizing events. Â A lot of our energy has been focused on forming solidarities with movements todayâ including the anti-nuclear movement in Japan, the student movement in Quebec, the international Occupy movement, and radical artists in Mexico. We are interested in using the collection in ways that build community and allow us to better understand struggles of the past and the times we live in.
We are taking a different approach than traditional archives by encouraging people to tell their own stories through participating directly in archival work. This philosophy is also reflected in the kinds of programming we do with exhibitions, talks, films screenings, and workshops, and by inviting movement groups to make use of our space and resources. Â Our current exhibit, This is an Emergency!, features a project organized by activist/printmaker Meredith Stern. Â It was created in response to the continuous attacks on reproductive rights and gender justice, bringing together the voices of those most affected by these issuesâ women, queer identified, and transgender folks, through a portfolio of prints created by 17 artists, and a zine of interviews with mentor activists.
To contextualize this project, we have displayed materials from our collection such as pamphlets from the 1970's women's health movement, and zines on reproductive health from the 90's riot grrrl movement. Â Hallie Boas from Rise Up/Levantas Texas presented on direct action tactics the group used to combat the passage of draconian anti-women bills in the Texas legislature. Â We have an event planned with health practitioners and activists to discuss reproductive justice for those marginalized in the "pro-choice" framework including incarcerated women, trans and gender non-conforming folks, drug users, and sex workers. Â We'll also be hosting a talk with filmmakers/activists doing a project about Marsha P. Johnson, who was a beloved NYC-based transgender activist. These activities animate our collective radical histories and celebrate current work of people mobilizing for social transformation.
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[caption id="attachment_4904" align="alignleft" width="300"] Interference Archive organizer Molly Fair (left) with artistMeredith Stern (right) at the exhibit "This is an Emergency"[/caption]
Molly Fair is an archivist, activist, and multi-disciplinary artist who has worked in printmaking, video, and illustration. She is a collective member of Justseeds Artistsâ Cooperative (justseeds.org) and an organizer at Interference Archive (interferencearchive.org). Her work has been published in Firebrands: Portraits From the Americas (Microcosm, 2010), Celebrate Peopleâs History: The Poster Book of Resistance and Revolution (Feminist Press, 2011), World War III Illustrated, and the forthcoming Informed Agitation (Library Juice Press, 2013).
Interference Archive was a Flow Fund recipient of Kindle Project in 2012. To learn more about them visit their links below.
Interference Archive website
Interference archive facebook page
This is an Emergency!: A portfolio of reproductive rights and gender justice ![]()
Interference Archive: An Update by Molly Fair
In 2011, Interference Archive opened itâs doors to the public in Brooklyn, NY. Â It evolved from artists/activists Josh MacPhee and ...
Oct 10, 2013
People's Grocery - Food Justice in Context Food Justice: Context
By Nikki Henderson
Executive Director, Peopleâs Grocery
For me
Food Justice strikes the heart
I live in West Oakland
I walk to work
Bike to work
One mile from my house.
The context for food justice
Lives in the way my neighbor washes my car
Just because his mama taught him to take care of ladies he respectsIt lives in the gentleman who screams in the street at night
Yelling at things only he can see
It lives in the scores of young brothas
That holler at me when I walk to work
That I greet with a smile and a nod
As they teach me about the gentle bashfulness of black men
And I teach them about ways to approach women
It lives in the old woman who reminds me of my grandmother
That I greet in front of the 99 Cents Store
I watch her carry sugar cereal and plastic wrapped bell peppers
And I remember my grandfatherâs wrapped feet
As he struggled not to succumb to diabetes
It lives in the 10 year olds
Who stop by the corner store on their way to school
To pick up Hot Cheetos and Candy
This is my life
Before I get to âworkâ
This is the context for so many
Itâs easy to read about
And âabsorbâ through a âpersonal interest storyâ in the news
But how do you feel the lived experience
If you havenât lived it?
How deeply can we access empathy
For things we have not seen?
This is the context for food justice freedom fighters
Our success runs as deep as our ability
To connect
To share
To understand with our hearts and stomachs
In addition to our minds
How do we include this in our âworkâ?
How do we pull this knowledge of human relationship
From the soil
As we grow new life forms
That we consume and transform?
How do we internalize and cultivate
The wisdom inherent in our cyclical relationship with food?
--
The lived experience of those working toward a healthier, just food system is a critical building block of solutions that work. As an Executive Director of a food justice organization in Oakland (CA), Iâve attempted to incorporate my experiences and those of our team into the ways we operateâfrom our management practices to our community outreach approaches. If I interacted with the grandmother-like woman at the 99 Cents store on my way into the office and I arrive with a heavy heart, can I take that feeling and utilize it during our outreach to the housing project across the street? If we all notice the 10 year olds at the liquor store, can we use that experience to design our youth programming at our quarterly festivals? This methodology has dramatically impacted our programmatic success, and more significantly, it has supported our team with having a personally sustainable approach to community-based work in the midst of very difficult circumstances.
I began to wonder: how could this methodology reach to the highest levels of our strategic planning process? Itâs more easily manageable to connect âlived experienceâ to programmatic goals, but if I wanted capacity building and other organizational development activities to be driven by the âheartâ in addition to the âmindâ, how could I approach this?
For context: historically, organizations in the social justice sector of the food movement have been under-resourced and have had difficulty evolving past the âstart-upâ chaos that characterizes many grassroots organizations. Now a decade old, the social justice sector of the food movement has an opportunity to build organizations with competitive salaries, evaluation prowess, and capacity to direct research and policy. For equity to sit squarely in the center of the food movement, grassroots justice-focused organizations must establish collective power and be positioned to lead national dialogue. This is our organizational development challenge as a movement over the next few years.
Itâs a well-traveled, paved road to scaling in conventional ways. Traditional models of building power (including replication) have become important conversations in grassroots and philanthropic communities as the social justice sector of the food movement has increased our brand strength, accessed larger media platforms, and achieved long-term success with our local programming. However, many of our organizations see challenges with a centralized ânational officeâ, local âchaptersâ and other traditional models â this type of scale can sometimes (although not in all instances) inhibit local ingenuity from receiving investment. This is where I usually notice the breakage between the âheartâ and âmindâânational offices and chapters make logical sense, but the management of personalities, relationships, and identity (the heart realm) requires finesse and subtlety.
When thinking about food work in historically under-invested communities, the significance of local ownership, identity, and assets cannot be overemphasized. Most solutions and initiatives led by those struggling with food insecurity, in Oakland, Detroit, Los Angeles, New Orleans, New York, and dozens of other cities have evolved with very strong identities that are key to the continued engagement of community members. Individuals and families struggling with limited incomes, gang violence, health crises and the myriad of other poverty symptoms have found a place to claim as our own in the food justice sector. This individuality and uniqueness of each cityâs response to food insecurity must be cultivated, if the movement wishes to nurture leadership amongst local residents, a step beyond participation. However, we do not want to lose the collective visioning, fundraising, efficiency and widespread impact a national organization can provide (the mind realm): how can we harness the power of both national aggregation and local autonomy? Both the âmindâ and the âheartâ?
For me, this is where lived experience, local ownership, and network theory intersect. The complexity of neighborhood improvement in our communities requires leadership from those with lived experience in such communities. Poverty, and the myriad of symptoms resulting from it, is a visceral experience that cannot be replicated. Individuals with loved ones who suffer from the loss of children, life-threatening health ailments, and the accumulative psychological effects of ânever having enoughâ have an altogether different approach to community transformation. These individuals exist uncomfortably within field-specific work (social services, education, and even food systems) and consistently find themselves striving for a holistic approach to social justice. These leaders have integrity, determination, and drive that is an incredible asset to social change work. However, without partnership from others, it is difficult to thrive. Incorporating our lived experience into our work requires a higher attention to relationship and trustâwe need partners with us more urgently.
One of my dreams is that the food justice movement will create a series of strong networks within which we can reshape the field and centralize holistic community development as the work of social justice. Networks built upon good will, trust, and camaraderie. We would encompass food systems, housing, education, family wellness, education, and every other sector that affects the lives of families. We would approach collective impact in a way that allows for multiple interests, and spend more of our time operating in collaboration. This is where Iâm devoting my energy over the next few years â and Iâm looking forward to finding partners with which to move forward.
Nikki began her work in social justice through the foster care system in Southern California, having been raised with seven older foster brothers. Through mentoring, tutoring, and directing Foster Youth Empowerment Workshops, she developed her passion for youth leadership development among communities of color. She later shifted into sustainability, developing course curriculum for the University of California system and advocating across the state for environmental justice and political ecology. She has worked closely with Van Jones and Phaedra Ellis Lamkins at Green for All, fighting for a green economy strong enough to lift people out of poverty. She was also a part of Slow Food USA in Brooklyn, NY where President Josh Viertel came to regard her as an âextraordinary leader with a vision for how food and urban farming can be tools of empowermentâ. In 2009, Nikki co-founded Live Real, a national collaborative of food movement organizations committed to strengthening and expanding the youth food movement in the United States. In 2010, Nikki was featured in ELLE magazine as one of the five Gold Awardees. She has a Masterâs degree in African American Studies from UCLA, and is originally from Los Angeles, CA. Email Nikki or contact her at Ext. 21
People's Grocery - Food Justice in Context
Food Justice: Context By Nikki Henderson Executive Director, Peopleâs Grocery For me Food Justice strikes the heart I live in West Oakland I walk to work Bike ...
Sep 26, 2013
John Bolenbaugh Answers the Kindle Questionnaire Helppa.org is the organization I created to fight against corporations polluting our water, air, land, and life with toxic chemicals. I document spills around the country by "exposing the truth with video proof."Â I document, educate and defend the people, animals and environment from corporate lies, bullying and injustice. Read my bio after the interview to learn about how I arrived at this work.Â
What do you see as the greatest challenge your community is facing?
Proving that residents are sick as a DIRECT RESULT from the toxic chemicals they were exposed to during the spill. My interviews and my health study is vital to proving this in public opinion and in the court of law.
What is the strongest asset of your community?
That I have county and city commissioners, a police chief and officers, paramedics and doctors that are all backing me up in my pursuit of the truth.
Who are your real-life heroes in your field?
The Environment wasn't my field until I saw my community and our environment devastated. That changed my life and gave me a purpose from God. My heroes aren't the leaders of organizations or politicians that speak about climate change or government issues, but are the ones that are in the trenches and become whistle blowers that have everything to lose and nothing to gain. So Whistle Blowers are my heroes.
When and where did you feel most fulfilled in your work?
I felt most fulfilled when Enbridge had to re-clean areas up that they said were 100% clean the year before at the cost of over $400,000,000 so far because of my video evidence.
What is the trait you most deplore of your field?
I hate that oil or fracking workers can't come forward because if they do they will risk losing everything they have including their family's well-being and income all because they want to do the right thing and tell the truth. My entire family works for oil companies and they can't even tell co-workers they support me out of fear of being blackballed or fired.
What is one thing you wish the general public knew about your work?
If I wasn't alone in this fight I could accomplish so much more.
If funding were no object, what would you do?
I would have a toxic spill crew ready and able to document any future spills around the country. I would have a speaking tour at 50 different events in a one- year period. I would make an in-depth documentary. I would put billboards on every major highway and buy tens of thousands of t-shirts and yard signs all to direct people to the video evidence at helppa.org. Tar Sand Truth. HELPPA.org
Whatâs your favourite way to procrastinate at work?
I work between 40 to 80 hours a week for free for the last three years so to procrastinate wouldn't be in my vocabulary. My soon to be wife is praying for the day I can get paid to do this very important work. It's hard to start a family with $0.
If you werenât doing this kind of work, what would you be doing?
Working for oil companies or Union work.
Favourite moment at work?
When an oil worker sneaks me vital information because he wants to do the right thing without the risk, so he gives it to me because he has trust that I won't give his name up.
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Favourite visual artist?
GOD
Favourite song?
"Eye of the Tiger" by Survivor, and "I Need Love" by LL Cool J
Favourite activist?
I don't want to toot my own horn but at the moment it is me. I am very proud of the current changes in my life that have made me a better man- a man with a purpose for others and not one for myself.
Favourite historical figure?
Rosa Parks
What did you eat for dinner last night?
Salad. I am trying to eat healthier now that my kidneys are not functioning properly.
If you could give $10,000 to any organization besides your own, which would it be and why?
To John Hopkins to get his Tar Sand book finished, published, and out to the masses.
On what occasion do you lie?
Only to tell a worker at depositions that I have him on video speaking to me in a past conversation. Only to get him to tell the truth because he thinks he may be caught lying under oath. Don't know if I should have let this secret out of the bag. However, I do have many workers on audio or video so let them take that chance and go to jail for perjury.
What do you think is the greatest social issue of our time?
Government false flags and political lies and agendas
What do you think is the greatest environmental issue of our time?
The major loss of clean air and water. Tar Sands and Fracking being two of the worse causes of that loss.
How do you think we can change the world?
Stop all Tar Sands and Fracking. Go solar and wind.
What book are you reading right now?
Tar Sand articles. Hundreds of them.
Whatâs your favourite online resource for news?
Jesse Ventura, Infowars, and Russian Television (RT).
Whatâs your favourite online resource for fun?
YouTube
Whatâs your favourite blog?
Freedom4kaz
Whatâs your personal motto?
"Tough times never last, but tough people do!" My high school wrestling coach (John Major, U.S. Olympian) told me this years ago and it has helped me through so many tough times in my life.
What makes you the most angry?
It makes me angry I can't seem to find anyone besides what the Kindle Project has already helped me with that wants to fund me to do the dirty hands-on hard work for them. For the well-being of everyone! I will sacrifice my life if needed. Why can't some rich person say, "Hey, I want to help you try to change the world one video at a time."
What makes you the most happy?
That people are waking up and coming together to protest and stand side by side. If we all could abide by 1 Corinthians 13 (the bible verse about LOVE), we could change this world not only for ourselves but for generations to come.
Honor Environment, Love People, Protect ALL!
HELPPA.org
Thank you Kindle Project
John Bolenbaugh
I am a Navy Veteran with a Bronze Star while serving in the Gulf. During my service I helmed (Drove) the 1.5 billion dollar Aircraft Carrier CVN 70 (Carl Vinson) in and out of ports around the world. Highlights during my service were that I was the coach and captain for my ships wrestling team and I had the opportunity to wrestle around the world. I was honored to shake President Clinton's hand when he came to visit our ship. I have been a head or assistant wrestling coach for freestyle and greco in Jr. high school, high school, and Navy. I also helped out at the college that I wrestled at where I earned varsity letters and academic all American honors. I have been voted coach of the year in my district and I am a former freestyle state champ and greco finalist and high school MVP. I have four years of building trades certifications. I am qualified in 17 different areas of FEMA (Federal Emergency Management Agency) with certificates in each. I am currently a Union member (that's being Blackballed) with certifications in oil and toxic spill clean up including the Hazwopper. I was a sub-contracted foreman for the TransCanada Keystone 1 pipeline and during the oil spill cleanup ENBRIDGE personally appointed me to be the yard boss for the biggest staging yard for the biggest inland oil spill in United States history. I then became an on seen site clean up technician which lead to becoming the Whistle Blower for the Michigan (ENBRIDGE) Tar Sand oil spill of over 1,000,000 gallons that spilled the most toxic chemicals known to man kind into our air and water. Now I have become an amateur reporter, investigator, speaker, video editor, radio host, web designer, and social media prosecutor of corporate injustice. Besides the Kindle project grant I have spent over $35,000 of my own personal money documenting and educating the public about Tar sands. I have bought thousands of T-shirts and yard signs that I gave away for free in the attempt to get the message and videos out. I have spent over 7,000 hours of my free time documenting this spill and many other spills (Yellowstone, Mayflower, Gulf). I have lost an $80,000 a year job and career. Now I have even started to lose my own health and well-being with new kidney issues, migraines, and dizziness from the constant exposure to these chemicals. I have risked my freedom from being arrested, my safety, and possible life all in the pursuit that the word gets out. Why? Because my videos can save future lives.
https://www.youtube.com/watch?feature=player_embedded&v=YbeXu0QJXpg
http://www.helppa.org
Subscribe to John's YouTube channel here.
twitter.com/JohnBolenbaugh
John's Facebook fan page. ![]()
John Bolenbaugh Answers the Kindle Questionnaire
Helppa.org is the organization I created to fight against corporations polluting our water, air, land, and life with toxic chemicals. ...
Sep 19, 2013
Solutions Laboratory - Request for Proposals is Now Open For all funding and application criteria click here.Â
To fill out an application click here.Â
We can't wait to see what you'll come up with you bright Northern New Mexicans...! ![]()
Solutions Laboratory - Request for Proposals is Now Open
For all funding and application criteria click here. To fill out an application click here. We can't wait to see what you'll ...
Sep 16, 2013
Carlos Motta's New Film - NEFANDUS Carlos Motta shares stills and poetry from his latest film, which just premiered at the Toronto International Film Festival on Sunday September 8th.
NEFANDUS
A video by Carlos Motta
In Nefandus two men travel by canoe down the Don Diego river in the Sierra Nevada de Santa Marta in the Colombian Caribbean, a landscape of âwildâ beauty. The men, an indigenous man and a Spanish speaking man, tell stories about pecados nefandos [unspeakable sins, abominable crimes]; acts of sodomy that took place in the Americas during the conquest. It has been documented that Spanish conquistadores used sex as a weapon of domination, but what is known about homoerotic pre-hispanic traditions? How did Christian morality, as taught by the Catholic missions and propagated through war during the Conquest, transform the nativesâ relationship to sex? Nefandus attentively looks at the landscape, its movement and its sounds for clues of stories that remain untold and have been largely ignored and stigmatized in historical accounts.
HD 16:9. Video, color, sound, 13:04â˛
Nefanudus
Kogi* speaking man
There are things whose name cannot be mentioned
actions which precede language, names, meanings,
desires which resist being recorded
instinctive, irrational, human moments
There are things that happen, that exist
outside cultural constructions
There are things whose name must not be mentioned
practices enunciated by a language that rejects them
desires inscribed with an abominable meaning, conquered by an orthodox logic,
moments colonized like the territory that comprises them
things turned into history and named against certain traditions; farce disguised as truth
There are situations that take place and are eradicated with moral violence, judged with fervent religious devotion
Those things called unnatural are the abominable sins.
[gallery ids="4788,4789,4790,4791,4792"]
*
Spanish speaking man
The landscape does not confess what it has witnessed; the images are out of time and veil the actions that have taken place there. If we watched attentively the current of the river, the foliage of the trees, or the weight of the rocks, would that reveal their history? No. We have need of instruments, documentation, signs. They were found throughout the American Continent, from the Yucatan Peninsula to the south of the Andes, proud and telling artifacts; earthenware and ceramic pots, jewels forged in gold, and stone sculptures representing homoerotic acts, acts of sodomy, of homosexual sex.
Today I travel along a river bearing the name of a Spanish Don, looking for signs of that celebrated sexuality, traces of the moment which preceded its demonization. This is a conquered river and a complicit river; its clear waters reveal scarred riverbeds where pre-Hispanic ethnicities saw their bodies floating, enslaved, dead, where their traditions were drowned.
*
Kogi speaking man
The Conquest is a history of silences
It subordinates the body
And reduces desire to ashes
*
Spanish speaking man
The expression of the homoerotic was also noted by chroniclers, European settlers and evangelist missionaries saturated with faith and with the morality of a Western god.
In their chronicles they refer to the abominable sins as an abnormality; a shamanic and tribal perversion opposed to the generic sex foundations of âcivilizationâ. Based on the biblical passage on sins against nature in Leviticus 18, âYou shall not lie with a male as with a woman; such a thing is an abominationâ, the process of evangelical domestication was, in their view, a âtranscendent salvationâ.
Other chronicles narrate that the conquistadores gave the sinful natives a dose of their own âtasteâ, sodomizing them in order to emasculate them, raping them to make them pay for their lack of Christian sense of guilt, and killing them to eradicate the propagation of their heinous crimes. For the settlers sodomy was more abominable than zoophilia and than the solitary pleasure of masturbation; it was the greatest transgression of morality, which justified its being rooted out in any way, no matter how violently.
*
Kogi speaking man
Despite their destructive intention, we remained here, diminished
Bodies, blood, rituals, traditions, legends, sacrifices
The temple of the cosmos,
Sacred land
*
Spanish speaking man
In this territory the Conquest established the notion of history and its pretensions of objectivity. Its accounts and chronicles are based on imported categories; they are responsible for our knowledge of the body and the stigmatization of sex. The anus owes to that moment its transformation into the organ of immorality, into the temple of male vulnerability, into the repository of hatred of transgression and into the territory of sodomy.
*
Kogi speaking man
Their vice was our saintliness
Their nightmare our dream
Their monsters our idols
Their perversions our beliefs
Their history our calvary
Our land their treasure
*
Spanish speaking man
I search behind these wet rocks, through these silent trees and under these running waters, for signs of that which was before being named, traces of the pre-designated. I look for marks of an unknown and undocumented moment. I search for an image of desire before it was created, manipulated, altered, judged. I look for another history; one without violence or oppression. I seek to construct a lie in which I can see myself reflected. I escape from knowledge; I look for myself in a non-existing state.
*
Kogi speaking man
My voice mediated by yours
Words imposed upon my actions
traditions designated as behaviors
your interests reflected on my body
I am a fiction invented by you
Look into my eyes, what do you see?
The flow of the river?
â Text by Carlos Motta
*Kogi is the language spoken by the Kogi people from Colombia
Carlos Motta is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize the inclusion of suppressed histories, communities, and identities.
Mottaâs work has been presented internationally in venues such as Tate Modern, London; The New Museum, The Guggenheim Museum and MoMA/PS1 Contemporary Art Center
Mottaâs video âNefandusâ won the Hoteles Catalonia Award for best video at LOOP 2013 in Barcelona and had its International PrĂŠmiere at the Toronto International Film Festival (2013).
Motta was named a Guggenheim Foundation Fellow (2008), and received grants from Art Matters (2008), NYSCA (2010), Creative Capital Foundation (2012) and the Kindle Project (2013).
Carlos Motta's New Film - NEFANDUS
Carlos Motta shares stills and poetry from his latest film, which just premiered at the Toronto International Film Festival on ...
Sep 12, 2013
Press Release - Kindle Launches Solutions Laboratory Santa Fe, NM
FOR IMMEDIATE RELEASE
Kindle Project
For media inquiries contact Arianne Shaffer, Communications Director:
arianne@kindleproject.org, 505-983-7463
Kindle Project Launches The Solutions Laboratory
to Fund and Incubate Bold, New Ideas in Northern New Mexico
Individuals, non-profits and informal groups are encouraged to respond to a Request for Proposals
SANTA FE, NM - Communities in Northern New Mexico are facing challenges from drought and water scarcity due to a changing climate. Kindle Project wants to know what you would do to inspire and lead your community to bring about a vibrant future in the face of our shifting reality.
Kindle Project Solutions Laboratory seeks to support new, creative and inspiring alternatives and solutions coming from individuals, organizations and informal groups in Northern New Mexico. We invite our community; across all sectors, generations and fields to share ideas that would shift our collective sense towards a more vital future.
âWorking in Northern New Mexico on several fronts, I have had the privilege to work with many strong leaders over the years. Iâm confident that as a community, we can harness our rooted collective creativity to inspire real solutions for a changing planet.â â Sadaf Cameron, Kindle Project Director.
Kindle Project will select five applicants. Each will receive a $3000 award and participate in the four-month long program cohort. This program is aimed at nurturing the earliest stages of creativity, thus we are seeking new concepts and projects only. Selected participants will include up to three individuals or informal groups and at least two non-profit organizations.
This is Kindle Projectâs first ever open call for applications and we hope it will help to inspire and empower our region to take control of its own destiny.
The full Request for Proposals will be made available here on September 16th.
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Press Release - Kindle Launches Solutions Laboratory
Santa Fe, NM FOR IMMEDIATE RELEASE Kindle Project For media inquiries contact Arianne Shaffer, Communications Director: arianne@kindleproject.org, 505-983-7463 Kindle Project Launches The Solutions Laboratory to Fund ...
Sep 09, 2013
Amazon Watch - Notes from the BacajĂĄ The Star Woman, Notes from the BacajĂĄ - Words and pictures by Caroline Bennett
Tears swirled with drops of sweat as smoke spiraled up the corner of the dusky hut, its inner walls pierced by a cascade of golden rays that shot through cracks and cast a warm glow on her crimson-painted face.
"For strength!" she said in her native Kayapó chant-like tongue, and gestured me to follow. She took my hand with strong fingers, weathered and black with fresh paint, and curiously twirled a lock of my foreign blond with the other hand. I sat cross-legged next to her on the earthen floor. Her wise eyes caught mine and softened as I smiled. She began to paint my body.
In the KayapĂł myth of the Star Woman, a legendary heroine, the metamorphosis from star to human being is realized through the use of body painting and decoration. Red and black insect and animal-like markings zigzag and speckle the tan skin of XikrĂn men, women and children, who believe that painting their bodies allows them to more easily connect to the spirits. I closed my eyes and envisioned her, a goddess wrapped in the same intricate pattern emerging on my right bicep.
[gallery ids="4730,4729,4727,4726,4725,4731"]
Earlier that day we arrived in PotikrĂ´ after navigating the vast waters of the Volta Grande to reach the heart of XikrĂn territory on the bank of the Rio BacajĂĄ, an affluent of the Xingu south of Altamira in the heart of the Amazon of Brazil. The XikrĂn are a subgroup of the KayapĂł, the westernmost group of the Northern GĂŞ. The KayapĂł â who call themselves "MebengnĂ´kre," or "people of the big water" â are divided into 15 autonomous groups, each with its own name and distinct cultural characteristics. Our invitation had come from the BacajĂĄ XikrĂn, who live in eight communities scattered about the river's lofted clay banks.
Scrambling up a grassy hill from the river, the village is a central plaza bordered by spacious thatched huts leading to the surrounding forest. Homes create a nearly perfect circle around a central "Men's House" â a political, juridical, and ritual meeting space that is said to represent the center of the universe. It was there that I realized the tragic dimensions of the physical threat to the very pulse of the XikrĂn people posed by the looming construction of the Belo Monte Dam.
Just the day before I had stood on the bank of the newly constructed cofferdam, a precondition to permanent damming. Its menacing red clay wall barricaded the life flow of the mighty Volta Grande, the âBig Bendâ of the Xingu River. Already communities to the east faced flooding, and were forced to flee their homes as water crept up through their floorboards. Southern tributaries like the BacajĂĄ would soon suffer opposite effects as the dam sucks them dry.
If the dam is built, healthy, clear rivers will be replaced by impassable creeks and stagnant puddles full of dead fish that will become the breeding grounds for malaria-carrying mosquitos. Rural riverine communities who rely on fish for nourishment and livelihood would be forced to the shanty outskirts of nearby Altamira, an industry boomtown that is already alarmingly overcrowded and taxed by a rapid influx of migrant workers. It is likely that the XikrĂn will no longer be able to navigate the BacajĂĄ river to the city, cutting off access to a world they've become dependent on and making medical help unreachable. Having pushed indigenous peoples closer to dependency on the outside world, the Brazilian government now plans to sever the connection, assuaging the region with meager gifts and misleading promises.
"Caroh-lee-nĂŁo," she whispered. Her rendition of my name sliced through the quiet with a melodic KayapĂł accent that surprised us both. My mind was buried deep in the sounds and smells of the rainforest, and lulled by the methodical stroke of a wet reed on my skin as she painted. Visions of the Star Woman. With projects like Belo Monte looming, I wondered if the XikrĂn ever wished they weren't trapped in these human bodies and faced with a physical world deteriorating around them. Take me back to the sky! Back in the smoky hut, I opened my eyes to find intricate networks of celestial constellations dancing down painted arms.
Caroline Bennett is an award-winning storyteller and the Communications Director at Amazon Watch, a nonprofit organization working to protect the rainforest and advance the rights of indigenous peoples in the Amazon Basin. Amazon Watch works directly with indigenous communities and at the regional and international levels to protect ecologically and culturally sensitive ecosystems in Brazil, Colombia, Ecuador and Peru, where millions of acres of rainforest and wetlands are under threat from oil and gas development, mega-dams, roads, and other unsustainable infrastructure projects. ![]()
Amazon Watch - Notes from the BacajĂĄ
The Star Woman, Notes from the BacajĂĄ - Words and pictures by Caroline Bennett Tears swirled with drops of sweat as ...
Sep 05, 2013
Tar Sands Blockade - An Update via Video Tar Sands Blockade (TSB) is a coalition of affected Texas and Oklahoma residents and climate justice organizers using peaceful, creative, and sustained civil disobedience to stop the construction of TransCanadaâs Keystone XL tar sands pipeline and challenge the expansion of the deadly tar sands industry.
TSB has been engaged in our active, dynamic campaign for over a year with numerous milestones marking our accomplishments.
