News & Press

05.12.16

CulturalDC – We Make Space For Art

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05.12.16

Anne Bouie: THE FOUR MOMENTS OF THE SUN at CulturalDC’s Flashpoint Gallery June 11 – July 9, 2016

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Anne Bouie_In The Temple of the Ancients

FOR IMMEDIATE RELEASE
May 12, 2016
Contact: John Richards
john@culturaldc.org
202.315.1322

ANNE BOUIE
THE FOUR MOMENTS OF THE SUN
June 11 – July 9, 2016
Opening reception: Saturday, June 11 (5-7pm)

WASHINGTON, DC – CulturalDC is pleased to present The Four Moments of the Sun, an installation created to explore the meaning of time, space, spirit and ceremony by Anne Bouie from June 11 – July 9, 2016, at Flashpoint Gallery. The artist sees the four moments as universal points of illumination, teaching, healing and connection with ancestors, guardians and guides.  She uses sculpture and assemblage to create work that embodies symbols, signs and depictions found across time, peoples, places, and cultures to make the invisible realm of the sacred seen and accessible to modern minds, souls, and spirits.

The work reflects the artist’s own spiritual seeking and journey to acknowledge the truths and spirituality of her ancestral roots with her upbringing and membership in the African Methodist Episcopal Church.  She has grappled with the fact that, even though many beliefs and perceptions of indigenous peoples have been disparaged, dismissed and nearly destroyed by some modern interpretations of Christianity, they actually address, present, and explain beautiful and profound spiritual principles.

ANNE BOUIE was born in Birmingham, Alabama, spent memorable and formative summers on her grandparents’ homestead in Jackson County Florida, and was raised in Atlanta, Georgia before moving to Riverside, California. A successful and experienced historian and educator, Bouie now makes art that references the rich, deep cultural and historical legacies she has inherited. Bouie’s solo shows include the Washington Arts Club, Zenith Gallery, the Hill Center Gallery, the Schlesinger Gallery at NoVA, Flashpoint Gallery, and the Stella Jones Gallery, New Orleans.

ABOUT CULTURALDC’S VISUAL ARTS PROGRAM

CulturalDC operates Flashpoint and produces public art interventions throughout DC. We nurture talented emerging and mid-career artists by providing opportunities for peer learning and mentorship. At Flashpoint Gallery, we showcase bold, new work from artists working in a variety of media including site-specific installations, performance pieces, new media and other experimental forms. As a nonprofit gallery free from the constraints of commercial expectations, Flashpoint provides artists and curators a unique opportunity to take creative risks. An advisory panel of noted artists and arts professionals makes programming recommendations for the gallery and provides mentorship and support to exhibiting artists.

CulturalDC is generously supported by The Morris and Gwendolyn Cafritz Foundation, DC Commission on the Arts and Humanities, The Community Foundation for the National Capitol Region, Daimler, The National Endowment for the Arts, Microsoft, Washington Gas, Weissberg Foundation,  Altria, Anonymous, Busboys and Poets/Eatonville, Hank & Carol Goldberg, Lockheed Martin, Menkiti Group, Prince Charitable Trusts, Stephen Stein and VOA Associates.

 

ANNE BOUIE: THE FOUR MOMENTS OF THE SUN

Opening Reception:
Saturday, June 11, 2016 from 5-7pm (free and open to the public) 

Exhibition Dates:
June 11 – July 9, 2016 

Flashpoint Gallery Hours:
Wednesday – Saturday, 12-6pm or by appointment 

Luce Foundation Center artist talk:
Saturday, June 25, 1:30pm
Smithsonian American Art Museum, Third Floor

Visit the CulturalDC website at culturaldc.org and follow CulturalDC on social media (Facebook, Instagram, and Twitter) for updates on this and all of our exciting projects.

#WeMakeSpaceForArt

General: 202.315.1305 • Press: 202.315.1322 • Fax: 202.315.1303 • Email: john@culturaldc.org
CulturalDC • 916 G St, NW • Washington, DC 20001

 

CulturalDC Photo By Gedalia Vera (289)
05.05.16

(((POSITION HAS BEEN FILLED))) CulturalDC Programs Intern

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 CulturalDC Programs Intern              job announcement

CulturalDC is a nonprofit organization, founded in 1998 (as the CulturalDC), that makes space for art through its programs and services. CulturalDC’s mission is to encourage artistic innovation connecting artists, arts organizations, developers and government agencies to facilitate economic and cultural vibrancy in the District of Columbia and neighboring urban communities.