Currently, we are working with a litany of documentation of damaged Keystone XL pipe to illustrate how inadequate tar sands pipeline regulations endanger families and the environment and why Keystone XL in Texas and Oklahoma must be rebuilt from scratch due to TransCanada and their construction contractor Michels' flaunting of what barebones pipeline regulations actually exist.
Here are some videos documenting some important moments over the last year of our campaign.
This is local news coverage of Tar Sands Blockade's first direct action against TransCanada's Keystone XL tar sands pipeline from August 29, 2012 in Livingston, Texas where a group of Texans locked themselves to a pipe carrying truck at the entrance to a TransCanada pipeyard, effectively blocking the entrance for the entire day.
http://www.youtube.com/watch?v=R4L6NG41iIY
This is a humorous video of an ariel blockader during TSB's three-month-long Winnsboro Tree Blockade creatively recovering a warm blanket that had fallen from their platform 80 feet in the air into a tree below on a cool October evening.
http://www.youtube.com/watch?v=asVbomrZ1qU
On Thursday, November 29th, lifelong friends, Diane Wilson and Bob Lindsey, participated in an action with members of Tar Sands Blockade and CodePINK. This video unpacks the rationale behind the action from Bob's perspective and shares concerns from Manchester residents in the words of a community member.
http://www.youtube.com/watch?v=e2G8a58Zcbk
A video of TransCanada Quality and Compliance Manager, Tom Hamilton, being disrupted while giving a glowing speech about TransCanada's history of regulatory compliance. This is the action where Tar Sands Blockade unveiled the photo evidence of shoddy welds on KXL South.
http://www.youtube.com/watch?v=Wfi8-orHUE0
Tar Sands Blockaders were amongst the only people daring to break ExxonMobil's martial law and media blackout in the aftermath of the massive tar sands spill in Mayflower, Arkansas in early April 2013. Our coverage made national and international news.
http://www.youtube.com/watch?v=5ugrkBFLkjM
Our work continues and, with the ongoing support of the Kindle Project, we will continue to push the difficult conversation on tar sands exploitation forward.
Tar Sands Blockade - An Update via Video
Tar Sands Blockade (TSB) is a coalition of affected Texas and Oklahoma residents and climate justice organizers using peaceful, creative, ...
Aug 29, 2013
Kimi Green Answers the Kindle Questionnaire What do you see as the greatest challenge your community is facing?
In a community rich with indigenous, traditional and creative culture, we remain challenged with equity issues regarding natural resources and economic sustainability.
What is the strongest asset of your community?
The cultural and creative diversity and courageous community members and leaders who work tirelessly to impact positive change and transformation despite economic and financial limits. Volunteerism is widespread and there is tremendous good will from individuals and groups who want to make a positive difference.
Who are your real-life heroes in your field?
Itâs epic how many people I see as real-life heroes! Wangari Maathai, whose vision and courageous work empowered those in poverty to become part of a vibrant, powerful grassroots movement for environmental, economic and gender equity in Kenya, deeply inspires me.
When and where did you feel most fulfilled in your work?
When I am working directly with the people and community being impacted, I am so moved by the individual acts of courage and commitment on a day to day level that makes a difference. Single mothers, who despite all odds, give their heart and soul to their family and community always touch me deeply.
What is the trait you most deplore of your field?
Approaching issues with a top down model about metrics only and not the quality of change. Grassroots represent transformation from the ground up and yet have to work twice as hard to secure support, if ever, from bureaucracy based institutions.
What is one thing you wish the general public knew about your work?
I have always been guided by Margaret Meadâs statement âNever doubt that a small group of thoughtful, committed citizens can change the world; indeed, it's the only thing that ever has.â I believe diverse and united vision and action are at the core of transformational change for the whole.
If funding were no object, what would you do?
I love all that I do and I would also like to work more directly with grassroots movements. I am inspired by the innovative, diverse and people based approach such movements bring to empowering positive change.
Whatâs your favourite way to procrastinate at work?
Reading articles about late breaking world news, innovations in technology, design and health, and updates in art, music and film. When I am in a work ârutâ it helps reignite my passion for the world we live in.
If you werenât doing this kind of work, what would you be doing?
I would be studying how dolphins do grassroots movements!
Favourite moment at work?
I am deeply touched by the simple daily interactions with profound people who despite all odds are creating change. It reminds me we are all capable of transforming within and being powerful catalysts for change and transformation.
Favourite visual artist?
Tony Abeyta, Award winning Navajo artist and close friend. I have watched Tonyâs work evolve to mastery over 25 years and I am always in awe of his creative muse.
Favourite song?
It is too hard to choose one song, but Hugh Makasela is one of my favorite musicians. He is a world class musician who is also a committed humanitarian for political change. I have been blessed to see him in concert numerous times and he inspires his audiences to tears.
Favourite activist?
The Dalai Lama is one of the most remarkable, compassionate and tireless activist for world peace. It was a blessing to work with him and his down to earth, deep love for humanity and all beings joined by a great sense of humor and the ability to bring out the best in people, always inspired me that world peace was possible.
Favourite historical figure?
Martin Luther King, Jr is the person who inspired me most since childhood. His courage, commitment to non-violence and the vision that true freedom is based on the fundamental truth we are all created equal have powerfully shaped my life.
What did you eat for dinner last night?
New Mexico green chili chicken enchilada with fresh roasted green chili's from Hatch, NM. Â Yummiest local food ever!
If you could give $10,000 to any organization besides your own, which would it be and why?
New Mexico Environmental Law Center would be my choice because they are tireless legal defenders for communities facing water, air and land degradation and they provide legal support for many non-profit organizations and grassroots movements throughout the Southwest.
On what occasion do you lie?
I rarely lieâŚam a very poor liar and am usually busted too. I am far more likely to omit information or an opinion rather than lie.
What do you think is the greatest social issue of our time?
The lack of gender, economic and natural resources equity is staggering and tragically, the inequity is growing. How we resolve this social chasm without significant violence and with ingenuity is an equally profound issue facing humanity.
What do you think is the greatest environmental issue of our time?
Climate Change will change our world and how we are able to respond will change our outcome as a species.
How do you think we can change the world?
Personal awareness and daily choices, engagement with our community and networks for change, practicing compassion, bringing commitment and courage to challenges and most of all, I feel being love transforms everything you are doing.
What book are you reading right now?
Tortuga by Rudolfo Anaya
Whatâs your favourite online resource for news?
Democracy Now!, The Guardian and Alternet
Whatâs your favourite online resource for fun?
Comedy Central
Whatâs your favourite blog?
Not time to blog!
Whatâs your personal motto?
Be present, be love and all else will follow
What makes you the most angry?
Corporate and government greed and injustice
What makes you the most happy?
When I am reminded that true beauty surrounds us in a sunset, my sonâs laughter, a strangerâs smile, a birdâs lyrical song, a motherâs tearsâŚwhenever I feel total love of the moment.
Kimi Green is a nonprofit consultant working with organizations, foundations and projects seeking to create social, environmental and animal welfare equity. For 23 years, her work as a director, organizer, and advocate focuses on effective, creative community solutions advancing social and environmental equity and sustainable resource development. Currently she is working with organizations addressing animal welfare, independent media, conservation of traditional ranches and farms, water quality and integrated healthcare. ![]()
Kimi Green Answers the Kindle Questionnaire
What do you see as the greatest challenge your community is facing? In a community rich with indigenous, traditional and creative ...
Aug 22, 2013
Project Survival Media - Shadia Fayne Wood on the Roots of her Work Imagine this, two seven year old girls walking on a sunny day in a beautiful green valley in a tiny town in upstate New York, where they live. Theyâre best friends. They play together everyday and share everything. This one day, as they are walking, they are talking of scary thingsâthere have been kidnappings just 30 minutes from their small, safe village. One girl turns to the other girl and says matter-of-factly, âBut you know, you really donât have to worry about being kidnapped because if they were to kidnap anyone, it would be me.â The other girl is confused and asks why. And the little girl answers, âBecause I have blonde hair and blue eyes and everyone knows that that is what America likes.â The girl with the brown hair stared back, confused.
These little girls are a friend of mine that I grew up with and me. I was the little hurt girl confused that on a very elemental level I was being rejected for being darker â for my dark hair, my dark eyes, and my dark(er) skin color that stood out in my predominately white community.
I remember arguing with her that the kidnappers would in fact want me that I was worth something. Looking back, I cringe thinking about that conversationâI cringe thinking about a child wanting so badly to be valuable that she would âwantâ to be desired by something so undesirable.
Often I am asked why I work on the environment, why I have worked on the environment since I was a child. I usually talk about how my community was impacted by nuclear waste, how cancer rates are out of control where I grew up, I usually talk about my mom and how she was an organizer. But, recently I have come to realize that I work on the environment for reasons much deeper than these external factors. I work on these issues because for so long I felt that I wasnât allowed to be a whole person and that no matter what I didâI wouldnât belong anywhere.
You may wonder how these two things are tied together. I did for a long time.
[caption id="attachment_4682" align="alignright" width="500"] A protest/lemonade stand we hosted on the front steps of the NYS capitol building. It garnered a lot of press about the Superfund issue because we asked our governor the question, "the children of NY are raising money for Superfund, what are you doing as governor." A year after the bill was passed.[/caption]
When I began to learn at a young age how pollution worked, I began to change. I had that quintessential awakening angering moment where injustice unveils itself, becoming undeniable.
I was nine years old when my stateâs Superfund Program went bankrupt, meaning hundreds of thousands of people all over NY were now more at risk of toxic exposure and severe diseases. This is how I learned that my community wasnât unique in itâs battles with toxic waste and government bureaucracyâthat there were communities all over the country and all over the world like mine that were bearing the brunt of our toxic waste, our power plants, our water treatment facilities. Those communities happened to be either poor, or communities of color, or both. And, children from those communities are growing up in a world that tells them they are expendable and that they don't fit.
This realization joined with my own feelings of not being accepted fueled my intense desire to create communities that have room for all people to lead healthy meaningful lives.
I suppose this is the underlying ethos of all the work I do and the spirit in which I founded Project Survival Media (PSM) four years ago. PSM is a global youth media network producing photo and video documentaries on climate change issues. We focus on human stories of triumph and       tribulation, putting a face to the climate crisis, and elevating voices of those most vulnerable.
[caption id="attachment_4681" align="alignleft" width="1100"] Recent protest in the Bay area around the Chevron refinery. Photo by Shadia[/caption]
Climate change is scary and is scaling faster than our solutions and our movements can keep pace with. The seasons are shifting, weather is becoming more extreme, and the world we once knew is changing before our eyes. In order to safeguard our communities and turn the tide on this huge issue, we need a movement big enough, diverse enough, and powerful enough to meet the scale of this crisis. And, to build this movement, we need compelling visual media.
The role of media in successful movements is indisputable. The question weâve been asking ourselves is, âWhat is the best way to tell a story and use a story to catalyzes change?â
A few years ago we designed a program called Solutions for Survival (S4S) that we think starts to answer this question. We assemble media teams in different countries led by incredible media makers from the countries they are reporting in. These teams find inspiring stories of community leaders that are implementing equitable and replicable climate solutions. Our teams produce short video and photo documentaries on these stories in an effort to more quickly spread these solutions to those that need access to it most. We then partner with media outlets and organizations that can use these stories in their campaigns.
Our thinking is, while some of our governments are wasting precious time, weâll do our part to create communities better equipped to deal with the climate changes already underway and motivate people around the world to dedicate their lives to stopping the extraction and burning of fossil fuels.
We currently have two teams in India and Kenya and are working to expand our program to three more countries next year. With the small sources of funding received over the years weâve been able to slowly grow this program and two others, while becoming so much clearer on how it all works together.
There is so much in the world to worry aboutâthe financial state of our country, womenâs rights to their own bodies, access to foods that arenât filled with chemicals and GMO's; all related to our survival as humans. And yet, there are so many powerful inspirational movements springing up around the world, where people finding a better, more humane way to live. I am so excited to do my partâto bring about a world where a childâs value is not questioned and where the water she drinks nourishes not only her body but her heart.
[caption id="attachment_4678" align="alignleft" width="300"] Shadia and her mother.[/caption]
Shadia Fayne Wood is an Arab American from upstate NY and is the founder and Director of Project Survival Media. When she was seven years old, she became involved in a campaign to address the cancer cluster in her community that was caused by nuclear waste. Though young, she was driven to spearhead what would become a successful eight-year campaign to pass state legislation to refinance the Superfund Program in New York State. The bill passed into law in 2003 and in recognition of her efforts, she received the Yoshiyama Award and the Brower Youth Award. After graduating high school, Shadia worked for the Environmental Justice & Climate Change Initiative as the youngest Campaign Coordinator in the Energy Action Coalition. She was featured in the 2007 Green Issue of Vanity Fair and is a recipient of Elle Magazineâs 2008 Green Awards. She has managed media teams for all national summits on climate change Power Shift â07, â09, and â11 and all major Keystone XL actions.
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Project Survival Media - Shadia Fayne Wood on the Roots of her Work
Imagine this, two seven year old girls walking on a sunny day in a beautiful green valley in a tiny ...
Aug 15, 2013
Announcement of 2013 Makers Muse Recipients ⢠Nao Bustamante ⢠Cohdi Harrell ⢠Trevor Paglen ⢠Dread Scott â˘
Lorna Simpson ⢠Erika Wanenmacher ⢠Juice Rap News â˘
Hanging weightlessly from ceilings; casting spells and crafting sculptures; capturing the remote identifiers of war; burning money; rapping reportage on tendentious issues with hilarity and accuracy; taking traditional notions of culture and identity by the horns and hair; brazen stage performance and cheeky video makingâthese are just some of the fierce sparks of skill and talent that this yearâs Makers Muse Recipients have in their pockets.
Itâs our five-year anniversary for the Makers Muse Award. Half a decade and twenty-nine recipients later we could not be more proud and excited to share with you our awardees for 2013.
This group of seven is our most cross-disciplinary crew yet. Hailing from various fields, they typify the feisty spirit of this award. Each artist on this list breaks boundaries with tenacity and grace. They all show us what it can mean to be a Maker and theyâve got us on the edge of our seats.
Announcement of 2013 Makers Muse Recipients
⢠Nao Bustamante ⢠Cohdi Harrell ⢠Trevor Paglen ⢠Dread Scott ⢠Lorna Simpson ⢠Erika Wanenmacher ⢠Juice Rap ...
Aug 13, 2013
Haymarket Books: Anthony Arnove tells us why books still matter In 2013, much of the discussion about books has become about the technology of distribution and the business of publishing. But in the midst of all of this chatter, and frequent predictions of the end of books, some fundamental truths about the resilience and importance of the book as a form of cultural expression and communication have been lost. At Haymarket Books, we are now in our eleventh year of working to make books a vibrant and organic part of social movements and the education and development of a critical, engaged, international left. As a small nonprofit we have many challenges â including the frequent omission of book publishing in discussions of independent media, including at major indy media conferences â but the work has been immensely rewarding and has reaffirmed our fundamental belief that books, far from languishing or being at risk of dying off in the internet era, are remarkably resilient and relevant. Among the many reasons, I would suggest three (readers will I am sure have others):
1. The time of the book. At the core of the book form is a sustained engagement with the thought, arguments, ideas, and process of argumentation of the author or collective authors. Education at itâs root is about a drawing out, a process of dialogue (in philosophical terms, the dialectic). One can convey worlds in a poem or song of just a few lines. But the process and time of a book opens up a different type of understanding, one that is even more important in our world of atomization, hyperactivity, and short-attention-span-generating media.
2. The form of the book. We care deeply at Haymarket about every aspect of the production of our books, the typeface, font size, the leading and kerning on the page, cover design, trim size, format. The aesthetics of the book matter vitally not because of some artisanal commitment to a historic craft, but because the experience of reading is intimately bound up with the bookâs form. We make every book we can available on ereaders â and any platform for reading is to be welcomed and encouraged. But we still devoted to the print book form because of what it uniquely offers. Take, for example, our book by Arundhati Roy, Field Notes on Democracy. Every essay in the book, if one wanted to sleuth, could be found on the Internet, and read online or printed out, for far less than the cost of our book (as much as we work to keep our books affordable for activists). But the experience of reading those pieces in isolation, on a computer screen, or printed out from emails, is substantively different to reading an artfully crafted hardcover, with ragged edge paper, in the time and mental space one enters into with a great book and a brilliant writer. I think that is why, when I ride the subways of New York, I still see many more people reading books than I do ereaders. And that is why ereaders are working to try to create a more aesthetic and book-like reading experience with each new design.
3. The collectivity of book reading. Reading is , on the one hand, often an extremely personal, intimate, private act. But with a great book, such as our reissue of the classic Detroit: I Do Mind Dying (now even more relevant in light of the current financial crisis and its impact on the city of Detroit), the book truly comes to life in discussion with others. One of the great things about physical books is that they remain a vital organizing tool. One can recommend a book to someone at a demonstration and they can instantly download it to an ereader. But when you show up at a protest or a conference with a table of great books that are movement resources, as we often do at Haymarket, the physical books become a center for discussion and debate, and making personal connections. A great bookstore, with a staff that is knowledgeable and passionate about books, can never be replaced by online algorithms generating links of books based on your past viewing habits, other peopleâs purchases, or paid advertising.
Those of us who value the unique contribution of books to education, to consciousness raising, and to movement building have to find ways to sustain and extend the culture of books, of reading, of collective discussion. This means being more conscious of supporting independent presses (and there are many wonderful ones beyond Haymarket that are also nonprofits and rely on donations, grants, and group purchases to enable their work). It means being more vigilant about supporting independent bookstores (even if the book might be available for less at some online retailer). And it also means including books in our discussions of independent media and movement building.
Anthony Arnove is an editor at Haymarket Books and is also a film producer, author, and activist based in Brooklyn. ![]()
Haymarket Books: Anthony Arnove tells us why books still matter
In 2013, much of the discussion about books has become about the technology of distribution and the business of publishing. ...
Aug 07, 2013
Other Worlds' Beverly Bell Answers the Kindle Questionnaire What do you see as the greatest challenge your community is facing?
Defining our community as social movements, the greatest challenge they articulate is growing control by transnational capital over everything, from the marketing of air (through carbon trading) to governments.
What is the strongest asset of your community?
Its members, who give everything they have with courage, commitment, and faith in the belief that, if united, we can change the world.
Who are your real-life heroes in your field?
I could name enough to fill libraries, so I will use my two sentences to speak of just one close friend and real-life hero: Berta CĂĄceres, a Lenca leader of the land reform, indigenous rights, and democracy movements in Honduras. For her troubles, Bertaâs life is currently precariously on the line, and she is living underground.
When and where did you feel most fulfilled in your work?
Back story: I was on the staff of President Aristide of Haiti during and after the three years of a hellish US-backed coup dâĂŠtat. Most fulfilled: After unquantifiable deaths and suffering, global and Haitian political pressure succeeded in reversing that coup and restoring democracy.
What is the trait you most deplore of your field?
I most deplore the violence that continually meets movement activists. An untold number of my dear friends and colleagues have been arrested and tortured, some assassinated.
What is one thing you wish the general public knew about your work?
The idea that profound transformation is possible is not a pipe dream. We know that large-scale poverty and inequity are the result of policy choices, and therefore we know that different choices can yield different outcomes.
If funding were no object, what would you do?
The exact same thing Iâm doing now.
If you werenât doing this kind of work, what would you be doing?
I couldnât do anything else. If I werenât doing this work, Iâd be too depressed about the state of the world to keep on living.
Favourite moment at work?
My favorite moment at work is when we learn of, or get to be part of, a victory in which the odds that everything might be lost are reversed. We see repeatedly that people who have almost no resources or power can create such victories with unity, persistence, and good strategy.
Favourite song?
Ellaâs Song by Sweet Honey in the Rock, named after the great civil rights leader Ella Baker. It was the theme song of the Wild Rumpus Revolutionary Summer Camp that two of my Other Worlds sisters/coworkers and I organized, in our off time, for our favorite little tykes in New Orleans last summer. (Illegal sentence three: The kiddos sometimes jazzed up the refrain with such variations as, âWe who believe in lizards cannot rest until they come.â)
Favourite activist?
Of the many, one is Dennis Brutus, a close friend and extraordinary anti-Apartheid and global justice leader from South Africa. His body is dead, but his spirit and message live on powerfully.
Favourite historical figure?
My favorite historical figure will surely not be known by anyone reading this, but it is Father Antoine Adrien, a Haitian liberation theology priest and spiritual and political leader, now deceased. He took me under his wing from the time I was 21, served as my primary mentor, and continues to guide my work every day.
What did you eat for dinner last night?
I shared crab bisque - being in New Orleans - with my darling 88-year old mother.
If you could give $10,000 to any organization besides your own, which would it be and why?It would be to the Council of Indigenous and Popular Organizations (COPINH) of Honduras, run by the aforementioned Berta CĂĄceres. In a country with the greatest violence of any in the entire world except those at war, COPINH burns like a flame of hope for justice for indigenous peoples, campesinos, and women.
What do you think is the greatest social issue of our time?
To my mind, the greatest social issue of our time is the interconnected and skyrocketing level of poverty, inequality, hunger, and landlessness. The root cause is the same in each case: unequal distribution of wealth, resources, and power.
What do you think is the greatest environmental issue of our time?
The greatest environmental issue of our time is climate change, which is another issue fostered by the desire of profit and power. As with other problems, it is a crisis for which solutions can be found.
What book are you reading right now?
The Insufferable Gaucho by Roberto BolaĂąo.
Whatâs your favourite online resource for news?
Democracy Now! (http://www.democracynow.org/)
Whatâs your favourite online resource for fun?
My siblings, who send me videos and photos of my 17 beloved nieces and nephews. They rock my world with hilarity and delight.
Whatâs your personal motto?
We are only limited by the size of our vision.
Beverly Bell is the coordinator of Other Worlds and Associate Fellow at the Institute for Policy Studies. She has worked for more than three decades as an organizer, advocate, and writer in collaboration with social movements in Latin America, the Caribbean, Africa, and the U.S. Her brand-new books are Fault Lines: Views across Haiti's Divide (Cornell University Press) and Harvesting Justice: Transforming Food, Land, and Agriculture Systems in the Americas (Other Worlds, co-authored with Tory Field).
Other Worlds' Beverly Bell Answers the Kindle Questionnaire
What do you see as the greatest challenge your community is facing? Defining our community as social movements, the greatest challenge ...
Jul 29, 2013
Seed Broadcast For long-time readers of the Kindle blog, you may remember our obsession with seeds last winter, when we covered a wide range of seed related issues and grantee projects over the course of several months. Our passion and commitment to this topic has not waned. With news of seed revolutions great and small making international headlines over the past weeks, it is timely that we share with you an incredible series of interviews and perspectives from Seed Broadcast co-founders, Jeanette Hart-Mann and Chrissie Orr.
Seed Broadcast caught our attention because they were addressing the persistent problem of seed and food sovereignty in a unique and creative way. Their mandate is to explore grassroots seed actions and practices through dialogues, storytelling, story-sharing, knowledge collection and distribution. Through their website, workshops and highly innovative Mobile Seed Story Broadcasting Station, they are paving the way for people all over the country to contribute their stories, learn from others and increase the presence and importance of these not-to-be-ignored issues.
A small group doing much with little, their mission and actions are truly motivational. From their writing below, youâll see what intelligent and committed women they are and learn how their creativity is fuelling and captivating their central mission. In their piece below, they share with us their personal narratives of how they began interviews from the field, and the impetus and practice that keeps them moving ever forward in their important work.
seedbroadcast.org
seedbroadcast.blogspot.com
http://vimeo.com/41974362
About
Seed Broadcast was initiated by Jeanette Hart-Mann and Chrissie Orr, at the Compartiendo Semillas, Sembrando el Futuro, Seed Exchange, in Las Vegas, New Mexico, in 2011, to investigate food culture in action. Exploring open pollinated seed networks, the ecology of urban and rural agricultural systems, and the meshwork of environmental concerns permeating food production today, this discursive project has become a testing ground for creative broadcasting and collective action. Engagement has included community based projects, installations, dialogues, creative actions, and experiential practices. Interdisciplinary collaboration is a founding principal of this project, where participants from diverse backgrounds work together as critical partners of inquiry, exploration, and creation. [caption id="attachment_3143" align="alignnone" width="584"] Interviews in the Field, Cathy Kahnâs Scarlet Runner Beans, Romeroville, NM, May, 2011.[/caption]
https://soundcloud.com/seedbroadcast/isaura-andaluz
Collaboration
Chrissie:
The first time I met Jeanette, it was at my local coffee shop where we talked and exchanged ideas for hours. It was easy and challenging and dynamic, we spoke the same language, we could agree to disagree. Two artists critically looking to new practices, both with a love and commitment to the potential held in each and every seed and in each and every community. This was the beginning.
Jeanette:
The process of collaboration and commitment to collectivity is a critical formation of SeedBroadcast. Like the ecological body of diversity and heterogeneity, it does not necessitate that we give up our subjectivity, but rather recognizes that agency is integrally connected to the work, passions, desires, and biological processes enveloping all of us. Seeds, pollination, adaptability, struggle, and action are the rhizomes of this process. [caption id="attachment_3149" align="alignnone" width="584"] Mobile Seed Story Broadcasting Station visits the Hull-ÂâHouse Urban Farm, Chicago, Illinois, July 2012.[/caption]
https://soundcloud.com/seedbroadcast/belinda-eriacho
Broadcasting Local Knowledge
Jeanette:
What we call knowledge is not static. It is not trickle down service from those that know to those that donât. Instead, it is a growing complex of local beliefs and practices that are shared, applied, and persistently transformed. To be a grower of food and a saver of seed, is to engage this directly. It is to be an active cultivator of knowledge and of what we call culture. This notion of culture is essential to our collective re-creation of a popular agri-culture and the most basic human right to grow, eat, and share the healthiest food around. This is the emphatic mission of SeedBroadcast.
Chrissie:
We started where we were called, the community of Las Vegas, New Mexico where there is a tradition of local growing practices in the rural areas around this former railroad town. We visited people in their own backyard gardens, in their farms and in their dried dusty garden beds that were left bare due to the city water shortage. We shared food together in fields and community centers, we made a âHow toâ book and we listened to one and other. These collaborators helped to shape and mold our initial ideas for gathering and dispersing local land-based stories in to what is now the Mobile Seed Story Broadcasting Station and networking practice.
http://soundcloud.com/seedbroadcast/amaranth-everlasting
Listening, Building Relationships, Belief in What we Hear
Chrissie:
We were inspired by the people we encountered who invited us to share a day in their lives who shared their beliefs in growing and owning the rights to their own seeds and food production, the struggles to do this and the tenacity to continue. The relationships we built informed our structure and inspired us to dedicate our creative capacities to push beyond our notions of âartâ to explore creative ways to encourage and broadcast critical dialogues around reclaiming our seed and food sovereignty. This is what we heard.
Jeanette:
Folks from all walks of life have shared Seed Stories with us. These are usually audio recordings with corresponding photographs of seeds, gardens, or portraits: beautiful, powerful, critical, and personal stories. Yet, we also recognize, encourage, and support other forms of expressions. These stories are shared as drawings, writings, conversations, documents, objects, and always seeds. This expressive diversity broadens our capacity for listening and teaches us about the possibility of a seed, of people, and of passions. It re-formulates power in the hands and minds of people sharing these Seed Stories and produces a new site for the articulation of sovereign agri-culture. [caption id="attachment_3152" align="alignnone" width="584"] Mobile Seed Story Broadcasting Station partners up with the PimaCounty Seed Libraries, Tucson, AZ, April 2013.[/caption]
http://soundcloud.com/seedbroadcast/sherwin-ovid-07122012
And full on Dedication
Jeanette:
Dedication and optimism go hand in hand. With all the challenges we face on a daily basis: lack of healthy food, water, land, seeds; a changing climate, and the corporate accumulation of wealth, power, and resources, who wouldnât want to plant seeds, save seeds, and share seeds? Gardeners, farmers, seed savers, and people everywhere are inspired to play their part, beginning and continuing a long tradition to be infinitely optimistic and plant a seed.
Chrissie:
We followed our dreams. Jeanette dedicated her summer to create the Mobile Seed Story Broadcasting Station in an old bread truck as part of her Masters in Fine Art. She travelled slowly across county from Anton Chico, New Mexico to Vermont forming partnerships and connections along the way with seed libraries, seed lovers and local food growers who shared their wisdom and stories. The Seed Story dispersal and national networking emerged into many new seed loving friends, the seedbroadcast blog and web site. I remained at home in New Mexico, actively researching and pursuing grant opportunities, (thank you Kindle) and keeping up with our local partners and collaborators. [caption id="attachment_3153" align="alignnone" width="584"] Students from South Valley Academy, share ideas and drawings inside the Mobile Seed Story Broadcasting Station. Albuquerque, NM, Sept 2012.[/caption]
http://soundcloud.com/seedbroadcast/justine-hernandez-librarian
When the Time is Right
Chrissie:
Our conversations started that day in the cafÊ in 2011 and I believe that the time was right. Look at us now, we have just come back from a tour of the Southwest with local visits to Anton Chico, Santa Fe, Albuquerque Bio park, Native Seeds / SEARCH, to events and seed exchanges, to schools and rural villages and to the heart of urban Phoenix. The seeds bring us together in ways that I would never have imagined. They bring the young and the wise, the experts and the beginners but all who shared their stories with us have a connection to the potential that the seed holds.  In these up side down times the seed holds the potential of HOPE, new growth, nourishment and wonder. This is what we are all looking for, is it not?
Jeanette:
What else will these seeds share if I listen to their stories? As this story accumulates, it moves us to believe that every seed and every seed saver, and every grower and lover of food, have crucial stories to share. This wealth of local, practical, and creative know-how is a site of unconditional knowledge building and the frontier of truly innovative people based, food practice.
In solidarity,
SeedBroadcasters ![]()
Seed Broadcast
For long-time readers of the Kindle blog, you may remember our obsession with seeds last winter, when we covered a ...
May 30, 2013
Announcement of Spring 2013 Grantees New grantees mean new opportunities. It means new ways to look at problems and solutions. It means new inspirations, models for change, and it means new networks to explore.
Taking the ripple effect of our work evermore far and wide our grantees are making big splashes with prodigious accomplishments and progress;
⢠The Tar Sands Blockade is galvanizing direct, non-violent action in clever ways to oppose the proposed Keystone XL Pipeline,
â˘Â Haymarket Books has a boldly diverse line-up of book releases this month, including several books by Howard Zinn, GĂśran Olssonâs Black Power Mixtape:1967-1975, and Tariq Aliâs The Stalinist Legacy: Itâs Impact on Twentieth Century World Politics,
⢠The Community Environmental Legal Defense Fund in partnership with Drilling Mora County accomplished the unprecedented goal of passing the first U.S. ban on fracking and oil drilling in Mora County, New Mexico,
⢠Project Survival Media is developing a catalogue of climate solutions from youth documentary teams around the world,
⢠The Yes Lab is tinkering away in the edit room on their new titillating film, The Yes Men Are Revolting. They are also working their fannies off on their Action Switchboard, a dynamic platform connecting tools and change agents. Both projects are sure to whet your civil disobedience appetite.
Thereâs an endless number of methods and practices that we can use to respond to the social, economic, and environmental concerns of our time. This seasonâs grantees, both new and alumni, are taking on solutions based approaches with a combination of youthful tenacity and tried and true wisdom.
Kindle Project Fund of the Common Counsel Foundation is pleased to introduce you to our lineup of inspiring change-makers for our Spring 2013 Grant Cycle.
Announcement of Spring 2013 Grantees
New grantees mean new opportunities. It means new ways to look at problems and solutions. It means new inspirations, models ...
May 21, 2013
Community Environmental Legal Defense Fund The Community Environmental Legal Defense Fund (CELDF) first became of interest to us when we heard about their Democracy School program. The Democracy School is an accessible and in-depth training for participants to become competent in the rules and regulations around building their own healthy, self-governed communities. For those whose lives and lands are under serious threat by laws that favor corporations over people and nature the CEDLF Democracy School is one of the most important and invaluable resources we've come across.
Last year, two Kindle Project staff members attended a Democracy School in New Mexico. They came back with a wealth of knowledge, but also with a greater understanding of the kinds of barriers that most of us face when acting as community and environmental advocates.
The video below tells the story of how the Pennock family lost their sixteen year old son, Daniel, to health complications from walking past fields of toxic sludge on a daily basis. Danielâs father described the need for the Democracy Schools in a perfectly succinct way: âPeople donât understand what their rights are.â
http://www.youtube.com/watch?feature=player_embedded&v=i1s_rE1VR64#!
Paving the way for personal, community and collective empowerment and decision-making, CELDFâs work is truly a revolutionary offering.
Below, youâll read a more in depth explanation of their programs and a special interview between CELDFâs Emelyn Lybarger and Alexis Eynon, who attended a Democracy School in New Hampshire. They share a compelling and personal testimony to the importance and effectiveness of CEDLFâs work.
If your community, or the community of someone you know, is facing serious land and health threats due to corporate interests in fracking, hydrocarbon extraction, and toxic sludge (to name a few) you will want to visit the CELDF website. There are ways that they can help!
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The Community Environmental Legal Defense Fund (CELDF) is a public interest law firm that conducts grassroots organizing to advance community rights and sustainability. Their mission is to build sustainable communities by assisting people to assert their right to local self-government and the rights of nature. They work with communities across the country facing corporate threats such as shale gas drilling and fracking, unsustainable agriculture, and unsustainable energy development, providing assistance in grassroots organizing, public education and outreach, and the drafting of ordinances.
As part of their work, they teach Democracy Schools, which are weekend workshops that lay the educational groundwork for their organizing. As the only organization assisting communities to ban harmful corporate activities by addressing our larger structure of law that elevates corporate ârightsâ over community rights, the Democracy Schools are central to CELDFâs work.
In the Democracy Schools, CELDF examines why corporations, hand-in-hand with government, are able to override local, democratic decision-making even on activities as harmful as drilling and fracking. They explore how it is that we live under a constitutional structure of law that purposefully places the rights of property and commerce over the rights of people, communities, and nature. And further, they examine why communities facing unwanted corporate activities such as fracking, find that their state environmental agencies, rather than helping them stop fracking, are instead issuing permits to corporations to frack.
The Democracy Schools also explore what other communities are doing as they come to understand how our structure of law and governance puts the interests of corporations over and above the interests of people, communities, and nature â standing in the way of community self-governance and sustainability.
Whether a community faces drilling and fracking, the privatization of its water, sludging of its farmland, factory farming, or a host of other corporate harms, the structural barriers in place preventing the community from stopping such threats are the same. So rather than fighting individual âsite fightsâ again and again, CELDFâs work has evolved to concentrate on building a grassroots movement aimed at changing our structure of law and governance from one that protects and promotes commerce and corporations, to a structure that secures and defends the rights of people, communities, and nature to achieve environmental sustainability and local democracy.
The Democracy Schools help reveal how this structure of law works, and from there, help communities âre-frameâ the threat they face from a solitary âsite fight,â to a broader structural problem whereby our legal system protects fracking and the rights of corporations to frack (or sludge, factory farm, etc.) over the interests of communities and nature.
Unsustainable Energy: A Community and Civil Rights Issue
An interview by Emelyn Lybarger of CELDF [caption id="attachment_3062" align="alignleft" width="300"] CELDF's Emelyn Lybarger[/caption]
Alexis Eynon, from Thornton, NH, learned about CELDF and our Democracy Schools from neighboring communities organizing to stop the Northern Pass - an energy development project including 180-miles of high transmission wires and steel towers reaching 140 feet in height, creating a permanent scar on some of New Hampshireâs most pristine locations.
Alexis teaches art at a middle school near her home. Like many others, she moved to Thornton â into a home she built herself â because of the areaâs stunning landscape and easy access to the outdoors. Home for 1,800 residents, itâs a small New England town, with a local economy based on tourism. The Northern Pass would be devastating to the community.
Alexis recognized the threat Northern Pass posed, and began educating herself so she could help stop it. In November 2011 she listened to Democracy School on-line and attended two more Schools.
We interviewed Alexis to ask her about the impact CELDF and Democracy School had on her and the organizing she did in Thornton.
CELDF: Why did you attend a Democracy School?
Alexis: I heard about the Northern Pass and began researching it. What I learned did not bode well for our communityâwe are already seeing property values plummet, and a realty office recently closed nearby.
I heard about rights-based ordinances being presented and adopted in surrounding communities, like Plymouth, Sugar Hill, and Easton. Those ordinances established community rights to clean air, water, local self-governance, and a sustainable energy future. I wanted that for Thornton.
CELDF: How did attending Democracy School impact you?
Alexis: What I learned in Democracy School certainly wasnât Social Studies I learned in 7th grade! It became clear why we donât have a democracy and why corporations get away with causing harm to our communities. It was eye-opening: This is how our society operates, and this was the intention of the âfounding fathersâ all along â a society based on commerce, regardless of cost.
As I watched other communities trying to stop Northern Pass through traditional regulatory avenues, such as attending hearings, and compared that to communities focusing on rights-based organizing, I could see what Democracy School taught, playing out.
The impact it had on me was that I had to do something â and CELDFâs rights-based organizing is actionable and challenges the status quo in a way that traditional organizing does not. [caption id="attachment_3066" align="alignleft" width="584"] Campton Pond/Dam & Welch-Dickey - Part of the beautiful region that Alexis is working to protect[/caption]
In my town, I witnessed folks speaking against Northern Pass, but doing nothing to stop it. I had to run a rights-based ordinance because otherwise Northern Pass will kill our town! I began working with our Select Board and walking door to door. Some folks were very supportive, while others just didnât seem to care. It was frustrating. But CELDF was helpful in educating and strategizing with us, and we received support from neighboring communities who have done this work.
Our ordinance didnât pass at Town Meeting last month. But I think itâs paved the way for next yearâit brought a lot of attention to the issue, and our reframing it from being just about one project to actually being a civil rights issue has gained traction.
CELDF: What were the top two things you learned in Democracy School?
Alexis: This unsustainable development, costing us our communities, is intentional. And today, havenât we come full circle? Arenât we now in the place the revolutionaries were in when they threw off the yoke of England?
Also, this IS a civil rights issue! Why canât we say NO to what we donât want and YES to what we do want? Why do corporations have more ârightsâ than we do? Itâs NOT RIGHT!
CELDF: Why are you committed to doing this work?
Alexis: This is my home â I care about this place and the people here. I care about the injustices happening to communities across the country, and they are unacceptable to me and must be stopped. It wonât be stopped, though, until hundreds of people like us stand up and make it stop. Iâm adding my voice to the collective yell.
CELDF: What do you envision for your community?
Alexis: I envision conversations in Thornton about our values, what we care about, why our energy future is so critical. I want us talking about what things are going to look like in seven years and in twenty years. What do we want? What are we willing to fight for? Letâs put the rubber to the road and start moving and start doing something about this.
Alexis is one of the founders of the New Hampshire Community Rights Network, a statewide organization established to bring together coalitions across the state doing rights-based organizing. This network of communities will drive community rights into the New Hampshire state constitution. To learn more about CELDF, Democracy School, and the Community Rights Networks, visit our website: www.celdf.org.
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Community Environmental Legal Defense Fund
The Community Environmental Legal Defense Fund (CELDF) first became of interest to us when we heard about their Democracy School program. ...
May 02, 2013
Center for Genomic Gastronomy Over the past few years, a unique cultural climate has developed around food. Food obsession, facilitated largely through a boom in network TV cooking programs, countless online food bloggers, and a rise in artisanal quality food products (and even home producers), has become so commonplace that a new sect of society has been born: âfoodiesâ. This vast audience with a cult-like devotion to food has elevated chefs to celebrity status, and created an incredible network of people all tuned-in to revere and receive any information they can about the innovative uses of food.
Simultaneously, the food justice movement has gained leverage and expanded exponentially, and the timing and setting could not be more primed for broadcasting their message. With Community Supported Agriculture continuing to gain in popularity and the work around Californiaâs Proposition 37 in 2012, to name just a couple examples, the movement has a broad reach. The culture of food and the need to pay attention to its transformations is at the forefront of the mission of the Center for Genomic Gastronomy (CGG). By capitalizing on both the trends of the foodie movement and the urgency of the food justice movement they are raising awareness about the hazards of biotechnology in our food system in amazingly creative ways.
By taking a systems approach to food, and combining that with their background in biohacking, the brains behind the CGG are nudging us to consider food in ways we never have. They have taken this weird science under the microscope, and broadcast its gritty truths with social and environmental relevance.
The CGGâs work is exceptional, in that it encourages us not only to think about and understand the effects of the potentially hazardous and altered food weâre eating, but to actually eat it. In their TEDXDublin talk, CGG co-founders said, âwhen you change peopleâs tastes, you change their assumptions and expectations.â By combining art, food and technology in such phenomenonâs as glow in the dark sushi, these folks are breaking the barriers of food justice education and information sharing in ways that weâve never seen.
In this video we get a glimpse into how to interact with some of CGG recipes.
http://www.youtube.com/watch?feature=player_embedded&v=JhJ0MsOGqpo
Below, one of the CGGâs co-founders, Zack Denfield, explains to us their latest endeavors and projects. The bizarre and fascinating works of this group are constantly asking us to question the origins and the futures of the foods we eat.
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FoodPhreaking & Cobalt-60 Sauce
by Zack Denfeld
The Center for Genomic Gastronomy is an independent research institute that explores the genomes and biotechnologies that make up the human food systems on planet earth. Our mission is to map food controversies, prototype alternative culinary futures, and imagine a more sustainable, just, biodiverse and beautiful food system. The Center presents its research through public lectures, publications, meals and exhibitions.
So far in 2013 we have been primarily conducting research, and are now starting the process of bringing this new body of research out of the studio and into the world. In addition to running a pop-up food hacker lab in Portland, Oregon in May and June we are currently scheduled to exhibit our projects publicly at the Portuguese Architecture Triennale in September and the San Jose Museum of Art in October.
What follows are snapshots of two projects. The first project, Cobalt-60 Sauce, documents an historical food controversy that is not very well known. The second project, FoodPhreaking, is a new publication we are releasing that looks at current food practices as a guide for imagining open source food cultures of the near future.
COBALT 60 SAUCE
The Center for Genomic Gastronomy is very interested in documenting and reexamining the hype, hope and controversies that surrounded food & biotechnology in the recent past. Cobalt-60 Sauce is a project that examines mutation breeding, and documents some of the radiation-bred plant varieties that are served as food on a regular basis. We have written a bit about mutation breeding, and have created work with and about mutagenic varieties, but this is the first time that we will bring together many mutagenic plants to grow an cook with.
The hype and hope surrounding mutation breeding in the 1950s and 1960s parallels more recent developments in the life sciences, including transgenics and synthetic biology. Starting in the 1950s novel plant varietals have been created by exposing plants to radioactive materials such as Cobalt-60, with the hopes of inducing "interesting" mutations, and thereby speeding up the slow process of selective breeding. After being exposed to radiation, mutagenic plant varietals were chosen based primarily on observable phenotypical characteristics. Compared to synthetic biology and transgenics, this process of designing life was much less instrumentalized and precise.
Today, many mutagenic plant varieties have been approved for sale as food but their history is largely unknown by the general public, and even by contemporary biotechnologists. Luckily, the International Atomic Energy Agency (IAEA) keeps records of the many mutation bred varieties that have been created by different countries. The Center's project, Cobalt-60 Sauce, is a barbecue sauce made exclusively from mutation bred plants that were exposed to Cobalt-60 and which can be found in IAEA's META database.
We are bringing this research to the public in the form of an installation. The Cobolt-60 Sauce installation has four main components. On one table, mutagenically bred plant varieties (such as Todd Mitcham's Peppermint) will be growing. The second table will showcase a 3D landscape model of a larger demonstration garden proposal. The third table will exhibit a crate of the Cobolt-60 Sauce. The packaging lists the mutagenic plant varietals that are used to make the sauce and points to the IAEA's META database. A warning label explains that the mutation-bred plant ingredients have not gone through the rigorous human or environmental health testing that many commercialized transgenic plant varieties undergo. Is this risk acceptable? Lastly, there will be a screen on the wall showing a film that presents the history of mutagenic breeding. We are interested to see how collecting these disparate plants in one demonstration garden, and one sauce leads to new conversations and critiques. The idea of trying to 'Engineer Biology' is not a new one, and Cobalt-60 Sauce offers an opportunity to pause and consider one historical precedent as we continue to debate emerging biotechnologies.
FOODPHREAKING
One goal of our organization is to make connections between gastronomy, ecology and open culture. The FoodPhreaking journal is a publication that aims to connect foodies who care about sustainability with scientists and hackers who care about open culture. For the first issue (Issue #0) we decided to collect 40 concise examples of what FoodPhreaking might be, and what it most definitely is not. Regular readers of the Center's blog supplied us with links to examples of critical amateurs and hobbyists obsessed with exploring the food system, and recent failures in the global food system. These examples have been grouped into themes such as Culinary Civil Disobedience and Proprietary Food Science.
FoodPhreaking issue #0 is currently being printed using a 2-color risograph process with gold and neon pink ink. We love well crafted print publications that inspire readers who are moved by flipping through ink on paper. However, for ease of use and distribution a creative-commons-licensed digital version of the book will also appear on our website later this month.
Here are a few of the page spreads:
We hope you are in touch if you run into interesting examples that we should include in future issues of the FoodPhreaking journal.
Cobalt-60 Sauce looks at a controversy from the recent past and FoodPhreaking examines the present to imagine a better food future. These are just two of the projects that are migrating from research phase to dissemination phase. You can follow many more upcoming projects by visiting our website or joining our mailing list.
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Center for Genomic Gastronomy
Over the past few years, a unique cultural climate has developed around food. Food obsession, facilitated largely through a boom ...
Apr 18, 2013
Yansa So often in our top-down instant-gratification culture, singular and simple solutions are employed to address multifaceted and complex problems. For sick people, we have pills from big pharmaceutical companies. For debt problems associated with consumerism we have credit cards. For global warming, however, many of us seem to understand it to be a fairly ornate issue. Perhaps the top down approach is not going to fit the bill on this one, unless the large companies at the top have some way to profit from the action and implement streamlined solutions.
There is a real and imminent threat of mega-corporations using new renewable energy technology for their own fiscal benefit often leaving local communities in the dust (as weâre seeing in Brazil and Canada to name just a couple examples). Smart methods of practical change that involve everyone are of utmost importance â and this is what drew us so strongly to Yansaâs work.
Yansaâs mission is to provide communities with the means, tools and training to operate their own wind farms. Providing technology, training and capital, they help communities to invest in and use their own sustainable energy sources. The electricity generated from the wind farms is sold to the national grid of the host country, bringing profits straight back to the community. Yansa, has figured out how to solve problems on multiple levels. Through their intelligent and effective pairings of mixing environmental sustainability, responsible investing opportunities, and helping to build strong social structures, Yansa is a true champion of innovation across sectors.
Below, Yansaâs Development Coordinator, Amy Spellman, shares her personal narrative of how she came to work for such a special organization and the professional and personal revelations sheâs had along the way being a part of this group. Her awareness of this multi-layered approach and her thoughts on why they are so important point straight back to Yansaâs mission.
Yansaâs projects are humble in scale, authentic in spirit, and immense in impact. Check out their website for more information.
Reflections and Updates from the Field
by Amy Spellman
When a group of friends that shared a concern for social, economic and environmental justice issues came together to form Yansa, their vision was to use it as a vehicle to drive a just transition to renewable energy through community-based projects. These projects would serve to empower marginalized communities through a model that expanded economic opportunities and emphasized social impacts. From the beginning, our team has been ever expanding and includes many different types of people; indigenous activists, wind development experts, social impact investors, academics, and itâs our diversity that enables us to create successful partnerships and sustainable projects.
I joined the team in 2011 after stumbling upon a job board post for summer interns at Yansa. I had little free time but Yansaâs profile matched so perfectly with my background and passions that I applied anyway. Writing this blog as Yansaâs Development Coordinator, I have managed to expand that two-month internship opportunity into two years of experience and engagement that have been pivotal to my own growth. I am fortunate to be involved with each Yansa project, in cultivating the rich relationships that come along with this work and in seeing some of the original goals of our founding members translate into concrete successes.
Our initial Yansa project began in the city of Ixtepec, an indigenous community in the Isthmus of Tehuantepec, Oaxaca, Mexico. Before the formation of Yansa, co-founder Sergio Oceransky had lived in Denmark and Germany, where he witnessed the success of community-base wind farms in Europe. He was instantly convinced of the potential for viable community wind projects in indigenous and other historically oppressed communities and founded Yansa to realize this idea. During a trip to Oaxaca, in Southern Mexico, he saw how wind corporations were violating indigenous peoplesâ rights and taking over their land. He moved to Oaxaca to provide access to information and support to communities fighting to regain control over their land. Community leaders then approached Sergio, proposing a partnership to building a community-owned wind farm in Ixtepec.
For its part in the partnership, Yansa provides the technical, managerial, and financial assistance required for the wind farm. In return, the community would be the backbone of the project, engaged in every step and eventually taking over full operation. They would direct the process throughout all phases of development and implementation, which would include social and economic programming supported by profits from the wind farm.
This distinct collaborative development model, defined by partnership and long-term sustainability is what truly inspired me when I joined Yansa and it is what has kept me dedicated and engaged ever since. Community partnership and localized ownership are essential components of our projects and differentiate them from others in the wind development field. Our community partnerships foster trust and transparency while ensuring the fundamental economic, cultural and political rights of the community members we work with.
httpv://www.youtube.com/watch?v=6prYIiA5CtQ
Community collaboration has been a rewarding and successful process but it has not come without challenges. In the early stages of our project in Ixtepec, we discovered a strikingly low rate of participation by women in decision-making processes or governing bodies, especially associated with land use. This was in part due to land ownership historically being passed through men who have traditionally worked the land. To make our process truly inclusive we insisted on finding a way to engage women in the project without disrespecting the existing norms and social fabric. Segio was adamant that the wind was a collective resource that belonged to everyone, not just those who own the land. He insisted that in order to proceed with the partnership, all stakeholders, including women and other non-landowning groups, must have an opportunity to participate in the process. To address this, we proposed the creation of the Womenâs Forum that would convene regularly to discuss issues connected to the project making their voices heard in decisions involving the wind farm. The male dominated governing bodies were receptive to this and together with Yansa, they helped commence the very first meeting of the Womenâs Forum.
The forum is the first independent womenâs organization ever formed in Ixtepec outside of religiously or politically affiliated groups. This represents an important transition to a more inclusive process of participation for women in the community. Initially driven and guided by Yansaâs staff, the forum is now completely self-sufficient, with a core group of dedicated women meeting every week to ensure their involvement within the decision-making and community collaboration process continues.
Reflecting on the success of the Womenâs Forum in writing this blog has been inspirational. My work from home can sometimes feel isolated from events on the ground. I can get bogged down in emails and deadlines and forget why I have committed myself to this collective effort. I am appreciating, perhaps for the first time, that what seem like small victories are actually concrete, tangible changes that my colleagues and I hope to inspire. Our original mission was to support a âjust transitionâ to renewable energy but to really achieve such a monolithic goal we need to support many small âjust transitions.â Transitions that allow once marginalized voices to participate fully in decision-making processes that effect their lives, making partnerships more equitable and fair; these are the small advances that can catalyze larger, structural change and build a foundation that supports durable and sustainable models for change in the future.
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Yansa
So often in our top-down instant-gratification culture, singular and simple solutions are employed to address multifaceted and complex problems. For ...
Apr 04, 2013
Women on Waves International Womenâs Day just passed on March 8th. A âholidayâ that feels only half resonant with some of us on the Kindle Project team. Weâre an organization founded by women, and staffed primarily by women. Over the years we have supported and partnered with many organizations that work on womenâs issues, and because of this we also know how much work still needs to be done to elevate womenâs roles in almost every level of society.
The issue of access is particularly pressing. In the case of this weekâs grantee feature we hear from the Women on Waves (WOW) Director, Rebecca Gomperts, about the issues around internet and information access for women.
WOWâs work is all about bringing access to women â access to safe and legal abortions, access to accurate information about medical abortion, and access to support and sexual health information. In addition, they spread many of these messages through direct action campaigns.
Last autumn, WOW held a campaign in Morocco in which they brought their ship (which offers safe medical abortion services) to the port in Smir. Though they faced severe resistance and scrutiny (and were ultimately not able to offer direct services on the ship because of this controversy) they took it upon themselves to use the opportunity to bring more awareness and education to these essential womenâs health issues by creating a safe abortion hotline. Their nimbleness, and astute knowledge of international law, human rights and media tactics are in large part of what allows them to be as successful and influential as they are.
Those that work at WOW are some of the most impactful and empowering risk-takers we know. They are true champions of social and reproductive justice. When we know that thousands of women every day all over the world are having abortions and often in very unsafe conditions, it astounds us that more groups like WOW donât exist, that there arenât more people willing to take these risks to protect the rights of women internationally. Moreover, in this internet age, access to accurate information about womenâs health is an essential right to protect. We are grateful to learn more about this timely and extremely relevant work from Rebecca below. She illustrates a very clear picture of the current global movement for womenâs reproductive rights and how the access to information is an essential piece needed in order to continue to move things forward for women everywhere.
Reflections on Internet Access, Medical Abortions and Women's Rights
by Rebecca Gomperts [caption id="attachment_2989" align="alignleft" width="300"] One of WOW's ship campaigns: http://www.womenonwaves.org/en/page/2582/ship-campaigns[/caption]
After medical abortion was invented in France, France's Minister of Health, Claude Evin at that time, declared it the moral property of women in 1988 after the pharmaceutical company tried to take it off the market under pressure from anti-abortion groups.š
A medical abortion with a combination of two medicines, Mifepristone and Misoprostol is a very safe and effective method of abortion and has a success rate of approximately 95% to 98%. Very few serious complications result from medical abortions (World Health Organization (WHO), 2012). Mifepristone and Misoprostol have been on the list of essential medicines of the WHO since 2005.
Unfortunately, Mifepristone could not be registered in most countries where abortion is illegal (in almost all South American, African, Middle Eastern and Asian countries but also in three European countries - Poland, Ireland and Malta).  However women in Brazil discovered that a medical abortion could also be done with Misoprostol alone. Although the use of Misoprostol alone is safe, the failure rate is almost 10% to 15%. But ever since, home use of medical abortion with Misoprostol alone by women themselves is increasing in countries where abortion services are unavailable. Misoprostol is registered in almost all countries for use against gastric ulcers and prevention of heavy bleeding after giving birth.
It is well documented that in countries where abortion is illegal, women risk their health and their lives to obtain clandestine abortions from unqualified persons in unhygienic conditions. According to the World Health Organization, 19 million women experience an unsafe abortion every year and 48,000 women die from complications of unsafe abortion each year. The development of medical abortion has been very important because it gives women the possibility to take their lives in their own hands again, independent of the legality of abortion and the availability of trained abortion providers. The health consequences are similar to a spontaneous miscarriage and most women deal with these themselves. In the rare case of a complication, this is almost never life threatening. The use of medical abortion is safer than the use of Penicillin or Viagra. Access to information about the medicines to do an abortion is lifesaving.
Coincidently the public start of the Internet (1991) happened at almost the same time as the introduction of medical abortion (1988).  In the past 20 years the Internet has grown exponentially and has become a major source of information for people all over the world.  This also spurred the practice of telemedicine and later attempts to regulate it.  So it is not surprising that women around the world started to use the Internet to access information about abortion services as well. This is reflected in the many discussion forums and online sales of Misoprostol and/or Mifepristone. Unfortunately there are many sites that provide wrong information and/or sell fake medicines without any information. These kind of fake services severely abuse womenâs vulnerability and put womenâs lives at risk. [caption id="attachment_2987" align="alignleft" width="300"] Screenshot of Women on Web site: www.womenonweb.org[/caption]
In 2004, Women on Waves (a Dutch non-profit organization) was the first to publish instructions for women about âhow to safely do an abortion yourselfâ with the use Misoprostol alone on its website. Although Misoprostol is registered in most countries, the organization learned through its email helpdesk that a lot of women cannot easily obtain Misoprostol or in some cases the abortion attempt failed. A new project called Women on Web was initiated to support women in countries where there are no safe abortion services. On the Women on Web website, women can do an interactive web-based medical consultation. The answers to the online consultation are reviewed by a doctor.  If there are no contraindications, a woman with an unwanted pregnancy till nine weeks can receive a medical abortion that is delivered by courier or mail to her home address. Women are closely guided in the process through a helpdesk in 12 different languages.  The helpdesk now answers over 100,000 emails per year. Scientific research about the Women on Web service showed that outcomes of care are in the same range as other medical abortion services. Internet and medical abortion were both revolutions in support of human rights.
While the Internet has the potential to support the freedom of information, the abortion pill has the potential to improve the health and lives of women. Unfortunately, as after every revolution that increases peopleâs freedoms, governments immediately started adapting and implementing regulations to keep it under control.
In most countries very strict regulations apply as to where and by whom the abortion pill can be provided.
The Internet is now used by governments for surveillance; breaching the human right to privacy of its citizens instead of guaranteeing the freedom of information. Fortunately, initiatives like Wikileaks can still also hold governments accountable for their actions.
Access to information on the Internet is now controlled by big companies like Google, which censors the available information. In 2008 Google wrote a notice that they had revised policy and would stop ads about safe abortion information that we used to reach out to women. We were surprised. This was information about life saving medicines. It turned out that Google decided to ban all ads with the word abortion.