Responsibilities:

  • Minimum 16 hours per week, including one week day per week and two Saturdays per month
  • Assist with day-to-day administrative tasks for Flashpoint Gallery
  • Assist with application and selection process for Open Calls
  • Assist Consulting Manager with public art projects
  • Perform basic office and gallery tasks
  • Help with exhibition and theatre openings, panel discussions and other events and duties as assigned 

Requirements:

  • Graduate students preferred, but undergraduate and recent graduates also considered
  • Knowledge and interest in contemporary art, theatre, and arts administration
  • Ability to work independently and take initiative on projects
  • Excellent written and verbal communications skills
  • Experience with Microsoft Office, working knowledge of Adobe Creative Suite a plus
  • Individual must be comfortable working in a cooperative environment that represents a broad range of artistic, cultural, and social points of view

Compensation: Transportation Stipend and Class Credit Available

How to apply:

Deadline for applications: May 20, 2016
To apply, submit a resume with three professional references and cover letter to:
hr@culturaldc.org
CulturalDC
ATTN: Intern Search-[Programs Intern]
916 G Street NW, Washington, DC 20001

Wild Hand (BYT Article-3)
05.03.16

Rooms Of Their Own: Wild Hand Workspace

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Wild Hand (BYT Article-3)
svetlana | Jeff Martin | May 3, 2016

Washington D.C. (which we, it goes without saying, LOVE) is many things but “a safe haven for creative careers” is probably not at the top of the list. The army of makers and artists that live in it often hold down 9-to-5 jobs in order to be able to afford it, and the struggle for finding a space to work in (that is not your tiny dining nook in your tiny apartment) is a constant one. And, as much as more traditional small businesses turn to coworking spaces, so do the artists and artisans. A month or so ago we launchedRooms Of Their Own, where we visit and explore collaborative work environments inhabited by women.

We kicked things off with a visit to Brewmaster Studios in Dupont, our second stop was at The Lemon Bowl, on Georgia Ave studio, and now we head to Brookland and Wild Hand Workspace , the shared studio and multi-use art space of photographer/curator Victoria Milko and A Creative DC’s / Panda Head Morgan Hungerford West. The bright space also hosts many events, exhibitions and collaborations. Come on in and meet Morgan and Victoria, and get ready for some major workspace and life decisions envy AND inspiration.

Tell us a little about yourself and what you make?

Morgan: I’m Morgan Hungerford West, and I primarily focus on visual content creation + creative marketing strategies for clients across the food, fashion, and lifestyle realms. If I’m not narrowing it down, I’m all about hands-on visuals and creative lifestyle, and I’m a consultant, photographer, and founder/director of A Creative DC. I’m also an artist specializing in site-specific decor + installations: most recently I combined a ton of spraypaint, lava lamps, and an unheard of number of ceramic cats to transform a restaurant at The Saguaro Palm Springs into a psychedelic-desert-dreamland. The installation projects are a little fewer and further between, and you can mostly find me working online or on my phone, behind a camera, or just generally behind-the-scenes.

Victoria: My name is Victoria Milko and I am an independent multimedia photojournalist. While you’ll typically find me with a camera in my hand, I also do a fair amount of writing too.

How long have you been at Wild Hand?

Morgan & Victoria: Three years this August!

Before Wild Hand Workspace, where did you work / what can you tell us about the experience?

Morgan: When we first got the studio I was heavily focused on large-scale textile installations, and I was working out of a warehouse in Anacostia – my family had a printing business and there was a ton of space and really high ceilings over there, which made it possible for me to say YES to a lot of projects that I otherwise wouldn’t have been able to take on. So when my Dad retired and the warehouse was no longer an option, I had to move operations to my Adams Morgan apartment, and there was about six months of spray-painting and structural testing going on the alley behind my place. It was mostly terrible: I was just starting out and wasn’t even at the point where I knew that I had to price my work in a way that supported the space it took to actually get the work done. Now that most of my projects are consulting-based it’s easier for me to camp out at home from time to time, and I’m far enough along in my career that I appreciate (at least the pretense of) work-life separation by way of address in ways I couldn’t a few years ago!

Victoria: My work has really only evolved into what it is today in the last year or so. I’ve been doing photography, curating shows and organizing large-scale art events for years—each time using a nonconventional space. For years I used coffee shops, warehouses and private properties to do work.Having the studio has provided me a creative home-base and place to always come back to. Simply walking in the door given me a sense of creative calm and helps me feel better connected to the D.C.’s incredible creative community.

How did you stumble upon / settle into Wild Hand?

Morgan: The stumbling-upon part was all Victoria! Once we knew about the opportunity – CulturalDCwas working with the Monroe Street Market to fill 27 studio spaces on an as-yet-built Arts Walk in Brookland – the simple fact that this was advertised as Metro-accessible, ground-floor, AFFORDABLE space was kind of all we needed to hear. Was it scary? YES. I’d been working for myself for less than two years and the thought of taking on a lease literally/actually kept me up at night. I was still working like four part-time jobs to make up for what I wasn’t making in my creative career. But going in on it with someone else made the decision a lot easier – Victoria is an amazing collaborator, and I mean that in every sense of the word. Financial collaboration is maybe the least-talked about partnership in the realms of art and creativity but ultimately it can help accelerate the results of both hard and good work.