The Health Equity and Law Clinic, Faculty of Law of the university of Toronto decided to take action and they wrote Google a letter expressing concerns about the adverse effect of the Revised Policy for women seeking safe and lawful abortion services. We argued that by restricting access to information, the Revised Policy may contribute to unsafe abortion in a manner inconsistent with human rights principles.  Access to information â the right to seek, receive and impart information on health issues â is a key determinant of access to health care. The Internet is a primary health information source. It is of particular importance to individuals who lack access to traditional sources of health information, require confidential and timely access to information, and seek services outside of their communities. Online advertisements that promote abortion services can improve access to information on the legal status of abortion and the availability of lawful services, and can thereby reduce recourse to unsafe abortion. In the letter we also respectfully requested the policy be reviewed and rescinded. Of course we never received a response.
(Full letter can be read http://www.womenonwaves.org/en/page/2310/pdf-letter-google)
Just a few weeks ago we decided to try again to place an ad in Arabic to be able to reach women in the Middle East with life saving information. But again Google disapproved the ad.
So to protect our freedom to information we all need to seriously start looking for alternative browsers and other Internet services on a large scale. We need to take our violations of the rights to privacy by governments very serious. We should all start using Tor to anonymize our Internet use.  Just as a principle. Because only if we all start doing that, the Internet will still have the capacity to support our human right to freedom of information.
šhttp://www.nytimes.com/1988/10/29/world/france-ordering-company-to-sell-its-abortion-drug.html?pagewanted=all&src=pmÂ
www.womenonwaves.org
Women on Waves
International Womenâs Day just passed on March 8th. A âholidayâ that feels only half resonant with some of us on ...
Mar 21, 2013
Center for Court Innovation At Kindle weâre always looking for projects that take a new approach to existing problem. Peacemaking in many forms is also a perpetual interest of ours. We have supported an array of peacemaking projects over the years. For example, with the Salam Institute for Peace and Justice we saw how Mohammed Abu-Nimer took peacemaking from academia to the Middle East. With Be Present, weâve learned how personal and social change stem from internal peacemaking. Now, with the Center for Court Innovationâs (CCI) new Peacemaking Program weâre learning how one organization is taking a traditional peacemaking approach and applying it to the court system in Redhook, Brooklyn.
Meshing a Native American method of problem solving with the contemporary court system, CCIâs unique modus operandi intrigued us. How could this work? What judge would agree to this? Could lawyers really be trained in peacemaking? These questions were not skeptical in nature, but rather came more from a place of genuine curiosity.
By training community members as peacemakers to offer their services to court cases involving young adults and teens, CCI practices this alternative adjudication process publicly, demonstrating a model of healing and community restoration within a system accustomed to models of power and opposition. With one formal process already underway, the CCIâs program is making big headway in the Brooklyn community. All involved participate on a voluntary basis, and this in itself an alterative model to traditional justice systems.
Below, CCIâs Peacemaking Program Director, Erika Sasson, has shared with us her story of transitioning from being a criminal prosecutor in Canada to her current work spearheading this unique project. Erikaâs words serve not only as testimony of how we can bring peacemaking into court systems, but also as a testament to how effective these methods are. This work is breaking the molds of what we imagine justice to be, and is reshaping them.
Red Hook Peacemaking Program: A different voice
by Erika Sasson
Iâm currently sitting in the Red Hook Community Justice Center in Brooklyn, N.Y. Once a catholic school, the building is now home to an innovative courthouse, one that specializes in applying new solutions to some age-old problems. One of the newest solutions weâre testing is our Peacemaking Program. Itâs a Native American-inspired approach to conflict resolution that weâre using to resolve criminal cases. Our program came into being after years of work with Native American tribes in the United States, and through the mentorship and generosity of many tribal judges and peacemakers who encouraged us to pursue the study and implementation of peacemaking.
Over the course of many months, we trained local volunteers to become peacemakers, and those volunteers are now working on their first cases. If the case has a victim (i.e. an assault between brothers or neighbors), our peacemakers will bring the conflicting parties together to discuss what happened and seek a consensus resolution; or, if itâs a crime against the community (drug sale, prostitution, etc.) the peacemakers work with the defendant to develop strategies for moving forward and out of a life of crime. At the start of each session, everyone is invited to share a light meal, in order to relax our participants and bring everyone together.š The peacemakers then open the discussion with a non-religious ceremony to set the tone, such as a moment of silence. The peacemakers ask questions in order to understand the incident, as well as the background and any underlying issues. Each person is given the chance to speak, and slowly the peacemakers help the participants move towards a concrete resolution by way of consensus. [caption id="attachment_2975" align="alignnone" width="1100"] Peacemakers in Redhook, Brooklyn. Leader of the program, Erika Sasson is pictured on the bottom row second from the left.[/caption]
Although weâre just at the beginning of this journey, our peacemakers have already demonstrated the extent to which they have internalized the approach to peacemaking taught by our Navajo mentors, including listening, showing empathy, sharing personal stories and scolding when necessary. Our peacemakers are also committed to the notion that the solution must originate with the participants--defendants and victims--for it to be long-lasting.
Although I find this work intuitive, my own path to peacemaking actually began in the conventional adversarial courtroom. My first job out of law school was for the Canadian federal government, where I eventually became a criminal prosecutor, mostly dealing with drug cases, and often involving small to medium-sized gangs, as well as guns. I worked in a very busy courthouse and learned to process cases as fast as I could. Even though the volume was tremendous, I was lucky to have a supervisor who instilled in her front-line prosecutors the importance of doing the right thing (as quickly as possible, of course).
Spending days and nights in a courthouse, I learned about how we organize our society and the inflated role played by the criminal justice system. Many of us suffer from a host of social ills, personality conflicts, physical and mental illness, addiction, power and abuse, and somehow these issues are packaged and rolled up into a singular notion of crime, and sent to the courts to solve. Needless to say, our criminal justice system can only do so much. Despite the best of intentions, it is necessarily limited in the types of remedies at its disposal, and in its ability to penetrate the surface, especially given the high volume.
In the course of prosecuting, I also learned about myself, and the kinds of interactions that appealed to me. I was, on the one hand, seduced by the power dynamics of the courthouse, especially the degree of power exercised by the prosecuting authority. But, as time went on, I began to seek different types of interactions with the people whose lives were being affected by our criminal process.
The courtroom is designed for the prosecutor to speak directly to a judge, most often with her back to the defendant. I started to feel that like I couldnât keep talking about someone without even making eye contact. I began to give my back ever so slightly to the judge, in order to face the defendant when speaking about her. I began to ask defense counsel to hear more about the people they were representing, and subsequent to sentencing, I would want to know how people were faring. I started to realize what a small piece of the picture I was getting, and I felt that the process placed too much emphasis on separation.
A few years later, and before embarking on the peacemaking project, I came by Carol Gilliganâs In a Different Voice. I had read the book a few years earlier, but I had a new opportunity to revisit it, and the words jumped out at me. In the book, which examines young Amy and Jake and their perceptions of the world around them, Gilligan wrote that Amyâs world was âa world of relationships and psychological truths where an awareness of the connection between people gives rise to a recognition of responsibility for one another, a perception of the need for response.â² [caption id="attachment_2976" align="alignnone" width="1100"] Program Participants.[/caption]
Since joining the Center for Court Innovationâs Tribal Justice Exchange in 2011, I can finally incorporate into my work with the courts âan awareness of the connection between people.â Peacemaking is, in a sense, that different voice. It allows our communities to recognize the connections between people and the responsibility we have for one another. By seeking to respond as a community to the problems we share, to restore relationships that have been damaged by crime, to resolve problems using consensus, to focus on listening to the stories underlying the issues, we allow an opportunity for different types of solutions. Although Iâm still a firm believer that the courtroom is necessary to establish boundaries for certain types of cases and offenders, Iâm grateful to be working with a different voice.
š We are indebted to the Kindle Project for providing the funds to ensure we can provide food at each peacemaking session.
² Carol Gilligan, In a Different Voice (Harvard University Press: Cambridge, Massachusetts, 1982) p.30
http://www.courtinnovation.org/Â
Center for Court Innovation
At Kindle weâre always looking for projects that take a new approach to existing problem. Peacemaking in many forms is ...
Mar 07, 2013
Center for Land Use Interpretation As youâve likely heard, a meteor landed on Earth last Friday. As I write this, people in Russia and Kazakhstan are dealing with the bizarre aftermath of this otherworldly event, a stark reminder of the fragility of the planet we live on. For decades to come, Russian and Kazak kids will perhaps revel in hunting for meteorites, relics of this disturbing albeit natural incident.
It is only natural for human beings to take an interest in collecting tokens of matter that have fallen from the sky, real and tangible pieces of natural history. However, what happens when our fragile planet is marked not only by out of orbit incidences, but by what we do to our planet ourselves? What about the relics that get left behind from our experiments? And not only what happens with them, but what can they teach us about the past and about where weâre headed?
Enter the field of Aviation Archaeology, a fascinating emerging field of study exploring the connection between land and sky, and how aviation experiments from the past have impacted and been documented in the planetâs landscape. The Center for Land Use Interpretation (CLUI), a self-ascribed âresearch organization involved in exploring, examining, and understanding land and landscape issuesâ, is making a public display of Aviation Archaeologyâs findings in their most recent exhibition, Down to Earth: Experimental Aircraft Crash Sites of the Mojave, taking place in Los Angeles, CA.
CLUI is a champion of questioning and documenting the United Statesâ terrain. They look at the landscape of the country and dissect it. They take forgotten fields and locations and make them known. They investigate the bizarre places that we, as humans, have altered, and make them part of the American landscape. They are creating a map for the seen and unseen oddities of this transforming planet, a map of human impact on Earth, in our country.
CLUIâs mission and how they execute it is nothing short of a wonder. Their websiteâs incredibly interactive Land Use Database is just one example of how they effectively educate the public of their work in ways that are at once creative, engaging and historical. Supporting them felt so important to us because we had never heard of anything like it. Theyâve taken on the arduous task of being archivists in ways that few others are. They are also the point at which independent historians and archeologists (like Peter W. Merlin, described below) can converge to share their unique work. As we continue to need to ask the questions about what weâre doing to our planet, why we are doing it, and what the consequences will be, CLUI is helping us find these vital and obscure answers.
Below, Matthew Coolidge (Director, CLUI) writes about the Down to Earth exhibit, and teaches us why Aviation Archaeology is an important field to pay attention to.
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Down to Earth: Thoughts on Airplane Crash Sites and Aviation Archeologists
by Matthew Coolidge, Director of the Center for Land Use Interpretation
The Center for Land Use Interpretation addresses a wide range of topics. Since all human activity plays out on (or over, or under) the ground, everything humans do can be considered from a âland useâ perspective, if you consider the term very literally, as we do. From this infinity of possibilities, we select themes to explore through our programming based on a number of criteria, some objective, some maybe less so, but always because they seem relevant to the conditions and times we are in, as a society, today. They often deal with the technologies of the modern world that sustain our way of life, and examine their effects on the land, culture, and collective psyche, hopefully revealing new perspectives and notions about things we take for granted, or do not think about much at all.
Aerospace, and the "sky/land" interface, is one of a few dozen recurring subjects for us, since its direct and indirect impacts are one of the dominant features of contemporary life in a global world. Itâs a technology that can seem abstract and esoteric, so we often try to bring it âdown to earth,â as they say, to address it by finding actual, physical places, which can be visited, that can be âground truthed,â to tell the story. And we try and find new and unusual ways in to a subject, often by finding experts in the field who are driven more by passion, then by economics. [caption id="attachment_2956" align="alignnone" width="1100"] Crash sites are usually remote, and sometimes have an area that is noticeably bare, like this one, near Harper Dry Lake, west of Barstow, California, where a supersonic B-1 bomber prototype crashed in 1984. CLUI photo, 2012.[/caption]
A good example is a new exhibit we just opened at our space in Los Angeles, about experimental aircraft crash sites in the Mojave Desert. The exhibit depicts and describes eleven incidents, selected to represent the range of advanced technology over 70 years of jet-powered flight, from a 1948 crash of a âflying wingâ to a 2009 crash of an advanced fighter plane, now part of the US Air Forces. The show is about technology, but more about the poetic implications of these âhigh impactâ land use sites, arbitrary drop points from above, that happened, literally, by accident. And why some people find them interesting enough to devote much of their free time to seeking them out, an activity known broadly as âwreck-finding,â and more officially, now, as âaviation archeology.â
Since the âRight Stuffâ- era, Edwards Air Force Base, north of Los Angeles, has been the principal place for testing experimental aircraft. As a result, the landscape around it is peppered with crash sites â more than 600 in the western Mojave Desert alone. While many of them occurred inside restricted military spaces, many more occurred on private and public land outside the reservations. Some crashes occurred next to homes, and state highways. Sometimes the pilot ejected safely, sometimes not. These are complicated and often tragic places. In all cases though, despite having been cleaned up by authorities immediately following the crash, fragments of the planes can still be found on site. They are monuments of disintegration, dissolving back into the ground.
The exhibit has been something we have been wanting to do for over a decade. It is based on the work of Peter W. Merlin, someone who I met in the mid 1990s, when I was working on an exhibition about the Nellis Range in Nevada, and a book about the Nevada Test Site. Though still quite young, Peter was already well on his way to becoming one of the nationâs experts on exotic aircraft development, and failure, and the history of the most secure aviation test site in the nation, popularly known as Area 51, located inside the Nellis Range. Even then he was one of the go-to guys for Discovery Channel producers to interview about what was âreallyâ going on inside this notoriously secret place. The thing was, he knew about that place as well as anybody who wasnât sworn to secrecy, so he could talk about it. And he found out by sleuthing through non-classified sources. [caption id="attachment_2960" align="alignleft" width="300"] Peter Merlin shows Aurora Tang of CLUI some of the small plane fragments still on the ground from a crash of an experimental high-performance jet, the X-31, less than half a mile from a house and a public highway, near Boron, California in 1995. In this case the pilot safely ejected. CLUI photo, 2012[/caption]
Unlike most people who were drawn to that place though, it wasnât the conspiratorial secrecy and the UFO theories that motivated him, it was a fascination with aircraft, and the missing chapters of aviation history that these secret test sites concealed. While access to the site and to official records was largely out of the question then, he found that visitation to crash sites outside the restricted areas was possible and provided material evidence of what landed there.
Over the past 25 years, he, often aided by his friend Tony Moore and others, has located and visited more than 100 crash sites of historic aircraft, flown out of Area 51, and Edwards Air Force Base. In nearly every case he was told the site was âlostâ and that everything had been removed anyways, so there was no point in trying to find it. But he found them, using clues from interviews with pilots, FOIA requests, and research in archives. Mostly though by days of repeated searches in the field, wandering around, lining up historic photos with subtle geographic features, like hills the distance, or small desert washes, while looking at the ground for incongruous fragments.
There is an established subculture of wreck-finders, some of whom publish books on small presses, and blog about their discoveries on the web. Pat Macha, for example, has been leading excursions into the mountains and deserts of California to find wreckage, mostly of civilian and old military training aircraft, for decades. Pete is not only interested in trophy hunting, and the personal thrill of discovery, though that is no doubt a factor â his backyard in Palmdale has a shed full of carefully bagged and logged pieces of hundreds of planes, including U2s, Blackbirds, and Russian Migâs â a fragmentary history of aviation indeed. The best pieces he finds though go to museums, such as the Air Force Flight Test Center Museum at Edwards, where his partner, Tony Moore, now works. [caption id="attachment_2961" align="alignnone" width="1100"] Titanium fragments of an A-12 "Oxcart," found by members of the CLUI at a crash site near Wendover, Utah, in 2011. The Oxcart, one of the most advanced aircraft ever made, was a flying camera, built by the CIA to replace the U2, and flown out of "Area 51" between 1962 and 1968. It was later developed into the more familiar SR-71 Blackbird. This crash occurred on public land, in 1963, when the plane's existence was still a closely-guarded secret.[/caption]
Pete, who met Tony while he was working as a baggage handler at Burbank Airport, also works on base now, as one of two archivists and historians at NASAâs Dryden Flight Research Center, still the nationâs leading location for experimental aircraft testing. He is now a respected member of the aviation history community. He is a great example of how impassioned âamateursâ are often the experts, especially on subjects that lie beyond the well-worn paths, and the confines of academia.
For more about the CLUI exhibit Down to Earth: Experimental Aircraft Crash Sites of the Mojave, go to http://www.clui.org/section/down-earth-experimental-aircraft-crash-sites-mojave
For more information Peter W. Merlinâs work, see http://www.dreamlandresort.com/team/peter.html
And his books: X-Plane Crashes â Exploring Experimental, Rocket Plane and Spycraft Incidents, Accidents and Crash Sites (Specialty Press, 2008), Breaking the Mishap Chain: Human Factors Lessons Learned from Aerospace Accidents and Incidents in Research, Flight Test, and Development, (NASA, 2012), and Crash Course: Lessons Learned from Accidents Involving Remotely Piloted and Autonomous Aircraft (NASA, 2013).
Center for Land Use Interpretation
As youâve likely heard, a meteor landed on Earth last Friday. As I write this, people in Russia and Kazakhstan ...
Feb 21, 2013
Citizen Koch We knew about Citizen Koch Directors, Tia Lessin and Carl Deal, from their Academy Award Nominated film Trouble the Water (2009) and from their work with Michael Moore on some of his groundbreaking films (Bowling for Columbine and Fahrenheit 9/11). This pair obviously has documentary cred, but when we heard they were making a new film about the 2010 Citizens United Supreme Court decision and its alarming fallout on the American people, we pounced on the chance to support them.
Citizen Koch illustrates the twisted and powerful influence that the Koch brothers have had on voter suppression in the United States at large. The film takes an in depth look into the lives of individuals in Wisconsin uncovering truths and stories from people where these brothersâ deep and creepy pockets and the Supreme Courtâs decision had the greatest impact.
While we havenât yet seen the whole film, many noteworthy reviews have acknowledged the importance of this project and its effective contribution to the arduous task of overturning the Citizen United ruling. This compelling piece of authentic storytelling by those directly engaged with the dramatic erosion of democracy in the United States is beyond a wake up call, it is a call to action.
Though the filmâs incredibly busy crew was still buzzing with the success of their premier at Sundance, we were lucky enough to catch up with one of the Directorâs, Tia Lessin, this month. She shares with us about not only their revelatory experiences at Sundance, but also their pressing and personal motivations in making this film, and where she sees the movement going from here. We are so honored to share her experience with the Kindle community and bring your attention to Citizen Koch, a brilliant example of social and economic justice education. Get involved here.Â
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httpv://youtu.be/kF9F6T8B9Mk
Reflection on CITIZEN KOCH
by Director, Tia Lessin
Last month we premiered our film CITIZEN KOCH at the Sundance Film Festival in Park City, Utah. What an adventure! We are so grateful to Sundance for giving us a chance to introduce this new documentary to the world, to the Kindle Project and other supporters for making the film possible, and to the audiences who attended the first screenings and so enthusiastically responded to the film.
One of the more memorable and satisfying experiences of Sundance are the Q and As after the screeningsâan opportunity to engage in person with some of the best audiences in the worldâand ours were especially lively. Â And you never know who will turn up.
A woman approached us after our second screening and told us that she had been an invited guest at one of billionaire Charles and David Kochâs biannual fundraising retreats--a secret convening of the countryâs wealthiest conservatives, Tea Party-aligned politicians, and right wing pundits --plotting how to deploy hundreds of millions of dollars to influence the outcome of elections. I took a step back. But instead of taking issue with the film, this stylish well-dressed woman told me: âyou have it rightâit is indeed a state by state strategy they are undertaking.â I asked her if she would take me as her plus one to the next retreat, but she declined with a laugh. I hadnât been joking.
In January 2011, the Kochâs private security goons kicked me out of the gathering in Palm Springs, California. But that didnât shut us down, in fact that experience compelled us to make CITIZEN KOCH. While the beginning of the money trail that corrupts democracy hides behind well-guarded banquet halls in private resorts, its corrosive consequences are glaringly apparent in workplaces, at family tables and in statehouses across America. And that is where CITIZEN KOCH begins.
Shortly after being ejected from the Koch fundraiser, we got a call from Carlâs brother, who works as a public university professor in Wisconsin. He told us âyou should be filming whatâs about to go down here.â Newly-elected Gov. Scott Walker, bankrolled by corporate money including the Koch fortune, had proposed eliminating collective bargaining rights for public employees, and tens of thousands of Wisconsinites were storming their statehouse in protest. Carl and I grabbed our gear and set out for Madison.
We came to understand the political drama unfolding in Wisconsin to be part of a concerted and nationwide strategy by extremists to super-enfranchise the wealthiest people and corporations through allowing unlimited (and undisclosed) donations, and to undermine the already diminished power of working and poor Americans with the passage of voter ID laws and efforts to break unions to diminish their ability to spend politically. Wisconsin was at the cutting edge of this strategy: we repeatedly heard Republican operatives say that Gov. Walkerâs Wisconsin was âa model for the country,â that his moves against organized labor would help pro-business Republicans gain control of elected offices throughout the country.
Following this story also gave us a chance to make sense of why so many working class Republicans support an agenda promoted by Americaâs wealthiest. We have long wondered what it would take to change that dynamic, and in Wisconsin, we found out.
As protesting crowds rattled Madisonâs Capitol rotunda, we were struck by the widespread outrage Gov. Walker had provoked. It was coming not just from the usual activists, but from a groundswell of citizens who understood that Walker was betraying Wisconsinâs legacy of democratic values. We met state workersâstaunch, life-long Republicansâwho had concluded that Walkerâs radical policies would undercut their familiesâ modest standard of living and dishonor their life-long commitment to public service.
Neither of us live in Wisconsin. Carl grew up in the Midwest, I grew up in Washington, DC. But as we watched and listened to a growing chorus of politicians and strategists like Tim Phillips from the Kochâs Americans for Prosperity cast aspersions on public employees, it felt personal. My parents were both federal civil servants â my father at the EPA regulating carcinogens, my mother at the justice department administering federal funding to state and local law enforcement agencies. Carlâs father was a public university librarian, and his mother taught in an elementary school. They all chose government service for the security it brought to our families, and also because on some level for them it fulfilled a sense of commitment to the common good. When did they become the enemy? When did WE become the enemy?
In our first feature length film, TROUBLE THE WATER, we documented the aftermath of the breaching of the levees in New Orleans. Making that film, we saw first-hand what an America with no government services looks likeânot just in the days and weeks after the disaster, but in the years leading up to it.
Today, the dismantling of the public sector and the vital services it provides has become the cornerstone of a political ideology embraced by the Kochs and others on the extreme right. Looking back, post-Katrina New Orleans now seems a logical extension of their vision for America.
The most frequent question we encountered during our Q and A sessions was whether or not we thought outside spending in electoral politics was still an issue: after all, Barack Obama withstood a barrage of corporate money in November 2012. We believe that Obamaâs victory was a false positive. Moving beyond 2012, we expect money to become an even greater influence as Koch Industries and other corporate interests continue to move aggressively to neutralize the Democratsâ ground game (ie take out organized labor) and pour money into state and local races where the laws that define how our Democracy functions are passed. The big spenders are doubling down for the next election, and beyond.
In December 2012, as we were finishing CITIZEN KOCH in preparation for Sundance, the Kochs made an announcement that they were postponing their next fundraising retreat: âWe are working hard to understand the election results, and based on that analysis, to re-examine our vision and the strategies and capabilities required for successâŚit will be several months before the state data necessary to complete this analysis is available.â
As Dee Ives, a nurse at a veterans home in Wisconsin and a lifelong Republican, told us the morning after her Governor was re-elected after outspending his opponent 8-1: âWatch out America, theyâre coming for you next.â ![]()
Citizen Koch
We knew about Citizen Koch Directors, Tia Lessin and Carl Deal, from their Academy Award Nominated film Trouble the Water ...
Feb 08, 2013
New Energy Economy Want to know how to erect a national monument? Ask the folks at New Energy Economy (NEE). As I write these words, there is quite likely a conversation happening somewhere in Washington about the Rio Grande del Norte and its consideration for National Monument status.
When I spoke with Mariel Nanasi, NEEâs Executive Director, about the evolution of this project, she explained a complex and powerful fusion of grassroots organizing, activism and art. At the point when the coalition of many organizations and individuals working to protect the Rio Grande had been so immense and enduring that many of the involved parties were close to a state of burn out, a seemingly unlikely suggestion was made. As these organizers were considering the various legislative strategies they may employ to implement the monument status, a funder approached Mariel and proposed they make a book about the people of New Mexico and their love of the land to help their cause.
I must admit, at this point in her story I had a quick moment of skepticism wondering how a book could have an impact on changing legislation, especially a book that was essentially a love letter from the people of the region to the land. I loved the idea, and I love the book, which can be viewed online here, but wondered about the kind of impact it could have.
As Mariel told me more, my skepticism was instantly washed away. Her accounts of being on location and the tales of the people she photographed showed me that this was no ordinary project, and gave me confidence in the power of this unique collection of human sentiment to move the hearts of the politicians who would come to see it, including President Obama himself.
Having a river and a region considered for National Monument status is indeed a serious task. In Marielâs words, âI have never worked on a project that was more about love of place.â To learn more about how this love of place was transformed into this vast accomplishment, read Marielâs testimony below. Join us and the NEE team in waiting with anticipation to hear the decision of our countyâs legislators on the future status of this precious land.
New Energy Economy has been a part of the Kindle community since 2010. Their work spans from placing solar panels on local business to advocating at the legislative level for clean energy standards in New Mexico to empowering Native communities to make clean air decisions. Their website is filled with information and resources, be sure to check it out.
Protecting the Rio Grande del Norte
by Mariel Nanasi
I was approached by a friend who had been working in coalition for years to bring about the permanent protection of the Rio Grande del Norte. He was worn-out and asked me if we could work together and strategize anew.
Biologically diverse and spectacular, the Rio Grande del Norte is a swath of northern New Mexico wilderness spanning 236,000 acres. It is a rich wildlife habitat that offers a paradise for backcountry hiking and fishing, traditional land uses like hunting and gathering, an outstanding place for observing nature in all of its splendor, and a refuge offering solitude and spiritual rejuvenation. Multiple attempts to advance legislation over the past 10 years in the House of Representatives and Senate to conserve this vital area had died.
How could we spice up the organizing efforts? How could we reach the people in power to act quickly and effectively? We figured out that the key to shaking the political stagnation out of its legislative gridlock was to touch the hearts of our sympathetic Congressional delegation and Secretary of the Interior Ken Salazar, and have them ask President Obama to invoke his powers under the Antiquities Act to declare the Rio Grande del Norte a National Monument.
Our first idea was to create a photography book that depicted the way a diverse people interact with and love the Rio Grande del Norte. The breadth and depth of bi-partisan support for preservation of the Rio Grande del Norte transcends age, ethnicity and profession. I wanted to communicate how despite our individual differences that our lifestyle, traditions, livelihood and culture are all tied to this land.
We took photographs of Hispanics, Native Americans, and Anglos. We showcased anglers in the water, a falconer, hikers, veterans, artists, a health insurance agent, a stock broker, farmers, business owners, students, a brewer, ranchers, tourists, writers, a bank teller, hunters, and more. We pictured them in the place they love doing what they love. It was one of the most fun projects I have ever been engaged in because people were unabashed advocates for the place they treasure.
A collage was made of the people photographed and we bought advertising on the outside of buses that featured the collage with a bold and simple message: âJoin Us and Protect The Rio Grande del Norte.â We sent a delegation of three people featured in the book to Washington to hand delivery the book to our Senators and Congressmen. We got unanimous Resolutions passed by the City of Santa Fe and the County of Taos in support of permanent protection, and those governing bodies sent their Resolutions to the Congressional delegation. We were strategic in choosing key stakeholders to meet with and show up at events (even tennis tournaments and parties) and intercept the Congresspersons and let them know how much we wanted the Rio Grande del Norte National Monument.
You can see for yourselves if we were successful in getting our message across. In a joint letter to President Obama, Congressmen Heinrich and Lujan referred to the book by saying: âThe Rio Grande del Norte: One Hundred New Mexican Speak for a Legacy showcases the faces and voices of 100 New Mexicans who work, play, cherish and live near the Rio Grande del Norte; and they share, in their own words, why these public lands must be protected.â Secretary of Interior Ken Salazarâs response to the Congressmen, on behalf of President Obama, called the book âan excellent representation of the magnificence of this special place.â The book is prominently displayed in Senators Bingaman (ret.) and Udallâs offices and when Ken Salazar autographed my copy he wrote: âThanks for the dream.â
People noticed, the coalition was reinvigorated, and the whole campaign was much better off. We interacted meaningfully with those we photographed and in turn they became advocates. We took creative and artistic risks, and leveraged the umph that we generated.
The Rio Grande del Norte is a national treasure and we expect it will be declared a National Monument under the Antiquities Act by President Barack Obama any day now. On the hundredth year anniversary of the State of New Mexico, a National Monument designation is a fitting way to honor our people, our state.
You can see The Rio Grande del Norte: One Hundred New Mexican Speak for a Legacy at:Â http://newenergyeconomy.org/protecting-the-rio-grande-del-norte/ ![]()
New Energy Economy
Want to know how to erect a national monument? Ask the folks at New Energy Economy (NEE). As I write ...
Jan 24, 2013
Dirty Wars I can think of no better way to start this year off than to share with you news of Dirty Wars, a film we have been supporting since 2011. We are thrilled to finally be sharing our partnership in this monumental documentary with you. With its premiere in the U.S. Documentary Competition coming up at Sundance this month, it is time for the Kindle community to know about Dirty Wars and the incredible people that made this film.
From the moment we first heard about this project, we were absolutely sure it was a perfect fit for Kindle. Long time fans of Jeremy Scahill and Big Noise Films, we were certain of their collaborative capacity as investigative journalists and filmmakers to uncover the most pressing and alarming details behind Americaâs covert wars with expert quality and utmost integrity.
Kindle has always been a believer in the transformative power of documentary. Whether a strong doc transforms personal belief or policy, or transforms what we thought we knew about any given issue, the documentary medium is one weâre perpetually interested in supporting. Dirty Wars was especially compelling to us not only because of its stellar producers, director and characters, but also because its subject matter will likely inform one of the most important conversations about war, justice, human rights and international relations this year.
Below, the filmâs Director, Richard Rowley, talks about the project on the Sundance site. His last words in this short interview describe the projectâs purpose: Dirty Wars âwill show people a war that is being fought in their name that they know next to nothing about.â
httpv://www.youtube.com/watch?v=n5-XIt45EVs
I was fortunate enough to see some of the footage of Dirty Wars some months ago. I sat at my desk too shocked to cry, and too disturbed to move. I fancy myself an informed person, but what I was seeing was not only atrocious but I also had next to no previous notion of it. Through Jeremyâs writing in The Nation, I was beginning to learn about some of the regions covered in the film and Americaâs duplicitous involvement there. However, the footage from Dirty Wars exposed me to a wealth of information that I had not been aware of and led me to deeply question what I thought I knew about Americanâs involvement abroad. Not only was the footage beautifully shot and narrated, but the distressing stories will surely create a groundbreaking film with an absolutely essential message.
Bringing itsâ viewers new information, intelligence, and on the ground reporting, Dirty Wars is nothing short of a documentary feat. Below, the filmâs producers, Brenda Coughlin and Anthony Arnove, give us a deeper understanding of what goes into making a film like this, the challenges they faced, and the vital importance of funding documentary productions.
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On Dirty Wars
by Brenda Coughlin and Anthony Arnove
When we heard the news that the film Dirty Wars had been accepted to the US documentary competition for the Sundance Film festival, which is taking place later this month in Park City, UT, one of the first people we wanted to share the good news with was Kindle Project.
â¨â¨Kindle Project had been with us from the earliest stages of the project and had given us support at a time when we were just setting out on the process of making a film that posed a series of new challenges for us. Among them: how do we secure kidnap, ransom, and dismemberment insurance for our filmmaking team.
â¨â¨In Dirty Wars, Investigative journalist Jeremy Scahill is pulled into an unexpected journey as he chases down the hidden truth behind Americaâs expanding covert wars. The journey took Scahill and our director and cinematographer Richard Rowley to Somalia, Yemen, Afghanistan, and Kenya. While they are both experienced unembedded journalists, and have reported from war zones for years, the security risks were significant. We also had to protect footage -- and protect sources, including an anonymous insider from with the secretive world of U.S. Special Forces who appears with his identity disguised in the film.
[caption id="attachment_2930" align="alignleft" width="300"] Dirty Wars Still: Jeremy Scahill in Afghanistan[/caption]
In the end, we were able to get insurance through a bank in England, but not after other insurance companies had turned us down.
Kindle Project also made it possible for us to finance our film entirely independently. As producers of the film, one of our main goals was to give Scahill and Rowley complete editorial independence, allowing them to tell the story how they wanted to tell it, without compromise. We also wanted to ensure that whenever we were in a position to bring the film out in the world -- as we will be doing in 2013 -- we can make decisions based on how we can reach the widest audience and have the greatest educational impact, not based on financial considerations.
â¨â¨Filmmaker Richard Rowley of Big Noise Films (Fourth World War, Zapatista) first met investigative journalist Jeremy Scahill when they were working in the war zones of Iraq and Afghanistan. Both had worked for independent broadcast outlets and international networks reporting on overlooked stories in the wars there and in other countries. After the breakout success of Scahillâs book Blackwater, which became a New York Times and an international bestseller and thrust Scahill into the media spotlight, Rowley and Scahill collaborated on a short film, Blackwaterâs Youngest Victim, about the deadly Nisour square Shooting in Baghdad in September 2007, in which mercenaries of the Blackwater company killed seventeen civilians, including nine-year-old Ali Mohammed Hafedh Kinani.
Around the time of the filmâs release, in 2010, Scahill was in the planning stages of a new book-length project, exploring the expansion of covert wars and the rise of the secretive extremely powerful Joint Special Operations Command (JSOC). Scahill had been approached by filmmakers about making a feature film or documentary based on Blackwater after the release of the book in 2007, but this time, Scahill didnât want to wait until the end of the book writing process to explore the filmmaking possibilities. He turned to Rowley to working alongside him from the outset in the course of his investigation.
Many fine documentaries have been filmed as a companion or interpretation of a work of nonfiction writing. But Scahill and Rowley set out with a different goal: not to make a documentary based on the forthcoming book Dirty Wars, which will be published in April 2013, but to make a film that stood entirely in its own right, using all of the power of the documentary form. This is not a film of a book. Nor is the book based on a film. They are different lenses into a compelling, complex story that cannot be fully explored in either genre alone.
As Rowley notes, âThe film that will premiere at Sundance looks and feels nothing like the film we set out to shoot.â But in the end -- thanks to the help of Kindle Project and a few other vital allies -- all of us who worked on Dirty Wars feel we have found a way to tell the story we wanted to tell.
filmguide.sundance.org/film/13073/dirty_wars
dirtywars.org/ ![]()
Dirty Wars
I can think of no better way to start this year off than to share with you news of Dirty ...
Jan 11, 2013
Marjane Satrapi Recently, I was talking with a friend about Kindleâs 2012 Makers Muse Recipients. This friend happens to be Iranian, and when we came to Marjane Satrapiâs name, she got a little gleeful. Her husband had never heard of Satrapi, and my friend proceeded to explain why she loved Satrapiâs work so much, adding in, âAnd itâs not just because sheâs Iranian that sheâs so great, sheâs an incredible artist and writer!â I couldnât have said it better myself.
Sometimes, in the art world, an artist gets extra recognition and accolades based on their place of origin. It is as if there is a need to fill a certain diversity quota in terms of what art we find meaning in. While Marjane is from Iran, and we do admit to being attracted to supporting women of color from often-misrepresented countries, in the case of Marjane Satrapi we were drawn to her based on a true love of her work. It is her whole person, her writings, her films, and her style that made us choose her as a Makers Muse Recipient.
Marjane gives her audiences permission to talk about identity, sex, government, sense of place, and love. Her works are as much enchanting as they are brazen. Somehow, she makes magic cool and romance mysterious again. Michael Cavna captured her essence perfectly in a forthright interview in The Washington Post, âEverything Marjane Satrapi touches, no matter how dark, feels laced with joyâ. Dark yet vulnerable, joyful yet filled with sorrow; this is her work. Like invented memories of mystics poets with high heels and cigarettes, Marjane is trailblazing a place for women in a variety of genres.
All of us on the Kindle team read Persepolis when it came out just over ten years ago. It was a kind of revelation and even a revolution that so many of us could relate to her stories of growing up during and after the Islamic Revolution in Iran. Better yet, it was comic novel written by a woman about womanhood! Weâd never seen anything like it before and have been fervent fans of work ever since. From Persepolis II to Embroideries, we read her works voraciously, and then sat in waiting as her films began their releases.
[embed]http://vimeo.com/392358[/embed]
Her sense of aesthetic playfulness combined with her very contemporary and female voice is one of the contradicting combinations we adore about her. Her work is not only deeply revered (Persepolis was nominated for an Oscar in 2008), but widely admired and has enjoyed international success. In the clip below, Marjane speaks to the universality of her work when discussing her most recent film, Chicken With Plums.
httpv://www.youtube.com/watch?v=VM4gGHS4d5I
Marjaneâs ability to build bridges without kitsch or tricks and to create work without apology or assumption is what has made her a truly inspiring Makers Muse Recipient. Thank you, Marjane, for your wonderful contributions. We canât wait to see what youâll come up with next!
Keep up to date with Marjane's work via her Facebook page.
Marjane Satrapi
Recently, I was talking with a friend about Kindleâs 2012 Makers Muse Recipients. This friend happens to be Iranian, and ...
Dec 27, 2012
Dynasty Handbag
You may remember meeting Jibz Cameron (a.k.a Dynasty Handbag) from our candid Brooklyn interview with her this past spring. Sheâs as disarming and vulnerable as she is quirky and high-quality bizarre. This time around, we get an exclusive Dynasty Handbag experience.
On stage, Jibzâs alter ego is a conduit for the musings of the primal mind and body. Wild, uncensored, and unabashed, she is not definable or contained, but is a character that results in the allowance of oneâs deepest and strangest impulses. The creation that is Dynasty Handbag is a unique expression of character, raw human behavior, and humor.
As part of our 2012 Makers Muse crew, Dynasty Handbag brings something completely different to the table. She is a performing artist with the panache and sometimes-blatant sub-text of a cutting edge feminist drizzled with the gall and glitter of an 80âs workout queen. Thanks to remarkable contortion abilities, her characterization as Dynasty handbag includes dramatic altering of her, face making her physicality as much a part of her performances as her strangely wonderful videos and sound installations.
Below, we get to see a provocative daily account of Dynasty Handbagâs internal world: a weekâs log of her to-do lists, a special creation from a performer who begs us to let out our inner weird to see our inner awesome.
Thanks DH!
â˘â˘â˘ Dear Fans,
In order to create more accountability for my actions, I decided to share with you my to do lists for the week. Â I have been reading that when you share your tasks with others it makes it easier to stay on top of things. Â I am hoping I can get some support with these things, since it is so hard to manage my time being an independent contractor and all. Â I am sure you understand, as most of you are artists, freelance caterers, "consultants" etc...
Thanks for listening,
Love Dynasty Handbag
Dec 1, 2012
1. wash leotards (just crotches)
2. take Steve in for a mane wash/brush and fang scrub
3. change the patriarchal structure of the art world to include more shared authorship works and an equal amount of female artists in all national museums and galleries
4. fresh direct order
Dec 2, 2012
1. rewash leotards crotches with REAL detergent. Â "all natural" clearly means "all natural shit still left in your fucking clothes after you wash them with this useless crap"
2. drain jello from jacuzzi, replace with wheatgrass (health kick regiment, day 1)
3. make psychic contact with dead great great grandma to inquire about history of family members with mental health issues, alcoholism and murdering to somehow feel justified in my behavior and more at ease with myself/less resposible for actions.
Dec 3, 2012
1. put on groovy record, point left foot, swing leg up to mid-thigh area, spin about clockwise, lift elbows by ears, wiggle eyes side to side, shake fingers up to the heavens, grab a snake, shake snake
at the heavens, clap and stop and punch self in face, bleed on carpet, get on hands and knees, rub face into bloody carpet, look for loose change in carpet, find a quarter and 2 pennies and a old rubber band, a staple and some sun flower seed shells.
2. Â go to candy store with recently found 27 cents.
3. ask candy store man what I can get for 27 cents.
4. cry and cry as candy store man tells me "nothin kid! get the hell outta here what do you think this is, 1937! Â its 1994 and you can't even get 1/2 a mini bottle of Zima, Zomething different, Â go cry to your mommy you dirty bum!
5. cry to mommy
6. don't get needs emotionally met by mommy
7. go to daddy
8. daddy is busy
9. act out with local ruffians to get attention
10. keep repeating steps 5 - 10. forever.
Dec 4, 2012
1. sleep in, long day yesterday!
2. mani/pedi
3. fucky/sucky
Dec 5, 2012
1. singular sensation
2. every little step she takes
1. thrilling combination
2. everything move that she makes
1. smile and suddenly
2. nobody else will do
1. you know you'll never be lonely with YOU KNOW WHO
2. 1 moment in her presence and you can forget the rest
1. for the girl whos 2'd best
2. to none
Dec 6, 2012
1. stay in fantasy as much as possible to as to not have to face the reality of todays pain.
Dec 7, 2012
1. look up the following:
- difference between congress and senate
- why are soy products "bad" for you
- why doesn't the US use the metric system, still, who benefits? Â besides ruler manufacturers.
- what are those painful white bumps I sometimes get on my tongue
2. keep dying, every day, every moment, to awaken and live again, every day, every moment.
3. wash car, MYSELF, do NOT pay for it! Its a waste of money and water. Â Don't be lazy about this.
Dynasty Handbag
You may remember meeting Jibz Cameron (a.k.a Dynasty Handbag) from our candid Brooklyn interview with her this past spring. Sheâs ...
Dec 13, 2012
Announcement of Autumn 2012 Grantees! As the year draws to a close and 2012 may or may not signal the end of the world, we thought it only fitting that we wrap up this calendar year with a bang. Kindle Project Fund of the Common Counsel Foundation is pleased to introduce you to our Autumn grantees, whom we are so excited to welcome into ourKindle nook. These organizations and projects make up a strong network of dynamic risk-takers, pioneers, edge-walkers and community builders in some incredible fields that need our focused attention.
With nine new and six returning grantees on our docket this winter, we have an exciting year ahead. Â We hope you will be as thrilled as we have been to learn more about their work, the people within these groups, and the movements that they are helping to grow and shift. From and with them, and with you, weâll be learning about topics ranging from money in the US electorate to the creative use of gastronomy in the food justice movement, and so much in between! The creative and committed endeavors represented by our November 2012 grantees is nothing short of inspiring, a loud and clear call to action on so many fronts.
With voices strong, minds open, and brains collaborating, we are certain youâll want to join us in 2013 as we get to know these folks and their work. Keep in touch with them here on our blog, check out their blogs and websites, and remember to stay informed with all kinds of Kindle news on our Facebook page. You can also visit the Nexus page on our website to see this list along with our Spring grantees. What a great year!
Announcement of Autumn 2012 Grantees!
As the year draws to a close and 2012 may or may not signal the end of the world, we ...
Dec 11, 2012
Announcement of Kindle Project Photography Awards We are honored to announce the recipients of our first
Kindle Project Photography Awards
Agnes Thor
Marie-JosĂŠ Jongerius
Taiyo Onorato and Nico Krebs
This award has come out of a partnership between Kindle Project and Capricious Magazine, wherein we collaborated in an international call for submissions for their 13th issue focused on the theme of water.
As our global landscape continues to oscillate unpredictably with climate change and powerful emergent social movements, water resource is at the forefront of our minds. From water scarcity to excess, the contentious access between the haves and have-nots, from floods to drought, water is the issue of our time. Our longtime support of the arts and of social and environmental justice movements, combined with Capriciousâ impeccable reputation and eye for emerging photographers made our collaboration with Capricious a natural one.
Chosen from hundreds of submissions, we used our combined and varied expertise to carefully consider many talented photographers. Our committee of four (Sophie Morner, Sadaf Cameron, Karen Codd, and Arianne Shaffer) met in Brooklyn, NY at the Capricious office to deliberate over images from around the world. We considered which photographers represented Kindle Projectâs and Capriciousâ fused missions. We chose those who had promising bodies of work that contributed to the conversation on water, eliciting powerful intellectual and emotional responses.
Each photographer we chose spoke to the high aesthetic standard of Capricious and to one of the central missions of Kindle Project: to bring about awareness and change through art. These unique and careful representations exhibited artistic skill and the breadth by which photographers are tackling perspectives of water in its many forms.
Playful and political, these three awardees have submitted exemplary works that are well deserving of recognition and congratulation.
CAPRICIOUS No. 13 â WATER coming this December to bookshops internationally, and online. And made first available through Art Basel and NADA in Miami, FL.
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Agnes Thor
www.agneskarin.se Agnes Thor, born in 1986, works as a photographer in New York City. Originally from Sweden and with a BA in Photography from School of Photography in Gothenburg she often works with photographic docufiction. By combining motifs from different places and times and taking landscapes and people out of its context, she creates new visual stories based on reality but with a fictional content. Her work is greatly influenced by nature and it either functions as a background and subject. Another strong influence and subject in her work is the area and population surrounding her childhood home in the countryside of Sweden.
Her works have been exhibited worldwide, most recently at the Terra Cognita Festival in The Netherlands and in a solo show at Kumla Konsthall in Sweden. In 2010 her first book Aurora Borealis was published by MĂśrel Books. She is currently working on a larger project revolving around life and death in combination with smaller projects during her travels.
Marie-JosĂŠ Jongerius
www.edgesoftheexperiment.org  In my landscape pictures I look for bounderies, limits and edges between nature and the manmade world. Where are the interfaces between the organic and the artificial world, and do they fail or succeed. I want to tell stories about mankind not by making pictures of them, but by making pictures of the traces they leave behind in the land.
The photographic essay, âEdges of the Experiment,â explores the liminal relationship between natural and man-made environments. Taken at various locations across the American Southwest over several years, these images attempt to locate interfaces between organic and artificial worlds as tangible borders that question sustainability on both sides of the line.
Marie-JosĂŠÂ Jongerius observes geography with an attentive eye for those remarkable details that make up our daily lives, and asks the viewer to consider where we live and how we relate to our respective environments.
Taiyo Onorato and Nico Krebs
www.tonk.chÂ
Taiyo Onorato and Nico Krebs (both *1979) studied Photography at the University of the Arts in Zurich. They started collaborating in 2003 and have been working together since.
Their practice combines Photography with sculptural, performative and installational parts. Since 2005 they have been exhibiting their work internationally, Solo Shows include PS1 MoMA (2006), Swiss Institute NYC (2008), Kunsthaus Aargau (2009), EX3 Firenze (2010), Kunsthalle Mainz (2011) and MaMM Moscow (2012).
Their first Artist Book, âThe Great Unrealâ, published by Edition Patrick Frey, 2009, won numerous prizes and is now in its 2nd Edition.
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The Kindle Project Photography Awards are made possible through the Kindle Project LLC.
Announcement of Kindle Project Photography Awards
We are honored to announce the recipients of our first Kindle Project Photography Awards Agnes Thor Marie-JosĂŠ Jongerius Taiyo Onorato and Nico Krebs This ...
Dec 05, 2012
Carlos Motta Gender has been on our minds a lot lately. A record breaking number of women were voted into Congress in this yearâs election (including the first openly gay Congresswoman, Tammy Baldwin and the first openly bisexual member of Congress, Kyrsten Sinema), the Canadian federal bill C-279 is on the table to incorporate gender identity as a part of Canadaâs Human Rightâs Act, and the 14th International Transgender Day of Remembrance just took place on November 20th. Given this seemingly historical climate, featuring Carlos Motta (Makers Muse Recipient) and his work is not only timely, but essential.
As conversations about gender identity politics, rights and advocacy are stronger and more commonplace than ever, the background is now in place for a more widespread and inclusive dialogue around these topics. We have come to a place where hetero-normative gender constructs have a face and a voice in the media, in politics, and in dominant culture. However, these individuals and communities are still vastly marginalized. There are still many people who may be questioning these subjects, or holding prejudices or false perceptions around them, yet have no access to the dialogue. The role of the arts in facilitating these conversations is becoming of utmost importance.
Enter Carlos Motta. As a multimedia artist, his work lays at the intersections of contemporary art, gender, human rights and critical thought. Carlos creates multimedia and interactive opportunities, using video, installation, interviews and lectures, facilitating the public to engage with and explore these subjects at personal and political levels. By participating in his works, diverse audiences can gain a deeper and broader understanding of the kinds of issues that gender and sexual identity politics are facing in our societies. He is able to bend minds and hearts to realize the full complexity of these issues, through experience.
Carlosâ most recent installation at the New Museum in New York, We Who Feel Differently, allowed him to document and present varying perspectives on how several ranges of minority groups are working to transform and challenge oppressive systems. One of the brightest minds and talents on this subject, his thought-provoking and beautiful series of works challenge the layers of assumptions, discomforts, and misinformation surrounding a whole swath of gender and identity questions. Through careful execution, he assures accessibility and creates a safe space for the interactive participant to hear and see other peopleâs real stories of gender, and to express their own as well.
In his innovative multimedia and inter-genre explorations of his subjects, Carlos leaves no stone unturned. Browsing the interviews from the We Who Feel Differently project gives us insight into the earnestness of his work. It is both an archival experiment of peopleâs unique stories and a segue into the work Carlos is creating next.
Below, Carlos shared with us an update of his recent work and an explanation into the new projects on the horizon. We are proud to support Carlos and artists like him, acknowledging their crucial role in leading the way for true change in North Americaâs concept of gender identity.
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An Upate from Carlos Motta
 âWe Who Feel Differently: A Manifestoâ proposes a set of concrete demands. Demands, however, which are almost impossible to accomplish since they specifically advocate for an absolute transformation of the system as we know it, the abolition of discriminatory administrative and bureaucratic traps that determine legislative action and the religious morality that fuels the harmful prejudices that influence cultural imagination. All these systems were created by a heteronormative, masculinist and racist visions of the world and with the idea of what constitutes a âgood life.â
During the past 3 years I worked on âWe Who Feel Differently,â a project that attempts to document the work that Lesbian, Gay, Bisexual, Trans, Intersex, Queer and Questioning activists, academics, artists, and lawyers, amongst many others, have been developing in order to transform that oppressive system. The project puts forth the idea of (sexual and gender) difference as a positive category to publicly assert a political agenda based on models of intersectional solidarity with other âminorityâ groups.
[gallery columns="2" ids="2683,2693,2680,2681,2679,2682,2684,2690,2691,2692"]
I was interested in developing a multimedia context where the articulation of this agenda could be a platform to document and further develop a history of radical politics regarding sexual orientation and gender identity. As such the web portal, wewhofeeldifferently.info, functions as an archive-in-construction; social events held in a variety of cultural institutions function as discursive spaces to disseminate and produce knowledge; the video installation functions as a physical manifestation of the material; and the book carefully proposes five thematic threads, which include discussion around equality, democracy, citizenship, gender identity, HIV/Aids activism, art and other cultural and social issues (wewhofeeldifferently.info/themes.php).
This past summer I had the wonderful opportunity to stage all these elements at the New Museum in New York (http://www.newmuseum.org/exhibitions/view/carlos-motta-we-who-feel-differently) where an enthusiastic community formed around the project and came back again and again for the different elements of the program. Having the chance to speak from âthe center,â from such a mainstream institution, about âthe marginsâ was a strong political gesture and enabled international and intergenerational visitors to face issues they may or may not be used to.
Inspired by one of âWe Who Feel Differentlyâsâ central themes, the politics of gender identity, I started producing a new project titled âGender Talents,â an experimental documentary and video installation about how groups of transgender, intersex, gender-benders and neutral-gender advocates are constructing alternative gender identities in a transphobic world defined by rigid perceptions of gender as categorically binary: man/woman. âGender Talentsâ intends to document different approaches towards building politics of gender self-determination in different geographic and cultural contexts by looking at the specific work of organizations and activists working to advance the rights of gender non conforming (Trans, Intersex, Hijra) communities in Argentina, Australia, Colombia, India, South Africa and the United States.
I am interested in exposing the very specific and nuanced set of circumstances faced by these populations by closely documenting key aspects of their work: How do you build a discourse of self-empowerment? How do you construct a legal framework within the specific cultural and religious place that some Trans identities play in society? How does class reflect itself in these matters? What are the key social and political challenges faced by a social-work organization? How can Trans, Intersex and and Hijra populations continue to work towards building a better life?
âGender Talentsâ is very much in progress, with an estimated premiere date of late 2014, but I will be presenting a series of in-production âmoments,â projects and programs such as the upcoming âSpecial Address: A Symposiumâ and âEuphoric Deviationsâ at Tate Modernâs The Tanks in London on February 2, 2013. Commissioned by Electra and Tate Modern this is a two- part event, which through concrete, theoretical and abstract routes seeks to radically depart from the binary logic of sexual and gender representation.
The first chapter, Special Address: A Symposium, convenes an international group of thinkers, activists, and artists in a performative symposium using the proposition and manifesto as structuring devices and starting points for discussion. These âspecial addressesâ will explore models and strategies to transform the ways in which society perversely defines and regulates bodies and asks what is at stake when collapsing, inverting or abandoning the gender binary. A fantastic group of participants has accepted my invitation: Arakis Xabier Arakistain, J. Jack Halberstam, Esben Esther Pirelli Benestad, Beatriz Preciado, Dean Spade, Terre Thaemlitz, Wu Tsang and Del LaGrace Volcano.
The second part is Euphoric Deviations, a performance conceived in collaboration with choreographer Matthias Sperling. The work attends to movement as a means of exploring the connections between collective politics and a sense of the individual. Based on a choreographic score of performative tasks that engage thirteen performers in individual decision-making processes, Euphoric Deviations abstractly asks how self-determination is both a deeply personal project and continuously negotiated in relation to others.
 http://carlosmotta.com/
Carlos Motta
Gender has been on our minds a lot lately. A record breaking number of women were voted into Congress in ...
Nov 29, 2012
Miranda July Recently, on Instagram, I saw that Miranda July had become a verb when someone photographed a pair of her own red shoes that she had written on. The left shoe read, âMeâ, the right, âYouâ and her toes were pointing to one another. The caption read: âIâve Miranda Julyed my flats.â You know you have an avant-guard influence when youâve become a verb on Instagram.
As the author, filmmaker, and performance artist of many cult favorites, Miranda July is a name youâve likely heard before. From her viral book launch website, http://noonebelongsheremorethanyou.com/, to her award winning film, Me and You and Everyone we Know, Mirandaâs works has wowed audiences in private and public ways. Her projects take you in slowly, begging self-reflection and inquisitiveness, and many of her performances involve audience participation and on-the-spot creation.
Even though she is young, (still under 40), I donât think itâs too soon to call her a prolific artist. She continues to create while her new baby grows and maintains an accessible yet mysterious air about her. As a Makers Muse recipient, she is precisely the kind of quirky and contemporary intellectual that captures Kindleâs attention. Her written works, some published by renowned publishing house McSweenyâs, are evidence of that. Her audience seems to be made up of all kinds of people, around the world who share something in common: the desire to take a moment to reflect.
When we ask our recipients to share something with us for the blog, one of the things we offer them as an idea is a day-in-the-life portrayal. Miranda took this suggestion and made it her own by sharing with us excerpts from her personal Photo Booth diary. Here youâll get to know her a little better: how she works, what she canât work, and what moments in her day consist of. True to her artistic persona, Mirandaâs Photo Booth essay gives us the feeling of closeness that weâve come to know from her creations.
Stay in touch with Miranda's work via her website and her Facebook page. Her next performance will be in Seattle on December 5th. Photo Booth Diary by Miranda July
I use the "Photo Booth" function on my Mac almost daily, usually to communicate something to someone. Sometimes I use it instead of scanner because I don't really know how to use a scanner and also I don't have one. Over time these accumulated pictures become a very mundane sort of diary. Here are a few recent ones.
--Miranda July [gallery columns="1" ids="2631,2632,2633,2634,2635,2636"]
Miranda July
Recently, on Instagram, I saw that Miranda July had become a verb when someone photographed a pair of her own ...
Nov 15, 2012
Josh MacPhee Josh MacPhee is an understated artist with a loud series of movement building messages. Through his prints he conveys justice themes focusing on labor, nuclear energy, revolt, and democracy, to name a few. Through his refined use of traditional printmaking and his contemporary eye for design, Josh is creating media that educates and asks the audience to interact with critical subjects.
This print of Joshâs sums up the spirit of his work for me. Entitled, The City is Ours, his caption reads, âItâs really us little guys that make the city work. Letâs start acting on it!â His messaging is clear: Itâs about collaboration, community, collective effort and the coming together of motivated individuals to make things better. He is a kind of artistic savant that bridges worlds of art, activism, craft and design.
Aside from Joshâs impressive print collection, he is one of the founders of Justseeds, a design and printmaking cooperative that includes artists based out of the U.S., Canada, and Mexico. Their body of work is an exhibit in itself, making known that even as we steep deeper into the digital era, traditional printmaking, hands-on care and craft are still of timely use in todayâs context. This work is a simultaneous act of preservation and exercise of history.
As a member of Occuprint, (which he describes in detail below), he is a part of a global movement of creative message makers. Designers and artists were key catalysts in bringing a voice to the Occupy movement and Josh was, and still is, on the forefront of that important effort.