Victoria: I have Cory Oberndorfer and PhilippaHughes to thank for tipping me off about the studio. During lunch at Philippa’s one afternoon Cory mentioned that artists had been invited to take a hardhat tour of the construction site. Later that night I hopped on my bike and peddled over to Brookland. There was a gap in the fence, so I slipped through (I’ve been begging for forgiveness rather than asking for permission for YEARS now) and took a walk around the construction site. Even when it studio nothing by cement and steel beams, I knew I had found something with incredible potential.I found myself, at 23, I was getting ready to sign a lease for my first small business space and I knew that I needed someone reliable, creative and flexible to share the space with. Morgan was the first person I thought of and texted. I feel incredibly lucky that she was willing to take the plunge with me.

Describe (each of you) what your typical work day looks like?

Morgan: At any given time I’ve got a handful of retainer clients and 2-3 major projects that I’m balancing, plus all things A Creative DC! Every day is different, but they start and end with social media. A typical day will see a few conference calls or IRL meetings, a ton of emailing, and usually a little bit of time gets set aside to attend or pay attention to something in the realm of DC creative community/creative economy. That can mean an art show or a site/shop visit, and I try to make time, also, to get inspired or learn something new: I’ll listen in on a grant-writing webinar or just catch up on podcasts or blog posts. Once or twice a week I’ll have a photo shoot and I’m usually con camera – iPhone or DSLR – so there’s a solid portion of the day spent in editing apps or software. A ton of admin + team meetings happen at Wild Hand, and if the weather is good the garage door is rolled up and Hailu Mergia is on Spotify.

Victoria: I spend part of every day out in the field, whether it be for an assignment or for a longer-term project. From day to day my work takes me across an incredible spectrum of places. One morning I’m photographing someone’s secret marijuana grow room in D.C.—the next day I’m interviewing an oyster farmer in Maryland.One thing people don’t typically see is the incredible amount of time I spend staring at a screen. Countless hours are dedicated to emailing with clients, researching topics, editing photos and video, writing and keeping my portfolio up to date. I’ve also been steadily applying for grants and scholarships, which can take quite some time.

On top of that, I’m also pursuing a Master’s degree, so two morning a week I am in class or out working on new skills I’ve learned from the week before.

Did you know each other before you moved in and how?

Morgan: YES! In DC years we have known each other forever, which is….what? Seven years, Victoria? We were both working at Urban Outfitters. We’ve gotten along tremendously since we first laid eyes on each other. Her work ethic is insane and I can’t imagine a better person to share space with.

Victoria: I met Morgan when I was 18 and we were working at Urban Outfitters. It didn’t take us long to realize that we both had an invested interest in D.C.’s creative scene.

Have there been any collaborations?

Morgan: We’ve worked together in a few different capacities on projects here and there – Victoria is an amazing photographer and content creator – and honestly I feel like the biggest collab we have is an ongoing level of support for each other’s projects. She’s in my corner and I’m in hers and we know the other one will pick up the phone if we need help/advice/love/support.

Victoria: I second Morgan on this one. While the majority of my work involves me working independently, I’ve received an incredible amount of support and advice from Morgan. Sometimes a simple out-of-the-blue text full of heart emojis can really be all a girl needs to lift her head off the desk and push through final edits late at night.

You host other artists and creatives in the space too – for gallery openings and more- any highlights, any amazing discoveries?

Morgan: I’ll let Victoria take this one!

Victoria: I’ve loved all the artists that we’ve had the pleasure of hosting in the space. Before Morgan and I moved in we spoke at length about the desire to provide an accessible location for artists looking to show their work. We lucked out with being given a beautiful wall, surrounded by windows and perched right next to a high-traffic metro stop.Every artist that comes into the space brings something different, and teaches us something as well. It’s interesting and informative to see your workspace through someone else’s eyes.

Creative space is at a premium in DC and we see sharing of the same more and more – what do you think are some of the benefits and disadvantages of working together?

Morgan: No disadvantages on my end, other than the closeness of sharing a space means that there’s, unfortunately, one more person in the universe privy to what a patented Morgan H. West low-blood-sugar-situation looks like.

We’re incredibly lucky to have known and trusted each other for a while – again, we met and became friends in a work environment. There was never any doubt on my end that this was a complete fit, on a friendship level and in the context of a business partnership.

I have so many thoughts on creative space in Washington DC, but to answer this question specifically – financial collaboration gives you a huge advantage. If you’re going at it alone, that means figuring out a way to reconcile the financial piece without taking away from your art/project/craft. If you’re going in with someone else, that’s a few more hours a week you can spend getting better at what it is you do. It took me eleven years to figure out how to get good enough at a handful of things so that I could make a decent living from a diversified income stream – and it took major shifts in the city’s creative economy that had NOTHING to do with me that helped me along the way. By sheer coincidence my skills were sharp + ready at a time when they became marketable in a way they’d long been in other places. A creative career takes patience no matter where you are, but artists need space, and while there’s a ton here that’s usable, very little of it is cost-accessible. Artists who choose to live in DC make a very real choice to make do with less than would be available to them in other cities. So yes – SHARE.

Space costs money and it’s an investment – literally – in your art or your project. Getting a studio in your name means signing a lease and passing a credit check and calling State Farm and getting an insurance policy and a bunch of other shit that no one wants to do, but once you do it you’re really proud that you did, and then you start to think of yourself as a business person, and you speak a slightly different language than you did before. Artists and creatives MAKE THIS CITY BETTER. Space is empowering and everyone deserves empowerment. If you’ve got it, you’re in the privileged position of having been able to advocate for yourself along the way. Pay that forward.

We need to set multiple successful models for what being part of a creative space in DC looks like, and being supportive of your neighbor’s rights/hopes/dreams/needs to figure out what their own model looks like is vital. Want to work with a developer or larger entity? Get what’s yours. A 52 O Street or Union Artssort of situation more your bag? More power to you. Cutting through red tape and bureaucracy and starting a membership-based incubator like MOUSAi HouseWard 8 Arts & Culture Council, or Pleasant Plains Workshop? Thank you for putting in that work, because it benefits SO. MANY, and it helps build a foundation. Ultimately, the most important thing is that we all raise our voices to champion this community’s and this city’s need for affordable space. We’re DIY to the point that we’ll make it happen with nothing, but the cultural contributions of the creative economy are wayyyyy more than is quantifiable with numbers and metrics: quality of life is at stake here, and we need to start speaking the same language as the powers-that-be if we want them to give us more than, well, nothing.

Victoria: There have been countless benefits and not a single disadvantage. Whether it be bouncing ideas off Morgan, splitting rental costs, or just sitting in the same room hunched over our laptops deprived of real human interaction… I’m glad we have each other.

As the three year anniversary approaches – are there any shared co-creative lessons you learned, anything you’d like to celebrate?

Morgan: It’s been really amazing to see both of our careers change – Victoria’s had work featured everywhere from Food & Wine to the Washington Post this year and I am such a proud friend! Also,Wild Hand Workspace is just one studio out of twenty-seven – from our neighbor Cheryl Edwards to our guy-across-the-way Cedric Baker and a whole bunch of artists up the path, that community has been growing over the last three years and there’s a real sense of “we’re all in it together.” That’s worth celebrating.

Victoria: Since we moved into the space so much has happened in both of our careers. Morgan has launched A Creative DC as well as countless other projects—she blows me away every day with her dedication, passion and savvy ways.The larger creative community in DC has flourished, despite major setbacks such as affordable spaces and an inflated cost of living—if that’s not something to celebrate I don’t know what is.

And of course I’d like to celebrate and thank every person who has walked through our door, whether they be a visiting artist, neighbor, client or collaborator. Without them we wouldn’t be where we are today.

What is next for each of you? And what’s next for Wild Hand?

Morgan: I’m excited to have been working with Think Local First and the DC Department of Small and Local Business Development to help launch the Made in DC Program. It’s in place to promote and support the sector of the DC creative economy that M A K E S and having grown up in a family of DC printers/manufacturers, it’s super near to my heart. I’ve got so many other projects going on at the same time (in the very best way!) and next up on the calendar is this weekend’s Broccoli City Festival: my team and I are helming the pop-up marketplace and we’re working with over 70 amazing vendors!

Wild Hand-centric? We’re excited for the Historic Brookland Farmer’s Market to have kicked off earlier this month. Spring/Summer on the Arts Walk is the actual best.

Victoria: I’ve accepted a summer position as an entry-level photojournalist for a weekly news magazine in Myanmar, so between local assignments and meetings I’ve been listening to Burmese rap and trying to get a grasp on basic Burmese phrases.When I get back to D.C. in the Fall, I’ll have a couple months to work locally before heading to the Middle East where I’ll spend a month working on a photodocumentary about LGBTQ culture in orthodox communities thanks to a generous grant from A Wider Bridge.

Between assignments I will be continuing to pursue a Masters in Multiplatform Journalism (with a concentration on video storytelling) at the University of Maryland, and working on assignments with my local editors and clients. I also have two solo shows in the Fall and Winter, which I’ll be excited to share more about in a few months—stay tuned!

http://brightestyoungthings.com/articles/rooms-of-their-own-wild-hand-workspace

 

BisNow (Picture)
04.28.16

BISNOW – THE SCENE | SOURCE FESTIVAL!

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April 28, 2016

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Source Festival!

Over 30 people enjoyed the wonderful weather Sunday at the 2016 Source Festival Salon, presented by CulturalDC and hosted by Olwen and Don Pongrace (Akin Gump). Here, CulturalDC board chair and Bank of America’s Maurice Perry, Source Festival associate producer Lee Cromwell, and CulturalDC board member and the salon’s host, Olwen Pongrace.