From Joshâs writing below youâll get a deep sense of who is, what drives him, and how he is accomplishing his artistic goals with humility, intuition and leadership.
http://interferencearchive.org
http://www.justseeds.org/artists/josh_macphee/
http://www.justseeds.org/new/judging_books_by_their_covers/
httt://s1gnal.org
http://antumbradesign.org/
http://occuprint.org/
An Update by Josh MacPhee
For the past nine months my primary project has been building the Interference Archive here in Brooklyn, NY. Like all my projects, it is a collaboration, with my two primary partners Kevin Caplicki and Molly Fair, as well as with dozens of other activists, archivists, artists, designers, researchers, and students who have been involved in different aspects of the project. Â Interference Archive explores the relationship between cultural production and social movements. This work manifests in public exhibitions, a study center, talks, screenings, publications, workshops, and an on-line presence. The archive consists of many kinds of objects that are created as part of social movements: posters, flyers, publications, photographs, moving images, audio recordings, and other printed matter. Through our programming, we use this cultural ephemera to animate histories of people mobilizing for social transformation.
[gallery ids="2613,2614,2617,2619,2618,2620,2621,2623"]
Right now we are knee deep in posters and ephemera from fifty years of anti-nuclear movements around the world. On October 4th our next exhibition opened, "RadioActivity! Anti-Nuclear Movements from Three Mile Island to Fukushima," in which we showed the connections between the movements of the past to the contemporary mass movement in Japan struggling against the re-opening of nuclear power plants post-Fukushima. By connecting with activists and organizers in Japan, we hope to play a small role in jump-starting a movement here in North America in order to ask serious and difficult questions about the safety and future of nuclear power locally and around the world.
The archive was initially envisioned with my partner Dara Greenwald, who passed away in January after fighting cancer for a year and a half. My work on Interference is both an attempt to continue the work we began together, and to keep myself focused while I try to heal and learn from losing her.
In a similar curatorial and collecting vein to the archive, I am a co-editor (with Alec Dunn) of a journal called Signal: A Journal of International Political Graphics. We just recently released our second issue, and are hard at work on issues 3 & 4. In early September we did a mini-speaking tour of Boston, Providence, and Brooklyn, and in late September another one of Northern Virginia, Washington DC, and Baltimore.
When I'm not helping to run the archive or working on Signal, I've been designing prints, posters, and books, as well as trying to develop and improve my writing. I have created a number of new screen prints in the past 6 months, which can be seen on my Justseeds page. Justseeds, an artist cooperative I am a part of, recently held our annual retreat here in Brooklyn at the Interference Archive. We are 25 socially-engaged artists and printmakers who have been building a cooperative platform to both sell our work and support each other as artists, activists, and people.
I've also designed over twenty book covers so far this year, some for important books by some great authors, including Silvia Federici, David Harvey, Vijay Prashad, and CLR James. With Morgan Buck, I am in the early stages of turning this work into a design cooperative, Antumbra Design. Book cover design has become a passion over the last couple years, and beyond designing, I've been collecting and writing about covers from all over the world. Every week I post a new blog entry on Justseeds as part of my ongoing series "Judging Books by Their Covers." I'm currently working on a longer piece for print about the dozens of book covers of George Orwell's classic work of Spanish Civil War reportage, Homage to Catalonia. In other writing news, I have a longer format critique of Kickstarter being published in the Fall 2012 issue of The Baffler.
I was very active in the cultural work being done as part of Occupy! in late 2011 and early 2012. The group I was a part of, Occuprint, engaged in the largest propaganda campaign I've ever been involved in, printed 60,000 posters, 75,000 stickers, and 30,0000 broadsheets in support of the movement. Now that the energy of Occupy is much more diffuse, we are focusing in onâand experimenting withâbecoming a graphic think tank for various threads of activism and organizing happening in New York City and around the country. We just held a design critique/charette with activists at the Free University held at Madison Square Park. It was a great sprawling conversation and brainstorm session, where visual ideas were shouted out, discussed, and sketched onto giant pads of paper. Occuprint will begin holding sessions like this on a monthly basis in October.
On a more personal note, I decided in July I really needed to be healthier and get myself back into shape. This has largely consisted of riding my bike about 10 miles every morning around the wonderful Prospect Park, and riding out to the ocean at Brighton Beach to swim a couple times a week. It's been fabulous. I love the ocean, it is so vast and intense it always puts me in my place!
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Josh MacPhee
Josh MacPhee is an understated artist with a loud series of movement building messages. Through his prints he conveys justice ...
Nov 02, 2012
Nova Ruth When we ask our Makers Muse Recipients to contribute to our blog, we never know what weâre going to get; itâs always an exciting moment to have that first read, that unusual introduction into what each artist is compelled to share with our Kindle community. In the case of Nova Ruth, we get a distinct insight into the roots of her name and how her name has helped to form her into the incredible artist she is today.
Nova, like many of this yearâs recipients, is a true collaborator. She has been working intensively with Filastine, (whom Kindle also supported in 2009) and their combined efforts have resulted in brilliant new music. In addition to being an outstanding vocalist, Nova is also a Hip Hop artist, a community builder, and an activist and advocate in her home country of Indonesia. She has recently started a community coffee shop called Legipait in Malang. Itâs the first of its kind in the region and acts as a community hub for local artists.
Nova is a multifaceted woman. As artist, activist, and entrepreneur, she is helping to put the roots, rhythms, and culture of Indonesia on the map. Below, we get a rare glimpse into her personal history.
Keep watching out for Nova Ruth. Who knows what project sheâll engage with next.
Nova explains the video posted below:
This video is one of global messages about the collapsing colony. Scenes:
⢠1.5 hours from my hometown there's a mud disaster going on. Bakrie is often mentioned as the person who started the Lapindo project. But now he's trying to get elected as president in 2014.
⢠Big sections of the river in Muntilan are getting wider because of the Merapi volcanic eruption. The myth says, if humans make the river narrower (and build something on it), one day the river will take it back.
⢠Jakarta, so called megalopolis, the most crowded city in Indonesia, produces mountains of garbage in Bantar Gebang.
Many people think this video is about Indonesia, but what we wanted to actually say is: this is a very small example of what is happening globally.
On my name
by Nova Ruth
Many people asked is Nova my real name? I would love to tell you a little story about it.
I was born of two of the strongest people on earth.
My mother, Fatma Yoenia Ningsih, was the black sheep of her military family. She was a hiker and conquered the mountains around our city, Malang, including the highest mountain in Java. She said I sang beautifully and always pushed me to get on stage when I was a child, but I wouldn't be so brave then. She wanted to name me after her best friend, Nova, who lost her life because of dengue and was a great piano player.
My father, Toto Tewel, is still a guitar legend in Indonesia. We met each other at least once a year throughout my youth. I barely knew him when I decided to move in with him in 2007, just because I wanted to know his personality. He has a band called Elpamas. They were big in the 80's. Their lyrics talked about social problems back then and the over-power of the big people, the myths of our nation, even about the philosophy of tattoo. He joined a group named Kantata Taqwa/Samsara and SWAMI that was well known as a radical rock band that was influential in Indonesia's revolutionary process back on 1998. I was invited to see his performances many times. Under my consciousness, those lyrics appear in my brain all the time, and affect what I have done even recently. He wanted to name me Setyaningtyas, meaning âthe faithful in the deepest heartâ.
My fatherâs father was a priest. He built a church in the middle of a Chinese cemetery. His church was burned down by some fundamentalist tribe. Sometimes he was threatened and they put a sickle around his neck to fear him. Pastor Moestopo. He was the one who taught me to sing when I was five years old. He recorded my voice and told me which parts were wrong, or false notes. He wanted to name me Ruth, one of the characters in the Bible that has faithful characteristics, loyal to her missing husband in the war, even staying with her mother-in-law to take care of her.
One day the elders told me that a name is a wish. Those people who loved me had a good wish when they named me. In Java, most people don't carry a last name. This is the symbol of freedom. Today, I'm still free to decide how I carry these bravest of genes into my activism and music work. When I step on stage to work and meet with other brave people, faithful in what they are doing also free thinking and open minded, I feel that I am carrying my lineage forward. For example, in my recent collaboration with Filastine, the inspiration did not come far from where I grew up, but I wanted to deliver it as far as could.
And the next video is a cover song of Gendjer-gendjer, a traditional song that was banned by the Soeharto regime because it was used by Indonesian Communist Party to march. The lyrics are no crime. They tell a story about a plant that grew without anyone planting it, but people can also eat it. Soeharto covered the fact that 500,000 communists (real and suspected) were killed (by the army) for making a film about the killing of 7 army generals by communist (and screened it on national television every year until 1998). This is also a local story that is global. Every country has their own stigma and has covered it, never learning from their mistakes. No country is the best country. The truth is, no country is ever honest. Each individual should learn how to be honest and participate in the process of revealing the truth.
Nova Ruth
When we ask our Makers Muse Recipients to contribute to our blog, we never know what weâre going to get; ...
Oct 18, 2012
Video Premiere and Interview with Calligraffiti Master, eL Seed eL Seed was a Makers Muse recipient in 2011Â and since then heâs become a close friend of ours. Over the past two years we have watched him accomplish striking artistic, social, and political feats in his home country of Tunisia. Our connection with eL Seed has afforded us the privilege of hearing his first hand accounts of his journeys back to Tunisia, including the challenges, the joys, and the community that naturally builds around him as he involves locals across generations, genders, and walks of life in his work.
In the past year, eL Seed has been back to Tunisia twice. For his first trip he traveled to Kairouan where he was commissioned to paint a wall in the center of the city. His mural there sparked not only the beginnings of a renewed focus on art and culture in this ancient city, but also brought attention to the importance of street art in post-revolution Tunisia. This multi-layered outcome was in large part why we chose to fund this project in 2011.
We are fortunate enough to be the first to release the video that takes us through this project in Kairouan. Watch below to enter eL Seedâs world in KairouanâŚ
[embed]http://vimeo.com/48997222[/embed]
Tunisiaâs street art scene is still developing and morphing as the cultural and artistic milieu of the country is continuing to be built up. In pioneering spirit, eL Seed returned this summer to his home town of Gabes, Tunisia, to paint a mural on the minaret of the Jara Mosque. The beautifully shot video, below, had thousands of hits within it's first week.
[embed]http://www.youtube.com/watch?v=NKNTkG5dr4A[/embed]
I caught up with eL Seed over the phone last week to hear about his experience in Gabes. Our conversation spanned issues from religion to logistics, and as often happens when talking with eL Seed, I always learn more about the precise intention and intelligence of this revolutionary artist.
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Kindle Project: Everybody wants a piece of eL Seed!
eL Seed: Iâve been wanting to do an interview with Kindle because you all were one of the first to support me.
KP: Weâll do it now! But we get it, weâre no Guardian or Al Jazeera, you gotta answer the big guys first.
ES: Do we make it like I donât know you?
We both laugh.
KP: No, we make it like we know each other. The thing with Kindle is that because weâre close with our grantees itâs a more relaxed interview. We can have a real conversation. I like it more this way.
ES: I did an interview today with BBC radio which was cool⌠but I consider this more like a conversation.
KP: Me too. When I was reading through the interviews youâve done recently I was wondering what you wished people would ask you.
ES: I donât knowâŚ
(He gets distracted because his daughter in the background wants some juice. He playfully helps her out and relocates to a quieter space.)
ES: You know, people ask me the same questions all the time. How I started doing graffiti and etc.
KP: I was thinking about what you do, and how unique it is. I was reading the interview you did in Art Slant this morning and you spoke about the real problems of Tunisia, but it doesnât seem like youâre ever given the opportunity to expand on it. Is there anything else youâd like to add about having just come home from Tunisia? Also, I didnât realize that this was the first time in the Middle East that any graffiti or Calligraffiti had been done on a mosque, Iâm wondering what the response was like and what that means for Tunisia right now?
ES: The funny thing is, I donât know if you heard about what happened in Tunisia in May with the Printemps des Arts. I donât want to judge any artists, but I feel like most of the artists there just wanted to provoke people. They knew that if they do something special that they will bring attention to themselves. For example, some people did a caricature of the prophet on a donkey and etc. but some people did not react well to that. Itâs stuff thatâs easy to play with. But, I donât know. As an artist I donât think thatâs where we should be pointing today.
I think we need to focus more on the economic and political situation. Some religious extremists react very strongly and then the media brings a lot of attention to these projects. Others start talking about freedom of expression, and what happened at Primtemps des Arts is that so many artists had the same idea, to speak about Islam in a bad way.
KP: To criticize Islam in order to provoke extremists?
ES: Ya! So they [the extremists] came and broke some artwork and for me, both sides of this are really pathetic.
KP: It reminds me of when we first met and you told me about the evolution of using your name in your work to not including your name at all. Itâs a different kind of humility that you express in your work. It can speak to a lot of people regardless of whether they know who you are or not. [caption id="attachment_2539" align="alignleft" width="366"] 'This is just a phrase in Arabic'A piece by eL Seed in Los Angeles.http://www.elseed-art.com/this-is-just-a-phrase-in-arabic-los-angeles[/caption]
ES: Yes, exactly. Then, what happened after that, the people who commissioned me for my work in Kairouan asked me to come back and paint another wall. I said ok, but only if it was in my city of Gabes. We were looking for a wall, and we found the wall of this mosque which had never been painted. We made this decision right before the Printemps des Arts and then after that we realized it was the perfect time to do it. Because the point was to show Tunisia the two points of extremism: secular extremism and the religious extremism. Both of them agree on one point, that thereâs no innovation or creativity or artistic expression in Islam.
KP: Do you see yourself as a middle point between these two extremes?
ES: Yes. I am an artist. I am Muslim. I painted graffiti on a mosque. Actually, when you speak about all of this it sounds so opposing. Graffiti and mosque. Artist and Muslim. In Tunisia if you are an artist youâre considered to be a bohemian who is smoking and neglecting himself.
KP: Is this some romanticized idea of what an artist is? Some kind of French, bohemia, turn-of-the-century kind of identity?
ES: Exactly
KP: Aside from you, are there other artists that donât fit this mold that are responding to what youâre doing?
ES: I met some friends who are really responding to what Iâm doing, but the bad thing is that some of my friends are the artists who did some work in Printemps des Arts. They were seeking the spotlight in a way.
KP: Is it hard to have a spotlight on your work in Tunisia?
ES: Yes, in some ways. Because, my wall didnât have my name on it. There were so many guys (at Printemps des Arts) who wanted to talk about the same thingâŚ
The minaret project came right after the Printemps des Arts, which was perfect timing because we could show thereâs no opposition between being an artist and being Muslim, and between graffiti/Calligraffiti and a mosque. You know, thereâs so many seemingly opposing things that I try to bring together. The funny thing is, that because it worked and everybody liked it in Tunisia, we got no media attention in Tunisia.
KP: Because people from both extremes were responding positively there was no need for the media to cover it because everybody was having a nice experience?
ES: Yes. There were more than ten papers that covered this piece but none of them were TunisianâŚEven our good newspaper didnât want to show it. If I had some people who were resisting the project and being violent towards me, the papers would have been there.
KP: But you had no resistance?
ES: No! Everybody liked it.
KP: You are so many things: youâre an artist, youâre a Muslim, youâre a father, and you live in many places. When youâre in Canada and when youâre in France do you have this same contradictory sense or is it just when youâre in Tunisia?
ES: I feel it everywhere. In France, I feel it more and more, because itâs different. They donât accept you the way you are. Itâs hard to say, âIâm an artist, I do graffiti, I paint in Arabic.â Doing graffiti in Arabic in France is really bad.
KP: Is this because of the anti-religion sentiment happening there?
ES: Yes, itâs anti-Arab, anti-Muslim and I felt it. If you check out my website you can read the Open Your Heart story there that describes a lot of this. I thought I was going to paint in Paris, and I was cleared by the Mayor, but then I wasnât allowed to because it was going to be in Arabic script. That was really hard.
KP: And what about in Canada?
ES: It depends on if youâre in the French part.
KP: Right, because in Montreal you have a lot of French-speaking Arabs.
ES: Ya, but I donât really paint here. I feel like people here are a lot like people in France. If they see Arabic writing they will feel fear.
KP: What about Arab Winter? Did that help at all?
ES: No. I mean, Arab Winter was really cool, but we didnât have a lot of media exposure. We had one interview on CBC, thatâs it. But we did have a very mixed crowd coming out.
KP: The thing that happens in Montreal is something similar to what happens in France, which is that if anyone presents themselves as religious at all and contemporary itâs a challenge too for that person to be a part of secular artistic practice. Itâs a challenging for how we perceive artistic identity.
ES: But, I donât even present myself as a Muslim artist. I wrote Qurâan on the mosque because it was a mosque but I have no interest in converting people to Islam. The verse on the mosque speaks to all humankind.
KP: Thatâs what I loved about this project. You could have chosen any passage from the Qurâan that could have inspired the community, but you made it a very universal experience.
ES: That was the point for me. To show that Islam is universal, in a way. It was also to share a message of peace.
KP: I also feel the text you chose to paint is one that is very relatable and present in other faiths as well.
ES: Itâs my hope to bring more dialogue in Tunisia. That was the point of it.
KP: Whatâs next for you?
ES: I have a solo show in Paris and then Iâm off to Melbourne. Iâll be painting at a festival in Melbourne. Iâm also shooting my first short movie. I wonât tell you anything about it, but I think it will make you smile. Iâll tell you one thing. Itâs the story of a postman.
KP: Ok, weâll be waiting!
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eL Seedâs work in Gabes, supported by the Barjeel Art Foundation, has been covered by a number of news sources: CNN, The Guardian, Al Jazeera, and Art Slant to name a few. While we always love reading his interviews, itâs an extra pleasure to get to speak with him ourselves.
He is, as he described, an apparent contradiction. At once fiercely confident about his work and his capacities, and also entirely humble and earnest. Itâs easy to admire and support eL Seed: heâs collaborative, creative, inventive, and is perpetually pushing the boundaries. In cities around the world, he makes people question what street art is, and what graffiti is capable of.
Find eL Seed on Facebook
www.elseed-art.com ![]()
Video Premiere and Interview with Calligraffiti Master, eL Seed
eL Seed was a Makers Muse recipient in 2011Â and since then heâs become a close friend of ours. Over the ...
Sep 20, 2012
New Mexico Environmental Law Center The New Mexico Environmental Law Center (NMELC) has been with Kindle since our inception in 2008. They were one of our first grantees and have become our colleagues and friends. Taking on numerous cases dealing with a wide range of local issues the attorneys and staff at NMELC are working on a daily basis to help ensure the safety, protection and health of New Mexicoâs land and communities. NMELCâs work on local community health and environment has vast national and international implications. By providing free legal counsel to their clients, these attorneys work with an altruistic mission and a true, personal passion for their work.
With 2012 marking NMELCâs 25th year in operation, it has been a year of great magnitude for the organization in many ways. While their many successes have brought much to celebrate, the passing of treasured staff member Sebia Hawkins has been a great loss. Sebia helped to spearhead the Law Centerâs fight against Uranium mining in New Mexico; one of their central programs and of great importance to the staff and the communities they serve. Her unrelenting commitment to her work and people from all walks of life continues to motivate us.
Remarkable individuals, strong values, and family have been at the core of NMELC for decades. We are pleased to share with you these inspiring insidersâ accounts of how this small group of dedicated people has been of true service to New Mexico with their work.
The first piece below is by Don Goldman, member of the Law Center since 1988. He tells the story of NMELCâs humble beginnings, and how its founder, Douglas Meiklejohn, has nurtured it into what it is today. Don originally wrote this piece five years ago to celebrate the Law Centerâs 20th anniversary, and it remains a relevant and inspiring read. The second piece is by Doug himself and gives an impressive update about their current work and the important headways they are making, with particular emphasis on the effects of having Governor Martinez in office since 2010.
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Reflecting Douglasâ values, the Law Center represents the âleast powerful among us,â usually communities that canât afford legal counsel, but who live under threats to their health or environment.
By Don Goldman [caption id="attachment_2516" align="alignleft" width="201"] Author Don Goldman and his wife, Lorraine[/caption]
Imagine an ambitious, talented lawyer with no corporate or wealthy clients, whose legal aspirations do not include remunerative civil suits or elective office; an attorney guided by family tradition and a personal recognition that our legal system should do more to represent the least powerful among us. And imagine a wife who shares those values and goals, who for over 40 years has supplied the moral and financial support needed to make reality out of good intentions. This is not imagination: it is Douglas and Harriet Meiklejohn.
In 1977 Doug came to New Mexico to work in the Attorney Generalâs office, working first in consumer protection efforts and last on environmental cases, a sensitivity that his parents had instilled in him. In 1987 however, Garrey Carruthers became Governor and Hal Stratton the Attorney General. Douglas painfully realized that their priorities did not include his central concerns, and that he could no longer address those concerns working for the state.⨠The 80s were a period of increased social and environmental activism, with people around the U.S. experimenting with new, non-governmental ways of making change. In that heady time of making things better in spite of government, the Sierra Club Legal Defense Fund, the Environmental Defense Fund, and the Southern Environmental Law Center, among others, were beginning to make laws and the legal system work for â not against â the environment.â¨â¨Moved by these non-governmental efforts to improve the environment, Douglas left state government and regular paychecks in 1987 and founded the Law Center.
With three young children, to call this a gamble is an understatement! But from the start, the Law Center had an angel keeping the Meiklejohn family afloat: her name is Harriet. She was then â as now â a librarian. It would take a long time for Douglas to be earning âlawyerâs wages;â heâs still waiting. He and Harriet live in the same small house they lived in then.â¨â¨Reflecting Douglas' values, the Law Center ârepresents the least powerful among us,â usually Indian tribes and poor Hispanic communities that canât afford legal counsel, but who live under threats to their health or environment. Frequently, all costs of carrying a case to conclusion are borne by grants and private donations, not the client. Unfortunately, with its small staff and limited resources, the Law Center has to turn away approximately 80% of the cases that come to it.
A distinguishing Law Center characteristic is that it responds to requests from communities. It doesnât tell them what they need; the community determines its needs and the Center helps it achieve them. The community members stay actively involved in the case; itâs their case, not the Centerâs. Itâs been a long haul since Douglas was a full-time volunteer founder-attorney. Today the Law Center and its staff of eight (including four attorneys) is recognized and honored for its work on behalf of New Mexicoâs environment and communities.
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The New Mexico Environmental Law Center: 2007 â 2012
by Douglas Meiklejohn [caption id="attachment_2518" align="alignleft" width="300"] NMELC Founder Douglas Meiklejohn and his wife, Harriet[/caption]
There have been two major changes affecting the New Mexico Environmental Law Centerâs work since Don Goldman wrote his piece about the Law Center several years ago. The first change is our increased involvement in efforts by New Mexico communities to preserve the water on which they depend. The most significant of these cases is our effort to prevent the San Augustin Plains Ranch LLC, a foreign owned corporation, from extracting 54,000 acre feet (approximately 17.5 billion gallons) of ground water each year from the San Augustin Basin in western New Mexico. Locally, the extraction of that amount of ground water would dry up the water that is critical for many people in the area, including our 80 clients. Throughout New Mexico and the rest of the West, this case is a critical test of laws that prevent water speculation: what happens here could influence whether or not individuals or corporations can grab up water rights throughout the West in order to profit off of them in the future. We persuaded the New Mexico State Engineer to deny the permit for this extraction sought by the corporation, and we will endeavor to uphold that ruling in the corporationâs appeal to state court.
The second change is the approach of New Mexico state government agencies towards protection of communities and the environment. Governor Susana Martinez was elected in 2010 after she campaigned to do away with environmental regulations because they interfere with business. Since she came to power, our stateâs executive agencies have worked to eliminate, weaken, and undermine enforcement of regulations put in place to protect communities and the environment. Regulations affected by these efforts include the Pit Rule (which was designed to prevent contamination of ground water by oil and gas extraction operations), the regulations limiting emissions of greenhouse gases (which were aimed at reducing New Mexicoâs contribution to climate change), and the Green Building Codes (which were put in place to increase energy efficiency of new buildings). The Law Center has been resisting these and other efforts of the Martinez administration. Moreover, our attorneys frequently provide the only effective means of resistance because the only way to prevent the Martinez administration from achieving its goals is in the courts. We will continue to provide this resistance for as long as it is needed.
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The New Mexico Environmental Law Center continues to rouse and encourage us, as they always have. As Sebia herself was so fond of saying about the Law Center, they are âsmall but mightyâ. From them, we learn about what a tremendous amount of important and impactful work a small team can do. We also learn about the intricacies of environmental justice advocacy and how necessary legal support and action is essential to the movement. From these pieces by Don and Douglas we are reminded that the most profound work comes from a deep personal commitment. Similar to how the Government Accountability Projectâs President, Louis Clark, described the impetus of the whistleblower, Don gave us the gift of a behind the scenes glimpse into the personal story of our colleague and friend who has helped paved the way for this gracefully determined organization.
NMELC Website
NMECL Facebook Page
New Mexico Environmental Law Center
The New Mexico Environmental Law Center (NMELC) has been with Kindle since our inception in 2008. They were one of ...
Sep 06, 2012
Government Accountability Project Before I tell you about the Government Accountably Project, (GAP) I need to tell you about my experience with the people that work there. When I first wrote Michael Termini to inquire about their interest in contributing to our blog, I was met with a most extraordinary response. To discuss blog content options, he set up a conference call for me with four of GAPâs staff people, including GAPâs Director, Louis Clark. I was delighted to connect with them, but was also thoroughly impressed by how this team works: with complete commitment, resolve, timeliness and attention.
Our first contact with GAP was in 2011 when Kindle Project Director, Sadaf Cameron reached out to them to see if they could be of assistance to one of the whistleblowers that we know and were working with at the time. Sadaf was met with the same attentive eagerness and care as I was. Availability, interest and immediate response in service of individual whistleblowers seem to be constitutionally embedded in GAPâs mission:
The Government Accountability Projectâs mission is to promote corporate and government accountability by protecting whistleblowers, advancing occupational free speech, and empowering citizen activists.
Through GAPâs legal protection and advocacy of whistleblowers their programmatic reach and expertise spans several areas. With emphasis on national security, food integrity, environment and human rights, to name a few, GAP provides an educational framework and essential news for the countryâs most pressing issues. With 35 years of operation they have taken their work on the road with their American Whistleblower Tour. The Tour visits universities throughout the country, helping to connect active whistleblowers with students. They have had a tremendous success with the tour and are starting it up again this fall, with their kickoff event taking place at the University of Houston, Clear Lake on November 5, 2012. This event will feature Kathryn Bolkovac who blew the whistle on sex trafficking involving UN staff and DynCorp in Bosnia-Herzegovina. If youâre in the region be sure to attend.
The article below by Louis Clark describes with great sensitivity and nuances the importance and impact of work they do, and how they are handing this knowledge and unique activism to younger generations.
Whistleblowers: Contemporary Davids vs. Goliaths
by Louis ClarkÂ
In today's world, it's difficult for David to triumph over Goliath. Hollywood loves to rewrite history by mythologizing heroes who are remembered as being single-handedly responsible for changing it. Essentially, the âpower of oneâ storyline is more memorable than the âit takes a villageâ approach.
The truth of the matter lies elsewhere, as both are required to make progress. It takes courageous visionaries and legions of supporters to disrupt the status quo, build a movement, and implement enduring change.
The whistleblower phenomenon itself is a microcosm of societal evolution, where a problematic issue is raised, and measures taken to solve it. Typically, a whistleblower takes a moral stand: refusing to go along with a crooked scheme, follow illegal orders, remain silent in the face of specific public health dangers, etc. The question becomes whether this courageous person will drown beneath the waves they created. The answer rests with all of us. When confronted with evil, what do good people do? Whistleblowers either sow the seeds of their own destruction or become catalysts for reform. How society and individuals respond to truth-tellers make us either accomplices to wrongdoing or citizen activists on the right side of history.
Thirty-five years ago, as a young lawyer with a seemingly irrelevant divinity degree and church ordination, I met my first whistleblowing client. A computer wizard and quality assurance specialist, he had exposed defects in the Pentagonâs Worldwide Command and Control Intercomputer Network. He had lost his job, career, and 65 pounds that he could ill-afford. The computer network eventually crashed and was abandoned as dysfunctional. But the whistleblower was professionally overtaken by the hornet's nest he had kicked, and I lost my first case. [caption id="attachment_2382" align="alignleft" width="300"] GAPâs Jesselyn Radack, a Justice Department whistleblower herself, interviews SEC whistleblower Gary Aguirre on the Tour.[/caption]
Though the corrupt bureaucracy prevailed in that case, my life changed dramatically for the better: I had discovered my calling. I ran across the fledgling Government Accountability Project, found benefactors to put up my salary for a year, offered myself as staff counsel, and convinced the organization to offer legal services to whistleblowers. My church elders recognized my services to those facing difficult ethical workplace decisions as a valid ministry, and stopped pushing me to take a parish assignment.
Now decades later, the efforts and gifts of thousands who also see whistleblowers as key catalysts for reform have transformed GAP into the worldâs most prominent whistleblower support organization. GAP legislative initiatives have provided legal protections for 100 million private sector workers, as well as millions of public employees and thousands working for international institutions.