LINK

 

04.20.16

At Flashpoint Gallery, Pondering Grief Through Fragile Photography

 

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At Flashpoint Gallery, Pondering Grief Through Fragile Photography

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In her multimedia exhibit “Sound of Butterfly,” D.C.-based artist Soomin Ham ingeniously blends form with theme.

Her Flashpoint Gallery exhibit dwells on themes of grief and loss, specifically Ham’s loss of her mother. She channeled her heartache by sifting through her mother’s possessions and photographing them. The items themselves are prosaic–articles of clothing, a watch, bottles of pills, even her mother’s fingerprint on a jar. Other images depict scenes with special meaning for Ham, such as the highway turnoff sign for the memorial park where her mother was laid to rest.

It’s Ham’s artistic treatment that makes them exceptional.

In one series consisting of more than two dozen square images, Ham starts with a photograph of one of her mother’s possessions, then freezes it in a layer of ice before re-photographing it. The resulting work both deadens the clarity of the image and adds a sprinkling of air bubbles around the edges, producing something almost mystical.

A second series is even more engrossing. It consists of a dozen reproductions of old family photos–vacations, weddings, group portraits. Ham scanned these images, printed them on rice paper, left them in water, then washed and dried them repeatedly until the images became murky. Then she left them out in the falling snow and photographed them again when they were almost covered.

The resulting images are visually stunning–the complex process dulls individuals’ faces to blankness and turns panoramic views into indistinct, pictorial fantasies seemingly photographed using 19th century paper negatives.

What gives these works added power, though, is the idea that they have been defined as artworks by something as ephemeral as snow or ice. The result is as eloquent as it is elegiac.

Through April 30 at Flashpoint Gallery, 916 G St. NW. Wed-Sat 12 p.m.-6 p.m

LINK

 

04.20.16

Brian Davis: TRY AND TRY AGAIN at CulturalDC’s Flashpoint Gallery May 7-June 4, 2016

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FOR IMMEDIATE RELEASE
April 20, 2016
Contact: John Richards
john@culturaldc.org
202.315.1322

BRIAN DAVIS
TRY AND TRY AGAIN
May 7 – June 4, 2016
Opening reception: Friday, May 6 (6-8pm)

WASHINGTON, DC – CulturalDC is pleased to present Try and Try Again, an experiment in sculptural systems by Brian Davis from May 7 – June 4, 2016, at Flashpoint Gallery. Davis has spent the good part of a decade exploring ways of using objects and environments to forge a connection between individuals. For his first exhibition at Flashpoint, he shifts focus, using the gallery space to examine the act of artistic production and the generation (and regeneration) of ideas.

Using a ping pong ball as a metaphor for a kernel of an idea, bits of inspiration come from the heavens – in this case, ejected from a video skyscape, only to litter the gallery until they are recycled for another attempt. As the work fills the space, visitors (under no obligation) may intercept, ignore or facilitate the system. Anyone may clear the scattered pieces using a broom and a Shop-Vac mechanism, reintroducing the precipitate into the structure bit by bit.

BRIAN DAVIS is a sculptor and multimedia artist based in Washington, D.C.  Born in Ft. Walton Beach, Florida, Davis was raised in Guam and South Carolina. He teaches New Media and Sculpture at The George Washington University and Montgomery College. Davis has a B.F.A in General Studio from Winthrop University in Rock Hill, SC and an M.F.A in Sculpture from the University of Florida in Gainesville, FL. His works, including sculptures, videos, and installations, have been exhibited in venues from New York to Florida, including a recent solo exhibition at VisArts in Rockville, MD and an upcoming installation in the 2016 Arts in Foggy Bottom Outdoor Sculpture Biennial. Davis was also a resident artist at Artisphere in Arlington, Virginia in 2015.

ABOUT CULTURALDC’S VISUAL ARTS PROGRAM
CulturalDC operates Flashpoint and produces public art interventions throughout DC. We nurture talented emerging and mid-career artists by providing opportunities for peer learning and mentorship. At Flashpoint Gallery, we showcase bold, new work from artists working in a variety of media including site-specific installations, performance pieces, new media and other experimental forms. As a nonprofit gallery free from the constraints of commercial expectations, Flashpoint provides artists and curators a unique opportunity to take creative risks. An advisory panel of noted artists and arts professionals makes programming recommendations for the gallery and provides mentorship and support to exhibiting artists.

CulturalDC is generously supported by The Morris and Gwendolyn Cafritz Foundation, DC Commission on the Arts and Humanities, The Community Foundation for the National Capitol Region, Daimler, The National Endowment for the Arts, Microsoft, Washington Gas, Weissberg Foundation,  Altria, Anonymous, Busboys and Poets/Eatonville, Hank & Carol Goldberg, Lockheed Martin, Menkiti Group, Prince Charitable Trusts, Stephen Stein and VOA Associates.

Brian Davis: Try and Try Again

Opening Reception:
Friday, May 6, 2016, from 6-8pm (free and open to the public) 

Exhibition Dates:
May 7 – June 4, 2016 

Flashpoint Gallery Hours:
Wednesday – Saturday, 12-6pm or by appointment 

Luce Foundation Center artist talk:
Saturday, May 7, 1:30pm
Smithsonian American Art Museum, Third Floor

Artist Website:
www.inadvisabledrain.com

Visit the CulturalDC website at culturaldc.org and follow CulturalDC on social media (Facebook, Instagram, and Twitter) for updates on this and all of our exciting projects.

#WeMakeSpaceForArt

General: 202.315.1305 • Press: 202.315.1322 • Fax: 202.315.1303 • Email: john@culturaldc.org
CulturalDC • 916 G St, NW • Washington, DC 20001

04.11.16

Annalisa Dias’ One Word More at Flashpoint (review)

 

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Annalisa Dias’ One Word More at Flashpoint (review)
April 11, 2016 by

Before Prospero, Miranda, Ferdinand, and even Caliban…there was Sycorax. In One Word More, writer and performer Annalisa Dias offers a bold, mind-bending vision of Shakespeare’s The Tempest that stretches from the remote desert island all the way to the American frontier.

 Dias, director Bridget Grace Sheaff, and their ambitious creative team have turned back the clock to when Prospero first crashed, confused and afraid, on the storied island ruled by the powerful Sycorax. In Shakespeare’s text, Sycorax is never seen and merely referenced as a cruel and dangerous witch. In One Word More, Dias transforms her into a sympathetic centerpiece and reverts Prospero to a disembodied voiceover. From this novel angle, Dias’ examines the colonialism, patriarchy, and native erasure that have followed Western explorers for centuries. Interestingly enough, her biggest scorn is reserved for American pioneers Lewis and Clark.

Annalisa Dias performing One Word More

Dias blends her imagined encounters between Sycorax and Prospero with verbatim readings from Lewis and Clark’s shocking expedition journals. The explorers’ xenophobic insights on first contact with Native Americans force the audience to confront the uncomfortable implications of Prospero’s rule. By the start of The Tempest, the Milanese Duke has simply overthrown or enslaved the natives, and Sycorax is nowhere to be found. Her son Caliban is treated as an outcast and villain by the virtuous Western leads. If nothing else, Dias’ thought experiment exposes an uncomfortable imperialist through-line bridging 17th Century England and 19th Century America.

We talk with Annalisa Dias

The confident Dias has no trouble commanding the stage alone for 60 uninterrupted minutes. In her troubled historian role, she alternates between dry academic humor and growing unease at Lewis and Clark’s racist, sexist musings. As Sycorax, she stalks the dirt-covered Mead Theatre Lab stage waging emotional and physical battle with the strengthening Prospero.

The quick transitions between writing studio, American frontier, and remote island can be confusing – the show works best when Dias has time to really dig into a particular scene without interruption. The only pieces that just don’t work are two dance sections where she seeks to imitate a mighty storm, but instead looks more like she’s caught inside a wind-tossed garbage bag.

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ONE WORD MORE
4stars
April 8 – 30
Mead Theatre Lab
Flashpoint Gallery
916 G Street NW
Washington, DC 20001
Tickets: $20
Tickets

The production’s most clever trick is creating a convincing likeness of Prospero onstage with only voiceover and an assortment of broken statues. Sculptor Brian Fernandes-Halloran employs a variety of materials and styles to create a graveyard of parts collectively representing the stranded Duke. With help from the well-timed sound and lighting work by designers DeLesslin George-Warren and E-hui Woo, the statues channel Prospero with a surprising degree of realism.

One Word More follows Rosencrantz and Guildenstern are Dead’s lead by tracking minor Shakespearean characters in the space between pages to ask tough questions about life and shared experience. Dias and company turn the “great explorer” mythos of Prospero and Lewis & Clark on its head and slowly restore stolen agency to Sycorax, Caliban, and Native Americans – one performance at a time.

One Word More:

Writer and Performer: Annalisa Dias
Director: Bridget Grace Sheaff
Costume Designer: Tori Boutin
Sound Designer: DeLesslin George-Warren
Lighting Designer: E-hui Woo
Sculpture Artist: Brian Fernandes-Halloran
Stage Manager: Amanda Zeitler
Production Support: CulturalDC

LINK

 

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04.08.16

WASHINGTON CITY PAPER 2016 READERS’ POLL WINNERS

WASHINGTON CITY PAPER 2016 READERS’ POLL WINNERS
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The Washington City Paper 2016 Best of D.C. winners have been announced, and CulturalDC is thrilled that the excellent work by Arts Walk at Monroe Street Market artists and residents at Source have been recognized.  #WeMakeSpaceForArt:

Arts Walk at Monroe Street Market Artist – Best Commercial Art Gallery 2016:

Arts Walk at Monroe Street Market Artist – Best Local Crafter 2016:

*RUNNER-UP – Arts Walk at Monroe Street Market Artist Kuzeh Pottery (Studio #18)

Source Theatre Resident – Best Theater Company 2016:

http://www.washingtoncitypaper.com/bestofdc/

 

 

04.01.16

Annalisa Dias on How Theater Can Change the World

 

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Annalisa Dias on How Theater Can Change the World
April 1, 2016 by

I have yet to come across a theater artist who dreams bigger than Annalisa Dias. She has facilitated and studied theater on several continents. She has produced, directed, dramaturged, devised, designed and performed in a plethora of productions on DC stages. Not only has she done all of these things, but she has developed and is developing through her work the kind of philosophy that may alter DC’s theatrical landscape and perhaps change the world. So I couldn’t pass up an opportunity to chat with her at Busboys and Poets about social justice, capitalism, how bodies can change the world, and why a pencil may be more than just a pencil.

Annalisa Dias, theater-maker

Alan Katz: What do you do?

Annalisa Dias: I make theater. The other day a friend tried to introduce me to somebody, and he didn’t know how to say what I do. He said, “Well, she’s an actor, but she’s a playwright, but she’s a director, but…” What I say is that I make theater by any means. So, if I need to be a playwright, I’ll be a playwright. If I need to be a director, I’ll be a director. If I need to be a performer in the piece then I’ll be a performer. I’ve done scenic art. Costumes. The only things I haven’t tried to do yet are scene design and sound design. I’ve done most everything else.

AK: What are you focusing on right now?

AD: I would call it devising, but maybe creating is the best way to talk about it. And, in creating new work, I’m taking on a a few different roles: partly as performer, partly as a playwright and partly as a devising artist.

The thing that unifies my work is social justice. Everything that I do has something to say about a social injustice that I perceive in the world.

AK: So you work toward awareness? Solutions?

AD: Both. There’s never an easy solution to any systemic injustice, but I do think that you can instigate productive dialogue by making art. And it’s through dialogue in a shared space that solutions, multiple solutions, can be found.

AK: Why social justice?

AD: What do you mean?

AK: Most theater artists I know, while they might be for social justice – that’s usually not the reason that they do theater. So why social justice? 

AD: I see my training in physical theater as integrally linked to the work that I do in the [social justice-oriented] Theater of the Oppressed because the American system of training actors is so reliant on psychological realism and theStanislavski system. So much that I find that actors, broadly, not all of them, but broadly-speaking, don’t know how to use their bodies generally and specifically don’t know how to use their bodies in abstract ways to create art. It becomes all about “psychological intention,” putting the words and the text first.

I find that to be problematic societally. We are so conditioned to sit at a computer, be “productive members of a society” and output, output, output. The meaning of life is all about the things that you’re producing. And we forget that we have bodies. We sit at these computers, in front of these screens, and, although we’re connected virtually in all of these different ways, we forget that our bodies are expressive and our bodies can do things and communicate connectively.

Annalisa Dias performing One Word More

AK: What is the connection between engaging the body and social justice?

AD: Capitalist society benefits from people forgetting their embodiment and their humanity. Capitalist society relies on people becoming parts of the machine and less and less human. And I think that’s destroying the world.

So, for me, a way to combat that at a very grassroots level is to work with the body. When I work with women at  N Street Village who have never done actor training before, I get to do this introductory workshop with them where I get to see them accessing the expressiveness of their own bodies at a fundamental level. When we’re young, we play and our bodies are connected to our minds in a way that they’re not now. We forget that as we go through life and become capitalist output machines.

AK: So, for you, the separation of the mind and the body is the fundamental instrument by which social injustice is perpetuated.

AD: Yes, but there’s another layer to it. There is the problem of separation of mind and body but that then functions to allow people to separate themselves from community.

AK: How so?

AD: It allows people to envision themselves as separate from the people—the bodies—that are around them. Like all of these people in this restaurant have no effect on me because I envision myself as not related to them because I can, for example, go on my phone and connect to whatever is virtual and is not part of my embodied space.

A line in One Word More —which I stole from John Donne— is “No man is an island.” That’s fucked up.  And I hate that. I hate that we think we’re all these little islands. That we don’t have any effect on each other.

AK: So the way that you can heal or combat social injustice is bringing someone’s self, their mind, and connecting it with their body. Then connecting that now whole organism with other whole organisms. And that’s hope. So, how does that work, practically?

AD: [laughing] Sometimes it doesn’t!

If I’m the primary generative artist in a room where art is being made, I tend to delegate my authority in that room so that we’re all creating a piece of work together. In the United States, we’re very reliant on the playwright and director as authoritative figures in the artistic process. But for me as an artist, it is important to value people’s voices, value their artistic input into my work and allow the other artists to influence them as they’re generating ideas and words. We can’t exist in these little island bubbles of “I only do this one thing.”