Perhaps more importantly for civil society, revelations from GAP clients have changed the country. To cite just a few examples, our whistleblowers have directly resulted in the collapse of the âpink slimeâ market, the halting or revamping of numerous billion-dollar nuclear plant projects, the end of the secret program to turn climate change science draft reports over to the White House for editing by former oil lobbyists, the withdrawal from the market of unsafe drugs proven to have killed tens of thousands, and the ouster of the World Bank President Paul Wolfowitz despite his strong political support from Executive Branch.
All of these whistleblowers needed their village of support. Lawyers kept them at their jobs. Investigators substantiated their claims. Journalists exposed the underlying scandals to the masses. Congress forced reform. Whistleblowers inspire others to take a stand and show support for what's right. [caption id="attachment_2381" align="alignleft" width="300"] A student reads up on whistleblowers before a Tour stop begins. The American Whistleblower Tour is aimed at our country's incoming workforce - college students.[/caption]
And now, we're reaching the country's youth. Last year, we took whistleblowers from a broad cross-section of disciplines to college campuses on our American Whistleblower Tour. We sought to supplement textbook studies on business, journalism and law with exposure to individuals who uncovered workplace wrongdoing and made a significant societal impact. Most Tour stops culminated in climactic final events where truth-tellers spoke of their values, experiences, observations, and advice.
Turnout was phenomenal. We drew over 2,000 students at the University of Nebraska-Lincoln, and over 800 to several events at Florida International University. Historical whistleblowers Frank Serpico and Daniel Ellsberg joined with such newcomers as Susan Wood (FDA officer who resigned over political delays of the âPlan-Bâ contraceptive approval), Thomas Drake (National Security Agency whistleblower on illegal and wasteful surveillance of US citizens), Ken Kendrick (peanut butter contamination at food processing facilities), Richard Bowen (Citigroup mortgage fraud); and Walter Tamosaitis (quality assurance breakdown at what will be the world's largest nuclear waste treatment facility).
In response to the Tour, thirty college faculty members have joined in an effort to develop curriculum that can be integrated into all kinds of academic studies. More importantly, the whistleblowers are directly impacting the lives of students. One stated "There is more for me to think about since I will become a public accountant after graduation." We're giving students the information they need to form an educated opinion, as another student stated:
"Initially I thought people were turning minute issues into finger pointing of who was wrong and right. Now I know the people who choose to blow the whistle are true public servants who made decisions to protect the public's interest."
This is the future. The continued outreach to our youth only serves to ensure that whistleblowing at all levels is recognized, accepted, and protected. It is inevitable that every facet of our society realize that this workplace phenomenon translates to justice and accountability.
And with that, progress is ensured. The workplace conscience of our nation is changing.
â˘â˘â˘ [caption id="attachment_2378" align="alignleft" width="199"] GAP President Louis Clark has been with the organization since 1977[/caption]
GAP is part of our new roster of grantees. Our emerging relationship with them brings access to a wealth of knowledge and insight into whistleblowers and the realities they face on a daily basis. We are committed to the purpose of whistleblowing and through our grantees, like GAP and Honest Appalachia we are learning not only about the various ways that they can be protected but also about the serious issues that these individuals are taking major risks for.
What Louis Clark shares with us today is a reminder of how the work that GAP does affects citizens at all levels: from spiritual to practical, and from physical to economic. We are proud to support GAP, and hope that you consider supporting them as well. We are avid followers of their posts on their Facebook page, which includes a Daily Whistleblower News post. You can also visit their Action Center to stay informed and connected.
Louis Clark is President of the Government Accountability Project, the nation's leading whistleblower protection and advocacy organization.
www.whistleblower.org  ![]()
Government Accountability Project
Before I tell you about the Government Accountably Project, (GAP) I need to tell you about my experience with the ...
Aug 23, 2012
Institute for Energy and Environmental Research The Institute for Energy and Environmental Research (IEER) is celebrating its 25th anniversary this year! With a quarter century of work under its belt, this organization has made tremendous contributions of scientific analysis and technical expertise in nuclear energy, weapons, health, and the environment. They have published work in multiple languages, and have trained countless concerned citizens, volunteers and organizations to be knowledgeable advocates for health and safety of their communities and their land.
While choosing which organizations to fund, we are often drawn to those that might not get financial support as easily as others. They are often small organizations, occasionally newly-founded ones, and often doing precedent-setting work in their fields. In the case of IEER, who weâve been funding since our inception in 2008, our commitment to them is rooted in their expertise with innovation: they are trailblazing educators who make technical knowledge not only accessible, but useable, and our steadfast support of their work and its significance is something I had the chance to explore when speaking with IEERâs President, Dr. Arjun Makhijani this July.
The video below gives you a glimpse into his expertise via his debate with Dr. Patrick Moore on the future of nuclear energy. When reading through our conversation below, weâre certain youâll find his work with IEER as compelling as we do.
[embed]http://www.youtube.com/watch?v=uW4VDC35his[/embed]
To watch the full debate please click here.
To stay informed about IEERâs summer workshop series and to read their factsheets, reports, and news, be sure to subscribe to their newsletter and follow them on Facebook.
Many thanks to Dr. Makhijani for taking the time to speak with us and Happy Anniversary to IEER!
Kindle Project Interviews Arjun Makhijani
Kindle Project: Hello Arjun! Tell me, what would you like to talk about? IEER works in so many different fields, and Iâm wondering, what is the most exciting thing youâd like to share now, in your 25th year of operation?
Arjun Makhijani: Letâs talk about our workshop and what happens.
KP: I would love that! Especially since I was able to attend part of one of them last year and I was intriguedâŚ
AM: Thereâs actually a bit of a good funding story associated with that: every summer we have a technical training workshop for activists and community leaders, and sometimes there are high school and college students that attend.
It started about 20 years ago when I raised the whole budget for our program⌠those were the days! I only needed about $9000 of the $20,000 our funder had sent, and the ED called and asked us to do something good with it. How could I give back to the community with great confidence? I need to do something extra. So I decided that we should do a technical training workshop. Thatâs how it started and it was such a success.
You know, the environmental and security business is quite technical. Environmental regulations, radiation doses â a lot of people who are activists and non-activists are kind of weary of numbers, but to really to be able to read the environmental reports and to make sense of themâŚyou need to be able to read the numbers. Thatâs how we started.
We had people at all levels of training: people who had finished their PhDâs and some who hadnât even finished high school were all in the same room together, and this system has been working for 20 years now. People leave our workshops with both knowledge, and a sense of empowerment. [caption id="attachment_2343" align="alignleft" width="300"] From summer workshop in 2005: Radiation Risks: Are People Created Equal?[/caption]
KP: And all of these people came to your workshops out of a concern for what was happening in their community and needed a better understanding of the technical elements of their community challenges. Is that right?
AM: Yes. We were set up to make a contribution to peopleâs understanding of environmental pollution and security matters, what plutonium is, and things like that. Itâs been very amazing. In one case I think they stopped a uranium processing proposal. Itâs one of the things Iâm most proud of.
KP: And are the workshops focused on a different theme each summer?
AM: Yes. This year we think that with the trends in Fukushima, people are finally beginning to see that nuclear energy is a thing of the past; that itâs not a sensible way to boil water and make electricity. We are focusing on what the future of nuclear energy may be after Fukushima.
KP: From my experience at the workshop it seems that youâre not only providing technical information in a way that people can understand it in order to relate to issues happening in their community, but also youâre training them in multiple aspects of critical thought.
AM: Yes. Every workshop is five days long so itâs like a small university summer course, and the last two days of the workshops are full of presentations by the participants [outlining the challenges in their communities]. What happens then is that everybody, including us, learns a lot about what is happening across the country and it gives all participants a sense of respect. Everybody is working on some aspect of the issue, depending on what the theme is that year. Then, participants, get an automatic perspective of their work and where it fits in. Itâs a great time for networking! And this pleases me a great deal!
KP: I know that IEER, like so many other organizations, is having financial troubles, which must be frustrating and confusing. I was thinking about the fact that youâve been around for 25 yearsâŚ
AM: Itâs ironic that it should be this year. These are tough times.
KP: They are tough times. Iâm wondering, as you reflect upon the past 25 years, are there magical moments for you with your work with IEER, aside from this program? [caption id="attachment_2361" align="alignleft" width="300"] Cynthia Sauer and her daughter Sarah sit with Arjun at the July 2012 workshop. Sarah had a cancerous brain tumor removed in 2001, diagnosed when she was seven years old.[/caption]
AM: You know, very early on we had a lawyer walk in the door and she said, âWill you do estimates of radioactivity releases and radiation doses from this nuclear weapons plant because thereâs been a class action law suit that has been filed.â This is a plant near Cincinnati called the Fernald Plant and they process half a million tons of uranium, mainly for reactors in Washington State and Carolina. It turned out that some wells had been contaminated and they hadnât told the people who had been using the water. Those affected filed a class action suit when they found out, and we did the first-ever independent estimate of radiation releases from a nuclear weapons plant.
This was in 1988-89, and in the middle of that year the government settled the case for $78 million and 14,000 people were awarded 20 years of medical monitoring. We found out there was fabricated data as well as bad calculations, and we also found that the releases were much bigger than what the government had claimed. The Center for Disease Control then commissioned an independent study from a third party to estimate releases⌠I went to Cincinnati to sit in the audience of the press conference to see what would happen. Their numbers were very close to ours and I was very, very pleased; not just that people who were neighbors of a nuclear weapons plant received medical monitoring, but that they got it on the basis of work that was technically sound.
KP: And this was all just a couple years after IEER began?
AM: Well, the first lawsuit was a couple years after we beganâŚWe did the first Renewable Energy Feasibility Study for the US that was ever done, and created a Handbook for activists who wanted to protect the ozone layer. That was really, really successfulâwe played a really big role in helping activists get rid of CFCâs.
KP: Youâve done such a wide variety of things! Itâs baffling to think that it would be a challenge to get funding for the work you do, considering how important and effective it is. Is it the economy?
AM: I think itâs the economy and the changed times. In the 90âs it was very easy [to get funding]. It was after the fall of the Soviet Union, and people were worried about the nuclear weapons pollution created in their neighborhoods. Now, peopleâs worries are more immediate in terms of the economy and their jobs, so attention has started to wane. Weâve also won a lot of victories and things are starting to become regulated.
KP: Do you think thereâs any kind of complacently happening in terms of nuclear issues even though Fukushima happened?
AM: Thatâs been a kind of a surprise. Last year we got $40,000 from a donor who had not funded us before, and apparently it was a direct result of my having been on TV all the time, talking about Fukushima and putting out press releases, and we had obviously done a lot of work on these various subjects. This [my experience] allowed me to react quickly and give the public an idea of exactly what was going on.
KP: I remember. We were watching carefully what you were putting out. Weâre big fans.
AM: What a consultant told me last year is that Iâm an endangered species. That Iâm doing science for democratic action, helping grassroots with science, and there arenât a lot of people doing that anymore. Some of our most profound successes come from doing this type of workâŚ.You canât do it with technical skills alone.
KP: The summer workshops seem to do just thatâbuilding technical skills and community at the same time.
AM: Thatâs right. They also give the technical skills to the people who are doing the organizing, who go and testify at their state legislatures, who pressure the EPA, who talk to their senators and their congressmen. Thatâs who we work with. Our technical work is for the folks who are immediately able to make use of it.
KP: What is your hope for IEER in the next 25 years?
AM: Well, Iâm 67 and part of my project is to pass on the ethos of our work; how we work. We stick to issues. We donât attack individuals just because they are working on nuclear powerâwe donât do that. We work on issues and we try to do a technically thorough job. We learn to talk to people we donât necessarily agree with, and to have an objective third party be happy with our science. To pass this way of working onto a younger generation of strong young scientists whoâll carry on our workâI would be so happy with that.
We have not worked a lot on the jobs questions, and we havenât done a lot of work on water and I think itâs important that we focus on that as well. We need to better be able to address job-related issues, not just through modeling. Itâs not enough. It doesnât affect the real hurt that a lot of communities have, like the water problems that weâre facing, and the amount of water that energy consumes. I hope we will start [some projects] with new directions.
KP: Last call to action? Is there anything youâd want our readers to know about or take action on?
AM: Iâm actually very hopeful that we can get a renewal energy economy. I think that if all the University Presidents who made renewable energy commitments actually fulfilled them with some urgency then I think it would do a great deal to stimulate the markets for the renewable energy sector.
Also, if the students could push the universities to not only clean up their stock portfolios for their endowments, but to also give micro-grants on their campuses and install renewable energy grids on their campuses then I think weâd start to see a shift.
I think with a sufficient push we could make oil obsolete. Someone said that the Stone Age didnât end because we ran out of stones. I think we should think the same way about oil. The age of petroleum wonât end because we run out of it.Â
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[caption id="attachment_2339" align="alignleft" width="300"] Dr. Arjun Makhijani[/caption]
Arjun Makhijani is President of the Institute for Energy and Environmental Research in Takoma Park, Maryland. He earned his Ph.D. from the Department of Electrical Engineering and Computer Sciences at the University of California, Berkeley in 1972, specializing in nuclear fusion. For full bio please click here.
Institute for Energy and Environmental Research
The Institute for Energy and Environmental Research (IEER) is celebrating its 25th anniversary this year! With a quarter century of ...
Aug 09, 2012
Grantee Feature: Planned Parenthood New Mexico Planned Parenthood. Itâs almost a dirty word in some parts of the United States. The highly contested national organization has been under some form of attack continuously for some years now. Their mission, as is stated on their website:
Planned Parenthood delivers vital reproductive health care, sex education, and information to millions of women, men, and young people worldwide. For more than 90 years, Planned Parenthood has promoted a commonsense approach to womenâs health and well-being, based on respect for each individualâs right to make informed, independent decisions about health, sex, and family planning.
Every member of the Kindle Project team is a fierce advocate of womenâs rights, reproductive justice and education in our own way. While womenâs health and their rights to health and education somehow remain a deeply contentious issue in the States, it is important, now more than ever, to support the solid efforts of groups like these, whose mission as stated above we see nothing contentious about.
At Kindle Project weâve traditionally funded smaller organizations and projects that are less likely to receive foundation grants. However, this year, an election year in the United States, we could not ignore the grave status of womenâs health. We knew that funding our local chapter of Planned Parenthood New Mexico (PPNM)Â was our priority.
PPNM programming covers a very broad range of issues that effect men, women and children. They deliver programs that offer medically accurate sexual health information to youth in Santa Fe. They hold Girlsâ Groups that provide services for at-risk youth and workshops to help navigate communication between children and adults about the challenges of adolescence. They also offer a peer education program that trains teenagers to be equipped with the resources to educate their peers about sexual health. This is just some of what they do, and already, itâs a lot. A quick visit to their website will show you the rest of their programming and services, and like other Planned Parenthood chapters internationally they are a highly credible and trusted resource for so many people, and so many young women.
As a Canadian woman having worked with the womenâs movement in Quebec with YWCA Montreal, I know the very real challenges of running Girlsâ Groups and working with young women who are in extremely difficult situations. I know about the struggle to continue to apply for grants from government bodies and foundations, trying always to prove the validity and utter necessity of the work. I know how hard that was in my Canadian context and I know that these challenges are doubly harder for my colleagues working in the United States. The kind of perseverance it takes, both at an institutional level and on a personal one, is tremendous. You hear the most horrifying stories, and you also have the chance to witness some of the most incredible healing in young women who have benefitted and found solace, guidance and education in your programs.
When I asked Samia van Hattum of PPNM to contribute a piece for our blog about her work I knew there were many avenues she could take. Driving home the continued necessity to support such programs, she shares with us a very personal account of her experience through small anecdotes with big impact.
Stories from a Sex Educator
by Samia van Hattum
People ask me why I do this kind of work.
8pm. Phone beeps. Text message: âHi Samia. Do you have a moment?â It is one of my girls. I tell her I am available to talk or text, whichever she prefers. She says she needs to talk to someone she can trust. I make sure to include an âI am required by law to report any abuseâ reminder in my âof course, I am here for you to talk to anytimeâ response. âMy counselor says I should start telling people I trust a lot so I thought of youâŚâ My student has been discussing her questioning of her sexuality with her counselor and has decided that I am the first person, after her counselor, to whom she feels comfortable coming out. I try to find the right words to make sure I honor what she has just disclosed to me. I tell her that her counselor is giving her good advice about the importance of having people she can trust to talk to as she explores, discovers, and figures out her sexuality. The conversation lasts for all of 26 minutes and is completely via text message. âThank you for everything this year Samia, it was life changingâŚâ.
A month later. 9:30pm. Phone beeps. Text message. Same student. âSamia, I need helpâŚâ I let her know I am free to talk. She responds: âWhatâs the difference between bisexual and pansexual?â I define the terms. We discuss sexuality. Mostly she asks questions and I answer. She has come out to some of her friends, a group of 13 and 14-year-old girls. Not too surprisingly, the spectrum of sexuality appears to be completely lost on them. They want a label, a definition, a box in which they can put their friend. She herself is not sure; she also is a 14-year-old girl looking for a label to help her understand herself and explain herself to those around her. âSAMIA! IâM ALL MIXED UP! Imma explode while exploring!â I explain that what other people think is not important. I explain that sexuality is not something that can be simplified in a black and white manner with the slapping on of a name label. I explain that her sexuality is not necessarily anyone elseâs business unless she wants it to be. I explain that labels do not matter or really mean much but explain that human beings like labels in order to be able to box and categorize each other in our minds. I empathize with her frustration. I tell her about the term âquestioning,â and suggest that maybe if she really wants a label to use, this might be a helpful term with which to familiarize herself. This conversation lasts 39 minutes and is completely via text message.
Two days later. 8pm. Phone beeps. Text message. âSo, i promised i would tell u about the girl i metâŚâ 57 minutes.
People ask me why I do this kind of work. I think they expect a political response or statistics on sexually transmitted infections and teen pregnancy rates. It is not sufficient for teenagers to be told about the risks and consequences of sex. What is important is that they are shown that it is possible to have healthy conversations with people they trust about sexuality. Safe spaces need to be created for young people where trusting relationships are facilitated and fostered so that trust based communication and healthy conversations on the topics of sex and sexuality can take place. Everyone deserves to have a safe person to talk to and access to accurate, factual information about sexuality.
Why do I do this kind of work? I do this kind of work so this young woman has a safe and trusted adult in her life to talk to as she endeavors to understand her own sexuality.
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Please share this piece as the months towards the Whitehouse election draw closer. Look up your local Planned Parenthood chapter. Inform yourself and your community of their essential services and try to remember Samiaâs stories and all the women and men like Samia that provide these important services and relationships to young people.
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Samia van Hattum, LMSW is the Planned Parenthood of New Mexico Bilingual Community Health Educator serving Santa Fe and the Northern New Mexico region. Samia is responsible for coordinating and facilitating the Santa Fe Peer Education Program, organizing and facilitating Middle School Girlsâ Groups, as well as teaching comprehensive reproductive and sexual health education both in the Santa Fe Middle and High Schools as well as in community settings.
Image Source: "It's about heath and safety" via Planned Parenthood North Carolina
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Grantee Feature: Planned Parenthood New Mexico
Planned Parenthood. Itâs almost a dirty word in some parts of the United States. The highly contested national organization has ...
Jul 26, 2012
War is Business We first started funding War is Business (WIB) in 2010. We were initially taken with the siteâs veracity and unique content that is at once accessible and participatory. These attributes, combined with Coreyâs impressive investigative journalism track record, assured us that this start-up was something to pay attention to. WIB is a startup news site covering military contracting and the global arms trade. With content aggregated from anyone who wishes to submit, the site goes one step further than a Wiki as all submissions are reviewed thoroughly by the WIB team.
The WIB interactive map is an impressive feature of the site. As an individual, it can be all too easy to separate oneself from the military-industrial complex that Corey describes below. What his site does, in part, is makes it all very personal. I can search for war contractor companies near where I live, see the faces of the people running these companies and be encouraged to do my own research and contribute. WIB takes something so enormous, so untouchable, and makes it personal. This is the spark of what this organization does that is so phenomenal.
[embed]http://vimeo.com/16030115#[/embed]
Below, Corey shares with us the genesis of WIB, its ins and outs, challenges and success, and how you can get involved. Here is an incredible opportunity to read some great writing from an impassioned and fiercely devoted reporter.
Genesis and Reflections of War is Business
by Corey Pein
War Is Business is a unique and somewhat experimental journalism project. It is small in size, with one editor (that's me) and a handful of volunteer contributors and coders.
But it is big in ambition, taking on two urgent threats to the prerequisites of democracy: a lack of information and a concentration of power. [caption id="attachment_2301" align="alignleft" width="291"] Corey Pein[/caption]
This project aims not only to enlighten people about the world around them by offering independent coverage of a complex, poorly understood and enormously influential sector of the economy, but also find and demonstrate a model for sustainable investigative journalism at a time when the traditional funding sources for that kind of journalism are fast disappearing.
Say what you will about the mainstream media, but the current crisis facing newspapers and broadcast news organizations means that fewer skilled reporters are at work uncovering important information about government and the economy. Those reporters still employed at traditional media organizations are under pressure to produce more copy on increasingly trivial subjects. Many former reporters are going to work for P.R. firmsâspinning one-sided stories instead of searching for the truthâor joining investment banks and hedge funds, thus ensuring that the only people with access to good information are those who can pay for it.
The timing for this crisis in journalism couldn't be worse. That's because the most important information about the world we live in is getting harder and harder to find.
Increasingly, the framing of public discussion and the course of global events are shaped less by public figures accountable to an electorateâthat is, politiciansâand more by private interests: wealthy and powerful individuals accountable to no one, or at least, to no voter.
A few areas of the private sector are particularly powerful within the United States: Finance, energy, healthcare and what President Dwight D. Eisenhower first called the military-industrial complex. (There may be others, but in 10 years of reporting and writing in the U.S. and abroad, these are the few that stand out has having outsize influence.)
That last sector, the military-industrial sector, operates virtually free of scrutiny while enjoying virtually unlimited sums of public money, money that is more and more often channeled directly into private hands through outsourcing. Most former generals and admirals now go on to lucrative post-retirement careers working for the contractors they once oversaw. The privatization process, pitched as a way to increase efficiency, has actually created a perverse set of financial incentives to perpetuate armed conflict.
This is why Eisenhower singled out the military-industrial complex. Nowhere else are the consequences of corruption so dramatic and so dire.
That's more or less my rationale for starting War Is Business. For now the project exists chiefly as a website, warisbusiness.com, with three main features:
1.) Original reporting and commentary on military contracting and the arms trade.
2.) Aggregation of news on those subjects from hundreds of other sources.
3.) A public data bank, thousands of pages deep, that seeks to put names and faces on the people who profit from armed conflictâto make public figures of powerful private interests.
Few independent news sites are doing these things, and no others are doing them all in combination.
For the most part the defense sector gets covered by trade journals that exist thanks to advertising from⌠the defense sector! Hence they tend to avoid critical coverage.
The website launched in September 2010. I'd gotten the idea for it some six months before, while working at the Santa Fe Reporter, although it had been gestating for many years without my being aware of it, feeding on observations collected over a number of reporting jobs in far-flung places around the world.
New Mexico occasionally presented the opportunity to write about semi-secret military research projects and nuclear security boondoggles. The state remains in many ways a kind of military colony within the borders of the U.S., a harsh and inequitable place where chemists, physicists and weapons designers draw huge paychecks from defense contractors while their neighborsâdescendants of native people and their Hispanic conquerorsâstruggle, having little hope for advancement and basically zero expectation of government beneficence.
At that point I'd also done investigative reporting stints in Oregon, a state whose economy has suffered during this recession from an absence of large military bases, and in a half-Confederate, All-American base town in Georgia that happened to be the home of the second-largest National Security Agency presence outside of Fort Meade, Maryland.
Prior to that, I worked at an English-language newspaper in Bangkok, Thailand, where I met elderly veterans of the CIA's secret wars in Cambodia and Laos, and learned to my surprise that many large American arms deals with poorer nations are done an a so-called "offset trade" basis. That means the poorer country can pay for some expensive new gear like fighter jets with mundane commodities like rice, or chickens. Strange but true.
So I had come across all of these stories over the years, and they all seemed pretty important and telling in their own way, and I was I suppose a little frustrated at how hard it was to convey that in the locally focused newspapers where I'd been working.
The experience of launching War Is Business was something I imagine to be like giving birth one day, all of a sudden, without having known you were pregnant. And once the idea was there, I had to feed it.
To save money on a limited launch budget I built the website myself, having only dabbled in small-time blogging prior to that and with programming skills many years out of date. For the better part of a year I worked overtime almost exclusively on getting War Is Business up and running and flush with information. Now, with some help from a skilled developer, I'm now in the process of preparing a redesign and re-launching of the website, which in its first year gained many readers but fewer donors.
I'm also in the process of retooling some of the business and administrative aspects of the site, with an eye on making the entire project more financially stable and sustainable. This may include requiring a nominal subscription fee to access some features of the site that are especially costly and time-consuming to produceâespecially the original reporting.
I'd like to once again thank the Kindle Project for helping get War Is Business site off the ground.
With big problems, people often wonder how they can help. In this case, the answer is simple. Read the site. Tell your friends about it. Spend 15 minutes exploring the maps on the site to learn about the defense contractors near your town. Invest another 15 minutes researching one of those companies online, and enter what you findâthat makes you a contributor!
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Itâs rare to get a full picture of an organization in its early stages. More often than not, urgency drives all moves at the beginning of a project and it can be a challenge to take the needed time to reflect and critically think about the work.
For our last blog post we were fortunate enough to have the earnest reflections from High Mayhemâs Director, which allowed us to peer into the challenging underbelly of a successful art collective. Now, having had the opportunity to learn more about Corey Pein and his impressive initiative, weâre all the more encouraged to ask these sensitive and behind the scenes questions to our grantees because weâre finding it gives us the most fascinating answers, and helps us understand the intricacy of the work we support.
Please visit the WIB site, read, explore and contribute.
www.warisbusiness.com
War is Business
We first started funding War is Business (WIB) in 2010. We were initially taken with the siteâs veracity and unique ...
Jul 12, 2012
High Mayhem Kindle Project has been funding High Mayhem since 2009. As a local art collective with leaders and members who are our friends and collaborators, they have always impressed us with how theyâve done so much with so little. The same can be said of many of our grantees. However, each member of the Kindle team has been or is currently involved in some form of artistic practice and as such we know how challenging it can be not only to make art, but to share it while engaging our communities.
When High Mayhem submitted their grant proposal to us this spring, we had a renewed burst of energy for this long-time grantee. Weâve seen what theyâre capable of in terms of the kinds of offerings they give to the community of Santa Fe, how they work and train young artists, and how their doors are open to so many forms of unfettered creativity. But this year, with their proposal also came a letter from High Mayhemâs Director, Carlos Santistevan. The letter was such an honest and earnest exploration of what it takes to thrive as an art collective that we were compelled to publish it here.
For anyone interested or involved with an arts collective â this is an essential read.
Battling Through Longevity as an Art Collective
by Carlos Santistevan, Director of High Mayhem
High Mayhem Emerging Arts is entering its 11th year as a not-for-profit all volunteer arts collective. Â During this time we have had to continually evolve, redefine and refocus our efforts in an attempt to keep the collective alive despite member changes, life changes, and the powers that be. It has been challenging, but somehow we have endured and continue to evolve as an organization and as artists.
I think whenever a legitimate art collective emerges it is a confluence of many forces. [caption id="attachment_2282" align="alignright" width="166"] Carlos Santistevan[/caption]
There has to be the need in the community for such a thing to exist (a void to be filled), the right people have to come together or meet at the right time, and the right physical space needs to exist or make itself available. Â All these things coming together at the right time creates an almost celestial happening, and those that become part in giving birth to this new creative outlet are lucky to find themselves in the middle of such a convergence.
If the community is ripe for it and the art is good enough, generally the art collective will be able to make a âbig splashâ in the community. There is a lot of hype and people are quick and eager to jump on and help in whatever way they can. They find nourishment in what the collective provides and itâs refreshing to be able to feel the power of what a large community can achieve when working together. Through riding such a wave High Mayhem put on eight large 3-day multimedia experimental arts festivals and hundreds of shows to our community. Â Bands and artists seemed to pop out of nowhere, and while often little known or unheard outside our immediate community, these acts made huge impacts locally, and nurtured an artistic development that could never otherwise have been born.
But what happens when the bubble begins to burst or fade out? Critical members experience serious life changes, people begin to donate less time and energy, kids are born, family or career pulls people in other directions and places, rent is hard to collect or raise, people that have no interest in the art show up to events simply cause it's âhappeningâ and cause fights that tear at the heart of the organization. How does an art collective survive against these odds? The laws of the universe (entropy) make all things move towards chaos and disharmony. How does an art collective rise above this? Or can it?
For a long while we got caught up in the hype that surrounded our organization and really raised the publicâs awareness and programmed and produced more events than we should have. While it was fun and cool, it actually began to endanger our collective. We began to put energies toward putting on and producing events instead of focusing on our own art as artists. People began to burn out. We made many great connections and brought in lots of inspiration, but didnât leave enough time for us to nourish our own art.
The other issue with raising our profile publicly was that people began to come to events not for the art, but for the scene surrounding us. While we understood this was usually a good thing as people became exposed to art they never otherwise would, it also became dangerous as people with no interest or reason to be at an event showed up and started trouble. Fights and guns showed up in a place that we grew from our heart and these things were painful for us to accept. Along with this, Police and Fire Marshalls began showing up to events and shut us down. We were told our house turned art space only had an official capacity of seven, and without tens of thousands of dollars of renovation we could not host public events. We became too visible, and eventually lost our art space as a result.
After we lost our space, we were unsure what would happen. We eventually got to the point where we realized this was an opportunity to go back to our roots; to go back underground and really focus on our art. So that is what has kept us going for the past 3 or so years. We have drastically reduced our public presence. We know that every time we put on a public event at our space, the authorities or people that simply âdon't get itâ could take this away from us. We are weary of the press for the attention it brings. We have made our new art space our laboratory where we challenge each other, grow, develop, document, and occasionally showcase our creative efforts.
Despite these challenges, somehow High Mayhem is still here. Our light has faded in the public or hipster eye, but the art that is being created today by High Mayhem artists shows a level of sophistication and maturity that could only exist by having gone through and endured all this. By placing our priority on our own artistic growth and development we have endured through many ebbs and flows. Our art has served to guide us through these challenges. As just about any artist will tell you, the reason they create is to help them cope with the immensity of life. In this case, our art has guided us individually and collectively through these processes and kept High Mayhem's pulse strong.
At this point we are now challenged with how do we get our art more recognized and not challenge our very existence? We are exploring ways to exploit more digital media and means of broadcasting to a wider global community. This summer we are working on designing and installing a live internet broadcasting system as well as recording and filming various local and touring artists to establish a video series of musical sessions recorded at our studio. We are putting our faith into the idea that this will fill the gap between artist and audience, but know that we will continually need to reassess and redirect our energies if we are going to continue to survive, and like any life form, our decisions are based upon survival in an environment that tries to choke the life out of art collectives.
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Reflection, sincerity, humility and perseverance reverberate off of Carlosâ letter, acting as a relatable reminder to other art collectives to stay strong, to shy away from the notoriety of popularity, and return always to the art.
Stay in touch with High Mayhemâs work via their Facebook page and their website.
High Mayhem
Kindle Project has been funding High Mayhem since 2009. As a local art collective with leaders and members who are ...
Jun 28, 2012
Grantee Feature: Honest Appalachia A conversation with Jimmy Tobias â Getting to Know Honest Appalachia
It is undeniable: the state of media is changing rapidly every single day. Our traditional modes of getting news via local newspapers and radio stations is being challenged and in many places is at severe risk. With the 24-hour news cycle, we all have to be more diligent than ever in paying attention to the kind of news we are receiving, and supporting.
With the massive attention that Wikileaks received last year, and continues to receive today, sharing sensitive information that whistleblowers work hard to uncover is significantly more dangerous. While Wikileaks opened the doors to information sharing and document exposing from whistleblowers it also highlighted their status and perceived threat: though whistleblowers are some societiesâ unsung heroes, they are seen as terrorists and traitors by many people in positions of power. While I know this may sound like a dramatic statement, there is something wildly dramatic about devoting oneâs life to exposing truths in the face of potential danger and legal threat.
At Kindle Project, the open sharing of information and news is something that we are passionate about. To this end, we were more than happy to invite the new start-up organization, Honest Appalachia, to be a part of our grantee community this spring. [caption id="attachment_2264" align="alignleft" width="279"] Honest Appalachia founders: Garrett Robinson and Jimmy Tobias[/caption]
Co-founded by Jimmy Tobias and Garrett Robinson, Honest Appalachia began in January of this year and its mission is to inspire whistleblowers from the Appalachian region to share information safely and anonymously. They are in the business of accountability by making sure that whistleblowers, who are devoted to uncovering injustices, corruptions and wrongdoings from corporations and government, can have a voice and one that is heard.
I had the chance to catch up with Jimmy Tobias to learn more about their work.
Kindle Project: Why Appalachia? What is happening in the Appalachians that calls for the need for whistleblowers to come forward?
Jimmy Tobias: Itâs the region we knew best. I went to school in West Virginia and our team knew this region well. Itâs rural and has a big history with extraction. This project would be helpful in this area. [Honest Appalachia] is a call for whistleblowers to come forward: the region has a history of extraction, and [has the heavy presence of] the coal industry. Itâs such a heavily industrialized area. People are more vulnerable there as well. In West Virginia there are only two AP reporters to cover the whole region.
KP: Is it an issue of geography then? Rural areas not being given proper attention by the media, I guess itâs just not glamorous.
JT: Exactly. News media is changing and investigative journalists are losing their jobs. Media is in a strange place and rural areas are not glamorous to cover.
KP: We are very focused on issues of environmental and social justice. Are those the subject on which youâre receiving most of your submissions?
JT: We are a one-industry region in many ways. The coal economy is one of the pillars of our society, and to not have eyes on an industry that is massive and important seems dangerous. Now with hydraulic fracking becoming big it leaves people more vulnerable. The extraction industry, and as well as state and local government is what weâre looking at. Thereâs so much room for political corruption and collision. Being a watchdog of the government is the mediaâs traditional role and weâd like to be a part of that.
KP: What are the risks involved in sharing this kind of information? Both for the whistleblower and for you?
JT: The risks depend on the types of documents we get. Weâre prepared to deal with local and federal corruption, as we are pretty prudent, and have good legal support. Ultimately, our number one goal is to keep peoplesâ identities and First Amendment rights protected. The coal industry has a history of being rough with people who shine too much light on them. I think itâs a different world than it was 50 years ago and law and order still prevails in our country.
KP: What advice do you have for whistleblowers who want to share their info, but are too afraid of the risks?
JT: It really depends on their personal circumstances. Mail is a secure form of information delivery, as long as they keep their personal information off the document. Itâs probably more secure online.
KP: Is it a strange experience to have relationships with anonymous sources?
JT: It depends on the type of document [submitted]. Part of what weâre trying to do is be a matchmaker for whistleblowers and appropriate journalists on a case-by-case basis.
KP: Have you had a lot of submissions already?
JT: Weâve had a lot. One interesting submission that the AP in West Virginia is looking at is a story about wasteful spending by the state/government. These are the kinds of stories weâre looking for. We donât want personal grievances. Weâre looking for well-documented issues of public interest.
KP: What has response been like from your local Appalachia community?
JT: Thereâs been a lot of positive feedback. But, the government of Pennsylvania criticized us one day on the radio. [You can read about this on the Honest Appalachia blog here]. Journalists and the AP in West Virginia have been great and very responsive as well.
KP: What kind of a community, if any, is being created through your site?
JT: Weâre hoping we can build relationships with activists and journalists to create a community around online activism and journalism, and we hope that a community will coalesce amongst the site. We believe that such a community can develop via our presentations, and on our Facebook page/ blog.
KP: So, in building this community are you in touch with other media sources as well?
JT: We really want to establish a relationship with journalists. Our closest relationship is with AP, and we also know the people at Democracy Now, though weâre always looking to expand: weâre collecting names and numbers for other potential partners.
KP: Aside from journalists, are you aiming to broaden your community to include any other organizations as well? Weâve recently funded the Government Accountability Project (GAP), and they seem like natural allies for you. Do you have any plans to connect whistleblowers with legal advocates?
JT: Yes, we have some good legal contacts, and weâre familiar with GAP. They wrote about the Honest Appalachia launch and we re-tweet some of their stuff. [In addition, ] the Electronic Frontier Foundation has helped us navigate through some issues. We have some interesting legal contacts as well. Weâre tapped in and would feel comfortable reaching out to GAP. Some attorneys have reached out and want to help.
KP: Why is the need for Honest Appalachiaâs work important given Wikileaks already exists?
JT: Regional focus is a big piece of our work. Wikileaks focused on the big international issues. Theyâre also having a lot of troubles right now. If they disappear it would be good to have other sources in place for transparent media.
KP: On your site, you encourage people to start their own Honest X organization. Why should people do this? What is the best way to go about doing so? And how will Honest Appalachia facilitate this process?
JT: One of our major goals is to help these kinds of websites develop by sharing our platform and code, and offering technical help to anyone who wants to start one. Weâre encouraging others to take our model and adapt it to make it their own, and weâve already helped people in Finland and Switzerland to do so. We see ourselves as a part of the computer security, privacy movement.
KP: What kind of funding do you need in order to sustain Honest Appalachia?
JT: Whistleblowers need nothing beyond a secure computer and the courage to take a stand. As we expand, if we canât get funding, we want to be able to shrink back to a low cost model. This spring we are doing an educational tour, running ads on Facebook and we can do all of this for very little. But, funding allows us to dream big and get paid.
Every person has a voice, and organizations such as Honest Appalachia are making it possible for these voices to be heard. Furthermore, they are allowing these voices to safely expose the often-damaging skeletons that corporations and states are hiding in their closets. This is why we are so committed to the work of Honest Appalachia. They are continuing to pave the way for whistleblowers to carry out their challenging and essential work.
Keep yourselves informed via their blog.
Grantee Feature: Honest Appalachia
A conversation with Jimmy Tobias â Getting to Know Honest Appalachia It is undeniable: the state of media is changing rapidly ...
Jun 18, 2012
Kindle Project + Capricious Call for Submissions Kindle Project is collaborating with Capricious Magazine on their 13th issue: WATER
We are very excited to announce a new Kindle Project collaboration with Capricious. Capricious Magazine and its related projects provide a platform for the work of emerging and underrepresented fine art photographers who push the boundaries of their medium and bring critical attention to social, political, and environmental topics. Capricious thereby offers vital support needed to help both the artists and the issues to gain greater visibility.
Thirst, living on the water, dependence, in hot water, missing water, water travel, the drought, surfers, marine life, fishermen, romanticism, whale warrior, narwhale, adventure at sea, abuse of water, artesian aquifer, trash-pit, texture, shapeless, tears, bodies, bottled, baptism, boiling, transparency, poetic, polemic, narcissism, steam, clouds, holy water, swimming pool, garden sprinklers, spring break, lost at sea, changing tides, the force of water, icebergs, bi-coastal, beach, play, elemental, floating, environmental justice, climate change, excess and scarcity, Mother Natureâs rights, resource wars, ripples, the deep end, across the pond, steaming mad, raining cats & dogs, acid rain, sea glass, sea monkeys, drip drip drop, dammed up, up a river, down a well, hydroponics, potability, precipitation, waterborne, ground-water reservoir, jet streams, wave crests, cirrus clouds, dilution, reflection, running dryâŚ
The next iteration of Capricious, the WATER issue, will see us diving into one of the most pressing conservation topics of our time. The future of water, and its inextricable link to our planetâs survival, is unquestionably in the hands of our own generation as well as our childrenâs generations. So how do we see humanityâs relationship with water? How does that relationship appear in the developing world, as well as in the first world? And how do we, as individuals, interact with and think about water? Surprise us. Challenge the norm. Teach us something we don't already know.
Kindle Project LLC and Capricious are joining forces to present The Kindle Project Photography Awards. Three photographers exploring the theme of water in distinguishing ways will be provided with an award of $1000 USD. A selection committee will choose the artists. (Committee members have not yet been announced.)
Since 2008, Kindle Project LLC has supported artists working in traditional, modern, and experimental modes that question, confront, explore, frame or reframe the following: perceptions of identity; worldviews and the collective conscious; individual and social conditioning; relationships between nature, culture, and technology; the consensus of what is beautiful and what is ugly; the institutionalization of who can experience art and how it is experienced; political frameworks and authority; and sensuality.
CAPRICIOUS NO 13Â
Call for Submissions
Deadline: September 5, 2012
Updated Submission Deadline: September 11, 2012
Submission Instructions:
We want you to submit 6-12 photographs (more will not be viewed). We accept all formats and all colors. Email your submission (images should be approximately 8x10 inches @ 72 dpi) to:Â submit@capriciousmagazine.comÂ
Not all submissions will be guaranteed a spot in the coming issue, yet Capricious will consider your submission for future issues. Please make sure you have model (or any other legally necessary) releases for all submitted work. Capricious has the right to use published material in promotional matters. Deadline: September 11, 2012. For further questions, email submit@capriciousmagazine.comÂ
www.becapricious.com
www.kindleproject.org ![]()
Kindle Project + Capricious Call for Submissions
Kindle Project is collaborating with Capricious Magazine on their 13th issue: WATER We are very excited to announce a new Kindle ...
Jun 04, 2012
MIX Santa Fe MIX Santa Fe Feature: 10 Micro-stimulus Questions with Zane Fischer
Arianne Shaffer - Kindle ProjectÂ
Today weâd like to introduce you to Zane Fischer, one of the brains behind MIX Santa Fe and one of our newest grantees. MIX is paving the way for local entrepreneurs, organizations, and individuals to collaborate in truly innovative ways. They have become the creative nexus point, both on and offline, for Santa Fe business-minded individuals and start-ups. One can get a real sense of both the people involved in MIX and its initiatives by watching this video:
[embed]http://vimeo.com/36609954[/embed]
In this small city of Santa Fe, the MIX social mission alone is an ambitious one. Touted more for its art, natural landscapes and plethora of yogis and healers, Santa Fe has not had a great rep as a social hub or for having a thriving nightlife, especially for young people.
MIX is changing all of that.
A couple weeks ago, the entire Kindle Project team was in Santa Fe, (a rare occurrence for us), and we were thrilled to attend one of MIXâs now popular social events. This particular MIX, âRoyally MIXedâ, had an extra special purposeâto be a pitching hub for the 11 finalists from the BizMIX competition that was launched this spring.
Upon arrival, all local guests were asked to fill out a survey of their spending habits, how theyâd like to spend their money in support of local businesses/groups, and what they feel is missing in Santa Fe. Part of MIXâs mission, particularly with their business competition, is to help revitalize and shift the local economy and their game-ification of this process brings a certain buoyant spirit to entire event. After filling out my survey I was offered a drink ticket and a sticker that read âPitch Meâ, which would act as invitation for BixMIX finalists to approach me with their idea in hopes winning my vote at the end of the night.
Amongst the over 500 attendees (a record for MIX!), I mingled with guests as I nursed a watermelon margarita and listened to details about the projects being worked on. I got a real sense that MIX is, in fact, accomplishing their very ambitious goals.
[portfolio_slideshow]
Perpetually excited by interpretations and actions of microphilanthropy and small awards with sustainable impacts, we are keeping a watchful eye on how MIX and their BizMIX program will carry on in the coming weeks. Zane took the time to explain some of the behind-the-scenes thinking of MIX to us and how what theyâre doing is not only something that can be replicated in other cities but an essential contribution to shifting economies and building communities.
This is an important read for any start-up organization looking to contribute to their community and their local economy in ways that add value and creativity.
A big thank you to Zane and MIX! Keep in touch with BizMIXâs results via our Facebook page and theirs.
Kindle Project: Why are micro-stimulus grants important?
Zane Fischer: The current economic landscape is positively Dr. Seuss-ian in terms of navigability for most ventures and projects getting off the ground. On the one hand you have multi-national corporations benefitting from subsidies, favorable tax structures and unprecedented lobbying access, and using that power to narrow the paths to small and independent innovation and success. On the other hand, you have the fantasy of being the next Instagram or overnight Kickstarter funding or a venture capitalist deciding to be your guardian angel investor. Rather than being confounded by barriers or dreaming of easy wealth, a lot of talented and motivated people just need someone to demonstrate some belief in their idea and their abilities. A small push toward freedom to develop some additional capacityâsomething to get them up to the next rung, both mentally and financiallyâcan make all the difference in early and bridge stages of a project.
KP: How do you see them as being beneficial for a small community like Santa Fe?
ZF: The benefits are tangible for every line that passes through the micro-stimulus nexus. Projects that are supported not only receive money, but they receive it from within the community, which brings a kind of stewardship with itâa desire on the part of sponsoring businesses and community organizations to help pool resources and offer mentorship toward success and a desire to on the part of recipients to do the best they can with the resources they've been entrusted with. People who step forward to help sponsor our micro-stimulus initiatives not only increase their own visibility within the community, but gain access to a vibrant talent and idea pool that might not otherwise be visible to them. The City of Santa Fe economic development department sees a remarkable leveraging of their funding in the form of private matches and the cultivation of a soil ripe for creative entrepreneurialism. The MIX constituency and the city as a whole get the satisfaction of translating frustrations and challenges, identified through crowd-sourcing, into imaginative solutions, some of which will grow into successful businesses and organizations.
KP: Are there any other ways in which small business ideas and start-ups can get funding like this in Santa Fe?
ZF: Certainly. The city's economic development department works hard to be accessible, to connect people with resources and, in some cases to help financially with ventures that offer significant potential for workforce development and increasing high-wage jobs. New Mexico in general also has a surprisingly vibrant ecosystem of venture capitalists, angel investors, peer groups and business development resources, but the street level collection of niche opportunities and the fast response, quick funding and game-ification of the process is something that only MIX is doing locally, as far as I know.
KP: Can MIXâs model be easily replicated in other cities and communities?
ZF: Absolutely. And it's a priority of ours to have a better mechanism for delivering information in response to the many inquiries that we receive from other cities. We've also paid attention to a lot of compelling programs being created around the world. Personally, I think there are two key strengths at the core of what MIX excels at. The first is to adopt an ethos of doing somethingâdon't overthink it, don't perfect it, just get something off the ground. The second is to take a cue from the Poet Rainer Maria Rilke and âresolve to always be changing.â Evolving our methodology and priorities in response to the needs identified by our constituency has been a really important part of staying relevant. Every community is a little different, but taking action and then adjusting course by really listening the response to that action is something that I think is going to be universally effective.
KP: Are there any examples of micro-stimulus grants in others cities that have inspired MIXâs approach?
ZF: There are really too many great projects to list. The whole micro-financing movement has been pretty inspiring. There are huge problems, whether you're talking about relationship-based banking, funding cottage industries in impoverished and disempowered regions, or crowd-funding online, but even with the challenges, it's a disruptive movement that opens a lot of possibility, that is establishing a financing framework that makes sense for the 99 percent, and that holds the potential for investment to gravitate away from abstract, centralized systems like national stock exchanges and back toward a more localized structure.
KP: What advice do you have for community groups that are interested in starting their own micro-stimulus projects?
ZF: Take âmicroâ seriously and start small. The first time you pass a hat or crowd-fund or approach sponsors or funders, you're probably not going to have a lot of credibility. The first âstimulusâ checks that we delivered were fifty dollars or so. A couple of years later, we're giving away $10,000...but we had to earn some credibility. If people see strong results with a small amount of money, they're compelled by what you might achieve with more. To do that, you've got to listen and respond. There's a perception that effective programs that attain broad engagement are built from the top down by âexperts in the fieldâ but it's really audience, it's really constituency, that tells you how they want to be engaged. Listen to where people want to see changeâcollect hard data on it, in factâand then find a way to put game theory into play in terms of drawing out people who will take charge of manifesting that change. Look for ways to have a good time during the process of shifting challenge toward opportunity and frustration toward action.
KP: With BizMix, how do you decide which projects will make it to the second round?
ZF: Our business plan competition had 75 entries and, in a city the size of Santa Fe, we feel proud of that. Thousands of people took a look at the application and we know it takes a real commitment to fill out the entry form and articulate a vision. So, it was really difficult. We used a group comprised of MIX coordinators and professionals in business, economic development and exactly these kinds of competitions to select 11 finalists. Every application was gone over multiple times and it was a real challenge for that body to whittle down the finalists. A panel of local entrepreneurs and professionalsânone of whom are associated with MIX operationsâwill choose the winner or winners. Applicants who didn't go on to the final round in this case, will be among the first to know about any additional opportunities MIX is able to bring to the table. There's a real sense of responsibility toward supporting everyone who has participated.
KP: What is your hope for the people involved in the mentorship program?
ZF: All of the BizMIX finalists will experience a mentor night where they'll be able to meet a spectrum of established professionals who have skills germane to getting a business off the ground. Whether a particular finalists need is constructing a cash flow or designing a marketing plan, we'll have someone there to round out that aspect of a final business plan entry. The goal is not only to up everyone's game but give tangible support to all of the finalists, so that even if they don't hit grand prize territory, we give them a valuable take-away.
KP: As start-up businesses are on the rise, what do you think larger cities can do to help encourage and facilitate this?
ZF: Population density has its built-in advantages. So, honestly, we're more interested in how smaller and mid-sized cities can translate quality of life and, hopefully, a nimble policy-making body into vibrant, talent-rich communities. We know what a New York, New York can do and we even know what a Portland, Oregon can achieve, but what about a Buffalo, New York or a Santa Fe, New Mexico orâŚ? The current influx of population into large city centers has a corresponding (if less statistically noticeable) exodus of talented individuals looking for a more intimate experience and a more tractable sense of community. Often it's about understanding the environment beyond the municipal lines. We could spend all day worrying about Santa Fe alone, or we can take the watershed concept and apply it to a âtalent shed.â In our case, Taos, EspaĂąola, Los Alamos, Rio Rancho, Albuquerque, etcâhow do we leverage that entire ecosystem and the different attributes within it to strengthen all of the different components?
KP: MIX seems to operate its micro-stimulus grants in similar ways that the Awesome Foundation does. I know you donât get your funding from individual trustees, but from other sources. Would MIX ever consider crowd-sourcing their funding from the community?
ZF: We're big fans of the Awesome Foundation at MIX and have considered having MIX represent a Santa Fe chapter. We have an event slated for later this year that will be all about crowd-funding, a MIXstarter if you will. As I mentioned previously, we'd love to move toward a local investment mechanism; a local exchange where people can invest in small businesses operating on the ground in and around Santa Fe. We think the time is right as some recent changes to federal law are helping to make micro-investing more feasible. There's also a lot of disillusionment with traditional investment mechanisms right now, making it a good time to give people who are skittish of investing in the stock market an opportunity to make solid investments locally. [caption id="attachment_2235" align="alignleft" width="171"] Zane Fischer[/caption]
To read more about Zane Fischer check out his bio on the Kindle Project website. He's also a member of our Steering Committee.
http://mixsantafe.com/ ![]()
MIX Santa Fe
MIX Santa Fe Feature: 10 Micro-stimulus Questions with Zane Fischer Arianne Shaffer - Kindle Project Today weâd like to introduce you to ...
May 31, 2012
Announcement of Spring 2012 Grantees! Kindle Project Fund of the Common Counsel Foundation welcomes our new and returning Spring grantees. With work that stretches across a broad range of awesomeness from government and corporate accountability, youth inspired movement building, whistleblower advocacy, seed saving, and music collectives, it's a productive and inspiring time for our grantee community. Below you'll find an introduction to each of our current grantees. We encourage you to visit their websites, support their projects, and continue to stay informed by checking back here and liking our Facebook page.
Announcement of Spring 2012 Grantees!
Kindle Project Fund of the Common Counsel Foundation welcomes our new and returning Spring grantees. With work that stretches across a broad ...
May 24, 2012
Kindle Project Interviews Dynasty Handbag (a.k.a Jibz Cameron) Preparing to go and have lunch with Jibz Cameron, whose alter ego Dynasty Handbag is a 2011 Kindle Project awardee, is a bit like prepping to meet the best friend youâve always wanted to have. Not in the Julia Roberts way, but more in the way that I knew that having lunch with Jibz would feel like having lunch with an old friend â one who leaves me less with the familiar sense of nostalgia but with renewed sense of inspiration and jittery excitement I hope to get from a budding professional partnership.
My lunch date is not your average artist. Ok, is there is even such a thing as an average artist? Perhaps itâs better to say sheâs one of the most unique, comical performers weâve ever had the chance to encounter. Her work is unabashedly bizarre and deeply funny, with hints of emotional depth that leave you ruminating in your own reflections days after youâve experienced her work.
Jibz had me meet her at a place called DINER in Williamsburg, Brooklyn. From the outside it looked like an old barn or shed, and the inside felt like an old boat, the perfect setting for a Canadian girl like me to bask in the glamorous glow of the NY artist. The thing is, Jibz is disarming, grounded and laugh-out-loud hilarious without even a pinch of pretension. Her glamour resides in her earnestness, which makes her delightfully easy to speak with. After we shared a perfectly locavore meal in the DINER/boat we chatted outside in the New York sun about her new work, Eternal Quadrangle, whatâs next for her, and the movable intricacies of her artistic process.
Eternal Quadrangle premieres at The New Museum in New York City tomorrow, May 18, 2012.Â
Kindle Project: Ok, tell me about your new piece. It has a great name! Eternal Quadrangle!
Jibz Cameron: Dynasty Handbag goes on a dating game show and the contestants are a disembodied brain, a stray dog, a professional golfer and the grim reaper.
KP: Are they all played by puppets?
JC: No, theyâre animated creatures and I do all the voices. I ask them all questions and they use the trope of the dating game show where there are exchanges like, âBachelor number 4: look at bachelor number 2 and tell me, if he were a kind of animal what would he be?â You know, that kind of stuffâŚbut mostly the ideas behind it are about when I get locked into thinking thereâs a certain way to think or act thatâs a solution to whatever problem Iâm having instead of being really open. I found that when I was going through a lot of stuff last year I kept thinking you need to deal with it in this way which would be the representation of the golfer who is all ambition and focus and success and I donât have any of those desires [giggles]. Or like being really fatalisticâweâre all going to die anyways so who gives a shit what happens. Or the dog is self-pity, just wallowing and wallowing. And the brain is justâŚitâs like on speed, itâs not on speedâŚ
KP: The brain is where speed was born?
JC: Ya, it wears running shoes. The brain [character] is more trying to figure things out â trying to attack everything, you know all [she makes many funny mumbled sounds]. The whole thing with the dating game is about the relationship with the self. Itâs very weird that we lock ourselves into small ways of thinking and compartmentalizing. And on a larger scale I think compartmentalizing is really bad news for everything.
KP: Well, it disconnects you from everything youâre experiencing when you choose to only experience or view something from one of those little identities.
JC: And itâs also just sort of universally kind of fucked up. We want to identify things and label them and make sure weâre in control of what they are. And have them be tidy. I guess thatâs sort of the impetus of how this one [project] came about. I canât tell you the trajectory of where theses ideas were invented.
[embed]http://vimeo.com/8267984[/embed]
KP: Whatâs so interesting hearing you talk about it having seen other Dynasty Handbag videos is that you describe it so articulately and with so much emotion and itâs so clear. If you were describing this to me without me knowing your work Iâd be like, oh yes, Iâm about to experience something I can totally relate to and tap into, but the whole visual and the character of Dynasty Handbag is absurd in so many ways!
JC: Ya, it is absurd. I also just like comedy so I try and make things funny.
KP: Sheâs super funny. The first time I saw your videos I was completely entranced and quite uncomfortable all at the same time, which is what I love about it. And then you get to know DH a little more â less uncomfortable and you can kind of find you way in to relate to it. That was my experience of it, but I remember watching it for the first time and I couldnât take my eyes off this thinking you have this magical courage about you to take these understandings of yourself and present them in these entirely comedic, colorful, absurd and unusual ways. Thatâs my experience.
JC: Hmmm, thatâs cool! Thatâs a pretty good goal I think.
KP: One of the notes I wrote this morning was that you have so much courage [she winces] You knowâŚnot in this pedestal queen of Williamsburg way, but it takes a combination of courage and grace to make comedy absurd and meaningful at the same time. Itâs hard to do.
JC: The comedy part of it makes it accessible. Itâs a safe place for me to go to explore these things. If I didnât have that padding I donât know if Iâd be able to go into it. It makes it accessible for other people too.
KP: What about courage?
JC: Seems a little distant. But, I guess I do work on things in my life that arenât directly related to my art practice that I do feel takes a lot of courage and that informs what I do in my art practice. I donât sit down and thinkâŚIâm gonna go really deep today. The stuff just comes and then I realize itâs coming because of something I need to look at. Or sometimes the story will tell itself to me after the fact; oh thatâs why that guy needed to be in this thing â of course?!It also doesnât really matter what it means to anyone else. Itâs so subjective. It doesnât really matter what I means to anyone else. But if itâs sitting with you, fine.
KP: But, you keep making stuff for people to enjoy, interact with and consume in some way.
JC: Yes
KP: So it must mean that people are responding in some way.
JC: Ya, I feel like I get a lot of good response. But, I also feel that I care less and less about that.
KP: What does a good response look like for you?
JC: You know, people throwing money at me. People killing themselves because I canât always respond to them as my fans.
[We both laugh a lotâŚ]
JC: I get