People are so trained not to step on each others’ toes by the American theater system. We’re trained to be dictators over our own little worlds. We don’t want to trespass in the yard of another artist. People just want to do their thing and then go home. And that’s the end of that. So it’s difficult sometimes if people aren’t used to a co-creative process to, like, break out of the training. That’s the work I do in Theater of the Oppressed.

Theater of the Oppressed aims to flip traditional power structures on their heads.  In a traditional power structure in a theater space, you would have the director or the playwright who dictates what happens, then the actors follow what they say when they present a piece of work to an audience. The audience sits there and receives information from the artist. Then they go home and that’s the end of the relationship. With Theater of the Oppressed, you ask for input from both the actors and from the audience, then the director/playwright puts that into the piece of art. So it’s more about a communal process of art-making.

AK: You have a couple of different projects coming up; let’s talk about how you try to invert power structures in them.

AD: Right now, I am working at the N Street Village and doing a series of movement workshops, beginning theater workshops with women who are experiencing homelessness. In those workshops, we’re doing a combination of Theater of the Oppressed games.

AK: Give me an example of one.

AD: My favorite Theater of the Oppressed game is a game called “Homage to Magritte.” You know the painting “The Treachery of Images?”. It’s a painting of a pipe that has “This is not a pipe” written on it in French. You get to talk about the questions of, “What is reality?” “Are things what they appear to be?” and “Can they have other meanings?” Then you take an object and put it in the center of a circle where all the participants are sitting around. You ask people to pick up that object and use it in a way that shows it as something that it is not.

So, put a pencil in the middle of the room. Maybe pick up the pencil and use it as a rolling pin. You could make it into a baseball bat, or whatever your idea is. You can’t use any words or sounds. It’s just about picking up an object and using your body to show it as something other than it is.

And it’s pretty stunning to see people who aren’t asked to use the muscle of their imagination on a daily basis struggle, at the beginning, with play. Then people get the hang of it. They open up, and it’s amazing to watch people access that space of creative play. The best part is having a dialogue at the end about why is it so difficult to imagine, to really see an object as having functions other than what we were taught they had. The conversation usually turns on this: if we can’t imagine the world other than it is, then who is going to?

If I can’t imagine a world in which homelessness is not a problem, then who’s going to do that? Who is going to create that world? You have to be able to imagine the change and then enact it. Imagination is a thing that capitalist society, to go back to my apparent loathing for capitalism, teaches us not to have. We’re conditioned not to use our imagination. We’re conditioned to be part cogs of this machine. Do our thing. Go home. Watch TV. Go to bed. That’s that’s what we do. We don’t imagine the world as different. For the most part.

AK: The next thing after your N Street village classes is a play called One Word More. What is that?

AD: Briefly, it’s a reimagining of Shakespeare’s The Tempest from the perspective of Sycorax, who is the erased female voice. She never appears in The Tempest, but she’s referred to by Prospero and Caliban. We never see her body. So this piece is really an interrogation of the historical erasure of women’s voices and bodies from both society and history.

AK: How is that process?

AD: The group of folks that I’m working with are incredible. In December 2014, we did a draft workshop at Shakespeare Theatre Company’s Happenings at the Harman. That draft is about 30 minutes long and I haven’t really touched it since then.

That is our common starting place for how are we going to evolve together as artists. It’s difficult for me in a surprising way  to relinquish authority over this piece because it’s so personal for me. This piece, in its previous iteration, meant a lot to me as an artist. It was the first time that I gave myself permission to be a performer as a professional. It means a lot to me. So it has been surprisingly difficult to relinquish my authority over what the piece is, but, if we’re going to have an authentically co-creative experience, I need to be okay with allowing other artists to influence the product.

It’s scary. But at the same time, it’s exciting to me to create art that is built on relationships with people. Rather than like relationships with ideas.

AK: You create your own community, and that’s a model for how you want the rest of society to look. These are two pretty neat and pretty different projects you’ve got running.

AD: Oh, they’re not separate at all. The work that I’m doing at N Street Village is directly connected to One Word Morein that I’m hoping for two things: that some of the women who I work with will come and be part of the audience forOne Word More. And I’ve invited a couple of them to lead post-show dialogues about the erasure of women’s voices and what that means in the DC community specifically. There’s a very important and symbiotic relationship between the actual art that I’m producing and the work that I’m doing in the community, and with the Welders.

AK: Why is it important to you that they not be separate?

AD: It goes back to that idea that no man is an island. Like people, Art doesn’t exist in a vacuum. It should exist in the community. Art should be made for the community. Art needs to be part of the community. No art should be an island.

One Word More now through April 30 at CulturalDC’s Mead Theatre Lab at Flashpoint.

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[The interviewer thanks Meghan Tucker-Carafano for her help in transcribing this interview.]

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